Art - Fundação Calouste Gulbenkian
Art - Fundação Calouste Gulbenkian
Art - Fundação Calouste Gulbenkian
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<strong>Art</strong>
Opening of the exhibition “The Path of Princes. Masterpieces from the Aga Khan Museum Collection”, attended by Prince Amyn Aga Khan.
The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
The main aim of the <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
is to present to the public, for their enjoyment, the collection<br />
put together by its Founder, exhibited with quality and<br />
under the best possible conditions of conservation. It also<br />
undertakes research into the Collection and disseminates<br />
it through exhibitions and publications that are intended to<br />
serve as works of reference. The Museum has a programme<br />
of temporary exhibitions, which either comprise its own<br />
pieces or touch upon themes related with the Collection.<br />
As the works of art that make up the Collection have been<br />
produced by different cultures, the Museum maintains<br />
close and privileged relations with international collections.<br />
Both the Collection and the museum’s activities are<br />
publicised in a variety of ways, either through the Education<br />
Department, which develops projects and courses for young<br />
people, adolescents, adults and families, or through recourse<br />
to the new technologies, paying attention to the updating<br />
and improvement of the information provided through the<br />
Museum’s website. Its publishing activities are seen as<br />
an essential complement to the common aim: to attract<br />
more visitors to the Museum, encouraging them to take part<br />
in its activities and providing them with greater intellectual<br />
enrichment, whether through leisure or study.<br />
Temporary exhibitions<br />
“The ‘Greek Taste’. The Birth of Neoclassicism in France, 1750-1775”<br />
Organised by the Department of Decorative <strong>Art</strong>s<br />
of the Louvre Museum, the exhibition was first presented<br />
at the Royal Palace of Madrid, opening at the <strong>Calouste</strong><br />
<strong>Gulbenkian</strong> Foundation on 14 February 2008<br />
and remaining on public display until 4 May.<br />
044. 045<br />
Annual Report 2008<br />
Amounts in euros<br />
Personnel costs 2 083 629<br />
Operating costs 85 214<br />
Departmental activities 1 460 863<br />
Total 3 629 706<br />
Receipts 960 726
Opening of the exhibition “The ‘Greek Taste’. The Birth of Neoclassicism<br />
in France, 1750-1775”, attended by the Minister of Culture<br />
and the French Ambassador to Portugal.<br />
Aspect of the exhibition “The Path of Princes. Masterpieces from the Aga Khan Museum Collection”.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
An exhibition of around one hundred<br />
works of art, mainly from the Louvre<br />
Museum, associated with some pieces<br />
from the Spanish National Heritage<br />
and from the <strong>Calouste</strong> <strong>Gulbenkian</strong><br />
Museum itself, enabled visitors<br />
to discover a period that has been<br />
little studied, illustrating the first years<br />
of the neoclassical taste in France,<br />
a style that was to make itself felt<br />
all over Europe in the period<br />
stretching from the mid-18th century<br />
to the first half of the 19th century.<br />
Curated by: Marie-Laure<br />
de Rochebrune, curator<br />
of the Louvre Museum<br />
Organised by: Manuela Fidalgo<br />
“The Path of Princes. Masterpieces<br />
from the Aga Khan Museum Collection”<br />
Following Parma, London and Paris,<br />
the exhibition was shown in Lisbon,<br />
with a number of variations, from<br />
14 March to 27 July, bringing together<br />
a group of works from the collection<br />
of the future Aga Khan Museum,<br />
due to open in Toronto (Canada).<br />
The exhibition was organised around<br />
two main themes: “The Word of God”<br />
and “The Power of the Sovereign”,<br />
including a remarkable selection<br />
of miniature paintings, manuscripts,<br />
jewellery, ceramics, wood and metal<br />
objects, among other art works. These<br />
works of art bear testimony to the<br />
great diversity of the cultural heritage<br />
of Muslim civilisations, covering<br />
a wide geographical region extending<br />
from the Iberian Peninsula to China,<br />
over a thousand-year period of history,<br />
from the 9th to the 19th century.<br />
The exhibition was held in association<br />
with the Aga Khan Trust for Culture<br />
(aktc), of Geneva, under the high<br />
patronage of His Highness the Aga Khan
and His Excellency the President of the Republic of Portugal.<br />
Curated by: Benoît Junod (aktc)<br />
Organised by: Maria Queiroz Ribeiro<br />
“The <strong>Art</strong> of the European Book in the <strong>Calouste</strong> <strong>Gulbenkian</strong> Collection”<br />
Coinciding with the holding of the annual conference of the Association Internationale de Bibliophilie<br />
at the Foundation, from 21 to 26 September, the Museum collaborated with the <strong>Art</strong> Library in the<br />
organisation of a representative exhibition of the collection of European books put together by <strong>Calouste</strong><br />
<strong>Gulbenkian</strong>. After being visited by the specialists who attended the conference, the exhibition remained<br />
open only to a restricted audience and to professionals and researchers working in the area of the book,<br />
for guided visits provided by the Museum’s Education Services, closing at the beginning of December.<br />
A work of art in focus<br />
“Religion in Ancient Greece. Olympic Gods Represented in the <strong>Calouste</strong> <strong>Gulbenkian</strong> Collection”<br />
The exhibition of Greek coins from the Collection, centred around the theme of the main divinities in<br />
the Greek pantheon, opened on 17 July 2007 and remained on display until 13 November 2008, in<br />
view of the interest shown by the public.<br />
Organised by: Maria Rosa Figueiredo<br />
“The 53 Stations of the Tokaido”<br />
The “Stations of the Tokaido” series of prints acquired<br />
by <strong>Calouste</strong> <strong>Gulbenkian</strong> is part of a set of about 200<br />
Japanese woodblock prints from the 18th and 19th<br />
centuries which is usually kept in storage due<br />
to conservation reasons. Signed by three great masters<br />
– Hiroshige (1797-1858), Kunisada (1786-1865)<br />
and Kuniyoshi (1797-1861) – the 55 prints, published<br />
circa 1845 by different publishers, depict legends and<br />
tales related to the stations of the Tokaido, the road that<br />
linked Edo (present-day Tokyo) to Kyoto. The complete,<br />
sequenced presentation of this famous series has had<br />
to be carried out rotatively to prevent its being exposed<br />
to the light for too long, although visitors are able<br />
to view the missing prints through an interactive<br />
multimedia presentation. Therefore, every month,<br />
from 25 November to 31 May 2009, each set<br />
of 18 prints will be replaced by a new one.<br />
The museographical project and the coordination of<br />
the installation of all the exhibitions was the responsibility<br />
of Mariano Piçarra, with the support of Ricardo Viegas,<br />
as well as Dora Carrilho, Iolanda Ótão and Cláudia Guerra.<br />
A work of art in focus: “The 53 Stations of the Tokaido”. Station No. 20, Fuchu,<br />
print by Ando Hiroshige (1797-1858), Japan, Edo, ca. 1845 (inv. no. 2437).<br />
046. 046.047<br />
Annual Report 2008
Exhibition projects<br />
Throughout 2008, the Museum worked on the preparation of the following exhibitions,<br />
to be presented in coming years.<br />
“<strong>Art</strong> Deco”<br />
A broad selection of art deco pieces, representing the new taste rooted in the 1910s<br />
that was so warmly received at the 1925 Paris Universal Exposition.<br />
“Henri Fantin-Latour (1836-1904)”<br />
The first presentation in Portugal of this French painter from the second half of the 19th century,<br />
represented at the <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum through four works.<br />
The exhibition is the result of the collaboration between the <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
and the Thyssen-Bornemisza Museum (Madrid), where it will be presented later.<br />
“The Silence of Matter. Still Life in Europe, 16-20th Centuries”<br />
An anthology of four centuries of a theme that became autonomous in the late 16th century and<br />
was recurrent in European painting. Rembrandt, Goya, Cézanne and Picasso will be some of the<br />
artists represented in the exhibition.<br />
Participation in temporary exhibitions<br />
Maintaining its customary policy of cultural exchanges, in 2008 the <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
loaned works from its collection to the following exhibitions:<br />
› “Marie-Antoinette”, at the Galleries of the Grand Palais, Paris, Armchair, by Jacob (Inv. No. 38)<br />
(15 March to 30 June).<br />
› “Thomas Hope. Regency Designer”, at the Victoria and Albert Museum, London, Statue of Djedhor,<br />
Egyptian antiquity (Inv. No. 403), Head of a Satyr, 2nd-century Roman sculpture (Inv. No. 681),<br />
Vitelius, 18th-century bust (Inv. No. 683) (22 March to 22 June).<br />
› “Venice. From Canaletto and Turner to Monet”, at the Beyeler Foundation, Basle, The Departure<br />
of the Bucintoro, painting by Francesco Guardi (Inv. No. 392), and Santa Maria della Salute Church seen<br />
from Giudecca, a water colour by John Singer Sargent (Inv. No. 75) (28 September to 25 January 2009).<br />
› “Weltliteratur, Madrid, Paris, Berlin, Saint Petersburg, the World!”, at the <strong>Calouste</strong> <strong>Gulbenkian</strong><br />
Foundation, Lisbon, The Boy with Cherries, by Édouard Manet (Inv. No. 395) and The Reading,<br />
by Henri Fantin-Latour (Inv. No. 257) (30 September to 4 January 2009).<br />
› “Antoon van Dyck. Portraits”, at the Jacquemart-André Museum, Paris, Portrait of a Man<br />
(Inv. No. 113) (8 October to 25 January 2009).<br />
› “The Master of Flémalle and Rogier van der Weyden”, at the Städel Museum, Frankfurt,<br />
Bust of St. Joseph (Inv. No. 79B) (21 November to 1 March 2009).<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum
The Departure of the Bucintoro, painting by Francesco Guardi (1712-1793) (inv. no. 392), loaned to the exhibition<br />
“Venice. From Canaletto and Turner to Monet”, at the Beyeler Foundation, Basle.<br />
› “Beyond Boundaries. Islamic <strong>Art</strong> across Cultures”, at the Museum of Islamic <strong>Art</strong>, Doha, Qatar,<br />
Giuramento di Francesco priolo, Procurator della Chiesa di San Marco, Renaissance book<br />
(Inv. No. LA140) (1 December to 22 February 2009).<br />
The temporary loans of pieces are decided after an assessment has been made<br />
of the projects presented by the exhibition organisers.<br />
Collaboration with the National Museum of Ancient <strong>Art</strong> and the Soares dos Reis National Museum<br />
Long-term renewable loans were made to the National Museum of Ancient <strong>Art</strong> (mnaa) of the oil<br />
painting Jâcome Ratton, by Thomas Lawrence (1769-1830), two portraits of the second Marquises<br />
of Pombal, by Domenico Pelligrini (1759-1840) and two 18th-century Italian credences.<br />
Two 18th-century Portuguese beds and two 17th-century Flemish tapestries were loaned to the<br />
Soares dos Reis National Museum (Porto) under the same conditions. These pieces have formed<br />
part of the Foundation’s Collection for a long time, without ever having had the chance of being<br />
seen by the public, so that now they can be displayed on permanent exhibition at those museums.<br />
It should be remembered that, in 2006, the mnaa made a long-term deposit to the <strong>Calouste</strong><br />
<strong>Gulbenkian</strong> Museum of the torso dating from the 1st century BC to the 1st century AD, a Roman<br />
copy of the Greek original, which <strong>Calouste</strong> <strong>Gulbenkian</strong> had given to the Portuguese State.<br />
048.049 048.<br />
Annual Report 2008
In <strong>Art</strong> Premium<br />
Computer software for the management of museums<br />
Over the year, more items were introduced into this software about the works in the Museum<br />
Collection, while some of the data that had already been introduced in previous years were revised,<br />
namely the sections of Islamic <strong>Art</strong> and the Far East, textiles – carpets, fabrics and works by René<br />
Lalique – books and prints.<br />
Publications<br />
Exhibition catalogues<br />
The “Greek Taste”. The Birth of Neoclassicism in France, 1750-1775<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Museum, 319 pages<br />
Texts: Marie-Laure de Rochebrune, Marc Bascou, Nuno Gonçalo Monteiro, J.-M. Pérouse de<br />
Montclos, Vincent Droguet, Guilhem Scherf and Catherine Gougeon<br />
Editorial coordination: João Carvalho Dias and Catherine Gougeon, with the collaboration of<br />
Madalena Martins and Carla Paulino<br />
Portuguese version<br />
Besides detailed information about all the works exhibited, the catalogue contains the essays<br />
“O gosto ‘à grega’ ou a primeira fase do Neoclassicismo francês” (Marie-Laure de Rochebrune),<br />
“A herança dos grandes amadores de arte do século xviii: obras-primas de mobiliário do Museu do Louvre”<br />
(Marc Bascou); “Guerra, diplomacia e cultura: as relações entre a França e Portugal, 1750-1777”<br />
(Nuno Gonçalo Monteiro); “A arquitectura francesa e o modelo grego” (J.-M. Pérouse de Montclos);<br />
“Existe um gosto ‘à grega’ na pintura?” (Vincent Droguet); “Estudar o antigo para aprender a ver<br />
a natureza: a escultura em meados do século xviii” (Guilhelm Scherf); “O triunfo do gosto ‘à grega’ nas<br />
artes decorativas francesas” (Marie-Laure de Rochebrune); “Os precursores” (Marie-Laure de Rochebrune<br />
and Catherine Gougeon); “Madame du Barry e o apogeu do gosto ‘à grega’” (Marie-Laure de Rochebrune).<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
The Path of Princes. Masterpieces<br />
from the Aga Khan Museum Collection<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Museum, 308 pages<br />
Texts: Luís Monreal, Azim Nanji, Sheila Canby,<br />
Aimée Froom, Alnoor Merchant, Sophie Makariou,<br />
Monique Buresi, Carine Juvin and Charlotte Maury<br />
Editors: Ladan Akbarnia, Benoît Junod and Alnoor Merchant<br />
Executive coordination: João Carvalho Dias and Maria Queiroz<br />
Ribeiro, with the collaboration of Catarina Teixeira (intern)<br />
Portuguese and English versions<br />
The essays and catalogue entries, written by international<br />
specialists in Islamic art, provide a study on the great<br />
diversity of objects that form part of the Aga Khan<br />
Collection, including miniature paintings, manuscripts,
jewellery, ceramics, and textiles.<br />
The catalogue includes:<br />
“The historical context” (Azim Nanji);<br />
and the introductory texts to the<br />
different chapters: “The Koran and its<br />
supports”; “Mysticism and devotion”;<br />
“The garden as paradise”; “Great<br />
historical courts” and “On the path of<br />
princes” (all written by Sheila Canby).<br />
Pamphlets<br />
“The Path of Princes. Masterpieces<br />
from the Aga Khan Museum Collection”<br />
Bilingual version (Portuguese/English)<br />
“The 53 Stations of Tokaido”<br />
Bilingual version (Portuguese/English)<br />
Other publications<br />
René Lalique at the <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Museum,<br />
136 pages<br />
Introduction: João Castel-Branco Pereira<br />
Texts: Maria Fernanda Passos Leite<br />
Editorial coordination: João Carvalho Dias with the support of Fátima Vasconcelos<br />
Portuguese, French and English versions<br />
The 80 pieces presented in this album, published by Skira editore (Milan), are exhibited in a room<br />
specially dedicated to the work of René Lalique, a space that chronologically closes the itinerary of<br />
the <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum.<br />
The set of jewels, objets d’art, glassware and drawings acquired by the Collector directly from the artist,<br />
with one single exception, between 1899 and 1927, is fully representative of the great diversity of<br />
his work. The album seeks to respond to the expectations of our visiting public, who know that they<br />
will find here the most impressive collection of jewels made by René Lalique existing in any museum.<br />
Internships at the Museum<br />
It is the standard practice to receive interns for varying periods of time, depending on the section<br />
in which they are working. Nonetheless, it is understood that such trainees should never stay<br />
for less than six months so that they can have the opportunity to gain a more complete knowledge<br />
050.051 050.<br />
Annual Report 2008
of the many different activities undertaken at the Museum and be better prepared to face the world of work<br />
with more practical experience and greater security. During 2008, the Museum welcomed the following<br />
interns: Catarina Teixeira, Dora Carrilho, Iolanda Ótão, Ana Patrícia Santana and Laura Lustre Dias.<br />
Concerts<br />
In association with the Music Department, eight of the customary Sunday concerts were held<br />
during the year in the Library/Museum Hall, with a total audience of roughly 1200 people.<br />
As usual, pamphlets were produced to publicise the programmes and the concerts in which the following<br />
musicians took part: Sandrina Carrasqueira (violin) and Cristóvão Luiz (piano), two musicians included<br />
in the “Scholarship-holders from the <strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation” Cycle; Nuno Vaz (French horn),<br />
José Pereira (violin) and Joana Gama (piano); the <strong>Art</strong>zen Quartet, composed of Ana Cristina Pereira and<br />
Ana Filipa Serrão (violins), Carolina Matos (cello) and Joana Cipriano (viola); the Delos Ensemble, led by<br />
the recorder player António Carrilho and composed of Adriana Alcaide (baroque violin), Marcel Beckman<br />
(tenor), Santi Miron (viola da gamba), Cristiano Holtz (harpsichord); Catarina Sereno (soprano) and Ja Yeon<br />
Kang (piano); Virgínia Figueiredo (clarinet) and Paulo Pacheco (piano), included in the “Scholarship-holders<br />
from the <strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation” Cycle; Heloísa Ribeiro (violin), Natalia Riabova (piano);<br />
Miguel Simões (violin) and Sander Sittig (piano), also included in the Scholarship-holders Cycle.<br />
Cooperation with the Foundation’s other departments and other institutions<br />
The Museum worked with the Foundation’s various departments, especially the Central Services<br />
Department, the Music Department, the <strong>Art</strong> Library, the International Department, camjap,<br />
the Communication Department and the Education and Scholarships Department. Attention is drawn<br />
in particular to the work undertaken with the <strong>Art</strong> Library in organising the already mentioned<br />
exhibition on the books from the Collection and in including in its own collection many works<br />
that the Museum receives under an exchange system or which it acquires under the specific scope<br />
of its activities. Mention should also be made of the support that was provided in the installation<br />
and dismantling of the exhibition “Weltliteratur – Madrid, Paris, Berlin, Saint Petersburg, the World!”,<br />
organised by the Education and Scholarships Department.<br />
The Educational Services continued to form part of gam (the working group studying greater<br />
accessibility to museums), in association with other museums in Portugal.<br />
The Museum welcomed specialists from a variety of areas and supported their research, both for<br />
individual projects and for the institutions where they work.<br />
Publicising the Museum<br />
Photographic Archive<br />
The process of updating the Photographic Archive continued throughout 2008. The Archive<br />
provided support for the Museum’s publications, exhibitions and other activities that were organised.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum
As in previous years, many pictures of pieces from the Collection were used in the Foundation’s publications<br />
and, given the Collection’s international nature, they are also licensed for use in foreign editions.<br />
The Archive continued to provide support for the Communication Department, specifically<br />
for the Newsletter, as well as updating the Museum’s site and creating new mini-sites<br />
for temporary exhibitions.<br />
Documentation<br />
Subscriptions to essential journals to support the various sections of the Department were<br />
maintained, and publications were exchanged with Portuguese and foreign institutions, allowing<br />
greater dissemination of the activities organised. When the publications received are of interest<br />
to readers at the <strong>Art</strong> Library, they are sent on to that section.<br />
Photographic work<br />
During 2008, use continued to be made of digital imagery, and a total of 2,559<br />
high-resolution pictures were taken of works in the Collection. In addition, a further<br />
2,028 images were created using different materials to support the Museum’s<br />
activities (conservation, research, conferences, the Education Department, openings<br />
and coverage of visits by special guests).<br />
500000<br />
450000<br />
400000<br />
350000<br />
300000<br />
250000<br />
200000<br />
150000<br />
100000<br />
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0<br />
Multimedia<br />
The Museum website<br />
The Museum recorded 431,687<br />
hits (as against 387,624 hits<br />
in 2007). Besides the changes that<br />
were introduced into the homepage<br />
in order to make it more dynamic and<br />
functional, the contents were constantly<br />
updated and mini-sites were developed<br />
for the temporary exhibitions.<br />
A thematic mini-site was also launched, entitled “A Piece of Louis XV Furniture in the <strong>Calouste</strong><br />
<strong>Gulbenkian</strong> Collection”, in which a piece of furniture belonging to the Museum is highlighted,<br />
not only from the point of view of its history and style, but also looking closely at the techniques<br />
and materials used in its making. This project had a script that was prepared by the curator<br />
Clara Serra, consultancy was provided by the conservation and restoration technician Rui Xavier,<br />
while the coordination was ensured by Clara Serra and João Carvalho Dias.<br />
The Museum shop<br />
www.museu.gulbenkian.pt – Visitors<br />
2005 2006<br />
2007<br />
2008<br />
Particular attention was again paid to the Museum shop, selecting new objects – pottery, textiles,<br />
jewels and stationery among other pieces – and constantly trying to present new themes and offer<br />
052.053 052.<br />
Annual Report 2008
the public specific pieces related to each temporary exhibition.<br />
The objects are selected in association with the Central Services Department.<br />
Museography<br />
Conservation and restoration<br />
The programme was begun for the rebinding of the books of European illuminated manuscripts<br />
already restored after the floods of 1967. This work was carried out by the restoration technicians,<br />
Helena Nunes and Vasco Antunes and involved three works: The Book of Hours of the Master<br />
of Greys of Delft (Inv. No. LA137), The Book of Hours according to the Customs of Rome<br />
(Inv. No. LA145) and The Book of Hours according to the Customs of Rome (Inv. No. LA217).<br />
The Archefactu company gave appropriate treatment to the Torso of King Pedubast, a fragment<br />
of an Egyptian bronze statue from the 23rd dynasty (818-793 BC) (Inv. No. 52).<br />
The armchair by Georges Jacob, commissioned by Marie Antoinette for her private apartments<br />
at the Palace of Fontainebleau (Inv. No. 38) was cleaned and consolidated. This work was carried<br />
out by Maria Odete Barreto, a restorer of textiles.<br />
Besides the control that was undertaken of the state of conservation of all the pieces received<br />
and loaned out for temporary exhibitions, both abroad and at the Foundation, the supports<br />
for the Collection’s paintings were renovated and mounted, and the silver binding of The Book<br />
of Hours according to the Customs of Rome (Inv. No. LA217) was conserved and restored.<br />
This work was carried out by the Museum’s conservation and restoration technician, Rui Xavier.<br />
Conferences, congresses and meetings<br />
In 2008, the customary cycle of lectures, which normally takes place in the third quarter of the year,<br />
was brought forward to coincide with the holding of the temporary exhibition “The ‘Greek Taste’.<br />
The Birth of Neoclassicism in France, 1750-1775”: 14 April, “The ‘Greek Taste’ or the First Phase<br />
of French Neoclassicism”, by Marie-Laure de Rochebrune (curator of the exhibition and curator<br />
at the Louvre Museum); 21 April, “France and Portugal, 1750-1777: Interconnections and Pluralities”,<br />
by Nuno Gonçalo Monteiro (research coordinator at the Institute of Social Sciences of the University<br />
of Lisbon); 28 April, “The Count of Caylus and his Role in the Appearance of the ‘Greek Taste’”,<br />
by Marc Fumaroli (member of the Académie Française and Professor at the Collège de France).<br />
The lecture cycle was coordinated by the curator Manuela Fidalgo.<br />
A lecture programme was also organised under the scope of the exhibition “The Path of Princes.<br />
Masterpieces from the Aga Khan Museum Collection”, together with two sessions dedicated to the<br />
Aga Khan Award for Architecture: 5 May, “Trade Routes and Innovation in Islamic <strong>Art</strong>s”, by Jessica<br />
Hallett (researcher, cham, New University of Lisbon); 7 May, “The Double-Headed Eagle: a Symbol of the<br />
Sultan? An Analysis of the Double-Headed Eagle Emblem and an Explanation of its Islamic Significance”,<br />
by Nasser Rabbat (Aga Khan Professor of <strong>Art</strong> and Architecture, mit, usa); 8 May, Aga Khan Award for<br />
Architecture, with the presence of Farrokh Derakhshani (Director of the Award Programme):<br />
1st session – moderator: Fernando Varanda (architect and town planner) “Innovation and Intervention<br />
in the Public Sphere” – panel: Nasser Rabbat (Aga Khan Professor of <strong>Art</strong> and Architecture, mit, usa),<br />
Bartolomeu Costa Cabral (architect); “Designing Local Contemporaneity” – panel: Mariana Correia<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum
(architect) and Paulo Providência (architect); 2nd session – moderator: Nasser Rabbat, “Boundaries –<br />
Physical, Psychological and Conceptual” – panel: Gonçalo Byrne (architect) and Vasco Costa (engineer);<br />
conclusions and debate, by Farrokh Derakhshani, Fernando Varanda, Nasser Rabbat and José Gil<br />
(philosopher); 12 May, “Pluralism and Diversity: Expressions of Islam in the World Today”, by Azim<br />
Nanji (Director of the Institute of Ismaili Studies, London); 19 May, “Reconciling Conservation and<br />
Development: the Aga Khan Historic Cities Programme”, by Francesco Siravo (architect, Historic Cities<br />
Programme, Aga Khan Trust for Culture); and 26 May, “The Aga Khan Museum and the <strong>Gulbenkian</strong><br />
Islamic <strong>Art</strong> Collections: Convergences and Complementarities”, by Ladan Akbarnia (curator, Brooklyn<br />
Museum, New York), Maria Fernanda Passos Leite (Head Curator, <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum)<br />
and Maria Queiroz Ribeiro (Islamic <strong>Art</strong>s Curator, <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum). The lecture programme<br />
was coordinated by the curators Maria Fernanda Passos Leite and Maria Queiroz Ribeiro.<br />
The curators Maria Rosa Figueiredo and Manuela Fidalgo prepared a practical lesson on “Inventory<br />
Techniques at the <strong>Gulbenkian</strong> Museum”, under the scope of the subject of Inventory Management<br />
“Pluralism and Diversity: Expressions of Islam in the World Today”, by Azim Nanji<br />
(director of the Institute of Ismaili Studies, London), lecture included in the programme held under<br />
the scope of the exhibition “The Path of Princes. Masterpieces from the Aga Khan Museum Collection”.<br />
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Annual Report 2008
Techniques for the <strong>Art</strong>istic Heritage, of the undergraduate degree course in History of <strong>Art</strong><br />
at the Faculty of Letters of the University of Lisbon.<br />
The conservation and restoration technician Rui Xavier took part in the international conference<br />
of ICOM – Committee for Conservation, in New Delhi, 15th Triennial Meeting (22 to 26 September),<br />
at which he was appointed assistant coordinator of the “Wood, furniture and lacquer” working party<br />
for the period 2008-2011.<br />
The assistant director gave a lecture on “Indo-Portuguese Decorative <strong>Art</strong>s: An “Export” <strong>Art</strong>”, included in<br />
the lecture programme “On the Route to India with Vasco da Gama”, on 10 May (Lagos) and presented<br />
the paper “Goldsmiths’ Workshops in Goa. 16th and 17th Centuries” as part of the 4th Monographic Course:<br />
the <strong>Art</strong> of the Goldsmith and Jewellery of the Department of <strong>Art</strong> History of the New University of Lisbon,<br />
on 27 November. He also took part in the colloquium “The Douro Baroque of Nicolau Nasoni”, at the<br />
Douro Museum, Peso da Régua, where he presented the paper “The Goldsmiths of Rome and the<br />
Modernisation of the Portuguese <strong>Art</strong> of the Goldsmith in the 18th Century”, on 5 December, as well<br />
as the colloquium “The Iconography of Christmas”, held at the National Tile Museum, where he presented<br />
the paper “Silver Cribs and Cribs in Silver”, on 11 December 2008.<br />
“Great Adventure – A Trip to Greece”, organised under the scope of the learning activity<br />
“Holidays at the Museum”.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum<br />
The director took part in the 1st Spring<br />
Open Course in the History of <strong>Art</strong>,<br />
promoted by the Institute of <strong>Art</strong> History<br />
of the Faculty of Letters of Lisbon<br />
University, on the theme of “Collecting<br />
and Collectors of <strong>Art</strong> Works”, where he<br />
gave a lecture on “<strong>Calouste</strong> <strong>Gulbenkian</strong>:<br />
Knowing how to Choose”, on 8 May;<br />
and in the international colloquium<br />
“The Decorative <strong>Art</strong>s and Portuguese<br />
Expansion. Imagination and Voyage”,<br />
organised by the Higher School<br />
of Decorative <strong>Art</strong>s (Lisbon), where<br />
he presented the paper “Representations<br />
of the Continents in Ceremonial<br />
Carriages”, on 15 May.<br />
Educational Services<br />
The <strong>Gulbenkian</strong> Programme of<br />
Education for Culture – Descobrir<br />
(pgec), launched in 2008, combines<br />
in one single programme all the<br />
educational projects that have<br />
existed for various years in each<br />
sector of the Foundation<br />
(the Educational Services of the<br />
<strong>Gulbenkian</strong> Museum and camjap;
the “Discovering Music at the <strong>Gulbenkian</strong>” and “Living the <strong>Gulbenkian</strong> Gardens”<br />
programmes in the Central Services Department).<br />
The Museum’s Educational Services, which joined in this programme, continued to develop<br />
their own activities and programmes, whose specificity is linked to the singular nature<br />
of the Museum’s collections, its guiding principles and objectives.<br />
Guided tours of the permanent exhibition and the temporary exhibitions<br />
The work undertaken with school groups and the preparation of visits with the teachers resulted<br />
in a total of 536 guided theme tours for 10,185 students. These visits embrace all areas<br />
of education, from nursery school to university level and also include special needs groups.<br />
Guided tours were also held for other groups, such as Portuguese and foreign cultural associations,<br />
Portuguese and foreign interns, students taking master’s degrees and doctorates in various niversity courses,<br />
and Foundation guests, amongst others, resulting in a total of 114 tours, which involved 1,175 visitors.<br />
The temporary exhibitions held by the Museum always merit a specific programme of guided urs, which are<br />
prepared in association with their scientific curators and designed for audiences of children, young people<br />
and adults. Besides these guided tours, pedagogical activities are also organised, linked to the specific themes<br />
of each exhibition. 122 groups were accompanied on these tours, amounting to a total of 1,895 visitors.<br />
Pedagogical activities are also organised, linked to the specific themes of each exhibition.<br />
205 tours/workshops were organised in this area, involving 2,314 children and adults.<br />
The total number of guided tours organised by the Museum’s Educational Services<br />
was 977, for a total of 15,569 visitors.<br />
Learning activities<br />
(Activities taking place at weekends and on special days)<br />
“Routes around the Museum”<br />
This weekend activity includes guided theme tours followed by workshop activities.<br />
33 such events were held, attended by 495 children.<br />
“Museum for the Family”<br />
Intended to offer a playful and creative development of the joint work undertaken and to stimulate<br />
family dialogue based on a specially proposed theme, this activity was centred around nine modules<br />
attended by 104 children and adults.<br />
“Holidays at the Museum”<br />
The observation of art works and the analysis and understanding of the cultures that they represent<br />
are the starting point for these modules, lasting for two to four whole days. The aim is to stimulate<br />
the curiosity and taste for learning in a more informal situation during the holiday period.<br />
The activities “Easter at the Museum” and “Christmas at the Museum” had four modules,<br />
each lasting two days, attended by 288 children.<br />
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Annual Report 2008
In the Summer Holidays, 1,160 children took part in the “Great Adventure – A Trip to Greece”,<br />
an activity undertaken in the form of six modules, each lasting four days.<br />
“Special Days”<br />
These are days that are celebrated in a special fashion:<br />
› Children’s Day – The five activities undertaken were adapted to the specific requirements<br />
of the 153 children taking part.<br />
› On the day when the Descobrir programme was launched, the Educational Services held seven<br />
guided tours and two tours/workshops involving 150 visitors. Most of the 665 visitors were welcomed<br />
individually in a reception area specially assembled for this purpose, where they were given the<br />
opportunity to learn about the dynamics of this new programme organised by the Foundation.<br />
Programmes designed to increase awareness of the Museum’s collections and to provide guidance for studies<br />
› A training scheme was organised on a monthly basis for guides, translators and interpreters,<br />
as well as for students from the undergraduate courses in Tourism and <strong>Art</strong> History. 443 people<br />
enrolled for the scheme, which consisted of 10 modules of four mornings each.<br />
› Eighteen students from Portuguese and foreign universities received individual training about<br />
educational services in general and about the Museum’s Educational Services in particular,<br />
as this was the area in which they were interested in presenting specific studies.<br />
Special projects<br />
The Educational Services continued with the projects that they have been developing, dedicating<br />
themselves above all to those that involve neighbourhoods with special needs, such as Cova da Moura<br />
and the Bairro da Boavista. These projects, which have quite different features depending<br />
on each neighbourhood, are initiated either by the schools or by cultural centres, with the aim<br />
of progressively involving the whole of the local population.<br />
Amongst other activities, the “Our Neighbourhood” project was implemented with a group<br />
of 25 children and 10 monitors from catl (Leisure Time Activities Centre) of the “Moinho da Juventude”<br />
Association, in Cova da Moura. This programme, which lasted for eight months, began with training<br />
activities for trainers, who would later be the ones to accompany the children in their multiple work<br />
sessions with the team from the Educational Services, both at the Association and at the Museum.<br />
The aim of the project was to help the children, mostly originating from Cape Verde, to discover<br />
other cultures and other realities, encouraging them to use their critical expression and thought<br />
processes. The outcome was the building of a model of the neighbourhood in the way that they saw<br />
it, conceived of it or would like it to be, which became the centrepiece of the exhibition held by<br />
the Educational Services at the Moinho da Juventude Association and opened during the festivities<br />
of Kola San Djon. The children involved in the project and their trainers acted as guides for the<br />
roughly 400 children from the neighbourhood of Cova da Moura and their relatives.<br />
This group of activities was planned and organised by the curator Deolinda Cerqueira.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation The <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum
Visitors<br />
In 2008, the Museum’s permanent exhibition galleries were visited by 169,566 people<br />
(45,059 Portuguese and 124,507 foreigners).<br />
The temporary exhibition “The Greeks. <strong>Art</strong> Treasures from the Benaki Museum, Athens”, which<br />
had already been visited by 49,800 visitors in 2007, was seen by another 3,729 people in 2008,<br />
during the five days when it was open to the public, resulting in a total of 53,529 visitors.<br />
The temporary exhibition “The ‘Greek Taste’. The Birth of Neoclassicism in France, 1750-1775”<br />
was seen by 19,777 visitors, while “The Path of Princes. Masterpieces from the Aga Khan<br />
Museum Collection” was seen by 80,026 visitors.<br />
The special visits included the King and Queen of Sweden, the President of the Indonesian People’s<br />
Parliament, the President of the Moroccan Parliament; the President of the Cypriot Parliament,<br />
Prince Amyn Aga Khan, Prince Hussain Aga Khan and Princess Khaliya, the presidents of the<br />
foundations belonging to The Hague Club, the Friends and Patrons of MoMa, V. S. Naipaul,<br />
winner of the Nobel Prize for Literature, and a group of representatives from “Europa Nostra”<br />
– the Pan-European Federation for Cultural Heritage.<br />
Visit of the King and Queen of Sweden to the <strong>Calouste</strong> <strong>Gulbenkian</strong> Museum.<br />
058.059 058.<br />
Annual Report 2008
“Great World Orchestras” cycle – SWR Sinfonieorchester Baden-Baden und Freiburg, conducted by Sylvain Cambreling,<br />
Coliseu dos Recreios, 29 January, 2008.
Music Department<br />
060. 061<br />
Annual Report 2008<br />
Amounts in euros<br />
Personnel costs 6 186 332<br />
Operating costs 178 342<br />
Subsidies and grants 460 383<br />
Departmental activities 6 291 989<br />
Investment 18 871<br />
Total 13 117 046<br />
Receipts 2 219 749<br />
Amounts in euros<br />
Personnel costs 1 469 793<br />
(management and general support)<br />
Operating costs 178 342<br />
Departmental activities 11 008 528<br />
(including personnel and operating costs)<br />
<strong>Gulbenkian</strong> Orchestra 7 405 642<br />
<strong>Gulbenkian</strong> Choir 663 446<br />
Other activities<br />
Great World Orchestras 941 671<br />
Recitals and chamber music 1 505 003<br />
Jazz in August 228 391<br />
Educational activities 212 515<br />
Courses in musical development 25 339<br />
Works commissioned from composers and musicology 26 521<br />
Subsidies and grants 460 383<br />
Cultural decentralisation plan 4 190<br />
Subsidies and support for musical creativity 25 000<br />
Dance Support Programme 151 528<br />
Scholarships<br />
Investment 18 871<br />
279 665<br />
Total 13 117 046<br />
Receipts 2 219 749
Introduction<br />
In 2008, the activity of the Music Department was once again centred on the production<br />
of the <strong>Gulbenkian</strong> Season of Music, whose mainstays are the Foundation’s permanent groups,<br />
the <strong>Gulbenkian</strong> Choir and Orchestra. Top-level guest musicians performed during the season,<br />
offering a diversified range of music, based on a carefully selected programme of leading<br />
international composers and performers, bringing together different repertoires and styles<br />
of interpretation, representing an innovative reflection on the music that is heard nowadays<br />
and the best ways of listening to it. There was a significant participation of contemporary music,<br />
both in the programmes that were dedicated entirely to this component and in the introduction<br />
of works by modern-day composers in more conventional programmes, with a large number<br />
of works either being premièred worldwide or being performed for the first time in Portugal.<br />
At the same time, the same concern was shown with presenting a repertoire that was less commonly<br />
heard in concert halls, not only in the Early Music programme, but also in all other musical areas.<br />
Besides implicitly guaranteeing musical enjoyment in the Foundation’s regular programme, special<br />
attention was given to the formation of new audiences, seeking to expand and diversify the supply<br />
through a series of different activities, ranging from pre-concert commentaries (preparing audiences to<br />
listen to programmes that were not immediately accessible to them because of their lack of musical<br />
information) to the presentation of programmes dedicated entirely to young and family audiences.<br />
The area of musical education was also given significant attention in terms of professional training,<br />
through programmes of scholarships and grants (music and dance) and courses organised<br />
by the Music Department, further complemented by activities in the area of musicology.<br />
Departmental activities<br />
<strong>Gulbenkian</strong> Orchestra<br />
In 2008, the <strong>Gulbenkian</strong> Orchestra’s activities focused, as usual, primarily on the <strong>Gulbenkian</strong><br />
Season of Music, in which 63 of its 76 public performances took place.<br />
Besides frequently performing major works from the orchestral repertoire of the classical-romantic<br />
period and the 20th century, the <strong>Gulbenkian</strong> Orchestra continued its strategy of disseminating less<br />
well-known music from outside the conventional concert circuits. In this area, mention should<br />
be made of the presentation of works such as Fantasy for Violin and Orchestra, by Josef Suk,<br />
Die erste Walpurgisnacht, by Felix Mendelssohn-Bartholdy, L’Ascension, by Olivier Messiaen,<br />
Faust Cantata by Alfred Schnittke, the Concerto for Violin by Igor Stravinsky, La Chute de la<br />
Maison Usher, by Claude Debussy, the Concerto for Violin, by Ferruccio Busoni, as well as works<br />
by composers that are still active, almost all of which were given their first performance in Portugal,<br />
such as Giro, by Esa-Pekka Salonen, Partita, by Elliott Carter, the Concerto for Clarinet<br />
by Magnus Lindberg, Motto-Studien, by Dan Dediu, and Conjurer: Concerto for Percussionist<br />
and String Orchestra, by John Corigliano (this latter work being jointly commissioned by the <strong>Calouste</strong><br />
<strong>Gulbenkian</strong> Foundation, the Pittsburgh Symphony Orchestra, the Nashville Symphony Orchestra,<br />
the Royal Scottish National Orchestra, the Dallas Symphony Orchestra and the National <strong>Art</strong>s<br />
Centre Orchestra, of Ottawa).<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department
As far as Portuguese music is concerned, for the sixth year running, the <strong>Gulbenkian</strong> Orchestra<br />
continued its dissemination of the work of composers at the beginning of their careers through its<br />
workshop for young Portuguese composers, in what continues to be a pioneering activity in Portugal.<br />
For two weeks, the composers had an opportunity to work on their compositions in close contact<br />
with a conductor and an orchestra. The works included in the workshop were selected by a jury<br />
chaired by the composer Emmanuel Nunes, culminating in their public performance in two<br />
concerts. The composers chosen to take part in this workshop were Carlos Miguel Marques [ka’mi],<br />
Sílvia Mendonça, Nuno Miguel Henriques, Bruno Gabirro, Diogo Alvim and João Fernandes.<br />
The <strong>Gulbenkian</strong> Orchestra played an important role in the “Discovering Music at the <strong>Gulbenkian</strong>”<br />
educational project, which, in the second half of 2008, was included in a broader educational<br />
programme run by the Foundation – the <strong>Gulbenkian</strong> Programme of Education for Culture –<br />
holding 11 commented concerts, dedicated to young and family audiences. At the same time,<br />
as a complement to its performances in the <strong>Gulbenkian</strong> Music Season, the <strong>Gulbenkian</strong> Orchestra<br />
played at two concerts held in the Open-Air Amphitheatre in the <strong>Gulbenkian</strong> Gardens, as part<br />
of the <strong>Gulbenkian</strong> Distance and Proximity Programme, and also took part in the “Live Music”<br />
festival, the “Music in Leiria” festival, the Young Musician’s Award (rdp) and a concert organised<br />
for the European Broadcasting Union and broadcast to several counties belonging to that network.<br />
Outside Lisbon, the orchestra performed in Leiria, Maia and Porto.<br />
The <strong>Gulbenkian</strong> Orchestra recorded a CD for Pentatone of two concertos for piano<br />
by Frédéric Chopin with the young Chinese pianist Sa Chen.<br />
In 2008, the <strong>Gulbenkian</strong> Orchestra was conducted by Alexander Lazarev, Bernhard Klee, Bertrand de Billy,<br />
Christian Badea, Erwin Ortner, Fabio Luisi, Gennadi Rozhdestvensky, Joana Carneiro, John Nelson,<br />
Kirill Petrenko, Lawrence Foster, Lionel Bringuier, Michael Boder, Michel Corboz, Ricardo Kanji,<br />
Rolf Beck, Rumon Gamba, Simone Young and Zoltán Kocsis.<br />
The soloists who performed with the<br />
<strong>Gulbenkian</strong> Orchestra were sopranos<br />
Arianna Zukerman, Elena Prokina,<br />
Eva Urbanová, Genia Kühmeier,<br />
Letizia Scherrer, Miah Persson,<br />
Paula Almerares, Rachel Harnisch<br />
and Sally Matthews; mezzo-sopranos<br />
Anke Vondung, Barbara Hölzl,<br />
Dagmar Peckova, Giovanna Lanza,<br />
Heidi Brunner, Katja Lytting,<br />
Maria Luísa de Freitas, Maria Soulis,<br />
Marina Prudenskaja, Nora Gubisch<br />
and Paula Morna Dória; countertenor<br />
Daniel Taylor; tenors Aldo Caputo,<br />
Christophe Einhorn, Fernando<br />
Guimarães, Johan Botha,<br />
John Graham-Hall, John Mark Ainsley,<br />
Keith Lewis, Laurence Dale,<br />
Miah Persson and the <strong>Gulbenkian</strong> Orchestra, conducted by Simone Young,<br />
Grand Auditorium, 7 November, 2008.<br />
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Annual Report 2008
<strong>Gulbenkian</strong> Choir and the Chamber Orchestra of Europe, conducted by Thomas Hengelbrock, Grand Auditorium, 20 January, 2008.<br />
Marius Brenciu, Paul Groves, Stefan Vinke, Werner Güra and Yann Beuron; baritones Andreas Schmidt,<br />
Dalibor Jenis, Daniel Sumegi, Diogo Oliveira, Luís Rodrigues, Massimiliano Gagliardo, Nuno Dias,<br />
Philippe Fourcade, Scott Hendricks and Willard White; basses Anatoli Kotscherga, Ante Jerkunica,<br />
Sergei Aleksashkin, Stephan MacLeod and Victor Torres; violinists Arabella Steinbacher, David Lefèvre,<br />
Frank Peter Zimmermann, Isabelle van Keulen, Janine Jansen and Julia Fischer; cellists Jian Wang<br />
and Truls Mørk; pianists Alexander Toradze, António Rosado, Arcadi Volodos, <strong>Art</strong>ur Pizarro,<br />
Eurico Rosado, Ingrid Fliter, Katia and Marielle Labèque, Rudolf Buchbinder and Zoltán Kocsis;<br />
clarinettist Kari Kriikku, organist Marcelo Giannini, percussionist Evelyn Glennie and viola<br />
da gambist Sérgio Álvares.<br />
In 2008, Lawrence Foster continued as the <strong>Gulbenkian</strong> Orchestra’s musical director and chief<br />
conductor, with Claudio Scimone as honorary conductor. Simone Young and Joana Carneiro<br />
were respectively principal guest conductor and guest conductor.<br />
<strong>Gulbenkian</strong> Choir<br />
In 2008, the activity of the <strong>Gulbenkian</strong> Choir continued to be predominantly linked to that<br />
of the <strong>Gulbenkian</strong> Orchestra, the two working together on all of the choral-symphonic repertoire<br />
presented under the auspices of the <strong>Gulbenkian</strong> Music Season. Twenty-one of the choir’s 23 public<br />
performances were with the <strong>Gulbenkian</strong> Orchestra, the other two taking place with the Chamber<br />
Orchestra of Europe, conducted by Thomas Hengelbrock, for the performance of the work<br />
A German Requiem, by Johannes Brahms.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department
The Choir’s work with the <strong>Gulbenkian</strong> Orchestra, which allows for the permanent diversification<br />
of the repertoire performed during the <strong>Gulbenkian</strong> Music Season, made it possible to present<br />
Requiem by Antonín Dvorák, Missa Solemnis, by Ludwig van Beethoven, Elias and Die erste<br />
Walpurgisnacht, by Felix Mendelssohn-Bartholdy, Faust Cantata, by Alfred Schnittke, St. John<br />
Passion, by Johann Sebastian Bach, Missa in tempore belli, by Joseph Haydn, La Damnation<br />
de Faust, by Hector Berlioz, Rinaldo (Cantata), by Johannes Brahms, and Missa de Santa Cecília<br />
by José Maurício Nunes Garcia. In the same context, mention should also be made of the<br />
<strong>Gulbenkian</strong> Choir’s participation in the presentation, in a concert version, of the opera<br />
Evgeny Onegin, by Piotr Ilitch Tchaikovsky.<br />
In parallel to its activities in the <strong>Gulbenkian</strong> Music Season, the Choir also took part<br />
in five concerts, performing in Lisbon (Teatro Nacional de Dona Maria II), Porto<br />
(Casa da Música), Santiago do Cacém and Sintra.<br />
In 2008, the <strong>Gulbenkian</strong> Choir was conducted by Bertrand de Billy, Erwin Ortner,<br />
Gennadi Rozhdestvensky, John Nelson, Lawrence Foster, Ricardo Kanji, Rolf Beck and Simone<br />
Young, besides its chief conductor, Michel Corboz, and its associate and assistant conductors,<br />
Fernando Eldoro and Jorge Matta, respectively.<br />
The following soloists sang with the <strong>Gulbenkian</strong> Choir in 2008: sopranos Elena Prokina,<br />
Eva Urbanová, Genia Kühmeier, Johannette Zomer, Letizia Scherrer, Paula Almerares,<br />
Rachel Harnisch and Sally Matthews; mezzo-sopranos Anke Vondung, Barbara Hölzl,<br />
Dagmar Peckova, Giovanna Lanza, Heidi Brunner, Katja Lytting, Maria Luísa de Freitas,<br />
Maria Soulis, Marina Prudenskaja, Nora Gubisch and Paula Morna Dória; countertenor Daniel Taylor;<br />
tenors Aldo Caputo, Christophe Einhorn, Fernando Guimarães, Johan Botha, John Mark Ainsley,<br />
Keith Lewis, Laurence Dale, Marius Brenciu, Paul Groves, Stefan Vinke, Werner Güra and Yann Beuron;<br />
baritones Andreas Schmidt, Dalibor Jenis, Daniel Sumegi, Diogo Oliveira, James Creswell,<br />
Luís Rodrigues, Massimiliano Gagliardo, Nuno Dias and Willard White; basses Anatoli Kotscherga,<br />
Ante Jerkunica, Sergei Aleksashkin, Stephan MacLeod and Victor Torres; organist Marcelo Giannini<br />
and viola da gambist Sérgio Álvares.<br />
Various recordings that the Choir had previously made were also released during 2008:<br />
the recordings with motets by Pedro Gambôa and the Missa pro defunctis by Lourenço Rebelo<br />
(Portugaler), Vilancicos Negros from the 17th century (Portugaler), the Madrigais Camonianos<br />
by Luís de Freitas Branco (PortugalSom/Numérica) and a cappella works by Fernando Lopes-Graça<br />
(PortugalSom/Numérica).<br />
“Great World Orchestras” cycle<br />
During 2008, six concerts were presented as part of the “Great World Orchestras” cycle,<br />
continuing the aim of enabling audiences to hear a diversified symphonic repertoire of the<br />
highest quality, since the concerts are habitually performed by the world’s leading orchestras.<br />
The concerts took place at the Coliseu dos Recreios, and the initiative was, once again, organised<br />
in partnership with the Banco Português de Investimento (bpi). Performances were given by<br />
the Southwest German Radio Symphony Orchestra from Baden-Baden and Freiburg, conducted<br />
by Sylvain Cambreling, the Saint Petersburg Philharmonic Orchestra, with the pianist Elisso Virsaladze,<br />
064.065 064.<br />
Annual Report 2008
Musicians of the <strong>Gulbenkian</strong> Orchestra, conducted by Lawrence Foster, in a performance of L’Histoire du Soldat,<br />
Grand Auditorium, 6 December, 2008.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department
conducted by Yuri Temirkanov, the Royal Concertgebouworkest, conducted by Daniele Gatti,<br />
the Sächsische Staatskapelle Dresden, conducted by Fabio Luisi, the London Symphony Orchestra,<br />
conducted by Colin Davis, and the BBC Symphony Orchestra with the soprano Christine Brewer,<br />
conducted by Jiri Belohlávek.<br />
Residency of the Chamber Orchestra of Europe<br />
In 2008, the Music Department implemented an unprecedented project of residencies<br />
for foreign ensembles in Portugal, providing a multifaceted series of activities, ranging<br />
from concerts to training sessions for a variety of audiences and master classes for young<br />
musicians. In its first experience in this field, the Foundation welcomed the Chamber Orchestra<br />
of Europe (coe), a prestigious ensemble of roughly 50 musicians originating from all over the<br />
continent, most of whom already have their own distinguished autonomous careers as soloists.<br />
During its two weeks of work in Lisbon, the coe presented four concerts (three different<br />
programmes), two of them in collaboration with the <strong>Gulbenkian</strong> Choir, being conducted by<br />
Yannic Nézet-Séguin, Douglas Boyd and Thomas Hengelbrock, with performances being given<br />
by the following soloists: soprano Johannette Zomer, baritone James Creswell and violinist<br />
Valeriy Sokolov. Besides the public performances given by the orchestra, two master classes<br />
were given by Jaime Martin (flute) and François Leleux (oboe), as well as a workshop led<br />
by Joe Rappaport about the Feldenkreis method, focusing on the correct posture<br />
for instrumentalists in order to help professional musicians avoid pain and body tension.<br />
“Great World Orchestras” cycle – BBC Symphony Orchestra, conducted by Jiri Belohlávek, Coliseu dos Recreios, 2 November 2008.<br />
066.067 066.<br />
Annual Report 2008
Recitals and chamber music<br />
Besides the customary division of the recitals given by guest artists into cycles of piano, chamber<br />
music and song, 2008 also brought a series of three concerts centred upon the English tenor<br />
Ian Bostridge, with the collaboration of pianist Julius Drake and the Belcea Quartet.<br />
The following musicians took part in the cycle of song recitals: soprano Christiane Oelze,<br />
mezzo-soprano Anke Vondung, tenor Christoph Genz and bass Stephan Genz (with the pianists<br />
Eric Schneider and Daniel Lorenzo), soprano Véronique Gens (with Susan Manoff), mezzo-soprano<br />
Magdalena Kozená (with Malcolm Martineau), mezzo-soprano Angelika Kirchschlager<br />
(also with Malcolm Martineau), baritone Ildar Abdrazakov (with Mzia Bachtouridze)<br />
and bass Robert Hall (with Oleg Maisenberg).<br />
The piano cycle once again included the presentation of the Toradze Piano Studio, an initiative<br />
led by the virtuoso pianist Alexander Toradze, who, together with some of his more advanced<br />
disciples from Indiana University (South Bend, USA), proposed the presentation of a piano<br />
repertoire dedicated to just one composer and concentrated into a short period of time, which<br />
he has termed a Piano Marathon. In 2008, the marathon was dedicated to Sergei Rachmaninov.<br />
Besides Toradze himself, the following pianists also took part in this recital: Daria Scarano,<br />
Ketevan Badridze, Sean Botkin, Vakhtang Kodanashvili, Maxim Mogilevsky, Edisher Savitski,<br />
Svetlana Smolina and Irma Svanadze. Also taking part were violinist David Lefèvre, cellist<br />
Clélia Vital and the Orthodox Christian Choir of Georgia. Besides this project, the piano cycle<br />
also involved the following pianists: Angela Hewitt, Simon Trpceski, Krystian Zimerman,<br />
Nicholas Angelich, Ivo Pogorelich, Katia & Marielle Labéque, Boris Berezovsky, Evgeny Kissin,<br />
Christian Zacharias and Alfred Brendel.<br />
As far as other instrumental recitals were concerned, the cycle of chamber music included a duet<br />
consisting of cellist Daniel Müller-Schott and pianist Angela Hewitt, the Trio Jean Paul, the Kuss<br />
Quartet, the Borodin Quartet, the Petersen Quartet, the Takács Quartet, a quartet formed from<br />
violinist Viktor Tretjakov, violist Yuri Bashmet, cellist Natalia Gutman and pianist Vassily Lobanov,<br />
and another quartet consisting of violinist Viviane Hagner, clarinettist Kari Kriikku, cellist Alban Gerhardt<br />
and pianist Steven Osborne.<br />
Also included in the programme of recitals and chamber music were the cycles dedicated<br />
to young musicians of special talent just starting out in their career and to chamber music<br />
projects developed by the instrumentalists of the <strong>Gulbenkian</strong> Orchestra, which were held<br />
in the Foundation’s Auditorium II. Taking part in the “New Performers” cycle were cellist<br />
Marco Pereira (with pianist Ofélia Montalván), pianist Luísa Tender and violinist Otto Michael<br />
Pereira (with pianist João Crisóstomo). The performers in the “<strong>Gulbenkian</strong> Orchestra Soloists”<br />
cycle were violinists Alexandra Mendes, Bin Chao, David Lefèvre, Jorge Teixeira,<br />
Pedro Pacheco and Istvan Balazs, violist Maia Kouznetsova, cellists Clélia Vital, Jeremy Lake<br />
and Maria José Falcão, pianists António Rosado and Nicholas Mcnair and the Mus<strong>Art</strong> Quartet<br />
(composed of violinists Gareguin Aroutiounian and Pedro Pacheco, violist Maria Kouznetsova<br />
and cellist Levon Mouradian).<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department
The tenor Ian Bostridge, with the pianist Julius Drake and the Belcea Quartet, Grand Auditorium, 23 February, 2008.<br />
The soprano Christiane Oelze, mezzo-soprano Anke Vondung, tenor Christoph Genz and bass Stephan Genz<br />
with the pianists Eric Schneider and Daniel Lorenzo, Grand Auditorium, 26 February, 2008.<br />
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Annual Report 2008
Early Music and Contemporary Music<br />
The Early Music programme included a monographic concert dedicated to João Rodrigues Esteves,<br />
one of the most important 18th-century Portuguese composers, performed by the Ensemble Européen<br />
William Byrd, conducted by Graham O’Reilly. Another monographic concert, centred upon the Czech<br />
composer Jan Dismas Zelenka, was performed by the ensembles Il Fondamento and the Flanders<br />
Radio Choir, conducted by Paul Dombrecht, with the participation of soprano Miriam Allan,<br />
countertenor Clint van der Linde, tenor Robert Getchell and baritone André Morsch. The ensemble<br />
Le Concert des Nations, conducted by Jordi Savall, presented a programme dedicated to the French<br />
suite in Baroque Europe, with music by Lully, Handel, Rameau and J. S. Bach, a period that was also<br />
visited by countertenor Carlos Mena and the ensemble Lux Orphei, with Italian vocal and instrumental<br />
music. Other great vocal performances included in the Early Music Cycle were those given by mezzo-<br />
-soprano Cecilia Bartoli – with the Basle Chamber Orchestra, in a programme celebrating the 200th<br />
anniversary of the birth of the famous singer Maria Malibran – and a whole host of other leading<br />
figures, performing a concert version of the opera Idomeneo, by Mozart, with the Europa Galante<br />
and Opera Seria Chorus ensembles, conducted by Fabio Biondi. Collaborating in this last project<br />
as soloists were tenor Ian Bostridge, (Idomeneo), Jurgita Adamonyte (Idamante), Kate Royal (Ilia),<br />
Emma Bell (Elettra), Benjamin Hulett (Arbace), Paul Badley (High Priest) and Charles Pott (The Voice).<br />
The Contemporary Music programme, which included events in various cycles of the music season,<br />
was dominated by the tribute to three composers: Olivier Messiaen (on the centenary of his birth),<br />
Elliott Carter (on his one hundredth birthday) and Magnus Lindberg.The works by Messiaen that<br />
were performed were Turangalîla-Symphonie, L’Ascension and Quatuor pour la fin du Temps.<br />
The continuation of the homage to this composer in 2009 was programmed, making it possible<br />
to hear the complete repertoire of his three cycles for voice and piano.<br />
The commemoration of the Carter centenary began with the presentation of various pieces<br />
of chamber music by the Nash Ensemble, and Partita (the first part of the symphony Sum fluxae<br />
pretium spei) by the <strong>Gulbenkian</strong> Orchestra conducted by Joana Carneiro. This will be concluded<br />
in 2009 with the chance to hear the complete set of the string quartets.<br />
The cycle dedicated to the Finnish composer Magnus Lindberg was presented in four events.<br />
The first consisted of a concert completely filled with his works, in which Lindberg performed as a<br />
pianist, alongside clarinettist Kari Kriikku and cellist Olivier Marron. Two other events were, respectively,<br />
the first Portuguese performance of his Concerto for Clarinet (by the <strong>Gulbenkian</strong> Orchestra conducted<br />
by Joana Carneiro and with Kriikku performing as a soloist) and the performance of three works by the<br />
Remix Ensemble conducted by Emilio Pomàrico. The cycle also included a lecture by Magnus Lindberg.<br />
The Remix Ensemble, in their capacity as regular guest performers in the area of Contemporary<br />
Music, also performed another two concerts: the first, entitled Pink Velvet’s Bad Trip, with works<br />
inspired by rock culture and composed by Davis Horne, Vítor Rua, Fausto Romitelli and Wolfgang<br />
Mitterer; the second filled with works by the French composers Tristan Murail, Pascal Dusapin<br />
and Frédéric Durieux and the Portuguese composer Pedro Amaral.<br />
The first Portuguese performance was given of Conjurer by the American composer John Corigliano,<br />
a concerto for percussionist and string orchestra (this work is also mentioned in this report<br />
in the section on incentives for musical creativity).<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department
“Jazz in August”<br />
The programme of the 2008<br />
“Jazz in August” festival, the 25th<br />
consecutive edition of this event,<br />
which has had Rui Neves as its artistic<br />
director ever since its creation,<br />
was based on the theme of “Extensions”.<br />
This was understood both in<br />
a geographical sense and in the sense<br />
of a return of musicians who had been<br />
revealed in previous editions, now<br />
playing in new formats, with these two<br />
aspects being closely interconnected.<br />
Japan was represented in this same<br />
context, showing its present-day creative<br />
trends with the New Jazz Orchestra<br />
of Otomo Yoshihide (who had previously<br />
performed in 2004 with his New Jazz<br />
Quintet), the paap trio and the quartet<br />
of the pianist Satoko Fujii, in which<br />
Japanese and American musicians<br />
played together; the major reference<br />
in the world of jazz Anthony Braxton<br />
(who had played at the 2000 and 2006<br />
editions) was represented through some<br />
of his disciples – the sextet of trumpeter<br />
Taylor Ho Bynum and the trio Memorize<br />
The Sky; and Peter Brötzmann again<br />
returned to the festival, this time<br />
presenting his tentet, which included<br />
various musicians who had also played<br />
at previous editions of the event.<br />
Different projects from the ones that<br />
had been presented in previous<br />
performances were also produced<br />
by pianist Sylvie Courvoisier, who<br />
introduced audiences to her Lonelyville,<br />
and drummer Fritz Hauser, who returned<br />
The saxophonist John Zorn and guitarist Fred Frith at the “Jazz in August” festival,<br />
Open-Air Amphitheatre, 3 August, 2008.<br />
Peter Brötzmann Chicago Tentet at the “Jazz in August” festival,<br />
Open-Air Amphitheatre, 9 August, 2008.<br />
to give a solo performance, after having played at the previous festival with the Quartet Noir. In terms<br />
of actual concerts, mention should be made of two duos with quite opposite aesthetic ideas, who called into<br />
question the value of the current jazz formula: Pascal Contet & Barre Phillips and John Zorn & Fred Frith.<br />
In parallel with the above-mentioned concerts, the film Last Date, by Hans Hylkema, was shown,<br />
marking the 80th anniversary of the birth of Eric Dolphy. In what is slowly becoming a rule at the<br />
“Jazz in August” festival, documentaries were also shown about the jazz universe. This involved<br />
070.071 070.<br />
Annual Report 2008
the exhibition of the films Misha Mengelberg Afijn, by Jellie Dekker and Dick Lucas,<br />
and A Bookshelf on the Top of the Sky/12 Stories about John Zorn, by Claudia Heuermann.<br />
A round table discussion was held, chaired by the American critic Bill Shoemaker, which examined<br />
the question of the political economy of jazz based on an idea put forward by the historic saxophonist<br />
Marion Brown. Taking part in this discussion were Barre Phillips, Taylor Ho Bynum and Mary Halvorson.<br />
The “Discovering Music at the <strong>Gulbenkian</strong>” educational project<br />
During 2008, its third year in operation, the “Discovering Music at the <strong>Gulbenkian</strong>” educational<br />
project underwent a profound change in its organisational structure by being incorporated into<br />
a broader programme (the <strong>Gulbenkian</strong> Education for Culture Programme – Descobrir) which, beginning<br />
in the 2008-2009 season, brought together all of the Foundation’s educational projects existing<br />
in different areas. Despite this change, educational projects in the music area continued to follow<br />
their previous guidelines, offering a wide variety of activities (49 different programmes), including<br />
visits, workshops, concerts and courses, amounting to a total of 406 sessions, which involved<br />
8,957 trainees and 12,960 spectators.<br />
Under the category of visits, the same procedures were followed as in the previous year,<br />
with a concern being shown to guide children and young people in the discovery of the physical<br />
characteristics of sound, the instruments that produce it and its transformation over the various<br />
historical periods. They were also given the chance to discover the backstage areas at concerts,<br />
the rehearsals for their preparation and the musicians who perform them. The “Special Journey into<br />
the World of Sound” was also continued, using the Instrumentarium Baschet to develop the exploration<br />
of sound with children and young people with special needs. Responding to the requests of the public,<br />
the general “Journey into the World of Sound” was extended to include the family audience, with<br />
sessions being held at weekends during the month of June, and the “Thematic Trips” also underwent<br />
important changes, beginning in the last quarter of the year. New approaches to the different periods<br />
– Medieval and Renaissance, Baroque and Classical – were introduced through the cooperation<br />
between specialist monitors from the educational sectors of the Music and Museum departments.<br />
“Special Journey into the World of Sound”, using the Instrumentarium Baschet<br />
to develop the exploration of sound with children with special needs.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department<br />
As far as free courses were<br />
concerned, the introductory courses<br />
were continued, with the re-edition<br />
of the course of the “Musicians’ Code”.<br />
The themes were, however, considerably<br />
expanded, touching upon other<br />
musical realities, as was the case<br />
with the course about the history<br />
and evolution of jazz and the course<br />
about world music and its crossover<br />
with erudite music. Besides these<br />
courses, the following courses were<br />
also held: “The Song in History and<br />
the History of Song”, which examined<br />
the development and evolution
of song from the cantigas de amigo (the love songs in which male minstrels wrote from a female<br />
viewpoint) to the more contemporary languages; and “The Century of All Kinds of Music”, centred<br />
around the music of the 20th century. Finally, two theoretical and practical courses were held:<br />
“Encounters between Music and the Visual <strong>Art</strong>s”, developed in cooperation with the educational<br />
sector of the Modern <strong>Art</strong> Centre, aimed at educational agents and all those interested in exploring<br />
the multiple links and mutual crossovers between music and the visual arts; and the course entitled<br />
“The Vibration of Sound”, aimed at musicians, teachers and artists interested in experimenting<br />
with and understanding the impact of vibration on the human being and musical performance.<br />
The project also continued to offer a wide range of workshops, almost all of which developed<br />
activities based on the repertoire of the Commented Concerts. By moving from listening to<br />
production, many of the workshops used different artistic expressions – dance, visual arts, writing<br />
and dramatic expression – to stimulate the capacity to listen, interpret and improvise. As far<br />
as actual musical exploration is concerned, workshops were held on the work of two composers<br />
who left a profound impression on the 20th century, Stravinsky and Messiaen (marking the centenary<br />
of the birth of the latter musician), as well as on the “Tin Drums” concert – transforming objects,<br />
which are apparently useless, into genuine instruments, in order to create small compositions that<br />
the participants could take home in the form of a cd. In this same area, a musical improvisation<br />
workshop was held, based on short stories created at the school. An important novelty was the<br />
holding of the special project “The Colours of Music”, a show created by children for children,<br />
which resulted from a workshop that took place throughout the school year with the Gregorian<br />
Institute, based on the crossovers between the visual arts and music.<br />
The educational project also benefited from the holding of seven programmes of commented<br />
concerts with the <strong>Gulbenkian</strong> Orchestra, with three sessions being specially organised for school<br />
audiences and seven sessions for families, four more than in the previous year. This work continued<br />
to display a concern with designing programmes with works that had been specially composed<br />
for children and young people, such as Peter and the Wolf, by Prokofiev, and Britten’s The Young<br />
Person’s Guide to the Orchestra, as well as other iconic works from the musical repertoire.<br />
Two other concert programmes were also held: one, in the Open-Air Amphitheatre, with two sessions<br />
being performed by the percussion group Drumming – Tin Drums – dedicated to traditional<br />
Latin-American music, based on the history of the steel drum, its evolution as a musical instrument<br />
and its links with erudite music; the other consisting of a staged concert, presenting the works<br />
Babar, the Elephant and Mother Goose, with four sessions, based on children’s stories that<br />
Poulenc and Ravel transcribed into the musical language.<br />
Publications and Musicology<br />
In 2008, the Music Department continued its partnerships with the two publishers, Imprensa Nacional<br />
– Casa da Moeda (in-cm) and the Portuguese National Library (bn). With the first of these institutions,<br />
which is currently responsible for the sale, distribution and management of the Music Department’s<br />
stocks of publications, work continued on the joint publication of new volumes in the “Museological<br />
Studies” series, with two new titles: Cerimonial da Capela Real: Um Manual Litúrgico de D. Maria<br />
de Portugal (1538-1577), Princesa de Parma, by José Maria Pedrosa Cardoso (EM-31),<br />
and Músicos Interpretam Camões: Canções sobre Poemas de Camões na Primeira Metade<br />
072. 072.073<br />
Annual Report 2008
6th <strong>Gulbenkian</strong> Orchestra Workshop for Young Composers, Grand Auditorium, 26 January, 2008.<br />
do Século XX, by Paulo Esteireiro (EM-32). As far the partnership with the bn is concerned,<br />
work continued on the joint preparation of the facsimile edition of the Portuguese treatise <strong>Art</strong>e Mínima,<br />
by Manuel Nunes da Silva (1685, 1704, 1725), one of the most widely read theoretical treatises<br />
in the 17th century. The bn completed its work of preparing a full digital version of the treatise,<br />
while the Music Department finished its revision of the introduction and the preliminary study<br />
by Aires Manuel Rodeia Pereira, so that the book was made ready for printing.<br />
As well as its publication activities, the Music Department organised an international academic conference<br />
in the area of Musicology, in continuation of the one held in 2000, which resulted in the publication<br />
of the book A Música no Brasil Colonial (Lisbon, <strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation, 2001). This initiative<br />
coincided with the commemorations to mark the 200th anniversary of the arrival of the Portuguese royal<br />
family in Rio de Janeiro, in 1808. Dedicated to the theme of “Portuguese-Brazilian Music at the end<br />
of the Ancien Regime: Repertoires, Practices and Representations”, the academic side of the conference<br />
was coordinated by Maria Elizabeth Lucas (Federal University of Rio Grande do Sul) and Rui Vieira Nery<br />
(Évora University), being held from 7 to 9 June, 2008. The initiative brought to Lisbon some of the leading<br />
international specialists in the field of historical, ethnomusicological and iconographic research related<br />
with the Brazilian musical repertoire of the colonial period. A total of 24 guest specialists took part in the<br />
conference: 14 Brazilian researchers, including full professors, PhD holders and postdoctoral researchers<br />
from the music departments of the main federal and state universities in Brazil; and 10 teachers<br />
and researchers from the main musicological teaching and research institutions in Portugal.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department
Courses and seminars<br />
In addition to the activities mentioned earlier in the section on the residency of the Chamber<br />
Orchestra of Europe, the Music Department organised a Course of <strong>Art</strong>istic Development<br />
in the Piano, given by Galina Eguiazarova, under the terms of the protocol existing between<br />
the Foundation and the Queen Sofia Higher School of Music in Madrid.<br />
A Seminar on Composition was also given by Emmanuel Nunes, dedicated to young composers.<br />
Grants and scholarships<br />
Incentives for musical creativity<br />
In keeping with the programming of the season of concerts in the Grand Auditorium, the Music<br />
Department commissioned works from the composers João Rafael and Emmanuel Nunes.<br />
The first commission centred upon the work Verzeigungen for quarter-tone marimba and string<br />
quartet, to be premièred in 2009 by the percussionist Pedro Carneiro and the Arditti Quartet.<br />
Emmanuel Nunes’ commission relates to the Improvisation IV string quartet, which is programmed<br />
to be premièred in 2010 by the Diotima Quartet.<br />
Also in 2008, the Portuguese premières were played of works previously commissioned by<br />
the Music Department from the Swedish composer Karin Rehnqvist and the American composer<br />
John Corigliano. Rehnqvist’s work (Where the Raven Blanches) is designed to be performed<br />
by a Swedish popular music singer and a group of twelve instrumentalists. The commission<br />
was made in partnership with the Nordic Chamber Ensemble and the BIT 20 Ensemble<br />
(both from Sweden), and its Portuguese première was held at the Centro Cultural de Belém,<br />
as part of the “In Extremis – Music from the Extremes of Europe” festival, organised<br />
by Orchestra Utopica. It was performed by instrumentalists from this group and the singer<br />
Ulrika Bodén, conducted by Cesário Costa. John Corigliano’s work (Conjurer, a concerto for soloist<br />
percussionist and string orchestra) was dedicated to the percussionist Evelyn Glennie, resulting<br />
from a partnership between the Foundation and five other institutions: Pittsburgh Symphony<br />
Orchestra, Nashville Symphony Orchestra, Royal Scottish National Orchestra, Dallas Symphony<br />
Orchestra and National <strong>Art</strong>s Centre Orchestra (Ottawa). The work was given its first Portuguese<br />
performance in the Grand Auditorium by the <strong>Gulbenkian</strong> Orchestra, conducted by Lionel Bringuier,<br />
with Evelyn Glennie as the soloist.<br />
Dance Support Programme<br />
The Dance Support Programme continued to pursue the aims established on its creation in 2006<br />
and once again subsidised a set of projects in the area of training, research, internationalisation<br />
and publication. In this context, support was given to 14 projects and a further 13 scholarships<br />
were also awarded for the study of dance – eight renewals and five new scholarships. Grants<br />
were awarded to the following institutions: Teatro Nacional de São Carlos (support for the dance<br />
components of the opera Das Märchen, by the composer Emmanuel Nunes), the Faculty of Human<br />
Kinetics, cem, Fórum Dança, Bomba Suicida, Quorum Ballet, Associação Zé dos Bois, ACE/Teatro<br />
074.075 074.<br />
Annual Report 2008
The pianist Christian Zacharias, Grand Auditorium, 24 November, 2008.<br />
do Bolhão, and the CeDeCe – Contemporary Dance Company. Grants were also awarded<br />
to the Portuguese scholarship holders linked to the “danceWEBEurope 2008” project.<br />
Since the applications submitted for consideration under the scope of this programme are frequently<br />
cross-disciplinary in nature and highlight aspects that are the responsibility of the Fine <strong>Art</strong>s<br />
Department, this programme was transferred to that department during 2008, although the Music<br />
Department still remained responsible for awarding support.<br />
Overseas scholarships for artistic development<br />
In 2008, the Music Department awarded a total of 23 overseas scholarships for artistic training<br />
in music for the academic year 2008-2009. Sixteen were renewals of scholarships awarded<br />
in previous years, while seven were new awards. In terms of the areas of specialisation,<br />
the scholarships were distributed as follows: song (five), clarinet (one), bass viol (one),<br />
bassoon (one), flute (two), oboe (one), piano (four), French horn (two), viola (one), violin (three)<br />
and cello (two). In terms of geographical distribution, this programme enabled scholarship<br />
holders to attend schools in the following countries: Germany (six), Spain (two), USA (one),<br />
Russian Federation (one), France (one), Italy (one), Lithuania (one), Netherlands (one),<br />
the United Kingdom (six) and Switzerland (three).<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Music Department
Domestic scholarships<br />
For the tenth consecutive year, the Music Department maintained its link with the Young Musician’s<br />
Prize awarded by RTP – Rádio e Televisão de Portugal, organised by Radiodifusão Portuguesa<br />
(RDP)/Antena 2. Under the scope of the Prize, five training awards were made to the winners<br />
of the following higher level soloist categories: flute, piano, trombone, trumpet and violin.<br />
These awards were made with the aim of enabling the young prize-winners to pursue their<br />
studies in greater depth.<br />
Other grants<br />
Several individual grants were awarded in 2008 to help cover the costs of musical activities<br />
in the training area. Two training projects were awarded grants, one organised by the Said-Baremboim<br />
Foundation (West-Eastern Divan Workshop and Orchestra) and the other by the Lisbon Early<br />
Music Association. Grants were also awarded to the Portuguese Musical Youth for the organisation<br />
of a series of recitals played on historical organs at various places around the country<br />
and to Editorial Caminho for the publication of the book Tábua Póstuma da Obra Musical<br />
de Fernando Lopes-Graça.<br />
076.077 076.<br />
Annual Report 2008
Aspect of the exhibition “7 <strong>Art</strong>ists in the 10th Month”.
José de Azeredo Perdigão<br />
Modern <strong>Art</strong> Centre • CAMJAP<br />
As has been the general practice since 2006, and after<br />
the end of the “Come and Go: Fiction and Reality”<br />
exhibition in June, the Museum of the Modern <strong>Art</strong> Centre<br />
hosted yet another large-scale project, which occupied<br />
the whole of the central exhibition area, this time<br />
by the Brazilian artist Waltercio Caldas.<br />
In its smaller room, reserved for temporary exhibitions,<br />
the Modern <strong>Art</strong> Centre gave special attention to foreign<br />
photography (with works by Patrick Faigenbaum and<br />
Michel François) and an emerging artist, Susana Anágua,<br />
who designed a specific project for this space.<br />
In the largest gallery at the Foundation’s headquarters,<br />
an exhibition was held of the Deutsche Bank collection.<br />
In December 2008, the second volume of the catalogue<br />
raisonné of Amadeo de Souza-Cardoso, dedicated<br />
to painting, was published.<br />
This publishing project, begun by the Foundation in 2001,<br />
through a research team specially set up for this purpose<br />
(coordinated by Helena de Freitas, and with the collaboration<br />
of António Cardoso, the director of the Amarante Museum),<br />
had as its prime aim to undertake an exhaustive inventory<br />
and cataloguing of the oeuvre of Amadeo de Souza-Cardoso<br />
and to update the information available about each of the<br />
works presented. In the course of this project, the body<br />
of work known to have been produced by the artist grew<br />
significantly, as well as the documentary information that<br />
serves to contextualise it, in a total of 209 paintings presented.<br />
078. 079<br />
Annual Report 2008<br />
Amounts in euros<br />
Personnel costs 1 092 458<br />
Operating costs 94 334<br />
Grants and scholarships 84 940<br />
Departmental activities 2 582 833<br />
Investment 307 352<br />
Total 3 854 565<br />
Receipts 336 134
Temporary exhibitions<br />
Two exhibitions were a continuation of the previous year’s programme: “Patrick Faigenbaum”,<br />
held in the Modern <strong>Art</strong> Centre’s Temporary Exhibitions Room until 24 February, and “Come and Go:<br />
Fiction and Reality”, in the large central space of the Museum’s level 0, until 1 June.<br />
The exhibition “Vieira da Silva. Œuvres de la Fondation Arpad Szenes – Vieira da Silva et<br />
du Centre d’<strong>Art</strong> Moderne José de Azeredo Perdigão” was on display until 16 March at the<br />
Arpad Szenes – Vieira da Silva Foundation.<br />
“Come and Go: Fiction and Reality”<br />
Along with the “Moments in Contemporary Portuguese Video <strong>Art</strong>” initiative, organised by the Fine <strong>Art</strong>s<br />
Department, with which the Modern <strong>Art</strong> Centre was itself associated, an attempt was made to ensure<br />
that this exhibition could reflect upon some of the ways in which the moving image is used in the<br />
international contemporary art scene. This exhibition was curated by Christine van Assche, from the<br />
Centre Georges Pompidou, and was developed in association with the Fine <strong>Art</strong>s Department.<br />
Presentation of the Collection<br />
During 2008, the Modern <strong>Art</strong> Centre organised two different exhibitions of its collection:<br />
› Works from the first and second Modernist periods, works of Surrealism and Expressionism<br />
in the 1940s and 1950s, as well as works from the 1960s, were exhibited on level 01 until 31 May.<br />
› Works from the second half of the 20th century, predominantly sculptures, installations and largesized<br />
paintings, were exhibited on level 1. A gallery was created on both levels dedicated to drawing<br />
from the decades under consideration.<br />
› From 18 July 2008 to 10 January 2009, the gallery on level 01 presented a historical look<br />
at 20th-century Portuguese art up to the period after the Second World War, based on Modernist works by<br />
Amadeo de Souza-Cardoso. Works by his contemporaries, such as Robert Delaunay, were also exhibited,<br />
making it possible to follow the evolution in Portuguese art from the 1920s to the 1960s, in which figurative<br />
works, of greater or lesser degrees of naturalism, were associated with abstract or abstract-like experiments.<br />
› A selection of paintings by Portuguese and British artists were exhibited on level 1, together<br />
with some photographs and sculptures: ranging from pop figurations of the 1960s and the highly<br />
traditional British figurative painting to post-pop abstractions that tended towards minimalism.<br />
The exhibition was completed with a gallery of drawing and sculpture.<br />
Pedro Cabral Santo • “Tilt”<br />
13 March to 22 June 2008<br />
camjap Temporary Exhibitions Room<br />
In parallel to his activity as a visual artist, Pedro Cabral Santo (Lisbon, 1968) has worked<br />
as a curator of exhibitions, as well as taking part in theatrical performances and musical projects.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
Aspect of the exhibition “Tilt” by Pedro Cabral Santo.<br />
“Horizons – Waltercio Caldas”<br />
Curated by Jorge Molder<br />
18 July to 11 January 2009<br />
camjap Museum<br />
His exhibition consisted of three<br />
sculptures and a video. Four artists<br />
were evoked in this group of works –<br />
William Turner, Constantin Brancusi,<br />
Giuseppe Penone and Gustave Courbet.<br />
“Tilt” also consisted of summoning<br />
forth the artist’s affective memories,<br />
moments that had marked him and<br />
the mechanisms of perception.<br />
“Drawing a Tension – Works from<br />
the Deutsche Bank Collection”<br />
Curated by Jürgen Bock<br />
3 June to 7 September 2008<br />
Level 0 of the headquarters of the<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation<br />
In 1979, the Deutsche Bank was one<br />
of the first private institutions to make a<br />
link between contemporary art and the<br />
workplace. Originally focusing on the<br />
acquisition of drawing and photography,<br />
its art collection has grown over recent<br />
years to encompass painting and<br />
sculpture. Under the title “Drawing<br />
a Tension”, the curator Jürgen Bock<br />
brought together a group of important<br />
pieces for display at the Temporary<br />
Exhibition Gallery of the headquarters<br />
of the <strong>Gulbenkian</strong> Foundation.<br />
The juxtaposition of these works sought<br />
to create a tension that enriched the<br />
possibilities of interpreting each one.<br />
For about 40 years, Waltercio Caldas (Rio de Janeiro, 1946) has explored a variety of media:<br />
sculpture, drawing, graphic arts, engraving, stage and wardrobe design.<br />
Among other pieces, the artist presented several works of a sculptural nature, mostly conceived<br />
in order to be displayed in camjap’s largest exhibition area. The huge scale of the project<br />
has certainly ensured it major prominence in Caldas’ international career.<br />
080. 080.081<br />
Annual Report 2008
Polar, 2008. A work from the exhibition “Northless”, a project by Susana Anágua.<br />
“Northless”<br />
A project by Susana Anágua<br />
Curated by Leonor Nazaré<br />
camjap Temporary Exhibitions Room<br />
18 July to 26 October<br />
Ideas such as the loss of spatial references and the effort involved in recovering them were<br />
at the origin of the artistic proposal made by Susana Anágua.<br />
The exhibition consisted of the presentation of two videos and a large-sized wall piece.<br />
“7 <strong>Art</strong>ists in the 10th Month”<br />
Curated by Filipa Oliveira<br />
Level 01 of the Foundation’s headquarters<br />
2 October 2008 to 11 January 2009<br />
This was the sixth edition of this bi-annual initiative, designed to show the work of emerging<br />
artists who are not yet part of the art circuits. The seven artists chosen were André Gonçalves,<br />
Eduarda Silva, Joana Bastos, João Ferro Martins, Jorge Maciel, Raquel Feliciano and Sérgio Dias.<br />
This represents the quintessential moment for the discovery of new talents. Besides the seven<br />
artists, seven critics were also invited to express their thoughts about each work.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
Aspect of the exhibition “Homage to Vieira da Silva”.<br />
“40 Posters on Display, 1994-2008”<br />
Michel François in collaboration with Richard Venlet<br />
camjap Temporary Exhibitions Room<br />
This exhibition brought together 40 large-sized posters (180 x 120 cm), printed over fourteen years,<br />
distributed in their thousands and displayed in different cities.<br />
Michel François worked on this project with the Belgian artist Richard Venlet, seeking to create<br />
a device that could present and exhibit these forty images. It was such a group of images, turned<br />
into a work, that were put on display. For the exhibition in Lisbon, a new image was printed,<br />
to be distributed among the visitors, as well as presented on 30 information display panels<br />
scattered around the city of Lisbon.<br />
“Homage to Vieira da Silva”<br />
Entrance Hall of the camjap Museum<br />
June-July<br />
Presentation of two designs for tapestries made by Vieira da Silva and six paintings<br />
by Arpad Szenes depicting her, as part of the commemorations of the centenary<br />
of the artist’s birth.<br />
082.083 082.<br />
Annual Report 2008
Aspect of the exhibition “Drawing a Tension. Works from the Deutsche Bank Collection”.<br />
Aspect of the exhibition “Horizons – Waltercio Caldas”.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
Publications<br />
Catalogue Raisonné of Amadeo de Souza-Cardoso<br />
Cataloguing of the works, with a total of 209 paintings reproduced in colour. Texts by Helena<br />
de Freitas, António Cardoso, Maria João Melo, Márcia Vilarigues, Sara Babo and Catarina Alfaro.<br />
Bilingual edition (Portuguese/English) of all texts; 471 pages.<br />
The joint work of the teams of the catalogue raisonné and the New University of Lisbon – Faculty<br />
of Science and Technology resulted in an essay reflecting on all of the technical research<br />
undertaken and its conclusions. This volume also includes a wide selection of texts<br />
and statements made by other artists about the painter’s work.<br />
Pedro Cabral Santo. Tilt<br />
Catalogue: Texts by Jorge Molder and Maria João Gamito. Bilingual edition (Portuguese/English);<br />
48 pages. Colour reproductions of some works.<br />
Drawing a Tension – Works from the Deutsche Bank Collection<br />
Catalogue: Joint publication of the <strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation and Deutsche Bank <strong>Art</strong>.<br />
Organisation: Jürgen Bock. Texts by Jürgen Bock, José A. Bragança de Miranda and Gertrud<br />
Sandqvist. Bilingual edition (Portuguese/English); 199 pages. Colour reproductions of all works.<br />
Biographies of the artists.<br />
Horizons – Waltercio Caldas<br />
Catalogue: Organisation by Waltercio Caldas and Jorge Molder. Texts by Jorge Molder<br />
and Paulo Venancio Filho. Bilingual edition (Portuguese/English); 150 pages. Colour reproductions<br />
of all the exhibited works. Biography and bibliography of the artist.<br />
Exhibition journal: Eight pages with colour reproductions, various texts by/and about the artist<br />
and sundry information.<br />
Northless. A Project by Susana Anágua<br />
Catalogue: Texts by Jorge Molder, Leonor Nazaré, Natércia Caneira, Susana Anágua. Bilingual<br />
edition (Portuguese/English); 40 pages. Colour reproductions of the works. Biography and<br />
bibliography of the artist.<br />
7 <strong>Art</strong>ists in the 10th Month<br />
Catalogue: Texts by Antonia Gaeta, Bruno Marques/Marta Mestre, Cíntia Gil, Filipa Oliveira, Hugo Dinis,<br />
João Mourão, Jorge Molder, Luís Silva, Paulo Pires do Vale. Bilingual edition (Portuguese/English);<br />
72 pages. Colour reproduction of some of the exhibited works. Biography of the seven artists.<br />
40 Posters on Display, 1994-2008<br />
Michel François in collaboration with Richard Venlet.<br />
Pamphlet associated with the exhibition.<br />
Fernando Calhau. Convocação I-II<br />
Catalogue: Texts by Jorge Molder and Nuno Faria. 285 pages. Colour reproduction<br />
of the exhibited works. Although the exhibition was inaugurated in 2006, this bilingual edition<br />
was only published in 2008.<br />
084.085 084.<br />
Annual Report 2008
Aspect of the exhibition “40 Posters on Display, 1994-2008”. Michel François in collaboration with Richard Venlet.<br />
Conferences and talks<br />
“A Month of Brazilian <strong>Art</strong> at the Modern <strong>Art</strong> Centre”<br />
The presentation of the book Horizons, on 4 November, marked the beginning of a programme<br />
that took place at the Modern <strong>Art</strong> Centre until 7 December, a programme that included a cycle<br />
of conversations with international curators and the showing of videos about Brazilian artists.<br />
Jorge Molder was the moderator of a conversation between Waltercio Caldas and Ângelo de Sousa.<br />
Beginning on 6 November, in the Tapestry Room of the Modern <strong>Art</strong> Centre, a video was shown<br />
about Waltercio Caldas entitled Apaga-te Sésamo. Directed by Miguel Rio Branco, this award-winning<br />
film was part of the “RIOARTE Series” project, composed of 24 videos about contemporary<br />
Brazilian artists, made between 1984 and 2005. The videos were shown in a continuous loop,<br />
from 6 November to 7 December, from Thursday to Sunday afternoon. Videos about the work<br />
of Lygia Clark, Tunga, Cildo Meireles, Lygia Pape, António Dias and José Resende, amongst others,<br />
were all part of the programme of daily video sessions.<br />
The Cycle of Talks about Brazilian <strong>Art</strong> brought to the Modern <strong>Art</strong> Centre: Paulo Venancio Filho,<br />
a curator, art critic and teacher, who spoke about “Waltercio Caldas and his Generation of <strong>Art</strong>ists”,<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
in the artistic context of Rio de Janeiro in the 1970s and its transformations; Paulo Herkenhoff,<br />
who spoke about neo-concretism as an inaugural moment in the autonomy of art; and Guy Brett,<br />
who talked about the work of Lygia Clark and Hélio Oiticica.<br />
Other activities<br />
Website<br />
Beginning of the project for redesigning the Modern <strong>Art</strong> Centre’s website, which will include the<br />
online publication of the Collection, The opening of the new website is planned for 20 July 2009,<br />
to mark the Centre’s 26th anniversary.<br />
Internships<br />
The following internships were organised, relating to conservation and research into the Collection:<br />
› A professional internship with the iefp (Institute of Employment and Vocational Training),<br />
from March to December;<br />
› A curricular internship as part of the Conservation and Restoration course of the Faculty<br />
of Applied Sciences of Berlin University, from September to October, with work having been<br />
carried out on the piece by João Pedro Vale, ‘Are you safe when you are dreaming’ (2001).<br />
In the Sector of Education and <strong>Art</strong>istic Animation:<br />
› An unpaid and part-time international internship – continuing the programmes begun in 2007 –<br />
under the auspices of the Erasmus Programme (undergraduate degree course in Cultural Studies<br />
at the University of Ljubljana, Slovenia), in the area of logistical support and event production<br />
(ending in January – duration: three months).<br />
› A professional internship under the auspices of the iefp’s Programme of Professional Training<br />
Courses, in the area of logistical support, production assistance and educational projects<br />
(ending in February – duration: nine months).<br />
› A curricular internship (undergraduate degree course in Promotion and Social Intervention<br />
at the Setúbal College of Education), beginning in 2008, in the area of production assistance<br />
and educational projects (beginning in April – duration: four months).<br />
› A professional internship under the auspices of the iefp’s Programme of Professional Training<br />
Courses, in the area of logistical support, production assistance and educational projects<br />
(beginning in September – duration: nine months).<br />
Maintenance of the Collection<br />
The work involved in the maintenance of the Collection was continued, with several interventions<br />
being made in the area of “Conservation & Restoration”.<br />
The systematic photographing of the Collection’s existing works was continued. This is due<br />
to be completed in 2009, allowing for the publication of the Collection on the new website.<br />
086.087 086.<br />
Annual Report 2008
Activities of a scientific and institutional nature<br />
› Participation in the conference “Ephemeral <strong>Art</strong> and Conservation. The Paradigm of Contemporary<br />
<strong>Art</strong> and Ethnographic Goods”, 6-7 November, Orient Museum/Institute of Museums and<br />
Conservation/Berardo Collection Museum/New University of Lisbon, with a paper entitled<br />
“A Loucura dos Faroleiros – Notas sobre Conservação” presented by the curator of the Collection,<br />
Ana Vasconcelos e Melo.<br />
› Participation of Leonor Nazaré in the jury of the Unilever International Schools <strong>Art</strong> Project,<br />
2008-2009, and the jury of the Fidelidade Painting Prize, 2009.<br />
› Visit to the exhibition “7 <strong>Art</strong>ists in the 10th Month”, in the form of a conversation between<br />
Leonor Nazaré and the curator, Filipa Oliveira, on 2 November, 2008.<br />
› Helena de Freitas took part in the seminar discussing the foundations in Portugal,<br />
held at the Water Museum, in Lisbon, on 14 October<br />
Set of articles for the “museum shop” based on the camjap collection<br />
At the request of the Modern <strong>Art</strong> Centre, students in the course of Equipment Design of the Faculty<br />
of Fine <strong>Art</strong>s of the University of Lisbon (fbaul) created a set of articles to be sold by the Almedina<br />
Bookshop at the Centre and at the shop in the Foundation’s headquarters.<br />
Selection: waste-paper baskets by Sofia Barros (made of cardboard with graphical adaptations<br />
of works from the camjap Collection); marker pens (in the shape of hands) by Gonçalo Campos<br />
(with graphical adaptations of works from the camjap Collection); a spring clip to hold<br />
correspondence by Rita Oliveira; a pencil case with an engraved elastic band and with<br />
a label by Maria João Negrão (set of pencils held in place by an elastic band with the<br />
word “estojo” (pencil case) engraved on it and a label with a reproduction of a work from<br />
the camjap Collection); book marks with a magnet by Maria Bruno (with a reproduction<br />
of a work from the camjap Collection).<br />
These articles have been available since July 2008 and have sold remarkably well.<br />
Cooperation with the Foundation’s other departments<br />
› Participation of Leonor Nazaré in the juries for the selection of resident artists at Location<br />
1 and at iscp (International Studio & Curatorial Program), in New York, and of resident artists<br />
at the Casa de Velázquez, in Madrid, both awarded by the Fine <strong>Art</strong>s Department.<br />
› Participation of Jorge Molder in the jury for the selection of resident artists at acme Studios<br />
Housing Association, Ltd., also awarded by the Fine <strong>Art</strong>s Department.<br />
› Work performed by Cristina da Fonseca on the design and installation of exhibitions held<br />
by the Science and Fine <strong>Art</strong>s Departments and general cooperation in activities undertaken<br />
by the Central Services Department.<br />
› Participation of the Sector of Education in the Descobrir Programe.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
Prizes<br />
APOM Prize for the best catalogue awarded to the catalogue Amadeo de Souza-Cardoso.<br />
Diálogo de Vanguardas, camjap, Lisbon, 2006-2007. Prize awarded in 2008.<br />
Acquisitions for the Collection<br />
› Pedro Cabral Santo, The Turner Pic, 2007, and Azul em Ornans, 2006-2007.<br />
› Rui Sanches, Untitled, 2007.<br />
› Waltercio Caldas, Asa, Olhos de Água and Eureka, all from 2008.<br />
› Richard Deacon, UW84DC#14, 2001.<br />
› Julião Sarmento, Hélder, 2008.<br />
› Victor Palla, Untitled (Bailarina e Cadeiras), 1954.<br />
› Vasco Araújo, About Being Different, 2007.<br />
Works loaned from the camjap collection<br />
Participation in temporary exhibitions in Portugal<br />
› “Olhar Picasso – Picasso e a <strong>Art</strong>e Portuguesa do Século XX”, organised by Árvore – Cooperativa<br />
de Actividades <strong>Art</strong>ísticas (Porto), at the Galeria Arade, in Portimão. Le Peintre, and two drawings<br />
Untitled by Mário Eloy, Pintura Lacerada II and Untitled by Mário Cesariny, Homenagem a Picasso<br />
by Fernando de Azevedo, As Banhistas, Untitled and Integração Racial by Almada Negreiros<br />
(24 August to 19 October 2008).<br />
› “Esculturas de Ângelo de Sousa”, organised by Matosinhos Municipal Council, at the Matosinhos<br />
Municipal Gallery. Three sculptures by Ângelo de Sousa (14 June to 15 August 2008).<br />
› “Júlio: Um Pintor Expressionista”, organised by Vila do Conde Municipal Council, at the Centro<br />
de Memória. O Burguês e a Menina, Espera, Tarde de Festa, Pequenos Animais sobre a Areia,<br />
Nocturno, and another six drawings by Júlio (14 December 2008 to 18 May 2009).<br />
› “O Desenho Dito”, at Casa da Cerca – Contemporary <strong>Art</strong> Centre, in Almada. Os Cegos<br />
de Praga XII by Pedro Cabrita Reis and Untitled: Desenho da Série “Excêntricos” by Rui Sanches<br />
(5 April to 1 June 2008).<br />
› “Ana Hatherly – Dias da Poesia”, as part of the commemorations of the International Poetry Day,<br />
at Centro Cultural de Belém. Twenty-four drawings by Ana Hatherly (22 March to 30 April 2008).<br />
› “Homenagem a Fernando Lemos”, organised by the National Cultural Centre, at Sociedade<br />
Nacional de Belas-<strong>Art</strong>es. Série Memórias n.º 1, n.º 7 e n.º 9, engravings by Fernando Lemos<br />
(3 to 28 April 2008).<br />
› “Correspondências – Vieira da Silva Vista por Mário Cesariny”, at Arpad Szenes – Vieira da Silva<br />
Foundation. A Casita Clara-Paisagem by Amadeo de Souza-Cardoso, Le héros ou Le hérault and<br />
Composition ou Pim! Pam! Poum! by Vieira da Silva, Mário de Sá Carneiro Raptando Maria Helena<br />
Vieira da Silva by Mário Cesariny (5 June to 9 November 2008).<br />
088.089 088.<br />
Annual Report 2008
Aspect of the presentation of the CAM collection. Two different presentations of the Collection were proposed during the year.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
› “Não Te Posso Ver nem Pintado”, at the Foundation of Modern and Contemporary <strong>Art</strong> –<br />
Berardo Collection Museum. O Tempo – Passado e Presente and Vanitas by Paula Rego<br />
(15 September 2008 to August 2009).<br />
› “A Intuição e a Estrutura: de Torres-García a Vieira da Silva 1929-1949”, at the Foundation<br />
of Modern and Contemporary <strong>Art</strong> – Berardo Collection Museum. Estructura en Gris by Torres-García,<br />
Composition ou Pim! Pam! Poum!, Le héros ou Le hérault, La Table Ronde, História Trágico-Marítima<br />
and La Rue, Le Soir by Vieira da Silva (4 December 2008 to 15 February 2009).<br />
› “Caligrafias: Uma Realidade Inquieta”, at the Portuguese Communications Foundation.<br />
Outubro by Lourdes Castro, Pintura by José Escada, Caderno de Céline by Álvaro Lapa, Untitled<br />
by António Sena, O Mar Que Se Quebra, “da desigualdade constante dos dias de Leonor”,<br />
Escuta o Conto Profano and Untitled by Ana Hatherly (9 October 2008 to 15 January 2009).<br />
› “Lá Fora”, organised by the Museum of the Presidency of the Republic, in the building<br />
in Praça da Liberdade, in Viana do Castelo, as part of the Commemorations of the Day of Portugal,<br />
Camões and the Portuguese Communities. Procissão Corpus Christi by Amadeo de Souza-Cardoso,<br />
Lusitânia no Bairro Latino (Retratos de Mário de Sá Carneiro, Santa-Rita Pintor e Amadeo de<br />
Souza-Cardoso) by Júlio Pomar, Não Há Sim Sem Não – O Eremita by António Dacosta<br />
(10 June to 30 September 2008).<br />
› “Tão Longe, Tão Perto”, at the Casa Municipal da Cultura, in Fafe. Encontro, painting<br />
by Paulo Ferreira (Paolo), Auto-retrato, painting by Abel Manta (15 March to 31 August 2008).<br />
› “Júlio Pomar: Cadeia de Relação”, at the Serralves Museum. Le Luxe, collage by Júlio Pomar<br />
(22 February to 20 April 2008).<br />
› “Manuel Alvess”, at the Serralves Museum. BD – 71 – 07, painting by Manuel Alvess<br />
(22 February to 20 April 2008).<br />
› “<strong>Art</strong>iculações”, organised by the Serralves Museum, at the Convento de Santo António,<br />
in Loulé. Tiroliro, sculpture by Rui Sanches (21 June to 7 September 2008).<br />
› “Revolução Cinética”, at the Chiado Museum. Evolução de Um Triângulo numa Malha Logarítmica<br />
by <strong>Art</strong>ur Rosa, Nuvem com Superfície Variável-III by René Bertholo, Shuttle and Metamorphosis<br />
by Bridget Riley (14 March to 16 June 2008).<br />
› “Linha do Horizonte”, at the Soares dos Reis National Museum. Mar n.º 1, Mar n.º 2, Mar n.º 3<br />
and Mar n.º 4, paintings by Cruz-Filipe, Naniôra – Uma e Duas and O Surrealismo, paintings<br />
by Mário Cesariny (14 August to 28 September 2008).<br />
› “Weltliteratur – Madrid, Paris, Berlin, St. Petersburg, the World!” organised by the Education<br />
and Scholarships Department, in the Temporary Exhibition Gallery on level 0 at the Foundation’s<br />
headquarters. Auto-retrato (1948) and Auto-retrato (1950) by Almada Negreiros, K4 Quadrado Azul<br />
by Eduardo Viana, Cozinha da Casa de Manhufe by Amadeo de Souza-Cardoso, Os Criminosos<br />
e as suas Propriedades by Álvaro Lapa, Mário Cesariny de Vasconcelos e Alexandre O’Neill<br />
by Fernando Lemos (30 September 2008 to 4 January 2009).<br />
090.091 090.<br />
Annual Report 2008
Participation in temporary exhibitions abroad<br />
› “Fernando Lemos”, organised by the Moscow House of Photography as part of the Photobiennale<br />
2008, and presented at the Zurab Gallery/Moscow Museum of Contemporary <strong>Art</strong>. Eighty-four<br />
photographs by Fernando Lemos (27 March to 27 April 2008).<br />
› “Linha Horizonte”, organised by the Directorate-General for the <strong>Art</strong>s, at the Caixa Económica<br />
Federal Cultural Centre of Rio de Janeiro. Mar n.º 1, Mar n.º 2, Mar n.º 3 and Mar n.º 4,<br />
paintings by Cruz-Filipe, Naniôra – Uma e Duas and O Surrealismo, paintings by Mário Cesariny<br />
(5 May to 15 June 2008).<br />
› “Tela Rosa para Vestir”, at the Fundación Telefónica de Madrid. Pintura Habitada, sequence<br />
of 14 photographs by Helena Almeida (19 November 2008 to 22 February 2009).<br />
› “Abstract Expressionism – A World Elsewhere and Scheduled for Fall 2008”, at the Haunch<br />
of Venison. Act of Creation, a drawing by Arshile Gorky (12 September to 21 November 2008).<br />
› “Sonia Delaunay – Welt der Kunst”, at the Kunsthalle Bielefeld. Projet Voyages Lointains,<br />
Auto-Portrait, Chanteur Flamenco (dit Petit Flamenco), Marché au Minho and Chanteurs Flamenco<br />
(dit Grand Flamenco), five drawings and one painting by Sonia Delaunay<br />
(30 November 2008 to 22 February 2009).<br />
› “Europop”, at the Kunsthaus Zürich. Love Wall, a painting by Peter Blake<br />
(15 February to 12 May 2008).<br />
› “1914! Avant-garde and the War”, at the Museo de <strong>Art</strong>e Thyssen-Bornemisza.<br />
Untitled and Le Prince et la Mûte, two paintings by Amadeo de Souza-Cardoso<br />
(6 October 2008 to 11 January 2009).<br />
› “Modigliani and his Times”, at the Museo de <strong>Art</strong>e Thyssen-Bornemisza, Nu Feminino and<br />
Três Nus Femininos, two drawings by Amadeo de Souza-Cardoso (5 February to 18 May 2008).<br />
› “Paula Rego”, at the National Museum of Women in the <strong>Art</strong>s, in Washington, in association with<br />
the Museo Nacional Centro de <strong>Art</strong>e Reina Sofia. Salazar a Vomitar a Pátria, painting by Paula Rego<br />
(1 February to 25 May 2008).<br />
› “La Nuit Espagnole. Flamenco, Avant-Garde et Culture Populaire, 1865-1936”,<br />
at the Petit Palais-Musée des Beaux <strong>Art</strong>s de la Ville de Paris in association with the Museo Nacional<br />
Centro de <strong>Art</strong>e Reina Sofia. Chanteurs Flamenco (dit Grand Flamenco), painting by Sonia Delaunay<br />
(5 July to 31 August 2008).<br />
› “Júlio Pomar: Um <strong>Art</strong>ista Português no Contexto do seu Tempo”, at the Pinacoteca<br />
do Estado de São Paulo. Cegos de Madrid, Campinos, Mélée, Lusitânia no Bairro Latino (Retratos<br />
de Mário de Sá Carneiro, Santa-Rita Pintor e Amadeo de Souza-Cardoso), paintings by Júlio Pomar<br />
(5 April to 18 May 2008).<br />
› “Pop <strong>Art</strong> Portraits”, at the Staatsgalerie Stuttgart. For Men Only – Starring and MM and BB,<br />
painting by Peter Phillips (23 February to 8 June 2008).<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
› “Heimo Zobernig and the Tate Collection”, at the Tate St. Ives. Untitled, painting by Vítor Pomar, Untitled,<br />
sculpture by Jorge Vieira, Untitled (Kness), sculpture by Sérgio Pombo, A Princesinha Grávida, sculpture<br />
by Paula Rego, Untitled, sculpture by Gonçalo Duarte, The <strong>Art</strong>ist’s Hand and Manifestation, engravings<br />
by Henry Moore, and Manifestation, painting by Peter Sedgley (4 October 2008 to 11 January 2009).<br />
Educational activities<br />
2008 marked a return to the basic programming of the Sector of Education and <strong>Art</strong>istic Animation,<br />
after two years of special programming and multiple examples of interdepartmental cooperation<br />
projects centred upon the Foundation’s Fiftieth Anniversary Commemorations. It was therefore<br />
a year that saw a reduction in the number of events taking place, but it was also a year<br />
of consolidation in terms of projects and audiences, with the implementation of some long-term<br />
projects and the continuation of other activities of great social relevance.<br />
2008 was also marked by the integration of the Modern <strong>Art</strong> Centre’s educational programme<br />
into Descobrir (the <strong>Gulbenkian</strong> Programme of Education for Culture) beginning in October 2008,<br />
when the new 2008-2009 season was publicly launched.<br />
The concentration of all of the Foundation’s educational initiatives in the Descobrir Programme optimises<br />
resources and teams, enhancing the educational work by introducing a logic of transversality and<br />
interdisciplinarity, whilst also making it possible to maintain the guidelines that have always characterised<br />
each of its departments, namely, in the case of the Centre: the development and consolidation of a vast<br />
programme of initiatives for diversified audiences under the scope of the dissemination and interpretation<br />
of modern and contemporary art, based on the collection and temporary exhibitions.<br />
Total number of new projects: 188<br />
Total number of events: 1,457<br />
Total number of participants: 28,875<br />
Guided tours<br />
Projects Tours Participants<br />
129 1236 25 748<br />
The Sector of Education continued with its vast programme of guided tours that has always been<br />
a feature of its programming: tours for the general public by individual enrolment (young people<br />
and adults), tours for school groups (all levels of education from the age of two, including special<br />
needs groups) and other organised groups.<br />
School groups continue to represent the vast majority of the users of the guided tour programme,<br />
corresponding to a total of 1,146 visits and 24,700 visitors. These numbers represent a fall<br />
in comparison with previous years, largely resulting from the end of the series of special programmes<br />
for the Foundation’s Fiftieth Anniversary Commemorations (which necessarily involved a reduction<br />
in the number of events) and the significant increase in the periods when the Museum was closed<br />
092.093 092.<br />
Annual Report 2008
for the installation of new exhibitions at crucial times in the school year. The growth in the<br />
pre-school audience should, however, be stressed, especially after the creation of specific visits<br />
for the age group of 2 to 4-year-olds, an initiative that complements the already existing supply<br />
(and great demand) for children in the group of 3 to 6-year-olds.<br />
The programme of lunchtime visits for interested individuals – “Immediate Encounters / A Work<br />
of <strong>Art</strong> at Lunchtime” was maintained – as was the programme of weekend visits, now concentrated<br />
into the “Sundays with <strong>Art</strong>” programme, which implied a significant reduction in the advertised<br />
programmes (previously held on Saturdays and Sundays), a response of the Sector of Education<br />
to the progressive reduction in the number of visitors participating in Saturday visits after<br />
the alteration in ticket prices at the end of 2007.<br />
Workshops<br />
Projects Tours Participants<br />
49 210 2938<br />
In 2008, the various workshop formats designed to respond to the different types of audience<br />
and users were continued: single-session creative workshops at weekends, based on the temporary<br />
exhibitions and the permanent collection, holiday workshops in groups of five sessions, storytelling<br />
workshops – “Restless Ideas” – in partnership with the Almedina Bookshop, “Open Museum”<br />
workshops designed for groups with special needs and single-session workshops for schools.<br />
There was a sizeable increase in the number of workshops for groups with special needs –<br />
the “Open Museum” workshops – and a progressive diversification in the institutions seeking<br />
our services, which reflects the great perseverance of the organisers and the consolidation<br />
of a specialised work that was begun two years ago.<br />
During 2008, the “intervene – Heroes and Villains” project (which had begun in October 2007)<br />
was further developed. This is a workshop of artistic and social intervention carried out in partnership<br />
with the Centre of Studies for Social Intervention (CESIS) and specifically aimed at a group<br />
of 12 young people from the Bairro Zambujal (a social housing estate on the outskirts of Lisbon)<br />
who are integrated into a programme designed to combat the tendency for young people to drop<br />
out of school. Lasting for nine months, the workshop took place on a weekly basis (resulting in a total<br />
of 75 workshop hours) and involved a team of three artistic monitors from the Modern <strong>Art</strong> Centre<br />
engaging in a work of creativity and reflection in the areas of video, photography and dramatic<br />
expression undertaken in partnership with the team of young people and technicians from cesis,<br />
both in the neighbourhood and at the premises of the Sector of Education, in artistic residencies<br />
lasting for several days during the school holiday periods.<br />
This work resulted in 10 self-portraits and one documentary produced entirely by the young people<br />
and shown to the general public at the Modern <strong>Art</strong> Centre in March 2008.<br />
The development of this project marks the consolidation of a structural line of programming<br />
developed by the Sector of Education in the field of artistic and social intervention.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation José de Azeredo Perdigão Modern <strong>Art</strong> Centre • CAMJAP
Courses<br />
Projects Tours Participants<br />
10 11 189<br />
As in previous years, the courses organised can be divided into three main categories:<br />
artistic education and pedagogical practices, general introduction to art and museum<br />
education (specifically targeting monitors and other agents involved in educational activities).<br />
Other activities<br />
Participation in specialist publications<br />
› Susana Gomes da Silva, ‘Serviços Educativos. Espaços de negociação na arena cultural’,<br />
in Boa União – Revista de <strong>Art</strong>es e Cultura of the Teatro Viriato: “Cultura e Criatividade:<br />
porquê e para quê”, Teatro Viriato, year 1, No. 2, May 2008.<br />
› Sara Barriga, Teresa Eça, Ricardo Reis, Susana Gomes da Silva, “Diálogos entre espacios<br />
culturales y educativos: por una mediación participada”, in Mentes Sensibles: Investigar<br />
en educación y museos, ed. Ricard Huerta, Romà de la Calle, puv, Universitat de Valéncia,<br />
Valência, 2008, pp. 163-178 (book published and launched on the occasion of the 3.as<br />
Jornadas de Investigación en Educación y Museos Valencia, MuVIM, 4-5 December 2008).<br />
› Collaboration with the magazine Pais e Filhos – monthly item: “<strong>Art</strong>es <strong>Gulbenkian</strong>”.<br />
National and international representation<br />
The Sector of Education was represented at various specialist conferences<br />
and congresses, most notably:<br />
› Iberian-American Conference on <strong>Art</strong>istic Education – Trans-Iberian Paths, Beja (22 to 24 May).<br />
› Participation in the scientific committee and moderation of working parties and round tables.<br />
094.095 094.<br />
Annual Report 2008
Esta É a Minha Cara. Criadores de Vanguarda das <strong>Art</strong>es do Espectáculo em Portugal no Século XXI (This is My Face. Avant-garde Creators of the Performing <strong>Art</strong>s<br />
in Portugal in the 21st Century). A film by Raquel Freire. Project by Ana Vicente and Raquel Freire. Funded and presented at the <strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation.
Fine <strong>Art</strong>s Department<br />
In 2008, the Fine <strong>Art</strong>s Department<br />
Amounts in euros<br />
continued its distribution activities Personnel costs 475 719<br />
to support creativity, dissemination<br />
and research into the various artistic<br />
fields that fall within its scope<br />
Operating costs<br />
Departmental activities<br />
68 294<br />
55 821<br />
of competences – the visual arts,<br />
Subsidies and scholarships 1 318 757<br />
architecture and design, history of art, Awards 53 601<br />
archaeology and heritage, film and Total 1 972 192<br />
theatre. This was achieved through<br />
the award of grants and subsidies.<br />
Receipts 138 694<br />
Its main objectives include support for high-quality new projects designed to bring a new dynamic<br />
to Portuguese arts and sciences and to promote Portuguese art and artists in the international<br />
circuits, particularly involving partnerships with significant Portuguese and foreign institutions.<br />
In conjunction with this, direct activities were undertaken in keeping with the Department’s objectives,<br />
most notably in the form of two partnerships: firstly, one with Maumaus for the presentation<br />
of the “E-Flux Video Rental” project; and, secondly, one with the World One Minutes Foundation,<br />
in Amsterdam, giving rise to two unique experiences in the audiovisual field. The Fine <strong>Art</strong>s Department<br />
also collaborated with the International Department on the organisation of an exhibition and the<br />
associated publication of a catalogue dedicated to the painter Jorge Martins, in Paris.<br />
Dance also played a leading role this year, with the Dance Support Programme (pad) being<br />
transferred to the Fine <strong>Art</strong>s Department in the middle of the year. A new version of the regulations<br />
outlines the programme’s guidelines in systematic and detailed fashion. The Music Department<br />
was still responsible for the support given in 2008.<br />
The first Support for Young Researchers in <strong>Art</strong> Studies was awarded. In 2008,<br />
this was given to the projects of two researchers working in the field of contemporary art.<br />
Visual arts [3261 045]<br />
Tripartite Agreement [341 990]<br />
In 2008, the Tripartite Agreement programme brought together the joint contributions of the<br />
Portuguese Ministry of Culture, the Luso-American Development Foundation (flad) and the <strong>Calouste</strong><br />
<strong>Gulbenkian</strong> Foundation in support of quality projects designed to promote Portuguese art abroad<br />
and develop international artistic exchanges.<br />
Nineteen projects benefited from this programme, mainly receiving support that enabled roughly<br />
fifty Portuguese artists and five Portuguese curators to individually and collectively participate<br />
in international events and exhibitions.<br />
096. 097<br />
Annual Report 2008
Tripartite Agreement. Miguel Palma, Rescue Games, 2008. Prospect 1 Biennial in New Orleans.<br />
Amongst the international events for which support was given to Portuguese creators were the art biennials<br />
of Sydney (Australia), New Orleans (usa) and Gyumri (Armenia), the Triennial of Guangdong (China)<br />
and Manifesta – European Biennial of Contemporary <strong>Art</strong> (Italy). Also of significant importance was the<br />
sheer quantity and diversity of the exhibitions of Portuguese artists held at leading international institutions<br />
and venues, as was the case with the solo exhibition of Vasco Araújo at the Jeu de Paume (Paris),<br />
or the participations in group exhibitions of Miguel Palma, at the Chelsea <strong>Art</strong> Museum (New York),<br />
Gabriela Albergaria, at the Centre National d’<strong>Art</strong> Contemporain Villa Arson (Nice), Alexandre Estrela and<br />
André Guedes, at the Dunkers Kulturhus (Helsingborg, Sweden), and Sancho Silva at the Kunsthalle, Berne.<br />
<strong>Art</strong>istic Creativity Projects [333 900]<br />
The Support Programme for <strong>Art</strong>istic Creativity Projects encourages the undertaking of research<br />
projects in the areas of the contemporary visual arts that contribute to the development<br />
of the work of Portuguese artists.<br />
In 2008, 46 applications were evaluated and financial support was awarded to five projects that<br />
fulfilled the criteria of innovativeness, excellence and solidity. Many different disciplinary areas were<br />
to be found amongst the applications, such as drawing and painting, sculpture, video-installations,<br />
site-specific installations and intermedia installations, with the successful projects being presented<br />
by Heitor Fonseca, Joana Villaverde, Nuno Delmas, Paulo Raposo and Filipa Raposo (continuation<br />
of the subsidy awarded in 2007, under the scope of the same programme).<br />
<strong>Art</strong>istic Development and Dissemination Programme [3185 155]<br />
The <strong>Art</strong>istic Development and Dissemination Programme supports projects designed to consolidate<br />
the specialised structures existing for artistic dissemination and education (contemporary art) and the<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Fine <strong>Art</strong>s Department
promotion of Portuguese artists and their<br />
works, namely through the support that<br />
is given for the holding of exhibitions.<br />
The programme also provides support<br />
for independent publishing projects<br />
of an experimental nature, in the areas<br />
of essay writing and art criticism.<br />
In 2008, support was given to<br />
24 projects, some being developed<br />
at artistic training institutions such<br />
as Ar.Co (Almada), and others<br />
at infrastructures involved in the<br />
production and promotion of art,<br />
such as the cultural associations<br />
Zé dos Bois (Lisbon), PIN –<br />
<strong>Art</strong>istic Creativity Project. Joana Villaverde. Picture of the Studio, 2008.<br />
Associação Portuguesa de Joalharia<br />
Contemporânea (Lisbon), Porta 33 –<br />
Associação Quebra Costas (Funchal)<br />
and Luzlinar (Feital). Among the subsidies awarded to publishing projects were those given<br />
to Diários de Viagem by Eduardo Salavisa, Atlas Projecto Desenho by André Romão, Gonçalo Sena<br />
and Nuno Luz, and the support given for the launch of the book Videoarte e Filme de <strong>Art</strong>e e Ensaio<br />
em Portugal, published by Associação Número – <strong>Art</strong>e e Cultura, which took place at the Modern <strong>Art</strong><br />
Centre (a publishing project that had already received support in 2007). Finally, as far as subsidies<br />
for the promotion of artists and their works is concerned, we should like to highlight the support<br />
given to the international collective nip – New Interfaces for Performance (Espaço do Tempo,<br />
Montemor-o-Novo), the Pizz Buin collective (Espaço Avenida, Lisbon), the artists Paula Prates and<br />
Miguelângelo Veiga (Sala do Veado, Lisbon) and Mónica de Miranda (Plataforma Revólver, Lisbon).<br />
Direct activities [352 173]<br />
Book on António Sena da Silva [37 060]<br />
Work was undertaken on the preparation of the book dedicated to the life and work of António Sena<br />
da Silva, which will be published in 2009. The book includes the contributions of a very significant<br />
group of both Portuguese and foreign authors and specialists in the areas of design, ecodesign,<br />
architecture, photography and painting. The book was published in association with the Portuguese<br />
Design Centre, with scientific coordination by Bárbara Coutinho and graphic design by Jorge Silva<br />
(Silva Designers!).<br />
Survey and dissemination of the Department’s Visual <strong>Art</strong>s Archive [331 500]<br />
Research continued into the Department’s Visual <strong>Art</strong>s Archive, in continuation of the work that had<br />
begun in 2006 under the scope of the preparations for the “50 Years of Portuguese <strong>Art</strong>” exhibition,<br />
which was held in the Temporary Exhibition Gallery at the Foundation’s headquarters in 2007.<br />
098.099 098.<br />
Annual Report 2008
A significant part of the survey and research work undertaken into this archive in 2008 formed<br />
part of the preparations for the “The 1970s. Crossing Frontiers” exhibition, a joint initiative<br />
of the Modern <strong>Art</strong> Centre and the Fine <strong>Art</strong>s Department, which will take place in October 2009.<br />
“E-Flux Video Rental” project [39 414]<br />
In partnership with Maumaus, the presentation was made of the “E-Flux Video Rental” project<br />
of Anton Vidokle and Julieta Aranda, which took place in the hall of the auditoriums at the<br />
Foundation’s headquarters, from 21 May to 18 July, 2008. “E-Flux Video Rental” consisted<br />
of a space (booth) and an archive of art films and videos, which could either be borrowed by<br />
the public or watched at the site. This archive was begun in 2004, in New York, and has amassed<br />
more than 750 items in association with roughly a hundred international artists, curators and critics.<br />
The presentation of the project was accompanied by a cycle of five lectures and video shows.<br />
“World One Minutes Lisboa” exhibition [34 199]<br />
The “World One Minutes Lisboa” exhibition, held in partnership with the One Minutes Foundation<br />
(Amsterdam), showed roughly a thousand films, each lasting exactly 60 seconds and originating<br />
from 86 countries, states and cities. The videos were mostly made by young artists during<br />
workshops held all around the world, organised by the One Minutes Foundation. In 2007<br />
and 2008, the <strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation hosted two of these workshops.<br />
The exhibition was held in the hall of the auditoriums at the Foundation’s headquarters,<br />
from 9 November to 7 December, 2008.<br />
<strong>Art</strong>, archaeology and heritage studies [3120 947]<br />
History of art and archaeology [3105 417]<br />
History of art<br />
Among the events supported by the Department in 2008, one of the highlights was the exhibition<br />
“1758 – The Plan for Lisbon City Centre – Today”, presented at Pátio da Galé, close to Praça<br />
do Comércio, from June to November 2007, curated by Ana Tostões and Walter Rossa<br />
and commemorating the 250th anniversary of the Plan for the development of Lisbon’s<br />
Baixa-Chiado district after the earthquake.<br />
The Department also continued to provide support to important scientific meetings, as was<br />
the case with the 2nd Cycle of Conferences for the Study of the Church’s Cultural Assets<br />
organised by the Patriarchate of Lisbon in May 2008 on the theme of the “Cult of Portuguese<br />
Saints in Portugal” and the forms of worship related with this. Also in May, the Department<br />
sponsored the holding of the international conference “Imagination and Travel: The Decorative<br />
<strong>Art</strong>s and the Portuguese Expansion”, organised by the Ricardo do Espírito Santo Silva Foundation,<br />
and “Heritage 2008” – an international conference dedicated to the theme of “World Heritage<br />
and Sustained Development”, which took place in Vila Nova de Foz Côa, organised<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Fine <strong>Art</strong>s Department
y the Green Lines Institute. Finally, the 8th International Conference on Military Monuments,<br />
dedicated to the theme of “Coastal Fortifications”, was held in Faro in November, organised<br />
by the Portuguese Association of the Friends of Castles (apac), with the support of the University<br />
of the Algarve and this Department.<br />
Finally, a last subsidy was awarded for the completion of the Corpus of Tapestry in Portugal<br />
(14-18th centuries) by Maria Antónia Quina, which represented three years of fact finding<br />
and research work. Another project for the study of tapestry – this time contemporary tapestry<br />
made in Portalegre – presented by Jessica Hallett and to be published in the form of a monograph<br />
entitled Woven Paintings, Tapestry in Portugal, also received the Department’s support.<br />
Archaeology<br />
Subsidies were awarded for fieldwork and research by Portuguese archaeologists, researchers<br />
and specialist institutions, including the continued support given to the “Rabaçal Roman Villa”<br />
project, undertaken by the Association of Friends of the Rabaçal Roman Villa, led by<br />
Miguel Pessoa. Another subsidy was given to Ana Margarida Arruda, of the Faculty of Letters<br />
of the University of Lisbon for the continuation of her research work at the Monte Molião<br />
Roman archaeological site in Lagos. Support was also given to Victor dos Santos Gonçalves,<br />
of the Faculty of Letters of the University of Lisbon to continue his “Placa Nostra” research<br />
project into the megalithic schist engravings found in the Alentejo; to Ana Maria Gonçalves<br />
Ávila de Melo for her project “Some Aspects of Bronze Age Metallurgy at Castro de Pragança,<br />
Cadaval”; and, finally, João Luís Cardoso, for his study of the “Pre-Historic Settlement of Outeiro<br />
Redondo (Sesimbra)”, an important archaeological site from the Chalcolithic Period in Portugal.<br />
For the first time, this financial support was assessed by a jury, composed of a representative<br />
from this Department, Luiz Oosterbeek, from the Polytechnic Institute of Tomar, and Paulo<br />
Pereira, from the Faculty of Architecture of the Technical University of Lisbon.<br />
Subsidies were also granted for the holding of two important international academic meetings:<br />
the international cycle of lectures on “Architecture, Mosaics and Society of Late Antiquity<br />
and the Byzantine, in both the East and West. Studies and Protection Plans”, which was<br />
held at the Foundation’s premises at Mértola Archaeological Site and at the Rabaçal Roman<br />
Villa in July 2008, organised by the Portuguese Association for the Study and Conservation<br />
of Ancient Mosaics (apecma); and the 2nd Luso-Brazilian Forum of Urban Archaeology,<br />
which took place at the Faculty of Letters of Coimbra University in October 2008, organised<br />
by the Archaeological Studies Centre of the Universities of Coimbra and Porto, coordinated<br />
by Maria da Conceição Lopes, in association with the Mértola Archaeological Site and<br />
the Federal University of Bahia, Brazil.<br />
Support for publications in the fields of archaeology, history of art and heritage<br />
Approval was given to four of the 13 applications for support that were received:<br />
Ad Urbem – Associação para o Desenvolvimento do Direito do Urbanismo e da Construção,<br />
Tractatus de Novorum Operum Aedificationibus […] tomos divisus, by Manoel Álvares Ferreira,<br />
an important and previously unpublished treatise, written in Latin in 1750; Imprensa<br />
da Universidade de Coimbra, Coimbra, Montagem do Cenário Urbano, by Jorge Alarcão;<br />
Institute of <strong>Art</strong> History / fcsh – New University of Lisbon, A Torre de S. Sebastião da Caparica,<br />
by Pedro Aboim Inglez Cid; and, finally, the study by Maria da Conceição Rodrigues,<br />
Contribuição para a História Comum de Portugal e Moçambique: O Recinto Muralhado<br />
100.101 100.<br />
Annual Report 2008
<strong>Art</strong> studies. Jessica Hallett, Woven Paintings, Tapestry in Portugal. Loom from the Portalegre Textile Mill, 2008.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Fine <strong>Art</strong>s Department
do Songo no Contexto do Estado do Mutapa. For the first time, the financial support awarded<br />
under this scheme was assessed by a Jury composed of a representative from this Department,<br />
Luiz Oosterbeek, from the Polytechnic Institute of Tomar, and Paulo Pereira, from the Faculty<br />
of Architecture of the Technical University of Lisbon.<br />
Support for Young Researchers in <strong>Art</strong> Studies [315 530]<br />
In 2008, the Fine <strong>Art</strong>s Department introduced a new programme of Support for Young Researchers<br />
in <strong>Art</strong> Studies made possible through the award of annual (non-renewable) scholarships to<br />
a maximum of two research projects presented by young researchers already displaying a significant<br />
curriculum, but not yet fully integrated into professional structures in their area of specialisation,<br />
and aged under 40 at the time when their application was presented.<br />
This annual programme seeks to encourage vocational training and professional development,<br />
with the applicants being assessed by a jury of specialists of recognised merit. For this first<br />
edition of the competition, the jury consisted of Raquel Henriques da Silva and Isabel Carlos,<br />
and the scholarships were awarded to the two candidates mentioned below, chosen from<br />
amongst 17 applicants:<br />
› Patrícia A. Dias Santos Pedrosa, a graduate in Architecture from the Faculty of Architecture<br />
of the University of Lisbon (faul) (1997), has a diploma of Advanced Studies in Architectural<br />
Projects from the Polytechnic University of Catalonia (2004) and a master’s degree in the History<br />
of Contemporary <strong>Art</strong> from the New University of Lisbon (2008). She is currently preparing her<br />
PhD in Architectural Projects at the Polytechnic University of Catalonia, under the supervision<br />
of Josep Maria Montaner. Her award-winning project was entitled “Portugal, Anos 1960.<br />
A Casa das Mudanças, Mulheres e Arquitectura Doméstica”.<br />
› Alda Veronica Galsterer has a master’s degree in the History of <strong>Art</strong>, Portuguese and English<br />
Language and Literature from the University of Eberhard-Karls-Universität Tübingen, Germany<br />
(2003) and is also attending the master’s degree in Curatorial Studies, at the Lisbon Faculty<br />
of Fine <strong>Art</strong>/FCG. She is an art curator and her project, which was also selected by the Jury,<br />
is entitled “Uma Investigação sobre a Construção de Identidade e a Imigração Cultural<br />
no Exemplo de Jovens <strong>Art</strong>istas (Alemães e Portugueses)”.<br />
Vasco Vilalva Award for Heritage Recovery and Enhancement [353 601]<br />
On 25 November 2008, the Jury met to decide on the “Vasco Vilalva Award for Heritage Recovery<br />
and Enhancement”, which this year was awarded for the second time. The six projects presented<br />
for the award were examined by a Jury composed of the following members: Dalila Rodrigues,<br />
PhD in the History of <strong>Art</strong>, a specialist in Portuguese Renaissance Painting and the Director<br />
of the Paula Rego Museum; António Ressano Garcia Lamas, Full Professor at the Higher Technical<br />
Institute of the Technical University of Lisbon; José Pedro Martins Barata, Jubilee Professor<br />
at the Higher Technical Institute of the Technical University of Lisbon; José Sarmento de Matos,<br />
a specialist in the history of Lisbon; and the Director of the Foundation’s Fine <strong>Art</strong>s Department,<br />
Manuel da Costa Cabral, who chaired the jury.<br />
102.103 102.<br />
Annual Report 2008
After careful study of the applications presented, the Jury unanimously decided to propose that the<br />
Vasco Vilalva Award for 2008, amounting to 1 50,000, should be awarded to the project<br />
“Monumentos Vivos/Festival Terras sem Sombra de Música Sacra do Baixo Alentejo”, coordinated by<br />
José António Falcão, from the Historical and <strong>Art</strong>istic Heritage Department of the Diocese of Beja.<br />
The award was made in recognition of the overall quality of a continued and coherent project for the<br />
survey, restoration and enhancement of the religious cultural heritage of the Baixo Alentejo, showing<br />
clearly defined criteria and a methodology that were considered by all of the Jury’s members to be<br />
exemplary, both in themselves and in their potential for use in other regions of Portugal.<br />
Presentation of the Vasco Vilalva Award to the Diocese of Beja.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Fine <strong>Art</strong>s Department<br />
Theatre [3130 721]<br />
The Theatre Sector maintained<br />
its support for stage directors<br />
at the beginning of their professional<br />
careers, research and training<br />
in the theatre, and support<br />
to consolidate theatre infrastructures.<br />
These guidelines again enabled<br />
the distributive function<br />
to be maximised.<br />
New Stage Directors [359 260]<br />
This programme continues to demonstrate its effectiveness in furthering the careers of young<br />
Portuguese stage directors. This year, grants were awarded to 15 projects reflecting not only<br />
the experimentalism that generally marks the beginning of a stage director’s career, but also<br />
the recourse to other artistic references that are to be found in the present-day world of theatre.<br />
The highlights were the following projects: Only You – Um Espectáculo para Si. Um <strong>Art</strong>ista ao seu<br />
Dispor, by Dinis Machado, A Direcção do Sangue, by John Romão, Leôncio e Lena, by Ricardo<br />
Aibéo, Mona Lisa Show, by Pedro Gil, Rádio Pirata, by Maria Gil, and Tríptico, by Martim Pedroso.<br />
Theatre research [318 300]<br />
The support given under the scope of this programme covered an interesting variety<br />
of artistic proposals and fully corresponded to its aims, with funding being provided<br />
to five projects from various regions around the country: “Curtas”, consisting of experimental<br />
short plays, promoted by the Associação Primeiros Sintomas and performed in Almada;<br />
the treatment of the photo-documentary collection of the Teatro Experimental de Cascais,<br />
with a view to the publication of a monograph about this theatre’s 42 years of existence;<br />
and three training schemes run respectively by baal 17, from Serpa, este, from Fundão,<br />
and the Varazim Teatro, from Póvoa de Varzim.
New Stage Directors programme. Dinis Machado, Only You – Um Espectáculo para Si. Um <strong>Art</strong>ista ao seu Dispor.<br />
Consolidating Theatre Infrastructures [353 161]<br />
This programme aims to meet requests seeking a qualitative alteration in the artistic development<br />
of theatre infrastructures. It continued to represent the single largest line of funding and aims<br />
to meet the needs of a broad range of requests, fundamentally of a technical and logistical nature,<br />
which are afforded little or no recognition by other support institutions. Five theatre infrastructures<br />
were subsidised: Visões Úteis (Porto); Teatro da Joana (Lisbon), O Nariz (Leiria), Teatro da Rainha<br />
(Caldas da Rainha) and Tarumba (Lisbon).<br />
Film [382 550]<br />
The Department continued to provide support, in 2008, for experimental and innovative film<br />
projects, particularly in the documentary area, paying special attention to proposals about artistic<br />
themes. At the same time, support was given to projects seeking to promote Portuguese films<br />
both in Portugal and abroad.<br />
Grants were therefore awarded to Solveig Nordlund for a film about the work of José Pedro Croft,<br />
to Jorge Silva Melo for a documentary about Ângelo de Sousa, produced by the <strong>Art</strong>istas Unidos,<br />
to Marta Wengorovius for the film project Uso dos Olhos – Objectos de Errância, and to<br />
104.105 104.<br />
Annual Report 2008
Film. Uso dos Olhos – Objectos de Errância. Marta Wengorovius. Experimental cinema.<br />
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Fine <strong>Art</strong>s Department<br />
Pedro José Maia for the Portrait<br />
project, which formed part of the<br />
work entitled Super 8 Series.<br />
Raquel Freire received support<br />
for the costs of translating into<br />
English the subtitles for her<br />
documentary about the creative<br />
process of a group of Portuguese<br />
stage directors, entitled Esta É<br />
a Minha Cara. This film received<br />
a grant of 1 50,000 from<br />
the Department and was given<br />
its first public screening at the<br />
Foundation in May 2008.<br />
The Associação Inventário – <strong>Art</strong>e, Acção e Pensamento received financial support towards<br />
the costs of producing the experimental film workshop “One Minutes PT 2008”, which was held<br />
at the Modern <strong>Art</strong> Centre in November. The 20 films made under the scope of this workshop<br />
were shown to the public at the Foundation. The subsidy awarded in 2007 to Apordoc –<br />
Associação pelo Documentário was again renewed for the 2008 edition of the international<br />
seminar on documentary film “Doc’s Kingdom” that took place in the town of Serpa in June.<br />
This subsidy was granted in partnership with the Instituto do Cinema e do Audiovisual<br />
(the Portuguese Film Institute) and Serpa Municipal Council.<br />
As far as the support given to the promotion of Portuguese films abroad is concerned,<br />
the Department contributed towards the artist Filipa César’s travel expenses to Rio de Janeiro<br />
to participate in the International Film Festival organised in partnership with MoMA of New York.<br />
Similar support was given for Cláudia Clemente’s participation in the “É Tudo Verdade”<br />
festival in São Paulo, where she presented her documentary about the &etc publishing house.<br />
The Foundation also granted subsidies to the production companies Periferia Filmes and Cine-Tuga<br />
for the films Sem Título 3, by the director Vicent Lefort, and Rio Turvo, by Edgar Pêra, respectively.<br />
Margarida Gil was given support for the editing and post-production tasks of the documentary<br />
about the work of Carlos de Oliveira, entitled Sobre o Lado Esquerdo.<br />
Scholarships [3666 191]<br />
In 2008, the Fine <strong>Art</strong>s Department continued with its plan of awarding scholarships in the various<br />
areas for which it is responsible. This plan, which has accompanied the Department’s activities<br />
since 1957, has remained an important means of supporting artistic creativity, research and<br />
in-depth theoretical reflection, while also updating and upgrading professional skills. Granted<br />
annually following a competitive application process, these scholarships are part of a programme<br />
that has accompanied developments in the Portuguese art world, paying attention to both<br />
the shortcomings and priorities in each specialist area.
In parallel to this, and similarly based on a competitive application process, artistic residency grants have<br />
also been awarded in recent years to enable artists to attend academies or artistic centres of renowned<br />
international prestige. This has further contributed to the development of innovative projects in cutting-edge<br />
environments and to the promotion of the work of young Portuguese artists abroad, enabling them<br />
to establish themselves on international art circuits. Unlike the scholarships awarded under the general<br />
programme, which take into account the projects proposed by the candidates, the scholarships awarded<br />
for artistic residencies are the result of protocols established with the host institutions, and it is the<br />
Foundation that then “invites” the artists to present a project of work to be undertaken in accordance<br />
with the terms and conditions of the four internships provided by these institutions.<br />
The costs incurred with this activity not only include the amount of the scholarships awarded,<br />
but also the co-financing provided by other institutions in the awarding of these grants (1 122,771)<br />
and the costs arising from administering the application processes.<br />
In 2008, the Fine <strong>Art</strong>s Department awarded the following scholarships:<br />
Specialisation and Career Development Scholarships [3253 448]<br />
The competition relating to the 2008-2009 academic year covered the following areas:<br />
the visual arts, arts management and curatorship, history of art, heritage and theatre.<br />
One hundred and twenty-three applications were submitted. The scholarships granted covered<br />
all the areas open to competition and were awarded to the most original and innovative projects,<br />
taking into account the quality, educational skills and programme contents to be found<br />
at the host institutions.<br />
The following tables show the distribution of the 18 scholarships awarded in 2008,<br />
by specialist area and by country:<br />
Specialist areas<br />
6 7<br />
1<br />
4<br />
Visual arts<br />
<strong>Art</strong>s management<br />
and curatorship<br />
History of art<br />
Theatre<br />
Countries<br />
The five scholarships for the uSa were granted under the scope of the protocol signed with<br />
the Luso-American Foundation for Development (flad) in 1987, with responsibility for the analysis<br />
of applications, selection processes and the costs incurred with the award of the scholarships<br />
being shared between the two foundations.<br />
1<br />
2<br />
2<br />
1<br />
3<br />
3<br />
5<br />
7<br />
7<br />
106.107 106.<br />
United Kingdom<br />
USA<br />
Germany<br />
Sweden<br />
Spain<br />
Annual Report 2008
<strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation Fine <strong>Art</strong>s Department<br />
Extension of specialisation<br />
and career development<br />
scholarships [3174 072]<br />
In 2008, in accordance with<br />
the regulations in place and based<br />
on the results obtained by the<br />
scholarship holders, as confirmed<br />
by the reports submitted by<br />
their respective supervisors,<br />
20 specialisation scholarships<br />
were extended. The five extensions<br />
granted to scholarship holders<br />
in the USA were also carried<br />
out in partnership with flad.<br />
Special grants / <strong>Art</strong>istic<br />
residencies [3115 900]<br />
The 16th Ernesto de Sousa Grant<br />
This scholarship is a joint initiative<br />
between the Experimental Intermedia<br />
Foundation of New York, flad and<br />
the <strong>Calouste</strong> <strong>Gulbenkian</strong> Foundation.<br />
Ernesto de Sousa Grant. 15th Anniversary Commemorations. Catalogue.<br />
It was set up in order to pay homage<br />
to the artist Ernesto de Sousa,<br />
a pioneer in the field of experimental multimedia art. The winner of the 16th scholarship,<br />
announced in January 2009, was Sérgio Cruz, who presented a project for a video installation<br />
with choreographed figures in an urban environment. One of the members of the Jury making<br />
the award was the artist Francisco Janes, who had won the previous year’s scholarship.<br />
The commemorations of the 15th anniversary of the Ernesto de Sousa grant took place at Espaço<br />
Avenida in January 2008 with the public presentation of an exhibition of the work of the artists who,<br />
over the last fifteen years, have had the opportunity to take part in this project, which has provided<br />
a great incentive for multimedia creativity, stimulating multidisciplinary experimentalism with the use<br />
of the new technologies. On the same occasion, a new website was launched and a book/catalogue<br />
published in Portuguese and English, which provides both a memory of past events and a critical look<br />
at the first fifteen years of the Ernesto de Sousa grant. The costs incurred with this initiative, promoted<br />
by Isabel Soares Alves, Ernesto de Sousa’s widow, were shared between the Foundation and flad.<br />
João Hogan Grant – 10th Year<br />
The Foundation annually awards a 12-month grant for an artistic residency at the Künstlerhaus<br />
Bethanien in Berlin. This grant, based on the João Hogan estate and set up in his honour,<br />
has enjoyed remarkable success and is today one of the awards most keenly disputed between<br />
young Portuguese artists seeking to develop and promote their work in such an extremely<br />
stimulating cultural environment as Berlin. The artist receiving the 2008 grant, under the terms
João Hogan Grant, Berlin. Work by Daniel Barroca,<br />
given its public presentation in August, 2008.<br />
of the protocol established<br />
with the aforementioned Berlin<br />
institution, was André Sousa.<br />
In August 2008, an exhibition<br />
was held at the Künstlerhaus<br />
Bethanien of the works produced<br />
by the previous award-winner,<br />
Daniel Barroca. This exhibition<br />
received fulsome praise and<br />
was accompanied by a catalogue,<br />
financed by the Foundation, in<br />
partnership with the Instituto Camões.<br />
The Casa de Velázquez Grant – 4th year<br />
Launched in 2005, this grant provides<br />
for a six-month artistic creativity<br />
internship at the Casa de Velázquez<br />
in Madrid. Out of a total of<br />
23 applications, João Tengarrinha<br />
was unanimously selected both<br />
for the quality of his work and<br />
the solid and impressive nature<br />
of his artistic career so far.<br />
<strong>Art</strong>istic residency grants<br />
in New York – 4th year<br />
In partnership with flad, the<br />
agreement was continued with<br />
two American institutions of great<br />
international prestige in the field<br />
of the visual arts – iScp (International<br />
Studio and Curatorial Program) and Location One, both in New York. The objective of these<br />
artistic residency grants is to enable the selected artists to develop the specific projects that they<br />
presented in their application and to exhibit them publicly, helping them to promote their work<br />
on the international art circuits. In 2008, João Pedro Vale was awarded the six-month grant<br />
for iScp and André Gonçalves the five-month grant for Location One.<br />
<strong>Art</strong>istic residency grants at acme – 1st year<br />
In view of the success enjoyed by the artistic residencies programme, as a privileged<br />
way of contributing to the development of innovative and experimental projects and to the<br />
internationalisation and dissemination of the work of our artists, the Department has broadened<br />
the range of host institutions to include acme (acme Housing Association Limited) in London.<br />
The Jury assessing the work of the applicants included the director of acme and representatives<br />
from the Foundation’s UK Branch. Margarida Gouveia was the artist who won this award<br />
for the very first time.<br />
108.109 108.<br />
Annual Report 2008