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Bienal de Venecia

Bienal de Venecia has for more than a century been probably the most prestigious cultural institutions in the world. Established in 1895, the Biennale has an attendance today of over 370,000 visitors at the Art Exhibition. The steadicam stabilizer historical past of the Venice Biennale goes back from 1895, when the first International Art Exhibition was organized. In the 1930s new festivals were born: Music, Cinema, and also Theatre (the Venice Film Festival in 1932 was the very first film festival ever planned). In 1980 the very first Intl. Architecture Exhibition occurred, and in 1999 Dance built its debut at the Venice Biennale. Biennale di Venezia is an international event of contemporary art held every 2 years in Venice, Italy. The Film Festival is part of it, as they are the Venice Architecture Biennale ,kept in track dollys even years. A bit of dance, the “International Contemporary Dance Festival”, was founded in 1999. The first Biennale occurred on April 30 , 1895, and through the early editions decorative arts performed an important role. The event started to be a lot more international in the first generations of the twentieth century: from 1907 on, many nations began setting up national pavilions in the exhibition. After World War I, the Biennale showed increasing interest in impressive traditions in contemporary art. Between the two World Wars, many essential modern artists had their work exhibited them. In 1930, control passed from the Biennial City Council of Venice with the National Fascist track slider government. Within the 1930s, several new sections of the occasion had been established: the Music Festival in 1930, the International Film Festival in 1932 and the Festival Theatre in 1934. Since 1938, Grand Prix were awarded in the art exhibition section. After a break of six years throughout World War II, the Biennale was resumed in 1948 with a renewed glide gear focus to avant-garde movements in Europe and later worldwide, movements in contemporary art. Abstract expressionism was introduced within the 1950′s, and pop art in the 1960s. From 1948 to 1972 the Italian designer Carlo Scarpa did a series of outstanding interventions in the Biennial exhibition spaces. The protests of 1968 noted a situation within the Biennial. The Grand Prizes had been abandoned more emphasis was given to thematic exhibitions instead of the case. The 1974 edition is dedicated completely to Chile, as a cultural protest from the dictatorship of Augusto Pinochet. New awards – the Golden Lions, as well as awards at the Venice Film Festival – had been produced, and also the postmodern hand held camera stabilizer art scene with exhibitions became increasingly varied and popular. In 1980 Achille Bonito Oliva and Harald Szeemann presented “Aperto” section of the exhibition developed to discover the growing art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. There was a break of 3 years to ensure that the 1995 edition to coincide with the hundredth anniversary from the Biennale. The 1993 version was led by Achille Bonito Oliva while Jean Clair and Germano Celant made their function as directors in 1995 and 1997 correspondingly.

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.