Art Posts

Arc Trance

2011-11-29T00:55:00.000-08:00

Besides all the note books i have fillen in like scary reports to higher sources i still get great pleasure of clicking things like letters in space and create a sound that seems to be identified with me in the right position of my lost and foud soul on the verge and on the space you can no longer dominate or gain room at, it's crowded it's packed it's like having a men eatten by flies on your bed, yes not origininal but not pasted from any of your pages sweet lights i hate so much but still i breath and forget so easily how mean i am yes two new kids are arriving to the world, yes, live news
hug erwan and all the stupid friends i have that always play me like a clock
Yes it seems i'm a lyrics person but never wrote a great song just funny little noises i can come out with but anyway melody is out of fashion and virtual stereo is kind of a new thing in monestery vocabulary so it sounds cool to be part of this over lasting day carpe noctem
by the way i was thinking how to update my overblog or scip my rearsels
try to remember this oh yes i know i got my frog back the mother bord was broken in morning for Jobs steve and others so cancer kills computers too, to all the trons outthere i say hi to bruce l and mgc

Explosions in the sky

2011-09-12T14:13:00.000-07:00

2219936 views

Create your prospectus

2011-09-12T11:03:00.000-07:00

personalized and interactive now
http://www.trinitylaban.ac.uk/

Setembro

2011-09-12T10:46:00.000-07:00

PEDRO HESTNES – “FAÇA DE MIM O QUE QUISER”

“Faça de mim o que quiser”, era esta a primeira frase proferida por Pedro Hestnes em O SANGUE. Poucas vezes como nessa cena, no cinema português ou fora dele, um actor pareceu tão frágil e tão desprotegido e, ao mesmo tempo, no tom e no olhar com que dizia essas palavras, um tom e um olhar onde se misturavam o abandono e o desafio, tão vertical e tão intocável. Ao puxarmos essa frase para título do nosso Ciclo fazemo-lo porque acreditamos que, com ela, nos aproximamos do que foi a personalidade, a presença, o código de Pedro Hestnes enquanto actor de cinema. A máxima disponibilidade, a máxima resistência: o tipo de fricção capaz de gerar electricidade suficiente para, por si mesma, iluminar um ecran.
E quantas vezes isso aconteceu. No cinema português dos últimos 25 anos, poucos rostos terão sido tão marcantes, e deixado um traço tão fulgurante, como o dele. Um traço que passava de filme para filme, raramente em ruptura: era como se as personagens de Pedro Hestnes não se excluíssem umas às outras, pudessem coexistir e conhecerem-se entre elas sem se expulsarem ou anularem. Se, no cinema português dos anos 80 e 90 existiu um certo “ar de família”, que se respirava por entre todas as diferenças e idiossincrasias de cineasta para cineasta, a presença de Pedro Hestnes contribuiu muito para isso. De resto, quando se observa a sua filmografia, e embora haja naturalmente excepções, percebe-se a que ponto ele foi sobretudo um actor para os “novos”, para a geração, ou para as gerações, dos “filhos do cinema novo” (à falta de melhor designação que ainda não há): de Jorge Silva Melo, João Botelho ou Margarida Gil a Pedro Costa, Manuel Mozos ou Luís Alvarães.
Também por isso, seguir o percurso cinematográfico de Pedro Hestnes se parece tanto com a evocação de um momento, de uma época do cinema português, um momento e uma época que, embora muito recentes, talvez já não sejam bem aqueles em que actualmente vivemos.
Contas de uma história ainda por fazer. O que a Cinemateca agora não podia deixar de fazer era evocar Pedro Hestnes, falecido em Junho passado, aos 49 anos. Ver, e dar a ver, entre filmes muito conhecidos e filmes muito desconhecidos (como os do francês FJ Ossang, por exemplo) o que o cinema quis fazer dele. Que foi tanto. E que devia ter sido ainda tanto mais.
E depois disto, Pedro, faz de nós o que quiseres.

in Cinemateca.pt

Who was Mr. Adam Smith?

2011-09-12T10:43:00.000-07:00

Adam Smith (baptised 16 June 1723 – died 17 July 1790 [OS: 5 June 1723 – 17 July 1790]) was a Scottish social philosopher and a pioneer of political economy. One of the key figures of the Scottish Enlightenment, Smith is the author of The Theory of Moral Sentiments and An Inquiry into the Nature and Causes of the Wealth of Nations. The latter, usually abbreviated as The Wealth of Nations, is considered his magnum opus and the first modern work of economics. It earned him an enormous reputation and would become one of the most influential works on economics ever published. Smith is widely cited as the father of modern economics and capitalism.

Smith studied social philosophy at the University of Glasgow and the University of Oxford. After graduating, he delivered a successful series of public lectures at Edinburgh, leading him to collaborate with David Hume during the Scottish Enlightenment. Smith obtained a professorship at Glasgowteaching moral philosophy, and during this time he wrote and published The Theory of Moral Sentiments. In his later life, he took a tutoring position that allowed him to travel throughout Europe, where he met other intellectual leaders of his day. Smith returned home and spent the next ten years writing The Wealth of Nations, publishing it in 1776. He died in 1790.

Sufjan Stevens

2011-09-12T10:30:00.001-07:00

The Widows In Paradise; For The Fatherless In Ypsilanti :

I have called you children, I have called you son.
What is there to answer if I'm the only one?
Morning comes in Paradise, morning comes in light.
Still I must obey, still I must invite.
If there's anything to say, if there's anything to do,
If there's any other way, I'll do anything for you.

I was dressed embarrassment.
I was dressed in wine.
If you had a part of me, will you take you're time?
Even if I come back, even if I die
Is there some idea to replace my life?
Like a father to impress;
Like a mother's mourning dress,
If you ever make a mess, I'll do anything for you

I have called you preacher; I have called you son.
If you have a father or if you haven't one,
I'll do anything for you. I did everything for you

Chemical Brothers ft Richard Ashcroft - The Test

2011-03-31T13:47:00.000-07:00

YouTube - Chemical Brothers ft Richard Ashcroft - The Test

My poetry included in NY Magazine

2011-03-25T13:18:00.000-07:00

kraftwerk(1978)

2011-02-11T06:43:00.001-08:00

Haxan(1922)

2011-02-11T06:42:00.001-08:00

ballons

2011-02-11T06:20:00.000-08:00

My Lines are deep, thin and show all the angels around us, all the astral being that coexist with me - this is one who has the most strong influence in my life ...

Headcleaners

2010-09-25T08:55:00.000-07:00

Em meados dos anos noventa Alexandre Simões e André Pires juntam-se para fazer música.

Com percursos diversos ligados ao Rock, ao Funk e ao Jazz, encontram no processo de gravação o terreno ideal para as mais variadas experiências.

Compõem, produzem e tocam todos os instrumentos, misturam a electrónica com a acústica.

No final da década surge o nome Headcleaners.

Começam por compor e interpretar temas instrumentais, que se irão transformar em canções com letras.

Encontram as letras na poesia de vários autores, entre eles, Fernando Pessoa, Ribeiro Couto, WB Yeats, Jack Kerouac, Emily Dickinson ou Giuseppe Ungaretti.

Para as cantar convidam cantores de várias origens como Manuel Wiborg, Marta Hugon, Chiara Picotto, Ana Lúcia Palminha e Kalaf a que se junta o teclado de Filipe Melo num tema.

Em 2009 sai o álbum 'Do What You Will'.

Participações em colectâneas:

2000 (PT) Nylon’s Showcase#1
2001 (PT) Nylon’s Showcase#2
2001 (USA) Om Lounge vol 5
2002 (PT) Lupeca- Back On Track
2002 (PT) Deep Dimensions (selected by Tó Zé Diogo)

http://www.myspace.com/headcleaners

Arvo Part - M

2009-12-06T13:49:00.000-08:00

2009-05-28T09:24:00.000-07:00

straight 8 2009 - creme de la cannes

2009-05-20T12:24:00.001-07:00

straight 8 2009 - creme de la cannes
Video sent by straight8productions

Cannes premiere of this year's best Straight competition entries

"METROPOLIS" de Fritz Lang, 1927

2009-05-20T12:22:00.003-07:00

"METROPOLIS" de Fritz Lang, 1927
Video sent by geranium68

Le CHEF-D'OEUVRE de FRITZ LANG, 1927

La force de faire ça

2009-05-20T12:22:00.001-07:00

La force de faire ça
Video sent by globensky

Une petite série en forme de mantra, très dense. Des vidéos donc et si l’on en croit l’étymologie sanscrite du mot « mantra », des vidéos « qui protègeront votre esprit ». C’est bien l’intention — non pas thérapeutique mais immunitaire : des formules artistiques et homéopathique répétées un grand nombre de fois. En utilisant le pouvoir du son, du texte, de l’image et de la musique, on fortifie et développe une inattaquabilité intérieure. Non plus simplement une vidéo à regarder, mais des sentences accompagnant un rituel où le sens et son énonciation sont sollicités.

Falling

2009-05-20T12:21:00.001-07:00

Falling
Video sent by dan_farberoff

FALLING is an innovative dance film by director Dan Farberoff, composer Errollyn Wallen and choreographer Henri Oguike, together with NASA astronaut Steve MacLean. It was selected by the prestigious FIPA (International Festival of Audiovisual Programs) in Biarritz, as well as for Barcelona's Videodansa International Prize at the IDN festival. The film was commissioned by Channel 4, ABC, Arts Council England and Australia Council for the Arts, and produced by Nikki Weston at MJW Productions.
For more information on screenings, festivals and other related events, please see http://www.fallinginspace.blogspot.com

Feira do Livro 2009

2009-05-20T12:02:00.000-07:00

AaRON clip "Le Tunnel D'Or"

2009-05-10T15:05:00.001-07:00

AaRON clip "Le Tunnel D'Or"
Video sent by aaron

GRANDE NOUVELLE : AaRON est nommé par deux fois aux Victoires de la Musique (catégories "Révélation Artiste du Public" et "Révélation Scène") : nous avons besoin de vous pour les soutenir, votez et faites voter svp !!!
Pour voter, allez sur ce lien avant le 7 mars à 17h : http://www.lesvictoires.com/varietes/vote.htm, votez pour AaRON en cochant la case "je vote pour eux", inscrivez-vous (nom, prénom, adresse e-mail) et ne vous inquiétez pas, vous ne serez pas démarchés à la suite de cette inscription ! Vous allez recevoir un email. Il faudra confirmer votre vote en cliquant sur le lien qui sera dans cet email.

CLIP REALISE PAR VANESSA FILHO (production exécutive : Sleepless production)

2009-03-20T22:31:00.001-07:00

http://ping.fm/VpBbl

31

2009-02-28T11:46:00.001-08:00

When past sometimes takes you with soft hands
forcelessly pulls you to your chair
hides you away from these half days
sunless at the end of the year
the air is like a knife cutting through you
a room in the house is always warm
stretched out on the bathroom floor thinking
of fair days your future may hold

love comes like surprise ice on the water
love comes like surprise ice at dawn
love comes like surprise ice on the water
love comes at dawn

deprived of the light and of the colours
the world ends at your window tree
darkness creates these illusions
but pale days can teach you to see
rain falls but no life is given
weeks pass no progress is made

past sometimes takes you with soft hands
and all that surrounds you will fade

Gad Berry

2009-02-12T12:22:00.000-08:00

http://www.gadberryphotographer.com

CNB

2009-01-12T12:56:00.001-08:00

FMR Online

2008-12-18T07:18:00.001-08:00

There are many ways to narrate the history of a civilisation. One of the most fascinating of all is through the analysis of its metaphors which, far more than just data for chronicle purposes, help us to comprehend the mind of an era, the spirit of a place, the dreams and hopes of entire generations. This is possible because habits, traditions and artefacts do not have only a functional value but also, inevitably, a symbolic value.
If we look at the history of art, the metaphor which for centuries has guided and ‘framed’ our vision of the world is that of the window. From the Renaissance (Leon Battista Alberti speaks of the painting as an “open window” on the world in his De Pictura, written in 1435) up to today, in the West the portrayal of reality has almost always passed through this conceptual frame, going beyond the boundaries of the painted picture to involve also photographic and cinema vision. That of the window is a persistent metaphor – so persistent that it has now also become the guiding concept of the new computer environment, which models its interfaces on the same idea of framed space. The territories onto which these digital windows open, however, are multiple, modular and overlapping. They reject the idea of a single vanishing point, because information – whether it be text, sound or image – is a malleable, reticular and many-branched entity. The paths of reading and enquiry turn from any claim of linearity in favour of experience that is constantly new and personalised.
This underlying theme that has accompanied us from the Renaissance (the unrivalled model of fusion between art and science, philosophy and manual skill) to the Web has been our source of inspiration and guidance in the creation of FMR online, the latest product of the publishing philosophy of FMR. To discuss art using every possible medium, by adding to the now well-know and unmatched quality of FMR magazines and books a kaleidoscope of multimedia content capable of involving all the senses – this is the challenge we have chosen to take up.
FMR online is an extremely evocative environment, which offers a panorama that opens out, fan-like, from ancient to modern art, painting to design, architecture to the jeweller’s art. Essays, articles and news are accompanied by high quality images, video-interviews and cinema exerpts, multimedia products designed to offer an increasingly exciting and engaging vision of the world of beauty. From the evocative nature of religious art, as the principal testimony of the unbreakable bond between art and faith, to the artistic products that have always expressed the supremacy of Italian creativity in the world; from the portraits of the great women of all eras to the knowledgeable world of books; from the ancient tradition of the Grand Tour to the vitality of the contemporary Made in Italy. We like the idea of creating a dialogue between the past and the present, thus discovering the ancient in the modern and developing a modern view of tradition.

Valentina Tanni

Gallery UK

2008-12-12T05:56:00.000-08:00

http://www.saatchi-gallery.co.uk/yourgallery/artist_profile//102733.html

oh oui critique moi

2008-12-10T13:06:00.000-08:00

http://www.uneexpo.fr/

Terra Natal

2008-12-10T13:05:00.001-08:00

www.fondation.cartier.com

JPG Mag

2008-12-08T15:33:00.001-08:00

http://www.jpgmag.com/people/lisahenri

Artabase

2008-12-08T15:30:00.000-08:00

http://artabase.net/artist/619-lisa-henri

Flux at Yron

2008-11-05T11:26:00.000-08:00

Aufgang Luz Nebulosa

2008-11-03T06:56:00.000-08:00

Tout est là, après la pluie
Tout le chant de l´ éternité véritable
Comment s´ appelle la femme que tout voit dans ses rêves et parle avec vous comme votre conscience
Comment m´ appelle, tous les noms sont déjà
Comment tout continue c'est la merveille de faire écouter votre parole
Votre goût d´ aller n´ importe où, de remplir tout le vacuum et dire je suis ici pour tout comprendre et connaître
Combien de façons je te vais montrer et quoi vais je construire pour vous faire plaisir
Je connais le langage, toutes les formes d´ émotion
Pour nous la vérité est transbordante, le plaisir de la lumière qui révèle plus que l´ image, qui nous fait découvrir la relation entre toutes les choses et jouer les chemins de notre espace interdit comme une vraie architecture physique où je me reconnais et me reconstruis toujours au lieu de la fragilité, pour toucher l´ amour qu´ on peut découvrir le paysage aussi riche pour toute la vie qui est déjà l´ histoire de ma maison.

Pour la sensation de perfection, de l'interrelation entre les plans et les couleurs on doit chercher la conception de la complicité
Au temps des mensonges on répond avec la poésie du mouvement,
La chorégraphie de la vie après la guerre et la guerre qu´ on doit éviter en tout cas, avec nous-mêmes

in Aufgang Luz Nebulosa
Lisa Henriques

Albert Watson

2008-09-19T02:40:00.000-07:00

http://www.albertwatson.net/

Benoit Piret

2008-09-18T07:23:00.001-07:00

Tierry Tillier

2008-09-18T07:23:00.000-07:00

One year on deviantart

2008-09-17T13:18:00.003-07:00

see more at:
http://news.deviantart.com/article/57915/

AndrewGFisher

2008-09-17T13:18:00.002-07:00

http://www.andrewgfisher.com/

Pedro Hestnes

2008-09-17T13:18:00.001-07:00

NAU

Pedro Gundar

2008-09-17T13:18:00.000-07:00

pedrogundar.blogspot.com

Style

2008-09-13T06:21:00.001-07:00

If you are looking for your style and would like to see items that suite you check Stylefeeder.com, it can become addictive.

Street Fashion Japan

2008-09-11T04:14:00.001-07:00

Vivienne Westwood

2008-09-11T04:08:00.001-07:00

Wild Painting Party

2008-09-11T03:43:00.000-07:00

Exposição Colectiva de Arte Urbana
13 de Setembro a 11 de Outubro

YRON, R. de São Bento, 170

Dostoevsky

2008-08-29T06:14:00.000-07:00

Fyodor Mikhailovich Dostoevsky was a Russian novelist and writer of fiction whose works, including Crime and Punishment and The Brothers Karamazov, have had a profound and lasting effect on intellectual thought and world literature.

Dostoevsky's literary output explores human psychology in the troubled political, social and spiritual context of 19th-century Russian society. His work is generally considered a precursor to both 20th century existentialism and postmodernism.

As Henry Miller wrote, "only when I first read Dostoevsky I heard real people speaking".

Apocalipse

2008-08-21T13:22:00.000-07:00

Inglaterra, c. 1270
76 ff.
Pergaminho
27 x 22 cm
Inv.º L.A. 139

A divulgação do texto do Apocalipse, acompanhado por comentários ao seu conteúdo e por profusas e significativas ilustrações, tornou-se muito frequente em Inglaterra, em meados do século XIII.

O exemplar exposto que apresenta afinidades iconográficas e artísticas com outros Apocalipses da época, como o de Lambeth e de Abingdon, terá sido produzido numa oficina de Londres, para um importante patrono.

Em cada fólio, o texto religioso e os comentários de Berengaudo, delimitados por bordaduras de arabescos, constituem uma coluna, encimada por uma miniatura. Estas miniaturas são enquadradas por uma moldura rectangular, apenas em alguns casos extravasada por personagens ou estruturas arquitectónicas; nelas, a acção decorre em espaços cénicos muito apertados e densamente povoados, onde o ouro e as cores de tonalidades quentes reforçam a sua intensidade.

A primeira miniatura (fl.1) deste códice representa S. João, reclinado e adormecido na ilha de Patmos, onde acabou de receber a mensagem de Cristo trazida pelo anjo que sobrevoa a parte superior da cena. Ao seu redor, no mar verde povoado por grandes peixes, navega um barco com um cão sobre a cabina e estão representadas mais três ilhas e o mar do Bósforo.

2008-08-20T10:01:00.000-07:00

The A to Z Guide to Film Terms
By Tim Moshansky
filmmaking.net rating
USD $12.95 » Buy Now

If you're a new filmmaker or simply an interested movie buff, the variety and obscurity of terminology can be difficult to follow at first. From knowing your gaffers from your grips through to knowing why a digital intermediate might be necessary for your film, having a full grasp of industry lingo is essential.

Although there are various guides floating around the place, Tim Moshansky's aptly named "The A-Z Guide to Film Terms" stands tall above these, both for its comprehensiveness and for the fact it is more than just a dictionary – it has numerous real life examples, written from a true insider’s perspective. And it's pocket-friendly size means that new and not-so-new filmmakers can keep it handy for a sneak peak on set when the need arises. Now in its 4th edition, "The A-Z Guide to Film Terms" is a must own book for any serious filmmaker.

Cannes

2008-08-20T09:56:00.000-07:00

Each year in May, over 200,000 people from across the globe descend on the small Riviera resort of Cannes to take part in all of the glitz and glamour that is the Cannes Film Festival. The mere mention of the city instantly conjures up images of red carpets, paparazzi camera flashes, and celebrity parties. However, for those in the movie business the festival
is an essential calendar date for another reason: it's also the largest film market and industry get-together on the planet.

"Cannes – A Festival Virgin's Guide" is the leading handbook for filmmakers and film industry professionals looking to attend the Cannes Film Festival for the first time. Demystifying the event and providing practical advice for attending, Cannes – A Festival Virgin's Guide is about helping you make the most of your visit to the world's most famous film festival.

Features include:

THE CITY – getting there, getting around, places to stay, places to eat, and more;

THE FESTIVAL – its history, structure, how to attend and all about the screenings;

THE BIZ – an overview of the business side of the festival, for filmmakers looking to attend Cannes for networking or with a project in tow;

THE LOWDOWN – a series of interviews with Cannes veterans, offering their advice and tips;

SIX APPENDICES containing a wealth of additional information.

http://www.filmmaking.net/

Pavillon Arsenal Paris

2008-08-20T09:47:00.000-07:00

PAVILLON DE L'ARSENAL
Centre d'information, de documentation et d'exposition, d'urbanisme et d'architecture de la ville de Paris
21, boulevard Morland
75004 Paris
Métro Sully-Morland ou Bastille
ouvert du mardi au samedi de 10h30 à 18h30
et le dimanche de 11h00 à 19h00
www.pavillon-arsenal.com

Près de 2 000 films pour (re)découvrir Paris

EN LIBRE CONSULTATION AU SALON VIDEO
Plus de 2 000 films de la collection unique du Forum des images et l’intégralité des conférences, débats, colloques, entretiens organisés et filmés par le Pavillon de l’Arsenal. Du mardi au samedi de 10h30 à 18h30 et le dimanche de 11h00 à 19h00.
Téléchargez la liste des films disponibles

PETITES LECONS DE CINEMA
Un jeudi par mois, projection d’un court métrage ou d’un documentaire dont Paris et la banlieue sont le sujet ou le décor. Chaque projection est suivie d’une rencontre entre architectes et professionnels du cinéma.
voir le programme complet "Petites leçons de cinéma"

Cinemateca Lisboa

2008-08-12T13:01:00.000-07:00

Cinemateca Portuguesa -
Museu Do Cinema
1 - Durante quase cem anos (1887-1979) propriedade da família do advogado e político Morais Carvalho, o 39 da Rua Barata Salgueiro (este número data de 1897, e foi ao próprio Barata Salgueiro que Alberto António de Morais Carvalho comprou o terreno que lhe corresponde, em 1885), foi vendido ao Estado Português em 1979, para albergar a então chamada Cinemateca Nacional que, em 1980, passou a Cinemateca Portuguesa, dotada de autonomia administrativa e financeira e equiparada a Direcção-Geral, no seio do Ministério da Cultura (em 79-80, Secretaria de Estado da Cultura).

Houve várias obras de adaptação no interior, construiu-se um cinema nos antigos jardins da casa, mas a fachada e a traça do edifício não sofreram alteração. Esta é uma das últimas moradias que subsiste na Rua Barata Salgueiro, rua que ainda nos anos 60 era quase só habitada por elas.

2 - Em Setembro de 1980, inaugurou-se o novo cinema. Em Janeiro de 1981, o Dr. Manuel Félix Ribeiro, Director da Cinemateca desde 1949, e os seus vinte e poucos funcionários saíram de São Pedro de Alcântara (Instituto Português de Cinema, de que a Cinemateca foi repartição entre 1973 e 1980) e vieram instalar-se aqui.

Uma decoração arabizante, bem ao gosto dos finais do século XIX, salas com magníficos estuques, motivos florais, e frescos nos tectos com temas mitológicos. A casa de Morais Carvalho, chefe da maioria regeneradorana Câmara dos Pares à data das primeiras sessões do AnimatographoRousby no Real Colyseu da Rua da Palma (1896) passou a casa do cinema em 1981. Arabescos e ogivas, Cupidos e Musas presidiram a essa "conversão". As mil e uma noites eram as da casa e as do cinema.

3 - Passaram vinte e dois anos. Vinte e um desde a inauguração oficial destas instalações (Janeiro de 1982), um dos últimos actos a que presidiu o Dr. Félix Ribeiro, que morreu meses depois.

A Cinemateca cresceu e multiplicou-se. Um cinema ardeu (Abril de 1981) e outro renasceu das cinzas (Setembro de 1982). No fim da década, com a compra da Quinta da Cerca no Freixial, começou a saga da edificação do nosso Arquivo, inaugurado em 1995. Em 1997, a Cinemateca era finalmente reconhecida como Museu do Cinema (Decreto-Lei nº 166/97).

Éramos vinte e sete em 1981, somos oitenta e um hoje, com cerca de sessenta a trabalharem nestes espaços. Nos últimos anos, já não cabia nada nem ninguém.

Era preciso remodelar o espaço de exibição e de projecção cinematográfica. Era preciso aproveitar o sótão e as caves. Era preciso traçar um espaço museal, onde imagens do passado e do futuro por igual se movessem. Eram necessários novos locais de convívio. Prolongar a moradia do século XIX num edifício com novas letras mas com o mesmo espírito.

Finalmente, em 1998, o ousado projecto dos Arquitectos Alberto Castro Nunes e António Maria Braga foi aprovado. Em Fevereiro de 2001, começaram as obras que duraram até Outubro de 2002. Em Dezembro de 2002, voltámos a casa.

4 - Restaurou-se a moradia de 1887, que hoje volta a poder ser vista com a luz de outrora. Construíram-se dois cinemas subterrâneos, um espaço museográfico em 39 Degraus, a melhor cabine de projecção de Lisboa, salas de exposição permanente, salas de exposição temporária, novos depósitos, novos arquivos, um restaurante, uma livraria.

A Cinemateca deixou de ser um edifício administrativo com um cinema ao pé da porta. Agora é, toda ela, dos espaços subterrâneos aos espaços das cúpulas, um pórtico. Falta abrir a última das sete portas dele e continuar o percurso para o Museu com que sonhamos.

Quando esse Museu existir, o tempo da imagem e o espaço do imaginário confluirão no perpétuo movimento do começo e do retorno.
Director: Dr. João Bénard da Costa
Subdirector: Dr. Pedro Mexia

Rua Barata Salgueiro, 39
1269-059 Lisboa
Tel: 21 359 62 00
Fax: 21 352 31 80
Email: cinemateca@cinemateca.pt

2008-08-12T05:50:00.000-07:00

CRIME & PUNISHMENT
4. Sep - 11. Oct 08 / begins in 23 days 198 Gallery

Free

Monday to Friday 11am - 17pm Saturdays 12 - 17pm

Privateview: 3. Sep, 18:00 – 21:00pm

Curated by Predrag Pajdic, with:

Dom Agius
Oreet Ashery
Barney Ashton
Giampiero Assumma
Nemanja Cvijanovic
Martin Effert
Sagi Groner
Maurizio Giuseppucci
Daniel Holfeld
Cedric Lefebvre
Dana Levy
Terence McCormack
Vesna Milicevic
Jean-Gabriel Periot
Petra Reimann
Peter Dean Rickards
Judith Witteman

"One is absolutely sickened, not by the crimes that the wicked have committed, but by the punishments that the good have inflicted; and a community is infinitely more brutalized by the habitual employment of punishment than it is by the occasional occurrence of crime."

Oscar Wilde
198 Gallery

198 Railton Road
London SE24 0LU
www.198gallery.co.uk/
T. +44 (0)20 7978 8309