Gugenheimo ir Ermitažo muziejus

[dr.Jackal]

Man Paleckis ima priminti isprotejusi ir nekontroliuojama maniaka, kuris yra neprognozuojamas ir pavojingas visuomenei

Nesveikas jisai. Siaip manau, ilgai savo poste jis neuzsilaikys...bus Parko 2 vicemeru...

[shrnz]

Lietuvos architektų sąjungos pirmininkas Kęstutis Pempė apie Guggenheimo-Ermitažo muziejaus Vilniuje steigimą: "Iš tiesų manau, kad sostinės nereikia gelbėti statant kažkokį pastatą. Vienas „gelbėtojiškas“ projektas pilių teritorijoje jau realizuojamas."

[shrnz]

John, manai žinai viską daug geriau nei, galima sakyti, vyriausias Lietuvos architektas?

[F-R-Z]

Pempe yra arch sajungos pirmininkas ne del savo architekturiniu isitikinimu, ir ne del savo meninio poziurio i architektura, o del gryno architekturinio verslo, kuriam jis priklauso. ji jaudina pinigai ir valdzia, o ne architektura.

kai zmogus neistengia atlaikyti savo profesijos permainu antpludi, jis keicia ja i politine valdininkyste.

[Anz]

Atsakymas, kam Vilniuj prireikė Gugenheimo

yra čia: http://www.bernardinai.lt/index.php?url=articles/71688

[kasharas]

o kada pradės jį statyt? ar neaišku čia ar bus jis apskritai?

[TheNewYork_er]

Kadaingi jau niekaip nespės pastatyti iki 2009 metų, tai spėju, kad tik tada pradės. Bus pukus 1000-mečio paminejimas, bei daug laiko viska protingai bei įspūdingai suprojektuoti.

[pauliaK]

Man atrodo ir yra planuojama tūkstanmečio minėjimo progra pradėti statyti jį, apie jokius atidarymus 2009 niekas niekad nekalbėjo.

[Goodoo]

Toks įspūdis, kad Vilniuje nieko nestato. Tad siūlau laisvalaikiu perskaityti šį straipsnį. Savaip įdomus - idėja aiški ir "išgryninta"...
http://www.bernardinai.lt/index.php?url=articles/71985

[TKO]

Gal sulauksim geru naujienu...

"Iš A. Paleckio rankų slysta partinis bilietas"
http://www.lrt.lt/news.php?strid=5082&id=4278966

[Rimas_OK]

Teko išgirsti ir kitokią nuomonę, neva tas Gugenhaimo muziejus yra nusigyvenęs ir prasiskolinęs, tad kapstosi steigdamas "filialus" kitose šalyse.
Negana to, kad už savo pinigus pastatytume pastatą jiems, tai dar įsipareigotume nuomoti jų ekspozicijas.
Tad jei tai realybė, reik pamąstyt, gal geriau be tarpininkų pastatyt patiems muziejų pasisamdžius tą patį Libeskindą ir nuomotis pasirinktas ekspozicijas iš kur norėsim.
Tikėtina, kad gali išeiti geriau ir pigiau.

[c2h5oh]

Teko išgirsti ir kitokią nuomonę, neva tas Gugenhaimo muziejus yra nusigyvenęs ir prasiskolinęs, tad kapstosi steigdamas "filialus" kitose šalyse.

Tas "teko išgirsti" - tai paleckis & co ?

[Perfect]

Girdėjau, kad Z.Hadid, D.Libeskind ir M.Fuksas jau parengė maketus, kurie kovo mėn bus pristatyti Meko centre visuomenei, tada įvyks konkursas. Dabar svarstoma kaip suburti vertinimo komisiją, kuri "būtų verta" vertinti tokio lygio projektus...

[deep'as]

Girdėjau, kad jau Z.Hadid, D.Libeskind ir M.Fuksas jau parengė maketus, kurie kovo mėn bus pristatyti Meko centre visuomenei, tada įvyks konkursas. Dabar svarstoma kaip suburti vertinimo komisiją, kuri "būtų verta" vertinti tokio lygio projektus...

Plačios ausys . O šiaip tai įdomios žinios, visuomet smagu išvysti konkursinius darbus.

[Rimas_OK]

Tas "teko išgirsti" - tai paleckis & co ?

Tikrai ne iš tos kompanijos
Bet pamąstymams - ar už tokius pačius pinigus Z.Hadid, D.Libeskind ir M.Fuksas imasi projektuoti tik "Gugenhaimo" muziejaus filialą? Ar už tokį pat atlygį projektuotų ir tarkim "Grand ŠMC II muziejų"?

[TKO]

Tiesa sakant nezinau ar jie projektuotu SMC. Nes ne vien del pinigu jie imasi projektu. Tokio kalibro architektams daznai svarbu objekto prestizas, tarptautinis "matomumas" ir t.t. O sitoj srity SMC ir Gugenheimas aiskiai skirtingose svorio kategorijose. Kas del finansiniu Gugenheimo problemu, as tikslios informacijos neturiu, bet galiu tik pasakyti, kad New Yorke siuo metu tas muziejus yra renovuojamas ir pleciamas... Kaip ten bebutu, bent jau New Yorko itakingu zmoniu aplinkoj Gugenheimas Lietuvai padarytu labai efektyvia reklama.

[Perfect]

Pritariu

[Perfect]

Manau, kad įdomi informacija:
http://www.nytimes.com/2008/02/28/ar...=5070&emc=eta1
Guggenheim’s Provocative Director Steps Down

After nearly 20 years, Thomas Krens, the provocative director of the Solomon R. Guggenheim Foundation, is stepping down, its board announced on Wednesday.

The move comes three years after Mr. Krens triumphed in a him-or-me showdown with the foundation’s biggest benefactor, the Cleveland philanthropist Peter B. Lewis. Mr. Lewis resigned after arguing that Mr. Krens was spending too much money and should focus more on the foundation’s New York flagship museum rather than on funneling resources into developing Guggenheim satellites around the world.

In a statement on Wednesday the foundation emphasized that Mr. Krens would remain at the foundation as a senior adviser for international affairs, overseeing the creation of a 452,000-square-foot museum in Abu Dhabi to be designed by Frank Gehry.

In resigning as director Mr. Krens is clearly taking his cue from the Guggenheim’s board. “This is something that Tom and the board decided together,” Jennifer Stockman, the board’s president, said. She characterized Mr. Krens’s new position as a “natural transition.”

She added, “The museum is in a strong position to move on.”

The foundation said that Mr. Krens would remain as director until a successor was hired, and that the search would begin immediately. But it added that the institution would revert to the management structure that existed until 2005, appointing a director who would run the Manhattan flagship and Guggenheim satellites.

In September 2005 the foundation promoted Lisa Dennison, then a deputy director and chief curator, to director of the Manhattan museum. She served less than two years, departing last summer to join Sotheby’s auction house as an executive. Curators and other museum directors have been saying privately for months that the Guggenheim has been unable to fill the crucial job of director of the New York museum. They said that candidates who were informally approached were not shy about communicating that they would not work under Mr. Krens, who is known as a difficult personality.

Supporters of Mr. Krens, however, say he has been disappointed with the foundation’s board, especially its shortage of particularly generous donors. With no replacement for someone like Mr. Lewis, who gave the Guggenheim about $77 million overall — nearly four times as much as any other board member in its history — the Guggenheim may not have the financial muscle to keep growing, some art-world insiders say.

Mr. Krens cast his job change in a positive light on Wednesday. “This is a great move for everyone,” he said in a telephone interview after stepping off a flight from Paris to New York. “In July I will have been at the Guggenheim for 20 years, and I like that round number.”

A towering 6 foot 5, with an M.B.A. in management from Yale and a manner that is often taken for arrogance, Mr. Krens, 61, has long been synonymous with the Guggenheim. He is best known for his ambitions for developing an international network extending from Las Vegas to Bilbao, Spain, and for the types of high-profile exhibitions he presented, including shows like “The Art of the Motorcycle,” a personal passion, and ones that tackled entire countries like China and Brazil.

He has also organized trend-setting shows of contemporary artists, among them Matthew Barney, Richard Prince and, most recently, Cai Guo-Qiang.
Mr. Krens has drawn criticism for some of his programming choices, including a show devoted to Armani suits underwritten by the fashion house itself.
The new director of the Guggenheim will face the task of balancing growth with acquisitions for the permanent collection and organizing high-profile exhibitions. In addition to overseeing the New York museum, the director will have authority over the Peggy Guggenheim Collection in Venice, the Guggenheim Bilbao, the Deutsche Guggenheim Berlin and the Guggenheim Hermitage Museum in Las Vegas.

“The New York museum is the center of the entire constellation,” Ms. Stockman said.

Although some critics argue that Mr. Krens has in effect turned the Guggenheim into a McDonald’s-like franchise at the expense of expanding its collections and endowment, he has actually created a model for expansion that is being copied by institutions around the world, including the Tate in Britain and the Louvre in France. The titanium-clad Guggenheim Bilbao, designed by Mr. Gehry, is viewed as a major success, attracting more than a million visitors every year since it opened in 1997.

During his tenure Mr. Krens has increased the Guggenheim’s endowment to $118 million from $20 million, although he has been known to dip into the endowment to cover operating costs. (The museum’s endowment dropped by 20 percent from 1998 to 2005, when it was $45 million, which drew harsh criticism from Mr. Lewis.)

In 1989 Mr. Krens negotiated a gift of Impressionist paintings from the widow of Justin K. Thannhauser, acquired the Panza di Biumo collection of Minimalist art and oversaw the commissions of major artworks by Jeff Koons, James Rosenquist, Rachel Whiteread and Gerhard Richter at Deutsche Guggenheim Berlin. These works later became part of the Guggenheim’s collection.

In Bilbao Mr. Krens led an acquisitions program that has included major installations of works by Richard Serra, Mr. Koons, Jenny Holzer and Louise Bourgeois. He also has doubled the size of the Peggy Guggenheim Collection and partnered with the State Hermitage Museum in St. Petersburg, Russia, and the Kunsthistorisches Museum in Vienna on programming.

Twice Mr. Krens has overseen the restoration and expansion of its landmark Frank Lloyd Wright building on Fifth Avenue. The first, completed in 1992, was an $80 million restoration of the building’s interior, along with the construction of a 10-story tower gallery and office building designed by Gwathmey Siegel & Associates.
The second, a $29 million restoration of the Wright building, is to be completed this summer.

Mr. Krens said Wednesday that the proposed Guggenheim in Abu Dhabi, capital of the United Arab Emitates, was his most ambitious project to date.
“It’s 35 percent larger than Bilbao,” he said, adding that the new museum’s programming would be more ambitious, too, and that a staff of about a dozen people would be dedicated exclusively to the Abu Dhabi branch.
“It will be truly global,” he said, “representing art from the Middle East, Russia, Eastern Europe, Asia, Africa, as well as Europe and America. It will change the model of the art museum.”

[arturiux]

Iš zuokas.lt:

Jau kitą savaitę vilniečiai bei smalsūs, atviri naujovėms ir besidomintys menu ir architektūra miesto svečiai galės savo akimis pamatyti tai, apie ką šiame savo kampe esu ne kartą užsiminęs. Bet vienas yra parašyti ar perskaityti, o kita - savo akimis pamatyti tai, apie ką rašoma ar skaitoma. Šiandien žurnalistams buvo pristatyti ir kai urie Solomono R. Guggenheimo fondo ir Valstybinio Ermitažo muziejaus atliekamos galimybių studijos duomenys.

Visų pirma, reikia pabrėžti, kad naujasis muziejus Vilniuje gali tapti pirmuoju valstybės objektu, kurio statyboms yra taip atsakingai ruošiamasi. Atliekama tikrai išsami galimybių studija, ekonominė, finansinė ir rinkos analizė, ko nebuvo daroma net užsimojus statyti atominę elektrinę, jau nekalbant apie kitus smulkesnius, bet žinomus projektus.

[Perfect]

Reikės apsilankyti. Visai smalsu pamatyti "ką sako žvaigždės" Lietuvai. Kita vertus prie esamos politinės konjunktūros, jau imu abejoti, kad projektas galėtų būti įgyvendintas. Nors, užsitęsusios peripetijos su Nacionaliniu stadionu yra puikus šansas šiam projektui. Kam Kirkilas laiko tuos 220 mln?