Est. June 12th 2009 / Desde 12 de Junho de 2009

A daily stopover, where Time is written. A blog of Todo o Tempo do Mundo © / All a World on Time © universe. Apeadeiro onde o Tempo se escreve, diariamente. Um blog do universo Todo o Tempo do Mundo © All a World on Time ©)

quarta-feira, 12 de maio de 2021

Janela para o passado - Casa Travassos, chuva de dinheiro... 1946

Objectos Cartier no Relógios & Canetas online


Acompanhe aqui ou aqui as novidades. Milhares de relógios e outros objectos de luxo mostrados na maior plataforma do seu género em língua portuguesa.


Brincos de ouro / Passatempo Carlton / Relógios & Canetas online

Tem até 31 de Maio para participar

Meditações - Um minuto conservador, um minuto liberal, dois minutos radicais

Cronómetros agora assinalam doença ou movimento político.

O tempo deixou de ser neutro, até os minutos tomam posição.

Um minuto conservador, um minuto liberal, dois minutos radicais.  

Gonçalo M. Tavares, Diário da Peste, 2020

terça-feira, 11 de maio de 2021

Relógios Sindaco, 1948


(arquivo Fernando Correia de Oliveira)

Janela para o passado - Pão Quente, Rossio, 1946

As canetas Graf von Faber-Castell no Relógios & Canetas online


Acompanhe aqui ou aqui as novidades. Milhares de relógios e canetas mostrados na maior plataforma do seu género em língua portuguesa.

Hoje - terceiro programa da série aC / dC - antes e depois do Coronavírus - parceria Ephemera / Museu de Ciência

AC / DC – ANTES E DEPOIS DO COVID – UM ANO DE PANDEMIA – AS MÁSCARAS (TRANSMISSÃO EM DIRECTO, TERÇA-FEIRA, 11 DE MAIO DE 2021, pelas 18h00) – COLABORAÇÃO EPHEMERA – MUSEU NACIONAL DE HISTÓRIA NATURAL E CIÊNCIA

O Arquivo Ephemera, em colaboração com o Museu Nacional de História Natural e da Ciência (MUHNAC), está a preparar a exposição “aC / dC” (antes e depois do Coronavírus). Neste terceiro programa de apresentação da iniciativa vamos ter a presença da Professora Marta Lourenço, responsável pelo museu, que vai falar sobre a parceria e a sua importância para a Comunicação em Ciência.

Depois, o tema do programa serão as máscaras – o objecto que, claramente, traduz e resume do ponto de vista iconográfico a crise pandémica. Alguma vez pensou que, para entrar num banco, teria que ir de máscara? A máscara tornou-se, além de equipamento protector, num objecto identitário – social, desportivo, político. Num suporte para mensagens de teor variado, até de estilo e moda.

José Pacheco Pereira estará à conversa com Luís Pinheiro de Almeida, da equipa da exposição, que tem coordenado o esforço do Arquivo Ephemera em recolher, não apenas em Portugal como no estrangeiro, máscaras de todo o tipo.

No total, o acervo do Ephemera já dispõe de mais de 330 máscaras, que farão parte da exposição “aC / dC”. No programa, serão mostradas algumas dezenas das mais curiosas e raras, bem como contadas histórias que estão por detrás delas ou da maneira como foram obtidas.

A exposição “a/c / dC” no MUHNAC, depois de adiada devido ao período de confinamento, deverá ser inaugurada já em finais de Junho, em data a anunciar. Ela vai mostrar o material recolhido desde há mais de um ano em Portugal e no estrangeiro sobre a pandemia, com o objectivo de preservar a memória de um evento que modificou o quotidiano de todos e faz pensar a forma como se fez, faz ou deverá fazer, nestes casos, comunicação em Ciência.

Terça-feira, 11 de Maio, às 18h00 – “aC / dC – Um ano de pandemia – As Máscaras”. Na página do Ephemera no Facebook, e depois no YouTube e nas restantes plataformas digitais, não só do Ephemera, como do MUHNAC.

Meditações - o instante entre os tiquetaques de um relógio

George Kubler escreveu em tempos: a actualidade “é o momento em que o farol fica escuro entre os clarões”; “é o instante entre os tiquetaques de um relógio”.

Gonçalo M. Tavares, Diário da Peste, 2020

segunda-feira, 10 de maio de 2021

Relógios Breitling, 1948


(arquivo Fernando Correia de Oliveira)

A Torres Joalheiros no Relógios & Canetas online


Acompanhe aqui ou aqui as novidades. Milhares de relógios mostrados na maior plataforma do seu género em língua portuguesa.

Janela para o passado - Restaurante do Porto, 1902

Meditações - Uma bala em cheio para travar o tempo

Na revolução francesa muitos começaram a disparar contra os relógios.

Levanto-me da cadeira, tomo banho.

Um tiro na nuca de um relógio.

Um tiro no rosto de um relógio.

Jeri, a golden, tem olhos melancólicos.

Roma, a pastora belga, tem olhos estupefactos.

Está sempre espantada.

Sol lá fora.

"Não se esqueça de acertar os relógios. A hora muda já este domingo."

Os homens na rua têm agora olhos estupefactos.

Estamos todos espantados.

Imagino funcionários de um governo a começarem a disparar sobre os relógios públicos.

Uma bala em cheio para travar o tempo.

Como se o tempo fosse o animal a caçar.

"Maracanã vai converter-se em hospital para acolher doentes."

EUA 116, Alemanha 33, Portugal 17, Inglaterra 115.

Uma amiga ao telefone diz-me: preciso de disparar em alguém.

Falo-lhe da história dos relógios.

A geração dos humanos com os olhos estupefactos.

Uma nova geração dos humanos.

Os humanos espantados.

O século XXI partido em dois por um vírus.

Dois séculos tem este século. 

 

Gonçalo M. Tavares

domingo, 9 de maio de 2021

Joalharia portuguesa de autor no MAAT e no Relógios & Canetas online


Acompanhe aqui ou aqui as novidades. Milhares de relógios e jóias mostrados na maior plataforma do seu género em língua portuguesa.

Janela para o passado - Casa Borges, Porto, 1902

Calibres, relógios Girard-Perregaux, 1955


(arquivo Fernando Correia de Oliveira)

Meditações - Auriez-vous la bonté de me dire quelle heure est-il?

Faisant ma promenade quotidienne, chaque jour je passais dans une rue etroite: chaque jour, une jeune fille svelte de dix ans me suivait, a distance, respectueusement, le long de cette rue, en me regardant avec des paupieres sympathiques et curieuses. Elle etait grande pour son age et avait la taille elancee. D'abondants cheveux noirs, separes en deux sur la tete, tombaient en tresses independantes sur des epaules marmoreennes. Un jour, elle me suivait comme de coutume; les bras musculeux d'une femme du peuple la saisit par les cheveux, comme le tourbillon saisit la feuille, appliqua deux gifles brutales sur une joue fiere et muette, et ramena dans la maison cette conscience egaree. En vain, je faisais l'insouciant; elle ne manquait jamais de me poursuivre de sa presence inopportune. Lorsque j'enjambais une autre rue, pour continuer mon chemin, elle s'arretait, faisant un violent effort sur elle-meme, au terme de cette rue etroite, immobile comme la statue du Silence, et ne cessait de regarder devant elle, jusqu'a ce que je disparusse. 

Une fois, cette jeune fille me preceda dans la rue, et emboita le pas devant moi. Si j'allais vite pour la depasser, elle courait presque pour maintenir la distance egale; mais, si je ralentissais le pas, pour qu'il y eut un intervalle de chemin, assez grand entre elle et moi, alors, elle le ralentissait aussi, et y mettait la grace de l'enfance. Arrivee au terme de la rue, elle se retourna lentement, de maniere a me barrer le passage. Je n'eus pas le temps de m'esquiver, et je me trouvai devant sa figure. Elle avait les yeux gonfles et rouges. Je voyais facilement qu'elle voulait me parler, et qu'elle ne savait comment s'y prendre. Devenue subitement pale comme un cadavre, elle me demanda: "Auriez-vous la bonte de me dire quelle heure est-il?" Je lui dis que je ne portais pas de montre, et je m'eloignai rapidement. 

Depuis ce jour, enfant a l'imagination inquiete et precoce, tu n'as plus revu, dans la rue etroite, le jeune homme mysterieux qui battait peniblement, de sa sandale lourde, le pave des carrefours tortueux. L'apparition de cette comete enflammee ne reluira plus, comme un triste sujet de curiosite fanatique, sur la facade de ton observation decue; et, tu penseras souvent, trop souvent, peut-etre toujours, a celui qui ne paraissait pas s'inquieter des maux, ni des biens de la vie presente, et s'en allait au hasard, avec une figure horriblement morte, les cheveux herisses, la demarche chancelante, et les bras nageant aveuglement dans les eaux ironiques de l'ether comme pour y chercher la proie sanglante de l'espoir, ballottee continuellement, a travers les immenses regions de l'espace, par le chasse-neige implacable de la fatalite. Tu ne me verras plus, et je ne te verrai plus!... Qui sait? Peut-etre que cette fille n'etait pas ce qu'elle se montrait. Sous une enveloppe naive, elle cachait peut-etre une immense ruse, le poids de dix-huit annees,et le charme du vice. On a vu des vendeuses d'amour s'expatrier avec gaite des iles Britanniques, et franchir le detroit.

Lautreamont

sábado, 8 de maio de 2021

As jóias Calvin Klein no Relógios & Canetas online


Acompanhe aqui ou aqui as novidades. Milhares de relógios e jóias mostrados na maior plataforma do seu género em língua portuguesa.

Janela para o passado - Restaurante Ventura, Porto, 1902

Calibres, relógios Mido, 1955


(arquivo Fernando Correia de Oliveira)


Trienal de Milão expõe "Os cidadãos", com o apoio da Fundação Cartier para a arte contemporânea


Decorre até 12 de Setembro, no âmbito da Trienal de Milão, a exposição Les Cytoyens, em colaboração com a Fundação Cartier para a arte contemporânea.

O comunicado:

Les Citoyens 
Guillermo Kuitca on the collection of the Fondation Cartier pour l’art contemporain May, 6 – September 12, 2021 

Triennale Milano 

With the works of: Absalon (Israel-France), Claudia Andujar (Brazil), Richard Artschwager (USA), Cai Guo-Qiang (China), Vija Celmins (Latvia-USA), Thomas Demand (Germany), Fernell Franco (Colombia), David Hammons (USA), Hu Liu (China), Junya Ishigami (Japan), Rinko Kawauchi (Japan), Guillermo Kuitca (Argentina), David Lynch (USA), Allan McCollum (USA), Isabel Mendes da Cunha (Brazil), Moebius (France), Moke (Democratic Republic of Congo), Daido Moriyama (Japan), Tony Oursler (USA), Artavazd Peleshyian (Armenia), George Rouy (England), Patti Smith (USA), Taniki (Brazil), Agnès Varda (France), Véio (Brazil), José Vera Matos (Peru), Virxilio Vieitez (Spain), Francesca Woodman (USA). 





Triennale Milano and the Fondation Cartier pour l'art contemporain present, from May 6 to September 12, 2021, the exhibition Les Citoyens created by Guillermo Kuitca. The Argentinian artist stages the works of 28 artists from the Fondation Cartier collection to explore the idea of the collective, the group, the community. 

A second exhibition presented as part of the partnership between the two institutions, Les Citoyens proposes, through the singular gaze of an artist, a journey into the memory of a unique collection. Les Citoyens, an artist's perspective At the invitation of Triennale Milano and Fondation Cartier pour l'art contemporain, 

Guillermo Kuitca presents a personal selection of 120 works from the Parisian institution's collection. From his unique perspective, the Argentinian artist stages installations, paintings, sculptures, ceramics, videos, and drawings to create a cosmogony composed of works, artists, animals, and objects where the human figure is often represented, in its relation to others and to the World. Exploring the idea of the group, the collective, the community through a wide variety of contemporary creations, most of which have never been shown in Italy, the exhibition offers the visitor a sensitive and surprising journey, rich in new aesthetic encounters. 

“The exhibition does not present anything homogeneous: it is a melting pot, a polyphony of elements and voices. It is about what is a community in the broad sense of the word, about the uncentered democratic aspect of all the works and the works in relation to each other.” 




 

Les Citoyens is a comprehensive creation, an exhibition-work for which Guillermo Kuitca signs not only the choice of the works, but also their spatial setting in resonance with the architecture of Triennale and his own pictorial universe. Shaped by the artist, the exhibition becomes a creation in itself. “It is interesting that this exhibition takes place in the building of Triennale Milano, a place that has opened the road to design. At some point of the project, when I was trying to design these spaces and to give an identity to the show, I also thought that being in Milan, a city where there is such an eye for design, could be inspiring, challenging, and somehow intimidating. I like to think that Les Citoyens is an act of design as much as an act of love”. 

Guillermo Kuitca 

As the second project presented within the framework of the partnership between Triennale Milano and the Fondation Cartier pour l'art contemporain, this exhibition is also an opportunity for both institutions to highlight the central role of art and design collections, the importance of preserving memory in order to think about the future. 

Ensembles, constellations, groups and communities 

“The exhibition is a community of artists that gather together around their work to create a work of art”. Guillermo Kuitca Through the eyes of an artist looking at his contemporaries, Les Citoyens invites us to follow a path where ideas of ensembles and constellations, of groups and communities harmonize with one another. A cosmogony of works, artists, animals and objects, the exhibition resembles a "solar system without sun", according to Guillermo Kuitca, who thinks of a journey without theme, center or hierarchy, but made of connections that "weave a network of senses and sensations". Thus, he brings the monumental drawings of Cai Guo Qiang closer to the film of Artavazd Peleshyan, which evokes a communion of animals whose vulnerability echoes the abstract presence of man in Fernell Franco’s photographs or the miniature society in the sculptures by Véio. Other works carry this omnipresent idea of constellations. 

The work of Agnès Varda, in its spatial device, echoes videos on an all-ages community of women; and chairs that invite visitors to gather in a fortuitous group of viewers. The gaze is also addressed in the installation by Tony Oursler which plunges the visitor into a forest of shamanic spirits. Or with the photographs of Daido Moriyama, who immerses the viewer in his studio through an installation made up of a multitude of polaroids. Immersion again in the 3D universe of the film by Moebius, who takes the human community to a new planet. If the human figure is often present in the works chosen by Guillermo Kuitca, as in the groups painted by Moke or George Rouy, or shaped by Isabel Mendes da Cunha, it has a silent character, a sort of presence-absence which resonates with more abstract ensembles such as the works of Richard Artschwager, Absalon, José Vera Matos or Thomas Demand. 

Abstraction and dissolving bodies are also present in the photographs of Francesca Woodman and the nudes by David Lynch, or found in the drawings of the Yanomami artist Taniki. The works of Rinko Kawauchi and Virxilio Vieitez evoke the universal idea of the family unit and the community of individuals and multiple temporalities that constitute it. 

With David Hammons, Junya Ishigami, Allan McCollum, Vija Celmins, Hu Liu, Guillermo Kuitca plays on the idea of combinations of elements, entities, units, on repetition and singularity, the whole and fragmentation. 

A choral work merging the worlds of Guillermo Kuitca, David Lynch and Patti Smith, the installation David's living-room revisited (2014-2020) is emblematic of the idea of community that is the leitmotif of the exhibition Les Citoyens. Like the photographs by Claudia Andujar at the end of the journey, which bring to mind the exhibition previously presented in these same spaces, it embodies the spirit of the Fondation Cartier and the ongoing conversation the institution has had for nearly 40 years with the artists. 

The collection, memory of the Fondation Cartier pour l’art contemporain 

The Fondation Cartier pour l'art contemporain is a private cultural institution whose mission is to promote contemporary art to the international public through a program of temporary exhibitions, live performances, and lectures. Created in 1984 by the Maison Cartier, its historic center is located in Paris in a building designed by the architect Jean Nouvel, a creative space for artists and encounters with the public. The exhibition Les Citoyens reflects the richness and uniqueness of its collection. Initiated with the institution's creation, it now includes more than 2000 works by 500 artists of 50 different nationalities and is distinguished by the singularity of the principles that guide its development each year. The vast majority of the collection is made up of works presented as part of the Fondation Cartier's programming and commissioned by the institution to artists. Reflecting its history, its programming choices, and its openness to the world in all its diversity, it retraces nearly 40 years of international contemporary creation, from African painting to Japanese and Bolivian architecture, from Italian design to the drawings of Amazonian artists, from the masters of American photography to young European visual artists. 




With Les Citoyens, Guillermo Kuitca marks the third chapter of his history with the collection inaugurated in Paris in 2014 with the exhibition Les Habitants. He revealed its spirit and distinctiveness, highlighting its close links with multiple geographies. In 2017, the Fondation invited him to write the sequel of the story in Buenos Aires with the exhibition Les Visitants presented at the CCK. For this second opus, he articulated the journey in a series of monographs, highlighting another feature of the collection that brings together large groups of works, substantiating the long-term relationship that the Fondation establishes with the artists. 

With Les Citoyens, Guillermo Kuitca has chosen as leitmotif for the exhibition the idea of community, playing throughout the spaces of Triennale Milano on the relationships between the works, the energy that unites them, the phrasing that articulates them. In a path conceived as a polyphony of works and voices, the exhibition offers, through the eyes of the artist, a journey into the memory of the Fondation Cartier pour l'art contemporain. 

Guillermo Kuitca, a major figure of the contemporary art scene Born in 1961 in Buenos Aires, Argentina, where he lives and works, Guillermo Kuitca began painting at an early age and had his first solo exhibition in 1974. In the 1980s, he developed a series of themes - architecture, theater, cartography - which have since then become the major focus of his work. Theater scenes, blueprints of theaters, road maps, pieces of furniture, compose a personal geography associating public spaces and intimate spheres, physical, mental or emotional territories. His career has been punctuated by solo exhibitions in the most prestigious international institutions, from the Museum of Modern Art (New York, 1991) to the IVAM (Valencia, 1993), the Whitechapel Gallery (London, 1995), the Centro Municipal de Arte Hélio Oiticica (Rio de Janeiro, 1999), the Museo Nacional Centro de Arte Reina Sofía (Madrid, 2003), and the Pinacoteca do Estado de São Paulo (2014). The artist represented Argentina at the Venice Biennale in 2007. In 2021, he presents two solo exhibitions at LaM in Villeneuve d'Ascq (France) and at the Museo Tamayo (Mexico City). Guillermo Kuitca's relationship with the Fondation Cartier dates back to the exhibition Guillermo Kuitca, Œuvres récentes presented in Paris in 2000. In 2014, 2017, and 2021, the Fondation Cartier entrusted him with three major exhibition projects based on its collection: Les Habitants (Paris, 2014), Les Visitants (Buenos Aires, 2017) and Les Citoyens (Milan, 2021). Triennale Milano / Fondation Cartier pour l’art contemporain Partnership Triennale Milano and the Fondation Cartier pour l'art contemporain initiated an eight-year partnership in 2019, to present together a program of exhibitions, lectures and live performances in the spaces of Palazzo dell'Arte in Milan. 

Following Claudia Andujar, The Yanomami Struggle, which inaugurated this collaboration in October 2020, Les Citoyens, Guillermo Kuitca on the collection of the Fondation Cartier pour l’art contemporain is the second exhibition presented as part of this partnership. This exhibition is an opportunity for the two institutions to converge on one of the themes that drives them, the central role of art and design collections and the need to preserve the memory of the future. In October 2021, Triennale Milano and Fondation Cartier will present the first solo exhibition in Italy of French filmmaker and photographer Raymond Depardon, La Vita Moderna. 

Related events 

To accompany the exhibition, Triennale Milano and Fondation Cartier will organize a number of special events including concerts, meetings with the artists, lectures and guided tours. The catalog On the occasion of the exhibition, Triennale Milano and Fondation Cartier pour l’art contemporain publish a richly illustrated catalog, conceived in close collaboration with Guillermo Kuitca. This bilingual Italian and English catalog of 316 pages presents the works by the 28 artists of the exhibition.






Meditações - naquela madrugada dele, que era meio-dia no meu relógio

Camilo Castelo Branco e J.C. Vieira de Castro criaram amizade especial, quando o romancista se refugiou na Casa do Ermo, solar ancestral da família do segundo, por aquele se encontrar em fuga devido aos amores com Ana Plácido, casada com Pinheiro Alves… E lemos “As Memórias do Cárcere”, “no ‘Ermo’ me esperava com os braços abertos e o coração no sorriso José Cardoso Vieira de Castro. Falseei a verdade. Vieira de Castro esperava-me a dormir naquela madrugada dele, que era meio-dia no meu relógio”.

Visto em https://e-cultura.blogs.sapo.pt/a-vida-dos-livros-859820

sexta-feira, 7 de maio de 2021

As jóias NOL no Relógios & Canetas online


Acompanhe aqui ou aqui as novidades. Milhares de relógios e jóias mostrados na maior plataforma do seu género em língua portuguesa.

Janela para o passado - Companhia União Fabril Portuense, 1902

Calibres relógios Eterna, 1955


(arquivo Fernando Correia de Oliveira)