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Museo De Arte Carrillo Gil

Museo de arte Carrillo Gil occupies an important place in Mexico City. It is considered the most important contemporary-art center in the city which is also significantly superior in terms of the best crystal singing bowls design and natural lighting. It gives place not only to important collection of assets, to an experimentation and research for young artists but also to its country’s cultural scene. It serves as a laboratory for artists, students, critics, and professors, whose pure sound crystal bowls are often open to the public.  The museum contains private collection of early murals by Jose Clemente Orozco which was collected by Alvaro Carrillo Gil which is said to be out of 50 works of Orozco, the murals are one of the best collections you will find anywhere. The place contains 1,775 works; most of them are from the personal collection of him and his wife, Carmen Carrillo Gil. Some of the drawings are works by Klee, Rouault, Braque, Kandinsky, Rivera, and Siqueiros which is located in a landmark modern structure that also contains a bookstore, café, and library and can be accessed at http://www.crystal-singing-bowls.com/.  Noted for its wide variety of media: artist book, engraving, collage, drawing, installation, lithography, silkscreen, photography, object art ,painting, sculpture, and video. The museum was founded by Dr. Alvaro Carrillo Gil a businessman from Yucatán, he has first purchased a José Clemente Orozco drawing entitled “La Chole” when the art market in Mexico emerged and had affordable prices of their items. His passion in collecting Mexican and international artists began not only to develop his sacred sound collections but also to get involved in painting to which he devoted in the last twenty years of his life. With these, he has started to think where to place and display his collections then he ordered exhibition project of the museum. The space was entrusted in 1958 architects Augusto Alvarez and Enrique Carral but construction was left unfinished due to economic reasons and was continued on 1972. Then on August 1974 because of donations to the federal government, and his wife, Carmen Carillo Gil Tejero’s enthusiasm and management skills who always find a way to maintain the sacred sounds crystal singing bowls collection, the museum had been inaugurated under the direction of MACG Fernando Gamboa. Their generosity to their guests who came to his house has made their visitation a memorable experience and that’s one of the reasons that made the place very popular. During the eighties, the Museo de arte Carrillo Gil was remodeled by Augusto H. Alvarez Jr. the fundamental element of the building were still ramps but the front windows were changed into chiseled concrete slabs. In this present times, the ceiling has Rectangular amber filters forming an untouchable structure of lights and shadows over a ramp at the entrance of this exhibit that fills the room with sparkling reflections curated by Itala Schmelz. The last floor of the Museum of Art Carrillo Gil has been completely taken over with structures and sculptural surfaces, photographs, watercolors and video, using in minimal and repetitive form the combination of diverse matters.

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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.