"Flying Celestial" et "Silk Road Fantasy" est extrait de l'album "Silk Road" 1 1981

Julian Hartley presents his final pitch for the Mapping Creativity project Manchester Beacon will award a £25k commission to the winner of the project Vote for your favourite at www.btween.co.uk

This uptown branch of the Metropolitan Museum of Art is worth the 45-minute subway ride from midtown (plus a pleasant 10-minute walk through Fort Tryon Park.) Perched on the tip of Manhattan, on four acres overlooking the Hudson River, the castle-like Museum is comprised of five Medieval cloisters imported from France and filled with art and artifacts. It is the largest single collection of medieval art and artifacts in the United States. The Cloisters, as described by Germain Bazin, former director of the Musée du Louvre in Paris, "the crowning achievement of American museology," is devoted to the art and architecture of medieval Europe. The Museum building itself incorporates portions of original medieval chapels, monastic cloisters, a chapter house, and other architectural elements dating from the 12th through 15th centuries. Perhaps the most celebrated attractions are The Unicorn Tapestries, a group of seven wall hangings that vividly portray the mythological hunt and capture of a unicorn. Other gallery objects include religious sculptures, water vessels shaped like animals, illuminated manuscripts, stained glass and ivories. Approximately five thousand works of art from medieval Europe, dating from about A.D. 800 with particular emphasis on the twelfth through fifteenth centuries, are exhibited in this unique museum. Many visitors come for the building itself: one room recreates a 12th-century chapel, The Fuentiduena Chapel, and another, the Chapter House (from Notre-Dame-De-Pontaut). The chapter house was so named because the monks would sit and listen to one monk read one chapter aloud from the monastic rule book. All of the business of the monastery and even group confession also took place in the chapter house. The monastery gardens are as breathtaking as the vistas overlooking the Hudson. The herb garden in the Bonnefont Cloister contains more than 250 species of plants which were grown during the Middle Ages. Its design is typical of a medieval monastery garden plan, but no attempt was made to replicate any one monastic garden in particular. Some kind of ceremonies or rituals accompany the picking of herbs. Some herbs were to be picked at sunrise, while looking towards the east, in silence, or without looking behind oneself. Many of these herbs are associated with love, others used for cooking and seasoning, and still others for artistic purposes. A tour of this place truly imparts a feeling of being in another time.

Isola&Norzi sculptor duo alias Hilario Isola (6/10/1976) graduated in Art History and Museology at Torino Literature and Philosophy University. And Matteo Norzi (7/27/1976) is graduating in Architecture at Torino Politenico College. They have been working together since 1999. They live and work in Torino, Italy. Solo shows 2007 Finisterrae, 2006 Sonno, curated by Valentina Bonomo, Valentina Bonomo arte contemporanea, Roma and Isola e Norzi, curated by Marco Vallora, San Michele in Ripa Grande, D.A.R.C., Roma, Italy. Reent Group Shows Detour Moleskine, curated by Raffaella Guidobono , ADC Art Directors Club New York; Gemine Muse, Le armi del potere, curated by Olga Gambari at Armeria Reale, Torino; Arte e Mecenatismo, curated by Rossana Denicolai, Palazzo Sannazzaro, Casale Monferrato AL; Collettiva, curated by Marilena Bonomo, Galleria Bonomo, Bari; Due, curated by Raffaella Guidobono e Maria Chiara Valacchi, (h)films, Milano, Italy; Genius Loci, curated by Guido Curto, Castello di Racconigi (CN) .

Two characters go for a drive before arriving at an Antony Gormley Sculpture Garden, their obsession with filming and posing however doesn't go down well with everyone. Made as part of a 2nd year animation joint project between NSAD and the SCVA/UEA museology degree. All the films made for it will appear in an online exhibition soon.

Excerpts from the collection. The following is a carefully assembled narrative of vintage photographic works - some reprinted from glass plate negatives, most original prints in albumen, gelatin silver, etc. These works are part of a larger collection which was the original inception of the gallery, whose theme was 'disaster photography'. Since then things fell into place in order to set up as a contemporary art and photography gallery. A sister gallery is also opening in Berlin early in 2009. Apart from the obvious (see website), we are also extremely interested in offering public programs to museum staff, collectors, artists and afficionados alike on subjects ranging from conservation and museology to cult movements and film. Please, again, see the website for more details. Thanks for your time and we'd LOVE to hear feedback from you!

A science museum or a science centre is a museum devoted primarily to science. Older science museums tended to concentrate on static displays of objects related to natural history, paleontology, geology, industry and industrial machinery, etc. Modern trends in museology have broadened the range of subject matter and introduced many interactive exhibits. Many if not most modern science museums - which increasingly refer to themselves as 'science centres' or 'discovery centres' - also put much weight on technology.

A museologia dessacralizando o objeto

These are excerpts from the current exhibition. Apologies for the extremely poor level of detail visible in this format! Please visit the website http://www.c4gallery.com if you wish to see more. information on the current shows including the work of Matthew Betcher and Frank (Francis) Poole are available there. Please check it out! Also note: our SECOND gallery is also opening in Berlin Germany early in 2009. Apart from the obvious (see website), we are also extremely interested in offering public programs to museum staff, collectors, artists and afficionados alike on subjects ranging from conservation and museology to cult movements and film. Please, again, see the website for more details. Thanks for your time and we'd LOVE to hear feedback from you! We are located in Hollywood, California

EXCLUSIVE: Josiah McElheny discusses his film Conceptual Drawings for a Chandelier, 1965 (2005), shot at The Metropolitan Opera in New York. Josiah McElheny creates finely crafted, handmade glass objects that he combines with photographs, text, and museological displays to evoke notions of meaning and memory. McElheny's work takes as its subject the history of Modernism and the impact it has made on society, aesthetics, and contemporary thought. Josiah McElheny is featured in the Season 3 (2005) episode "Memory" of the Art:21—Art in the Twenty-First Century television series on PBS.

The Museum of Olympiacos opened its doors on the 14th of May 2006, the day that Olympiacos conquered once again one of its many doubles in the Greek Football Competition: the National Cup and the National Championship. Olympiacos C.F.P. is the largest multi-athletic organization in Greece and one of the largest in the world. It was founded in 1925 in the city of Piraeus, the biggest port of Greece. Olympiacos C.F.P. has activities in 17 different competitive departments all of which are prominent and have won many distinctions around the world: Football, Basketball, Men's and Women's Volleyball, Men's and Women's Water Polo, Track and Field, Swimming, Sailing, Wrestling, Weightlifting, Boxing, Rowing, Canoe Kayak, Table Tennis, Tennis, Shooting. The total number of athletes is more than 3,800, the ranks of which include Olympic winners and World Champions. The Museum of Olympiacos is hosted in the renewed Stadium George Karaiskakis (www.karaiskaki.gr), and was designed and implemented with museological and scientific principals. The Museum of Olympiacos is a place where the visitor can learn about Olympiacos C.F.P., its teams, its athletes and its people, the city-port of Piraeus, the Hellenic Football and Sports, as well as the history of Football and Sports.

Born: 1972, Eureka, California Lives and Works: Los Angeles At the root of Matthew Monahan's sculptures and drawings are physical attributes common to all humans: the face and the body itself. He draws on our investment in the function and form of things that we habitually have made to resemble ourselves--whether dolls and puppets, effigies and totems, statues and figurines, busts, masks, and other prostheses or those objects into which bodies may have transformed, such as relics, trophies, and mummies. Composed and "decomposed" from a wide variety of materials, particularly carved floral foam and beeswax, the body as it emerges from Monahan's direct sculptural process is rarely a complete entity. Torsos, heads, and limbs are repeatedly broken or punctured as if the sculptures were made up of ransacked icons, and his charcoal drawings of faces are typically torn or crumpled into three dimensional forms. Plinths, pedestals, and the transparent structures that often integrate or encase these grotesque bodies are characteristically incomplete and further lend Monahan's work the dual sense that museological piety and violent iconoclasm have both been set loose. --- Life on Mars, the 2008 Carnegie International Widely known as one of the pre-eminent international surveys of contemporary art in the world, the Carnegie International was founded at the behest of industrialist Andrew Carnegie in 1896. With the Venice Biennale, the Carnegie International is the oldest such exhibition in the world. Titled "Life on Mars", the 2008 Carnegie International will focus on the increasingly relevant question of what it means to be human in the world today. The exhibition presents work by 40 artists who investigate particular aspects of the human condition, moving along paths that are both introspective and worldly while poetically traversing the dramatic spectrum from tragedy to comedy.

EXCLUSIVE: Josiah McElheny discusses his installation The Alpine Cathedral and the City-Crown (2007) at the Museum of Modern Art in New York. Josiah McElheny creates finely crafted, handmade glass objects that he combines with photographs, text, and museological displays to evoke notions of meaning and memory. McElheny's work takes as its subject the history of Modernism and the impact it has made on society, aesthetics, and contemporary thought. Josiah McElheny is featured in the Season 3 (2005) episode Memory of the Art:21—Art in the Twenty-First Century television series on PBS. VIDEO | Producer: Wesley Miller & Nick Ravich. Camera & Sound: Nick Ravich. Editor: Jennifer Chiurco. Artwork courtesy: Josiah McElheny. Thanks: The Museum of Modern Art, New York. VIDEO | Producer: Wesley Miller & Nick Ravich. Camera & Sound: Nick Ravich. Editor: Jennifer Chiurco. Artwork courtesy: Josiah McElheny. Thanks: The Museum of Modern Art, New York.

Josiah McElheny creates finely crafted, handmade glass objects that he combines with photographs, text, and museological displays to evoke notions of meaning and memory. McElheny's work takes as its subject the object, idea, and social nexus of glass. Influenced by the writings of Jorge Luis Borges, McElheny's work often takes the form of historical fictions. Josiah McElheny is featured in the Season 3 episode "Memory" of the Art21 series "Art:21 -- Art in the Twenty-First Century". For more information: http://www.pbs.org/art21 © 2005-2007 Art21, Inc. All Rights Reserved.

This design is for an urban transit hub at Largo di Torre Argentina in Rome, Italy. Considerations were given to archaeological sites, pathways of transit, and pedestrian protection. Like most of Rome, archaeological ruins can be found about 20 feet below street level. Specifically at this site, four pagan temples were buried. After being uncovered decades before, the ruins began to act like a building in scale, access, and urban treatment. A nearby and related temple has small museum, the Crypta Balbi, which lets viewers descend into the ancient layer. This proposed urban hub also pays homage to the ruins it protects in a museological fashion. Space for temporary and permanent exhibitions is made available at the ancient ground level. Several means of transit exist in the area. Corso Vittorio Emanuele II is a major highway for motorists just north of the site. Buses and taxis use a widened area of the street as an opportunity to stop and pick up passengers. Another bus stop is located south of the site and a railed tram terminates just west of the site. Construction has already begun on a subway that will travel 80 feet below the ancient ruins and have a scheduled stop near the site. Each of these modes of transportation has accommodations by the urban transit hub. The aggressive Roman motorists pay little heed to their pedestrian counterparts. Crossing the street can be a dangerous cat-and-mouse affair. This design helps the disenfranchised walkers by tunneling under the street for crosswalks, which also double as subway and tramway passages. The space that the street vendors and performers once occupied becomes an indoor public space that overhangs the widened street. The multiplicity of forces, be them archeology, transit, or pedestrian paths, form a complex network of movement around the site. These forces are represented by a ribbon-like façade that is drawn out of the subterranean, weaves through the stratification of time and forces, and culminates in a knot around the volume of the site. The existing complexity gains representation, function, and unity. Design and animation by Drew Weinheimer 2006