{"id":570,"date":"2024-08-21T13:58:12","date_gmt":"2024-08-21T11:58:12","guid":{"rendered":"https:\/\/alcobaca-caldas2024.aic-iac.org\/?page_id=570"},"modified":"2024-09-12T14:27:37","modified_gmt":"2024-09-12T12:27:37","slug":"","status":"publish","type":"page","link":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/lectures-thematic-presentations\/","title":{"rendered":"","raw":""},"content":{"rendered":"","protected":false,"raw":""},"excerpt":{"rendered":"","protected":false,"raw":""},"author":2192,"featured_media":616,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_en_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_616\" align=\"alignnone\" width=\"2048\"]\"\" 'Naos' by Estefania Valls Urquijo.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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Thematic presentations<\/h3>\r\n

Thematic presentations were selected from an open call to IAC members, as well as the general public. The Congress theme \"Ceramics in the Mediterranean World: from Antiquity to Contemporaneity\" has been split into two parts (sub-themes): six speakers were selected for each sub-theme.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\r\n<\/tr>\r\n
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Jaume Coll<\/h3>\r\n

Moderator for sub-theme \"Ceramic Confluences in the Mediterranean: A Historical View\"<\/p>\r\n

Jaume Coll biography<\/span><\/a><\/p>\r\n<\/td>\r\n

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St\u00e9phanie Le Follic-Hadida<\/h3>\r\n

Moderator for sub-theme \"Ceramics in Contemporaneity: Reality, Relations and Confrontations in the Mediterranean World\"<\/p>\r\n

St\u00e9phanie Le Follic-Hadida biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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SUB-THEME 1: \"Ceramic Confluences in the Mediterranean: A Historical View.\"<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Umberto Battaglia & Monica de Marco<\/h3>\r\n

Presentation Title: \"MEDITERRANEAN ECHOES: The Byzantine Legacy of Slipware. A comparison between the ceramics of Seminara (Italy) and the production of Tsanak Kale (Turkey)\"<\/p>\r\n

This contribution presents a new assessment of the relationship between the ceramics of Seminara and Tsanak Kale during the 19th and 20th-centuries. In Seminara, a production deriving from the ancient Byzantine technique of slipware eventually reached such peculiar and characteristic declinations that rendered this ceramics immediately recognisable. However, a comparative analysis of Tsanak Kale production can pave the way for a new understanding of possible connections between different centres of production across the Mediterranean basin.<\/p>\r\n

Umberto Battaglia & Monica de Marco\u00a0 biographies<\/a>
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Carmen Marco Dasi & Karine Pascual<\/h3>\r\n

Presentation Title: \"Mediterranean Heritage\"<\/p>\r\n

In the quiet town of Manises, nestled on the eastern coast of Spain, the legacy of ceramics has endured for centuries of whispered stories of artistry and tradition. For generations, the people of Manises have dedicated their lives to the craft of pottery, producing works of stunning beauty that reflect the rich cultural heritage of the Mediterranean. This story follows the journey of a young potter named Carmen, who uncovers the deep-rooted history and technical prowess of the ancestors in the pursuit of her own creative identity. Through her story, we can trace the evolution of Manises ceramics through the ages, from the influence of Islamic artisans to the colourful tiles (azulejos) that still adorn palaces and cathedrals today.<\/p>\r\n

Carmen Marco Dasi & Karine Pascual biographies<\/a>
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Luis Ortega Echevarria<\/h3>\r\n

Presentation Title: \u201cThe St. Genadius Stone in the Church of Santiago de Pe\u00f1alba\"<\/p>\r\n

This project explores the origins and cultural impact of AL pottery and lustre ceramics from the Abbasid Caliphate, emphasising their spread to the Iberian Peninsula. Inspired by the Mozarabic style, the project examines the influence of Islamic and Christian heritage in regional architecture. It also delves into the historical journey of ancient chess pieces from India to Europe, illustrating the profound cultural exchange and coexistence in medieval Spain.<\/p>\r\n

Luis Ortega Echevarria biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Jorge Pereira de Sampaio<\/h3>\r\n

Presentation Title: \u201cCeramics by Domenico Vandelli, from Italy to Portugal at the End of the 18th Century\"<\/p>\r\n

Domingos Vandelli (1764-1816), an Italian Illuminist invited by the Marquis of Pombal, played a crucial role in the evolution of Portuguese ceramics. As a professor at the University of Coimbra, he founded the F\u00e1brica do Rossio de Santa Clara in 1784, introducing innovative glazes and colors previously unseen in Portuguese ceramics. Vandelli's collaboration with the Real Fabrica de Lou\u00e7a in Porto brought further advancements, including stone dust tableware and unique \u201carraiado\u201d decorations. His influence extends to the development of Portuguese porcelain, marking him as a transformative figure in 18th-century ceramics.<\/p>\r\n

Jorge Pereira de Sampaio biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Dr. Ros\u00e1rio Salema de Carvalho<\/h3>\r\n

Presentation Title: \"In Blue and White: Reflections on Baroque Azulejos\"<\/p>\r\n

This lecture explores the evolution of Portuguese Baroque azulejos from the late 17th to early 18th centuries, focusing on their unique integration within architectural spaces. It examines the iconographic programs and intricate frames that define these ceramic works, highlighting their connection to European and Chinese influences. Additionally, the study traces the enduring impact of Baroque azulejos on modern artists, demonstrating how they have reinterpreted and revitalized this traditional art form in contemporary contexts.<\/p>\r\n

Dr. Ros\u00e1rio Salema de Carvalho biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Estefania Valls Urquijo<\/h3>\r\n

Presentation Title: \"NAOS\"<\/p>\r\n

Almost every country in the world has used terracotta bricks for construction. Terracotta bricks are based on the principles of ceramics, and are a foundation for construction in the history of Europe and the whole world. But, the most important for me, a veridic material to study any culture. The NAOS project has been developed on the idea that terracotta bricks not only carry the basis of ceramics in their DNA, but are the common denominator in cultures of the world. This unity is not only material, but also symbolic and mystical.<\/p>\r\n

Estefania Valls Urquijo biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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SUB-THEME 2: \"Ceramics in Contemporaneity: Reality, Relations and Confrontations in the Mediterranean World.\"<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Bouriche Boumediene<\/h3>\r\n

Presentation Title: \"The Status of Bider Pottery in the Village\"<\/p>\r\n

In the coastal village of Bider, near Tlemcen in western Algeria, traditional pottery remains a vital source of livelihood. Women in the village continue the age-old practice of crafting pottery at home, sourcing clay from nearby mountains. The process is labor-intensive, involving grinding, sifting, and mixing the clay by hand before shaping it into pots, cups, and vases. After drying, the pottery is fired in traditional brick ovens fueled by firewood, a meticulous seven-hour process that demands great effort. Once fired, the pieces are decorated with traditional materials before being sold and transported to major cities. Despite the technological advancements in society, the women of Bider preserve this time-honoured craft, ensuring its survival for future generations.<\/p>\r\n

Boumediene Bouriche biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Ray Chen<\/h3>\r\n

Presentation Title: \"Gender, Voice, and Identity-Mediterranean Woman Artists\"<\/p>\r\n

This presentation examines the intersection of gender, voice, and identity among women artists in the Mediterranean over the past fifty years. It explores how these factors shape their cultural and artistic expression. Historically, women artists, especially in the southern Mediterranean, faced societal constraints that suppressed their voices. The 1990s brought a shift with cultural neocolonialism challenging existing narratives. This study questions whether women could freely express their artistic passions and if contemporary society now offers equal opportunities. It also considers the evolving roles of women in art, family, society, and history, reflecting a new understanding of their artistic identities.<\/p>\r\n

Ray Chen biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Antonio Fois<\/h3>\r\n

Presentation Title: \"Ceramics in Dialogue\"<\/p>\r\n

The Mediterranean world has been for long time the vessel for cultural exchanges, vehicle for contamination and innovation through human history. Clay and ceramics have been at the core of this journey in many aspects of human life, and still are. Coming from Sardinia, an island rich in diverse influences, the artist's practice is deeply shaped by this heritage, blending experiences from across Europe with an instinctive, site-specific approach. Their work explores displacement as a tool to foster dialogue and generate new understandings of the contemporary world.<\/p>\r\n

Antonio Fois biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Elahe Hosseini<\/h3>\r\n

Presentation Title: \"Contemporary Ceramics\"<\/p>\r\n

In her presentation, Elahe Hosseini explores the theme of transformation through her ceramic sculptures, where each piece symbolises a cocoon\u2014representing the beginning of a new life and the journey of evolution. Drawing from her background in illustration, she brings her ideas from the two-dimensional to the three-dimensional world, narrating the inner and outer changes that occur in a world full of uncertainty. Her works reflect the relentless pursuit of growth amidst challenges, where the cocoon marks the start of an unpredictable yet transformative journey.<\/p>\r\n

Elahe Hosseini biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Danijela Pi\u010duljan<\/h3>\r\n

Presentation Title: \"The Mare Modul Project: Underwater Ceramic Habitats for Restoration and Enrichment of Marine Flora and Fauna\"<\/p>\r\n

This presentation follows a group of artists, under the banner of the MARE MODUL project, who have created habitats \u2014 large ceramic artistic objects \u2014 that, when placed in the sea, form small reefs and serve as a substrate on and in which various organisms have settled. The project's aim has been to restore and enrich marine flora and fauna.<\/p>\r\n

Danijela Pi\u010duljan biography<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

 <\/p>","_en_post_name":"lectures-thematic-presentations","_en_post_excerpt":"The conference programme features 12 Thematic Presentations.","_en_post_title":"Thematic Presentations","_fr_post_content":"\r\n\r\n\r\n
\r\n[caption id=\"attachment_616\" align=\"alignnone\" width=\"2048\"]\"\" 'Naos' by Estefania Valls Urquijo.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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Pr\u00e9sentations th\u00e9matiques<\/h3>\r\n

Les pr\u00e9sentations th\u00e9matiques ont \u00e9t\u00e9 s\u00e9lectionn\u00e9es \u00e0 partir d'un appel ouvert aux membres de l'AIC, ainsi qu'au grand public. Le th\u00e8me du Congr\u00e8s \u00ab La c\u00e9ramique dans le monde m\u00e9diterran\u00e9en : de l'Antiquit\u00e9 \u00e0 la contemporan\u00e9it\u00e9 \u00bb a \u00e9t\u00e9 divis\u00e9 en deux parties (sous-th\u00e8mes) : six orateur\u00b7rice\u00b7s ont \u00e9t\u00e9 s\u00e9lectionn\u00e9s pour chaque sous-th\u00e8me.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

* Please note that the information on this page is subject to modifications and updates.<\/span><\/td>\r\n<\/tr>\r\n
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Jaume Coll<\/h3>\r\n

Mod\u00e9rateur pour le sous-th\u00e8me \"Ceramic Confluences in the Mediterranean: A Historical View\"<\/p>\r\n

Biographie de Jaume Coll<\/span><\/a><\/p>\r\n<\/td>\r\n

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St\u00e9phanie Le Follic-Hadida<\/h3>\r\n

Mod\u00e9ratrice pour le sous-th\u00e8me \"Ceramics in Contemporaneity: Reality, Relations and Confrontations in the Mediterranean World\"<\/p>\r\n

Biographie de St\u00e9phanie Le Follic-Hadida<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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SOUS-TH\u00c8ME 1: \"Confluences c\u00e9ramiques en M\u00e9diterran\u00e9e : Une vue historique.\"<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Umberto Battaglia & Monica de Marco<\/h3>\r\n

Titre de la pr\u00e9sentation : \"MEDITERRANEAN ECHOES: The Byzantine Legacy of Slipware. A comparison between the ceramics of Seminara (Italy) and the production of Tsanak Kale (Turkey)\"<\/p>\r\n

Cette contribution pr\u00e9sente une nouvelle \u00e9valuation de la relation entre les c\u00e9ramiques de Seminara et de Tsanak Kale au cours des 19e et 20e si\u00e8cles. \u00c0 Seminara, une production d\u00e9rivant de l'ancienne technique byzantine de la barbotine a fini par atteindre des d\u00e9clinaisons si particuli\u00e8res et caract\u00e9ristiques que cette c\u00e9ramique est devenue imm\u00e9diatement reconnaissable. Cependant, une analyse comparative de la production de Tsanak Kale peut ouvrir la voie \u00e0 une nouvelle compr\u00e9hension des connexions possibles entre les diff\u00e9rents centres de production \u00e0 travers le bassin m\u00e9diterran\u00e9en.<\/p>\r\n

Biographies d'Umberto Battaglia & de Monica de Marco<\/a>
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Carmen Marco Dasi & Karine Pascual<\/h3>\r\n

Titre de la pr\u00e9sentation : \"Mediterannean Heritage\"<\/p>\r\n

Dans la paisible ville de Manises, nich\u00e9e sur la c\u00f4te est de l'Espagne, l'h\u00e9ritage de la c\u00e9ramique s'est perp\u00e9tu\u00e9 pendant des si\u00e8cles d'histoires chuchot\u00e9es d'art et de tradition. Depuis des g\u00e9n\u00e9rations, les habitants de Manises consacrent leur vie \u00e0 l'artisanat de la poterie, produisant des \u0153uvres d'une beaut\u00e9 stup\u00e9fiante qui refl\u00e8tent le riche patrimoine culturel de la M\u00e9diterran\u00e9e. Cette histoire suit le parcours d'une jeune poti\u00e8re nomm\u00e9e Carmen, qui d\u00e9couvre l'histoire profond\u00e9ment enracin\u00e9e et les prouesses techniques des anc\u00eatres dans la poursuite de sa propre identit\u00e9 cr\u00e9ative. \u00c0 travers son histoire, nous pouvons retracer l'\u00e9volution de la c\u00e9ramique de Manis\u00e8s \u00e0 travers les \u00e2ges, depuis l'influence des artisans islamiques jusqu'aux carreaux color\u00e9s (azulejos) qui ornent encore aujourd'hui les palais et les cath\u00e9drales.<\/p>\r\n

Biographies de Carmen Marco Dasi & de Karine Pascual<\/a>
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Luis Ortega Echevarria<\/h3>\r\n

Titre de la pr\u00e9sentation : \u201cThe St. Genadius Stone in the Church of Santiago de Pe\u00f1alba\"<\/p>\r\n

Ce projet explore les origines et l'impact culturel de la poterie AL et de la c\u00e9ramique lustr\u00e9e du califat abbasside, en mettant l'accent sur leur diffusion dans la p\u00e9ninsule ib\u00e9rique. Inspir\u00e9 par le style mozarabe, le projet examine l'influence de l'h\u00e9ritage islamique et chr\u00e9tien dans l'architecture r\u00e9gionale. Il se penche \u00e9galement sur le parcours historique des anciennes pi\u00e8ces d'\u00e9checs de l'Inde \u00e0 l'Europe, illustrant les profonds \u00e9changes culturels et la coexistence dans l'Espagne m\u00e9di\u00e9vale.<\/p>\r\n

Biographie de Luis Ortega Echevarria<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Jorge Pereira de Sampaio<\/h3>\r\n

Titre de la pr\u00e9sentation : \u201cCeramics by Domenico Vandelli, from Italy to Portugal at the End of the 18th Century\"<\/p>\r\n

Domingos Vandelli (1764-1816), un illuministe italien invit\u00e9 par le marquis de Pombal, a jou\u00e9 un r\u00f4le crucial dans l'\u00e9volution de la c\u00e9ramique portugaise. Professeur \u00e0 l'universit\u00e9 de Coimbra, il a fond\u00e9 la F\u00e1brica do Rossio de Santa Clara en 1784, introduisant des gla\u00e7ures et des couleurs novatrices jusqu'alors inconnues dans la c\u00e9ramique portugaise. La collaboration de Vandelli avec la Real Fabrica de Lou\u00e7a \u00e0 Porto a permis d'autres avanc\u00e9es, notamment la vaisselle en poussi\u00e8re de pierre et les d\u00e9corations uniques \u00ab arraiado \u00bb. Son influence s'\u00e9tend au d\u00e9veloppement de la porcelaine portugaise, ce qui fait de lui une figure transformatrice de la c\u00e9ramique du XVIIIe si\u00e8cle.<\/p>\r\n

Biographie de Jorge Pereira de Sampaio<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Dr Ros\u00e1rio Salema de Carvalho<\/h3>\r\n

Titre de la pr\u00e9sentation :\"In Blue and White: Reflections on Baroque Azulejos\"<\/p>\r\n

Cette conf\u00e9rence explore l'\u00e9volution des azulejos baroques portugais de la fin du XVIIe au d\u00e9but du XVIIIe si\u00e8cle, en se concentrant sur leur int\u00e9gration unique dans les espaces architecturaux. Elle examine les programmes iconographiques et les cadres complexes qui d\u00e9finissent ces \u0153uvres c\u00e9ramiques, en soulignant leur lien avec les influences europ\u00e9ennes et chinoises. En outre, l'\u00e9tude retrace l'impact durable des azulejos baroques sur les artistes modernes, en montrant comment ils ont r\u00e9interpr\u00e9t\u00e9 et revitalis\u00e9 cette forme d'art traditionnel dans des contextes contemporains.<\/p>\r\n

Biographie de Dr Ros\u00e1rio Salema de Carvalho<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Estefania Valls Urquijo<\/h3>\r\n

Titre de la pr\u00e9sentation : \"NAOS\"<\/p>\r\n

Presque tous les pays du monde ont utilis\u00e9 des briques en terre cuite pour la construction. Les briques en terre cuite sont bas\u00e9es sur les principes de la c\u00e9ramique et constituent un fondement de la construction dans l'histoire de l'Europe et du monde entier. Mais le plus important pour moi, c'est qu'elles constituent un mat\u00e9riau v\u00e9ridique permettant d'\u00e9tudier n'importe quelle culture. Le projet NAOS a \u00e9t\u00e9 d\u00e9velopp\u00e9 sur l'id\u00e9e que les briques en terre cuite ne portent pas seulement la base de la c\u00e9ramique dans leur ADN, mais qu'elles sont le d\u00e9nominateur commun des cultures du monde entier. Cette unit\u00e9 n'est pas seulement mat\u00e9rielle, mais aussi symbolique et mystique.<\/p>\r\n

Biographie de Estefania Valls Urquijo<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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SOUS-TH\u00c8ME 2: \"La c\u00e9ramique dans la contemporan\u00e9it\u00e9 : R\u00e9alit\u00e9, relations et confrontations dans le monde m\u00e9diterran\u00e9en.\"<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Bouriche Boumediene<\/h3>\r\n

Titre de la pr\u00e9sentation : \"The Status of Bider Pottery in the Village\"<\/p>\r\n

Dans le village c\u00f4tier de Bider, pr\u00e8s de Tlemcen, dans l'ouest de l'Alg\u00e9rie, la poterie traditionnelle reste une source vitale de revenus. Les femmes du village perp\u00e9tuent la pratique ancestrale de la poterie \u00e0 domicile, en s'approvisionnant en argile dans les montagnes avoisinantes. Il s'agit d'un processus \u00e0 forte intensit\u00e9 de main-d'\u0153uvre, qui consiste \u00e0 broyer, tamiser et m\u00e9langer l'argile \u00e0 la main avant de la fa\u00e7onner pour en faire des pots, des tasses et des vases. Apr\u00e8s s\u00e9chage, la poterie est cuite dans des fours traditionnels en briques aliment\u00e9s par du bois de chauffage, un processus m\u00e9ticuleux de sept heures qui demande beaucoup d'efforts. Une fois cuites, les pi\u00e8ces sont d\u00e9cor\u00e9es avec des mat\u00e9riaux traditionnels avant d'\u00eatre vendues et transport\u00e9es vers les grandes villes. Malgr\u00e9 les progr\u00e8s technologiques de la soci\u00e9t\u00e9, les femmes de Bider pr\u00e9servent cet artisanat ancestral, assurant ainsi sa survie pour les g\u00e9n\u00e9rations futures.<\/p>\r\n

Biographie de Boumediene Bouriche<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Ray Chen<\/h3>\r\n

Titre de la pr\u00e9sentation : \"Gender, Voice, and Identity-Mediterranean Woman Artists\"<\/p>\r\n

Cette pr\u00e9sentation examine l'intersection du genre, de la voix et de l'identit\u00e9 chez les femmes artistes de la M\u00e9diterran\u00e9e au cours des cinquante derni\u00e8res ann\u00e9es. Elle explore la mani\u00e8re dont ces facteurs fa\u00e7onnent leur expression culturelle et artistique. Historiquement, les femmes artistes, en particulier dans le sud de la M\u00e9diterran\u00e9e, ont \u00e9t\u00e9 confront\u00e9es \u00e0 des contraintes soci\u00e9tales qui ont \u00e9touff\u00e9 leur voix. Les ann\u00e9es 1990 ont marqu\u00e9 un tournant, le n\u00e9ocolonialisme culturel remettant en cause les r\u00e9cits existants. Cette \u00e9tude pose la question de savoir si les femmes pouvaient exprimer librement leurs passions artistiques et si la soci\u00e9t\u00e9 contemporaine leur offre aujourd'hui des opportunit\u00e9s \u00e9gales. Elle examine \u00e9galement l'\u00e9volution des r\u00f4les des femmes dans l'art, la famille, la soci\u00e9t\u00e9 et l'histoire, refl\u00e9tant une nouvelle compr\u00e9hension de leurs identit\u00e9s artistiques.<\/p>\r\n

Biographie de Ray Chen<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Antonio Fois<\/h3>\r\n

Titre de la pr\u00e9sentation : \"Ceramics in Dialogue\"<\/p>\r\n

Le monde m\u00e9diterran\u00e9en a \u00e9t\u00e9 pendant longtemps le vaisseau des \u00e9changes culturels, le v\u00e9hicule de la contamination et de l'innovation dans l'histoire de l'humanit\u00e9. L'argile et la c\u00e9ramique ont \u00e9t\u00e9 au c\u0153ur de ce voyage dans de nombreux aspects de la vie humaine, et le sont toujours. Originaire de Sardaigne, une \u00eele riche en influences diverses, la pratique de l'artiste est profond\u00e9ment fa\u00e7onn\u00e9e par cet h\u00e9ritage, m\u00ealant des exp\u00e9riences de toute l'Europe \u00e0 une approche instinctive et sp\u00e9cifique au site. Leur travail explore le d\u00e9placement comme un outil pour favoriser le dialogue et g\u00e9n\u00e9rer de nouvelles compr\u00e9hensions du monde contemporain.<\/p>\r\n

Biographie de Antonio Fois<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Elahe Hosseini<\/h3>\r\n

Titre de la pr\u00e9sentation : \"Contemporary Ceramics\"<\/p>\r\n

Dans sa pr\u00e9sentation, Elahe Hosseini explore le th\u00e8me de la transformation \u00e0 travers ses sculptures en c\u00e9ramique, o\u00f9 chaque pi\u00e8ce symbolise un cocon - repr\u00e9sentant le d\u00e9but d'une nouvelle vie et le voyage de l'\u00e9volution. S'inspirant de sa formation en illustration, elle transpose ses id\u00e9es du monde bidimensionnel au monde tridimensionnel, racontant les changements int\u00e9rieurs et ext\u00e9rieurs qui se produisent dans un monde plein d'incertitudes. Ses \u0153uvres refl\u00e8tent la poursuite incessante de la croissance au milieu des d\u00e9fis, o\u00f9 le cocon marque le d\u00e9but d'un voyage impr\u00e9visible mais transformateur.<\/p>\r\n

Biographie de Elahe Hosseini<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Danijela Pi\u010duljan<\/h3>\r\n

Titre de la pr\u00e9sentation : \"The Mare Modul Project: Underwater Ceramic Habitats for Restoration and Enrichment of Marine Flora and Fauna\"<\/p>\r\n

Cette pr\u00e9sentation suit un groupe d'artistes qui, dans le cadre du projet MARE MODUL, ont cr\u00e9\u00e9 des habitats - de grands objets artistiques en c\u00e9ramique - qui, plac\u00e9s dans la mer, forment de petits r\u00e9cifs et servent de substrat sur et dans lequel divers organismes se sont install\u00e9s. L'objectif du projet est de restaurer et d'enrichir la flore et la faune marines.<\/p>\r\n

Biographie de Danijela Pi\u010duljan<\/span><\/a><\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

 <\/p>","_fr_post_name":"lectures-thematic-presentations","_fr_post_excerpt":"The programme de conf\u00e9rences comprend 12 pr\u00e9sentations th\u00e9matiques.","_fr_post_title":"Pr\u00e9sentations th\u00e9matiques","_pt_post_content":"","_pt_post_name":"","_pt_post_excerpt":"","_pt_post_title":"","edit_language":"pt","footnotes":""},"class_list":["post-570","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages\/570","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/users\/2192"}],"replies":[{"embeddable":true,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/comments?post=570"}],"version-history":[{"count":44,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages\/570\/revisions"}],"predecessor-version":[{"id":1134,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/pages\/570\/revisions\/1134"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/media\/616"}],"wp:attachment":[{"href":"https:\/\/alcobaca-caldas2024.aic-iac.org\/pt\/wp-json\/wp\/v2\/media?parent=570"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}