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Movimento de Arte Contemporânea de Moçambique MUVART: 2004 a 2010 / Contemporary art movement of Mozambique MUVART: 2004 to 2010Brito, Isa Marcia Bandeira de 05 March 2012 (has links)
O objetivo do presente trabalho é apresentar o Movimento de Arte Contemporânea de Moçambique, MUVART, no período compreendido entre 2004 e 2010, especificamente em sua cidade capital Maputo. Este título foi dado a um grupo formado em sua maioria por jovens artistas moçambicanos e seus fundadores foram Anésia Manjate, Carmem Muianga, Gemuce, Jorge Dias, Ivan Serra, Marcos Muthewuye, Mudaulane, Lourenço Cossa, Vânia Lemos, Quentin Lambert e Xavier MBeve. Inicialmente, situamos a arte africana e a arte africana contemporânea, tendo em vista a construção de um cenário de apreciação da arte em Moçambique. Os marcos escolhidos foram os séculos XVII e o século XVIII. Com base no Movimento de Arte Contemporânea de Moçambique, MUVART, revela-se o contexto histórico das relações entre a arte tradicional e a arte contemporânea moçambicana. A presença de quatro grupos étnicos fixados no território e de três artistas da geração anterior à analisada na presente pesquisa possibilita a introdução ao tema.Atenção especial é dada a uma atividade desenvolvida pelo grupo, a Bienal Expo- Arte Contemporânea, pontuada nas edições de 2004, 2006, 2008 e 2010. Amplia-se o debate com a interlocução de outros artistas convidados na referida exposição que, embora não fazendo parte do grupo original, dialogam com as linguagens contemporâneas. Recupera-se a história individual de cada artista e a história do grupo, sugerindo leituras do cenário da arte contemporânea em Moçambique, suas definições e a projeção na produção estética dos próprios artistas, a compreensão e a apreciação do público especializado. A terceira parte consiste na apresentação dos artistas fundadores do Movimento de Arte Contemporânea de Moçambique, MUVART, com ênfase nos trabalhos inseridos na Bienal Expo-Arte Contemporânea. Torna-se imprescindível atrelar à narrativa momentos históricos de suma importância para Moçambique que irão influenciar a arte moçambicana, considerando que a arte moçambicana começa a ganhar autoria paulatinamente, na concepção moderna de obra e autor, uma vez que na arte tradicional esta noção está imersa no seio da comunidade.Todavia,ideologicamente, esta produção autoral é intrinsecamente identificada com os ideais colonizadores, ou seja, deixa de ser exclusivamente uma produção conectada a um grupo específico para refletir os desejos externos a estas comunidades. A implicação destes movimentos irá desaguar na etapa posterior denominada pós-revolução, influenciando, no nosso caso específico, a sociedade moçambicana e consequentemente o percurso da geração seguinte, jovens artistas que já nasceram sob os auspícios da paz e que trazem como lastro esta história a ser contada e recontada. / The present work has the purpose to introduce Contemporary Art Movement of Mozambique, MUVART, between the period of 2004 and 2010, specifically in its capital city of Maputo. This title was given to a group mostly formed by young artists of Mozambique and its founders were Anésia Manjate, Carmem Muianga, Gemuce,Jorge Dias, Ivan Serra, Marcos Muthewuye, Mudaulane, Lourenço Cossa, Vânia Lemos, Quentin Lambert e Xavier MBeve. At first, the African art and the contemporary art are placed, bearing in mind a scenery, constructed of art appreciation in Mozambique.Landmarks of the seventeenth and the eighteenth century were chosen. Based on Contemporary Art Movement, MUVART, the historical context between the traditional art and the Mozambicans contemporary art,is revealed. The presence of four ethnical groups in the territory and three artists from previous generation being analyzed in the present research, made possible the introduction to this subject. Special attention is given to the groups developed activity, the Biennial Contemporary Expo-Art, scored in 2004, 2006, 2008 and 2010 editions. The discussion increases when other invited artists in the mentioned exposition dialogue in a contemporary manner with the original group, although they did not belong to it. Each artists individual history and the groups history are recovered, suggesting readings of the contemporary art scene in Mozambique, their definitions and the projection of the artists own aesthetics production, the comprehension and appreciation of the specialized public. The third part consists of the artists founders of the Contemporary Art Movement of Mozambiques presentation, MUVART, emphasizing the works presented in the Biennial Contemporary Expo-Art. It becomes strictly necessary to tie up historical moments of great importance to Mozambique to the narrative that will influence the Mozambican art, considering that it starts to gain gradually its authorship, in the conception of modern work and author, once the idea of traditional art is immersed within the pale of the community. Although, ideologically, this authorial sort of production is intrinsically identified with the colonizers ideals, meaning, no longer an exclusive production connected to a specific group reflecting external desires to these communities. The implication of these movements will flow into a later stage, called post-revolution, influencing, in our specific case, the Mozambican society and consequently the course of the next generation, young artists who were born under the auspices of peace, bringing as ballast this story to be told and retold.
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Movimento de Arte Contemporânea de Moçambique MUVART: 2004 a 2010 / Contemporary art movement of Mozambique MUVART: 2004 to 2010Isa Marcia Bandeira de Brito 05 March 2012 (has links)
O objetivo do presente trabalho é apresentar o Movimento de Arte Contemporânea de Moçambique, MUVART, no período compreendido entre 2004 e 2010, especificamente em sua cidade capital Maputo. Este título foi dado a um grupo formado em sua maioria por jovens artistas moçambicanos e seus fundadores foram Anésia Manjate, Carmem Muianga, Gemuce, Jorge Dias, Ivan Serra, Marcos Muthewuye, Mudaulane, Lourenço Cossa, Vânia Lemos, Quentin Lambert e Xavier MBeve. Inicialmente, situamos a arte africana e a arte africana contemporânea, tendo em vista a construção de um cenário de apreciação da arte em Moçambique. Os marcos escolhidos foram os séculos XVII e o século XVIII. Com base no Movimento de Arte Contemporânea de Moçambique, MUVART, revela-se o contexto histórico das relações entre a arte tradicional e a arte contemporânea moçambicana. A presença de quatro grupos étnicos fixados no território e de três artistas da geração anterior à analisada na presente pesquisa possibilita a introdução ao tema.Atenção especial é dada a uma atividade desenvolvida pelo grupo, a Bienal Expo- Arte Contemporânea, pontuada nas edições de 2004, 2006, 2008 e 2010. Amplia-se o debate com a interlocução de outros artistas convidados na referida exposição que, embora não fazendo parte do grupo original, dialogam com as linguagens contemporâneas. Recupera-se a história individual de cada artista e a história do grupo, sugerindo leituras do cenário da arte contemporânea em Moçambique, suas definições e a projeção na produção estética dos próprios artistas, a compreensão e a apreciação do público especializado. A terceira parte consiste na apresentação dos artistas fundadores do Movimento de Arte Contemporânea de Moçambique, MUVART, com ênfase nos trabalhos inseridos na Bienal Expo-Arte Contemporânea. Torna-se imprescindível atrelar à narrativa momentos históricos de suma importância para Moçambique que irão influenciar a arte moçambicana, considerando que a arte moçambicana começa a ganhar autoria paulatinamente, na concepção moderna de obra e autor, uma vez que na arte tradicional esta noção está imersa no seio da comunidade.Todavia,ideologicamente, esta produção autoral é intrinsecamente identificada com os ideais colonizadores, ou seja, deixa de ser exclusivamente uma produção conectada a um grupo específico para refletir os desejos externos a estas comunidades. A implicação destes movimentos irá desaguar na etapa posterior denominada pós-revolução, influenciando, no nosso caso específico, a sociedade moçambicana e consequentemente o percurso da geração seguinte, jovens artistas que já nasceram sob os auspícios da paz e que trazem como lastro esta história a ser contada e recontada. / The present work has the purpose to introduce Contemporary Art Movement of Mozambique, MUVART, between the period of 2004 and 2010, specifically in its capital city of Maputo. This title was given to a group mostly formed by young artists of Mozambique and its founders were Anésia Manjate, Carmem Muianga, Gemuce,Jorge Dias, Ivan Serra, Marcos Muthewuye, Mudaulane, Lourenço Cossa, Vânia Lemos, Quentin Lambert e Xavier MBeve. At first, the African art and the contemporary art are placed, bearing in mind a scenery, constructed of art appreciation in Mozambique.Landmarks of the seventeenth and the eighteenth century were chosen. Based on Contemporary Art Movement, MUVART, the historical context between the traditional art and the Mozambicans contemporary art,is revealed. The presence of four ethnical groups in the territory and three artists from previous generation being analyzed in the present research, made possible the introduction to this subject. Special attention is given to the groups developed activity, the Biennial Contemporary Expo-Art, scored in 2004, 2006, 2008 and 2010 editions. The discussion increases when other invited artists in the mentioned exposition dialogue in a contemporary manner with the original group, although they did not belong to it. Each artists individual history and the groups history are recovered, suggesting readings of the contemporary art scene in Mozambique, their definitions and the projection of the artists own aesthetics production, the comprehension and appreciation of the specialized public. The third part consists of the artists founders of the Contemporary Art Movement of Mozambiques presentation, MUVART, emphasizing the works presented in the Biennial Contemporary Expo-Art. It becomes strictly necessary to tie up historical moments of great importance to Mozambique to the narrative that will influence the Mozambican art, considering that it starts to gain gradually its authorship, in the conception of modern work and author, once the idea of traditional art is immersed within the pale of the community. Although, ideologically, this authorial sort of production is intrinsically identified with the colonizers ideals, meaning, no longer an exclusive production connected to a specific group reflecting external desires to these communities. The implication of these movements will flow into a later stage, called post-revolution, influencing, in our specific case, the Mozambican society and consequently the course of the next generation, young artists who were born under the auspices of peace, bringing as ballast this story to be told and retold.
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När bostaden blev en allt mer central plats i människans tillvaro : Hur har den svenska bostadsmarknaden påverkats av en händelsebaserad kris – Covid-19? / When the home became an even more central place in human life : How has the Swedish real estate market been affected by an event driven crisis – Covid-19?Didong, Gustav, Hansson, Ludvig January 2021 (has links)
Bostadsmarknaden är en marknad i ständig förändring. Flera faktorer såsom populationstillväxt, bostadsideal och kriser påverkar planerandet och genomförandet av nya bostäder och dess utveckling.I samhällelig förändring, utveckling och planering är bostadsmarknaden en stor del. I en fungerande samhällsplanering krävs det att det planeras för hur dagens, och framförallt morgondagens bostäder ska se ut efter människans behov, ideal och ekonomiska möjligheter. Denna studie undersöker hur bostadsmarknaden har påverkats av en händelsebaserad kris – Covid-19. Teorier och tidigare forskning har tagits i beaktning för att kunna genomföra denna studie på ett trovärdigt vis. Det resonerades fram till att detta ämne skulle undersökas eftersom bostadsmarknaden är en stor del av den generella samhällsplaneringen, samt ett ständigt aktuellt ämne. Om nu mer aktuellt än någonsin tidigare. Syftet med studien är därigenom att konkretisera för hur bostadsmarknaden och planeringen av den har förändrats av en händelsebaserad kris; med utgångspunkt i Covid-19. För att undersöka detta har tre frågeställningar formulerats. Studiens frågeställningar är följande. Hur har bostadsmarknaden i Sveriges städer och tätorter utvecklats under Covid-19? Har invånarna i Sveriges bostadsideal sett till geografiskt läge och funktion förändrats under Covid-19? Vilka begränsningar/möjligheter har Covid-19 lett till vad gäller planerandet och genomförandet av nyproduktioner i Sveriges städer med utgångspunkt i Karlstad? Undersökningen har kunnat genomföras utifrån tidigare forskning och en kombinerad metod. En kombinerad metod som tillvägagångssätt innebär att det både har använts kvalitativa och kvantitativa metoder för att nå studiens resultat. Den kvalitativa intervjun genomfördes för att kunna ta del av en djupare analys om hur bostadsmarknaden har förändrats under denna period. Intervjupersonen är verksam inom fastighetsbranschen och har erhållit lång erfarenhet. Den kvantitativa forskningen gjordes för att kunna få en bild av bostadsmarknadens utveckling sett över hela landet, i både storstad och mindre tätort. De tillfrågade respondenterna i den kvantitativa forskningen var alla fastighetsmäklare eller fastighetsmäklarassistenter. Slutsatsen av studien är att bostadsmarknaden till stor del har påverkats av Covid-19 och att bostadens roll för människan har blivit allt mer central. / The real estate market is a market in constant change. Several factors such as population growth, housing ideals and crises affect the planning and implementation of new housing and its development. In social change, development and planning, the real estate market is a large part. In a functioning community planning, it is required that it is planned for how today's and especially tomorrow's homes will look according to human needs, ideals and economic opportunities. This study examines how the real estate market has been affected by an event-driven crisis - Covid-19. Theories and previous research have been taken into account in order to carry out this study in a credible way. It was concluded that this topic should be investigated because the real estate market is a constantly current topic, if now more relevant than ever before. Also, because the real estate market is a large part of the general urban planning. The purpose of the study is there for to concretize how the real estate market and the planning of it have been affected by an event-driven crisis with a starting point in Covid-19. Three following issues have been phrased to examine this topic. The issues of this study are the following. How has the real estate market in Sweden's cities and towns developed during Covid-19? Have the inhabitants of Sweden's housing ideal in terms of geographical location and function changed during Covid-19? What limitations/opportunities has Covid-19 led to in terms of planning and implementation regarding new productions in Sweden with an outset in Karlstad? The survey has been able to be carried out based on previous research and a combined method. A combined method as an approach means that both qualitative and quantitative approaches have been used to achieve the results of the study. The qualitative interview was conducted to get a deeper analysis of how the real estate market has changed during this period. The interviewee is active in the real estate industry and has years of experience. The quantitative research was done to be able to get a bigger picture of the development of the real estate market across the country, in both large cities and smaller towns. The respondents surveyed in the quantitative research were all real estate agents or real estate assistants. The conclusion of the study is that the real estate market has been affected by Covid-19 in large term and that the home has become increasingly more central in human life.
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