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MAK muestra "SHUNGA. Arte erótico de Japón"
Viena (OTS) - Con su aparente enfoque indiferente de la desnudez y la sexualidad, se dan Shunga del Asia Oriental (imágenes de Primavera) una moral sexual más libre que nos fue inculcado en Europa. La exposición MAK "SHUNGA. Arte erótico de Japón" demuestra la calidad artística de los grabados en madera explícitamente eróticas, a pesar de la prohibición de larga duración por el gobierno Japonés celebrando un fenómeno de masas. Hojas sueltas, álbumes y libros de maestros reconocidos como Suzuki Harunobu, Katsushika Hokusai o Kitagawa Utamaro, en gran parte en préstamo de la colección privada de Leopold dan en el MAK una visión representativa en esta faceta a menudo tabú de la historia del arte japonés. Fotografías de desnudos contemporáneas de Nobuyoshi Araki tienden un arco hasta el presente.
La colección MAK grabados en madera de color japoneses con alrededor de 4 200 hojas es una de las más importantes colecciones de ukiyo-e en Europa. Ukiyo-e (pinturas del mundo flotante), a las que se atribuye la Shunga, ilustran placeres urbanos y así como los fenómenos cotidianos burgueses alrededor del teatro y de ocio de Edo, la actual Tokio. El contenido sexual explícito en la shunga bloqueó los grabados mucho tiempo la entrada en las colecciones europeas. La colección MAK también alberga sólamente un rodillo de imagen de un maestro anónimo de la segunda mitad del siglo 17 - el objeto más antiguo de la exposición mostrado en el MAK.
El manejo formal de los cuerpos desnudos y en ocasiones complejos arreglos de pliegues del kimono se diferencian Shunga significativamente de representaciones naturalistas de hacer el amor. Características son el grado de precisión anatómico, a veces posturas extremas y los genitales presentados de gran tamaño. A menudo Shunga también muestran escenas de humor, como una niña mirando a través de ojo de cerradura de una pareja de amantes y llamando:
"Le diré a mamá".
Un laberinto de paneles lleva a los visitantes (hombres y mujeres!) a través de la exposición cronológicamente estructurado en el MAK Design Lab. El preludio del curso forman series de Shunga tempranas desde el siglo 17, siguiendo el ciclo de los doce meses y - con una página de título - dan trece estampados que constituyen un conjunto. Suzuki Harunobu (ca. 1725-1770), uno de los principales diseñadores de Shunga, profundizó los grabados en madera, inicialmente monocromáticos, en estampados multi-colores y sedujo, por ejemplo, con sus parábolas entre la poesía china y la erótica japonesa entre otros los ricos y educados capas de ciudadanos (hombres y mujeres) de Edo.
Casi todos los conocidos artistas de ukiyo-e también diseñan grabados en madera eróticos, por lo que la calidad artística de Shunga se explicó. Kitagawa Utamaro (1753-1806) transformó las escenas eróticas originalmente soñadores de Harunobus en imágenes más claras. Él da el género más naturalidad y también demuestra escenas domésticas semi-eróticos como la belleza (bijin) con la higiene personal. Los álbumes de Utamaro hoy día en el mercado del arte casi no más disponible son algunos de los trabajos más codiciados del arte japonés. Su serie "Negai sin itoguchi [despertar del deseo]" (1799) es completamente visible en el MAK.
Fantasías eróticas y el mundo de la mitología y fantasmas vincula el no sólo por su serie "36 vistas del monte Fuji" famoso Katsushika Hokusai (1760-1849). Durante la era Meiji (1868-1912) varía la calidad de la Shunga. El enfoque ya no es la belleza (bijin), pero se trata de motivos eróticos, como la joven estudiante o la mujer segura. Debido a las nuevas posibilidades técnicas de la fotografía, la xilografía de color como un medio de masas a partir del último cuarto del siglo 19 perdió en importancia. El artista Hashiguchi Goyo (1880-1921) hizo revivir la tradición de Ukiyo-e como uno de los primeros en "estampados nuevos" (Shin Hanga) y creó una imagen de la mujer moderna, segura de sí misma que recuerda las hojas de Utamaro.
La exposición MAK concluye con fotografías seleccionadas del artista japonés Nobuyoshi Araki (nacido en 1940), que en varios series de fotografía de desnudos hace referencia a la Shunga de la era Edo.
La mayoría de las obras demostradas en "SHUNGA Arte Erótica de Japón" proviene de la colección excepcional de Ukiyo-e de Rudolf Leopold (1925-2010), que ahora es propiedad de su hijo Diethard Leopold, que amplía la colección de manera constante. La representación desinhibida del sexo en los grabados en madera impresionó en Europa y sólo ha sido desarrollado por Schiele Egon en semejante forma directa metódicamente en enteras series de hojas. Los grabados en madera son una parte constitutiva de la colección de Rudolf Leopold, que amasó una visión global de Viena en 1900 alredero del núcleo de Schiele. Parte de la colección completa de Shunga se pudo ver en el Museo Leopold en 2012/2013 coordinada por Diethard Leopold en la exposición de Japón "fragilidad de la existencia".
Mientras Shunga probablemente en el momento de su creación fueron consideradas con pornografía, hoy la importanica historia del arte es en el punto de mira. En la operación de la exposición, hasta ahora, unos grabados en madera eróticos casi nunca aparecían ya que los límites entre el arte erótico y la pornografía a menudo estan difíciles de discernir. El Museo Británico se encontraba con su exposición a gran escala "Shunga: el sexo y el placer en el arte japonés" en 2013 en posición pionera en la presentación en Europa. En el propio Japón en 2015 el fue seguida por la primera gran exposición en el Museo Shunga Eisei Bunko en Tokio.
Con motivo de la exposición se ha publicado un catálogo epónimo, divulgado por el MA, con textos de Susanne Klien, Diethard Leopold y Sepp Linhart, cerca de 200 páginas, 80 ilustraciones. Disponible en el MAK Design Shop.
Esta exposición contiene imágenes eróticas explícitas que pueden ofender los sentimientos morales de las personas menores de 16 años.
MAK zeigt "SHUNGA. Erotische Kunst aus Japan"
Wien (OTS) - Mit ihrem scheinbar unbekümmerten Umgang mit Nacktheit und Sexualität vermitteln ostasiatische Shunga (Frühlingsbilder) eine freiere Sexualmoral, als sie uns in Europa anerzogen wurde. Die MAK-Ausstellung "SHUNGA. Erotische Kunst aus Japan" zeigt die künstlerische Qualität der explizit erotischen Farbholzschnitte auf, die trotz langen Verbots durch die japanische Regierung zum Massenphänomen avancierten. Einzelblätter, Alben und Bücher von namhaften Meistern wie Suzuki Harunobu, Katsushika Hokusai oder Kitagawa Utamaro, großteils Leihgaben aus der Leopold Privatsammlung, geben im MAK einen repräsentativen Einblick in diese oft tabuisierte Facette der japanischen Kunstgeschichte. Zeitgenössische Aktfotografien von Nobuyoshi Araki spannen den Bogen bis in die Gegenwart.
Die MAK-Sammlung japanischer Farbholzschnitte zählt mit rund 4 200 Blättern zu den bedeutenden Ukiyo-e-Sammlungen in Europa. Ukiyo-e (Bilder der fließenden Welt), denen die Shunga zuzuordnen sind, illustrieren urbane Vergnügungen sowie bürgerliche Alltagsphänomene rund um die Theater- und Vergnügungsviertel von Edo, dem heutigen Tokio. Die explizite Darstellung von Sexualität in den Shunga versperrte den erotischen Drucken lange Zeit den Eingang in europäische Sammlungen. Auch die MAK-Sammlung beherbergt nur eine Bildrolle eines anonymen Meisters aus der 2. Hälfte des 17. Jahrhundert – das älteste in der MAK-Ausstellung gezeigte Objekt.
Der formale Umgang mit nackten Körpern und die zum Teil vielschichtigen Anordnungen von Kimonofaltungen heben Shunga deutlich von naturalistischen Darstellungen des Liebesspiels ab. Charakteristisch sind die anatomische Detailgenauigkeit, manchmal extreme Körperstellungen und übergroß dargestellte Genitalien. Oft zeigen Shunga auch humorvolle Szenen, wie beispielsweise ein kleines Mädchen, das durchs Schlüsselloch ein Liebespaar beobachtet und ruft:
„Ich sag’s der Mama“.
Ein Labyrinth aus Panelen leitet die BesucherInnen durch die chronologisch gegliederte Ausstellung im MAK DESIGN LABOR. Den Auftakt zum Parcours bilden frühe Shunga-Serien aus dem 17. Jahrhundert, die dem Zyklus der zwölf Monate folgen und – mit einem Titelblatt – dreizehn zusammengehörige Drucke ergeben. Suzuki Harunobu (ca. 1725–1770), einer der wichtigsten Entwerfer von Shunga, entwickelte die anfangs in schwarz-weiß umgesetzten Holzschnitte zu Vielfarbendrucken weiter und sprach zum Beispiel mit seinen Parabeln zwischen chinesischer Dichtkunst und japanischer Erotik unter anderem die reiche und gebildete BürgerInnenschicht Edos an.
Fast alle bekannten Ukiyo-e-Künstler entwarfen auch erotische Farbholzschnitte, wodurch sich die künstlerische Qualität von Shunga erklärt. Kitagawa Utamaro (1753–1806) wandelte die ursprünglich verträumten erotischen Szenen Harunobus zu eindeutigeren Darstellungen. Er verleiht dem Genre mehr Selbstverständlichkeit und zeigt auch halberotische häusliche Szenen wie die Schönheit (Bijin) bei der Körperpflege. Die heute am Kunstmarkt kaum noch erhältlichen Alben Utamaros zählen zu den begehrtesten Werken der japanischen Kunst. Seine Serie "Negai no itoguchi [Erwachen der Begierde]" (1799) ist im MAK vollständig zu sehen.
Erotische Phantasien und die Welt der Mythologie und der Geister verknüpft der – nicht nur durch seine Serie "36 Ansichten des Berges Fuji" weltberühmte – Katsushika Hokusai (1760–1849). Während der Meiji-Ära (1868–1912) variiert die Qualität der Shunga. Im Zentrum steht nicht länger die Schönheit (Bijin), vielmehr geht es um erotische Motive wie die junge Studentin oder die selbstbewusste Frau. Durch die neuen technischen Möglichkeiten der Fotografie verlor der Farbholzschnitt als Massenmedium ab dem letzten Viertel des 19. Jahrhunderts an Bedeutung. Der Künstler Hashiguchi Goyō (1880–1921) ließ die Tradition der Ukiyo-e als einer der ersten in "neuen Drucken" (Shin hanga) wieder aufleben und schuf ein modernes, selbstbewusstes Frauenbild, das an die Blätter Utamaros erinnert.
Die MAK-Ausstellung schließt mit ausgewählten Fotografien des japanischen Künstlers Nobuyoshi Araki (geb. 1940), der in mehreren Aktfotografie-Serien auf Shunga aus der Edo-Periode Bezug nimmt.
Der Großteil der in "SHUNGA. Erotische Kunst aus Japan" gezeigten Werke stammt aus der herausragenden Ukiyo-e Sammlung Rudolf Leopolds (1925–2010), die sich heute im Eigentum seines Sohnes Diethard Leopold befindet, der die Sammlung stetig erweitert. Die tabulose Darstellung des Geschlechts in den Farbholzschnitten beeindruckte in Europa und wurde erst durch Egon Schiele in ähnlich direkter Form methodisch in ganzen Serien von Blättern umgesetzt. Die Holzschnitte sind ein konstitutiver Bestandteil der Sammlung Rudolf Leopolds, der um den Schiele-Kern eine Gesamtschau von Wien um 1900 zusammentrug. Ein Teil der umfassenden Shunga-Sammlung war in der von Diethard Leopold kuratierten Japan-Ausstellung "Fragilität des Daseins" im Leopold Museum im Jahr 2012/2013 zu sehen.
Während Shunga zur Zeit ihrer Entstehung wahrscheinlich als Pornografie galten, steht heute die kunstgeschichtliche Bedeutung im Fokus. Im Ausstellungsbetrieb kamen erotische Farbholzschnitte bisher kaum vor, da die Grenzen zwischen erotischer Kunst und Pornografie oft verschwimmen. Das British Museum war mit seiner großangelegten Ausstellung "Shunga: sex and pleasure in Japanese art" im Jahr 2013 ein Vorreiter der Präsentation in Europa. In Japan selbst folgte 2015 die erste große Shunga-Ausstellung im Museum Eisei Bunko in Tokio.
Zur Ausstellung erscheint ein gleichnamiger Katalog, herausgegeben vom MAK, mit Textbeiträgen von Susanne Klien, Diethard Leopold und Sepp Linhart, ca.200 Seiten, 80 Abbildungen. Erhältlich im MAK Design Shop.
Diese Ausstellung enthält explizit erotische Darstellungen, die das moralische Empfinden von Personen unter 16 Jahren verletzen könnten.
www.ots.at/presseaussendung/OTS_20160830_OTS0075/mak-zeig...
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Egyptair A330F their passenger converted freighter, on the ramp in Cologne on Friday 30th November 2018.
un Sukhoi Su-27 coi colori Alitalia: possibile risultato dei colloqui Berlusconi - Putin sull'acquisizione di Alitalia da Aeroflot
The top. I really like the 'hourglass' camo pattern on the back, but the wing colors are a bit corny...
A Ukranian SU-27 Flanker (58 BLUE) during it's awesome display at Danish Airshow 2018.
It were drizzling and very cloudy, but the Flanker still put up quite a show.
What an amazing and loud bird.
SU-APD - Boeing B-707-366C - Egypt Air
at Zuerich-Kloten Airport (ZRH) in 1983
c/n 20.341 - built in 1970 for Egypt Air -
later converted to freighter and operated until 2004 -
registered to Tristar Air,
derelict at Cairo
scanned from Kodachrome-slide
www.tahapinar.com/detay.asp?ID=1024
Yağdır mevlam su...
Çatlayan dudaklara sararan yapraklara
Kuruyan topraklara yağdır mevlam su
Alev saracak kadar yandım yanacak kadar
Suya kanacak kadar yağdır mevlam su
Toz duman savrulurken gül çimen kavrulurken
Can tenden ayrılırken yağdır mevlam su
Suya hasret güllere sana açık ellere
Tutuşan gönüllere yağdır mevlam su
Çeşitli inançlardan hatta inançsız insanlar bile duanın, istemenin, teşekkür etmenin önemi üzerine kitaplar yazıyor. Bizde ise yağmursuzluk ortamında bir yandan çaba sarf ederken bir yandan da dua ettiği için insanlar eleştiriliyor. Duayla bu işler olur muymuş gibi. Çaresiz hastalıkların bile yeri gelip dua, iyi niyet, mücadele azmi ile iyileştiği bir dünyada hala istemenin (dua etmek istemekten başka nedir ki) önemini kavrayamamış olanlara Sezen Aksu'nun kelimelerini hatırlatayım. Belki kavruk zihinler, isteksiz iradeler, bir kuru bedenin içine kilitlenmiş dimağlar için bir damla su olur, hayat olur, can olur...
Amasya ziyaret beldesi göleti beğenilerinize....
Kafe Antzokia (Bilbao), Tom Hagen Rock Photography 2014
You can buy some of my photos here ---> www.tako.es/index.php?id_category=60&controller=categ...
My book --> www.flickr.com/photos/tomhagen/8247082525/in/set-72157632...
Follow me @ Facebook ---> www.facebook.com/TomHagenRockPh
El Grito, 1895, litografía
Das Geschrei, Lithografie
The Scream, lithograph
Edvard Munch es uno de los grandes protagonistas de la modernidad - su pintura y las artes gráficas son algunos de los momentos más memorables del arte de la vuelta del siglo. Con aproximadamente 120 de las obras más importantes del artista noruego, muestra la Albertina unos iconos de su arte, entre ellos El grito, Madonna, el Beso y la Melancolía. Del mismo modo, la exposición dar un idea del enfoque gráfica experimental de Munch. La vida y obra del artista, acompañado de las crisis existenciales y fracturas, y al mismo tiempo determinado por la mayor consecuencia, ilustran su intenso compromiso con la soledad, el amor y la muerte. Como precursor y pionero del expresionismo, el describe enérgicamente y implacablemente la fugacidad y la desaparición de la persona en la era de la industrialización.
La exposición presenta el proyecto central de su extensa obra: el friso de la vida. Esto incluye representaciones de etapas versátiles de la vida: desde la fertilidad y la fecundación, el embrión, el árbol de la vida, desde la infancia y la adolescencia a través de la atracción, el beso, la asociación hasta el destacamento, la desesperación, al grito, a la vejez y la muerte surgieron numerosos temas. Munch en su argumento desarrolló ilustraciones altamente simbólicas del amor, la tristeza, la melancolía y la muerte; crea en temas como la fertilidad diversas variaciones llenas de máxima intensidad. Hoy, obras del friso de la vida como El grito, Madonna o El beso están consideradas iconos de la modernidad.
Los objetos expuestos en la exposición proceden de la más importante colección privada internacional de grabados de Edvard Munch. Esta extraordinaria colección incluye numerosas series de obras y variaciones de litografías, aguafuertes y xilografías, ilustrando el genio gráfico de Munch. Dos tercios de esta colección - alrededor de 120 piezas únicas de alta calidad - se proporcionan a la Albertina generosamente para esta presentación única.
Edvard Munch is one of the greatest protagonists of modernity - his painting and graphic arts are among the absolute highlights of the art of the turn of the century. With approximately 120 of the most important works of the Norwegian artist, shows the Albertina icons of his art, including The Scream, Madonna, The Kiss and Melancholy. Similarly, the exhibition gives insight into Munch's experimental printmaking approaches. Life and work of the artist, accompanied by existential crises and fractures, and at the same time determined by the highest consequence, illustrate his intense engagement with the loneliness, love and death. As a forerunner and pioneer of Expressionism, he incisively and relentlessly describes the transience and the disappearance of the individual in the age of industrialization.
The exhibition presents the central project of his extensive work: the Frieze of Life. This includes representations of versatile stages of life: from the fertility and fertilization, the embryo, the tree of life, from childhood and adolescence through the attraction, the kiss, the association up to the detachment, despair, on the cry, old age and death numerous themes have emerged. Munch in his argument develops symbol-charged illustrations of love, sorrow, melancholy and death; creates on topics such as fertility diverse variations full of utmost intensity. Today, works from the Frieze of Life, like The Scream, Madonna or The Kiss are considered icons of modernity.
The exhibits in the exhibition stem from the most important international private collection of prints of Edvard Munch. This extraordinary collection includes numerous outstanding series of works and variations of lithographs, etchings and woodcuts, illustrating the printmaking genius of Munch. Two thirds of this collection - around 120 high quality unique items - have been generously provided to the Albertina for this unique presentation.
Edvard Munch ist einer der großen Protagonisten der Moderne – seine Malerei und Grafik zählen zu den absoluten Höhepunkten der Kunst der Jahrhundertwende. Mit rund 120 der bedeutendsten Werke des norwegischen Künstlers zeigt die Albertina Ikonen seiner Kunst, darunter Der Schrei, Madonna, Der Kuss und Melancholie. Gleichsam gibt die Ausstellung Einblick in Munchs experimentelle druckgrafische Ansätze. Leben und Werk des Künstlers, von existentiellen Krisen und Brüchen begleitet und zugleich von höchster Konsequenz bestimmt, illustrieren seine intensive Auseinandersetzung mit der Einsamkeit, der Liebe und dem Tod. Als Vorläufer und Wegbereiter des Expressionismus beschreibt er eindringlich und schonungslos die Vergänglichkeit und das Verschwinden des Individuums im Zeitalter der Industrialisierung.
Die Ausstellung präsentiert das zentrale Projekt seines umfangreichen Werks: den Lebensfries. Dieser umfasst Darstellungen vielseitiger Lebensabschnitte: Von der Fruchtbarkeit und der Befruchtung, dem Embryo, dem Lebensbaum, von der Kindheit und Jugend über die Anziehung, den Kuss, die Vereinigung bis hin zur Loslösung, Verzweiflung, zum Schrei, zum Alter und zum Tod sind zahlreiche Motive entstanden. Munch entwickelt in seiner Auseinandersetzung symbolgeladene Illustrationen von Liebe, Leid, Melancholie und Tod; schafft zu Themen wie der Fruchtbarkeit vielfältige Variationen voll größter Intensität. Heute gelten Werke aus dem Lebensfries wie Der Schrei, Madonna oder Der Kuss als Ikonen der Moderne.
Die Exponate der Ausstellung stammen aus der bedeutendsten internationalen Privatsammlung von Druckgrafiken Edvard Munchs. Diese außerordentliche Kollektion beinhaltet zahlreiche hervorragende Werkreihen und Varianten von Lithografien, Radierungen und Holzschnitten, die das druckgrafische Genie Munchs veranschaulichen. Zwei Drittel dieser Sammlung - rund 120 hochqualitative Unikate - werden der Albertina großzügigerweise für diese einzigartige Präsentation zur Verfügung gestellt.
www.norwegen.or.at/News_and_events/Veranstaltungen/2015--...
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
more pandas and other animals here
For a while, this was the fourth most interesting photo of February 2, 2005 on Flickr. Su Lin exploring is still my most viewed photo, but in the process she beat out Will Smith, whom I photographed at a movie set in my neighborhood. It was quite a competition to see who was most popular, but Su Lin won hands down.
Heading into the Manchester cloud!
Boeing 737 Next Gen - MSN 40759 - SU-GDZ
Airline Egyptair
Status : Active
Registration : SU-GDZ
Country : Egypt
Date : 1932 -
Codes MS MSR
Callsign : Egyptair
Web site : www.egyptair.com.eg
Serial number 40759 LN:3472
Type 737-866
First flight date 11/11/2010
Engines 2 x CFMI CFM56-7B26
21/11/2010 Egyptair SU-GDZ
Moscow Zhukovesky (Ramenskaye) - UUBW
August 2001.
Sukhoi Design Bureau,
Su-47 Berkut.
Only one Berkut was built and it served as a research platform. Its most striking feature, not shown here, were its swept forward wings. Much of the data found has been incorporated in to the new Sukhoi PAK-FA.
Pueden ver fotos de Perú, en micamara.es/peru/.
En micamara.es/ tienen fotos de muchos lugares del mundo.
La cancion:
Temazo de los guns en su segunda etapa. Rock de verdad. Made in california
Bad apples - Artist/Group: Guns n Roses
Mi día:
Este Jueves 6 de Octubre me despierto con la triste noticia de la muerte de Steve Jobs, creador y alma mater de apple computers. Y solo puedo darle las gracias, ya que en los 15 años que llevo trabajando como diseñador y fotografo, siempre he usado sus productos. Empecé con un viejo performa 6100 y desde entonces han pasado por mis manos todo tipo de imacs, ibooks, ipods, iphones, ipads... todos magistralmente presentados por Steve. Por eso me he molestado en hacer este pequeño homenaje y darle las gracias por su trabajo que ha hecho mi trabajo mucho más facil. Por lo demás el día lo he pasado encerrado en el studio haciendo aburridas fotos de catalogo... hasta que ha llegado Ruben, me ha prestado sus gafas estilo Jobs y nos hemos ido de cañas despues de hacer esta foto.
Mi foto:
Estudio puro y duro con fondo hiperblanco y ligera sobreexposicion. Utilizo este set para fotografiar articulos de catalogos y es muy sencillo, fogonazo para quemar el fondo y hacerlo blanco, y dos cabezas de flash cruzadas para iluminar correctamente sin generar sombras. Velocidad syncro con el flas de 200 y aperturas bajas para sacar detalle. Un poco de photoshop para....oh, wait, que pone en el teclado?