{"id":14366,"date":"2013-06-24T18:23:00","date_gmt":"2013-06-24T16:23:00","guid":{"rendered":"https:\/\/editorialconcreta.org\/?p=14366"},"modified":"2024-08-23T14:36:47","modified_gmt":"2024-08-23T12:36:47","slug":"boletim","status":"publish","type":"post","link":"https:\/\/editorialconcreta.org\/en\/artists-books\/boletim\/","title":{"rendered":"Boletim"},"content":{"rendered":"\n
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Following the example of the French and English railway companies, the C.P. (Portuguese Company) promoted, between the 1910s and 1920s, the construction of buildings for housing and social facilities to support its employees and their families. In the first quarter of the 20th century, the Boneco neighbourhood, for retired railway workers, and the Vila Verde, aligned with the Cam\u00f5es neighbourhood, stand out. The latter, built in 1926, was designed by Cottinelli Telmo and Lu\u00eds da Cunha. All these neighbourhoods are located in the city of Entroncamento. This town was born because of the railway, the station being the first building, at the time a small hut (1862). This equipment led to a large influx of migrants from the interior of Portugal to work in the Company. As a consequence, the C.P. elaborated a plan that included a series of social support structures with a unique national dimension. This programme led to the creation of neighbourhoods for employees, a school, a supply store and an anti-tuberculosis dispensary that functioned as a health centre, and also encouraged the development of sporting activities.<\/p>\n\n

At the same time, with the evolution of technologies and the development of railway activities, the office area was expanded, reinforcing staff training, which reached its peak with the creation of a training centre, today known as FERNAVE, a huge new building constructed for these functions and which housed the Higher Institute of Transport.<\/p>\n\n

Fragment from Boletim<\/em> by Carla Filipe.<\/p>\n\n

Language: Spanish, Portuguese and EnglishPages: 47ISBN: 978-84-940701-2-9Size: 22,5 x 15 cmPrint run: 200 copiesYear(s): 2013, 2016Price: 10 eurosOut of stock<\/p>\n\n

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\"Boletim
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\n\t\t\t\t\t10,00 €<\/span><\/bdi><\/span> IVA Incl.<\/small>\n\t\t\t\t<\/div><\/div>\n\n
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<\/div>\n","protected":false},"excerpt":{"rendered":"Following the example of the French and English railway companies, the C.P. (Portuguese Company) promoted, between the 1910s and 1920s, the construction of buildings for housing and social facilities to support its employees and their families. In the first quarter of the 20th century, the Boneco neighbourhood…\n","protected":false},"author":484,"featured_media":12333,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"csco_singular_sidebar":"","csco_page_header_type":"","csco_custom_appearance":"","csco_disable_excerpt_posts_layout":false,"csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"footnotes":""},"categories":[159],"tags":[161,632,160],"ppma_author":[544],"class_list":["post-14366","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artists-books","tag-english","tag-portuguese","tag-spanish","cs-entry","cs-video-wrap"],"authors":[{"term_id":544,"user_id":484,"is_guest":0,"slug":"carla-filipe","display_name":"Carla Filipe","avatar_url":{"url":"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_C.jpg","url2x":"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_C.jpg"},"author_category":"1","first_name":"Carla","last_name":"Filipe","user_url":"","job_title":"","description":"\r\n\r\nArtista pl\u00e1stica que reside y trabaja en Oporto. Licenciada en Artes Pl\u00e1sticas (Escultura) y m\u00e1ster en Pr\u00e1cticas Art\u00edsticas Contempor\u00e1neas por la Facultad de Bellas Artes de la Universidad de Oporto. Cofund\u00f3 los espacios Sal\u00e3o Ol\u00edmpico (2003\u20132005) y O Projecto Ap\u00eandice (2006), ambos en Oporto. En 2009 particip\u00f3 en una residencia art\u00edstica en Acme Studios (Londres) como becaria de la Funda\u00e7\u00e3o Calouste Gulbenkian. Tambi\u00e9n realiz\u00f3 residencias en AIR Antwerpen (Amberes, 2014), en la Robert Rauschenberg Foundation (Captiva, Florida, 2015) y en la Galerie Krinzinger (Viena, 2017). En 2023 gan\u00f3 el Premio \u00abDesenho FLAD \u2013 Drawing Room\u00bb y en 2011 fue seleccionada para el Premio \u00abNovos Artistas da Funda\u00e7\u00e3o EDP\u00bb.\r\n\r\n \r\n\r\nEntre sus numerosas participaciones en exposiciones individuales y colectivas destacan: C\u00f3digo Civil<\/em> (Funda\u00e7\u00e3o Carmona e Costa, 2025); In my own Language I am Independent<\/em> (Museu de Serralves, Oporto, 2023); Confiss\u00f5es de uma baptizada<\/em> (Centro de Artes do Arquip\u00e9lago dos A\u00e7ores, Ribeira Grande, S\u00e3o Miguel, 2022); Amanh\u00e3 n\u00e3o h\u00e1 arte<\/em> (MAAT, Lisboa, 2019); da cauda \u00e0 cabe\u00e7a<\/em> (Museu Cole\u00e7\u00e3o Berardo, Lisboa, 2014); FARSA. L\u00edngua, fratura, fic\u00e7\u00e3o: Brasil\u2013Portugal<\/em> (SESC Pompeia, S\u00e3o Paulo, 2020); Incerteza Viva<\/em> (32\u00aa Bienal de S\u00e3o Paulo, 2016); y Mom, Am I Barbarian?<\/em> (13\u00aa Bienal de Estambul, 2013).\r\n\r\n \r\n\r\nEl formato de libro de artista, soporte privilegiado en su trabajo, est\u00e1 muy presente en su producci\u00f3n. Entre sus numerosos libros de artista destacan: H\u00e1 Gente na Via<\/em> Vol. I (Pierre von Kleist, Lisboa, 2023); Imagens Sangradas<\/em> (Consulado de Portugal en S\u00e3o Paulo, Brasil, 2016); Fasc\u00edculos<\/em> (Galeria Solar de Vila do Conde, Portugal, 2015); As Primas da Bulg\u00e1ria<\/em> (Kunsthalle Lissabon, Lisboa, 2013); y Boletim-architecture<\/em> (Concreta, Valencia, 2013). Sus libros de artista forman parte de las colecciones de la Funda\u00e7\u00e3o EDP (Lisboa), Biblioteca del Museu de Serralves (Oporto), MACBA (Barcelona) y Museu Gulbenkian (Lisboa).\r\n\r\n"}],"_links":{"self":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/14366","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/users\/484"}],"replies":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/comments?post=14366"}],"version-history":[{"count":0,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/14366\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media\/12333"}],"wp:attachment":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media?parent=14366"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/categories?post=14366"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/tags?post=14366"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/ppma_author?post=14366"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}