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Almeida, Carolina Barros de. "O Museu de Arte Moderna da Bahia e suas contemporaneidades: de Lina Bo Bardi a Solange Farkas". INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS, 2018. http://repositorio.ufba.br/ri/handle/ri/26722.
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A presente dissertação analisa o Museu de Arte Moderna da Bahia (MAM-BA) e sua gestão no contexto das recentes mudanças e avanços ocorridos nas políticas culturais baianas. O recorte temporal está concentrado no período entre 2007 a 2010, quando o Estado passou a ter uma Secretaria de Cultura autônoma, independente do turismo. Nesse período a curadora de arte Solange Farkas esteve à frente do museu e buscou dinamizá-lo com uma intensa programação de atividades, com o objetivo de inseri-lo no sistema nacional e internacional de arte contemporânea. A investigação leva em consideração a concepção original do MAM-BA, conforme idealizada pela arquiteta italiana Lina Bob Bardi, como um importante elemento legitimador da instituição na cena das artes visuais. Nesse sentido, confrontam-se aspectos entre as gestões Farkas (2007-2010) e a gestão Bo Bardi (1959-1964), visando identificar aproximações e diferenças. Para compreender diferentes aspectos da gestão, as influências das políticas culturais implementadas e a referência ao pensamento de Lina, foram realizadas entrevistas com gestores, artistas, curadores e pesquisadores atuantes no cenário cultural baiano.
This dissertation analyses the Museum of Modern Art of Bahia (MAM-BA) in its contemporary context and the relationship that existed between its management and the recent changes and advances in the cultural policies of the state of Bahia. The temporal cut is concentrated in the period between 2007 and 2010, when the State of Bahia reorganized its administration to have an autonomous Secretariat of Culture, independent of Tourism activities. During this period the curator Solange Farkas took over the management of the museum and sought to energize it with an intense activity, with the objective of inserting it into the national and international scenario of the contemporary art. The research considers the original MAM-BA, as originally designed by the Italian architect Lina Bo Bardi as a legitimating element of the institution in the scene of the visual arts. In this sense, aspects are confronted between the Farkas administration (2007-2010) and the Bo Bardi management (1959-1964), to identify approximations and differences. To understand the different management aspects, the influences of cultural policies and the reference of the Lina’s thought, interviews were carried out and a questionnaire was applied with managers, artists, curators and researchers in the Bahia’s cultural scene.
Pintado, Ricardo Luis Sampaio. "A imaginação museal de Lina Bo Bardi: expografias (1947-1968)". Universidade Federal de Pelotas, 2018. http://guaiaca.ufpel.edu.br:8080/handle/prefix/4198.
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Esta tese trata da museografia desenvolvida pela arquiteta italiana Lina Bo Bardi no período de 1947 a 1968, a partir da instalação do Museu de Arte de São Paulo até a transferência para a sede na Avenida Paulista. Trata também da museografia desenvolvida neste ínterim para o Museu de Arte Moderna da Bahia. Especificamente, analisa a expografia, suas referências e desdobramentos nos museus enfocados. Ao tratar da expografia aproxima-se da arquitetura dos espaços expositivos e dos museus que projetou e instalou. A partir de fontes escritas e registro fotográfico descreve a expografia, seus dispositivos e os locais onde foram utilizados. Pretende-se assim, contribuir para a compreensão das práticas museográficas no Brasil a partir da análise da expografia desenvolvida por Lina Bo Bardi como contribuição para a expansão da imaginação museal no Brasil
This thesis pertains to the museography developed by the italian architect Lina Bo Bardi in the time period of 1947 through 1968, that includes the installation of the São Paulo Art Museum until the transfer to the new building on Paulista Avenue. This thesis also includes the museography developed in this era for the Museum of Modern Art of Bahia. Specifically it analyzes the design of exibits, their references and influences of the São Paulo and Bahia museums. When talks about the design of exibits gets close to the exposition spaces and from the museums she created and designed. From written sources and photographic records it describes the design for exhibits, its devices and where they were used. It's intending to contribute to the understanding of museum practices in Brazil from the analyzes of the exihibition design developed by Lina Bo Bardi as a contribution to the expansion of the museum imagination in Brazil
Blanc, Celine. "Le traitement des attentats de janvier 2015 à Paris et de mars 2015 à Tunis dans quatre quotidiens français et tunisiens : routines journalistiques et spécificités". Electronic Thesis or Diss., Toulon, 2021. http://www.theses.fr/2021TOUL3004.
Pełny tekst źródłaThis thesis focuses on the treatment by the written press of post-attack speeches.The selected corpus assembles articles published in the week following the Paris attacks in January 2015 and the Tunis attack in March 2015. The collected articles have been published in French and Tunisian newspapers: “Le Monde”, national edition of “Le Parisien”, (“Aujourd'hui en France”), “La Presse” of Tunisia and “Le Temps”. The work is based on the field of speech analysis and explores the corpus through lexical, enunciating and textual analysis. The objective is to highlight the journalistic routines and the particularities of the corpus. To do this, the studies are structured around three areas of comparison: events, journals, and journal types. The research is based on the articulation of a quantitative analysis carried out with the TXM textometry software and a qualitative analysis based on the study of lexical and enunciating phenomenon. The study of naming shows, among other things, how the naming of events is a place of recording memory and how journalists blame the authors of the attacks through their naming choices. The study of the representation of the speech highlights the particularities of newspapers and types. Finally, an analysis of the speech strategies employed by journalists in a few completed articles reveals some regularities in the writing of news articles, editorials and articles about an event abroad
Ben, Abdallah Zeïneb Benzina. "Catalogue des inscriptions latines païennes du Musée du Bardo /". Rome : Paris : École française de Rome ; diffusion de Boccard, 1986. http://catalogue.bnf.fr/ark:/12148/cb34979354v.
Pełny tekst źródłaLeonelli, Carolina. "Lina Bo Bardi : [experiências] entre arquitetura, artes plásticas e teatro". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16042012-113440/.
Pełny tekst źródłaThe dissertation correlates architeture, fine arts and theatre and how these subjects arise in Lina Bo Bardi´s work. Starting from the study of the scenical projects created between 1960 and 1985 and broaching the director´s and theatrical groups involved on it, this treatise tries to identify the projectual proceedings applied by the architect, as well as the relations established with her work and investigating possible links with with the nacional and international artistic panorama. The analysis of the urban dimension reached by some of the studied plays as well as its approach with the project and the activities developed at the museums to which Lina was related (especially to the São Paulo Art Museum - MASP, to the Bahia´s Modern Art Museum and to the Unhão Popular Art Museum) takes us to possible relations between architecture, fine arts and theatre. It also takes us to possible reflexions on the projectual preceedings adopted and the descried perspectives for architecture, or to what Lina called as a \"re-proposition non perfectionist of the rationalism\".
Aguiar, Amanda Ruth Dafoe de. "Lina Bo Bardi e a atualidade do cavalete de cristal". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-07032016-143624/.
Pełny tekst źródłaThis project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi\'s proposal, evidencing the validity of resuming the museum\'s original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.
Palma, Adriana Amosso Dolci Leme. "Invenções museológicas em exposição: MAC do Zanini e MASP do casal Bardi (1960-1970)". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-24042015-171943/.
Pełny tekst źródłaThis research examines the performance of two museological institutions in São Paulo MASP and MAC USP focusing on the thoughts and practices of their directors Pietro Maria and Lina Bo Bardi and Walter Zanini especially between the late 1960s and the early 1970s. Through the study of these directors texts and exhibitions designed by them in these institutions we seek to understand how their conceptions of art and museum were put into practice. The fruitful historic of actions and reflections involving the actings of the couple Bardi in MASP and Zanini in MAC USP composed in these institutions environments harmonized with the idea of the museum understood as living space and attentive to the maintenance of the dialogue with its social functions and with the dynamics of the environment in which it is inserted.
Ferreira, Rosane Felix. "Ensinamentos do barro : conversas com Francisco Brennand". Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14498.
Pełny tekst źródłaCoordena??o de Aperfei?oamento de Pessoal de N?vel Superior
El concepto de paisaje, caracterizado por la colaboraci?n de distintos dominios cognitivos, atraviesa campos disciplinarios y formas de estructurar la producci?n de conocimiento a trav?s del Arte. Para Cauquelin (2007), la representaci?n occidental de la mirada paisaj?stica es siempre una mirada est?tica que indica una conexi?n inseparable de la forma percibida con la forma sentida. Esa mirada est?tica recuerda al hombre su condici?n bioantropol?gica. En ese sentido, entiendo que un paisaje se presenta como un medio donde el humano puede ejercer su singularidad po?tica, transitando, as?, por campos o capas de conocimientos diversos capaces de ampliar su visi?n rearticuladora del mundo. Motivada por esa percepci?n, eleg? como campo emp?rico el Museo Taller de Cer?mica Francisco Brennand, en Recife, Pernambuco. Reconstruido por el artista, el lugar, injertado de recuerdos de la infancia, pasa a abrigar, a partir de 1971, el conjunto de su obra de cer?mica y pint?rica. La frecuentaci?n del artista transform? la estrategia metodol?gica de la entrevista en sabias y agradables conversaciones, que me proporcionaron la experiencia de otras posibilidades de enfoque durante la realizaci?n de la investigaci?n. El objetivo de la investigaci?n es ampliar las relaciones conceptuales entre paisaje y representaci?n, en el sentido de privilegiar a la imaginaci?n creativa. Tom? al paisaje como una met?fora y como un operador cognitivo, imprescindibles para el aprendizaje de la condici?n humana. Compartir estrategias a la vez complementares y rec?procas es lo que proponen Almeida (2009) y Morin con vistas a volver a enlazar la cultura cient?fica y la cultura human?stica, en un metodo mestizo y bricoleur que es necesaria para una reforma del pensamiento que lleva en cuenta el ensue?o de la materia propuesto por Bachelard (2008). El arte se convierte, as?, en un operador cognitivo capaz de promover cambios en el contexto de la educaci?n, en direcci?n a una pedagog?a con base compleja, como propone Pereira (1999)
O conceito de paisagem, caracterizado pela colabora??o de diferentes dom?nios cognitivos, perpassa campos disciplinares e formas de estruturar a produ??o de conhecimento por meio da Arte. Para Cauquelin (2007), a representa??o ocidental do olhar paisag?stico ? sempre um olhar est?tico que indica uma conex?o insepar?vel da forma percebida com a forma sentida. Esse olhar est?tico recorda ao homem sua condi??o bioantropol?gica. Nesse sentido, compreendo que uma paisagem se apresenta como um meio em que o humano pode exercer sua singularidade po?tica, transitando, assim, por campos ou camadas de conhecimentos diversos capazes de ampliar sua vis?o rearticuladora do mundo. Motivada por essa percep??o, escolhi como campo emp?rico o Museu Oficina Cer?mica Francisco Brennand, em Recife/ PE. Reconstru?do pelo artista, o lugar, enxertado de lembran?as da inf?ncia, passa a abrigar, a partir de 1971, o conjunto de sua obra cer?mica e pict?rica. A proximidade com o pr?prio artista transformou a estrat?gia metodol?gica da entrevista em s?bias e deliciosas conversas, que me proporcionaram experimentar outras vias de abordagem durante a realiza??o da pesquisa. O objetivo da pesquisa ? ampliar as rela??es conceituais entre paisagem e representa??o, no sentido de privilegiar a imagina??o criativa. Tomei a paisagem como uma met?fora e como um operador cognitivo, imprescind?veis ? aprendizagem da condi??o humana. Compartilhar estrat?gias ao mesmo tempo complementares e rec?procas ? o que prop?em Almeida (2009) e Morin com vistas a religar cultura cientifica e cultura human?stica, num m?todo mesti?o e bricoleur que ? necess?ria a uma reforma do pensamento que leva em conta o devaneio da mat?ria proposta por Bachelard (2008). A arte torna-se, assim, um operador cognitivo capaz de promover mudan?as no contexto da educa??o, em dire??o a uma pedagogia de base complexa, como prop?e Pereira (1999)
Barbosa, Marina Martin 1985. "MASP e MAM : percursos e movimentos culturais de uma época (1947-1969)". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281319.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas e Università Ca' Foscari Venezia
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Resumo: Esta pesquisa trata de que forma se estabeleceram as redes culturais na cidade de São Paulo a partir do pós-Segunda Guerra Mundial, mediante análise dos percursos do Museu de Arte de São Paulo (MASP) e do Museu de Arte Moderna de São Paulo (MAM), com especial atenção aos diálogos travados por seus comitentes e idealizadores, representados nas figuras de Assis Chateaubriand, Pietro Maria Bardi e Francisco Matarazzo Sobrinho. O período histórico abordado corresponde ao da primeira fase de funcionamento dos museus em questão, que compreende desde suas fundações à reaberturas em novas sedes na Avenida Paulista e Parque Ibirapuera (1947-1969). O MASP e o MAM se afirmaram em um momento de plena transformação física, demográfica, econômica e social da cidade, caracterizada pela presença marcante de imigrantes, em confluência com o desenvolvimento dos meios de comunicação de massa. Inseridos em um clima de intensa colaboração internacional, esses museus projetaram o país, a cidade e a si mesmos dentro do cenário artístico e cultural internacional
Abstract: This research covers the process of establishing cultural connections inside the city of São Paulo beginning during the post-World War II period, by analyzing the directions taken by the Museum of Art of São Paulo (MASP) and the Museum of Modern Art of São Paulo (MAM). Special attention is given to the nterconnections established by their clients and creators, such as Assis Chateaubriand, Pietro Maria Bardi and Francisco Matarazzo "Ciccillo" Sobrinho. The historical period analyzed, 1947 to 1969, encompasses the formative activities of these two museums, spanning from the drafting of their constitutions to reopening in new headquarters on Avenida Paulista and at Ibirapuera Park. The success of MASP and MAM coincided with the development of mass media during a period of complete physical, demographical, economic and social transformations in the city of São Paulo, spurred by the strong presence of immigrants. Inserted into an atmosphere of deep international collaboration, these institutions vaulted the nation, the city and the museums themselves into the global artistic and cultural scene
Doutorado
Politica, Memoria e Cidade
Doutora em História
Castro, Carlos Eduardo Binato de. "Paredes modernas : o Museu de Belas Artes de Caracas e o Sesc Pompeia". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/186178.
Pełny tekst źródłaThis dissertation aims to investigate, through a comparative analysis between the second expansion of the Museum of Fine Arts of Caracas – MBAC (1966-76), by Carlos Raúl Villanueva, and the Sesc Pompeia sports squad (1976-86), by Lina Bo Bardi, the use of the load-bearing wall in reinforced concrete as a structural solution in large scale architectures developed in Latin America in the second half of the 20th century. The selection of these two projects, within Villanueva and Bo Bardi’s extensive and relevant body of work, is due to the fact that both use the reinforced concrete in load-bearing walls and coffered slabs with unusual spans, in high-rise buildings. Although widely published, both Museum and Sesc lack complete and accurate representations. This work seeks to fill this gap through the unprecedented presentation of the executive projects of the two buildings – floor plans, sections, elevations and isometric perspectives, redrawn based on the original documents. In addition, the present research seeks to bring the two works closer together through in-depth and comparative analysis, accompanied by abundant iconographic material, in order to compare the architectural productions developed in Venezuela and Brazil during the 20th century. This work does not seek to exhaust the possibilities of interpretation of these architectures, but rather to explore certain questions that may serve as a basis for future studies, while helping to recognize and document the two buildings.
Pedro, Caroline Gabriel. "Pietro Maria Bardi, cronista em revista: 1976-1988". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-01092016-154401/.
Pełny tekst źródłaPietro Maria Bardi was a journalist and author who wrote about art, design and architecture (along with many other subjects) and an experienced gallerist in Italy. He came to Brazil in 1947, at the age of 47. He brought his second wife, Lina Bo Bardi, and a collection of art to be exhibited in the Health and Education Administration, in Rio De Janeiro. Later Bardi was invited by Assis Chateaubriand, the Diários Associados\'s director, to create an Ancient and Modern Art Museum. This resulted in the creation of the São Paulo Art Museum - Masp. He wanted to create a \"living\" museum, by which he meant a museum with a more interesting and interactive experience. He combined the Contemporary Art Institute, (IAC) the first Brazilian design school, with an advertising school, all under one roof. His goal was to make all kinds of art accessible to everybody, contributing to its creation and quality, by brasilians for brasilians, he did this with the conscientiousness of a connoisseur and with the sponsorship of the art community. Thus, Bardi, conscious of the role of marketing realized the true importantance of advertizing everything related to Masp\'s exhibitions and other initiatives. Alongside the Chateaubriand\'s media, Bardi also advertised and wrote article in the Habitat (the Museum magazine) and Mirante das Artes & etc. (the homonym magazine of his art gallery) magazines and other periodicals like the ones directd by Carta and Alzugaray families. These brazilian articles on art and other related topics, produced by the creator and director of the most important latin american art museum, were never compiled or analysed, most likely because of the difficulty to access them. This research is intended to be the first step of this important and laborious task and focuses on Bardi´s writings published in Casa Vogue, Homem Vogue, Arte Vogue, Senhor Vogue, Senhor e Istoé magazines, between 1976 and 1988, from his first showing as collaborator in Vogue to the merger of Senhor e Istoé magazines, of Editora Três.
Buonano, Débora Gigli. "O olhar curatorial de Pietro Maria Bardi nas exposições de design no MASP". Universidade Presbiteriana Mackenzie, 2016. http://tede.mackenzie.br/jspui/handle/tede/2927.
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This doctoral research project is a study of the critical texts of Pietro Maria Bardi on design exhibitions that took place at MASP, Museu de Arte de São Paulo Assis Chateaubriand, the period in which he was director. The study was conducted from exhibition files and they have served as a source : newspapers, magazines, books and catalogs. The research has sought to understand the importance of Bardi and his avant-garde conception of design in Brazil. The work also intends to review, through the speeches of Bardi, questions about art, craft and design and how these connections have been articulated by him in museum shows and their rehearsals.
Este trabalho de pesquisa de doutorado trata de um estudo dos textos críticos de Pietro Maria Bardi sobre as exposições de design que ocorreram no MASP, Museu de Arte de São Paulo Assis Chateaubriand, no período em que foi diretor. O trabalho foi realizado a partir dos arquivos das exposições e serviram como fonte jornais, revistas, livros e catálogos. A pesquisa tem buscado entender a importância de Bardi e sua concepção vanguardista acerca do design no Brasil. O trabalho pretende também rever, através dos discursos de Bardi, as questões sobre arte, artesanato e design e como estas conexões foram por ele articuladas nas mostras do museu e em seus ensaios.
Rubino, Silvana 1959. "Rotas da modernidade : trajetoria, campo e historia na atuação de Lina Bo Bardi, 1947-1968". [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280169.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta tese trata da modernidade enquanto prática, que pode ser alterada, ganhando novos conteúdos através dos deslocamentos e da experiência social de alguns atores sociais. Pretende-se contribuir para uma geografia histórica do modernismo, por meio da reconstrução da trajetória de uma arquiteta italiana radicada no Brasil, Lina Bo Bardi, e de duas de suas obras, o Museu de Arte de São Paulo (MASP) e do Museu de Arte Moderna da Bahia (MAMB), posteriormente desdobrado em um segundo projeto, sediado no Solar do Unhão, em Salvador. Trajetória e obras são aqui analisadas em relação ao campo da arquitetura, com suas disputas e alianças internas, sua autonomia relativa em relação a outros campos; às circunstâncias do período histórico tratado (1947-1968) e das regiões (São Paulo e Bahia) onde realizou seus projetos. Ou seja, a tese busca responder a questão inicial a partir de um onde-quando-quem
Abstract: This dissertation deals about modernity as a practice, always being changed, acquiring new contents through dis-Iocation and through the social experience of some social actors. In this work one aims to contribute for a historical geography of modernism, by means of the reconstruction of the trajectory of an italian architect erradicated in Brazil, Lina Bo Bardi, and oftwo ofher works (masterpieces)*: The São Paulo Museum of Art (MASP)* and the Museum of Modern Art of Bahia (MAMB), this one later unfolded in a second project, established in Solar do Unhão, in Salvador. Trajectory and works are analysed here in relation to the field of Architecture, with its disputes and internal alliances, its relative autonomy in relation to other fields; to the circumstances of the historical period observed (1947 - 1968) and of the regions (São Paulo e Bahia) where the projects were realized. That is, the dissertation seeks to answer to the initial question IToma "where-when-who"
Doutorado
Doutor em Antropologia
Sartorelli, César Augusto. "As exposições das arquitetas curadoras Lina Bo Bardi e Gisela Magalhães como linguagem de arquitetura". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-10072014-154205/.
Pełny tekst źródłaThis work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.
Pinto, Célia Maria Gomes. "Gestos, memórias e formas materiais legadas pelo barro: a produção olárica no Ribatejo da colecção de olaria tradicional do Museu Nacional de Etnologia". Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2012. http://hdl.handle.net/10362/7754.
Pełny tekst źródłaNeste trabalho é apresentado o estudo realizado em torno de um conjunto de objetos que fazem parte da Coleção de Olaria Tradicional Portuguesa de Manuel Durão e Maria Helena Lemos, doada e integrada no acervo do Museu Nacional de Etnologia no ano de 2006. O núcleo, constituído por louças de barro vermelho, utensilagem de oleiro e algumas matérias-primas utilizadas no processo produtivo olárico, tem procedência de catorze centros oleiros inseridos no distrito de Santarém. O objetivo será o de contribuir para um melhor conhecimento deste conjunto de exemplares (que totaliza 582 objetos), nomeadamente o histórico, técnico, formal e funcional, bem como das suas unidades de produção e respectivos centros oleiros, revelado e fornecido pela pesquisa bibliográfica, pela metodologia adotada no exercício de inventariação e pela recolha etnográfica levada a efeito nos seus locais de proveniência.
BARBOSA, Caroline Carvalho. "Design expositivo: modernismo italiano revisitado no museu de arte de São Paulo "Assis Chateaubriand"". Universidade Anhembi Morumbi, 2017. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1682.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The return of exhibitions at the São Paulo Art Museum “Assis Chateaubriand” - MASP from the year 2015 is a review of the museological program with ways to outline the next Maspian actions. The Italian exhibition design, delineated from the influence of El Lissitisky and the production within the European vanguards, had in Brazil MASP as a space for its expression through mainly the performance of Lina Bo Bardi. From this context, the present research aims to highlight aspects of Italian exhibition design, influenced by the premises of modern Italian architecture and art. The exhibition Fashionable art: collection MASP Rhodia (2015-2016) presents 79 pieces of clothing that were donated by Rhodia to the MASP collection in the year 1972, and this exhibition, through the analysis of its exhibition devices, the object of this research. Here we made use of the bibliographical and documentary techniques, if the latter stopped the analysis of documents, texts, drawings and images related to the exhibition Fashionable art: MASP Rhodia collection, held at the MASP Documentation Center. The exhibition presents a different display from those that marked the Italian production in the field of exhibition design.
O retorno de exposições no Museu de Arte de São Paulo "Assis Chateaubriand" – MASP a partir do ano de 2015 é uma revisão do programa museológico com vias a delinear as próximas ações maspianas. O design expositivo italiano, delineado a partir da influência de El Lissitisky e da produção no âmbito das vanguardas europeias, teve no Brasil o MASP como espaço para sua expressão através, principalmente, da atuação de Lina Bo Bardi. A partir desse contexto, a presente pesquisa tem por objetivo pontuar aspectos do design expositivo italiano, sob influência das premissas da arquitetura e da arte modernas italianas. A exposição Arte na moda: coleção MASP Rhodia (2015-2016) apresenta 79 peças do vestuário que foram doadas pela Rhodia para o acervo do MASP no ano de 1972, sendo essa mostra, através da análise de seus dispositivos expositivos o objeto desta pesquisa. Aqui se fez uso das técnicas bibliográfica e documental, detendo-se esta última da análise de documentos, textos, desenhos e imagens relacionadas à exposição Arte na moda: coleção MASP Rhodia, realizada no Centro de documentação do MASP. A exposição apresenta um display distinto daqueles que marcaram a produção italiana no campo do design expositivo.
Politano, Stela. "Exposição didatica e vitrine das formas = a didatica do Museu de Arte de São Paulo". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279111.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A Exposição Didática e a Vitrine das Formas foram duas exposições que marcaram o início do Museu de Arte de São Paulo, em 1947. Foi na Rua Sete de Abril que o projeto de Pietro Maria Bardi se iniciava, na busca pela formação didática do público moderno que adentrava pelas portas do Edifício dos Diários Associados. Este estudo visa à compreensão desse momento da história artística de São Paulo e, acima de tudo, ao resgate as falas e documentos históricos antes calados pelo esquecimento.
Abstract: "Exposição Didática" and "Vitrine das Formas" were benchmarks exhibitions in the beginning of Assis Chateaubriand Museum of Art of São Paulo, in 1947. It was on Sete de Abril street that the project of Pietro Maria Bardi started the pursue of the modern audience teaching training, which came into the building through the doors of "Diários Associados". This study aims at understanding this period of Art History of Sao Paulo and, above all, to rescue the speeches and historical documents before the silent oblivion.
Mestrado
Historia da Arte
Mestre em História
Lobão, Luna Villas-Bôas 1987. "A missão artística do primeiro MASP : um estudo da concepção de Pietro Maria Bardi para os primeiros anos do MASP". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279714.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A presente dissertação é um estudo sobre a missão artística do Museu de Arte de São Paulo (MASP), na Rua 7 de Abril, em seus primeiros anos. Pretende entender a concepção de museu de seu fundador, Pietro Maria Bardi, situando suas ideias no contexto internacional, bem como seu pensamento sobre Arte e Educação e o papel das instituições culturais. A análise crítica de artigos, cartas e textos de P. M. Bardi permitiu a coleta de dados e informações que possibilitou entender a estrutura e organização do MASP, com destaque para sua parte pedagogia e para a criação do Instituto de Arte Contemporânea, o IAC. Por fim, o trabalho trata dos acontecimentos que possivelmente abalaram a estrutura inicial do museu, como o acordo com a FAAP, e quais foram seus os desdobramentos
Abstract: This dissertation is a study about the artistic mission of the São Paulo Museum of Art (MASP), when located at Rua 7 de Abril, in its first years. We intend to understand the conception of museum of its founder, Pietro Maria Bardi, while placing his ideias within the international context, as well as comprehending his thoughts on Art and Education and the role of cultural institutions. The critical analysis of articles, letters and texts from P. M. Bardi facilitated the gathering of data and information, which enabled the understanding of the structure and organization of the MASP, especially the educational part and the criation of the Instituto de Arte Contemporânea (Contemporary Art Institute - IAC). Finally, this text covers the events that have possibly affected the inicial structure of the museum, such as the agreement with FAAP, and which were their consequences
Mestrado
Historia da Arte
Mestra em História
Costa, Frederico Vergueiro. "MASP e a cidade: alternativa de espaço urbano coletivo na metropolização de São Paulo". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-12122017-155503/.
Pełny tekst źródłaTe new building for MASP, Museum of Art of São Paulo, designed by the architect Lina Bo Bardi in 1957 and inaugurated in 1968 in São Paulo, constitutes an important episode of experimentation between architecture and the city in the context of the accelerated industrial and urban development of São Paulo. It marks, among others examples, the consolidation of a shif from the centrality of the city towards areas of expansion to the southwest. Te work tries to understand critically the proposals of the project, which engenders aspects of italian and international modern architecture with the particular conditions of Brazilian modernization during the post second world war. In this sense, the disciplinary responses given by Lina Bo Bardi and modern architecture in relation to the challenge of creating a specifc spatiality in the context of peripheral metropolization will be emphasized. Te refection promoted by the research intends to explain both the original impulse of the solution and the meanings deriving from Lina Bo Bardi \'s design strategies for a refection about new possibilities of interaction between the disciplinary contents of the architecture and the Brazilian urban paradigm.
Jesus, Tiago. "CENTRO DE MEMÓRIAS DO BARCO RABELO E DO RIO DOURO". Master's thesis, 2019. http://hdl.handle.net/10400.26/31227.
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