O Quebra-Nozes (Щелкунчик - Shchelkunchik) é um dos três balés que Tchaikovsky compôs. Foi estreado em 17 de dezembro de 1892 no Teatro Mariinsky, em São Petersburgo, então a capital da Rússia imperial.
O balé se passa na casa de Clara numa noite de Natal.
Ato I
O ballet conta uma história em que a fantasia e magia, típicas do romantismo, contam as aventuras de um quebra-nozes de aparência humana, vestido como um soldado, mas que tem as pernas e a cabeça de tamanho desmensurado.
A protagonista, Clara, gostava tanto da sua aparência que o pediu como presente de Natal ao seu padrinho. Assim, o padrinho Herr Dosslmeyer, fabricante de relógios, disse: "Era precisamente para ti". Logo em seguida, Clara experimenta-o e vê que ele quebra as nozes sempre sem perder o seu sorriso e também com grande eficácia. Seu irmão Fritz, que tinha visto o funcionamento do quebra-nozes, também quis usá-lo, mas escolhe as nozes maiores que havia no cesto. Então, o quebra-nozes, sendo usado grosseiramente pelo irmão dela, acaba tendo um de seus braços quebrados.
Diante das reclamações da pobre Clara, seu pai, o juiz Stahlbaun, entrega à filha o seu quebra-nozes como propriedade exclusiva, tendo Fritz que sair para brincar com os seus brinquedos.
Logo em seguida, Clara pega no chão o braço de quebra-nozes e o consola, abraçando-o até que ele durma, e ela mesma também acaba dormindo.
Clara então sonha que volta ao esconderijo onde havia colocado o seu quebra-nozes, mas encontra o salão cheio de ratazanas enormes que o seu padrinho Dosselmeyer criou. A casa desapareceu e no lugar onde ficavam os móveis estavam árvores gigantescas.
Não foi só isso que mudou: o Quebra-Nozes de Clara agora é um soldado de carne e osso e que tem às suas ordens um pelotão de soldados como ele.
Começa uma batalha entre as ratazanas e o pelotão do Quebra-Nozes. Jogando enormes sapatos até às ratazanas, os soldados vencem a batalha, e com isso o rei das ratazanas e seu exército fogem rapidamente.
O bosque se transforma numa linda estufa de inverno e o Quebra-Nozes transforma-se num lindo príncipe, que leva Clara até o Reino das Neves, onde a apresenta ao rei e à rainha.
Ato II
Clara e o príncipe Quebra-Nozes despedem-se e seguem para o Reino dos Doces pelo Caminho da Limonada, onde pastéis de todos os reinos do mundo dançam com os dois.
Depois desse sonho tão mágico e fantástico, Clara acorda e percebe que havia sonhado, e fica triste por isso. Assim, vai se despedir do padrinho mago, que tinha ido para casa na companhia do sobrinho. Então, para surpresa de Clara, o tal sobrinho é na verdade o príncipe Quebra-Nozes.
Última actualización del presente documento: 9.6.2018
El presente documento tiene como propósito proveer material referente al quehacer profesional y contribución personal de Mariano Akerman en áreas de cultura y educación. El material es presentado por órden geográfico y cronológico.
Referentes
Argentina
1. "Un poema de Jorge Luis Borges, ilustrado por Mariano Akerman", Revista EM, Buenos Aires, July 1981, portada
2. Buenos Aires, Galería RG en el Arte, Mariano Akerman: Transformaciones de fibras y cuentos dulces, catálogo, marzo 1986
3. Sasegur, Monique. "Mariano Akerman: Un mensaje vital", La Actualidad en el Arte, Buenos Aires, mayo-junio 1986, p. 58
4. Buenos Aires, Universidad de Belgrano, Centro de Estudios para Graduados, Mariano Akerman: De cáscara y contenido, catálogo, septiembre 1988
5. Buenos Aires, Banco Francés del Río de la Plata, Mariano Akerman, afiche, septiembre 1988
6. Buenos Aires, Bank of Boston Cultural Foundation, Diez pinceles por aguas profundas, afiche y catálogo, septiembre 1989
7. J.N., "Art," The Buenos Aires Herald, 1989
8. Pociello, Teresita. "Mariano Akerman", Óleo y Mármol, Buenos Aires, 12-23 septiembre 1989, p. 3, ilus.
9. "Artes Plásticas," Diario del Viajero, Buenos Aires, 11 octubre 1989, p. 1, ilus.
10. Liebermann, Silvia. "Aguas Profundas", El Cronista Comercial, Buenos Aires, 27 septiembre 1989, suplemento "Ocio & Negocio," p. 1, ilus.
11. [Moreno, Marcelo]. "Arte Crítica", Somos, 18 octubre 1989, p. 22
12. Buenos Aires, Banco Mayo, Continente y Contenido, afiche, mayo-junio 1990
13. Buenos Aires, Galería de las Golondrinas, Mariano Akerman, reseña, junio 1990
14. Chanca, Hilda. "Un joven pintor" (entrevista), Clubs & Countries, No. 15, Buenos Aires, septiembre 1990
15. Dolinsky, Dolly, e Hilda Chanca. Enseñanza-aprendizaje: una experiencia comunicacional, Buenos Aires: Universidad Argentina John F. Kennedy, 1990, portada y p.1
16. Buenos Aires, Centro Cultural San Martín, Pasos, catálogo, octubre 1990
17. Buenos Aires, Banco Provincia, Artes Plásticas, reseña, noviembre 1990
18. Martínez, Alfonso Corona. Ensayo sobre el proyecto, Buenos Aires: CP67, 1990, p. 83
19. Buenos Aires, S.H.A., Cielo de proyectos, marzo 1991
20. Díez, Fernando E. Buenos Aires y algunas constantes en las transformaciones urbanas, Buenos Aires: Editorial de Belgrano, 1996. ISBN 950-577-177-0
21. Martínez, Alfonso Corona. The Architectural Project, Tejas: Texas University Press, 2003, p. 50. ISBN 1-58544-186-4
22. Museo Nacional de Bellas Artes, Buenos Aires. "Conferencias. Ciclo sobre arte belga: pintura, música y arquitectura - Akerman, Bardin, Grementieri," Programación MNBA, Abril 2005
23. Porteño el Filete, Carlos Santos (sitio oficial), Buenos Aires, 20 abril 2010
24. Antonela Casco, "Ser y no ser: identidad en el arte de Francis Bacon", News BAC Online, Buenos Aires: British Arts Centre y Asociación Argentina de Cultura Inglesa, 20 septiembre 2013
Filipinas
1. Embassy of Belgium, Manila. "Art Historian Mariano Akerman's Travelling Lectures", 1830-2005: 175 Years Belgium, enero 2005
2. Embassy of Belgium, Manila. The Belgian Contribution to the Visual Arts: From Van Eyck to Magritte, by Mr. Mariano Akerman, afiche y catálogo, mayo 2005
3. Orosa, Rosalinda L. Sundry Strokes, The Philippine Star, Manila, 18 mayo 2005
4. Belgian Art Lecture, DLSU Newsletter, Vol. XXXVII, No. 4, De La Salle University Manila, 14 junio 2005, Faculty News
5. Leon, Joel de. Lectures, Workshops and Events This Week: Suggestive Paradoxes, Ateneo de Manila University, 29 junio 2005
6. Tullao, Jocelyn. "Masterpieces of Belgian Art from Van Eyck to Magritte," UST Museum of Arts and Sciences, University of Santo Tomas, Manila, 1 julio 2005
7. Manila, The National Museum, Belgian Art: Images from the Belgian Collection in Manila & Here,There, Everywhere: Paintings and Drawings by Mariano Akerman, julio-agosto 2005
8. Garcia, F.C. Istilo ng sining Belgium, tinalakay sa exhibit, The Varsitarian, vol. LXXVII, No.3, 6 agosto 2005 [+]
9. Acosta, Carmencita H. An Appointment with Art, What’s On & Expat, Vol. XXIII, No. 32, 7 agosto 2005, p. 12
10. Orosa, Rosalinda L., Significant Up-Dates, The Philippine Starweek, Sunday Magazine of The Philippine Star, Vol. XIX, No. 26, 7 agosto 2005, p. 15, illus.
11. Guia, Lady Camille L. de. Thomasians win in Essay Tilt, The Varsitarian, Vol. LXXVII, No. 4, 9 septiembre 2005
12. Girault, Jean-Paul. "Les constellations intérieures: Mariano Akerman," Alliance Française de Manille Program, octubre-diciembre 2005, p. 3 B-2
13. Compass, 24/7 Nocturnal Navigator, Vol. 3, No. 4, Manila, noviembre 2005
14. Les Constellations Interiéures, Circuit, Vol. 2, No. 2, Manila, noviembre 2005, Exhibits
15. Girault, Jean-Paul. Les Constellations Intérieures Exhibit by Mariano Akerman, The Daily Tribune, Manila, 6 noviembre 2005
16. Lerma, Ramon E.S. Arts: Mariano Akerman, The Philippine Star, Manila, 7 noviembre 2005, p. F3
17. Ramos, Machelle. "Interview with Mariano Akerman," National Broadcast Net, TV canal 4, Filipinas, 18 noviembre 2005, "The Morning Show" y "Teledyaryo"
18. Mariano Akerman, The Foreign Post, Vol. XII, No. 667, Manila, 24 noviembre 2005, p. 4
19. Les Constellations Intérieures: Mariano Akerman, Wins News, 24 noviembre 2005
20. Salvan, Maryvonne. A la découverte d’un artiste !, EIS Letter (European International School Newsletter), No. 3, 15 diciembre 2005, PDF, p. 5 [+]
21. Markovic, Annika. "Events: Linnaeus 2007", Embassy of Sweden, Manila, 15 diciembre 2006
22. Embassy of Sweden, Manila. In the Spirit of Linnaeus: The Tercentenary Lectures on Science and Art, by Mr. Mariano Akerman, Researcher and Lecturer, catálogo, enero-febrero 2007
23. Länkar - Links, Linnaeus 2007, sitio oficial, Suecia, 2007
24. "In the Spirit of Linnaeus," EU News (Delegation of the European Commission to the Philippines), Vol. 4, No. 4, diciembre 2006, p. 13
25. Jumnongjit, Rapeepat. In the Spirit of Linnaeus, Scandasia, 11 enero 2007
26. Ultvedt, Inger. 60 Years of Diplomatic Relations between Philippines and Sweden and the 300th Anniversary of the Birth of Carl Linnaeus, Scandasia Thailand, 11 enero 2007
27. Defensor, C. Jude. "The Light of Linnaeus," What’s On & Expat, 21 enero 2007, Local News
28. Leon, Joel de. Ateneo Art Gallery holds Artspeak, Ateneo de Manila University, 22 enero 2007
29. Jumnongjit, Rapeepat. Linnaeus's Series of Events To Be Continued, Scandasia, 1 febrero 2007
30. Banès, Xavier. Linnaeus 2007, EIS Letter (European International School Newsletter), febrero 2007, PDF, p. 4 [+]
31. Romulo, Beth Day. Win a Trip o Sweden, Philippine Panorama, Weekly Magazine of The Manila Bulletin, 18 febrero 2007, pp. 16-17
32. Macaraig, Twink. Interview with Friedrik Agerhem and Mariano Akerman, ABS-CBN News, TV channel 27, Philippines, 23 febrero 2007, "Take One"
33. Presson, Maria. Linné i Taytay, Hoppets Stjärna, Scandinavia, 6 marzo 2007
Brasil
1. Rio de Janeiro, Consulate of Belgium, Programa Estimulo Vesalius: Anatomia da Arte — A Obra da Arte como Estrutura Interdisciplinar Expressiva, julio 2015
2. Urca, Rio de Janeiro, Universidade Federal do Estado do Rio de Janeiro, Escola da História, VI Jornada de Estudos Medievais: A Cultura Medieval para além da Cristandade Latina, ed. Paulo André Leira Parente y Miriam Cabral Coser, agosto-septiembre 2015
3. Fernanda Míguez Bastos, O legado sefaradita nas artes visuais | El legado sefaradita en las artes visuales, Instituto Cervantes, Rio de Janeiro, septiembre-octubre 2015
4. Iván Augusto Briceño Linares, "Educación: Llegar al hueso del asunto", A puerta cerrada, Bogotá, 25 de septiembre de 2015
5. Mauro Band, Ciclo Acervo e Memória, Informativo ASA, 1 de octubre 2015
6. Giovanni Maria Ponta di Colnago, Vesalius: O Homem no Centro, Instituto Italiano de Cultura do Rio de Janeiro, 5 de octubre de 2015
7. Sara Gruman, Ciclo Acervo e Memória, ''Boletim ASA'', 26 de octubre de 2015: Novidades
8. Sebastián D'Alessio, Palestra "Sonhos de Pintores e Configurações do Imaginário" de Mariano Akerman, Consulado General de la República Argentina, Río de Janeiro, noviembre de 2015
9. Rio de Janeiro, Pontificia Universidade Católica, Em Diálogo: 50 Anos da Declaração Nostra Aetate, 3 de noviembre de 2015
10. Em Diálogo, Notícias PUC-Rio, 6 de noviembre de 2015 (+)
11. PUC-Rio realiza seminário Em Diálogo, Assesoria de Comunicação Social PUC-Rio, Rio de Janeiro, 8 de noviembre de 2015
12. Julia Cruz, ed., Em Diálogo, PUC Urgente, № 1281, Rio de Janeiro, 9-15 de noviembre de 2015, p. 7
13. Olívia Nielebock y Dayane Barbosa, Diálogo, Jornal da PUC, Rio de Janeiro, 11 de noviembre de 2015
14. Rio de Janeiro, Espaço Alcazar, Expressões em Copacabana, junio de 2016.
Tierra Santa
1. Ahuva ben Chorin, "Masoret ve Chidush", Mifgashim, Merkaz Kehilati Beit HaKerem, Jerusalén, abril-mayo 2017
2. Abstract to "Gilgulei Heacher Bamischak Haomanuti shel Francis Bacon," in: Emma Fanner Maayan, "Mifgashim im Heacher: Hamuflah, Hamesakren ve-Hamesukan," Haifa: University of Haifa, 12 June 2017, fol. 4v.
3. Jerusalem, The Consulate General of Belgium, Tradition and Innovation in Belgian Art: Masterpieces of Mimesis and Fantasy, 5 July 2017.
4. "Mariano Akerman: Entre ciel et terre, voyage à travers l'art français", Institut français de Jérusalem Romain Gary, March 2018 (WB).
5. "Mars 2018, moins de la francophonie: Conférence Beaux-Arts: Bruxelles fin de siècle par Luis Mariano Akerman", Institut français de Jérusalem, March 2018 (WB).
6. "Mars 2018, moins de la francophonie: Conférence Entre ciel et terre, voyage à travers l'art français par Luis Mariano Akerman", Institut français de Jérusalem Chateaubriand, March 2018 (WB).
7. "Conférence de Mariano Akerman: Entre ciel et terre, voyage à travers l'art français", Institut français de Jérusalem Chateaubriand: Open Agenda, 12 March 2018 (WB).
8. Katty-Clara Bisraor Ayache, "À la page fête sa naissance", En direct de Jérusalem, 29 April 2018.
MARIANO AKERMAN
Arquitecto e Historiador del Arte | Investigador | Disertante
Nacido en Buenos Aires, Argentina, en 1963
EDUCACIÓN
Arquitecto, especializado en Comunicación Visual; proyecto de graduación: Naturaleza del espacio y límites de la arquitectura moderna, 1987
Historiador del Arte; tesis: The Grotesque in Francis Bacon's Paintings, 1999 (con honores)
Idiomas. Español, francés e inglés. Adquiriendo portugués
Áreas de especialización
• Investigador y disertante experimentado
• Organizador de jornadas y eventos culturales
• Consultor en áreas de educación y pedagogía
• Docente: lenguas española, francesa e inglesa
EXPOSICIONES DE PINTURA
1979 Ministerio de Educación, República Argentina
1984 Casa de la Pintura Argentina, Buenos Aires
1986 Galería RG en el Arte, Buenos Aires
1987 Feria de Artes, Barcelona, España; International Arts Exhibition, Shizuoka, Japón
1988 Universidad de Belgrano, Buenos Aires
1989 Galerías Pacífico, Buenos Aires; Alliance Française de Buenos Aires; Bank of Boston Cultural Foundation, Buenos Aires
1990 Centro Cultural San Martín, Buenos Aires; Banco Federal Argentino; Galería de Arte Contemporáneo de la Asociación Latinoamericana de Artistas Plásticos; Banco Holandés Unido, Buenos Aires
1991 Galería St Margaret, Buenos Aires
2003 Oakwood Premier Ayala Center, Makati City, Manila, Filipinas
2005 The National Museum, Manila; Alliance Française de Manille
2006 Ateneo de Manila University, Quezon City
2007 Residence of Sweden, Manila
2008 IFWA Center, Islamabad, Pakistán
2010 Residence of Belgium, Islamabad (por invitación)
CURSOS(dados por Akerman)
1985-90 Comunicación Visual; Teoría de la Comunicación; Forma y Communicación; Diseño 1-2-3; Teorías del Diseño y Percepción Visual; Psicología del Espacio; Metodología de la Investigación
1992-95 History of Art
1998-99 How to Read a Work of Art; Tradition and Innovation: Renaissance Art; Watercolor
1999-2000 Art Fundamentals; Cómo apreciar una obra de arte; Modern Art in Revolutionary Times; Artists’ Dreams and Imagination in the Arts; Calligraphy and Poster Design; Design of Educational Devices; Scenography and Costume Design.
2000-1 Art Fundamentals; Introduction to the History of Art; Introduction to Classical and Medieval Art; Tradición e innovación: arte renacentista; The Explicit and the Implicit in Western Art; How to Understand a Modern Artwork; Select Issues in Modern Art: Design; Calligraphy and Poster Design; Design of Educational Devices; Scenography and Costume Design; Watercolor
2001-2 Introduction to History of the Art; Foundations of European Art; Introduction to Classical and Medieval Art; Tradición e innovación: arte moderno; Modern Art in the Age of Pluralism; Calligraphy and Poster Design; Design of Educational Devices; Scenography and Costume Design
2002-3 Art Fundamentals; Fine Arts: Europe and America; Arte de América precolombina y latinoamericana; Art: Modernity and Post-Modernity; Select Issues in Modern Art: The Human Body; Calligraphy and Poster Design; Foundations of European Art; Meeting Modern Art; Art of the American Continent; Educational Exhibitions in School Environments
2010-12 Art in the Picture; Francés: nivel superior; Español: niveles inicial e intermedio
CONFERENCIAS Y CICLOS EDUCATIVOS
"Hurva en el proyecto de Louis Kahn," Universidad de Belgrano, Buenos Aires, 1997 Ser y no ser, Universidad de Belgrano, 1999
1 "Francis Bacon y lo Grotesco"
2 "Aspectos grotescos del arte de Bacon"
3 "El juego de Bacon"
"Contrastes entre arte tradicional y arte moderno", Casa Argentina, 1999
"Lo espiritual en el arte: imágenes inspiradas en la Biblia y artistas como profetas", Casa Argentina, 2001
"Realidad e imaginación en la pintura belga", Museo Nacional de Bellas Artes, Buenos Aires, 2005 The Belgian Contribution to the Visual Arts, Filipinas, 2005
1 "Belgian Art," Belgian Residence, Manila
2 "The Marvel of Belgian Art in Renaissance and Modern Times," University of the Philippines, Quezon City
3 "Bosch and Magritte: Imagery of Reality and Fantasy?, " De La Salle University, Manila
4 "Masterpieces of Belgian Art from Van Eyck to Magritte," University of Santo Tomas, Manila
5 "Suggestive Paradoxes: Symbolism and Surrealism in Belgian Art," Ateneo de Manila University, Loyola Heights Campus
6 "Tradition and Innovation in the Visual Arts of Belgium: From Compassion to Provocation?," National Museum of the Philippines, Manila
"Arte Argentino," Ateneo de Manila University, 2006 (imágenes) In the Spirit of Linnaeus: The Tercentenary Lectures on Science and Art, Filipinas, 2007
1 "In the Spirit of Linnaeus," Residence of Sweden, Manila
2 "Carl Linnaeus: Exploration, Creativity and System," British School, Manila
3 "The Art of Linnaeus: From Curiosity to Apotheosis," University of Santo Tomas, Manila
4 "Linnaeus: A Creative Person in the Age of Reason," European School, Parañaque
5 "Linnaeus: Nature Exploration and Knowledge Systematization," International School, Manila
6 "Linnaeus and the Rara avis Phenomenon," Ateneo de Manila University, Quezon City
7 "The Art of Classification: Linnaeus' Passion and System," Lyceum of the Philippines University, Intramuros
8 "Classification: A Fundamental Tool?," Mahatma Gandhi International School, Pasay City
9 "Nature and Art: Species Exploration in the Spirit of Linnaeus," De La Salle University, Manila
10 "Linnaeus and Order: Nature and Its Architectural Projections," Far East Aero-Technological University, Manila
11 "Linnaeus' Systematic Approach to Nature and Its Implications," Hoppets Stjärna School, Taytay
12 "A Tribute to Carl Linnaeus as Homo universalis," Swedish Residence, Manila Discovering Belgian Art, Pakistán, 2008-9
1 "Belgian Art: Reality and Fantasy," Alliance Française de Karachi
2 "Tradition and Innovation in the Visual Arts of Belgium," IFWA Center, Islamabad
3 "The Marvel of Belgian Art and Its Diversity," National College of Arts, Lahore Raisons d'être: Art, Freedom and Modernity, Pakistán, 2010
1 "Variante o Cambia todo cambia," National University of Modern Languages, Islamabad
2 "Exploring Pictures is Cool," International School Islamabad
3 "Vers l'art libre et moderne," NUML, Islamabad
4 "Art from Belgium," Residence of Belgium, Islamabad
5 "Art in the Picture," Islamabad College of Arts and Sciences
6 "Creativity in French Art," Beaconhouse National University, Lahore
7 "French Avant-Garde Art," NCA, Lahore Argentinean Art, Pakistán, 2010
1 "Argentinean Art in Context," Arts Institute, Islamabad
2 "Art from Argentina," International School, Islamabad German Art, Pakistán, 2010
1 "German Art, Its Peculiarities and Transformations," Embassy of the Federal Republic of Germany, Islamabad
2 "The Artist, Modernity and German Society: Between Criticism and Approval," National College of Arts, Rawalpindi
3 "The German Contribution to the Modern Visual Arts, 1500-1933," Quaid-i-Azam University, Islambad
4 "Reality and Imagination in the Visual Arts of Germany," Fatima Jinnah Women University, Rawalpindi
5 "Art History: The German Case," Islamabad College for Girls. Shape and Meaning: The German Contribution to the Visual Arts, Pakistán, 2010
1-2 "Looking at Pictures and Learning from Art" and "The Grotesque in German Art: Its Nature, Transformations and Importance in Aesthetics," Islamabad College for Girls
3 "Modern Art," Post-Graduate College for Women, Rawalpindi
4-5 "The Bible and the Visual Arts" and "Bible-inspired Symbolism in German Art," Khatoon-e-Fatima School, Islamabad
"Visual Communication" y "Power in the Picture," COMSATS Institute of Information Technology, Islamabad, 2011 Tradition and Innovation: Art and Architecture as Structures of Consciousness, COMSATS University, Islamabad, 2011
1. Tradition and Innovation
2. Classicism
3. The Illustration
4. Functionalism
5. Pluralism Gestalt Educational Program: Theory and Design in the Age of New Objectivity, Pakistán, 2011
1. "The Gestalt Program as Meaningful Configuration," The Swiss Residence
2-3 "The Theory of Perceptual Organization" and "The Bauhaus," Islamabad College for Girls
4 "Gestalt in the Collage," International School Islamabad
5 "La idea de collage y su relación con el todo integrado," National University of Modern Languages
6 "Collage et intégration : La théorie de la Gestalt et les arts visuels modernes," Alliance Française d'Islamabad
7-8 "Gestalt Theory and Bauhaus Design" and "The Interplay Form and Function in the Age of New Objectivity," COMSATS University
9 "Artistic Expressions from The Golden Twenties," Seminaire des Arts
10-11 "Gestalt and Education" and "The Bauhaus and the Emergence of Functionalism," Post-Graduate College for Women, Rawalpindi
12 "The German-Swiss Contribution to the Age of New Objectivity: On Erich Mendelsohn and Paul Klee," Embassy of Germany, Islamabad
"French Modern Art," Alliance Française d'Islamabad
PREMIOS Y DISTINCIONES
1979 Premio Cantegril, Punta del Este, Uruguay
1980 Premio Consejo Nacional de Educación, Argentina
1981 Distinción C.N.H., Tigre, Provincia de Buenos Aires
1983 Premio Berlinerblau en Diseño Gráfico, Buenos Aires
1987-88 Distinciones en Arquitectura, Universidad de Belgrano
1988 Estímulo Banco Francés del Río de la Plata, Buenos Aires
1989 Distinción del "Bicentenaire de la Révolution Française," Alliance Française de Buenos Aires
1991 Premio en Comunicación Visual del ABN-AMRO Bank, Ámsterdam, Holanda
1995 Beca del British Council para investigación en Historia del Arte, Londres, Gran Bretaña
2005 Laborum Praemia, Embajada de Bélgica en Manila
2006 Certificado por difusión del arte argentino, Ateneo de Manila University
2007 Distinción de Santo Tomas University, Manila; Certificado en Artes y Ciencias, Lyceum of the Philippines University, Intramuros; Premio Mahatma Gandhi International School en Educación Interdisciplinaria Education, Pasay City; Distinción Feati University en Arquitectura, Santa Cruz, Filipinas; Certificado y Laborum Praemia de la Embajada de Suecia en Manila
2009 Premio en Educación, The National College of Arts, Lahore, Pakistán
2010 Certificado por Actividades Didácticas, International School Islamabad; Certificat de Mérite, Francophonie 2010; Premio en Comunicación Visual, National University of Modern Languages, Islamabad; Laborum Praemia, Alliance Française de Lahore; Fatima-Jinnah University Token of Friendship, Rawalpindi; Premio en Enseñanza de Francés y Español, Alliance Française d'Islamabad
PUBLICACIONES
1. "The Evocative Character of Louis Kahn's Hurva Project, by Luis Mariano Akerman", The Real and Ideal Jerusalem in Jewish, Christian and Islamic Art: Abstracts of the Fifth International Seminar on Jewish Art, CFJA, 1996.
2. "La Sinagoga Hurva en el proyecto de Louis Kahn," Ideas en Arquitectura, ed. Alfonso Corona Martínez, Vol. 1, No. 1, Buenos Aires: Universidad de Begrano, marzo 1997, pp. 6-9, ilus.
3. "The Evocative Character of Louis Kahn's Hurva Project," en: The Real and Ideal Jerusalem in Jewish, Christian and Islamic Art, ed. Bianca Kühnel, Jerusalén, 1997-98, ilus., ISBN 965-391-007-8, pp. 245-253.
4. "Bacon: Painter with a Double-Edged Sword," Blue Chip Magazine, Islamabad, 2012, ilus.
5. "A Passion for Hope through Imagination" (en colaboración con Hanniya Abid), Blue Chip Magazine, Vol. 8, No. 89, Islamabad, marzo-abril 2012, pp. 18-24, ilus. (Versión castellana: Pasión por la esperanza a través de la imaginación).
REFERENTES. Para fuentes y material bibliográfico referente al quehacer de Mariano Akerman en el área de cultura y educación, véase el siguiente documento.
Moro num país tropical
Abençoado por Deus
E bonito por natureza
Em fevereiro, tem carnaval
Eu tenho um fusca e um violão
Sou flamengo e tenho uma nega chamada Tereza
Sambaby sambaby posso não ser um band leader, pois é
Mas lá em casa todos meus amigos me respeitam, pois é
E essa é a razão da simpatia, do poder e da alegria
Traduccionespor Mariano Akerman
Castellano rioplatense
Vivo en un país tropical
Bendecido por Dios
Y hermoso por naturaleza
En febrero es (el) carnaval
Tengo un 'escarabajo' [VW] y una guitarra
Soy [hincha de] Flamengo y tengo una 'negra' llamada Tereza
Sambaby sambaby podré no ser líder de una banda, es verdad
Pero en casa todos mis amigos me respetan, así es
Y ese es el motivo de la simpatía, el poder y la alegría
Français
Je vis dans un pays tropicale
Béni par Dieu
Et beau par [sa] nature
En février, on a le carnaval
J'ai un 'scarabée' [VW] et une guitare
J'adore Flamengo et j'ai une copine qui s'appelle Tereza
Sambaby sambaby peut-être je ne suis pas le chef d'une bande, c'est ça
Mais chez moi to us mes amis me respectent, c'est ça
Et cela est la raison de la sympathie, le pouvoir et la jouissance
English
I live in a tropical country
Blessed by God
And beautiful in its nature
In February, there is carnival
I have a VW beetle and a guitar
I support Flamengo and have girl named Tereza
Sambaby sambaby I may not be a band leader, it's true
But at home everybody respects me, it's true
And that's the reason for kindness, power and joy
Cidade maravilhosa, cheia de encantos mil,
eu queria ir na praia, só que não tô com tempo.
favela
beleza
polícia
fatal
papel
azul
senhora
minha
tenha
tinha
vítima
útil
tímido
ótimo
último
janela jeito
beijo
rápido rua
carro
garrafa
agora
garota
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fazer
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hoje
filme
filho
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radio dinheiro
leite
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chegar chuva chocolate
Natal
Junho
acredito
sozinho
casal
legal
joelho
forte
de
o
diabo
esporte
pássaro
time
qualquer
rio
vermelho
futebol
verde
chato
depois
maconha
divertido
vídeo
culpa
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melhor
geral gíria
somente
dizendo entrevista
emprego
homem
bem
antes
ficando
dança
campeão
lição
irmã
amanhã
questões
nações
exito
exacto
deixar
lixo
reflexo
sexual
paz
três
português
faz
talvez
contam
falam
voltam
pegaram
trouxeram
viram
obter
súbstituir psicólogo
realmente
branco
ontem
imagem
coraçoes
mAe
mim
paixão
gente
xadrez
mas
Japão
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Developed by Architect and Art Historian Mariano Akerman
Karachi, Islamabad, Lahore
Pakistan, 2008-2010
Invitation to Art-Appreciation Lectures
Pakistan, 2008-9
Art Appreciation Lectures
with the auspices of the Royal Embassy of Belgium
Discovering Belgian Art
1. Alliance Française de Karachi, 13 June 2008
2. IFWA Center, Islamabad, 18 June 2008
3. The National College of Arts, Lahore, 11 April 2009
Art from Belgium
Royal Residence of Belgium, Islamabad, 30 March 2010
References
1) Tchikovani, Alexandre. "Conférence: La découverte de l’art belge - The Discovery of Belgian Art," Alliance Française de Karachi, May-June 2008, p. 11, illus.
2) Danka Team, Art Historian Mariano Akerman revealing the Originality and Singularity of Belgian Masterpieces, Danka, Karachi, 13 June 2008
3) Time Out: Today, The Daily Times, Vol. V, No. 163, Karachi, 13 June 2008, sect. B, p. 2, illus.
4) Hussain, Shahid. The Discovery of Belgian Art, Doodh Patti, 13 June 2008
5) Peerzada, Salman. Karachi: Between Reality and Fantasy, Dawn News, Karachi, 14 June 2008
6) Art-Appreciation Lecture by Mariano Akerman: Discovering Belgian Art, Alliance Française d’Islamabad, 18 June 2008, Cultural Activities
7) Soriano, Mylene. "June 26: Discovering Belgian Art," United Nations Community Bulletin, Islamabad, Vol. 12, No. 13, June 2008, p. 1
8) "Engagements: Belgian Art," Dawn Metropolitan, Islamabad, 26 June 2008, p. 19, illus.
9) Malik, Hasnat. "Lecture on Belgian Artwork," The Post, Islamabad, 27 June 2008, p.2, col. 3
10) Iqbal, Jonaid. "Art Historian highlights Cultural Diversity Genesis," Business Recorder, Islamabad-Lahore-Karachi, 27 June 2008, p. 8
11) Abbas, Anwar. “Artist endevours to promote Art and Culture," The Post, 2 July 2008, sect. B, p. 2
12) Discovering Belgian Art, by Mariano Akerman, Alliance Française, Lahore, 11 April 2009, Cultural Events
13) Lahore: Discovering Belgian Art, A Lecture by Mariano Akerman, Daily Times, 11 April 2009, supplement Time Out, p. 10
14) Rahim, Qudsia. Mariano Akerman: Discovering Belgian Art at the NCA Auditorium, Danka, Lahore, 11 April 2009
15) Alliance Française, Islamabad. Raisons d'être: Art, Freedom and Modernity, brochure, March-April 2010
16) Alliance Française and Embassy of Belgium. Islamabad, Residence of Belgium, Les raisons d'être, March-April 2010
17) In Sun Choi, "Art from Belgium, An art-appreciation conference by Mariano Akerman," IFWA, 8 April 2010
18) Hyatt, Ishrat. Art Historian delivers Lecture at IFWA Fundraiser, International The News, Pakistan, 30 March 2010, City News, p. 20
19) Barbero, Igor G. Un pintor argentino educa a través del arte en Pakistán, Noticias EFE, Pakistán-Cultura, 20.4.2010; online:ABC, ADN, ArteFe, Canal Patrimonio, Diario Vasco, Hoy, Ideal, La Rioja, La Verdad, Las Provincias, Sun-Sentinel, Terra, Univision (all retrieved 21.4.2010); printed edition: Diario de Ibiza, 21.4.2010, p. 46; Periòdic d'Andorra, 21.4.2010, p. 7.
20) "Manifestarse en Pakistán a través del arte," Noticias EFE, video, 20.4.2010 - MSN Latino, Diario de Bergantinos, ADN.ES, Salamanca en Directo.
21) Xornadas de Akerman en Paquistán. Entrega de premios ó mellor collage en Islamabad, Galicia Hoxe, 20.4.2010, Mundo (23.4.2010).
22) Barber, Igor. "Un pintor argentí educa a través del'art," Periòdic d'Andorra, La Tribuna (12.5.2010).
Danka, 11.4.2009
Art historian delivers lecture at IFWA fundraiser International The News, 30.10.2010
Isn't the world an example of variety and diversity? Mariano Akerman, Composition IV, collage, 2012
A Passion for Hope through Imagination. Article by Hanniya Abid, based on conversations with Mariano Akerman; published as "Art: A Passion for Hope through Imagination," Blue Chip Magazine, ed. Mashaal Gauhar, Vol. 8, Issue 89, Pakistan, March-April 2012, pp. 18-22. Ref. Mariano Akerman's art: its origins and sources of inspiration, style, and contents, art exhibitions, and critics' response. Translated into Spanish as Pasión por la esperanza a través de la imaginación.
Blue Chip Magazine. Launched in 2004, Blue Chip has emerged as Pakistan’s premiere business magazine. Featuring the latest economic data as well as regular telecommunications, energy, capital markets and industry updates, Blue Chip has become an indispensable decision making tool within all levels of the private and public sectors. The magazine currently has a circulation of 6,000 copies a month primarily to Pakistan’s private sector including all levels of the financial sector from junior executives to senior management, all levels of industry including the telecommunications, energy, textiles and IT sectors. Blue Chip is also widely circulated in Pakistani government departments including the Ministry of Finance, the Board of Investment, the Securities & Exchange Commission, the Competition Commission, the State Bank of Pakistan, the Ministry of Health and the Planning Commission. It is circulated among all the embassies in bulk, particularly the Saudi, UAE, Chinese, US, UK and Argentine embassies which are then sent on to the various ministries abroad. Blue Chip is currently available on all PIA, Etihad and Cathay Pacific international business class flights originating from Pakistan.
Blue Chip Magazine. Launched in 2004, Blue Chip has emerged as Pakistan’s premiere business magazine. Featuring the latest economic data as well as regular telecommunications, energy, capital markets and industry updates, Blue Chip has become an indispensable decision making tool within all levels of the private and public sectors. The magazine currently has a circulation of 6,000 copies a month primarily to Pakistan’s private sector including all levels of the financial sector from junior executives to senior management, all levels of industry including the telecommunications, energy, textiles and IT sectors. Blue Chip is also widely circulated in Pakistani government departments including the Ministry of Finance, the Board of Investment, the Securities & Exchange Commission, the Competition Commission, the State Bank of Pakistan, the Ministry of Health and the Planning Commission. It is circulated among all the embassies in bulk, particularly the Saudi, UAE, Chinese, US, UK and Argentine embassies which are then sent on to the various ministries abroad. Blue Chip is currently available on all PIA, Etihad and Cathay Pacific international business class flights originating from Pakistan.
My Linnaeus, http://linnaeus.blogster.com/akermariano-my-linnaeus - 17.07.07
Myosotis (Vergismeinnicht, Ne m'oubliez pas - Herbe d'Amour, Nomeolvides), http://akermariano.blogspot.com/2007/05/myosotis-europaea-vergissmeinnicht-ne.html - 07.05.07
No aclares que oscurece: A buen entendedor… (To someone that understands well... ; À quelqu'un qui bien comprendre... ), http://www.flogup.com/akermariano/695034 - 17.01.08
Non au snobisme linguistique: Tu est ta langue, http://fr.blog.360.yahoo.com/blog-DwjSIsAwcKMurr0NylMADEDzFw--?cq=1&p=7 - 27.11.07
Oro y Cenizas (Or et Cendres; Gold and Ashes), 2001, http://www.flickr.com/photos/akermariano/2043087122/ - 18.11.07
Sara Mahmood, "Mariano Akerman: Bridging Cultures," Blue Chip Magazine, issue 87, vol. 8, Islamabad, Pakistan, January-February 2012, pp. 20-24.
Blue Chip Magazine. Launched in 2004, Blue Chip has emerged as Pakistan’s premiere business magazine. Featuring the latest economic data as well as regular telecommunications, energy, capital markets and industry updates, Blue Chip has become an indispensable decision making tool within all levels of the private and public sectors. The magazine currently has a circulation of 6,000 copies a month primarily to Pakistan’s private sector including all levels of the financial sector from junior executives to senior management, all levels of industry including the telecommunications, energy, textiles and IT sectors. Blue Chip is also widely circulated in Pakistani government departments including the Ministry of Finance, the Board of Investment, the Securities & Exchange Commission, the Competition Commission, the State Bank of Pakistan, the Ministry of Health and the Planning Commission. It is circulated among all the embassies in bulk, particularly the Saudi, UAE, Chinese, US, UK and Argentine embassies which are then sent on to the various ministries abroad. Blue Chip is currently available on all PIA, Etihad and Cathay Pacific international business class flights originating from Pakistan.
ISLAMABAD, Pakistan. As the last slide vanished from the screen, the sizeable crowd gathered at the German Embassy auditorium on the evening of May 12th, 2010, broke into animated applause. Had they checked their watches, members of the audience would have found to their astonishment that they had been held spellbound for an improbable two hours and fifteen minutes. Not many lecturers on German art could have inspired such rapt attention.
"German Art" was the first lecture of a series ten Mariano Akerman devoted to the topic in Pakistan.
One of the good things about life in Islamabad these days is the sparkling presence of Mariano Akerman. Combining a formidable knowledge of the art canon with his exceptional skills as a teacher, the Argentinean painter and art historian Mariano Akerman has an unusual capacity to enthral his audience. One of a rare breed, he is a scholar who delights as much as he informs. Presenting German art to a lay audience and holding them spellbound for two hours is one proof. Another is the enthusiastic response of Pakistani student audiences to the opportunity Mariano provides for them to probe their own artistic heritage and its relationship to the art of other civilizations. Building bridges between cultures — between east and west, between scholar and layman — he describes as his vocation.
Mariano Akerman lecturing on the French imagery and that in his works, National University of Modern Languages, Islamabad, April 20th, 2010
Earlier this year in Islamabad, Mariano delivered a series of thirty-five lectures to a group of adult enthusiasts eager to deepen their understanding of the visual arts. Beginning at the beginning with how to appreciate a work of art, the series moved on to trace unexpected themes and linkages that brought the art canon to life in new ways. Here is the testimony of one participant to Mariano’s teaching style and breadth of perspective:
“Some of the topics are quirky areas of art appreciation I had never considered, but all are stimulating. It is particularly interesting to be drawn into discussions during these lectures rather than simply taking part in a dry question and answer formula.”
Videoconference: Mariano Akerman giving his lecture "Creativity in French Art" from the National College of Arts in Lahore, April 2010
Communicating his ideas about art to those interested in learning is described by Mariano as fulfilling his need to balance the independent views of the scholar with the human impulse to share. Not that giving is entirely one-way traffic. As well as enriching the audience, the teacher in the course of teaching engages in a dialogue with himself, which in turn helps to deepen his own understanding.
"German Art: Its Peculiarities and Transformations," lecture by Mariano Akerman, Embassy of the Federal Republic of Germany, Islamabad, 12 May 2010
As a child growing up in Buenos Aires, Argentina, Mariano recalls the perplexing experience of discovering Lewis Carroll’s Alice in Wonderland in a quaint encyclopaedia. It was his earliest conscious exposure to the influence of the imaginary. During his teenage years, he spent a good deal of time with his aunt Moroca, herself a painter. It was she who first taught him how to paint, while sharing ideas such as the potential of automatism and free association. Mariano benefited too from Moroca’s extensive art library, which introduced him to the fantastic world of Hieronymus Bosch and the work of the Surrealists, Salvador Dalí, René Magritte and especially Yves Tanguy.
Akerman, Rococo soirée at a Medieval Princess' House, gouache, 1979-80
As a student at the School of Architecture in Buenos Aires, the young scholar chose visual communication as one of his elective subjects: his graduation project focused on the relationship between boundaries and space. Mariano's work was deeply informed by Lao-Tsu’s observation that clay is shaped into a jar, but it is “the emptiness inside” that holds whatever one wants. Several critics have pointed to the strong connection between Mariano’s architectural training and the style he developed as a painter in the eighties, when he became a highly acclaimed exhibitor in the art galleries of Buenos Aires. The critic Monique Sasegur noted “his theoretical formation rests on his architectural career; the rest is lived experience.”
Akerman, Memory, mixed media collage, 2009
Another critic, Bernardo Graiver, reviewing Mariano’s first one-man exhibition, wrote: “He distances himself from banal preoccupations, suggesting and evoking not disorderly experiences, but unexpected ones—those that belong to the empiric-meditative creator. Submarine jungles of arched stems and smooth leaves, beings that sing with a growing audacity, and warm soft organisms awake in an ample harmony of composition.”
Akerman, Crystalline, First Movement, gouache, 1986
The work of this period features organic designs that enclose and soften the “unexpected” subject matter: Alice in a group of figures standing before a window, the recurring egg motif, majestic birds emerging from natural forms. These pictures seem to portend the change that is about to happen. In 1991, Mariano leaves Argentina and since then has returned only for short visits. The portrait of the “authentic lady” that he paints shortly before his departure depicts a society woman exuberantly attired in zany hat and striking neckwear. Yet, the odd thing about the painting is that her armless egg-shaped torso comes to a stop at the hip. The egg motif suggests hatching and giving birth to life. It may point to the fact that the painter is about to embark on the adventure of life outside the nest.
Akerman, Your Honour, pencil, ink and watercolour, 1989
One critic of this period decried a “decorative” aspect in Mariano’s work. However, the critic Sasegur assigned this aspect its own importance; in a memorable phrase she summed up the artist’s work as “ornamental, expressive and powerfully hoped.” In this respect Mariano was influenced by the thinking of architect Robert Venturi, whose Complexity and Contradiction in Architecture he read in the mid eighties. By championing the eclectic approach of postmodernist architecture, Venturi sought to mitigate the exclusivist “either-or” approach of modernist architects such as Mies van der Rohe. “Less is more” was the mantra that encapsulated the modernist movement’s devotion to the principle establishing that form follows function. “Less is a bore” was Venturi’s spirited riposte to the pared down modernist approach.
Venturi also emphasized the fact that contemporary designers are heirs to a wide diversity of artistic influences. While Mariano criticizes much of postmodernist architecture for connecting with the past in a superficial fashion, he nevertheless admires the work of the postmodernist architect Louis I. Kahn, whose powerful designs draw on diverse historical sources. The Hurva, which is one of Kahn’s most daring and celebrated projects, wraps ancient ruins around a modern sanctuary.
Louis Kahn, Hurva Project, cross-section, 1968. Computer graphic by Kent Larson, MIT
Post Argentina, Mariano’s artwork includes both figuration and abstraction. He explores a variety of techniques, especially watercolour and collage. His work, developed over many years in Asia, shows his mastery of line, colour and texture in relatively small, intimate panels, strikingly grouped and beautifully framed.
Akerman, Inner Constellation, watercolour, 2005
It is also after leaving Argentina that Mariano expanded his work as scholar, communicator and teacher of the History of Art and Architecture. In Pakistan, he has targeted students in a wide range of educational institutions. Among them are Fatima Jinnah University, The National College of Art, Quaid-i-Azam University, The National University of Modern Languages and COMSATS. Mariano is particularly enthusiastic about his interaction with young Pakistani audiences. “Young Pakistanis are very curious about their pre-British past and how to connect with it. There is a freshness in the way they engage. Exposure to information and ideas helps them formulate the right questions to help them uncover the richness of their past.”
Akerman, Tell Me about It, collage, 2010
It is the combination of his intoxicating enthusiasm with his breadth of interest as an independent scholar that enthrals Mariano’s listeners. As noted by the student quoted earlier, he brings unfamiliar “quirky” areas of the art canon into focus. One of these areas is “the art of the Grotesque.” Defined by Mariano as an aesthetic category comprising double-edged configurations, the Grotesque has a long tradition in the visual arts, beginning with the fantastic hybrids found in the artificial caves or grottoes of Nero’s Domus Aurea in Rome. This style of ornamentation was studied and copied by Renaissance artists such as Ghirlandaio and Michelangelo. In the early sixteenth century, Raphael and Giovanni da Udine developed it into a complete system in the loggias of the Vatican Palace. In this context, the grotesque is ornamental; it is only later that it becomes prevalently deformed and visceral, even hideous.
Tracing the development of the Grotesque in the visual arts, Mariano’s research on the art of what Freud called “The Uncanny” highlights new connections while making evident the subtle transformation of Grotesque Art throughout the ages. “The Grotesque,” as he explains, “is neither attractive nor repulsive, but both at once. It is a problematic, double-edged realm where the one aspect always goes hand in hand with the incompatible other thus creating a visual paradox.” Central to Mariano's examination of the Grotesque is the work of Francis Bacon, one of the most important painters of the last century, whose shockingly brutal pictures also contain the extraordinary power to exhilarate and set free.
Francis Bacon, Lying Figure in a Mirror, oil, 1971
Museo de Bellas Artes, Bilbao
As an artist, Mariano continues painting and holding art shows. He has received more than twelve prizes in both art and education. Mariano likes to remind one that his priorities include his work as scholar and teacher. Anyone who navigates his site at http://akermariano.blogspot.com will be surprised by the originality of his ideas and the variety of links on offer, each with a wealth of illustration from the scholar’s always expanding archives. Moreover, each link brings a different piece of the jigsaw into focus. New connections emerge bridging cultures in unexpected ways. A visit cannot be highly enough recommended.
Akerman, Idyll, water-soluble pencil and collage, 2011
_____
Sara Mahmood is from Wales and has lived in Pakistan for over 20 years. Apart from being a regular contributor to Blue Chip Magazine, Sara drafts reports and teaches analytical writing skills. She also writes book reviews for the Dawn Books & Authors and for Libas. Her chief interest is reading widely in poetry and fiction, particularly modern developments in writing around the world.
A group of students contemplating Akerman's collages after his lecture "Vers l'art libre et moderne," National University of Modern Languages, Islamabad, March 18th, 2010
Details from Mariano Akerman's paintings. As Van der Rohe once put it, “God is in the details.”
On ne voit bien qu'avec le coeur...quand il n'est pas de pierre. | Sólo se ve bien con el corazón... cuando no es de piedra. | You can see clearly only with the heart... if it's not made of stone.
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