concursos, exposições, curiosidades... sobre arte
escolhidos por MARIA PINTO
(Maria Regina Pinto Pereira)

sábado, 3 de dezembro de 2011

International Biennial Print Exhibit: 2012 ROC

The National Taiwan Museum of Fine Arts is pleased to invite national and international artists to participate in the International Biennial Print Exhibit: 2012 ROC. The aim of this juried biennial exhibition is twofold: firstly to encourage and promote the art of printmaking, and secondly to foster international cultural exchange. We believe that with the participation of talented artists from around the world, this event will serve as a key platform for artistic exchange and cultural collaboration, and help contribute to the diversity and vitality of print and print-related art.


1. All entries must be original prints on paper. The work must be completed in or after 2009, wholly original and not have been entered the previous International Biennial Print Exhibit ROC competitions.

2. All works submitted must be in line with the generalized definition of print i.e. original pieces of artwork which meet the “indirect” and “multiple art” characteristics of print. All printmaking techniques, including monotypes and digital prints, are accepted.

3. Submitted works, including composite works, should not exceed 150cm × 40cm in either direction and 20cm in depth.
4. Each entrant is allowed to submit one piece of work only. Co-authored works will not be accepted.

5. All entries must be authenticated by the artist (i.e. signed and dated) in an appropriate place. Artwork must NOT be framed.


The following prizes are offered in the competition:

Gold Prize (1) Award and prize money of NTD 400,000

Silver Prize (1)Award and prize money of NTD 200,000

Bronze Prize (1)Award and prize money of NTD 100,000

Special Jury Prize (2)Certificate and prize money of NTD 80,000 (each)

Merit Prize (5)Certificate and prize money of NTD 50,000 (each)

Honorable Mention (5)Certificate and prize money of NTD 30,000 (each)


1. Submission is open between 1st January and 1st February 2012. To be accepted as valid submission, the envelope's post mark should be no later than 1st February 2012. It should also be noted that submissions which arrive later than 1st March 2012 will not be accepted.

2. The application form can be downloaded from the official website of the competition at , or。

3. All entrants must send their original work along with the application form by post. Hand-delivered submissions will NOT be accepted. To enquire about a submission please visit the organizer's official website at

4. The submitted work must NOT be framed. Submitted work should be sent either in a thick cardboard poster tube or cardboard wrap to make sure it arrives safe.

5. All entrants should send their original work by post only. The submitting artist is responsible for the cost of postage, insurance and taxes. Hand-delivered submissions will NOT be accepted.

6. The application form, label A and label B should all be typed or handwritten clearly (in legible and readable capital letters only), and be sent along with the work. Incomplete, unsigned or illegible forms will not be accepted.


Please send your work, along with the complete and signed application form, to the following address:

International Biennial Print Exhibit: 2012 ROC

National Taiwan Museum of Fine Arts

No. 2, Sec. 1, Wu-Chuan W. Rd., Taichung 40359


Tel: (+) 886 4 2372 3552 ext. 706 or 305

Fax: (+) 886 4 2375 4730


Please download the file below for the further information .
  Related Files
International Biennial Print Exhibit: 2012 ROC (Chinese-English Version)
International Biennial Print Exhibit: 2012 ROC (Japanese Version)
Ms. Liu 04-23723552#305




The winner will receive $35,000 plus a bronze maquette of John Glover by Peter Corlett valued at $5,000. All other exhibited entries will be eligible for the People’s Choice Award of $3000. The exhibition of finalists’ paintings will be held at the Falls Park Pavilion in Evandale, Tasmania. The winner of the Glover Prize will be announced at the official opening on Friday 9 March 2012. The People’s Choice Award will be announced on the afternoon of Tuesday 13 March. The exhibition is showing from Saturday 10 to Tuesday 13 March. Entries close on 5pm Friday 20 January 2012.
Doug Hall AM is a long time advocate for contemporary art especially in Australia and Asia.
Jan Senbergs is a Latvian born artist living in Melbourne. His work is represented at the National Gallery of Australia and in all state galleries in Australia. Internationally his work is included in the collections of the National Gallery, Washington D.C; Wadsworth-Atheneum, Hartford, Connecticut; Museum of Modern Art, New York; and the Musuem of Fine Arts, Houston, Texas among others.
Dr Brigita Ozolins is an artist and an academic who lives and works in Hobart. She is currently a lecturer at the Tasmanian School of Art, University of Tasmania, where she has been teaching since 2000. Her commissions include a large scale project at MONA.
Download 2012 entry form (PDF file 254KB)


The prestigious Glover Prize is the richest landscape prize in Australia. It is awarded each year for the best new (previously unexhibited and less than a year old) painting depicting the Tasmanian landscape. The winner receives $35,000 and a maquette of John Glover.
The prize is dedicated to artist John Glover (1767-1849) because he is regarded as the father of Australian landscape. He was the most important 19th century landscape painter to work in Australia and lived the last 19 years of his life in Tasmania, not far from Launceston, near Evandale, the location of the annual Glover Prize.
The prize is acquisitive, the winning work is exhibited in Tasmanian public venues and then will be placed permanently on show in the Glover Gallery in Evandale due for completion in 2010.
A $3000 people’s choice prize is also voted on by the public from the exhibited entries.
The Glover Prize winner is selected from around 40 finalist works chosen by the jury for showing at the Glover Prize exhibition. The event, which has become a must- see, is held in the historic Falls Park pavilion in Evandale over the March long week-end. The winner is announced on the Friday evening at the opening of the show.
“The organization and management of this
project (the Glover Prize) would shame many
professional metropolitan galleries.”
Leo Schofield OAM, in The Bulletin, 29 March, 2005.

Rose Falkiner, Chair of the John Glover Society with Leo Schofield, the master of ceremonies, at the 2006 exhibition opening.
ABAF Awards
The Glover itself wins an award
The Australia Business Arts Foundation (AbaF) 2010 national awards have been announced, they reward business and the arts using best practice to achieve strategic partnerships that benefit the companies, arts organizations and the wider community.
The John Glover society, organizers of The Glover Prize and the Federal Group Tasmania, the Glover’s principal sponsor share the top honours in the Qantas Link Regional Award.
Receiving the award:(L-R): Julia Farrell, executive director, The Federal Group; Narendra Kumar, executive manager, QantasLink; and Rose Falkiner, chair, The John Glover Society.

Egon Schiele's unsalvageable ego, works from the Albertina on view at Munich's Kunstbau

Egon Schiele, Sonnenblumen, 1911. Albertina, Wien © Albertina, Wien.

Egon Schiele, Triestiner Fischerboot, 1912. Albertina, Wien© Albertina, Wien.

MUNICH.- Egon Schiele is one of the most popular modernist artists, who stands like almost no other for the close relationship between an artist’s work and life. His early tragic death, his turbulent friendship with his model Wally, and the Neulengbach affair, in which he was imprisoned for twenty-four days in 1912 for allegedly seducing a minor, have all led to ongoing public interest in his private life. His best-known works have therefore often been seen in terms of this narrow focus on the autobiographical – nudes of young women showing their sex in provocative poses, and seemingly pathological self-stylisation.

This exhibition in the Kunstbau of the Lenbachhauses opens up a new perspective on the work of this expressionist artist, by for the first time addressing Schiele’s philosophical view of the world. A large selection of watercolours and drawings from the Vienna Albertina – the world’s most significant collection of Schiele’s works on paper – makes it possible to present all the fundamental themes of his art. These show Schiele’s independent stance on important debates of his time, with his interest in the crisis of the individual around 1900 a major feature.

This exhibition thus focuses on crucial aspects of Schiele’s intellectual world, going beyond grouping his works by their motifs alone. It addresses questions of identity, Schiele‘s understanding of his role as a artist, and his thoughts on processes of perception, in which the influence of Japanese coloured woodcuts – hitherto unresearched – played a key role. By contrasting works of art with excerpts from Schiele’s poetical writings, his interest in these themes in various media is made apparent, and new and unusual perspectives on his pictures are revealed. Schiele’s self-portraits, for example, must be seen as attempts to comprehend the self as variable, an aspect which the artist also considered in several poems, and which coincides with contemporary ideas of shifting identity. This is not a vain turn to one’s own psyche, but a form of sensitivity towards various external impetuses that becomes clear in Schiele’s work.

There is also an historical reason for this Egon Schiele exhibition in the Lenbachhaus. In spring 1912 the Munich gallery owner Hans Goltz organised two simultaneous exhibitions. One of these was devoted to the Blue Rider (second exhibition, Black-White), and the other to Schiele. This was his first solo show abroad. Nearly one hundred years later the Austrian artist is again a guest in Munich, now in the Lenbachhaus, where he again is very close to the Blue Rider.

Experts reclassify painting as real Rembrandt after X-ray reveals outlines of a self-portrait

Rembrandt expert Ernst van de Wetering inspects the small painting 'Old man with beard' during the presentation of an up to now unknown painting by Dutch painter Rembrandt at the Rembrandt House Museum in Amsterdam, The Netherlands, 02 December 2011. The painting is, after research, attributed to the famous painter. EPA/OLAF KRAAK.

By: Toby Sterling, Associated Press

AMSTERDAM (AP).- Experts have reclassified a painting as a Rembrandt after years of attributing it to one of the Dutch master's students.

Ernst van de Wetering of the Rembrandt Research Project said Friday that X-ray analysis of "Bearded Old Man" has revealed outlines of a self-portrait of Rembrandt as a young man underneath.

He also cited stylistic analysis and circumstantial evidence in support of the conclusion that the painting — showing a man with unkempt white hair, lost in thought with just a hint of sadness — is by the Dutch master.

Van de Wetering dates the small (15 x 20 cm, 6 x 8 inch) but emotive painting to 1630, when Rembrandt van Rijn would have been 24 years old. Rembrandt's reputation as a portraitist was rapidly growing and he was preparing to leave Leiden for Amsterdam, which at that time was enjoying its golden age as a major naval power.

Van de Wetering said that the style and quality of the painting itself provide the strongest arguments for its authenticity, but the existence of the underlying portrait was important too.

"The light is typically Rembrandt in that it is so totally convincing: you perceive it as if you are looking at reality and not at a painting," he said.

"That was one of Rembrandt's great, great interests and also where he was so extraordinarily gifted, at portraying light so convincingly."

Classifying the painting as an authentic Rembrandt fills a hole in his historical record — a 1633 painting exists with an inscription that says it is a copy of "Bearded Old Man" by the Dutch master.

"Bearded Old Man" belongs to an unidentified private collector. It will go on display May-July of next year at the Rembrandt House Museum in Amsterdam, where the finding was announced Friday.

Van de Wetering collaborated with restorer Martin Bijl and technology professors Joris Dik of the Delft University of Technology and Koen Janssens of the University of Antwerp, among others in the reclassification.

Researchers used at least five different kinds of X-ray scans to analyze the chemical makeup of pigments in the painting and probe its hidden layers of paint. The scans were done at the Brookhaven National Laboratory in New York and ESRF in Grenoble, France.

Rembrandt produced hundreds of paintings, etchings and drawings, but new finds are extremely rare. However, four works formerly attributed to his students — a talented group in their own right — have been reclassified as by Rembrandt since 2008, often with the help of new technology.

Copyright 2011 The Associated Press.

A close up view of an up to now unknown painting by Dutch painter Rembrandt at the Rembrandt House Museum in Amsterdam, The Netherlands, 02 December 2011. The small painting 'Old man with beard' is after research attributed to the famous painter. EPA/OLAF KRAAK.

sexta-feira, 2 de dezembro de 2011

Storytelling in Japanese Art - Unfurling a Thousand Years of Gods, Demons and Romance

Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations
A detail from "The Tale of Gio," one of the hand scrolls in "Storytelling in Japanese Art" at the Metropolitan Museum of Art. More Photos »


Unfurling a Thousand Years of Gods, Demons and Romance

“Storytelling in Japanese Art,” at the Metropolitan Museum of Art, is a captivating combination of show and tell, read and look. Curatorially speaking, the exhibition takes us gently in hand and, through text panels, captions and diagrams, reveals the narrative side of Japanese art with memorable clarity.

    The Metropolitan Museum of Art, Fletshcer Fund
    Illustrated Legends of the Kitano Tenjin Shrine, from the 13th century. More Photos »

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    It has been organized by Masako Watanabe, a senior research associate in the Met’s Asian art department, and while installed in the museum’s Japanese permanent-collection galleries, it is a temporary show full of significant loans. Illuminating the tales played out in a lavish assortment of hand scrolls, hanging scrolls, screens and books, the exhibition, with its explications and elucidations, gives didacticism a good name. It deserves return visits, especially for its second rotation, starting Feb. 8, when, due to fragility, several hand scrolls will be wound to different scenes and five screens will be replaced by others.
    The show contains more than 100 works that span mostly from the 13th to the 19th centuries. At its core are some 20 hand scrolls, or emaki, an ingenious medium evolved from the illustrated sutras that began landing in Japan from China in the eighth century as part of the spread of Buddhism. While full of wonderfully observed natural details, Japanese hand scrolls, unlike their Chinese precedents, developed less as vehicles for pure landscape than as stages on which to unfurl human dramas of all kinds, in something like real time and space. In the hands of Japanese artists the scrolls were tantamount to primitive films. Their fluidity, emotional expressiveness and sense of action and lived experience give them an uncannily contemporary immediacy.
    This is established at the start of the show with a masterpiece: the five scrolls known as the “Illustrated Legends of the Kitano Tenjin Shrine,” a sublime example of Chinese-style ink painting highlighted with translucent washes of color from the 13th-century Kamakura period. Acquired in 1925, these scrolls constitute one of the Met’s great paintings, but they have never been exhibited together before, and this alone makes “Storytelling in Japanese Art” a must-see.
    With seductive intimacy the scrolls recount the life and turbulent afterlife of Sugawara Michizane, a ninth-century poet-statesman said to have died of a broken heart after being unjustly slandered. The tale includes the destruction unleashed by his angry spirit (floods, fire, shattered buildings, some of it delivered by a magnificent black-clad thunder god) and the dangerous journey to hell and back by Nichizo, an intrepid acolyte sent to divine how to placate Michizane. (It takes a temple.)
    Nichizo’s pictorially breathtaking odyssey involves help from both monks and demons, a pause to pray in a cave (dragon notwithstanding) and braving a fabulous fire-breathing monster with eight heads and nine tails who guards the fiery furnace that is hell. All this is played out in a sparsely limned landscape whose mutations from gentle to spiked to lunar make it a star in its own right.
    A similarly spare, evocative landscape also figures in “A Long Tale for an Autumn Night,” another ink-and-color painting from around 1400. Its anguished plot concerns an aspiring monk’s love for a beautiful boy and ends, as this genre usually did, with the death of the boy, who is revealed to be a manifestation of the bodhisattva Kannon.
    “Storytelling in Japanese Art” is not a historically thorough survey. Its main goal is to follow the mingling of different narrative and pictorial genres and styles. Its arrangement is as much thematic as chronological, with groupings of different works from different centuries attesting to the continuing attraction that certain stories exerted on the imagination.
    In the section devoted to “The Tale of Genji,” the 12th-century novel that is among Japan’s greatest contributions to world literature, for example, modest books and hand scrolls are grouped around a pair of Edo-period screens by the 16th-century master Kano Soshu like small craft around a magnificent ocean liner.

    And early in the exhibition En No Gyoja, the legendary founder of a mountain-based asceticism combining aspects of Shinto and Buddhist beliefs known as Shugendo, moves through several mediums, including intentional hanging scrolls and what might be called accidental ones, those made from fragments excised from hand scrolls and mounted on textiles, as well as intact hand scrolls. He is especially appealing in a Kamakura-period hand scroll fragment about the history of the Jin’oji Temple. It shows him in a garden with low-flying clouds conversing with a local deity, while a visiting Korean god alights on the top of a pine tree, causing one of En No Gyoja’s loyal servant-demons to fall to his knees.

    From there the show traces the pictorial life of various cherished narratives from medium to medium. Sacred tales about building temples or the spiritual evolution of semidivine beings give way to celebrations of rulers’ lives, epic military battles or endlessly triangulating romances whose female participants usually pay the price. In the late-16th-century hand scroll “The Tale of Gio” the title character, a dancer, generously allows another woman to perform for her patron in a green-carpeted pavilion, and of course her life ends up in ruins. Here, as in later works throughout the show, free-hand ink painting gives way to stiffer figuration and bright opaque colors, and open landscapes are more and more punctuated by steeply tilted buildings whose sumptuous interiors become central.
    Partly because of the exhibition’s placement in the permanent-collection galleries, Ms. Watanabe has supplemented the scrolls, books and screens with works in other mediums. A lacquer box and a kimono decorated with images of books suggest the high value placed on literature, and lacquer stirrups and saddles are placed near several screens recounting historic battles that had assumed mythic status in Japanese culture. They teem with mounted soldiers and archers and, according to the label, can depict up to 80 separate episodes.
    If you wonder what a six-legged red-lacquer storage case is doing in the show, look no farther than the pair of painted screens next to it. On one a nearly identical case is boldly outlined in ink. According to the label a brave samurai cut off the arm of a wicked demon and hid it the case, until the demon returned in the guise of the warrior’s mother and tricked him out it. On the second screen the demon, rendered larger than life with exaggerated vigor, is shown speeding away, clutching her lividly red arm. The work’s creator, Shibata Zeshin (1807-91), was known internationally during his lifetime as a master of lacquer; a nearby preparatory study for the image is just as large, but less strained.
    The same storage case, this time in black, appears in the show’s final gallery in “Night Parade of 100 Demons,” where it is being torn apart by one of the hand scroll’s wonderfully grotesque creatures in an effort to free several more of his ilk trapped inside. This final gallery is dominated by depictions of anthropomorphized animals, among them the frolicking creatures on a 12th-century hanging scroll that was excised from a set of 12th-century hand scrolls revered in Japan as one of the starting points of manga. Also here is “The Tale of Mice,” one of several impressive loans from the New York Public Library, with its cast of well-dressed white rodents. One wonders if Art Spiegelman knew of its existence when he undertook “Maus,” his graphic novel of Jewish mice and Nazi cats.
    “The Tale of Mice” is one of many points in “Storytelling in Japanese Art” where you may find yourself wondering if Japan, despite its small size, has contributed far more than its share to today’s popular culture. There is no hard science by which to arrive at a definitive answer. Still, this fascinating show reverberates with that tantalizing possibility.

    Projeto EducaCine Ambiental

    Projeto EducaCine Ambiental

    Dia 15 de dezembro de 2011, das 14h30 às 17h, na UMAPAZ

    Para refletir sobre consumismo, estilo de vida e sustentabilidade, a UMAPAZ convida a todos para a exibição do documentário “SURPLUS: terrorized into being consumers”.

    Neste documentário o diretor e produtor Erik Gandini realiza uma ácida crítica à extravagante cultura consumista e aos sistemas políticos e produtivos vigentes, onde governos e corporações impõem ideologias e comportamentos que propagam padrões de produção e consumo insustentáveis.

    Os mais graves problemas ambientais contemporâneos decorrem de um sistema econômico global caracterizado pela produção e pelo consumo sempre crescentes e insustentáveis, pois esgotam e contaminam os recursos naturais, além de perpetuar as desigualdades entre as nações.

    As festas natalinas se aproximam e apresentam uma boa oportunidade para refletirmos não somente sobre o seu significado espiritual, mas também sobre a ansiedade coletiva pelo consumo, nem sempre de bens necessários. É neste momento que a principal característica da moderna sociedade capitalista fica mais evidente, qual seja, ser uma "sociedade de consumo". A compra compulsiva de mercadorias supérfluas, influenciada pela publicidade agressiva, designa o consumismo enquanto uma orientação cultural que leva as pessoas a encontrarem significado, satisfação e reconhecimento através daquilo que consomem.

    O projeto EducaCine Ambiental acontece mensalmente na UMAPAZ, trazendo filmes e documentários com temáticas socioambientais, visando proporcionar conhecimentos e espaço de debates para o desenvolvimento de uma postura reflexiva e ativa frente aos desafios contemporâneos.

    Dia e Horário: 15 de dezembro, quinta-feira, das 14h30 às 17h.
    Filme: “SURPLUS: terrorized into being consumers”.
    Direção e Produção: Erik Gandini - Direção e Produção: Erik Gandini – Ano 2003
    Duração: 52 minutos - faixa etária: LIVRE
    Local: UMAPAZ – Av. IV Centenário, 1268 – portão 7A, Parque Ibirapuera - Tel.: (11) 5572-1004
    Coordenação: Valério Igor Victorino e Nadime Boueri Netto Costa
    Não é necessária inscrição. Pede-se chegar com 15 minutos de antecedência 

    Ex Libris, Símbolo de Identidade - Julieta Warman

    gravura em relevo | Julieta Warman

    coordenação: Julieta Warman

    O Ex Libris é uma estampa impressa de pequena dimensão que se adere ao verso da capa de um livro como marca de identidade de uma biblioteca ou coleção particular, para indicar e assinalar ali a propriedade do livro. Nele  figuram, além da palavra Ex Libris, o nome do proprietário ou Instituição, e uma ou diversas imagens, geralmente de caráter alegórico e simbólico, que representam e identificam o o dono.

    Ex Libris em latim significa: ‘livro de…’, ‘dentre os livros de…’. O Ex Libris tem se desenvolvido conjuntamente com os livros, intrinsecamente unidos. Mas a partir da metade do século XIX, com o surgimento da imprensa como indústria, em que o livro passa a ser objeto de produção massiva, populariza-se e vai perdendo o valor de objeto, o Ex Libris deixa de funcionar como marca de propriedade dos livros, e passa a ser un objeto de arte de coleção, uma Obra de Arte em Pequenas Dimensões.

    Neste curso se dará uma aproximação à história do Ex Libris com uma introdução teórica, para logo mergulhar na confecção de uma peça dedicada a alguém particular, levando em conta as técnicas mais apropriadas para esta obra de Pequena Dimensão. Nesta ocasião, a técnica utilizada para a realização do Ex Libris será de Gravura em Relevo.

    dias 8, 12 e 15 de dezembro, das 19h às 22h
    10 vagas (mínimo de 5 pessoas)

    R$ 200 por pessoa (pagamento adiantado)
    Material incluso
    Aberto a profissionais e amadores que querem conhecer a técnica e a história do Ex-Libris. Os participantes receberão certificado.

    Inscrições pelo email: ou pelo telefone 11 2373 0224

    Saiba mais sobre Julieta Warman em 

    Atelier Piratininga

    SEND ME A MERMAID - artepostal


    When you come back from your holidays at the seaside,
     bring a mermaid along and send it to me.

    Whether you saw her, drew her, photographed her, 
    imagined her or whether the sea inspired her to you;
     even if somebody told you about her

    If you spent your holidays inland then 
    let your imagination run and


    Size: 10 cm x 15 cm
    Deadline: May 1st, 2012
    All artworks will be exposed at:

    Send your mermaid to:

    Carlos Botana
    Avda. Gral. Sanjurjo, 62 - 2º
    15006 - A Coruña

    Si vous avez passé vos vacances sur la côte, 
    amenez une sirène avec vous et envoyez-la-moi.

    Si vous l'avez vue, dessinée, photographiée,
     imaginée ou si la mer vous
    en a inspiré, même si vous l'a raconté


    Et si vous avez passé vos vacances à la campagne,
     laissez voler vôtre imagination et


    Grandeur: 10 cm x 15 cm
    Envoyer avant le 1 mai 2012
    Toutes les travaux seront exposés à

    Envoyer votre sirène à:

    Carlos Botana
    Avda. Gral. Sanjurjo, 62 - 2º
    15006 - A Coruña

    Todos los artes recibidos 
    serán publicados en este blog

    a partir del dia 1 de Agosto de 2011
    Gracias por anticipado a todos los participantes