Viagens

Francisco Rocchini, Sintra. Palácio de Seteais (1873, Arquivo de Documentação Fotográfica / DPIMI/DGPC)

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« Le seul véritable voyage, ce ne serait pas d’aller vers de nouveaux paysages, mais d’avoir d’autres yeux, de voir l’univers avec les yeux d’un autre, de cent autres, de voir les cent univers que chacun d’eux voit, que chacun d’eux est ».

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Marcel Proust, À la recherche du temps perdu, in Danielle Mérian (Pref.), Paris sera toujours une fête, Gallimard, 2016, p. 59.

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Nota: Já tinha colocado esta citação aqui no blogue, mas incompleta. Descobri-a de novo no livro Paris sera toujours une fête, que me me foi amavelmente oferecido pela Paula e o Rui Lima. A propósito da frase, deixo também umas referências aos locais por onde eu e o meu marido passámos, depois de nos casarmos, desde a Noite de Núpcias até à Lua de Mel.

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Elliott Erwitt, Budapest, Hungary (1964)

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Bernardo Bellotto, The Belvedere from Gesehen, Vienna (1759, Kunsthistorisches Museum, Vienna)

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Rudolf von Alt, View of the Old Town Square with the Church in Prague They (1843)

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Edouard Cortes, Sacred Heart of Paris

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Rennes - Avenue Janvier (Miles Blaine Collection)

Sobre exposições e museus

Elliot Erwitt, The Metropolitan Museum of Art, New York City (1988)

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«(...) exhibitions need to ask interesting questions, even unanswerable questions, instead of handing us tidy answers»
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Ralph Rugoff, 2010.

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Elliott Erwitt, Museo del Prado (1981)

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«The system of an exhibition organizes its representations to best utilize everything, from its architecture which is always political, to its wall colorings which are always psychologically meaningful, to its labels which are always didactic (even, or specially, in their silence), to its artistic exclusions which are always powerfully ideological and structural in their limited admissions, to its lightning which is always dramatic (…) to its curatorial premises which are always professionally dogmatic, to its brochures and catalogues and videos which are always literacy-specific and pedagogical directional, to its aesthetics which are always historically specific to that site of presentation rather than to individual artwork’s moments of production. In other words, there is a plan to all exhibitions, a will, or teleological hierarchy of significances, which is its dynamic undercurrent» (Bruce Ferguson, 1996).

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Elliott Erwitt, Versalhes (1975)

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Ambas as citações foram retiradas da tese de Raquel Pereira, Curadoria de exposições de arte contemporânea em contexto museológico no século XX - O Museu da Fundação de Serralves, FCSH-UNL, 2013 - disponível online.