Crónicas Mexicanas y alguna otra más... (Crónicas de Cintia nº 1) (Spanish Edition)

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New Haven: Yale University Press. Revisiting race in a genomic age. New Brunswick: Rutgers University Press. KNOX, Robert. The races of man. London: Renshaw. Fichero MP3 min. Gene frequencies and admixture estimates in a Mexico City population. American Journal of Physical Anthropology, v. Studies on several genetic hematological traits of the Mexican population: hemoglobin S, glucosephosphate dehydrogenase deficiency and other characteristics in a malarial region.

American Journal of Human Genetics, v. Exits from the labyrinth: culture and ideology in the Mexican national space. Berkeley: University of California Press. Sangre y temperamento: pureza y mestizajes en las sociedades de castas americanas. Hippocratic bodies: temperament and castas in Spanish America Journal of Spanish Cultural Studies, v. El sesgo hereditario. Unesco and the study of race relations in Brazil: regional or national issue. Latin American Research Review, v. Human biodiversity, genes, race, and history. New York: Aldine de Gruyter. Genealogical fictions: limpieza de sangre, religion, and gender in colonial Mexico.

Species and specificity: an interpretation of the history of immunology. Man's most dangerous myth: the fallacy of race. London: Sage. Making the Mexican diabetic: race, science, and the genetics of inequality. Cultural anthropology, v. Madrid: CSIC. Anthropology and the new genetics. Retrato molecular do Brasil. Race to the finish: identity and governance in an age of genomics. Princeton: Princeton University Press. Relaciones, Zamora, v. Buenos Aires: Losada. The evolution and genetics of Latin American populations.

Nuevo Mundo Mundos Nuevos. Acceso en: 13 feb. Ethnicity, linguistics, and genetic diversity in native Mexicans: reconstructing the population history of Mesoamerica. SANS, Monica. Admixture studies in Latin America: from the 20th to the 21st century. Human Biology, v. The map of the Mexican's genome: overlapping national identity and population genomics. Identity in the information society, v. SEED, Patricia. Social dimensions of race: Mexico city, Hispanic American Historical Review, v. The hour of eugenics: race, gender and nation in Latin America. Ithaca: Cornell University Press. Para entender la promiscuidad.

Istor, n. Mexico at the world fairs: crafting a modern nation. Cartas de un americano, Color, race, and genomic ancestry in Brazil. Current Anthropology, v. Black Mexico: race and society from colonial to modern times. Albuquerque: University of New Mexico. WADE, Peter. Race and sex in Latin America.

London: Pluto Press. Race and ethnicity in Latin America. Colonial desire: hybridity in theory, culture and race. London: Routledge. This is an Open Access article distributed under the terms of the Creative Commons Attribution Non-Commercial License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. Services on Demand Journal. Recibido: Junio de ; Aprobado: Abril de While the miniature tree is not realistically formed, it is perfectly fabricated within the thematic Golden Onyx Sky invierte la escala del cielo y el suelo.

Al caminar frente a Onyx Sky y Obsidian Sky, el reflejo del espectador aparece como una sombra que se mueve dentro de las obras. Esta obra, similar a Golden Scroll 2 , parece estar inspirada por pinturas de paisajes chinos sobre pergamino. Since the bonsai mimics the shape and style of mature, full-size trees, it is one of the very small specimens that live within or are contained as part of larger ones.

Black Sun, composed of thousands of translucent colored tubes, is suspended from the ceiling from a height of three stories. The chromatic gradations are spectacularly beautiful. The installation compels the ambulatory viewer to walk under it, look upward and feel the allure and fascination of a changing sky. Similar feelings are aroused when looking down from the third floor, recalling the sensorial details of atmospheric variations from storm patterns to clear skies.

In Lunar Theater, shimmering glass reflecting beads made from sand extracted from underground were tossed by the thousands in very controlled gestures, forming undulating patterns on the gold floor. Although most of the beads fell into the desired configuration, many rolled randomly into positions around the matrix, offering a perceptive experience the water moving sand. And she thoroughly mines these possibilities in As Above So Below. Sfumato Epic , Solid graphite and drawing.

Y explota exhaustivamente estas posibilidades en As Above So Below. In this already saturated context of circulation of discourses on the subject, Impulse, Reason, Sense, Conflict. For this reason, the exhibition cannot free itself from history, since it is definitely structured around a matter of temporality. Neither does it seem willing to settle more comfortably in the territories of the theoretical problems it invokes, independently of its getting involved in a sort of comeback, or rather, of motivation renewed by the discussion on the abstract in art, such an important matter for the first generations of abstract artists.

It becomes an exercise of analysis of selected works that posit abstraction as an expansive notion with a strong discursive potential. In order to satisfy its understanding of abstraction as an aesthetic category, consequently susceptible of being refocused on from the perspective of contemporary artistic practices, as already mentioned, the exhibition gathers a total of artistic.

Por eso, la muestra no puede desasirse de la historia, ya que definitivamente se conforma en torno a un asunto de temporalidad. That is to say, the exhibition has been structured around a selection of works from the three main areas that constitute the Ella Fontanals-Cisneros Collection, namely, Latin American abstract and geometric art, contemporary Latin American art, and contemporary international art, as well as the extensions of these which, however, do not distance themselves from the main routes traced by the collection as a whole. We find examples of these within the exhibition in the mentioned work by Schmolz, with a strong constructivist bent, or that of Barbara Hepworth, dated and definitely aligned with abstraction.

Mention must be made of the fact that a group of six researchers, comprised of Michael Ashbury, Kaira M. Martins, Nadja Rottner and Mika Yoshitake accompanied the institution in the construction of the conceptual supports of the project and wrote essays for the catalogue. All the works included in Impulse, Reason, Sense, Conflict, are being exhibited for the first time after their incorporation in the collection. In other words, the works palpitate vitally within the frames of reference in which they are placed.

There is no doubt that a thesis like the persistence of abstraction in art demands reliable evidence through artistic facts. The exhibition provides this successfully by gathering together works dated, fundamentally, in a period spanning the second half of the 20th century to the present, situated at more or less short intervals from one another and covering the mentioned period, the majority of which were produced between the s-early s and the beginning of the present century.

At any moment of its itinerary, the exhibition compels us to recognize the way in which artists from any latitude who have become involved in the investigation of abstraction have mobilized diverse discourses and specificities of their contexts in their artistic practice, which faces us with the issue of the possibilities and the limits of abstraction understood as an aesthetic category.

Dicho de otro modo, las obras palpitan vitalmente dentro de los marcos de referencia en que se ubican. Starting from an archaeological exercise involving obscure histories, often found at the intersection between the practice of great conceptual artists and power, he suggests that the present may be conceived in different ways. One cannot be certain, either, of how much is documentation and how much is myth or fiction in his way of traveling in time not only through geographic displacements but also through a reconfiguration of archives on specific moments of the past.

It is a poetic as much as an interpretative exercise, and it repositions us, through the complicity of the gaze, on the side of resistance. The gaze of the past alters the conception of the present. In effect, in , Leo Rosenblatt, director of Tropic, the Miami Herald Sunday magazine — who published massively distributed lithographs maintaining their highest possible graphic quality — commissioned Robert Rauschenberg to produce a collage with images of Miami and of Southern Florida. One hundred and fifty out of the six hundred and fifty thousand prints of Piece for Tropic, which were the cover on December 30, , contained R.

Around it are displayed other pieces of that archaeology of art history, like a film of a building on Captiva Island, where Rauschenberg lived and worked for more than forty years. Thoreau did with the cabin he built in Waden. He filmed it thinking that there did not seem to be an evident connection between the tropics and his unruly production, but then he evoked how, due to climate change, this area that is often associated with pleasant leisure, is expanding to a threatening point.

The year of the collage coincides with that drastic change. The artist inserts in the exhibition room texts information on a fire that occurred at that time in the Miami Herald, and he correlates it with the. The strategy of interpolation, typical of Post Modern fictions, is also used on the shelf where he exhibits a group of documentary photographs shot in open and private spaces in the same year , He notices that there is one that has been arbitrarily inserted.

At the same time, a TV offers the weather forecast that certainly corresponded to the one that was broadcasted in on each of the days that correspond to the present exhibition. The different strategies present in his artistic gestures — juxtapositions, insertions, or substituting or putting something in the place of another person or thing — end up by fabricating versions of history that disturb us in a way that is not useful.

The rarefaction of chapters of history that we knew nothing about or had forgotten that he ultimately produces, dismantles the boundaries of our perception of the real. If there is no return to that tropic of , this may warn us of the fact that its expansion is part of a shared responsibility about which — as in the newspaper matrix that suggests that a piece of information is missing — artistic fictions may alert us. Advierte que hay una que ha sido arbitrariamente insertada. Evidence of this may be perceived from the moment of entering the show, not only through the presentation texts but fundamentally through the exhibition of albums, writings, letters, clips and other documentary material that sheds light on the work and thoughts behind this consummate builder of images.

Five self-portraits distorted through optical effects dominate a room whose walls are entirely white and silent. Everything draws attention towards a set of window cases containing some work material, cameras, retouched negatives, contact sheets, publications, postcards, notes and small vintages. Here the museum is a museum in its most traditional sense: as a repository for scarce and fragile materials, as an accumulator of works which have been attributed value aesthetic, singular, historical , as a mechanism to safeguard social memory through the preservation of objects, where the latter seems to be, to some extent, crystallized.

The images lose strength in relation to the procedures. From that moment on, the reality latent in the shots loses part of its vital halo and its mystery. But on the other hand, this section shows us a highly professional artist, passionate about the destiny she has chosen in life. The self-portraits are the point of departure for one of the main theses of the exhibition: to present Annemarie Heinrich. Heinrich in La Carpeta de los Diez Group This modernist mandate leads her to experiment with images, to innovate in the procedures, to pursue originality and understand her practice as an instance that is simultaneously creative and reflective.

But the notion of modernity is also presented in its Baudelairian sense, in the version of the artist who portrays his or her time; who is, in fact, a contemporary artist. A small transitional exhibition room displays the series Veraneando en la ciudad Vacationing in the city It does not only feature the theme — typically modern — of urban life, but it renders. If we are used to thinking about Annemarie Heinrich as a studio photographer, the rest of the exhibition does away with this notion.

The majority of the photographs that follow correspond to Es como si se descubriera el cuarto, celosamente guardado, que contiene los secretos de un mago. A partir de este momento, la realidad latente en las tomas pierde algo de su halo vital y de su misterio. The former, however, are much fewer than the latter.

If her work in the studio seems to have been organized around the human figure, the work outside of it is oriented towards a formal exploration in the fanciful presentations of nature or the vestiges of the passage of man through nature. The textures of the trees, the elegant lines of the bones spread out in the desert, the structured forms of an abandoned cart that resembles a skeleton, the regularity of the reeds and rushes, of a jellyfish or a cactus, attract her attention, as do certain architectonic dispositions such as bridges, quays, etc.

When she focuses on people, she orients her gaze towards workers and a certain human typology characteristic of the provinces gauchos, fishermen, vendors from the northern markets. An entire series focuses on reflections on the water, a habitual theme for photographers who sought a distorted image that did not betray reality.

In one word, as its title promises, the exhibition shows us an Annemarie Heinrich never previously seen. But it also shows us a strange Annemarie Heinrich. The exhibit lacks sensuality, although it presents an artist with an extraordinary sensibility. This curious perspective is typical of the researcher: it highlights rarity; that which nobody has seen, that which remains hidden in archives. La muestra carece de sensualidad, aunque nos presenta a una artista con una sensibilidad extraordinaria.

Both institutions aspire to position the artist at the forefront of the international scene through this comprehensive and revealing exhibition. But the encounter with the complete story of their pitiful lives, narrated from beginning to end through works, several of them in monumental format and others exhibited for the first time, is overwhelming. Finally, the saga of Juanito and Ramona, their dreams and nightmares, reveal their true dimension. Berni shared that premise. In the s, he had founded New Realism to talk about destitution; twenty years later, he appealed to the capacity of narrative to fascinate people; he wanted to tell people about the consequences of the great social changes.

How should a discourse be formulated in order for it to be listened to? Through a multidisciplinary method, the artist displayed two stories in uninterrupted sequences of images, and he achieved his goal. He revealed matters that nobody wants to see and everyone prefers to forget. Today, the signification of his works, teeming with eloquence, has not lost its validity; it is too close to the present.


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Juanito, the son of a rural worker, incarnates the exodus of the rural population to marginal neighborhoods in Buenos Aires. Juanito gets to drive a motorcycle, and we watch him leave on holidays, but his life becomes degraded amidst the tin cans in a shantytown. Ambas instituciones aspiran a posicionar al artista en el centro de la escena internacional con una muestra exhaustiva y reveladora.

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El aguacate - El lado oscuro del superalimento - DW Documental

Juanito alcanza a manejar una moto y lo vemos partir de vacaciones, pero su existencia se degrada entre las latas de una villa. Juanito aparece en el marco de la naturaleza, pero de una naturaleza asediada por el avance feroz de los entornos fabriles. Berni began these series in and he worked on them in Rosario, Buenos Aires and Paris until Throughout time, the views of Juanito celebrating an extremely poor Christmas, fishing or carrying a net full of fish to earn his livelihood, are images of a boy who — like so many at present — barely manages to live as a child.

Juanito appears in the framework of nature, but nature embattled by the ferocious advance of factory environments. Technique and materials, subject matter and ideological content converge in his works. Berni always considered himself someone ahead of his time. In fact, he won the Grand Prize at the Venice Biennale with his prints of Juanito, and in , the winner was Rauschenberg, whose works show remarkable similarities with those of Berni in the handling of materials. Berni had begun experimenting with printmaking in in Paris, with the poet Max Jacob, but his particular interest would become consolidated during the crisis of the s, when the possibilities for massive dissemination afforded by this medium, its characteristics of serial and cheap work, rendered it favorable for the expression of political ideas.

The visit to Argentina of the Mexican artist David Alfaro Siqueiros in was important because it raised awareness regarding the sense of belonging to Latin America, and not because of the introduction of the muralist school, which it failed to disseminate. Marcelo Pacheco describes the medium and the materials used by Berni, and he highlights the volume of up to five centimeters of the woodcut-collages, the incorporation of real pieces of clothing and the strategy of accumulating the material in the style of European informalism to simulate the overcrowding in the shantytown shacks.

Here we see the criminal and the count, the Greek and the Armenian monks, the entrepreneurs, the millionaires and the bullfighter; the military and the old man. The Museum of Fine Arts, Houston. The apotheosis of sin is represented in installations like La sordidez The Squalor , or La voracidad Voraciousness takes shape in the infernal monsters that fight over Ramona and populate her dreams.

And perceiving the profound moral content in his oeuvre does not really demand a great effort. It is highly unlikely that such a group of works can ever be gathered together again. Y no hay que esforzarse demasiado para percibir el hondo contenido moral de su obra. The date of the new proposal launch was April 11, with the opening of the exhibition In fraganti, photography and painting in Argentine contemporary art.

Not being a gallery allows us to support Argentine photographers from a different place, even those who are represented by other private galleries, since our aim. The second exhibition that the Foundation will feature this year will be La certeza del error The certainty of error , curated by Jorge Zuzulich; it will explore the ways in which accidents and failed attempts have contributed to broaden the scope and the evolution of images, both in the field of photography and in that of electronic media. Her early work included figurative elements amongst which the presence of human figures and the selective use of color stood out.

In the course of time, forms gradually became more stylized and minimalist, and every trace of figuration disappeared. The use of color became more sporadic, favoring the natural surface of the material. As for the latter, Gerenstein started to create works in metal, specifically bronze, with which she has worked for several years. Eventually she took an interest in steel, which offered her other possibilities, particularly with regard to the surface finishes.

One of her latest series, Connections, reveals this evolution in terms of form and content. In the pieces that compose it, the human presence begins to fade away in these apparently simple forms, later to emerge once again in the content. The work is made of stainless steel, with a highly polished surface that looks almost like a mirror. On viewing it, a dialogue between the work and its beholder — almost an invitation to an introspective exercise — is inevitably created. Gerenstein is concerned with universal energetic processes; for this reason she has chosen to work with steel, which allowed her to achieve the kind of finish similar to that of a mirror.

For her, this sculpture represents the process of receiving universal energy and transmitting it through the reflection. The work was chosen by the curators of the exhibition Personal Structures, which will be featured as part of the Biennial. The show will be sponsored by Global Art Affairs, an organization based in Holland. En las piezas que la integran la presencia humana comienza a desvanecerse en estas aparentemente simples formas para emerger nuevamente en el contenido.

Detroit, Pared Norte, It is worth clarifying that the arguments that follow are opposed to those presented by the author with respect to the same issues, and that they are situated within a distant framework for reflection. The advances in the interrelations between all the countries of the American Continent between the late 19th century and the first half of the 20th century, which developed organizational mechanisms that disseminated the idea of Pan Americanism at a relatively large scale, are at the basis of the emergence of the notion of Pan American art.

It was then a matter of special interest in the United States, when under the effects of the influence of Mexican muralism on the art of that country during the years of the Depression and those immediately 1 Nathan J. The latter existed until , when it became the Organization of American States. In any case, the most important role in its propagation was played by the way in which Pan Americanist politics was implemented and institutionalized after World War II. Sicre immediately undertook the presentation of the exhibition 32 Artists from the Americas, a sort of reduced version of the previously mentioned exhibition held between January of and February of in the capital cities of Panama, Ecuador, Colombia, Peru, Chile, Cuba, El Salvador, Guatemala, Honduras, Nicaragua and Costa Rica.

Pedro Figari. El Patio - The Market Place, But already in the s, the notion of Pan American art was being progressively abandoned. Alejandro Otero.


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Colorhythm 1, The former, through publications and exhibitions which he promoted or supported; the latter, through her activities involving dissemination and criticism. In fact, the notion of Pan American art had never even had more than a merely circumstantial content. Half a century after this notion fell into disuse, is it worth focusing on the relationships and exchanges between the artistic avant-garde movements of the two Americas from this poor, falsely unifying perspective?

Does its recovery imply a conceptual openness or a belated return to obsolete paradigms? Are there not any more productive contemporary notions worthy of this exploration? The struggle with the concept of Latin American art still seems to be justified by the density — historical, cultural, political, strategic, etc. What is clear in these contributions is that the unprejudiced revision of that chapter of international art history and, more specifically, of the art of the Americas, does not necessarily involve the unquestioning recovery of the ways in which that history was conceived while the actual events took place.

From the recent discussions revolving around artistic professionalization in Buenos Aires to his views on the limits of the curatorial practice and its work methodology, the new Artistic Director of Malba develops some aspects that he will work on from the museum, based on a thorough analysis of the current situation in Argentina.

With the conflict generated by a series of donations of artworks at the Museum of Modern Art as point of departure, a numerous group of artists began to question themselves about the precarious state of the basic art related work conditions. On the other hand, the level of unreliability of state institutions, and the very ambiguous rules of the market, generated an atmosphere of disconcertment. In other countries, such as Mexico or Brazil, universities impart a very clear notion of what being an artist implies; they establish reference figures, work materials and a certain vision of what art is, and this somehow standardizes the art practice.

Do you believe that universities may be dangerous spaces within this process of professionalization? I believe there are matters that require being professionalized, and above all, being legalized. It is necessary to take the bull by the horns. It is really shameful that in , photography and video should still not be considered contemporary art in Argentina, and it is necessary to start devising a museographic program at the national level. Based on my experience in the private sector, I consider there is a need to be transparent and democratic, especially when it comes to spaces that belong to all citizens, and it is regarding this question that professionalization is lacking in Argentina.

For the abovementioned to occur, it would be necessary to create an association that includes all museums and formulates a manual of good practice, that demands that the position of director in public museums be subject to public examinations, and that proposes the protocols that should guide the activity. Not everything goes in institutions. Creo que hay cuestiones que se tienen que profesionalizar y sobre todo se tienen que legalizar. Hace falta comenzar a coger el toro por los cuernos. With regard to universities, I would never define them as dangerous spaces, but rather as questioning spaces.

For me, college was fundamental in my formative process, and I understand there is danger when these spaces are used to indoctrinate people. I do not like it when certain university currents, and also some museum currents, establish a very concrete and unidirectional space for an artistic practice. This scares me.

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I am not against the hyper-specialization in US universities, but it is necessary to be careful with this. It is all right to have freedom of choice in certain subjects, provided students are imparted basic skills and knowledge. I was trained as a historian and an aesthete, and on this basis, I can work as a curator. I have seen very good exhibitions curated by people who come from filmmaking, literature, economics, and this brings a contribution from a different perspective.

Yet, on the other hand, this theoretical aspect may well be applied to the curatorial task but not to institutions. There are technical matters that have to do with the space itself, with budgets, logistics, institutional relationships, and so on, that are relevant to the curatorial practice and that it is important to bear in mind in the space in which we are moving. No todo vale en las instituciones.

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Me genera miedo. As a narrative, but even more than that. This is the reason why I like to organize a program, not just an exhibition. My vision of the museum is an integral one, and it must be thought of in a specific context and aimed at a specific audience. With regard to museums, I think collection, exhibition and public program form part of the same thing.

A museum project is developed over time and it is woven together. I focus on the curatorial structure in different ways, but it must always represent the institution, and consequently, its publics. Initially, my work is based on the knowledge of the sources, of the archival material, later to formulate a hypothesis. Her images have a public side and a personal one, which she never showed.

Redefining Latin American Historical Fiction

Many photographs of nudes were never shown, and part of that iconography can be viewed as proto-feminist. I will not work with a reading based on photography, but in any case, we will exhibit the vintage works, maintaining a historical attitude with regard to her oeuvre. The idea is to contribute a new gaze and stop always repeating the same canons. On the other hand, Experiencia infinita Infinite Experience , which will open shortly at Malba, is an exhibition that has never been presented in Latin America.

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The project goes beyond the concept of performance and proposes constructed situations, displays in space, actions inserted in real time, living sculptures, etc. In turn, it is important to feature artists that have never been seen in Buenos Aires, as is the case of the exhibitions of Teresa Burga or of the Brazilian artist Claudia Andujar, which we will present this year at Malba, since in a museum, the curatorial perspective is conceived on the basis of a local and global contribution.

My question is if from Malba, whose collection begins with works from the early 20th century, you have a plan to work with this period in your exhibitions program. At present, the collection reflects the discourse of Marcelo Pacheco, who did a great curatorial job and featured a certain type of display. I want to introduce a different imprint, and therefore the permanent exhibition will not be on view for Un proyecto de museo se compone a lo largo del tiempo y se entrelaza.

The idea is to present exhibitions that last a year and a half, and that are formulated by a scientific-artistic council composed of two members of the institution, and five representatives of the national and the international art scene, distinguished figures from the Argentine and the Latin American artistic milieu. This committee will propose exhibitions that offer new readings of certain historical moments or certain trends of thought, styles or theories. Based on the works that make up the collection, which are approximately six hundred, we will ask ourselves: What can we do?

What works would it be interesting to buy? The market values have undergone great variations since Malba opened. Therefore, we have to seek alternatives to complete the works or the artists that are absent from the collection. An institution must be plural within the framework of certain objectives. But we also have to work from the niches that have not been addressed yet. On the other hand, it is also necessary to work jointly with other institutions, sometimes to get together for budgetary reasons, and sometimes to loan works.

I ask myself: What can we do together? I am very critical about the readings of Latin American art that are being produced in other latitudes: The United States or Europe, where, for example, Mexican artists must first go through European museums and only after that, sell their exhibitions to art centers in Latin America. The truth is I think this is a matter of concern. So I believe that in this respect, we have to work jointly with institutions all around us. The source of a large part of the critical tradition is poetry; historically, a large number of artists created their spaces, as was the case of Fernanda Laguna with Belleza y Felicidad Beauty and Happiness , or they became museum directors, like Emilio Petorutti at the La Plata Museum, or Jorge Gumier Maier at the Rojas Cultural Center.

I place the emphasis on the question: to what extent and under what protocols does this happen?

Aproximaciones científicas al mestizo mexicano

On the other hand, if you work in a museum that purchases works and you are writing a text for an exhibition in a gallery, there is a problem, because there is a professional ethics that must be respected. There comes a time when you must find a balance: What are you? On other occasions, when approaching projects by young curators, you wonder: Where is the curatorial structure of this project? Since this is an art installation.

Where is your curatorial project? And this is really a concern, because it is one thing to have a curatorial point of view, and a very different one when you are playing the role of the artist and confronting the artist. La verdad es que esto me parece preocupante. Entonces, creo que en este sentido tenemos que trabajar juntos con las instituciones de alrededor.

Y eso se da. Or cases like that of Jorge Glusberg in Argentina, who participated with his works in exhibitions that he himself curated. I think these are the two extremes, and they are the result of something we have been talking about: that no rules have been established. When I speak of rules, I speak of professional ethics, personal ethics and freedom to act.

That is to say, neither from an intellectual nor from an artistic perspective may the curator utilize an artwork in a disrespectful way, or as a trading card that illustrates a theory, or as material for his or her aesthetic play. Siempre soy muy respetuoso con el trabajo de los artistas, pues trabajo con objetos o ideas que no me pertenecen.

Porque te hacen ver no solamente su obra, te hablan de otros artistas, de nuevas referencias. Los artistas y sus obras son los que realmente nos hacen pensar, vivir y trabajar. And this is the common point, the setting in which the majority of interventions in the city are manifested and allow Garaicoa to expand into a new double vision: the world that stalks us, the macroeconomic world, the one that decides over all those who, in a calm and controlled way believe that they raise their voices, when the actual reality is that the social individual becomes a puppet in the hands of the great economic — and hence, political — powers.

Thus, architecture becomes an instrument to modulate the theoretical concept of the social body in the works exhibited. Ilfordjet print mounted and aluminum laminated. During certain sections of the itinerary, one may feel one participates, directly and as passive subject, in the whole game: a reproduction of a street and is there any more symbolic space for expression?

Ruin, fluctuations, all those cycles that have equal repercussion on the cities as on those who inhabit them, are reflected in their structures and their reduction to their minimum and most basic expression. Digital print on cans filled with silica sand. Dimensions variable. Dimensiones variables. A resident of San Francisco for over twenty years, Chagoya resorts to characters found in comic books, cartoons, and to icons of American pop culture to colonize those strata, a reference to the different disciplines and spheres that, like religion, academism, politics or economics, give shape to the world.

The second floor hosted diverse works representative of several moments of his extensive trajectory and of the references and inspirations that have most influenced the artist. The judgment on the economy — directly linked to the art market in Auction House Blues, or the prints on cans, in a clear allusion to Warhol, in The Enlightened Savage — coexists in the exhibition space with the gaze turned towards religion, represented But the world that Algaze photographed while he worked as a photographer for Zoo World magazine had left behind the implaccable criticism of the Post-war period and its combination of drugs and perennial philosophy.

What was being sought now was a stairway to heaven far from the echoes of Vietnam, a place where everything that glittered could be gold. The exhibition A Respect for Light: The Photography of Mario Algaze, curated by Jorge Zamanillo, the first comprehensive exhibition highlighting his work since , devotes an entire exhibition hall to this series of portraits that bear witness to the four years during which the young photographer followed the great singers of the time, immersed in the paroxysm of American rock-and-roll, documenting the frenzy of the concerts and intimate moments of their vertiginous lives.

Adriana Herrera, PhD. And in the vastness of what he has seen, Algaze inscribes the ability to look into empty spaces, into the small and the remote — the corner of a table, the far end of some street — and to capture, rather than the human river in Latin America, the loneliness of its people, as integrated into the landscape as they are lost in its immensity. Aluna Art Foundation Miami Curated by the Aluna Curatorial Collective — composed of Adriana Herrera and Willy Castellanos — this show stands out among the offers of the exhibitions season that began with the celebration of Art Basel Miami and the art events revolving around it, and that continues in the current year.

Because of its ambitious objectives and wide repertoire of artists, many of whom live and work outside the United States, Affective Architectures… might appear to be an excessive curatorial endeavor given the modest foundation that has organized it, but its results allow it to compete advantageously with the simultaneous temporary exhibitions programs of some of the local art museums.

Affective Architectures… was imagined and implemented on the basis of the deep relationship of the curators with the poetics of the artists displaying their works. The former forged it in recent years during the itineraries covered by both at different types of artistic events — from exhibitions to art fairs — and places — from Buenos Aires to Mexico City, without discarding Miami as the principal place for the practice of their professional artistic activity.

While the conceptual point of departure for the exhibition lies in the heritage of ideas on the collapse of modernism, which have been developed for several decades now by the Academy — apparently already excessively satisfied with this thesis —, the curators assign fundamental importance in their discourse to the creative reserves of contemporary art and the playful visions of architecture closely related to the former. Structured as an open text, which takes the conceptual framework in which it develops to its limits — a framework from which some works even aspire to escape, although without detriment to the communicational effectiveness of the whole —Affective Architectures… fosters in the viewer a rich sensory and perceptive experience, while demanding at the same time that he or she enhances his or her intellectual potential.

Displayed on the basis of a storyline synthesis and the conjunction of media images, screenings and tabloids , the exhibition gathers together the photographic documentation of several interventions carried out by Milton Becerra and Luis Villamizar in plots of land in a mountain rising close to Caracas, as well as a sequence of shots that illustrate the performance Tres Tristes Tigres Three Sad Tigers , , directed by Claudio Perna with the collaboration of Becerra, among others. In this way, Becerra intervenes in a stone monolith by drawing with pigments a variant of the well-known grid — an omnipresent matrix in Venezuelan art — while Villamizar reconstructs, through the expressionist action of his body, a path that has been ritualized by the artistic gesture.

These works established innovative relationships in the notions of authorship that went beyond the associations contained in group action. For his part, Claudio Perna — another pioneer of interventions in nature — directs a performance in which the biblical and ritual sense of dinner is translated into an everyday gesture of camaraderie and artistic exchange, reinterpreted by the peculiar narrative of the photographic image. The conceptual and post conceptual art experiences of the s and s laid the foundations for the construction of new mythologies revolving around photography, either through the way in which they questioned the historical paradigms of the milieu, or because from the theoretical perspective, they opened the gap towards a critical discourse that reexamined the nature of the image, deconstructing its ideological keys.

In a broad sense, the experiments of ephemeral art suggested that the recording of the artistic action was, in its own right and photographically. Willy Castellanos. I must confess that the exhibition surprised me greatly, because of the mystery that Desde el pasado 1 de diciembre de y hasta el 15 de surrounds it. Then I started to browse inmediaciones de la Historia, I asked the specialist at the head of , …, obviamente alusivas al calendario hebreo.

I understood the reason for the penchant for por etapas bien figurativas. Y own identity. El artista common logic. La vida but eternal, he tells us.



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