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São Paulo, 19 de agosto de 2021.
Reunião Ordinária Virtual da Comissão Permanente de Saúde, Promoção Social, Trabalho e Mulher.
Foto: Afonso Braga
Créditos Obrigatórios. Todos os direitos reservados conforme lei de direito Autoral Número 9.610.
Exposición permanente
Forma la colección permanente un numeroso conjunto de piezas (más de siete mil, sin contar libros, documentos y fotografías), de lo que se expone aproximadamente un cincuenta por ciento, que se agrupa en cuatro grandes áreas: Biología marina, Carpintería de ribera, Pesca tradicional e Historia de la navegación. Hagamos una breve descripción de sus contenidos.
Biología marina
El área de Biología marina sirve como una introducción al medio marino, y está formada por una amplia muestra de flora y fauna marinas, que abarca desde los tiempos prehistóricos (representados por numerosos especímenes fósiles), hasta los peces vivos que evolucionan en unos pequeños acuarios. Hay una espléndida colección de malacología, con bellos ejemplares que sorprenden por su brillo y colorido, y también crustáceos, corales, esponjas, aves que habitan los acantilados,..
Carpintería de ribera
La Carpintería de ribera puede considerarse uno de los puntos fuertes del Museo, pues hace honor a la importancia secular que tuvo en Luanco, donde se construyeron innumerables embarcaciones para todos los puertos del Cantábrico. Se ubica en la nave central del Museo, donde se ha reconstruido el casetón de un astillero, formado con elementos auténticos de antiguos talleres: herramientas, plantillas, gálibos, vagras, piezas de madera.
Pesca tradicional
El área de Pesca tradicionalestá próxima a la de Carpintería de ribera, compartiendo con ella la nave central, ya que entre ambas existe una obvia relación de complementariedad. Conforma esta sección una gran variedad de artes y aparejos de pesca -redes de abareque, volanta, palangres, caceas, cales, nasas, cedazos, trueles, fisgas, poteras,...-, clasificadas según las especies a capturar, todas del entorno del Mar Cantábrico -bonito, congrio, lubina, xarda, palometa, merluza, besugo, pulpo, angula...
Historia de la navegación
La sección de Historia de la navegación ocupa la segunda planta y en ella se hace un recorrido por la evolución de la tipología de los buques, con la exhibición de casi un centenar de maquetas elaboradas con todo detalle. Desde la remota Antigüedad hasta la actualidad, se pueden ver barcos egipcios, fenicios, griegos, romanos, vikingos, que dan paso al desarrollo de la vela con la carabela portuguesa, el galeón español, los espectaculares navíos de gran aparejo y los rápidos clipers, para desembocar en los barcos de vapor y después en los de motor.
Permanent Post Vacation
Rowan Moyle
Opening Tuesday 20 November 6-8pm
Tuesday 20 November – Saturday 8 December 2012
Permanent Post Vacation is an ongoing project exploring the discrepancy between our spatial experience of cities at home and overseas, as solitary backpackers and as integrated locals. I am interested in the interstitial space between arrival and settlement. The point before we fall back into the general flow of everyday life, where travel becomes more or less limited to commutation and innocent exploration is construed as loitering or time-wasting. Responding to personal feelings associated with post-travel, this project culminates in spatial interventions, walks, and other coping strategies aimed to invoke feelings of the uncanny and unfamiliar within my everyday environment.
Rowan Moyle is an emerging artist working with diverse materials and methodologies. Rowan completed a Bachelor of Visual Art and a Bachelor of Arts at Monash University in 2010. In 2011 he was awarded the Endeavour Australia Cheung Kong Award and extensively travelled throughout Japan and India. Returning to Australia in 2012, he has begun exhibiting in artist-run initiatives across Melbourne including Seventh and Platform, and has been able to utilise his recent travel experiences to provide insight into his practice and collaborative projects as a member of ACAB Collective. Rowan is currently completing a Graduate Diploma of Education at Monash University.
Inferno: A Reinterpretation of Dante
Steve Cox
Opening Tuesday 20 November 6-8pm
20 November – 8 December, 2012
Steve Cox presents a body of work reinterpreting this marvelous epic poem from the thirteenth-century, which is contained in Dante’s Divine Comedy. The text describes Dante’s journey through the nine circles of Hell. Each region contains its own specific horrors and monsters.
In a series of over sixty new works Cox re-imagines these grotesqueries and updates them to give a contemporary flavour. Dante’s rich descriptions and wild invention are perfect subject matter for Cox, who is well-known for the often black humour in his work.
The exhibition extends Cox’s interest in stream-of-consciousness pictorial invention. The works showcase his expertise with watercolour, ink and collage and, in a recent development, digital imagery.
Inferno has inspired many artists over the centuries, including William Blake, Gustave Doré and Robert Rauschenberg. Artists have continually found contemporary relevance in the text and have each brought their personal observations to the task.
As an atheist, Cox’s idea of Hell is as a useful metaphor not to be taken literally. He includes references to the marginalised, the displaced, and the outcast: all of whom have been forced to travel through their own personal Hell on earth. He has made reference to the never-ending hell of war on earth. He has also been delighted by the monstrous creatures that have emerged by chance through the fluidity of ink and watercolour.
Man’s inhumanity to man is perennial and no less current today than in Dante’s time. For Cox, this subject-matter has enabled him to create an Underworld populated by creatures if the Id. This will be his first Melbourne exhibition since 2010.
Supported by the City of Melbourne through the Arts Grants Program.
Comissão Permanente Mista de Combate à Violência contra a Mulher: Deliberação sobre as emendas da comissão ao PLN 7/2015-CN - Orçamento 2016.
Mesa E/D:
senadora Lúcia Vânia (PSB-GO);
presidente da comissão, senadora Simone Tebet (PMDB-MS);
vice -presidente da comissão, deputada Keiko Ota (PSB – SP).
Foto: Jefferson Rudy/Agência Senado.
From left to right:
Juan Pablo Lira, Ambassador, Permanent Representative of Chile to the OAS
Elliston Rahming, Chair of the OAS Permanent Council and Permanent Representative of Bahamas to the OAS
Nestor Mendez, OAS Assistant Secretary General
Date: July 13, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
John E. Beale, Ambassador, Permanent Representative of Barbados to the OAS
Date: May 2, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Espaço Grenat.
O novo empreendimento para eventos em São João Del Rei é o Espaço Grenat, conta com ampla infraestrutura para aperfeiçoar a sua festa, os destaques, é uma ampla área que comporta até 200 pessoas, podendo sediar seminários, palestras, reuniões de diretoria, confraternizações e diversos tipos de eventos sociais.
A nova casa conta com 263 metros quadrados, situada na área de preservação permanente da arquitetura colonial do centro histórico de São João Del Rei. As salas de eventos são distribuídas em dois ambientes, com composições variadas. Para a realização dos encontros, o empreendimento dispõe, também, de profissionais especializados para assessorar os clientes. No primeiro piso um amplo salão e um mezanino, além de modernos equipamentos audiovisuais, cozinha industrial e instalações sanitárias para atender aos deficientes, ideal para coquetéis e coffee breaks.
O Espaço Grenat é uma casa de luxo, localizado em área nobre da cidade: Rua Marechal Bittencourt, nº 46 centro histórico de São João Del Rei.
O endereço faz parte da Historia sanjoanese.
Quando surgem relatos sobre São João Del Rei do início do século passado, há a indicação de um polo boêmio no centro da cidade. E o coração desse reduto bêbado, musical e promíscuo foi a Rua da Cachaça. Ali, se reuniam em cabarés e bares homens de todas as idades e classes sociais: dos mais pobres aos intelectuais ricos. Hoje, esse símbolo histórico não existe mais, mas o cenário é outro. A Rua da Cachaça hoje Marechal Bittencurt do século XXI é ponto de cultura, abrigando em seus casarios preservados do inicio do século XX: Memoriais, Centro Feminino, comercio de produtos e serviços turísticos e é contemplada hoje com a inauguração do Espaço Grenat.
"Para exemplificar a antiguidade da rua e do seu nome original, num testamento com termo de abertura em 21 de setembro de 1779, Ana de Oliveira, uma negra forra, declarou que morava à Rua da Cachaça, que era viúva sem filhos e que deixaria libertos os escravos Manoel e Maria, os quais instituíram como herdeiros.
Rally initiated by the Refugee Action Collective (RAC) Melbourne, demanding permanent visas for refugees and asylum seekers.
My website: www.matthrkac.com.au
Follow me on Instagram: www.instagram.com/matt.hrkac/
And Facebook: www.facebook.com/MattHrkac
Support my work: chuffed.org/project/photojournalism-from-the-front-line-o...
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública para debater sobre a “Procuradoria Especial da Mulher e a atuação do Poder Legislativo na prevenção e enfrentamento da violência contra as mulheres”. As parlamentares ainda apreciam requerimentos.
Bancada:
membro do Conselho dos Direito da Mulher do Distrito Federal, Lucia Bessa, em pronunciamento.
Foto: Waldemir Barreto/Agência Senado
Permanent Post Vacation
Rowan Moyle
Opening Tuesday 20 November 6-8pm
Tuesday 20 November – Saturday 8 December 2012
Permanent Post Vacation is an ongoing project exploring the discrepancy between our spatial experience of cities at home and overseas, as solitary backpackers and as integrated locals. I am interested in the interstitial space between arrival and settlement. The point before we fall back into the general flow of everyday life, where travel becomes more or less limited to commutation and innocent exploration is construed as loitering or time-wasting. Responding to personal feelings associated with post-travel, this project culminates in spatial interventions, walks, and other coping strategies aimed to invoke feelings of the uncanny and unfamiliar within my everyday environment.
Rowan Moyle is an emerging artist working with diverse materials and methodologies. Rowan completed a Bachelor of Visual Art and a Bachelor of Arts at Monash University in 2010. In 2011 he was awarded the Endeavour Australia Cheung Kong Award and extensively travelled throughout Japan and India. Returning to Australia in 2012, he has begun exhibiting in artist-run initiatives across Melbourne including Seventh and Platform, and has been able to utilise his recent travel experiences to provide insight into his practice and collaborative projects as a member of ACAB Collective. Rowan is currently completing a Graduate Diploma of Education at Monash University.
Inferno: A Reinterpretation of Dante
Steve Cox
Opening Tuesday 20 November 6-8pm
20 November – 8 December, 2012
Steve Cox presents a body of work reinterpreting this marvelous epic poem from the thirteenth-century, which is contained in Dante’s Divine Comedy. The text describes Dante’s journey through the nine circles of Hell. Each region contains its own specific horrors and monsters.
In a series of over sixty new works Cox re-imagines these grotesqueries and updates them to give a contemporary flavour. Dante’s rich descriptions and wild invention are perfect subject matter for Cox, who is well-known for the often black humour in his work.
The exhibition extends Cox’s interest in stream-of-consciousness pictorial invention. The works showcase his expertise with watercolour, ink and collage and, in a recent development, digital imagery.
Inferno has inspired many artists over the centuries, including William Blake, Gustave Doré and Robert Rauschenberg. Artists have continually found contemporary relevance in the text and have each brought their personal observations to the task.
As an atheist, Cox’s idea of Hell is as a useful metaphor not to be taken literally. He includes references to the marginalised, the displaced, and the outcast: all of whom have been forced to travel through their own personal Hell on earth. He has made reference to the never-ending hell of war on earth. He has also been delighted by the monstrous creatures that have emerged by chance through the fluidity of ink and watercolour.
Man’s inhumanity to man is perennial and no less current today than in Dante’s time. For Cox, this subject-matter has enabled him to create an Underworld populated by creatures if the Id. This will be his first Melbourne exhibition since 2010.
Supported by the City of Melbourne through the Arts Grants Program.
Niermala Badrising, Ambassador, Permanent Representative of Suriname to the OAS
Date: June 9, 2015
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
The Members of the Permanent Forum met with a great number of indigenous representatives as well as representatives of the Government of Bolivia.
Photo: Broddi Sigurdarson
May 20th, 2016.
Left (up to down) : Ana-Belén Montero, Corrado di Meo, Beatriz Trépat, Valerie Ceulemans.
Right (up to down) : Ana-Belén Montero, Joelle Swanett, Patricia Gallucci, Maria-Antonia Zamora.
Permanent Highway Supplemental 11B
Item 95-005-0824, series 400, Department of Transportation: Road Services Division, box 20, King County Archives.
Photographer: Patten
Andrés González Díaz, Ambassador, Permanent Representative of Colombia to the OAS
Date: February 25, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Martin Nesirky - Director, United Nations Information Service (UNIS) Vienna and H. E. Chryssoula Aliferi - Ambassador, Permanent Mission of Greece to United Nations (Vienna)
From left to right:
Bayney R. Karran, Chair of the OAS Permanent Council and Permanent Representative of Guyana
Nestor Mendez, OAS Assistant Secretary General
Date: June 7, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Nilda Garre, Ambassador, Permanent Representative of Argentina to the OAS
Date: June 11, 2015
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Permanent Representative of the Czech Republic to the OPCW, H.E. Ms Kateřina Sequensová, and OPCW Director-General, Ambassador Fernando Arias
Benjamin West - American, 1738 - 1820
The Battle of La Hogue, 1778
West Building, Main Floor — Gallery 61
We hover low over a body of choppy water in front of several rowboats filled to capacity with light-skinned men jostling and fighting each other amid larger wooden ships in this horizontal painting of a naval battle. The water transitions from tan and pale green near us to sage green in the background. A few of the men are bare-chested but most wear a wide range of colorful military uniforms or the full-sleeved shirts of sailors. A few vignettes within the bustling, action-filled boats draw our attention. For instance, at the center of the hubbub, two men wearing white shirts lean over the stern of a crowded boat, pulling two submerged men out of the water. Three other men float nearby, only their heads peeking above the water. In the same boat, another rescuer reaches for a man in the water, while yet another has pulled an unconscious or lifeless man into his arms. That rowboat bumps into several others filled with men weilding swords, long muskets, and perhaps spears. Much of the activity swirls around two men who stand in the boats to our right. One man wearing a fawn-brown uniform with gold embellishments, a white neck cloth, and a brown hat with red feathers brandishes a sword as he seizes the shirttails of a man wearing blue. The man in blue steps into another boat and clutches the mast as he raises his own sword up over his head. With eyes and mouth wide open, he looks over his shoulder toward the man in brown. Boats to our left are also filled with men but they sit in orderly rows. One man wearing a rust-orange suit and white plumed hat holds a sword in front of his body and raises his other pointer finger. A man blows a long horn behind the standing man. Other rowboats fill the space behind these, and surround three large wooden, ornately carved and decorated ships beyond. The carved insignia of the rightmost ship looms close to us along the right edge of the canvas; boats swarm around another ship in the distance at center; and flame and smoke billow from the ship to our left.
eventeen years after Benjamin West settled in England, a London newspaper's review of the 1780 Royal Academy exhibition stated that The Battle of La Hogue "exceeds all that ever came from Mr. West's pencil." In 1692, Louis XIV of France had mounted an ill-fated attempt to return James II, a fellow Catholic, to the throne of England. In response, Britain and her Protestant allies, the Dutch, massed their fleets and engaged the enemy for five days off the northern French coast near La Hogue. Benjamin West condensed the events of the long battle into one dramatic composition that, by employing much artistic or poetic license, is largely propaganda.
Standing in a boat at the left, for instance, Vice Admiral George Rooke embodies heroic command with his upright posture and raised sword. Yet, in order to survey the maneuvers, he undoubtedly gave orders from a distance. Beached in the center distance is the French flagship, the Royal Sun. Actually burned and sunk a few days before this encounter, the Royal Sun is here deliberately refloated -- only to be run against the cliffs so that West might symbolize the French defeat. This complex, multi-figured panorama is an excellent example of West's influential early style, and of the balanced designs and carefully blended brushwork of eighteenth-century neoclassicism.
More information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century, pages 329-334, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Rally initiated by the Refugee Action Collective (RAC) Melbourne, demanding permanent visas for refugees and asylum seekers.
My website: www.matthrkac.com.au
Follow me on Instagram: www.instagram.com/matt.hrkac/
And Facebook: www.facebook.com/MattHrkac
Support my work: chuffed.org/project/photojournalism-from-the-front-line-o...
Nestor Mendez, Ambassador, Permanent Representative of Belize to the OAS
Date: July 21, 2011
Place: Washington, DC
Credit: Patricia Leiva/OAS
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência interativa para debater a crise hídrica na região do Vale do São Francisco, com a participação dos presidentes da ANA, Chesf, Codevasf e ONS.
Mesa:
presidente do Conselho de Administração do Distrito de Irrigação Nilo Coelho (Dinc), Amauri José Bezerra da Silva;
diretor da Companhia Hidrelétrica do São Francisco (Chesf), João Henrique de Araújo Franklin Neto;
diretor-geral do Operador Nacional do Sistema Elétrico (ONS), Luiz Eduardo Barata Ferreira;
presidente eventual da CMMC, senador Fernando Bezerra Coelho (PSB-PE);
superintendente de de Operações e Eventos Críticos da Agência Nacional de Águas (ANA), Joaquim Guedes Correa Gondim Filho;
presidente da Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba (Codevasf), Kênia Régia Anasenko Marcelino;
Foto: Marcos Oliveira/Agência Senado