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Manual Dios nunca parpadea: 50 Lecciones para las pequeñas vueltas que da la vida. (Spanish Edition)

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It speaks of areas that have succeeded in alternating centripetal or centrifugal forces, where art has relocated its meeting points and its observation points. We also pay attention to the effects of redrawing the financial or political map, with the repercussion it has on how one makes and proceeds in art. The inherent silence and stillness of the artworks creates an uncanny perception of audio and movement, probing the relationship between sight and sound.

Refitting the cases with mirrors and neon light, Navarro transforms these static objects into deep spaces that appear to reverberate in perpetuity. Silent and monolithic, these self-contained rooms resonate with unspoken narrative power. Throughout the exhibition, black and white paper squares are scattered across the floors of all three galleries.

Informed by the aesthetics and rhythms of military parades, Mute Parade contemplates the juxtaposed feelings of celebration and intimidation that martial music begets. Gallegos November 26, — February 5, Cuenca, Ecuador. La Ruche Buenos Aires, Argentina. The series Fossils consists of eleven pieces of acrylic paintings on medium sized paper.

Here, the fold of the paper embedded in the porous material of acrylic produces an inspired and spectral imitation of the work of nature on itself, with the carbon effect of mono — copy. The series Sediments displays graphic territories, in the way of a stratification of crystallized moments unfolded in the same plane as islets of representation derived from the various uses of graphite, pencil, charcoal, chalk pastel.

The amphibious reality of this mixed universe once again puts into action the back and forth progression, from the spectral to calcareous, from the stony to smoky. Artists: Sandra Gamarra , Marco Maggi. Hay gente diferente del otro mundo menos mal omnipresente, que se une y baila, camina con nosotros. The contemporary practices featured in the exhibition go beyond Eurocentric conceptions of Latin American culture, transcending stereotypical and reductive views of the fantastic or exotic.

The artists live and work in Canada, the United States, and Southwestern Ontario, which have diverse communities of people of Latin American heritage. This presence is increasing, contributing narratives to the national and continental experience. The public also brings its own unknown universities that end up projected onto the work: the curtains are manipulable, the public can touch them and move them in the space making various combinations between them.

Interacting with the work is in it self an act of learning and an opportunity. In 3 months, by the end of the show, the curtains will possibly be used and dirty after a period of multiple configurations created and lived by the public. On that occasion, three artists celebrated its uniqueness and the historical spaces of the building. Back in , the main issue was to raise awareness of modern heritage in Britain with one fine example, helping to confront a tendency to blame certain modern architecture for many social ills, overlooking issues like maintenance and investment.

Artists and audience will be able to see Pullman Court as an early example of high rise living that has influenced later housing developments, with its apartments set around services and amenities that organise life in a way that has become common nowadays. The exhibition comprises works from the Walter Phillips Gallery permanent collection, which was founded in Multiple individuals such as curators, artists and arts workers have selected the works in this exhibition through a process of sequential choices. Working with collage, sculpture, video and installations Peruvian artist Elena Damiani employs the disciplines of geology, geography, cartography, archaeology and astronomy to reinterpret such categorisations and the way we understand the world around us.

Geological Survey repository to present a framework of quasi-evidence on celestial bodies like meteorites and comets and their landfalls. The works in the exhibition comprise documentation of traces of surface impacts, celestial transits, and cosmic debris left by impact events. Scientific evidence merges with fiction revealing how technology informs our representations of nature, and examining what we actually know about the natural world and how that knowledge is produced.

I first started working with adhesive tape in Initially I used the tape to hold my paintings to the wall, but starting in I eliminated the painting and concentrated on the tapes as my primary medium. I wanted to explore the possibilities of using spaces where the viewer does not expect art to be found.

This concept brought me to intervene staircases, landing platforms and outdoor walls and objects. Each work was created for a unique space. When covering a surface, the tape creates an additive grid full of amorphous patterns caused by air bubbles.


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When developing a tape project, sometimes paper or a photograph was the support and framework for the piece, but many times the project was able to become monumental as it seamlessly adapted to the architecture of the space. Also in , I began to incorporate videotape as part of these projects. With graphite, colored pencils, sharp materials and infinite meticulousness, Santiere composes universes whose scale we cannot be sure of. He brings out sculptural reliefs that lightly dangle from the matter they have been detached from.

It is a question of a morphological transformation that moves from the void to abundance. Light graphite lines surround or connect points of color of various densities, colored ovoid forms — flat or on lacerated paper — are interconnected — the paper erupts and spumes like foam. We lose ourselves in studying the position, shape, movement and mutual relation of the microorganisms or heavenly bodies hovering over the white of the page.

We waver between surrendering to arbitrariness or hunting for a system. Throughout the twentieth century, the artistic category of sculpture remained fragile partly due to the fact that most of the significant accounts of modernist art were articulated in relation to painting. With the daily deluge of bad news at our fingertips, we become disoriented in our distanced yet simultaneously intimate sense of connectedness to the world.

Richard Garet interweaves various media including moving image, sound, expanded photography, and multimedia performance. His piece Meta is a sonic construct intended for ear-to-the-wall-listening. Using the chalky drywall and often hollow interior as an acoustical device, Garet invites his audience to experience the piece aurally and physically by placing their ear against the wall in an investigative action.

They become emitted by commodities, means of communications, and our own relationships with technology. Removing the sound, Garet draws attention to the processes of perception, which activate sensorial, physical, and psychological phenomena that reflects on the nature and experience of time. Vejiga de Pez Fish Bladder is a group of visual artists dedicated to exploring the relationships between geometry, space, and natural processes.

Each artist focuses on a personal concern, addressed by materializing certain reference points in architecture, archaeology, and biology. The result is a series of interventions— site specific art —where interaction with the visitor forms part of the creative process. Despite the differences that one may note among the works, the underlying artistic language is the same in each case: geometry. De lo Espiritual en el Arte. Los desarrollos alcanzados hasta el momento por las ciencias naturales y humanas ofrecen oportunidades ideales para llegar a esas metas.

Abstraction 2 aims to capture the current state of contemporary abstraction, highlighting the differences and similarities displayed in the artistic practice of fifteen national and international artists. Trained as a sculptor and set designer, Guido Ignatti uses simple materials to stage situations that transform everyday urban life.

Fragmentation and other parables, curated by Aluna Curatorial Collective Adriana Herrera and Willy Castellanos at Alejandra von Hartz Gallery is an approximation to the recurrence, meaning, and the logic of fragmentation in contemporary artistic practices: Is it true that it disrupts the threads of connection with history or could it suggest other types of relations to the past and the present?

What are the contemporary parables that suggest fragmentation in art? In order to make these works the artist mounts wooden slats onto the surface of the panels whilst applying glossy polyurethane paint regularly used in car shops. The screwed in slats leave marks on the paint underneath once removed, like remnants of the history of its making. In a flow of push-and-pull, the repetitive character of the compositional methods used by the artist alludes to the sometimes monotonous formalistic appeal of modernist architecture.

Artists: Alice Quaresma and Jauyoung Yoon. Hailing from geographically opposed corners of the globe, and both currently living and working in the New York area, Quaresma and Yoon each refer back to their origins with intimate and architectural gestures enacted in two- three- and four-dimensional space. Ortiz es un artista preocupado por el acto de ver y sus dobleces.

Three dialogues are established with three different processes that relate to the idea of overlapping and superimposing elements, time, generations, and actions:. The first dialogue is a interaction in relation to mostly urban landscape in combination with the materials used. The seemingly accidental look of the quasi-action-painting-type dripping acquires a new connotation due to the material and the space extending beyond the painting. In it, a series of cut outs call to mind construction tool silhouettes.

Thus, varying elements of nature come together and overlap in this work. Imagining Spaces: Constructions in Color and Text , a group exhibition focused on the formal and thematic elements of color and text in Latin American art of the last sixty years. The exhibition framework is based on the premise that color and text are two major building blocks of creative expression, and can therefore be seen as architectural components of a given composition. Artist: Gabriel de la Mora. Gabriel de la Mora is best known for constructing visual works from found, discarded, and obsolete objects, such as eggshells and shoe soles.

De la Mora describes these objects, which have outlived their usefulness, as caches for historical information about everyday life. In his exhibition at The Drawing Center, De la Mora will present an installation of fifty-five pairs of found speaker screens. Each screen is imprinted with an inscription created by the dust and air that circulated through the speaker during its life, recording the cadence of countless voices, advertisements, news broadcasts, soap operas, football games, and music, as well as noise, interference, and silence.

Natalie Maria Roncone Marfa, Texas. This allows him to create tautological games regarding the legacy of the 20th century avant-gardes. Recently, the artist has explored photography and documents as a means of registration, and their possibilities of resignification. These media lets him to appeal to the imagination and generate new perspectives on artistic tradition. The functional articulation of these materials is a comment on the historical distance between different artistic practices.

Frequently, the nature of these materials approaches both, architecture construction as well as formal artistic production, which subscribe his work to principles coined by Minimalism and Arte Povera. Everything that helps to dissolve the boundaries, making the world a homogeneous and poorly differentiated whole, is impregnated with poetic power is the case of fog or twilight.

Some objects have poetic impact, not as objects alone, but by breaking the delimitation of space and time with their mere presence, they induce a special psychological state. One way to see the world, all objects in the world both highways and serpents, flowers and parking lots. This dual intent is characteristic of the works Azar has made in recent years, accomplishing a strange association of scale and mood, a peculiar combination of figuration and abstraction, the coexistence of diverse temporalities: we see in them the image of something that once was coupled with new ways presented as a viable artistic path, today.

Scrape the golden aura of modern practice, taking it closer to the imperfection of real societies to expose the corrosive air of today, to loosen the rust of the past and adapt to local hybrids. There is a new facade that makes use of the foundations planted in the quicksands of the tropic, where everything is malleable and voluptuous.

Abstraction builds a bridge to a world of ideas, built with ropes and lumber, where some steps are missing and others are loose or hanging. There is a musical curiosity in all creative processes, intuitive and poetic where we approach to Vanguardism as an extension of tyranny. The work of Bernardo Ortiz Bogota, explores the territories of drawing, writing and typography, and crosses the delicate boundary between the work of art that is created by writing and the drawing that is part of a larger narrative: the daily practice of an artist.

For this exhibition at MAMBA, Ortiz produced an architectural structure specially for the occasion, in order to enable the development of works and drawings. Land or Liberty! Guerras, refugiados y terrorismo. The intervention transforms the exhibition space into a machine to produce and display an exercise about repetition and time.

So the whale swallowed all of you, too? My goodness. A sequence of industrial materials and processes are obsessively sorted. The idea that the experience of paying close attention may result in a pleasurable activity in any context is quite relative. The truth is that visual intelligence is very important in the time of accelerated circulation of images. As enunciated by Gustave Flaubert, God is in the details [1]. Pelenur transform the exhibition space into a workshop, a lab.

He creates a system of materials, forms and processes. Varnish is here a physical medium to mold and shape, a vehicle for content and ideas. The challenges of life in art as its content are introduced by the artist. The installation is a machine for producing and thinking. Pelenur has been dedicated to develop a sustained experiment on painting. He constantly seeks to modify his approach, resisting the comfort of trends and maintaining the freshness of a practice that he is passionate.

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Every experience nourishes the next to generate inputs for his next move. On the other hand, the exhibition celebrates a color present in all the works on display: red. There is no direct, causal link between the life and work of Diderot and the color red. The encyclopedic — who was perhaps the first great art critic in history — does not even have any explicit mention of red in his writing.

It could be surmised that the color red is usually used to mark or highlight something and Kirin uses it to reveal details or aspects of the work from Diderot. The fact is that Kirin dreamed about this writer he admires in reds and it is known that dreams have a mysterious logic of their own. Kirin recreates, draws, copies and pixelates these images and intervenes with red, or rather with variations of the range of this color that is so powerful and symbolic. In both exhibitions there is an illustrated catalog. In this series Kirin continues developing variations on geometric shapes, sometimes large in size.

Along with these, there are smaller oils on paper, showing a kind of weaving or linking of graphic signs evocative of ancient, archaic alphabets with a singular poetic content: pure pictorial representations without further reference than their own mystery. Artist: Horacio Zabala. The show brings together a group of international artists whose practice is characterized by a special sensitivity towards the aesthetic and symbolic potential of everyday materials and objects.

Their approach to artistic creation is strongly informed by the context in which their work is produced and by the background from which they come. With different points of departure, from performative to space- based concepts, they investigate and generate narratives about contemporaneity. From Mexico, Peru, USA, Israel, Spain and Serbia, the artists gathered here address different topics from social or politics to contemplative or physics, but they are all joined by a peculiar way to transform their reality in poetic ways. The Argentine artist works against the boundaries of a discipline that is conventionally understood as marks on a surface.

In his practice, he continually redefines the act of drawing using autobiographical reflection, historical references and his anchoringin a present-day commitment with the awareness of someone who has lived in different latitudes and grew up under a dictatorship. La mancha nos hace ver algo y, en ese mismo gesto, ver lo que no se puede pensar: visibiliza lo ininteligible. Ese juego de borradura y ocultamiento hace pensar en la censura. Al tachar, Zabala exhibe las diversas aristas de la censura. En definitiva: el monocromo, en Zabala, es existencial, testimonio extremo en que la tachadura oculta tanto como revela, en el que lo sensible y lo conceptual se unen en el mismo momento en que se separan.

En mi alfabeto las letras no tienen limitaciones. Lo cual significa una ejercicio de diversas miradas sobre la modernidad y el urbanismo. By abstracting physical space and transforming it into graphic representations, this is how the art of making maps operates, allowing us to conquer inhospitable territories and to access areas through which we move. In a similar manner the artist tepeu choc Guatemala, manages to greatly synthesize the external lines and to render them concrete in the most basic aspects of artistic creation: form and color.

He creates new languages for reading these lines transforming them in a occupied area. His titles inform us what he is expressing. From figurative representations that he captures in basic color, following the encapsulation of specific times and their abstractions, to the three-dimensional gain and the reading x-ray style of his sculptures, his work invites us to tour those places, that having become strangers.

Color becomes the basic element for the distinction between lines dividing objects, spaces, and temporality—areas where the artist moves. With only seven basic colors, Tepeu Choc is capable of recreating abstract ideas of distance, or the difference between night and day. Color also becomes referential in his sculptural work in the form of floating threads around the interior and exterior space, without specific distinction. While in his two-dimensional creations he applies the golden mean rule, which allows them to be accessible and pleasing to the eye, in his sculpture he retains a somewhat chaotic element due to the plasticity of the materials with which he works, especially in this exhibition.

Artist: Karina Peisajovich. Peisajovich explores the material constitution of the image more than that of representation. The palette of these works is organized based on the tension produced by chromatic relations, manifesting the unstable parameters of the eye. In art spaces, especially in museums, lighting is used to impart a certain theatricality to the works. There is something of overacting in this operation.

In this sense, these works disarm and absorb this setting. In both, the drawings and the intervention of light, appear the idea of the pictorial background, not as an inert support, but as an active space which realizes imaginary expectations. As produced by the fluctuations of the natural light in an environment, backgrounds are planes where latent forms that have not found their place are projected. Black Tools January 28, — May 14, The 9. True to the conceptual nature of his work, Hamilton refers to the political history of his country through a series of collages and sculptures, which he has produced in the last year, and which broadens and deepens his aesthetic reflections on major issues affecting contemporary societies, particularly those that refer to labor and social inequality in Chile in recent years.

Through the manipulation of tools used for manual labor, the artist creates objects that represent and act as metaphors in the increasingly precarious world labor economy. The placement of the works in the space resembles a shadow theater, with pieces that disguise their materiality and communication function, a contradiction between the visible and invisible, transparent and opaque, opposites that in contemporary societies contribute to the concealment of problems of unemployment, shadow economies, and illegal work that become a precarious solution to the lives of millions of individuals.

Throughout a path of over fifteen years, the artist has already worked in dialogue with visual traditions as diverse as the Guatemalan baroque, the skin of broken cars and objects seen as symbols of consumerism. His operation as an artist happens from the selection of those pieces and their reconfiguration through actions like juxtaposition and repetition, fragmentation and cut of materials, and a reflection on how to install them inside the exhibition space. Besides those works, in dialogue with this sculptural thought that composes through the geometry inherent to ordinary objects, there will be presented new works which will be developed through the meeting between Dario Escobar and the commodities from the popular markets in Sao Paulo.

Therefore, these compositions aim to establish other direct conversations with the Brazilian visual culture, in the same way the artist replies everyday to the industrialized objects used in Guatemala. In both the siphonophores and the microbiome, there is a social parallel with the community, the family nucleus, a neighborhood, or city. This dependency and correlation allows unity and divergence.

The encounter with this complex installation fluctuates in the perception between a fossil, plant elements, or an animal organism. Depending on the viewpoint, its monumental character situates us walking on the ocean floor, entering a cave, observing from the sea surface, or seeing a climbing plant from cloud level. This ambiguity highlights the construction of parallel worlds in which viewers recognize themselves in the astonishment of a single, unrepeatable yet collective reflection.

Against the backdrop of a social vision that remains very clear in the way that the act of physical labor is understood, the artist seems to once again emphasize the sculptural value of his production. But what we see here is a clear concern with specific aspects of the sculpture, notably the treatment of weight, or the way in which the weight of each piece is not an accessory but rather central to the creation of the work. Where the graphite-covered walls became a set of exchanges between the outside and inside world, between the architectural references and psychical elements from the near environment, making a permeable membrane between different states and dimensions.

By exploring concepts and basic techniques of restoration, the artist deconstructs the architectonic space to rediscover imagery that remained deliberately hidden until now, to unveil ideas of nostalgia, violence and order. The latest exhibit by Brazilian artist Montez Magno b.

Pinta NY, Founded in 2007, Deals With a Much Expanded Latin American Art Market

Curated by art critic Lisette Lagnado. With lines at times vertical and at others horizontal, reminding us of the patterns of a notebook, the chosen works display a type of leitmotif in the vocabulary of the artist, independent of the chosen surface. Sound and language have a challenging relationship. This doubt is expressed through various artistic forms in this exhibition, taking the form of a dialogue and blurring the lines that divide aesthetic categories as apparently well-defined as music, poetry, or the visual arts.

It is no coincidence that my immersion in art began through my brief studies of architecture as a very young woman. In retrospect, it makes sense to me. Some years ago, my paintings became three-dimensional, and then my three- dimensional constructions became installational. The notion of space led me to that of place. And to questions such as, Where are we when we are in the world? How does an object become a place?

How do we experience the world? Andrew J. In this context, space is no longer deemed as the void where bodies are contained, but as an almost material entity that facilitates and embraces, that allows bodies to appear, radiate, and thus, constitute a world. This beautiful notion of a participatory space that allows bodies to move beyond themselves and distribute their radiance has changed my perception of a work of sculpture, as it appears in front of me. I imagine an experience in which a multiple exchange of radiance occurs. The work of art emanating its life through space, and the viewer momentarily emptying himself to accommodate its radiance, in an ongoing movement that transforms both person and object.

With the works contained in The Material Space of Radiance, I have sought the embodiment of space through the various visual and haptic qualities of the constructions interacting in it. In her paintings, sculptures, performances, and installations, Camil draws inspiration from the urban landscape of her native Mexico City and engages with the history of modernism.

Her projects transform the remnants of dysfunctional commercial culture, revealing the inherent problems as well as the latent aesthetic potential within inner-city ruin. Often using laborious fabrication processes in collaboration with local artisans, Camil deaccelerates the frenetic pace of mass commodification through the handcrafted production and intimate quality of her works.

In recent projects, she has expanded the scope of her practice to create theatrical environments that invite the viewer to navigate the exhibition space and experience shifting viewpoints and juxtapositions. Inspired by the modular display systems typically used by vendors, Camil has constructed a succession of gridwall panels of her own design, complete with built-in hooks, shelves, and other fixtures for displaying items.

Composed of grids, lines, and geometric shapes, the structures form a volumetric drawing within the space of the gallery, referencing cheap commercial constructions as well as the serial patterning of paintings and sculptures made by Minimalist artists such as Sol LeWitt and Agnes Martin. The title of the exhibition refers to the potlatch, a ceremonial gift-giving festival practiced by the Native-American peoples of the Pacific Northwest coast, for whom it continues to be a system of wealth redistribution.

Camil invites the public to participate in the ongoing creation of her piece on designated days, during which visitors are encouraged to exchange their own unique items for others in the installation. The composition on the gridwall panels is thereby in flux and is repeatedly altered throughout the course of the exhibition. New Museum visitors are invited to exchange items for those in the installation during a series of six public events. Sunday April 3, 2—4 PM. Bring objects of power, of aesthetic interest, and of poignancy.

The monetary value of these items is insignificant; their value lies instead in their richness of meaning and in the new life that they acquire on the grid within the Lobby Gallery. Prohibited exchange items include but are not limited to: electronics, heavy items over twenty pounds , small-scale objects less than six inches in diameter , loose-leaf paper, tote bags, mass-produced garments, food or other perishables, weapons, and chemicals or other hazardous materials.

The exhibition is curated by Margot Norton, Associate Curator. Exhibition view: New Museum. The project approaches language as a tool to reflect power relations, hierarchies, social differences, and historical problems, as well as a cultural system of belonging that can indicate the loss or reconfiguration of certain kinds of identities.

Customs as an immigration agency, and lowrider customization in popular culture. The exhibition centers around artists who challenge the idea of boundaries within art, both physical and ideological borders. The group exhibition takes a survey of how the language of both abstraction and figurative form can be conveyed throughout vastly different corners of the world. Across borders of both time and space, these artists have created connectivity and conversation through creation.

Firstly, art is for me a pretext for meetings and travel. Art is above all a human adventure. I ask you to search your memory for a time that you, as a viewer, experienced a work by an artist you did not know, yet you sensed an inexplicable vibration. Vincench, Ishmael Randall Weeks , and many others.

Despite the fact that these artists are working in a globalized society, where technology and communication transcend physical boundaries, many continue to construct personal and cultural identities by exploring ideas that are specific to their own experiences and places of origin. Vincench, Ishmael Randall Weeks, and many others. Jorge M. Topics such as the literal and metaphorical boundaries of freedom, gender identity, social criticism and political power as well as reflections on nature vs.

These come from all genres of art — including installations, objects, paintings, photographs, videos and works on paper — and will be shown in an exhibition space encompassing square meters. This extensive selection of works, from the largest and most important institution devoted to contemporary Latin American art in Europe: the Zurich-based Daros Latinamerica Collection, not only sheds light on parallels to the history of European art but also on specific Latin American developments, particularly since the s. With respect to its beginnings in as well as its focus on groups of works by major artists, there are conceptual parallels between the Daros Latinamerica Collection and the holdings of the Kunstmuseum Wolfsburg.

Artist: Sandra Gamarra. Artist: Sandra Nakamura. Many other artists — before and after- felt attracted by the use of a single color in their works. Klee, Kandinsky, Fontana, Klein and Malevich painted monochrome works. Sometimes the dominance of one color is inextricably associated with the artist: Ives Klein is blue, Beuys and Jasper Johns are identified with gray, Rothko and Tapies with roasted reds. Roasted red belongs to Rothko and Tapies. Art history provides examples of various possible meanings for monochrome painting.

This is sometimes negation and sometimes affirmation. The monochrome is a vacuum which, by definition, means absence of image. The rectangle of a single color is a tabula rasa on which the unique relationship that it counts is the one between the pictorial surface and the viewer. The first fully monochrome paintings, three fabrics that Rodchenko painted in , Red, Yellow, Blue, expressed a return to the primary colors, or in other words, the principle ones.

The tabula rasa corresponds to the revolutionary impulse of starting over: Russian and Polish constructivists, the School of New York in the post-war, Burri, Fontana and Manzoni in Italy, Yves Klein in Paris and the Zero Group in Germany use monochromes in the immediate post war.

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Blacks are typical Saura pictures, including a series based on the black paintings from Goya. His Perro semi-hundido is certainly the first monochrome works of art history. From there onwards, there were and are many artists who aspire- through the use of one color only — an eloquent silence, to an irradiation of light and color, or an unrelenting darkness. In this exhibition we present various works, mostly related to our gallery artists who explore in their works, and in their own way, this singular and complex way of using a dominant color.

Artist: Ana Tiscornia. Una que hace la tela, donde el tiempo y la velocidad cambian constantemente, y el horizonte que se ha edificado por miles de siglos en el tiempo. Since , different versions of the exhibition have been presented in over 50 institutions around the world. As the finale, this is the first time they will be screened together, providing a unique, global overview of video art now. Each week there is a new, daily program of video works, which are each especially selected for audiences by eleven key creative people in Moscow and Saint-Petersburg, such as Olga Chernishova artist , Anton Belov Garage Director , and Elena Yushina independent curator , based on their personal interests and tastes.

In this way the exhibition offers a flexible viewing opportunity for visitors to enjoy on their own time. To begin, 35 international curators selected 35 video works that ranged from reinterpretations of traditional philosophical propositions, to uprisings and protests in South Africa and emerging youth culture in Ho Chi Minh City in Vietnam, to environmental exploitation in the Democratic Republic of Congo.

Then, in , 35 new curators selected 35 new videos works, expanding the reach of the project to reflect the continued rise of video art as an important medium for artists. Together, the works reveal the diversity of approaches practitioners are taking to the medium, using various animation techniques, as well as borrowing from the language of cinema, performance, and even YouTube, to produce work that weaves between documentary and fiction formats.

Artist: Ximena Garrido-Lecca. Created in , the Triennial promotes experimentation in the graphic arts, stimulating the combination of traditional printmaking and contemporary practices within a different curatorial theme each year. This ambitious edition will include exhibitions, an educational program, events and publications throughout Puerto Rico, expanding beyond the capital city of San Juan to include spaces on the periphery and in other municipalities.

As well, galleries and alternative spaces across the island will organize exhibitions in salute to the Triennial. As a fundamental part of this 4th Triennial, an educational program has been designed whose aim is to develop and nurture creative thinking through participatory activities aimed at a variety of audiences and focusing on the exploration and collective recognition of the aesthetic experience. The project will feature activities that go beyond looking at art and entering the classroom as passive and hierarchical experiences.

This opening summit will bring together internal and external audiences of the 4th Triennial, and is aimed at promoting a discussion of the contemporary image, and the image in general, as social experience. Pulsar is a new artist run, not-for-profit space located in Antwerp.

Each month we feature works by local, international, established or emerging artists. A platform is offered for artist curated installations and exhibitions, encouraging a wide range of disciplines and practices. Artist: Emilio Chapela. Esta caverna es un umbral. Un pasaje a otros mundos, una nueva forma de ver y sentir. La cueva es un dibujo expandido, una textura gigante. Unos siendo los otros. Artist: Marcius Galan. O universo da geometria costuma ser encontrado em sua pesquisa. The artists selected for this exhibition have turned to the representation of history not just as material itself but also as means by which to criticize how history is constructed.

They are not just interested in the past tense or simply reviving archival strategies, but in putting the past in relation to the present and the future, creating overlapping temporalities that bring disparate moments together. Currently, that moment continues to be the most important; it is the one that makes the difference between points of view. Photography as a technique has rapidly shifted from the dark room into digitalization. The expertise one needed to have in physics for the light aperture, along with the chemistry knowledge required to reveal the images have all but faded away.

Technological advances allow many of us to carry a camera in our pocket. The way in which we approach them, and the stories that these images tell us, are not from a specific moment; but rather from the combination of several moments: to click, to develop, to manipulate, and finally, to single that moment and to make its invisibility present.

The exhibition consists of 27 pieces, which presentation starts from a photographic aspect challenging its more orthodox definition as it returns to an academic classification. In reality the manipulation of an object within its context gives it a particular placement, which is one of the more evident features of portraiture. The human figure is revisited in the gestures of Alexandra Grant United States, The pin-up style female nude, behind a strip that reminds us of DVD titles, gives a new meaning to the idea of mixed media.

While New York is often considered the birthplace of this genre, street actions had also taken hold in Latin America, and relationships between Latin American and U. Latin American artists who sought exile from dictatorships or had been awarded grants came to New York, while many U. While the Civil Rights Movement and Vietnam War protests provided the backdrop against which street works emerged in the U. Artist: Erica Muralles Hazbun. Artist: Gabriel Sierra. By modifying and extending the guiding information of the exhibition space, Sierra will restructure the lower level galleries, effacing and confusing distinctions between the architecture, the institution, and the works that comprise the exhibition.

The combination of alternative and existing floor plans, signage, and objects in the space all refer to the codes for viewing and maneuvering through the context of an exhibition. This indexical accumulation makes it unclear exactly where the exhibition begins and ends, bringing into question the semantics of the various navigational prompts within art institutions.

The exhibition structure asks that the visitor adjust to its new form. Artist: Elena Damiani. Artist: Paula de Solminihac. Officielle October , Paris, France. The exhibition is an extension of this dialogue into the galleries of the Museum of Contemporary Art Detroit via artworks suggested in dialogue format. The individual artworks touch upon themes such as geography, history, urbanism, memory, colonialism, architecture, war, modernism, social inequality, regionalism, and power. It allows the viewer a glimpse into a reality that may seem geographically near, but is in many ways far away and unfamiliar.

This glossary will be published in the exhibition catalogue along with a conversation between the curators, texts on all of the artists, images of the exhibited artworks, and a roundtable discussion featuring a number of curators based in Latin America. A range of public programs and educational activities will run concurrently with the exhibition, including a public conversation with the curators, lectures by some of the participating artists, film screenings, and performances.

Artist: Marco Maggi. He draws with paper on the walls in the main space, and presents an installation of pencils in a separate area. It is a superficial discipline that allows oneself to take distance from the depths of thinking in order to de-multiply an empathy for the insignificant. Ideas have the tendency to become fixed and aspire ultimately to the status of ideology. A portable kit composed of thousands of elements cut-out from self-adhesive paper becomes an insignificant alphabet folded and pasted onto the walls during the months preceding the exhibition.

The diminutive papers are disseminated or connected following the traffic rules and syntax dictated by any accumulation of sediments. Some areas throughout the gallery are infected with color, the edge of the wall in red, blue or yellow, like the margins of a misprinted sheet of paper. The colonies of stickers on the walls enter in dialogue with the light upon them. Myriads of shadows and infinitesimal incandescent projections aim to slow down the viewer.

The main ambition of the project is to promote pauses and make time visible. The trajectory of these Soviet era color pencils is frozen, almost going backward in time. Inside the room, two individual panels of cutout stickers face each other. These small referential stickers act as words cut out from a larger message, recoding the original context. His work has been exhibited extensively throughout the United States, Europe, and Latin America in galleries, museums, and biennials.

His first monograph was published on this occasion. In , he received the Premio Figari Career Award. Artists: Claudio Vera and Martin Pelenur. It is embedded in human nature to be thoughtful and innovative for survival. Such primordial concerns with existence have continued through ancient times into contemporary civilization. To investigate Vera and Pelenur in this vein brings to light the association of physical and cerebral conditions, which are key to the balancing act that humanity must perform throughout time. Focusing on the notion of abstraction in twentieth-century and contemporary Belgian art and the varying sources of influence and inspiration among the artists of two generations, Tuymans has selected fifteen artists whose work either articulates a relationship to abstraction or takes as its cue the definition of abstraction.

Although the artists themselves have emerged from different periods and motivations, a clear formal relationship between the selected works is apparent, and thereby reveals a current and earlier interest in abstraction that has not lost its relevance over recent decades. Luc Tuymans, himself a figurative painter who constantly seeks to extend the traditional boundaries of his practice, has specifically selected these artists for the individual nature of their practice and the paradoxical way each of them uses their medium.

Presented in the two gallery floors of Parasol unit, their works collectively investigate the potential, formal and conceptual tensions within the notion of abstraction. Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian — and groups such as De Stijl founded and the ZERO movement of the s and 60s, as well as the American Colour Field painters.

Ultimately, this exhibition highlights the diversity of artistic practice within abstraction, while revealing intergenerational influences and allowing viewers to explore and be challenged by the depth and limits of abstraction. Artist: Mario Navarro. Navarro extracts fragments from the exhibition space thus creating voids and duplicates that that echo each other. The artist understands the void as a loss or as something missing, but as a place where it is possible to multiply reality over and over.

The void works just as another constructive element that operates by pointing to the limits of forms and things. These Filters are a constellation of parameters that circumscribe multiple ideas, which will be touched upon to both imagine and realize a diversity of practices.

The exhibition is structured in three sections that address mobility in the early 21st century through a variety of research approaches: formal, political, and metaphorical. Artists: Felipe Mujica and Herbert Weber. Fronzoni —has greatly influenced the visual, sensorial, and experiential aspects that distinguish her work. The artist has stood out as one of the most innovating artist of contemporary geometric abstraction. Her multidisciplinary work conjugates light, sound and contemporary criteria of space and use of materials, with some formal concepts of the traditional legacy of optical and geometrical abstraction.

In her work, the artist proposes a dialogue of visual and sensorial perceptions with space, transforming geometry and abstraction into nature for the senses. Quatro relevos e sete desenhos completam a mostra. Esto es, un renacimiento inventado por el siglo XIX para proyectar sus propios deseos y frustraciones. Un plan para organizar el crecimiento de la ciudad y separar sus distintas funciones de manera racional.

How come some features of the old Enlightenment have crept back and are now being revisited in art, activism, and theory? Why now, after just about a century problematizing, questioning and opposing its legacy? Perhaps it is an ever more economized, fragmented, privatized, and surveilled existence where, for instance, taxpayers are forced to compensate for the crimes of financial speculation and the gap between the rich and the poor is rapidly increasing. It now becomes enticing to return to some fundamental notions and phenomena inherited from the struggle for universal emancipation: the light of reason and rationality, the individual subject, and the public sphere.

They point to a wish to explore vision from its very basics—as if to try to see anew, to radical transformations of desire and to challenges to ownership and property relations as we know them. And to do so while not losing sight of the future, in the midst of parallax views, in light of the hyper-contradictions of our time. A future beyond pre-emptive and algorithmic forecasting. Art has after all this capacity to function as part seismograph and part sniffer dog, detecting things not yet seen, gelled and shaped in other parts of society, creating new imaginaries.

Whether utopian or dystopian, or an unclear mix of the two. These basic notions in radically mutated forms seem to indicate a future affected by an emerging movement toward a new enlightenment, conscious of the violent heritage of the old one in whose name atrocities have been committed over the centuries. Thus, three strands of thought and action have crystallized within the framework of Future Light : non-penetrating light, the individual subject as reworked by the politics of queer-feminism and its polymorph desires, and the public spherereconceived through and as commons and commoning.

Within contemporary art, instead of the penetrating light that gives clarity and transparency, there is the reflected and refracted light that creates opacity, abstraction, and shadows. It is the light that goes on and off, that does not serve as a searchlight and yet is able to nurture new beginnings. Besides conditioning human visual perception, its new forms—for example the low-power LED light—are having other literal effects on the look and taste of plants as well as the physical and medical conditions of humans and animals.

Furthermore, the future remains a point of orientation in many of the artworks. All this is being played out in the group exhibition at the MAK. Existing paintings, videos, sculptures, and drawings by seventeen artists is making up an installation without walls but with plenty of natural light. Theory and practice in the name of LGBT and queerness have for some time reshaped notions of the individual, subjectivity, and desire. If traditional notions of gender rely on heteronormative patriarchal formations of desire, then this linchpin is now being challenged in ways hitherto unseen, affected by synthetic extensions of identity such as hormonal drugs.

The installations convey filmed performances where the tensions between the individual and the collective carry a high degree of theatricality. While curtains and fumes create opacity, glitter and wigs indicate glamour. The characters who feature in these dramas are consciously multi-sided, defying normality, including the law and economy. Neither being entirely historical nor present, they project ahead in a truly anachronistic manner, to new and unrealized forms of enjoyment.

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It will be released as a limited printed edition in September In a new film Marysia Lewandowska is exploring the commons as experienced through the kindergarten as an early testing ground for sharing, belonging, privacy and withdrawal. Artist: Diana de Solares. Artist: Christian Camacho Reynoso.

Artist: Ricardo Alcaide. Artist: Lucila Amatista. From a distance, the stacks of thousands of sheets of paper 24, total that are set out in a grid onto the floor suggest a landscape, circuit boards, or an architectural model for an imagined city. He creates a patchwork of lines that impart a sense of movement across the surface of the piece. Marco Maggi was born in Montevideo, Uruguay. The Uruguayan pavilion is one of the twenty-nine national pavilions located in the Giardini della Biennale. La segunda parte muestra dos vertientes, la emocional y la intelectual al enfrentarnos con la responsabilidad de formar el futuro.

Even at its inception and during its heyday in the mid-sixties and early seventies, conceptual art was difficult to define. No one knows who started it, which artist did what and when, what were his or her philosophy, goals and policies. None of those present remember much; each person has its own history and scholars and critics have been left to try to make head or tail out of the movement—among them, many who did not live through those times and did not witness those events.

That is why American curator and art critic Lucy R. They rest directly on the floor or hang from the ceiling, casting dancing shadows on the wall. The works of Edgar Orlaineta, also suspended from the ceiling like a Calder mobile, have the appearance of a three-dimensional puzzle with each element playing a vital role in the final composition. This practice dictates that the circle should be drawn with a single stroke, which once made cannot be altered.

The gesture highlights the character of its creator and the context of its creation in a short and contiguous period of time. Traditionally this type of painting is done in black ink on very thin white paper. The accumulation has formed a heap of sand, in the form of a volcano, burying the papers supposed to be archived there.

Happenings Archives — Abstraction in Action

With its continued air movement the fan erases them so that others can make them again. Using film, video and photography, the artist often introduces the relations between architecture and city-planning with regard to history.


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Because the legacy of The Jamaica Letter has often been used to support any manner of political tendency, the artist has it read out loud by residents of a poor Caracas neighborhood, themselves leaders of different political groups chavistas and anti-chavistas. These protagonists do not understand English, so the reading swiftly turns into a form-focused performance, a parody of a charisma-free discourse which seems devoid of meaning, but where we rediscover the corporal language and the intonation usually adopted by leaders.

The artist proposes a deconstruction of the political discourse, keeping just the elements and codes to do with representation—the body language and the vocal intonation which punctuate the film. Commissioned by the Goethe-Institut in , Yamaikaleter was screened at the 54th Venice Biennale in He lives and works between Madrid and Caracas.

He was awarded the prize of the Rockefeller Foundation, Bellagio, Italy, Artist: Guido Ignatti. This book had so many errors. Don't expect the same caliber as the original as far as originality and rhyme scheme. I've loved other books by Walt Larimore, and he's proving to be an extremely gifted and versatile writer. We have 4 different ones. Cash is determined to win Tally back after a misunderstanding tore them apart. The words were good. Debra White Smith, author of Romancing Your Husband more than 75, copies sold , and her husband, Daniel, show husbands how Lecciomes make their marriages sparkle.

I always enjoy romance with realistic simple humor, but seemed to have run out of available stories. She likes partying, the wind in her hair, beaches, bubble baths, broomsticks, birds, and. The characters that are introduced are poised parq be some of the best unsuperhero like superheroes.