THE MAAT is inaugurated today, after two years of works and an investment of 20 million euros. With a budget of 2 million per year for programming, the new building wants to call the artists to create this place. The expansion also is increasing the prices.
“we Hope thousands of people on the first day, but we hope that does not come all 260 thousand that have joined the event of Facebook,” says Pedro Tudela, director of the Museum of Art, Architecture and Technology in a guided visit to the Portuguese press, on the eve of the opening of MAAT, yesterday morning. Today is the official inauguration, with the presence announced of the President of the Republic, Marcelo Rebelo de Sousa, and the prime minister, António Costa. Tomorrow, will be open to the public free of charge, leaving to view a work of two years, signed by the architect Amanda Levete.
The first number is advanced by António Mexia in 2011 for the construction of this white building that now stands to the side of the Central Tagus were 19 million euros. Yesterday, the president of the company and its Foundation announced the final version of 20 million, told reporters in a press conference, at the end of this visit which started on the Tagus river, with panoramic views to the 38 thousand square meters of area that make the Museum of Art, Architecture, and Technology. “The total represented 0.6% of the investment of EDP in the period in which it was built”, he calculated. The MAAT wants to establish partnerships with other institutions. “It will help put Lisbon on the map of contemporary art. Will not be the only but is going to put Portugal on the map”, said the president of the EDP.
it smashed the wall of brick-ass who was there and in his place appeared a building of the architect of the british Amanda Levete and her studio, AL_A. Twelve metres high and the roof ready to serve walking. “You can do everything but skate, because it is dangerous”.
Return the public space to the city was in the program commissioned by the Foundation to Amanda Levete. “Hopefully the people know how to treat it, because it is of them,” said Mexia. Inside, “everything is fotografável, adapted to the times we live in”, is exercised.
New price
THE MAAT inherits a heritage of 250 thousand visitors per year, among them students of a thousand schools, according to executive director of the EDP Foundation, Miguel Coutinho.
With the conversion of the old Museum of Electricity and the growth of the MAAT will also increase prices for visitors from the age of 18. Until march, the entrance will cost 5 euros. After, it increases to 9, explained Miguel Coutinho.
Will also be created with a membership card with the value of 20 euros, valid for one year, for the cardholder and one companion. “We are creating the conditions to be as democratic as possible,” said Coutinho. “The museum seeks to generate their revenues,” said Miguel Coutinho, explaining that the value of the entry in the MAAT is lower than in the other institutions of Europe.
gallery oval
In the interior of the MAAT, the galleries want to if fluid. The French Dominique Gonzalez-Foerster is the first to occupy the gallery in the oval office, the first thing we see, so that if it goes in this house.
Pynchon Park , work that will pass to History as the one who broke the MAAT “was thought of as a whole”, begins by explaining Pedro Tudela. “Visitors are invited to activate the piece,” he explains. Children can use the balls and the books made of yoga mat, but it is also a work that aims to question “our understanding of human behavior,” says the curator. The gymnasium where all of this goes on has doors that close and open the spaces in a cycle of 24 minutes that you want to replicate the day and night. “This interaction generates situations very interesting and this is always a goal [the opening and closing of the ports is random],” adds the director.
The work of Dominique Gonzalez-Foerster responds to those who question what is the schedule that will have the new building of the MAAT. “Site-specific”, referring to the director of the museum, Pedro Tudela, a focused-on António Mexia, and the architect Amanda Levete in their interventions. Jobs created thinking in the local, challenged by the architecture of the place. The Room Design, with similar philosophy reserves for the Portuguese artists, explained the director.
the Architect of the training, Pedro Tudela was in the architecture department of the Museum of Modern Art (MoMA) in New York, when he was invited to lead the curatorial team of 20 people who make the museum. Manages a budget of 2 million euros and 4 thousand square meters of exhibition area.
The schedule is closed until 2019, and already know the names of the artists who will occupy this same gallery oval in 2017: the mexican Hector Zamora, in the framework of the Biennial Mouth, the cuban Carlos Garaicoa and the american Bill Fontana. About the weight of south american artists, Tudela explains that “they come from a context in transformation, and we want to introduce a political dimension”.
In march 2017, the main gallery will be occupied by an exhibition of large dimension – Utopia/Dystopia – from the work of the “50 international artists and some Portuguese”. The title of the exhibition, explains the managing director, to coincide with the 500 years of the book of Thomas Moore and “the current in the last years of the dystopia – the end of utopia. “We thought it would be interesting to combine its antithesis,” says the director of the museum.
The opening of this exhibition will coincide with the completion of the works. The MAAT will only be complete when the gardens in back are done, leave the seals and the bridge in the shape of a boomerang that crosses the railway line and land in the largo do Marquês de Angeja be completed. “Now let’s test the building,” said António Mexia, explaining that there was no reason to not the usher.
the world of The Eames
To the gallery in the oval office, to the main gallery, to the video room and the room design are added to the spaces recoded the Central Tejo, which are home by this time an exhibition of works from the collection of the Fundação EDP (enhanced recently with the acquisition of the collection of Pedro Cabrita Reis), Edgar Martins, and from Wednesday, The World of Charles and Ray Eames, a collaboration with the Barbican Center in London, where he was before.
A short passage through the exhibition, installed in the Central 1, and prior to joining the entourage of foreign journalists yesterday in the afternoon was to get to know the MAAT, Pedro Tudela explains to the national press that this is an example of how “co-productions are important.” “There is an investment that we can hardly bear,” he says, throwing a question to the curator Catherine Ince: “How much time it took to assemble this exhibit?”. “Three years,” replies the curator of the Barbican. “But he already had some knowledge before.”
The World of Charles and Ray Eames is a selection of movies with the signing of the couple, photographs, drawings and objects. Among them, of course, the chairs that put them on the map of the design. One of them is one of the two prototypes that came out of the factory of fiber glass of the John A. Wills, and were marketed by Herman Miller.
“Each one cost $ 20, and Charles could only afford one, then left one of the prototypes, one in which the shell is glued into a garbage can, and that John Wills has used for 35 years”. The story is told by the grandson of the couple, Eames Demetrios, who is today front of the Eames Office, and manages an estate of more than a million items related to the life and work of Charles and Ray Eames. The curious model was discovered almost 50 years after it was designed in 1950.
The world of the couple opens the visitor with the most private of the elements: the reproduction of the letter of 1940, that Charles, a student at the academy of arts Cranbrook, in Michigan, send to colleague Ray. Announces that you are single again, that he loves her and wants to marry her as soon as you can, in spite of being bankrupt. Married in 1941.
Among the several films shown, the first appearance of the couple in the flat at the time that presents lounge chair and Ottoman. In the video, 1956, the interviewer comes to Ray as “the woman behind the success of the husband”. The exhibition, on the contrary, emphasizes the autonomy of the creative, displaying some of his solo works, such as fabrics, geometric pattern that were incorporated in the collection of the MoMA.
Charles died on 21 August 1978 and Ray marks the date in the pages of the journal that he keeps, with the initials of the husband. Dies on the same day, ten years later.
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