#pierre gautherot
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Napoleon dismounting with an injured foot at Regensburg, aided by the Surgeon, Yvan, 23 April, 1809
by Claude Gautherot
#napoléon#napoleon#bonaparte#napoleon bonaparte#napoléon bonaparte#art#battle of ratisbon#battle of regensburg#napoleonic wars#roustam raza#claude gautherot#pierre gautherot#pierre claude gautherot#dezydery chłapowski#alexandre urbain yvan#france#germany#history#french empire#austrian empire#holy roman empire#europe#european#french#regensburg#napoleonic#napoleon i#emperor#empire#bavaria
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More on the Gautherot drawing of Max
I've found that it was exhibited in January 1848 at the Exposition de l'Association des Artistes, labelled as a sketch from life done at the Convention. A reference is also made to a painting in Saint-Albin's collection being by David… Now, the most famous Max portrait Saint-Albin had is the one of the same type as the drawing. I wonder if it's another case of the master being credited with a work by one of his pupils/atelier members, because the Berlin painting doesn't look like a David.
I'd love them to x-ray it, to see if the glasses have been overpainted/removed at some point.
The drawing is described, too, with an attribtion to Gautherot in 1882, in one of those rather trashy 'petite histoires' so popular at the time: Adolphe de Lescure's L' amour sous la Terreur:
C’est le Robespierre des derniers temps, usé, pâli, fatigué, peut-être découragé, mais guardant, au-dessus de ce troupeau de la Convention qu’il régente encore, cette allure roide, rogue et pédagogique qui persista chez lui jusque devant la mort. Il a teint blafard, les pommettes saillantes, l’œil cave où brille un regard gris; il porte l’habit nankine rayé de vert (c’est le quatrième connu); un gilet blanc, rayé de bleu; la cravate blanche, rayée de rouge. Le dessinateur a soigneusement noté ce costume, et il n’a eu garde d’oublier les besicles relevées (à l’envers) sur le front, aux ailes de pigeon décollées par la sueur oratoire; sueur de triomphe, près de devenir la sueur d’angoisse.
I don't think he realised that the softer wig-style is a fashion (we see it in the 1792 physionotrace), nothing to do with sweat relaxing the curls.
Gautherot was an active Jacobin, closely associated with Michel Le Peletier and Nicolas Maure. He also 'rectified' Fouquet's physionotrace from Le Peletier's death-mask for engraving.
#pierre-claude gautherot#maximilien robespierre#jacques-louis david#revolutionary art#l'art révolutionnaire#révolution française
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“I’m more interested in looking
for something transitory than
in producing a conclusion.”
Pierre Huyghe
“I’m interested in contingency,” the French artist Pierre Huyghe has said. “Of what is not predictable. Of what is unknown. I think that has somehow been a core of my work.”1 Pursuing interests in contingency and unpredictability, Huyghe creates art forms that incorporate living organisms, such as dogs, turtles, spiders, peacocks, ants, and bees. Over the course of an exhibition, his living works of art grow, decay, and die. Huyghe said, “They are not made for us. They are not made to be looked at. They exist in themselves.”2
Throughout his career, Huyghe has experimented with many mediums and technologies, including film, sculpture, photography, music, and living ecosystems. At the outset of his career, Huyghe collaborated with artists whose work explored human relations and their social context; to describe their interests, the curator and art critic Nicolas Bourriaud coined the term Relational Aesthetics. In the late 1990s and early 2000s, Huyghe’s works often reenacted notable artworks or popular footage from mass media. In Silence Score (English Version), a musical notation of John Cage’s pivotal composition 4'33", he created a readable score for the silent piece using a computer algorithm.
In 1997, with artists Charles de Meaux, Philippe Parreno, and Dominique Gonzalez-Foerster and curators Xavier Douroux and Franck Gautherot, Huyghe cofounded a film production company called Anna Sanders Films. They named the company after a fictional character first developed in a magazine released in 1997. Blanche-Neige Lucie, the company’s first film, stars Lucie Doléne, the voice actor who dubbed the Disney character Snow White in French, and who won a lawsuit against the Walt Disney Corporation for the rights to the reproduction of her voice. The film features Doléne humming the melody of “Someday My Prince Will Come” in an empty film studio, facing the camera, while her story is told through the subtitles. The work explores how a voice can be used to create a character, and who then owns that product.
The Host and The Cloud fuses scripted action and improvised narratives generated by the actors. The yearlong project records theatrical events that took place in an abandoned museum in Paris on three holidays: the Day of the Dead, Valentine’s Day, and May Day. In a variety of fictional settings, 15 actors clad in LED masks perform alongside puppets and animation. These spontaneous elements reflect Huyghe’s interest in contingency and adding dynamic layers to his storylines.
Originally created for Documenta 13 in 2012, Huyghe’s Untilled (Liegender Frauenakt) is a reclining female nude whose head is covered by a live beehive. The work was part of an entire ecological system the artist created in a composting area in Karlsaue Park in Kassel, Germany. In a video Huyghe filmed during the exhibition, his camera captured a wide range of beings at different scales, including minute species that are barely visible to the naked eye. Huyghe aims to “intensify the presence of things, to find its own particular presentation, its own appearance and its own life, rather than subjecting it to pre-established models.”3 With interest in “the transitory state, in the in-between,” his complex worlds blur the boundaries between the natural and the artificial, the physical and the virtual, and the real and the fictional.4 In 2015 and again in 2023, the statue found itself in MoMA’s Sculpture Garden, placed in a new context and in conversation with other works of art. During the summer, the bees travel in and out of the garden to pollinate and build their hive.
Huyghe’s artistic practice reflects his belief that life is in constant flux, and that all beings exist beyond the perceivable realm of human senses and knowledge. By engaging with unconventional materials and technologies, he provides us with a way to see, feel, and experience the wild, untilled world we are living in.
Source: MoMA / Pic: YBCA
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Napoleon Addressing the 2nd Corps of his Army at the Bridge over the Lech at Augsburg, Germany, on October 12, 1805 by Pierre-Claude Gautherot, 1808.
Who is this handsome, haughty guy - Duroc? (NOTE: It’s Marmont)
link
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@silver-whistle The Hermitage has two works by Pierre-Claude Gautherot, which are very revealing.
A copy of the portrait of Voltaire, the original was created by Nicolas de Largillière. And a copy of the portrait of Minister Turgot, its author is François-Hubert Drouais. Both of them contain items of clothing specially modified during copying.
Let's turn to the drawing from the auction https://drouot.com/l/20324138
The drawing contains the addition/modification of elements – glasses, which are depicted upside down; this proves that we are looking at a copy made by Gautherot.
Or the artist turned them over when creating a copy from an unknown original, as he did with other paintings that he copied. Or the artist added glasses, because there was nothing to remove from the painting.
#French Revolution#nicolas de largillière#voltaire#gautherot#françois-hubert drouais#turgot#robespierre
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Pierre Gautherot - Piramo e Tisbe, 1799
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Marcel Gautherot, No delta do Río Amazonas, 1943. "Marcel Gautherot was a French-Brazilian photographer. He came to Brazil in 1940, his interest in the country awakened by reading the novel Jubiabá, by Jorge Amado. After a brief journey around the Amazon, he settled in Rio de Janeiro. During the 1940s, he travelled along the São Francisco River, recording human types and the popular and religious festivals with an almost anthropological eye. With the photographer Pierre Verger (1902 – 1996), whom he met in Paris, he realised long journeys around the country, documenting colonial and modern architecture among other things..." https://www.instagram.com/p/CXJqA9HNuQM/?utm_medium=tumblr
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63. Píramo e Tisbe
Tisbe chega primeiro, mas esconde-se quando aparece uma leoa com a boca ensanguentada da matança recente de bois. Ao fugir, Tisbe perde o xaile que é desfeito e manchado de sangue pela leoa.
Píramo ao encontrar as vestes abandonadas e manchadas pensa que a sua amada está morta e crava a espada no próprio ventre. O sangue dele salpica a árvore e as amoras ficam cor de púrpura. Tibe, ao ver o corpo sem vida do seu amado, vira a espada para o seu peito.
E, por eles, os frutos da amoreira se carregam de luto ao amadurecer.
(Pierre-Claude Gautherot - Pyramus and Thisbe)
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DUPLO OLHAR> Pintura e Fotografia modernas brasileiras
Na historiografia da arte no Brasil - como diz o antropólogo e arquiteto carioca Lauro Cavalcanti diretor executivo do Instituto Casa Roberto Marinho - é raro um exame que relacione o percurso inovador da fotografia e o da pintura no século XX. Assim como são poucos, completo eu, os trabalhos que nesse segmento ultrapassam a seara da Academia chegando ao grande público.
O livro Duplo Olhar - Pintura e fotografia modernas brasileiras (I.Casa Roberto Marinho, 2019) e sua exposição homônima tem como curadores os cariocas Marcia Mello, galerista e especializada na conservação de fotografia e Paulo Venancio Fillho, crítico de arte e professor de História da Arte na UFRJ. Eles ilustram para o leitor esta correspondência, cujos diálogos, assim como suas influências, são pertinentes na compreensão mais abrangente da nossa história da arte "no tempo que o Brasil sonhava ser moderno." como diz Cavalcanti.
Os curadores relacionam os trabalhos do pintor cearense Antônio Bandeira (1922-1967), do paulista Candido Portinari (1903-1962), dos cariocas Di Cavalcanti (1897-1976), Hélio Oiticica (1937-1980) e seu pai, José Oiticica Filho (1906-1064); o português Fernando Lemos (1926-2019), os franceses Marcel Gautherot (1910-1990) e Pierre Verger (1902-1996) além de fotógrafos de ação contemporânea como os paulistas Antonio Saggese, Cristiano Mascaro e German Lorca, a inglesa Maureen Bisilliat e o espanhol Miguel Rio Branco, entre outros luminares da pintura e da fotografia.
As analogias entre a pintura e a fotografia remontam os primeiros passos desta última técnica, também considerada como arte em seu largo espectro seja como suporte para outras mídias ou em sua plenitude. Conceitos sempre difíceis de alinhar pela subjetividade intrínseca que carregam os dois meios, mas tentativas são feitas, como o livro História da fotografia autoral e a pintura moderna (Editora Ipsis, 2019) do fotógrafo e escritor carioca Claudio Edinger [ leia review aqui https://blogdojuanesteves.tumblr.com/post/182560838046/hist%C3%B3ria-da-fotografia-autoral-e-a-pintura ] uma das poucas publicações a levantar a questão.
Paulo Venancio Filho, enxerga a origem das duas no mesmo orgão sensorial, "o olho, e se dirigem para o mesmo objeto - o mundo." daí este relacionamento próximo, que as vezes se tornam indistintos. "Objetos, temas, assuntos, coisas, tudo que se encontra no campo visual interessa aos olhos do pintor e do fotógrafo." escreve o crítico.
O livro tem como base a coleção de pinturas modernas Roberto Marinho/Instituto Casa Roberto Marinho e fotografias oriundas de instituições como a Sociedade Fluminense de Fotografia, Instituto Moreira Salles (IMS), Coleção Fernando Lemos, Coleção German Lorca, Acervo Família Jacob Polacow, Coleção Laura e Clara Mello, Coleção Isabel Amado, Acervo Família Gasparian, Coleção Joaquim Paiva e Coleção Museu de Arte Moderna do Rio de Janeiro (MAM) entre outras.
"Pintura e fotografia nutriram-se mutuamente de uma relação dinâmica com desafios menores e maiores ao longo do tempo." diz Marcia Mello. Os novos critérios gerados pela fotografia influenciaram pintores assim como fotógrafos adotaram olhares pictóricos. continua a curadora em um texto que mapeia esta produção de uma maneira clara e acessível a qualquer leitor que não seja acadêmico ou especialista no assunto.
O período proposto pelos curadores é amplo e ultrapassa o chamado período "moderno" vai da década de 1920 aos anos 1980. Parte significativa do conjunto de fotografias foi produzida por aqueles que frequentavam os fotoclubes, agremiações de cunho amador, que reuniam autores em concursos, dicussões de técnicas e exposições, promovendo intercâmbio entre diversos países. A curadora explica que "Privilegiam-se na exposição dois momentos da fotografia brasileira: a tendência pictorialista e o rompimento com esta estética nos anos 1940 e 1950."
Marcia Mello me conta que o interesse por essa aproximação das duas artes nasceu por volta de 1986 quando ainda trabalhava na montagem de um acervo de fotografias para o Museu de Arte Moderna (MAM) do Rio de Janeiro, quando ainda não era muito explorada a vertente modernista da produção nacional. Para ela o relacionamento entre a pintura com outras artes era mais focada na música e na poesia do que nas imagens fotográficas.
Já faz algum tempo que museus importantes como o Museum of Modern Art (MoMA) de Nova York introduziram a fotografia em seus acervos já nos primórdios do século. Este tem como um de seus programas curatoriais o estudo da fotografia no chamado período modernista, que também incluiu fotógrafos que atuaram no Brasil, como o húngaro Thomaz Farkas (1924-2011) e os paulistas Geraldo de Barros (1923-1998) e German Lorca, o russo Jacob Polacow (1913-1966), o piauense José Medeiros (1921-1990), que também estão na seleção feita pelos curadores Marcia Mello e Paulo Venâncio Filho.
Photography at MoMa: 1960 to now (MoMA, 2015), é um mergulho profundo no ápice da fotografia modernista dentro de uma incomparável coleção. Para os seus organizadores, o livro de 432 fotografias bate os antológicos The history of Photography: From 1839 to the present (MoMA, 1937), editado pelo americano Beaumont Newhal (1908-1993) e Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art (MoMA.1973) editado pelo também americano John Szarkowski (1925-2007). Uma amostra significativa da coleção, trazendo mais de 300 autores, alguns deles brasileiros ou que tiveram atuação no Brasil. [leia review sobre este livro aqui em https://blogdojuanesteves.tumblr.com/post/152738383416/photography-at-moma-1920-1960 ] .
Venâncio Filho explica que, assim como a pintura na modernidade artística se dirige para a abstração , a fotografia também se desvincula da realidade, estabelecendo igualmente uma produção abstrata. Ele lembra de Geraldo de Barros que trafegava pelas duas mídias: " Não sou pintor senão no momento de bater a fotografia, de escolher meu ângulo, meu plano. Em seguida, durante todo o tempo que a objetiva funciona, eu faço um trabalho de composição independente do que escolhi como assunto, no qual o único guia é o ritmo, o contraponto, a harmonia plástica. A fotografia abstrata pode atingir alturas musicais.” A citação está no livro Geraldo de Barros Fotoformas e Sobras ( Cosac e Naify, 2006) [ leia review sobre esta edição em https://blogdojuanesteves.tumblr.com/post/150170667411/geraldo-de-barros-fotoformas-e-sobras ]
Se foi na pintura que o retrato configurou-se como um gênero específico, na fotografia ele encontrou o seu lugar de destaque. Venâncio Filho diz que a fotografia voltou-se para o anônimo e colocou no mesmo plano a celebridade e a pessoa comum. O livro traz pararelos entre os autorretratos do pintor fluminense Alberto da Veiga Guignard (1896-1962) de 1961 e o fotógrafo cearense Chico Albuquerque (1917-2000) na década de 1950; o pintor paulista José Panceti (1902-1958) de 1941 e Geraldo de Barros de 1949 ; o retrato da escritora búlgara Nora Mitrani (1921-1961) de 1949 feito por Fernando Lemos e a pintura Nós Nus do paraense Ismael Nery (1900-1934) feito em 1926.
O livro traz uma diagramação bastante interessante sem abusar dos clássicos pendants. Marcia Mello me conta que isso era uma preocupação na produção do livro. Como equilibrar uma exposição grande, mas lúdica, de mais de 200 obras sem ficar cansativo para o leitor. Algumas pinturas então, dialogam as vezes com quatro ou mais fotografias. A ideia conjunta do curadores em ultrapassar os anos 1960, surge de relacionamentos como a pintura de natureza morta do gaúcho Iberê Camargo (1914-1994) e a fotografia de vaso de flores de Cristiano Mascaro e as garrafas de Miguel Rio Branco entre outras afinidades.
O contemporâneo projeto gráfico é do conhecido designer carioca Victor Burton, com assistência de Anderson Junqueira. As fotografias reproduzindo as obras de arte também são de consagrados fotógrafos cariocas como Vicente de Mello, autor do ótimo livro Parallaxis (Cosac e Naify, 2014) [ já comentado aqui em https://blogdojuanesteves.tumblr.com/post/103063331761/parallaxis-de-vicente-de-mello ] Cristiana Isidoro que já trabalhou com vários cineastas de renome e no Jornal do Brasil e Jaime Acioly, especialista em arte. O tratamento de imagens e impressão é da Ipsis Gráfica.
"A fotografia moderna caracteriza-se pela redefinição do olhar através da câmera; a busca pela abstração ocasional é obtida no ato fotográfico" explica a curadora Marcia Mello. Ocorre uma subversão dos planos, surgindo uma nova percepção do espaço advinda do interesse pela composição. Para ela dentre os procedimentos valorizados no período estão a sobreposições de imagens, o alto contraste, a mudança do papel fosco para o brilhante. Entre as práticas mas radicais, além da obra de Geraldo de Barros, está a de José Oiticica Filho e suas "Derivações" (1956-1962) que abdicam da câmera fotográfica. "a abstração, como subversão do tempo e espaço, consolida uma prática que se estende até hoje,".
Imagens © autores Texto © Juan Esteves
*A exposição teve início em 6 de dezembro de 2019 no Rio de Janeiro e estava prevista para terminar em 26 de abril deste ano. Com a pandemia, a mesma encontra-se fechada. O Instituto Casa Roberto Marinho, avisará em seu site quando da reabertura.
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The Infernal Club: First Session (Pilpay)
The series of pamphlets Le club infernal was written by the royalist writer Jean-Pierre Gallais (1756-1820) under the pseudonym Pilpay.
Although the pamphlets are undated, it is clear that they were published in the spring of 1795, after the trial and execution of Fouquier-Tinville (18 Floréal, Year III / 7 May 1795) ; thus, they should be considered in the context of the reactionary offensive of Year III.
The pamphlets are based on the premise that the Jacobins reunited in Hell after their deaths, forming a new, “infernal” Club (hence the title). This leads to a series of confrontations and conflicts, which are, in my eyes, quite entertaining. (Yet, one should not neglect the political and deeply reactionary context within which these pamphlets were written.)
Presidency of Robespierre.
It was nearly half past ten in the evening when Fouquier-Tinville arrived before the bronze door of the infernal club, guarded by the famous Cerberus, a terrible and marvellous dog that caresses the Jacobins and devours the aristocrats. He regarded Fouquier with a tender look, and, opening one of his three mouths, he asked him, with a graceful tone, for his carte de citoyen: – here. – Your certificat de civisme? – here. – Your passport? – I am holding it. – Your receipts for furniture contributions in '91 and '92? – there. – Your patriotic donation? – I have it. – Your political life? – is over. – Your duties? – have been fulfilled... etc. etc. – You are perfectly in order. One does not gather more proofs of civisme. You can enter ; you will be received well.
Fouquier entered. The room was illuminated by lanterns placed in 45 skulls of fermiers géneraux, which emitted a light that was more red than the blood of a virgin. At the end, on a fiery three-legged stool, Maximilien Robespierre was sitting nonchalantly, holding his jawbone in one hand, and drawing, with a dagger in the other hand, the vast plan of a universal cemetery. On the left, one saw Lubin, who was crying, Henriot, who gnashed his teeth, Payan, who cleaned his, Lavalette, who snuffed tobacco, and Coffinhal, who read Audouin's Le Journal Universel.
On the right, Fleuriot gnawed his nails ; Chaumette recited a rosary ; Hébert heated his furnaces ; Dumas was sulking ; Sijas unmuzzled a tiger ; Couthon contemplated a crime ; St.-Just wrote a report, and the rabble behind him.
Upon seeing Fouquier-Tinville, everybody rose ; everybody jumped for joy. They embraced him. Here he is ; he is there ; it is him ; it is Fouquier. So, where is Barère? Where is Billaud? What is Collot doing? everybody spoke at the same time. It was a sequence of events, it was a noise that could not be understood. The president might well have rung a bell bigger than the one of Moscow, no one would have listened, no one would have heard him ; one saw, one heard only the dear Fouquier. In these moments of euphoria, talents were forgotten, authority disappeared, reputation vanished.
Robespierre, a man of the world who knew best how to yield to the circumstances, let the enthusiasm pass, and when he saw that everyone began to resume their place and their role, he waved Fouquier to come over.
I would have loved your better up there, he told him, but as I see that you have descended, like us, to the destination of the dead, I hope you arrived here well: tell us of the news!
Great master, Tinville cried, while bowing deeply...
Stop, Fouquier, Coffinhal interrupted, there is no great master here. You are in the place of equality. Equality, up there, was only a word which we other scoundrels used in order to enslave the dupes. Here, he have to walk beneath the surface. All of our thoughts are on our lips ; all of our actions are weighed on the inflexible scales of equity, all of our hearts are exposed.
HENRIOT: The heart of Coffinhal! who ever suspected you [of having one]?
COFFINHAL: Maybe it is not Henriot who would amuse himself pirouetting in the air, instead of assembling his gunners around us.
HENRIOT: Monster! without your brutality, we would still be alive. (Noise.)
COFFINHAL: Idiot! without your stupidity, we would certainly be the master of Paris. (Murmurs.)
HENRIOT: Blood drinker!
COFFINHAL: Whipped and marked... (Disturbance ... the president covers himself.)
ROBESPIERRE: My friends, have we not promised to forget our mutual faults ; I know what has to be attributed to weakness, and what can be blamed on malice ; but let us not trouble the universal joy with the arrival of our friend Fouquier inspires with particular fights. Tell us, Fouquier, in what state have you left France? what are the Jacobins doing, what are Pitt and Coburg doing?
FOUQUIER: I have left the task of telling you about the current state of France to Barère.
FLEURIOT: I do not love your Barère ; his unchanging, ambidextrous, pompous and insignificant reports bore me to death: we will have to choose another reporter.
SIJAS: Another reporter, so be it ; but we have to agree at least that, if one can easily find someone more honest or more eloquent, you will hardly find anyone who is more astute.
ROBESPIERRE: What is the Convention doing?
FOUQUIER: It is fighting against intrigue and anarchy.
ROBESPIERRE: The government?
FOUQUIER: It is divided.
ROBESPIERRE: The revolutionary committees?
FOUQUIER: They tremble.
ROBESPIERRE: The Jacobins?
FOUQUIER: They are dragged through the mud.
All at once: Dragged through the mud!
DUMAS: How, the Jacobins, this eternal pivot of the revolution, this centre burning of patriotism, these untamed rivals of kings and legislators, the hope of France, the columns of liberty, the Jacobins are dragged through the mud!
FOUQUIER: Alas! yes. The force of the truth tears me away from distressing declarations ; but as we no longer have either the means, or the interest of erring, it is necessary to resolve, for me, to make them to you, and, for you, to hear them. The reign of the Jacobins is over. Even the people, which was their pawn and their victim for so long, the people clearly demands the dissolution ; and, frankly, they deserve through to their stupidities even more than through their crimes.
COUTHON: If they only had crimes to reproach themselves for, not all would be lost. One covers crimes up, and we have left more than one example of this kind of plasterwork ; but stupidities can be judged by everyone!
ST.-JUST: What has thus become of this admirable cleverness, of which we have left so many lessons ; this art of placing one's own stupidities and crimes on the account of one's enemies? What has become of the spirit which we have bequeathed, while dying, to Billaud, to Barère, to Collot, these old champions who are cleared under our flags?
FOUQUIER: I do not know, but the veterans no longer appear to be fighting for the cause. Be it weakness, be it politics, they have abandoned the battlefield to greenhorns, to revolutionary runts, who are more stupid than malicious ; but who, wanting to manage everything, have ruined everything.
LAVALETTE: Mort de ma vie! the leaders hide themselves in a moment of crisis! this is a punishable jeanfoutrerie.
ROBESPIERRE: Sometimes, this is a wise policy.
HÉBERT: The jeanf... remembers 10 August and 31 May.
ST.-JUST: But, at last, who appears at the tribune? who are our successors?
FOUQUIER: Caraffes, Bouins, Fayau, Duhems, Duperrets, Gautherots, etc., all these persons are as new as their names are ridiculous.
ROBESPIERRE: Names are not worth anything, only talent matters.
HÉBERT: I do not know these B... .
CHAUMETTE: Neither do I: have they voted?
COUTHON: Where are they coming from? what are their means? their virtues?
FOUQUIER: I do not know where they come from ; their means are their lungs. They shout at the top of their voices, they scream out patriotism: they mimic Robespierre ; they repeat all of his phrases against modérantisme and the aristocracy. With the words liberty, safety of the people, patriots and aristocrats, they compose speeches that the idiots applaud to, but which are mocked by the people ; speeches that are extolled in Le Journal de la Montagne, and spread by all police spies.
LUBIN: The sessions have to be curious, aren't they?
FOUQUIER: Curious, the first time ; boring, afterwards.
DUMAS: Let us risk boredom: give us a sample of the play.
FOUQUIER: I really want to ; but remember that I will only be a historian.
The procès-verbal, written messily, is barely read by a secretary who could not read, when Caraffe mounts the tribune, shakes his head, rolls his eyes and screams without any preamble:
« You see the aristocracy with a sardonic laughter on its lips, and with a dagger in it hands. It triumphs today ; but patience, the Jacobins will develop their revolutionary energy: they will chase from their tribune and from their midst all these moderates who preach justice, and slander terror ; all aristocrats who want to kill liberty, with the liberty of the press ; all these suspicious people who do not think like us. »
Duperret succeeds Caraffe: he takes his hat off and puts it back on twice, coughs like a capuchin, and with a nasal tone he says: « Let us return to the principles, there can be no fraternity between patriots and aristocrats, between crime and virtue. »
ROBESPIERRE: This Duperret is a vile plagiarist who steals from me quite bluntly... it does not matter, let us see!
DUPERRET: Do you know how one can distinguish patriots from aristocrats?
FLEURIOT: Devil! are they already at the elementary definitions?
PAYAN: Nothing surprising ; the definitions have to change with the matters, and the matters are not what the used to be five years ago, six months ago. The aristocrats of today do not resemble the one of the past year any more than the Jacobins lead by Marat resemble the Jacobins led by Collot. Tallien is an aristocrat today, and he was an enragé 18 months ago. Thus, in revolutions, the words patriotism and virtue do not have anything fix, anything well-defined. All parties seize them, and paint their enemies in the most generally proscribed colour. As long as the aristocrats will be the dark head of the people, the populace will call all those aristocrats who will have the recklessness to lift a corner of the veil which covers our operations.
DUPERRET: The aristocrats are those who roam the squares, the theatres and the brothels. They laugh loudly, spit far, watch closely, eat muskmelons with Véri, and read the Correspondance politique. The patriots, on the contrary, shun lucrative places, denounce the artists of the theatres, and abhor girls. They see in the girls only luxury objects, in shows only subjects of scandal, and in [public] squares only means of corruption.
HÉBERT: What a f...ing gibberish! what does all of this have to do with patriotism?
DUPERRET: I do not know anything about this ; but it is necessary that the patriots, that is to say, the Jacobins, raise their head proudly, and, above all, are not afraid. Fear is the share of the cowards and the aristocrats.
LUBIN: The aristocrats again! that is a pons asinorum.
ROBESPIERRE: What does it matter? as long as, thanks to this astute Machiavellianism, one spreads more and more confusion.
ST.-JUST: This Machiavellianism is known and overused usque ad nauseam.
ROBESPIERRE: It succeeds nonetheless, and it will always succeed with a bit of skill or audacity.
DUPERRET: We lack both the former and the latter. I, who is speaking to you, frankly declare that the tyrant scared me.
ROBESPIERRE: And this was the effect of a single glance.
HENRIOT: So, how do you dare, after this confession, to treat the aristocrats as cowards? you must be quite impudent!
DUPERRET: But today, that the tyrant is dead, I brave tyranny, and I loudly say that one has to fight to death against all the insolent [persons] who dare to print their thoughts, and against all the impure [persons] who enjoy [the company of] girls.
CHAUMETTE: This does not make too much sense, but it is fine. One does not know enough how much girls harm the revolution: and I have made sure to include them into my indictments.
HÉBERT: You f...ing indictments are forgotten. You wrote for shopkeepers.
CHAUMETTE: And you, for mass graves.
HÉBERT: You repeated [my words] without spirit.
CHAUMETTE: And you shamelessly imitated Robespierre.
HÉBERT: You were only a damned schoolteacher.
CHAUMETTE: And you, an insolent muscadin.
(One shouts for order.)
ROBESPIERRE: Citizens, let us not give the scandal of an open schism among the patriots to your enemies. Vanity has to cede to virtue, and crime must not be able to reproach us for sacrificing the patrie to our resentments.
(One laughs.)
LEVASSEUR, arriving completely out of breath from the departments, demands the floor for a point of order. « What do I hear you say, citizens? Is it true that one has opened the doors to the prisoners? Is it true that terror is no longer the order of the day? Alas! I only see it in the joy which reigns on the faces of the French, and the paleness which covers yours. If Pitt and Coburg were in prison, I believe that all counter-revolutionaries would pass the word around in order to liberate them. »
LUBIN: What an effort of imagination!
LEVASSEUR: Listen until the end. One cannot hide that there is a terrible system of oppression, an infernal system, a renewed system of the Cazalès, the Brissots, the Héberts, in order to execute the patriots and to restore liberty to the aristocrats.
HÉBERT: These simpletons reason like f...ing idiots. If the system which has opened the prisons is counter-revolutionary, it can only be so because one would only have locked up aristocrats there, and in this case, I would not be one of them. If, on the contrary, if I had locked up patriots there, in order to repel the revolution by exaggerating, just as my patron, all revolutionary measures, the system which liberates them is in no way terrible, surprising, [or] counter-revolutionary: it is not enough to be breathless like an ox, to spill horse blood in Mans, and to spread watchwords in Paris, one has to be able to reason.
LEVASSEUR: One listens to us without this. In a few days, I will not reason any more, and yet, I will deliver a great speech wherein I will unveil the system of oppression which reigns in Paris as much as in the departments. (Surprised movements.)
HENRIOT: Why not unveil all of it immediately?
LEVASSEUR: It is because our addresses are still not made ; we let them come from all sides.
HENRIOT: Produced in Paris, isn't that so?
DUQUESNOY: No doubt ; but I, who does not need dexterity in order to speak, I simply inform you that I have sent 57 individuals from Pas-de-Calais to the revolutionary tribunal, but, through an incredible scandal, my pieces have been misplaced, and these are my 57 sheep that are ready to be liberated: is it not revolting!
COFFINHAL: It is this rascal from L'Obsent who must have taken the pieces away in order to examine them!
DUQUESNOY: I do not know about any of this, but at least it is sure that everything languishes, that everything is going badly since one examined the matters. The examination of the matters is the death of the revolutionary government, and the triumph of the aristocracy.
Well, I say that, in order to put an end to all past, present and future ills, it is necessary to strongly cut down the aristocrats. During revolutions, one must never look back, but pitilessly crush all of our enemies, who are also the ones of the people.
FAYAU: Crush, that is the word. Yes, let us crush the insolent head of the aristocracy against the columns of liberty. Several days ago, the aristocracy reappeared on the stage, and the signals are already given to attack the patriots ; the prisons are already open ; the inmates have already set the library and the powder magazine of Grenelle on fire ; they have already assassinated Tallien. (Boos.)
ROBESPIERRE: The more absurd this accusation is, the more successful it will be.
FAYAU: I doubt it, because of the liberty of the press which spoils all of our measures, and unmasks all of our forces: but we do not want to have anything to reproach ourselves for.
One already prepares phosphoric fuses in order to blow up the Convention. The émigrés are already settling in their housings in the fauxbourg St. Germain. – Will the patriots remain impassive witnesses of these new manoeuvres? no: the people will eradicate this horde of pygmies, which dares to attack its liberty, with its powerful club. The Jacobins will stop this scandal by reporting all of these scoundrels.
Robespierre, who had fallen asleep during this last soliloquy, falls onto Fleuriot, who falls onto Chaumette, who falls onto Hébert, who falls onto Couthon, who falls on the floor: everyone laughs, as one laughs in hell, as one laughs when one gets burned.
COFFINHAL: I do not know if this fall is laughable, but it seems to presage the one of our friends.
DUQUESNOY: By waiting, we have blamed the explosion of the gunpowder magazine of Grenelle on the aristocracy.
HENRIOT: You have postponed it, for one assures that one the very day of the event, you would accuse the aristocracy of increasing its mishaps ; certainly, one does not see all of a sudden what interest the aristocrats would then have in increasing, along with their wrongdoings, the number of their enemies.
GAUTHEROT: Ah! so this is why we were unsure of our deeds. We grope around for [public] opinion.
ROBESPIERRE: He who gropes around is lost. In order to become the master of [public] opinion, one has to know how to get ahead of it.
BOUIN: This is true, and I reproach the Jacobins for remaining behind [public] opinion. I swear to heaven that the counter-revolution has succeeded, if the patriots do not hurry to take great measures, if one does not rapidly deport the priests, the noble, the rich, the merchants, the artists, the clerks, the bureau bosses, the magistrates, the generals and the entire aristocratic following which weighs upon the soil of liberty.
LACOMBE: I denounce five intriguers by name, allied in order to demand the liberty of the press. The first is Dufourni, who mocks all orators ; the second is Lavaux, who thinks that he has more intellect than us ; the third is Boissel, who bends his principles ; the fourth is Réal, who treated me like a bad citizen ; the fifth, finally, is Yon, whom I regard as the faction’s butcher.
ISORÉ: I expect that one will say that the Jacobins do not want the liberty of the press ; but this is a calumny. The Jacobins want this liberty for themselves, and not for the counter-revolutionaries.
MONESTIER: Let us declare that the liberty of the press exists as much as it can exist, that is to say, for us and our friends, and that any other question will be adjourned until peace.
DUHEM vainly endeavours to speak: his tongue, which is glued to his palate, refuses him the service ; he has five or six glasses of water brought to him, and, with incredible efforts, he manages to say: do you, my friends, know what one accuses me of? on accuses me of having assassinated Tallien! I am in a terrible rage! I do not know myself anymore! I, an assassin! but I know where this comes from. The toads lift their head out of the marsh ; we will know them better, and we will kill them more easily... (Signs of disapproval.)
ROBESPIERRE: What clumsiness, to come to demask oneself! Duhem must be sold to our enemies...
FOUQUIER: I would be tempted to believe it, based on his conduct, if I did not know all of his stupidity ; but it is always imprudent on behalf of the leaders to use such instruments... Moreover, I believe that this sample suffices in order to give you an impression of the spirit which reigns in the society, and in order to justify what I have said before, that the Jacobins were dragged through the mud.
COUTHON: They will get back on their feet.
FOUQUIER: I do not believe any of this: the people decided in favour of their arrest.
COUTHON: They have immense resources in their immense correspondence.
FOUQUIER: By cutting off the head, one will kill the tail.
ST.-JUST: They have the committees.
FOUQUIER: One will renew them.
ROBESPIERRE: What is the department doing?
FOUQUIER: It has replaced the municipality, and it has taken its spirit.
ROBESPIERRE: The revolutionary tribunal?
FOUQUIER: It is still not perfectly purified, but in general, it judges wisely, and it seems to be surrounded by public esteem.
ROBESPIERRE: The agencies?
FOUQUIER: Behave themselves with an indecency or an ignorance of principles which distresses all citizens and ruins the chose publique.
ROBESPIERRE: The ruin of the chose publique is a small evil for them and for me, but I am afraid that so many accumulated evils, so many committed extravagances, so many unmasked intriguers, at last overturns all of our dear hard work, and awakens the people, [which has been] put to sleep by our tales for so long, and fooled so cruelly by our deceptions. Sullied by so many, so feeble treasons, repulsed by so many, so idiotic charlatans, the French will end up crushing both all traitors and all privileged charlatans... I see the moment approaching when common sense and justice will finally make the distinction, which has been uncertain for so long, between patriots and aristocrats, between good and bad citizens. Regardless of the influence of intrigue on truth in the tribunal of amour-propre, it ends up winning its process before the one of reason: I am the most complete and the most deplorable proof for this. Woe, thus, to the unmasked Jacobins, woe to the revolutionary committees ; woe to the perfidious or inept agencies of supplies ; woe, finally, to this entire sacrilegious league of scoundrels, of royalists, or émigrés and of stupid ushers, who, walking on my path while dedicating me to infamy, think that they can resuscitate my system, and finish, without talents, the work which has cost me five years of tiresome works, ingenious efforts and incredible crimes. I said: The session is closed.
P.S. The dark messenger, who brought us the infernal session yesterday which we publish today, has given us his word of honour to come back within fifteen days with even more interesting dispatches, even fresher news and more spicy commentaries. What concerned us the most, is that he assured us that the next session would be stuffed with great political views, for Le Moniteur, with lovely maxims of morality that are drawn from Gordon or Machiavelli, and with beautiful historical traits that shall serve as materials for the history of the revolution ; everything to enrich the collectors, and capable of surprising the people who are barely ever surprised. Moreover, one has to believe that malice, always ready to embarrass us, will be able to distinguish here between the author and the editor ; and that, if it is ready to pursue the one until hell, it will have to denounce the other at the Jacobins ; and this is, among all misfortunes, not the one which he fears the most. Goodbye.
PILPAY.
Source: Le club infernal.
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E adesso andate via voglio restare solo con la malinconia volare nel suo cielo non chiesi mai chi eri perché scegliesti me me che fino a ieri credevo fossi un re. Perdere l’amore quando si fa sera quando tra i capelli un po’ d’argento li colora rischi d’impazzire può scoppiarti il cuore perdere una donna e avere voglia di morire lasciami gridare rinnegare il cielo prendere a sassate tutti i sogni ancora in volo li farò cadere ad uno ad uno spezzerò le ali del destino e ti avrò vicino, comunque ti capisco e ammetto che sbagliavo facevo le tue scelte chissà che pretendevo e adesso che rimane di tutto il tempo insieme un uomo troppo solo che ancora ti vuol bene. Perdere l’amore, quando si fa sera quando sopra il viso c’è una ruga che non c’era provi a ragionare fai l’indifferente fino a che ti accorgi che non sei servito a niente e vorresti urlare soffocare il cielo sbattere la testa mille volte contro il muro respirare forte il suo cuscino dire è tutta colpa dei destino se non ti ho vicino. Perdere l’amore, maledetta sera che raccoglie i cocci di una vita immaginaria, pensi che domani è un giorno nuovo ma ripeti non me l’aspettavo non me l’aspettavo, prendere a sassate tutti i sogni ancora in volo li farò cadere ad uno ad uno spezzerò le ali del destino e ti avrò vicino… … perdere l’amore. (Giampiero Artegiani e Marcello Marrocchi) #sanremo #sanremo38 #sanremo88 #sanremo1988 #festivaldisanremo Brano: Perdere l'amore Immagine: Piramo e Tisbe - Pierre Gautherot - 1799 https://www.instagram.com/p/B-eJ3-dFuVI/?igshid=s13goduw7pdp
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Expo ‘Àse’ leva cultura afro-brasileira à Caixa Cultural
Está em cartaz na Caixa Cultural São Paulo a exposição “Àse – Poéticas de Empoderamento“, que traz à tona a luta por afirmação, conhecimento, autoestima, aceitação e valorização da origem e da cultura afro-brasileira por meio das ferramentas poéticas utilizadas por blocos afro e afoxés.
A partir da trajetória e legado das entidades Filhos de Gandhy, Ilê Aiyê, Malê Debalê, Muzenza, Didá e Cortejo Afro, “Àse – Poéticas de Empoderamento” é uma homenagem a todos os afoxés e blocos afro da Bahia, sua musicalidade, plástica, expressão e resistência cultural e uma mostra da sua atuação política, artística e pedagógica em suas comunidades.
Dividida em quatro partes, a exposição apresenta religião, música, dança, poesia, indumentárias e comportamento como ferramentas para contar suas trajetórias de resistência e seus legados de beleza e empoderamento:
Em “Origens”, a expo mostra o Candomblé como arcabouço da cultura afro-brasileira. É dali que surgem as entidades, para além de questões estéticas e musicais, como espaço de vivência coletiva;
Em “Dança”, se revela o corpo como um espaço de memória e veículo de expressão de autoconhecimento;
Já em “Estética”, a beleza e o comportamento são como ferramentas no processo de construção de identidades e subjetividades da comunidade afro-brasileira;
Por fim, em “Música”, se aborda de forma profunda esse saber ancestral e veículo de informação, que conta a história da cultura afro-brasileira. Nessa parte da exposição, você pode conferir depoimentos de especialistas como Jaime Sodré, Makota Valdina, Gabi Guedes, Letieres Leite, Luciano Gomes, Zebrinha, Vânia Oliveira, Alberto Pitta e Negra Jhô.
À PROCURA DA POESIA PERFEITA: CONHEÇA SLAMS E SARAUS EM SP
A exposição “Àse – Poéticas de Empoderamento” também conta a história de cada bloco afro por meio de documentos, objetos, vídeos e fotografias.
Além de acervos próprios desses grupos culturais, a mostra tem imagens de nomes como Pierre Verger, Mário Cravo Neto, Marcel Gautherot e do Zumvi – Arquivo Fotográfico, idealizado pelo fotógrafo baiano Lázaro Roberto, que possui mais de 30 mil fotografias do movimento negro soteropolitano registradas desde os anos 1980.
Artistas como Gilberto Gil, Lázaro Ramos, Lazzo Matumbi, Margareth Menezes, Ellen Oléria e Veko Araújo emprestam suas vozes em declamações de letras de músicas clássicas de cada agremiação.
Para conferir toda a beleza da cultura afro-brasileira representada pela mostra, só aparecer lá na Caixa Cultural de terça a domingo, das 9h às 19h, até 19 de janeiro. A entrada é gratuita e aberta pra todo mundo!
Cultura afro-brasileira em mais cantos de SP:
Veja também: Casa Mestre Ananias: o reduto da capoeira no meio do Bixiga
Expo ‘Àse’ leva cultura afro-brasileira à Caixa Culturalpublicado primeiro em como se vestir bem
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Mestre Waldemar e sua turma através das lentes de Marcel Gautherot
Nos últimos dias, postei diversas fotos em preto e branco do Mestre Waldemar e sua turma. Todas e esta foto foram feitas pelo Francês Marcel Gautherot que leu o livro Jubiabá de Jorge Amado e ficou fascinado pelo povo Brasileiro e viajou pro Brasil aonde trabalhou muito tempo até que veio a falecer no Rio de Janeiro em 1996.
Ele e Pierre Verger tiraram muitas fotos, nas decadas 40, 50, 60… não apenas de arquitectura e panoramas mais do povo e seus costumes no Brasil. Foi este interesse próprio no povo junto com o talento que os destacaram. De Marcel Gautherot existem alguns livros porém estas fotos aqui postadas não foram publicadas em nenhum deles.
Seria muito interessante utilizar as fotos para perguntar a velha guarda de capoeiristas que viveram esta época se reconhecem as pessoas, os locais e os hábitos do tempo para dar mais conteúdo a estas imagens.
Jeroen Verheul Rouxinol Capoeira
O camarada Rouxinou, capoeiorista e pesquisador, nos brindou com esta excelente e inédita compilação de imagens históricas feitas pelo fotografo Francês Marcel Gautherot que após ler Jorge Amado ficou fascinado pela cultura e pelo povo Brasileiro. Marcel viajou para o Brasil aonde trabalhou muito tempo seu carinho e amor pelo nosso país era tanto que Marcel “escolheu como seu porto de repouso” o Rio de Janeiro, onde faleceu em 1996 com oitenta e seis anos de idade.
Galeria: Mestre Waldemar e sua turma através das lentes de Marcel Gautherot
apresentação do Mestre Waldemar e sua turma
Os alunos do Mestre Waldemar: os irmãos Cabelo Bom e Bom Cabelo, jogando nos cais.
Mestre Traíra no final de uma chamada
“Seu Traíra jogando, Ivanildo esquivando na beira do mar Ao lado tocando: a bateria de bambas do seu Waldemar”
Os antigos já sabiam: Ataque e defesa. A capacidade dos braços é muito importante na defesa e ataque na capoeira
Mestre Waldemar tocando um dos seus berimbaus chamado “Cacique”, por volta de 1957.
“A satisfação de seu Waldemar pra numa roda de Bambas tocar O seu Brazileiro pro jogo guiar E o flor do campo pra lhe acompanhar”
Mestre Waldemar entrando numa cabeçada com os chinelos dos 2 no pé do berimbau
O Mestre e o aluno, O Viola e o Caxito.
Mestre Traíra, lateral e por perto. Marcando cabeçada.
Mestre Traíra entrando no aú do companheiro na beira do mar
Sobre Marcel Gautherot:
Filho de pais pobres – a mãe operária e o pai pedreiro – viveu a Paris dos anos 20 e foi muito cedo aprendiz numa escola de arquitetura. Nesses anos flerta com o movimento Bauhaus e com as obras de Le Corbusier, deixando incompleto um curso de arquitetura.
Em 1936 participa do grupo que seria responsável pela instalação do Musée de l”Homme e é encarregado de catalogar as peças do museu, começando aí a se dedicar à fotografia. Influenciado pela leitura do romance moderno de Jorge Amado – Jubiabá – decide conhecer o Brasil. Chega ao Brasil em 1939 onde viveu e trabalhou por 57 anos.
Fixa residência no Rio de Janeiro e passa a freqüentar o círculo de intelectuais ligados ao modernismo, conhece Rodrigo Melo Franco de Andrade, Carlos Drummond, Mário de Andrade, Lúcio Costa, Burle Marx, entre outros. Começa a fazer trabalhos de fotografia para o SPHAN, o Museu do Folclore e trabalha para a revista O Cruzeiro.
Em 1986, juntamente com Pierre Verger, recebe, do Governo do Estado do Rio de Janeiro, o Prêmio Golfinho de Ouro na categoria Fotografia.
Ilustrou inúmeras revistas de arquitetura e quase todos os textos sobre Burle Marx. Sua coleção é composta de mais de 25 mil negativos e atualmente pertence ao Instituto Moreira Sales no Rio de Janeiro. Percorreu 18 estados brasileiros fotografando, registrando o povo brasileiro, sua arquitetura, suas festas. Sua coleção é um vasto retrato da diversidade cultural do país. Morreu no Rio de Janeiro em 1996 com oitenta e seis anos de idade.
Sobre Rouxinol:
http://www.capoeirarotterdam.com
http://www.capoeirabarendrecht.com/
Mestre Waldemar e sua turma através das lentes de Marcel Gautherot Mestre Waldemar e sua turma através das lentes de Marcel Gautherot Nos últimos dias, postei diversas fotos em preto e branco do Mestre Waldemar e sua turma.
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Napoleon Addressing the 2nd Corps of his Army at the Bridge over the Lech at Augsburg, Germany, on October 12, 1805 by Pierre Gautherot
commons.wikimedia.org
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Mostra A Construção do Patrimônio apresenta reflexão sobre a preservação do patrimônio no Brasil
http://www.piscitellientretenimentos.com/mostra-a-construcao-do-patrimonio-apresenta-reflexao-sobre-a-preservacao-do-patrimonio-no-brasil/
Mostra A Construção do Patrimônio apresenta reflexão sobre a preservação do patrimônio no Brasil
Mostra A Construção do Patrimônio apresenta reflexão sobre a preservação do patrimônio no Brasil
A CAIXA Cultural do Rio de Janeiro recebe, de 25 de outubro e 22 de dezembro de 2017, a exposição A Construção do Patrimônio, que apresenta mais de 150 obras entre documentos raros, quadros e esculturas, montando um panorama de importantes momentos da história das políticas públicas de preservação do Brasil, além dos desafios que envolvem a expansão do conceito de patrimônio. O projeto tem curadoria de Luiz Fernando de Almeida, ex-presidente do Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN), e patrocínio da Caixa Econômica Federal e do Governo Federal.
Realizado pelo Instituto Pedra, a mostra faz parte da programação das comemorações dos 80 anos de existência do IPHAN, uma das mais longevas instituições públicas brasileiras e a primeira dedicada à preservação e promoção do patrimônio cultural na América Latina.
A exposição é dividida em 12 ambientes. Dentre o acervo exposto, destacam-se registros e obras de Tarsila do Amaral, Mário de Andrade, Lúcio Costa, Marcel Gautherot, Germano Graeser, Eric Hess, Oscar Niemeyer, Pierre Verger, Mestre Vitalino e uma réplica de Aleijadinho. Além de importante acervo documental do IPHAN do Rio de Janeiro, São Paulo e Pernambuco, a exposição conta ainda com obras do Museu Histórico Nacional, Música Nacional de Belas Artes, Instituto de Estudos Brasileiros (IEB-USP), MASP, Fundação de Arte de Ouro Preto (FAOP), Casa Juscelino Kubitschek, entre outros.
“Uma reflexão sobre a ideia de patrimônio poderá ser uma das mais potentes metáforas dos brutais desafios que vivemos no nosso tempo, diante da dificuldade e necessidade de projetar o nosso futuro”, afirma o curador Luiz Fernando de Almeida.
No dia 26 de outubro (quinta-feira), às 18h, Luiz recebe o público para uma visita guiada à exposição seguida de um debate com a ex-presidente do IPHAN Jurema Machado. Após a temporada no Rio, a CAIXA Cultural de São Paulo receberá itinerância da mostra a partir de janeiro de 2018.
Instituto Pedra:
O Instituto Pedra é uma organização da sociedade civil sem fins lucrativos baseada em São Paulo. Fundado em fevereiro de 2013, o instituto desenvolve projetos no campo do patrimônio cultural. Seu objetivo é realizar intervenções e leituras que valorizem este patrimônio, gerando conhecimento com enfoque integrado e considerando as suas dimensões simbólica, material e territorial. Para mais informações, acesse o site www.institutopedra.com.br.
Ficha técnica:
Realização: Instituto Pedra
Curadoria: Luiz Fernando de Almeida
Curador-adjunto: Henrique Lukas
Expografia: José Luiz Favaro
Produção executiva: TZM Entretenimento (Marione Tomazoni)
Apoio: IPHAN (Instituto do Patrimônio Histórico e Artístico Nacional)
Patrocínio: Caixa Econômica Federal e Governo Federal
Serviço:
A Construção do Patrimônio
Entrada franca
Local: CAIXA Cultural Rio de Janeiro – Galerias 2 e 3
Endereço: Av. Almirante Barroso, 25, Centro (Metrô e VLT: Estação Carioca)
Telefone: (21) 3980-3815
Abertura: 25 de outubro (quarta-feira), às 19h
Visitação: de 26 de outubro a 22 de dezembro de 2017
Horário: de terça-feira a domingo, das 10h às 21h
Classificação indicativa: Livre
Acesso para pessoas com deficiência
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