{"id":4277,"date":"2016-02-24T22:05:22","date_gmt":"2016-02-24T22:05:22","guid":{"rendered":"?page_id=4277"},"modified":"2024-02-23T10:14:38","modified_gmt":"2024-02-23T10:14:38","slug":"espaco","status":"publish","type":"page","link":"https:\/\/acarte.pt\/espaco\/","title":{"rendered":"O programa do ACARTE"},"content":{"rendered":"
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Madalena Perdig\u00e3o esbo\u00e7a em 1984 o programa do ACARTE, descrevendo \u00e1rea e\u00a0 o \u00e2mbito de actua\u00e7\u00e3o do Servi\u00e7o. Este programa foi, na sua generalidade, cumprido.<\/p>\n

 <\/p>\n

PROGRAMA<\/p>\n

1. O QUE VAMOS SER
\nVamos correr riscos, vamos cometer erros. Vamos permitir que outros corram riscos e cometam erros.
\nVamos ser um f\u00f3rum aberto para discuss\u00e3o dos problemas da cultura.
\nVamos ser um local de encontro de artistas.
\nVamos estar abertos \u00e0 inova\u00e7\u00e3o e \u00e0 experimenta\u00e7\u00e3o.
\nVamos ser exigentes na qualidade art\u00edstica e na disciplina do trabalho.
\nVamos procurar estabelecer um contacto estreito com o p\u00fablico, que apetecemos cr\u00edtico e n\u00e3o apenas consumidor.
\nVamos promover a colabora\u00e7\u00e3o entre si de compositores, int\u00e9rpretes musicais, directores teatrais, actores, core\u00f3grafos, bailarinos, artistas pl\u00e1sticos e gr\u00e1ficos para criarem obras multidisciplinares.
\nVamos ser um espa\u00e7o vivo, em que se passa de uma exposi\u00e7\u00e3o a um espect\u00e1culo de teatro ou de dan\u00e7a, em que se assiste a um concerto e se fica para a projec\u00e7\u00e3o de um filme ou para a leitura de um poema, em que se participa num espect\u00e1culo em que tudo isso acontece ou em que tudo pode acontecer.<\/p>\n

2. EM QUE ACREDITAMOS
\nQue a Arte \u00e9 essencial \u00e0 Vida.
\nQue a Arte \u00e9 uma forma imperativa da Educa\u00e7\u00e3o.
\nQue \u00e9 fonte do progresso individual e social.
\nQue \u00e9 factor de aproxima\u00e7\u00e3o entre os homens e de Paz.
\nQue todos devem ter acesso \u00e0 Arte, nas suas m\u00faltiplas formas.<\/p>\n

3. O QUE N\u00c3O VAMOS SER NEM FAZER
\nN\u00e3o vamos preferenciar escolas ou correntes est\u00e9ticas.
\nN\u00e3o vamos adoptar conceitos estreitos de nacionalismo est\u00e9ril.
\nN\u00e3o vamos ter preconceitos quanto a g\u00e9neros art\u00edsticos nem quanto a formas de express\u00e3o consideradas mais ou menos nobres.
\nN\u00e3o vamos ter companhias residentes.
\nN\u00e3o vamos confinar-nos nos espa\u00e7os do Centro de Arte Moderna mas sim abrir-nos \u00e0 itiner\u00e2ncia no Pa\u00eds e no estrangeiro.
\nN\u00e3o vamos competir com iniciativas de outras entidades, de dentro ou de fora da Funda\u00e7\u00e3o Calouste Gulbenkian, mas sim preencher lacunas eventualmente existentes.<\/p>\n

4. O QUE PRETENDEMOS FAZER<\/p>\n

4.1. No TEATRO
\nProdu\u00e7\u00f5es pr\u00f3prias, no caso de projectos multidisciplinares.
\nColabora\u00e7\u00e3o com Companhias ou Grupos portugueses (incluindo a possibilidade de coprodu\u00e7\u00e3o), designadamente com Companhias ou Grupos com caracter\u00edsticas de itiner\u00e2ncia.
\nApresenta\u00e7\u00e3o de pequenas Companhias ou Grupos de teatro estrangeiros.
\nPromo\u00e7\u00e3o de jovens autores, privilegiando projectos com caracter\u00edsticas de pesquisa.
\n4.2. Na DAN\u00c7A
\nProdu\u00e7\u00f5es pr\u00f3prias, no caso de projectos multidisciplinares.
\nApresenta\u00e7\u00e3o de s\u00e9ries de espect\u00e1culos por grupos de dan\u00e7a portugueses independentes.
\nSess\u00f5es de trabalho com personalidades estrangeiras e portuguesas culminando em espect\u00e1culos.
\nApresenta\u00e7\u00e3o de pequenas Companhias ou grupos de dan\u00e7a estrangeiros de vanguarda.<\/p>\n

4.3. No CINEMA
\nApresenta\u00e7\u00e3o de filmes de arte.
\nOrganiza\u00e7\u00e3o de sess\u00f5es de filmes para crian\u00e7as.
\nApresenta\u00e7\u00e3o de filmes de anima\u00e7\u00e3o.
\nOrganiza\u00e7\u00e3o de ciclos, designadamente do Nov\u00edssimo Cinema.
\nProjecto de forma\u00e7\u00e3o de realizadores de filmes de anima\u00e7\u00e3o em colabora\u00e7\u00e3o com o Royal College of Art, Londres.<\/p>\n

4.4. Na M\u00daSICA
\nConcertos informais \u00e0 hora do almo\u00e7o para apresenta\u00e7\u00e3o de jovens int\u00e9rpretes.
\nConcertos de jazz na Sala Polivalente e no Anfiteatro ao Ar Livre.
\nS\u00e9ries de concertos de m\u00fasica contempor\u00e2nea.
\nBandas e m\u00fasica popular no Anfiteatro ao Ar livre.
\nPromo\u00e7\u00e3o de jovens compositores.
\nProjectos interdisciplinares.<\/p>\n

4.5. Na LITERATURA
\nProjectos interdisciplinares.S\u00e9ries de palestras.\u2018Escritores falam de si pr\u00f3prios e da sua obra\u2019.
\nLeituras comentadas de obras liter\u00e1rias. Exposi\u00e7\u00f5es bio-bibliogr\u00e1ficas.<\/p>\n

4.6. Nas ARTES PL\u00c1STICAS e na ARQUITECTURA
\nPromo\u00e7\u00e3o de jovens artistas.
\nProjectos interdisciplinares.
\nExposi\u00e7\u00f5es tem\u00e1ticas e Exposi\u00e7\u00f5es did\u00e1cticas.
\nApresenta\u00e7\u00e3o de manifesta\u00e7\u00f5es de arte contempor\u00e2nea e de resultados de pesquisas actuais.<\/p>\n

4.7. E ainda V\u00cdDEO, FOTOGRAFIA, M\u00cdMICA, CIRCO, MARIONETAS, etc.
\nMaria Madalena de Azeredo Perdig\u00e3o, Maio 1984<\/p>\n

O que vamos ser<\/strong>
\n“O que vamos ser. Vamos correr riscos, vamos cometer erros. Vamos permitir que outros corram riscos e cometam erros. Vamos ser um f\u00f3rum aberto para a discuss\u00e3o dos problemas da cultura”, declara Maria Madalena de Azeredo Perdig\u00e3o a 17 de Maio de 1984 lendo o programa que esbo\u00e7ou para o novo Servi\u00e7o daa Funda\u00e7\u00e3o Calouste Gulbenkian. Esta cena, momento fundador do ACARTE, passa-se no rec\u00e9m-inaugurado Centro de Arte Moderna.
\n“Vamos ser um local de encontro de artistas. Vamos estar abertos \u00e0 inova\u00e7\u00e3o e experimenta\u00e7\u00e3o. Vamos ser exigentes na qualidade art\u00edstica e na disciplina do trabalho. Vamos procurar estabelecer um contacto estreito com o p\u00fablico que apetecemos cr\u00edtico e n\u00e3o apenas consumidor. Vamos promover a colabora\u00e7\u00e3o entre si de com- positores, int\u00e9rpretes musicais, directores teatrais, actores, core\u00f3grafos, bailarinos, artistas pl\u00e1sticos e gr\u00e1ficos para criarem obras multidisciplinares. Vamos ser um espa\u00e7o vivo, em que se passa de uma exposi\u00e7\u00e3o a um espect\u00e1culo de teatro ou de dan\u00e7a, em que se assiste a um concerto e se fica para a projec\u00e7\u00e3o de um filme ou para a leitura de um poema, em que se participa num espect\u00e1culo em que tudo isso acontece ou em que tudo pode acontecer.”
\nO discurso \u00e9 feito no plural. Madalena Perdig\u00e3o fala em nome de um Servi\u00e7o que se constitui simultaneamente enquanto lugar de enuncia\u00e7\u00e3o, espa\u00e7o f\u00edsico e entidade promotora, assente numa posi\u00e7\u00e3o \u00e9tico-est\u00e9tica. O tom \u00e9 a um s\u00f3 tempo program\u00e1tico, de declara\u00e7\u00e3o de princ\u00edpios e de manifesto. Alguns anos mais tarde, a este texto justapor-se-\u00e3o as adendas PORQU\u00ca e PARA QU\u00ca, nas quais se acrescentar\u00e1 que se \u00abtornava necess\u00e1rio assegurar ao Centro de Arte Moderna a possibilidade de ser n\u00e3o apenas um Museu na acep\u00e7\u00e3o restrita do termo mas tamb\u00e9m um centro de cultura\u00bb, como \u00e9 poss\u00edvel ler em 1989 na brochura bilingue de apresenta\u00e7\u00e3o do ACARTE (Perdig\u00e3o 1989).<\/p>\n

PORQU\u00ca
\nFazia falta no panorama cultural portugu\u00eas um Servi\u00e7o voltado para a cultura contempor\u00e2nea e\/ou para o tratamento moderno de temas intemporais, assim como um Centro de Educa\u00e7\u00e3o pela Arte dedicado \u00e0s crian\u00e7as.
\nTornava-se necess\u00e1rio assegurar ao Centro de Arte Moderna, criado pela Funda\u00e7\u00e3o Calouste Gulbenkian em 22 de Agosto de 1979 e inaugurado em 20 de Julho de 1983, a possibilidade de ser n\u00e3o apenas um Museu na acep\u00e7\u00e3o restrita do termo mas tamb\u00e9m um centro de cultura.<\/p>\n

PARA QU\u00ca
\n1. Contribuir para a comunica\u00e7\u00e3o entre a obra de arte e o p\u00fablico e para a sua divulga\u00e7\u00e3o, atrav\u00e9s da \u2018anima\u00e7\u00e3o\u2019; para o incremento da \u2018cria\u00e7\u00e3o art\u00edstica\u2019, para o progresso da \u2018educa\u00e7\u00e3o pela arte\u2019.<\/p>\n

Pela mesma altura, tamb\u00e9m em 1989, ano que acabar\u00e1 por ser o \u00faltimo da direc\u00e7\u00e3o de Madalena Perdig\u00e3o, discutia-se na sala polivalente do ACARTE se a actua\u00e7\u00e3o continuada deste Servi\u00e7o, \u00abao longo dos seus cinco anos de exist\u00eancia, modificou ou n\u00e3o o gosto dos portugueses\u00bb[1]. Despontava a sociologia da cultura no pa\u00eds e o col\u00f3quio Opera\u00e7\u00f5es do Gosto, em organiza\u00e7\u00e3o do soci\u00f3logo Orlando Garcia, interrogava a ac\u00e7\u00e3o de institui\u00e7\u00f5es como a Casa de Serralves, a cooperativa \u00c1rvore, o Ar.Co, ou, claro, o Servi\u00e7o ACARTE, anfitri\u00e3o do evento.
\nEm Dezembro de 2003, o ACARTE foi definitivamente extinto, por determina\u00e7\u00e3o do Conselho de Administra\u00e7\u00e3o, que considerou que \u00abtodo um programa inicial relacionado com pr\u00e1ticas art\u00edsticas performativas\u00bb tinha sido na generalidade cumprido, que \u00abas mesmas tinham alterado o panorama nacional destas mesmas pr\u00e1ticas, que tinha sido um modelo adoptado e desenvolvido por outras institui\u00e7\u00f5es, um pouco por todo o pa\u00eds\u00bbCatorze anos separam estes balan\u00e7os sobre a actividade do ACARTE: se na primeira se trata de uma reflex\u00e3o interna levada a cabo por Madalena Perdig\u00e3o em jeito de resposta a uma pergunta externa, de Orlando Garcia, j\u00e1 a segunda prende-se com uma avalia\u00e7\u00e3o interna, levada a cabo pelo Conselho de Administra\u00e7\u00e3o, em modo de afirma\u00e7\u00e3o. Nas duas se trata de avaliar retrospectivamente a import\u00e2ncia do ACARTE. Em 1989, discute-se de que modo a sua ac\u00e7\u00e3o alterou ogosto geral dos portugueses. Em 2003, constata-se que houve todo um programa inicial relacionado com artes performativas que foi cumprido e que funcionou como modelo para outras institui\u00e7\u00f5es do pa\u00eds. Entre estas duas afirma\u00e7\u00f5es se situou o que se pretendeu abordar.<\/p>\n

[1] Ver ciclo Opera\u00e7\u00f5es do Gosto
\n[2] Ver Funda\u00e7\u00e3o Calouste Gulbenkian (2007, 382).<\/p>\n<\/div>\n<\/div>\n

 <\/p>\n

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ACARTE’s PROGRAMME<\/p>\n

1. WHAT WE SHALL BE<\/p>\n

We shall take risks, we shall make mistakes. We shall allow others to take risks and make mistakes.
\nWe shall be an open forum for the discussion of cultural problems
\nWe shall be a meeting place for artists.
\nWe shall be open to innovation and experimentation.
\nWe shall be demanding in terms of the works\u2019 artistic quality and discipline. We shall try to keep a close contact with the public, and we want them to be a critical, rather than merely consuming, public.
\nWe shall foster the collaboration between composers, musicians, theatre directors, actors, choreographers, dancers, visual artists and graphic designers to create multidisciplinary works. We shall be a living space, where you go from an exhibition to a theatre or dance show, where you watch a concert and stay for the screening of a film or for the reading of a poem, where you take part in a show where all this happens or where anything can happen.<\/p>\n

1. WHAT WE BELIEVE
\nThat Art is essential to Life.
\nThat Art is an imperative form of Education.
\nThat it is the source of individual and social progress.
\nThat it is a factor in bringing people together and bringing about Peace. That everyone should have access to Art in its multiple forms.<\/p>\n

1. WHAT WE SHALL NOT BE OR DO
\nWe shall not give preference to specific schools or aesthetic currents. We shall not adopt narrow concepts of sterile nationalism.
\nWe shall not have any bias towards artistic genres or forms of expression deemed more or less noble. We shall not have resident companies.
\nWe shall not restrict ourselves to the spaces of the Modern Art Centre but rather open ourselves to an itinerant presence both in the country and abroad.
\nWe shall not compete with initiatives from other institutions, inside or outside the Calouste Gulbenkian Foundation, but fill in any gaps that may exist.<\/p>\n

4.WHAT WE AIM TO DO
\n4.1. In the THEATRE
\nIn-house productions of multidisciplinary projects.
\nCollaboration with Portuguese Companies or Groups (including co-productions), namely with itinerante Companies or Groups. Presentation of small foreign companies or theatre groups. Promotion of young authors, favouring research-based projects.<\/p>\n

4.2. In DANCE
\nIn-house productions of multidisciplinary projects
\nPresentation of series of shows by independent Portuguese dance groups. Working sessions with foreign and Portuguese key figures leading to performances.
\nPresentation of small foreign avant-garde companies or dance groups.<\/p>\n

4.3. In CINEMA
\nScreening of art film.
\nOrganisation of film screenings for children.
\nScreening of animated films.
\nOrganisiton of cycles, namely of Contemporary Cinema.
\nProject for an Animated Film direction course in collaboration with the Royal College of Art, London.<\/p>\n

4.4. In MUSIC
\nInformal lunchtime concerts featuring young musicians. Jazz concerts in the Mutipurpose Room and in the Open Air Amphiteatre. Contemporary Portuguese music concerts. Fanfare Bands and Popular music concerts in the Open Air Amphitheatre. Promotion of young composers. Interdisciplinary Projects.<\/p>\n

4.5. In LITERATURE
\nInterdisciplinary Projects. Conference series.
\n\u00abWriters talk about themselves and their work\u00bb. Commented reading of literary works. Bio bibliographical exhibitions.<\/p>\n

4.6. In the VISUAL ARTS and ARCHITECTURE
\nPromotion of young artists. Interdisciplinary artists. Thematic and didactic exhibitions. Presentation of contemporary art pieces and current research outcomes.
\n4.7. And also VIDEO, PHOTOGRAPHY, MIME, CIRCUS, PUPPETRY, etc.
\nThe Calouste Gulbenkian Foundation\u2019s relevant departments and services, in particular the Centre of Modern Art, will be key consultants in all the activities of the Animation, Artistic Creation and Education Through Art Department, which has requested the collaboration of these services, as much as possible and necessary, for the execution of its programme.<\/p>\n

Lisbon, 13 May 1984 (Maria Madalena de Azeredo Perdig\u00e3o)<\/p>\n

What we shall be
\nWHAT WE SHALL BE. We shall take risks, we shall make mistakes. We shall allow others to take risks and make mistakes. We shall be an open forum for the discussion of cultural problems\u00bb \u2013 Maria Madalena de Azeredo Perdig\u00e3o writes on 17 May 1984. This scene, the founding moment of the ACARTE, takes place at the recently opened Modern Art Centre of the Calouste Gulbenkian Founda- tion in Lisbon, with the presence of journalists, artists and FCG staff. At the same time, the Almada Negreiros project is announced as the first initiative of the ACARTE Department. The press, particularly the newly created cultural supple- ments, are called to attend the occasion, and journalists, artists and Foundation employees are among the public.” Sitting at the conference table are Madalena Perdig\u00e3o, director of ACARTE, Jos\u00e9 Sommer Ribeiro, director of CAM and Margarida Acciaiouli and Isabel Guedes, from the Documentation and Research Departments of the Museum of Modern Art. Madalena Perdig\u00e3o continues to read aloud from the first point of ACARTE\u2019s programme:
\nWe shall be a meeting place for artists. We shall be open to innovation and experipline.We shall be a meeting place for artists. We shall be open to innovation and experimentation.We shall try to keep a close contact with the public, and we want them to be a critical rather than merely a consuming public. We shall foster the collaboration between composers, musicians, theatre directors, actors, choreographers, dancers, plastic artists and graphic designers to create multidisciplinary works. We shall be a living space, where you go from an exhibition to a theatre or dance show, where you watch a concert and stay for the screening of a film or for the reading of a poem, where you take part in a show where all this happens or where anything can happen. (Perdig\u00e3o 1984a)
\nMadalena Perdig\u00e3o\u2019s discourse uses the first-person plural. She speaks in the name of a Department that establishes itself as, at one and the same time, a place of enunciation, a physical space and an organising entity, taking on a stance that is both ethical and aesthetic. The tone is simultaneously that of a programme, of a declaration of principles and of a manifesto.
\nA few years later, the addenda WHY and WHAT FOR are added (Perdig\u00e3o 1989). There, one reads that \u00abit became necessary to offer the Modern Art Centre […] the possibility of being not only a Museum, in the narrow sense of the term but also a cultural centre\u00bb, as we can read in the 1989 bilingual leaflet that pre- sented the ACARTE (Perdig\u00e3o 1989).
\n\u00abWHY\u00bb
\nThe Portuguese cultural scene was lacking a Department focused on contemporary culture and\/or on a modern approach to timeless themes, as well as a Centre for Education through art aimed at children.
\nIt became necessary to offer the Modern Art Centre, created by the Calouste Gul- benkian Foundation on 22 August 1979 and inaugurated on 20 July 1983, the possibility of being not only a Museum, in the narrow sense of the term, but also a cultural centre.31
\n\u00abWHAT FOR\u00bb
\n1. To contribute to the communication between the work of art and the public and to the former\u2019s dissemination through forms of \u00abanimation\u00bb; to the development of \u00abartistic creation\u00bb, to the progress of \u00abeducation through art\u00bb.
\nIn this same period, also in 1989, which would be Madalena Perdig\u00e3o\u2019s final year as a director, there was a debate in the ACARTE multipurpose room about whether the continuous actions of this, \u00abthroughout its five years of existence, had changed the taste of the Portuguese\u00bb.32 Sociology of culture was taking its first steps in Portugal and the conference under the title Opera\u00e7\u00f5es do Gosto (Operations of Taste), organised by the sociologist Orlando Garcia, examined the action of in- stitutions like Casa de Serralves, the \u00c1rvore cooperative, the independente art school Ar.Co, or, of course, the ACARTE, which hosted the event.
\nIn December 2003, the ACARTE was definitively extinguished by decision of the FCG Board of Directors, who considered that \u00abthe initial programme, fo- cused on performing art practices\u00bb, had been fulfilled, on the whole, and that this \u00abhad changed the national landscape of these same practices, becoming a model adopted and developed by other institutions, across the country\u00bb.33
\nFourteen years separate these two assessments of the ACARTE\u2019s activity: while the first one is an internal evaluation by Madalena Perdig\u00e3o, answering a question in the form of another question, the latter is an external appraisal by the Board of Directors, in the affirmative. In both cases, it is a matter of retrospectively assessing the importance of the ACARTE. In 1989, the discussion revolves around how the ACARTE had changed the general taste of the Portuguese. In 2003, it is argued that an initial programme focused on the performing arts was not only fulfilled but came to serve as a model for other institutions in the country. This work’s subject matter lies in the interval between these two statements.<\/p>\n

[1] Opera\u00e7\u00f5es do Gosto, 1989
\n[2] Funda\u00e7\u00e3o Calouste Gulbenkian (2007, 382)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

  Madalena Perdig\u00e3o esbo\u00e7a em 1984 o programa do ACARTE, descrevendo \u00e1rea e\u00a0 o \u00e2mbito de actua\u00e7\u00e3o do Servi\u00e7o. Este programa foi, na sua generalidade, cumprido.   PROGRAMA 1. O QUE VAMOS SER Vamos correr riscos, vamos cometer erros. Vamos … Ler mais →<\/span><\/a><\/p>\n","protected":false},"author":29,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"acf":[],"_links":{"self":[{"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/pages\/4277"}],"collection":[{"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/comments?post=4277"}],"version-history":[{"count":52,"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/pages\/4277\/revisions"}],"predecessor-version":[{"id":5492,"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/pages\/4277\/revisions\/5492"}],"wp:attachment":[{"href":"https:\/\/acarte.pt\/wp-json\/wp\/v2\/media?parent=4277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}