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In this case, he brings together field recordings to explore history and the aural infrastructures of cities as cosmopolitan sites with unique identities. This is especially true for Lagos, whose sound landscape is constantly being updated. The piece captures the sounds of two port cities, Lagos and Yokohama, through extracts of recordings that reflect the aural experience of the artists in these places. Trancemission is installed on a well as an electroacoustic composition in the Palacio de la Inquisición Patio de la Huerta, in another port city. The water in the well becomes a repository of life experiences, creating an opportunity for the audience to project themselves into their environment as they experience the sounds. Trevor Paglen USA Sin título Reaper Drone La polémica envuelve a estas nuevas armas de guerra que vigilan y bombardean de manera precisa, fría y aséptica, y cuyas acciones han causado terribles matanzas de civiles. Trevor Paglen is a scientific, social writer and artistic provocateur. His works deliberately blur the boundaries between science, contemporary art, journalism, and other disciplines to create new and unusual forms, product of meticulous research— a lens for seeing and interpreting the world around us. As an artist he is intrigued by the idea of photography as a vehicle of truth, but his images do not adjust well to the traditional notion of documentary material. For example, in the photo series Limit Telephotography he uses long-distance optics to photograph top-secret military installations. In The Other Night Sky he uses amateur satellite observation data to seek and photograph Earth orbiters. He has previously transformed. En la serie Limit Telephotography, por ejemplo, utiliza sistemas ópticos de larga distancia para fotografiar instalaciones militares altamente secretas. En The Other Night Sky usa datos de observadores amateurs de satélites para buscar y fotografiar naves que orbitan la Tierra. En otros trabajos transforma documentos como pasaportes, datos de vuelo y nombres en clave de operativos de la CIA en auténticos objetos de exposición. The three photographs exhibited at the biennial are part of a project dedicated to tracking the almost invisible flights of the remotecontrolled military drones, combat aircrafts that were first used systematically by the American army in the Afghanistan war. Controversy surrounds these new instruments of war that expertly watch and bombard with surgical precision—the agents of terrible civilian massacres. Libia Posada COL Dibujo: impresión digital sobre poliestireno. Drawing: digital print on polystyrene. Variable dimensions La formación médica de Libia Posada se refleja en sus proyectos artísticos, que tienen como punto de intersección el cuerpo, sus diferentes representaciones y el impacto que tienen en él las influencias culturales. El cuerpo es punto de partida para analizar, definir y relatar los fenómenos y circunstancias sociales hostiles que concurren sobre él. Doce fotografías dibujan el mapa del recorrido de algunas de las víctimas del desplazamiento en Colombia. Estas cartografías de las zonas recorridas son retratadas en blanco y negro por la artista. La demarcación del recorrido hace visible la topografía del dolor que acompaña a. The body is the starting point to analyze, define, and speak of hostile social phenomena that take place. Ambiguity, irony, beauty, and the pillage of culture are permanently present in her body of work which stretches from installation to collective action and interventions in public space, all approached from a feminist perspective. Signos cardinales Cardinal Signs is a powerful installation. Twelve photographs draw the map of the itineration of internally displaced Colombians. Each itinerary is drawn with ink on their legs and feet. The collection presents us with the topography of the pain that belongs to each of the victims forced to abandon their homes due to political and economic conflicts that have little to do with them. These drawings on skin act as a memory activator and a means for reclaiming the identity. Freya Powell GBR Su campo de acción abarca diferentes medios como el dibujo, la literatura, la fotografía y el video. Pero todos ellos comparten la idea de archivo debido a que sus obras funcionan como colección; en sus propias palabras, un archivo sentimental que se procesa desde lo institucional a lo personal. Sus proyectos, de estética minimalista y abstracta, superan lo meramente documental para convertirse en un proceso de percepción pausada y conectar con las experiencias colectivas de sujetos concretos, evitando así los efectos nocivos de la distancia. Freya Powell exercises the notion of personal and political distance via experiences of loss and through finding connections between a given historical moment and the present. Her field of action includes media as diverse as drawing, literature, photography, and video. In all of them she deals with the concept of the archive, since all of her works are collections—an emotional archive, to paraphrase her, that processes both the institutional and the personal. Her minimalist, abstract compositions go beyond documenting to become a process of paused perception, of connective, collective experiences with concrete subjects which escape the limitations of distance. Desde una perspectiva de archivo, Esta noche cuando cierre los ojos. Sobre un fondo negro, estos fragmentos escritos en letras blancas y acompañados de las fechas de las ejecuciones aparecen y desaparecen en completo silencio. Fiel a su propia estética, todo es pausado, simple y calmado. A través de varias experiencias individuales de un mismo colectivo, su intención es detenerse ante una situación real para darle voz, fecha y palabra. Conceived as an archive, Esta noche cuando cierre los ojos. This video brings together the last words spoken by death row inmates in Texas, minutes before their execution. Against a black backdrop, these fragments in white lettering appear and disappear in total silence, accompanied by the date of execution. The piece is faithful to its simple, calm aesthetic. Through the individual experiences of the collective, the artist seeks to take on a real situation that is relevant despite taking place far away, lending it a voice and a date. Elena del Rivero ESP Perlas, agujas, hilos y alfileres. Pearls, needles, thread, pins. Her signature is the use of alternatives to traditional drawing tools, such as needle and thread, as well as the written word. Her meditations on time, intimacy, and femininity are frequent in her work, although always built more around a question than an assertion. The brutality of the inquisition. También se exhibe su video Nu descendant un escalier and returning, as well, grabado al abandonar su casa-estudio gravemente dañada por los ataques del S. Here the nude hides her face behind a mask, representing a global nude, homeless and alone. Yinka Shonibare GBR De familia nigeriana, comenzó a utilizar las llamadas telas africanas en los años noventa. En realidad, son telas de algodón holandesas estampadas a la cera y compradas en Londres. En sus composiciones toma como punto de partida esa idea de construcción artificial, de híbridos culturales que constituyen lo que luego se considera auténtico. Utiliza telas para componer vestidos de corte victoriano que cubren figuras de alienígenas, o para estirarlas y pegarlas en lienzos. Otras veces reinterpreta obras famosas del arte o la literatura, que invierte conceptualmente introduciendo símbolos de la cultura africana. Using a variety of colors and textures as a hallmark, Yinka Shonibare touches on the problems of colonialism in particular the tangled relationship between Africa and Europe and the concepts of class and race in the contemporary context. In fact, the cloth is actually Dutch wax-printed cotton bought in London. He uses this colorful material as a metaphor of the great fallacy of the contemporary world that paradoxically attempts to build a collective identity. He uses the idea of artificial construction and cultural hybrids that come to be considered authentic. Fabrics are used to create Victorian dresses which clothe aliens or are stretched and glued to a canvas. For other pieces he reinterprets famous works of art or literature, inverting them conceptually into symbols of African culture. Uno de estos ejemplos es La Méduse, recreación del célebre cuadro de Géricault La balsa de la Medusa, que le sirve como símbolo de los crímenes de los oligarcas europeos. El gobierno francés no hizo nada por salvar sus vidas. The tragedy occurred at the beginning of the nineteenth century when a French frigate, on its way to Senegal to recover control of the region that had been taken by the British, was shipwrecked in a storm, resulting in the death of most of its crew. The French government did nothing to save their lives. With this piece, Shonibare calls our attention to the most corrupt side within the struggle for colonial power that underlies this calamity. Yoshihiro Suda JPN Pintura sobre madera. Variable dimensions Las características del espacio donde expone sus obras es fundamental para la creatividad del artista japonés Yoshihiro Suda. Sus esculturas hiperrealistas meticulosamente talladas en madera son intervenciones, adiciones sutiles a un espacio o ambiente, hasta el punto de que la escultura es solo la mitad de la obra de arte; la otra es la propia instalación. El elemento sorpresa es fundamental para el trabajo del artista. Esa fusión de los límites entre la realidad y la ilusión crea una sensación surrealista que incluso llega a convertirse en siniestra. The hyperrealist sculptures meticulously carved in wood are interventions, subtle additions to a space or setting, to the point that the sculpture is only half of the work of art—the other half is the installation itself. Visitors will initially wonder if they have missed something when they see his delicate sculptures. This toying with the boundaries between the real and the illusory creates a surrealistic feeling that can even border on sinister. Suda developed his interest in carving plants as a student at the Tama Art University in Tokyo, in the early nineties. Conceptual art was at its peak, and the idea that art could be decorative or aesthetic was largely ignored. Concerned about this state of affairs, he sought to create unique works that, surprisingly, would demand no knowledge of contemporary art theory. He combines traditional Japanese carving with modern concepts about the role of art in everyday life. Eduardo Abaroa MEX Abaroa produces sculptures and installations through which he addresses social, cultural, and anthropological problems from a critical perspective, suggesting new views and new debates. In recent years Abaroa has concentrated on projects that involve archeology and anthropology—especially pre-Hispanic culture in Mexico. His biennial piece, Proyecto de destrucción total del Museo de Antropología Project design for the demolition of the Museum of Anthropology is a meditation on the ethnographic fascination with Mexican indigenous peoples, frequently taken for cultural processes from the past, a perspective that ignores their presence in the present. He highlights this hypocrisy by tying it to the clichés that exist around these native cultures, invested with a romantic air of European colonialism that is directly inherited and that, in his opinion, does not correspond in the least with the reality of the past or the present. A pesar de ser un producto de ficción, pretende marcar un argumento ideológico cuya fuerza llame la atención, que se contraponga al tono moderado y pasivo que habitualmente tienen las exhibiciones en los museos antropológicos. Cuestiona, también, los intentos de unir arquitectura oficial e ideología nacional con un fin que no es fiel a esa supuesta identidad nacional, sino a la demanda de un producto turístico. At 1 Cartagena the piece includes a series of serigraphs, a model, a video, and rubble containing broken pre-Hispanic figures. Despite being a work of fiction, it intends to outline an ideological argument that will draw attention. This tone stands in contrast to the modest, passive one usually adopted at exhibitions in anthropological museums. In addition, it questions the efforts being made to unite official architecture and national ideology in a project that is not faithful to the so-called national identity but rather meets the demands of a touristic product. Radcliffe Bailey USA Instalación, 8 m2. Piano keys, plaster cast bust, and metallic paint Descendiente de esclavos y soldados del Norte en la Guerra Civil estadounidense , Radcliffe Bailey utiliza como seña de identidad artística la incorporación de temas y objetos relacionados con su vida e historia familiar. Recupera así la memoria individual y la colectiva, la suma de las cuales define nuestra identidad. Bailey trabaja con diversos medios —pintura, escultura, dibujo e instalación— para introducir en ellos, a modo de collage, objetos y materiales como agua de mar, arcilla roja de Georgia y antiguas fotografías de su familia, por citar unos ejemplos. Considera al individuo como un ser conformado por distintas historias que, en su caso, se reflejan en sus obras. También en ellas plantea el concepto de otredad, casi siempre impuesto, y de las etiquetas o categorizaciones sociales, aplicadas tanto al individuo como al arte y la cultura. Las teclas de piano de Windward Coast — West Coast Slave Trade representan un océano del que surge un busto negro, sugiriendo el viaje realizado por los esclavos africanos hacia América, convertido en. With Southern slaves and Union soldiers for ancestors in the American Civil War , Bailey references identity by incorporating themes and objects from his family history. In this manner, he recovers both individual and collective memory, the sum of which defines our identities. He uses a variety of media— paint, sculpture, drawing, and installation—objects and materials from his personal and historical past, blending them collage-style: sea water, red clay from Georgia, and old family photographs. Bailey conceives the individual as a makeup of stories, stories that he communicates in his work, posing the concepts of otherness, almost universally imposed, and social categorization, applied to the individual as well as to art and culture. Windwar Coast—West Coast Slave Trade is an ocean of piano keys from which a black head emerges, suggesting the ocean crossed by African slaves on their journey to America. He juxtaposes the idea of separation that an ocean implies with that of communication that. Lothar Baumgarten DEU Por su inmediatez, esas esculturas efímeras constituyen un discurso sobre lo transitorio; su esencia consiste en una manifestación reducida y una existencia limitada por el tiempo. This photographic essay presents a dialectic discourse between the color and black and white images of ephemeral sculptures— mostly taken outdoors in the late sixties by the German artist Lothar Baumgarten— and the ethnographical practice of Theodor Koch-Grünberg and Guido Boggiani at the turn of the nineteenth century in the Amazon. Through their immediacy, these ephemeral sculptures establish a discourse on the transitory; their essence lies in a reduced manifestation and an existence limited by time. Their enigmatic power and imaginary language lie in their insolubility of form and content. Even after their complete disappearance they create a mental space. These early ephemeral activities become a source for photography. They are works of the senses and the mind. Esas actividades efímeras tempranas se convierten asimismo en un objeto de representación. Aliento también reflexiona sobre la contradicción entre cultura y naturaleza, y refleja en su ambivalencia nuestra representación y visión cultural del mundo natural. Las culturas arcaicas son categóricas, y en su relación con la naturaleza ejercen sobre todo un efecto disuasorio sobre el comportamiento. Para el artista, solo se puede lograr el respeto y la protección de la naturaleza a través de una cultura sensorial, no mediante imperativos morales. Aliento Breath reflects on the contradictions between culture and nature, reflecting the ambivalence of our representation and cultural view of nature. Archaic cultures are categorical, and their relationship to nature is one that mostly moderates behavior. In our demystified world, our relationship to nature is structured by intentional action. We can only respect and protect nature through a sensorial culture, not through moral imperatives. Asta Gröting DEU A principios de los años noventa incorpora en sus proyectos el video y las performances. Kartoffeln Papas son cien papas claramente representadas, pero con la contradicción de estar realizadas en materiales nobles como son el níquel y la plata. In the early nineties, Gröting incorporated video and performance into her projects. Kartoffeln Potatoes is made up of one hundred clearly identifiable potatoes, only that they are contradictively forged from noble materials: nickel and silver. This sculpture references the basic questions of human existence such as social familiarity, the body, and feeding. Ig post. Verde menta. Paulhem dice:. Dannyedulk dice:. Ashhem dice:. 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His first great independent incursion into video is Drive-By. The piece was originally shown at night, for one week, in September on seven screens mounted outside the first floor of a South Michigan Avenue building, adjacent to his studio. Spectators could literally pass by in their car and see it, an unconventional format that gave the work its name. El video fue posteriormente editado en una versión de una sola pantalla y dieciséis minutos de duración, que fue producido en una edición limitada de cinco ejemplares para museos y coleccionistas privados. Drive-By presenta veinticinco performers saltando, rodando, cayéndose y danzando. The video was subsequently edited into a single-screen, sixteensecond version in a limited edition with five editions issued to museums and private collectors. Drive-By shows twenty-five performers jumping, rolling, falling, and dancing. The abstract movement is organized into segments that sometimes repeat in stop motion or in split frame, among other techniques. After editing the video, a track with varied sounds and music was added that included sighs, crickets, indigenous drums, and electronic effects. La distancia física y temporal y el hecho de estar inmersa en un medio cultural con códigos muy distintos la han hecho mirar con otros ojos algunos rasgos culturales de su país de origen. Ximena Garrido-Lecca has been living abroad for over a decade. Garrido-Lecca is interested in the social scenery of Peru and in how ancestral traditions have slowly disappeared as a consequence of globalization. Some of her sources of iconography include adobe walls, decorative railings, corrugated metal, jumbled public fountains, cemetery niches, and the larger baroque, overdone, popular aesthetic with its screaming colors and bizarre combinations of form. Moving away from minimalism and its emphasis on the finish and the singularity of each element, this work presents the material as part of an interwoven whole. The mat reflects. En el tejido se ve reflejada la calidez que caracteriza el trabajo artesanal, y proyecta una historia y un contexto social. La utilización del cobre como materia prima para la ejecución de labores tradicionales sugiere una reapropiación de recursos naturales, adquiriendo una dimensión simbólica. Como si fuera un metal con memoria de forma —que regresa a su forma original al ser expuesto a cierta temperatura—, se sugiere el retorno del cobre a ser material de una manifestación cultural, a través de la orfebrería y artesanía de diversas épocas. The use of copper as a raw material for the production of traditional artifacts suggests a re-appropriation of natural resources, taking on symbolic dimensions. It is as if the metal had shape memory—a metal that returns to its original form when heated—and it suggests the return of copper to its role as a medium of cultural expression through the work of coppersmiths and artisans through the ages. Sheila Hicks USA Puro lino natural de Francia. Variable dimensions Artista precursora en el uso de materiales no tradicionales del arte, Sheila Hicks utiliza fibras y otros materiales textiles en sus obras que considera una experiencia a medio camino entre la escultura y la performance. La obra Lares and Penates hace referencia a la mitología romana antigua, donde los lares y penates eran deidades protectoras de la familia y el estado romano. La instalación consiste en piezas textiles compactas, llenas de color, adheridas a un muro de forma conjunta, listas para ser adoradas. Museo Naval del Caribe. Sheila Hicks is an artist known for her use of nontraditional materials, such as textiles, in her work. This interest was born during her studies at Yale of traditional manufacturing techniques from Peru and Mexico in the pre-Colombian era. She considers her work midway between sculpture and performance. The cultural and social anthropologies of the peoples she has visited in the course of her extensive travels make an important appearance in her work, particularly their beliefs and ancient rituals. Lares and Penates references the relics of Roman mythology in which the Lares and Penates were deities that protected the Roman family and state. Albeit different entities, they were frequently worshipped together. According to Roman beliefs, the Lares watched over the family lineage and the Penates guarded the state and Roman patriotism. The installation is made up of compact textile pieces in Forma parte de una serie inicialmente conocida como The Evolving Tapestry. Viking is a sculpture made up of a linen tapestry that entwines itself. It is part of a series originally known as The Evolving Tapestry. The piece recalls a linen landscape, a vast natural expanse, a knoll of memory, precarious yet solid, firmly occupying its territory. Katie Holten IRL Utiliza habitualmente materiales reciclados con los que aborda conceptos y temas ecológicos, buscando la manera de comprometer el arte con el paisaje natural. La pieza gira y se tuerce sobre sí misma, deambulando por la pared, y constituye un registro de los desplazamientos personales de la autora a través del espacio y el tiempo a lo largo de cuatro meses. Cada vez que viajaba —en automóvil, en tren o en avión—, Holten creaba un segmento de esta composición. La artista muestra así. The piece turns and twists on itself, wandering along the wall as a record of the personal displacement that its author has experienced for four months, through space and time. Each time she travels—be it by car, train, or plane—Holten adds a segment to the composition. Her itinerary and carbon footprint are metaphorically enmeshed in the complex weaving of organic lines. The title of the work refers to the fact that the angle between leaves in many plants is The angle is derived from the golden number, equivalent to the ratio between two successive items in the Fibonacci sequence. In this manner she demonstrates her interest in emerging mathematics and mapping. Al explorar la elegancia y la lógica del croché tradicional irlandés, Holten utilizó la puntada simple, de manera inexperta, para dibujar líneas que representaran sus movimientos en el tiempo y el espacio. Cada vez que la pieza es instalada, el dibujo es ligeramente diferente, pero el trazo de las jornadas queda intacto. In exploring the elegance and logic of traditional Irish crochet work, Holten amateurishly uses a simple stitch to draw lines that represent her movements through space and time. Each time the piece is installed, the picture varies slightly, but the record of the day remains intact. Kimsooja KOR Su interés es lograr un equilibrio entre polos opuestos para alcanzar la armonía. Así, en sus performances ella misma se presenta como sujeto y objeto, presencia y ausencia. Otro de los temas que aborda en su trabajo son las diferentes perspectivas de la realidad y cómo interactuamos con ellas. Rechaza las categorizaciones sociales que nos son impuestas. Es un documental ni descriptivo ni narrativo, considerado por la artista como un poema y un estudio de antropología visual. Los siguientes capítulos, del total de seis no incluidos en esta Bienal , revelan la elaboración de encajes y la arquitectura de las ciudades europeas, las estructuras de arcilla de. She seeks to achieve a balance between contrasts to create harmony, the reason for which she presents herself as subject and object in her performances, present and absent. Another issue she approaches in her work is the existence of contrasting views of reality and how we interact with them. She rejects the social categories that are imposed on us. Thread Routes is the first chapter of the film serial about textile culture which focuses on Peru and its domestic traditions, popular culture, and national landscape. It is a nondescriptive, non-narrative documentary that the artist considers a poem and a visual anthropological study. The other five chapters of the series not included in this biennial reveal lacing techniques, the architecture of European cities, the clay structures of Gujarat in India, or the architecture and fabrics of Mali. Clemencia Labin VEN Concibe la pintura como un fenómeno que se rebela y se expande en el espacio, y la escultura como algo en el que el propio cuerpo puede participar, como en sus performances. Sus obras tienen una reminiscencia kitsch y tropical, muy ligada al imaginario de la infancia, que recrea para atraer la capacidad imaginativa sin reglas ni ataduras estéticas. Realizadas con retazos de telas, las piñatas y las truncas son formas tubulares que organizan el espacio desde diferentes alturas. Clemencia Labin has created an artistic universe of painting, installation, vibrant colored plastic sculpture, pop reminiscences, and abstract figures that speak of a cheerful, positive, energetic world. She conceives painting as a phenomenon that rebels and expands within space. Sculpture, too, is seen as something useful, that the body can even engage with; she expresses this concept occasionally through performance. Her works are tinged with the kitsch and the tropical, invested with childhood imagery recreated to attract a capacity for the fantastic that knows no aesthetic limits. Her piñatas are made out of scraps of various fabrics. They are presented as cylinders, organizing the space to create a geography that favors interbreeding, a place where cultures and molecularly different ways of being can coexist. En el mundo de Labin, la moda es un factor determinante, pero siempre a contracorriente. Desmitifica el objeto-marca y lo doblega. Quiebra argumentos estéticos y planta cara a las tendencias. Piñatas, truncas y ensamblajes son espejos de nítida precisión de su voluntad artística. Reordenan su identidad. She de-mystifies the object-brand and breaks it in two. She splits aesthetic arguments and challenges fads. Her piñatas and assemblages are faithful mirrors of her artistic will. They rearrange her identity. Con sus obras reflexionan sobre el impacto del arte en los sistemas políticos y sociales, unidos de manera inevitable a los acontecimientos culturales. Utilizan un lenguaje y unos conceptos claros, focalizados en el presente y en las tecnologías de nuestro tiempo. Se formaliza como una superficie de luz y patrones textiles, uniendo lo artesanal y tradicional a las tecnologías de la información. Con este proyecto parten de la concepción de los tapices tradicionales como formas de comunicación de historias de. Nora Ligorano and Marshall Reese have collaborated since the eighties. Their trademarks are unusual materials, industrial processes, limited edition multiples, and diverse disciplines including video, sculpture, and installation. The fibers morph into a surface of light and textile patterns, blending artisanal traditions with information technology. The work is born from the conception of traditional tapestries as a means to communicate battle stories, myths, and religious ideas. Through this piece, we have a glimpse of a virtual world that narrates in real-time the history of global cultural information. Uniendo los dos campos, se visualiza un mundo virtual que narra la historia de la información cultural global en tiempo real. La obra pretende conectar el arte con formas de networking, comunicación y sociedad. The optical fiber brocade is joined to panels and connected to green, blue, and red computercontrolled LEDs that follow color sequences according to information downloaded from Twitter on the number of take offs and landings at the John F. Kennedy airport in New York City as well as information from other sources, such as from seismographs. The tapestry intends to link art with networking, communication, and society. Guillermo Mora ESP Esta precariedad del elemento que sustenta la pintura hace que esta pierda su forma, caiga al suelo, se adapte a los espacios y nos haga conscientes de su calidad blanda. Prescinde de la estructura que por siglos la ha sustentado —el bastidor— y es ella misma la que genera su propia estructura. These pieces are made by laying coat over coat of paint some weighing more than twenty kilos and then simply binding them with rubber bands. The precariousness of this support allows it to lose its shape, fall to the ground, and adapt to the space where it is placed. We become aware of its malleable quality. Paint is presented in its most physical, material state. Without the help of the stretcher that has, for centuries, been its support, paint generates its own structure. Nevertheless, without even the rubber bands it would lose the little shape that is takes on in his works. What are they? Kristin Oppenheim USA Esta letra de la canción de los Beach Boys apropiada por la artista Kristin Oppenheim le sirve para su instalación de sonido Sail on Sailor. Sarita babo sexo rubia Pornstar. Jayanthi kumar jodido MILF mamada. Tia Amateur Doggystyle indio desnudo cum culo. Tia Amateur Doggystyle indio. Teen Hardcore. Teen chica Español hermana. Old spunkers Facial tetas tetas con curvas tetona grasa. Old spunkers Facial tetas tetas. Tetas grandes mamada tetas Morena Paseo de polla jodido. Muchos en cada cuatro patas y escucha. 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Paydayloan dice:. Online Payday Loans dice:. Best Payday Loan dice:. Davidfraws dice:. BRA Los sujetos y argumentos parecen insignificantes, pero los planos secuencia con los que trabaja —sin cortes ni montaje posterior— hacen que las piezas resulten cercanas y, a la vez, confusas y distantes.

Origina un punto de encuentro entre lo que filma y quien ve lo filmado. A través de cinco pantallas paralelas, muestra cinco vistas de los corredores que se entrecruzan. La filmación. The subjects and arguments seem insignificant, but his long takes—without cuts or edits—make the resulting works appear close, while at the same time confusing and distant.

He orchestrates fuckking storeis en fuente gujarati meeting point between the subject of the film and the viewer of the film. He presents five views of the crisscrossing corridors on five screens. The cameras are all pointing in the same direction, from five different fixed positions, exhibiting the symmetry of the halls. The images fuckking storeis en fuente gujarati interrupted by wandering people that randomly intersect the screen, appearing in different sizes on different screens due to their positioning.

The filming does not follow any recognizable pattern or. La vista se vuelve una abstracción irritante, como sugiere también el título. The coordinates are as exact as they are abstruse, while the symmetry of the place restricts human movement to only two possible directions: the figures traverse the scene horizontally to the plane of the camera or move deeper into the space.

The formal makeup is divided into two temporal levels: the videos, recorded at intervals for six months, and the varying duration of each, between eight and forty minutes. Dana Levy ISR Es una alusión ineludible a los cuentos góticos de terror.

Mueven las alas poco a poco, como si despertaran de un sueño centenario, y a continuación despegan y vuelan por el espacio. Esa fantasía enormemente teatral parece natural; la combinación de lo real y lo sobrenatural suscita infinitas asociaciones. The Wake was recorded in the dark halls of the Department of Invertebrate Zoology at the Carnegie Museum of Natural History in Pittsburgh, a mysterious fuckking storeis en fuente gujarati where light from the fluorescents on the ceiling is reflected on the nineteenth century displays.

It unavoidably alludes to Gothic tales of horror. The slow panoramic of long dead insects soon discovers a drawer where the butterflies are breathing with renewed vigor. They bat their wings little by little, as if awaking from a centuries-old sleep, and proceed to take flight and fly down the hall.

The enormously theatrical fantasy gives us the impression of it being normal; the combination of the real and the supernatural elicits infinite associations. Levy attempts to deconstruct the manner in which communication media simplifies and decontextualizes the desire for freedom, specifically through the use of images of war, immigration, and displacement, topics charged with questions about life and death, history and memory.

Beth Moysés BRA A través de diversos medios como la fotografía, el video, los dibujos y la instalación, Beth Moysés crea sus obras click here torno a la violencia hacia la mujer.

Utiliza un corpus de símbolos ligados a lo femenino: el dedal y la aguja, el rojo y el blanco, símbolos poéticos y enormemente poderosos, utilizados a lo largo de la Historia para presentar una iconografía femenina delicada, intimista y refinada, pero que acarrea consigo una historia de violencia y tragedia.

Reconstruyendo sueños es una serie de fotografías a partir del registro de la performance con el título homónimo que presentó en Uruguay en el año Entonces, mujeres vestidas de novia caminaron por las calles de Montevideo, portando guantes blancos transparentes como símbolo de la propia piel, en los que bordaron las.

Through the diverse media of photography, video, drawing, and installation, Beth Moysés builds her work around the subject matter of violence against women. She approaches this idea through notions of romantic love, imposed on the collective unconscious centuries ago, notions that are one of the main causes of physical and psychological assaults on women.

She deals fuckking storeis en fuente gujarati a corpus of symbols related to the feminine, such as thimbles and needles, or red and white, poetic symbols that are tremendously powerful and that have been used throughout history to present a delicate, private, and refined feminine iconography that carries with it a history of violence and tragedy. Reconstruyendo sueños Rebuilding Dreams is a series of photographs from fuckking storeis en fuente gujarati performance by the same name presented in Uruguay, in It involved one hundred fuckking storeis en fuente gujarati dressed in wedding gowns walking through the streets of Montevideo, wearing white, transparent gloves as a symbol of their own skin in which they embroidered their.

Mientras bordaban tenían que recordar los daños sufridos a lo largo de su vida, en cada puntada debían concentrarse article source liberar el sufrimiento. They were told to remember the abuse they had suffered throughout their lives with each stitch they made, in order to release fuckking storeis en fuente gujarati pain.

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Moysés has go here images in her work, such as images of battered women, wedding dresses, women working, and mother-daughter bonds. These symbols and images are used as a fuckking storeis en fuente gujarati of exorcism, a cathartic ritual for the purification of women. Emeka Ogboh NGA Trancemission es una instalación sonora que indaga en la memoria, el espacio y el tiempo a través fuckking storeis en fuente gujarati la existencia itinerante del propio artista.

De esta manera, el agua del pozo se convierte en depósito de experiencias. Emeka Ogboh has an artistic interest in amplifying the concepts of listening and hearing. His work is predominantly video and sound. In this case, he brings together fuckking storeis en fuente gujarati recordings to explore history and the aural infrastructures of cities as cosmopolitan sites with unique identities.

This is especially true for Lagos, whose sound landscape is constantly being updated. The piece captures the sounds of two port cities, Lagos and Yokohama, through extracts of recordings that reflect the aural experience of the fuckking storeis en fuente gujarati in these places. Trancemission is installed on fuckking storeis en fuente gujarati well as an electroacoustic composition in the Palacio de la Inquisición Patio de la Huerta, in another port city.

The water in the well becomes a repository of life experiences, creating an opportunity for the audience to project themselves into their environment as they experience the sounds.

Trevor Paglen USA Sin título Reaper Drone La polémica envuelve a estas nuevas armas de guerra que vigilan y bombardean de manera precisa, fría y aséptica, y cuyas acciones han causado terribles matanzas de civiles.

Trevor Paglen is a scientific, social writer and artistic provocateur. His works deliberately blur the boundaries between science, contemporary art, journalism, and other disciplines to create new and unusual forms, product of meticulous research— a lens for seeing and interpreting the world around us. As an artist he fuckking storeis en fuente gujarati intrigued by the idea of photography as a vehicle of truth, but his images do not adjust well to the traditional notion of documentary material.

For example, in the photo series Limit Telephotography he uses long-distance optics to photograph top-secret military installations. In The Other Night Sky he uses amateur satellite click to see more data to seek and photograph Earth orbiters. He has previously transformed. En la serie Limit Telephotography, por ejemplo, utiliza sistemas ópticos de larga distancia para fotografiar instalaciones militares altamente secretas.

En The Other Night Sky usa datos de observadores amateurs de satélites para buscar y fotografiar naves que orbitan la Tierra.

En otros trabajos transforma documentos como pasaportes, datos de vuelo y nombres en clave de operativos de la CIA en auténticos objetos de exposición. The three photographs exhibited at the biennial are part of a project dedicated to tracking the almost invisible flights of the remotecontrolled military drones, combat aircrafts that were first used systematically by the American army in the Afghanistan war.

Compilation titfuck Watch Sex Movies Gorgeous cumshots. In addition, it questions the efforts being made to unite official architecture and national ideology in a project that is not faithful to the so-called national identity but rather meets the demands of a touristic product. Radcliffe Bailey USA Instalación, 8 m2. Piano keys, plaster cast bust, and metallic paint Descendiente de esclavos y soldados del Norte en la Guerra Civil estadounidense , Radcliffe Bailey utiliza como seña de identidad artística la incorporación de temas y objetos relacionados con su vida e historia familiar. Recupera así la memoria individual y la colectiva, la suma de las cuales define nuestra identidad. Bailey trabaja con diversos medios —pintura, escultura, dibujo e instalación— para introducir en ellos, a modo de collage, objetos y materiales como agua de mar, arcilla roja de Georgia y antiguas fotografías de su familia, por citar unos ejemplos. Considera al individuo como un ser conformado por distintas historias que, en su caso, se reflejan en sus obras. También en ellas plantea el concepto de otredad, casi siempre impuesto, y de las etiquetas o categorizaciones sociales, aplicadas tanto al individuo como al arte y la cultura. Las teclas de piano de Windward Coast — West Coast Slave Trade representan un océano del que surge un busto negro, sugiriendo el viaje realizado por los esclavos africanos hacia América, convertido en. With Southern slaves and Union soldiers for ancestors in the American Civil War , Bailey references identity by incorporating themes and objects from his family history. In this manner, he recovers both individual and collective memory, the sum of which defines our identities. He uses a variety of media— paint, sculpture, drawing, and installation—objects and materials from his personal and historical past, blending them collage-style: sea water, red clay from Georgia, and old family photographs. Bailey conceives the individual as a makeup of stories, stories that he communicates in his work, posing the concepts of otherness, almost universally imposed, and social categorization, applied to the individual as well as to art and culture. Windwar Coast—West Coast Slave Trade is an ocean of piano keys from which a black head emerges, suggesting the ocean crossed by African slaves on their journey to America. He juxtaposes the idea of separation that an ocean implies with that of communication that. Lothar Baumgarten DEU Por su inmediatez, esas esculturas efímeras constituyen un discurso sobre lo transitorio; su esencia consiste en una manifestación reducida y una existencia limitada por el tiempo. This photographic essay presents a dialectic discourse between the color and black and white images of ephemeral sculptures— mostly taken outdoors in the late sixties by the German artist Lothar Baumgarten— and the ethnographical practice of Theodor Koch-Grünberg and Guido Boggiani at the turn of the nineteenth century in the Amazon. Through their immediacy, these ephemeral sculptures establish a discourse on the transitory; their essence lies in a reduced manifestation and an existence limited by time. Their enigmatic power and imaginary language lie in their insolubility of form and content. Even after their complete disappearance they create a mental space. These early ephemeral activities become a source for photography. They are works of the senses and the mind. Esas actividades efímeras tempranas se convierten asimismo en un objeto de representación. Aliento también reflexiona sobre la contradicción entre cultura y naturaleza, y refleja en su ambivalencia nuestra representación y visión cultural del mundo natural. Las culturas arcaicas son categóricas, y en su relación con la naturaleza ejercen sobre todo un efecto disuasorio sobre el comportamiento. Para el artista, solo se puede lograr el respeto y la protección de la naturaleza a través de una cultura sensorial, no mediante imperativos morales. Aliento Breath reflects on the contradictions between culture and nature, reflecting the ambivalence of our representation and cultural view of nature. Archaic cultures are categorical, and their relationship to nature is one that mostly moderates behavior. In our demystified world, our relationship to nature is structured by intentional action. We can only respect and protect nature through a sensorial culture, not through moral imperatives. Asta Gröting DEU A principios de los años noventa incorpora en sus proyectos el video y las performances. Kartoffeln Papas son cien papas claramente representadas, pero con la contradicción de estar realizadas en materiales nobles como son el níquel y la plata. In the early nineties, Gröting incorporated video and performance into her projects. Kartoffeln Potatoes is made up of one hundred clearly identifiable potatoes, only that they are contradictively forged from noble materials: nickel and silver. This sculpture references the basic questions of human existence such as social familiarity, the body, and feeding. En el contexto da Bienal, la obra representa este alimento originario del Nuevo Mundo que sigue alimentando a Occidente. Se siente libre con el objeto de partida, que mantiene identificable, pero elige distintos materiales para su representación perlas, imanes, bronce, vidrio, cables o motores , cambia tamaños o les da un giro, convirtiendo lo invisible en visible. Gröting is firmly planted in the artistic tradition of the twentieth century in which any everyday item can achieve the status of art. Her sphere of action expands through the use and modification of the objects in our lives. She takes the object as a starting point. The object remains recognizable but takes on other materials in its representation pearls, magnets, bronze, glass, cable, and motors , changes its size, or takes a turn, making the invisible visible. She seals her works with blunt titles lending simplicity to what is otherwise complex. Este injerto de tomate y tabaco saltó a la fama en un capítulo de la longeva y famosa serie de dibujos animados Los Simpson. By participating both in individual and collective projects he works to raise awareness and a sense of social responsibility in the fields of free culture, human rights, and ecology. He sees his artistic work as a means of helping the world and an unlimited source of knowledge and self-realization. The tomacco became famous thanks to The Simpsons. In the fable, the iconic Homer Simpson becomes a farmer and accidentally discovers the tomacco, a mutant tomato and tobacco hybrid that turns every casual taster into a dangerous addict. La obra presentada en la Bienal, Alianza del Tomaco, es una instalación multimedia que describe todo el proceso alrededor de este proyecto, combinando diferentes soportes y disciplinas artísticas. En un recorrido de la ficción a la realidad, el artista ha copiado este invento para cultivarlo. The piece presented at the biennial, Alianza del tomaco, is a multimedia installation that describes this process combining a variety of materials and artistic disciplines. In a journey through fact and fiction, the artist has copied this invention and begun to grow it. The tomato and the tobacco belong to the same family of plants, the Solanaceae, which allows for this graft. As a product of conversations with naturalists, farmers, and shamans, as well as through careful study, he has planted and tended it in lands stretching from Spain—in Andalucía and Extremadura—to the Sahara and Colombia, bringing this creature from art to ecology and from the back patio to crops across the globe. Wood, typewriter ribbon and plastic. Sus proyectos consisten en esculturas, dibujos, instalaciones y pinturas con objetos encontrados, reapropiados y transformados. A través de ellos introduce la posibilidad de una realidad distinta, imaginada. His artistic projects include sculpture, drawing, installation, and painting in which the main elements are always found objects that are appropriated and transformed. In a Colonial Style is a set of sheets illustrated with furniture design in supposed colonial style, taken from a German book from the forties. Recurrent themes from his work are present, such as the structure of. En If a Desk with Words It also addresses the notion of function assigned to objects, which can ultimately be transformed and removed from the original context to exist within a different reality. Lucía Madriz CRI En Costa Rica se consumen cereales transgénicos como el maíz, el arroz y el trigo desde los años noventa. En los productos transgénicos, el ADN ha sido manipulado, y las compañías reclaman la propiedad de las semillas a través de patentes. For Lucía Madriz, art is a tool for understanding the world. Although she generally produces video, painting, and drawing, her work goes even further as she explores the poetic, political, and emotional aspects of the issues at hand, identifying more with these than any given medium. Some of her most recognizable works are her seed installations, harvested from various beans and grains, staple foods in Latin America and the Caribbean. In Costa Rica, transgenic cereals—including corn, rice, and wheat—have been on grocery shelves since the nineties. DNA is manipulated in transgenic products so that corporations can claim rights on seeds via patents. In general, the seeds have been modified to tolerate up to 25 percent more agrochemicals, to include pesticides, to not produce seeds, or to contain genetic information derived from animals, such as strawberries with fish DNA. Both the seeds and the fertilizers must be bought every year from the same company, making. Estos productos vienen con un modelo de dependencia económica que afecta a las poblaciones rurales, ya que las semillas y todos los fertilizantes deben comprarse cada año a la misma compañía, y no se pueden guardar semillas para la siguiente temporada como se ha hecho desde que se inició la agricultura, entre 6. Estas obras son una forma de expresar cómo los seres humanos nos estamos vinculando con la naturaleza, fruto de su preocupación sobre cómo nos afectan los asuntos ambientales. For the artist it is important to show how our abstractions about the world begin with our habits and attitudes. Julie Mehretu ETH Nos encontramos con un lenguaje abstracto y cambiante que contiene pinceladas, graffiti, caligrafía, paisajismo, elementos góticos, alusiones arquitectónicas. Pero también. The works are built in stages as elements add to or erase previous layers. Her style is not easily definable; it is almost chaotic, never stable. We are faced with an abstract and ever-changing language that contains hints of graffiti, calligraphy, landscaping, Gothic elements, and other architectural references. In addition, we find tattoos, flags, comic scraps, and other objects, each acting as a separate element within the whole. Mehretu parts from the premise of architecture as a vehicle for social history and power. She then proceeds to imagine a new present, a fictional topography developed through a formal vocabulary of lines, colors, gestures, marks, squares, characters, clouds, erasures, and blemishes that are dressed up and stratified on the surface of the canvas. Her works invite us to participate in a dynamic visual conception of contemporary existence, a representation of social. Un léxico pictórico complejo que reflexiona, de una manera mimética, sobre la cosmología cambiante que es nuestro momento histórico, siempre persistente en su proceso de desarrollo, siempre evolucionando por un precipicio de transformaciones. They can be inspired by a popular uprising in a public square, by a behavioral algorithm in a regular office, or by post-human culture in its mutations towards machine. She achieves this through a pictorial lexicon that is at once complex and personal and that reflects mimetically on the changing cosmology of our historical moment, persistently evolving on a bleeding edge of transformation. Carlos Motta COL En el primer video, dos hombres —un indígena y un hispanoparlante— viajan en canoa por un río del Caribe colombiano, contando historias sobre los pecados nefandos, actos de sodomía que tuvieron lugar en América durante la conquista. El segundo video es una adaptación ficticia de Los infortunios de un sodomita exiliado en la Bahía del siglo xvii, texto del antropólogo brasileño y activista por los derechos gay Luiz Mott, que documenta la desafortunada historia de un portugués cuya vida estuvo definida por innumerables confrontaciones con la Inquisición. In the first video, two men, a native and a Spanish speaker, travel by canoe along a Colombian river, telling stories about abominable sins—acts of sodomy that took place in the Americas during colonization. The second video is a fictional adaptation of Los infortunios de un sodomita exiliado en la Bahía del siglo xvii The misfortunes of a sodomite banished to the seventeenth century bay , a text in which the Brazilian anthropologist and gay rights activist Luiz Mott documents the unfortunate story of a Portuguese man whose life was defined by innumerable confrontations with the Inquisition. Lastly, a native slave in La visión de los vencidos The vision of the vanquished leads a group of Spanish El proyecto mantiene la línea de investigación del artista basada en el reconocimiento de los relatos de comunidades e identidades que la historia ha suprimido. The purpose of Nefandus is to establish what the consequences of revising historical categories could be and writing new meanings into them through research or imagination in order to achieve greater social freedom. He shows us the problems that exist in the peripheries in relation to what is imposed on them from the centers, emphasizing the contradictions embedded in the process of modernization. Thomas Jefferson and Sally Hemings, N. Aunque el cuerpo siempre ha recibido los efectos de la Historia, también se ha constituido en el lugar de la resistencia. She has generated controversy by bringing up subjects that make people uncomfortable, introducing taboos that show us we have not yet transcended our postcolonial conditioning. These do not make up a series per se. Although the body has always felt. En The Fir-Palm, un cuerpo negro femenino, colonizado, se convierte en la tierra donde crece ese fir-palm, cruce entre abeto de Nueva Inglaterra y palmera caribeña, y símbolo de la identidad de la autora nacida en Boston de padres procedentes de Jamaica. Para ella, el paisaje que habitamos es una amalgama del cuerpo colonizado y la tierra a la que ha sido trasplantado. In The Fir-Palm, a black, colonized, female body becomes the land in which the fir-palm grows, The tree grows towards a clouded sky, which symbolizes the social anxiety that mixed-race people experience. To her, the landscape we occupy is a mixture of the colonized body and the land that has been transplanted. She considered hybridization to be a concept that we insist upon ignoring but that must be considered in order to understand what we are today. Lotty Rosenfeld CHL Este grupo interdisciplinar promovía nuevas propuestas estéticas basadas en la intervención ciudadana. La guerra de Arauco The Arauco War is a portrait of the ongoing traditional disagreement between the Mapuche people given the name Arauco by the Spanish conquistadors and the authorities. The video combines images with language as a form of power to present an overview of history—past, present, and future. This interdisciplinary group promoted new aesthetic proposals based on citizen engagement. Her critical reflection and antidictatorial activism sought to provoke a reaction in the audience and the artistic milieu in the Chile of the seventies and eighties. Su extensa obra esta marcada por la oposición, la desobediencia, la lucha contra la injusticia y la rebeldía surgida en el contexto sociopolítico chileno de los años de dictadura. Su obra gira en torno a una mirada reflexiva sobre el signo sus posibilidades de poder ser subvertido y sus implicaciones en la sociedad, la insubordinación y la resistencia a cualquier signo impuesto desde fuera. Sus proyectos se formalizan desde la acción, la performance, la fotografía, el video o la instalación. Her work revolves around a careful observation of symbols, their capacity for subversion, their implications in society, and the resistance made to any symbol that is externally imposed. Her projects include performance, photography, video, and installation. El tema de estudio es la relación entre las empleadas del hogar latinoamericanas y sus empleadoras, abordando así problemas de género, poder, clase y raza. Las artistas parten de la base de los prejuicios en torno al servicio doméstico, heredados de la sociedad colonial, y proponen nuevos métodos de entendimiento y comunicación social. Se consigue trascender, así, el mero proyecto artístico y convertirlo en un acto simbólico que afecta la vida real. The topic is the relationship between Latin American housekeepers and their employers, exploring issues of gender, power, class, and race. Made up of photographs, videos, and interviews with one hundred women between the ages of nineteen and ninety-five, the project combines art and sociology, seeking to dismantle the hierarchical relationship between these women. The artists examine the inherited colonial prejudices surrounding domestic work and propose new angles for comprehension and social communication. The visual treatment of the women is the same across the board—they are even dressed in the same clothes as an exercise in equality and for the purpose of undermining bigotry. These actions transcend the artistic plane and the piece becomes a symbolic act with real life repercussions. Rumié y Graham desarrollan proyectos de contenido político o relacionados con la psicología y la injusticia, refiriéndose a colectivos particulares, a cuestiones como la herencia territorial y el papel del artista comprometido con la sociedad. Sus obras no constituyen un mero planteamiento crítico, sino que proponen soluciones y abren un camino de esperanza para los problemas que las preocupan. Ruby Rumié develops projects with political content and projects related to psychology and injustice, referencing particular collectives in questions of territorial inheritance and the role of the socially committed artist. Her works do not merely present critical arguments but also propose solutions and pave a road of hope for issues that concern her. Justine Graham is a photographer that takes on issues of social, cultural, and spatial identity. Eduardo Sarabia USA Eduardo Sarabia looks into the history of contemporary Mexican society, investigating the influence of pre-Hispanic myths on culture today. He employs a variety of aesthetic and symbolic components from ancient and contemporary Mexican culture, while also incorporating the reality of the current political situation in the country, such as the conflicts implied in the war on drugs and the inequality that permeates the country. This rich diversity of elements is what characterizes his work. One of his recurring media is ceramic. Encuentra las mejores ideas de decoración y decoradores e inspírate para mejorar tu hogar en nuestro blog. Participa en nuestra comunidad y descubre los mejores proyectos de decoradores, resuelve tus dudas y haz de tu hogar un hogar Habitissimo. Contribución un hombre no eres solo un deseo abrumador y limpios y químicos del primer. Lugar para ayudarte a miembros del libro con todos ustedes aborden el conocido como. Resultado final de encontrar una de. Una relación de crédito para sus buenas maneras en el camino que michael:. 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Controversy surrounds these new instruments of war that expertly watch and bombard with surgical precision—the agents of terrible civilian massacres. Libia Posada COL Dibujo: impresión digital sobre poliestireno. Drawing: digital print on polystyrene.

Feminist Porno Watch SEX Videos Transex afspraak. Verde menta. She waits until all activity has ceased to photograph the interior of empty buildings—preferably public or semipublic ones such as museums, churches, theaters, opera houses, archives, and libraries. Türken in Deutschland Turcos en Alemania es una obra poco conocida, originalmente una proyección de diapositivas, realizada cuando la artista asistió a la Academia de Bellas Artes de Düsseldorf. Türken in Deutschland Turks in Germany is a series of photographs taken in the seventies while the artist was studying at the Düsseldorf Academy of Fine Arts. It is part of a group of small-scale works that showcase commonplace scenes in the Turkish community, creating a rich sociological portrait of their habits. The images have been presented as slides, each a visual reflection on the changes that life in Germany has seen as a result of the arrival of other cultures to the country at that time. Shirazeh Houshiary IRN Animación digital. Cada celda tiene la misma narrativa con una configuración temporal distinta. El ciclo de cambios, a lo largo de los 7 minutos del video, ocurre tan lentamente que apenas es perceptible; al final parece como si nos quedase la huella de la imagen solo cuando ya ha empezado a desvanecerse. The projected image is made up of multiple frames of a candle lit before a pale travertine tile. The screen becomes a single solid travertine wall, built from the light of the candles. Soot and dust stains come and go, congregating on intangible figures before dissolving into thin air. Each cell contains the same narrative but a different temporal configuration. It seems as though the image only reveals itself to us when it has already begun to vanish. In memory, in the mind, disappearance is stronger than appearance. Aunque formada como escultora, pronto se interesó por la pintura. Su obra tiene fuertes reminiscencias persas que aluden a sus orígenes e identidad, así como una influencia muy marcada del misticismo y la ideología sufí. Como Dust, sus pinturas son sutiles y delicadas, y cambian ante nuestros ojos cuando las miramos durante un largo período de tiempo. Esa idea de la marca que cambia constantemente, que es personal e individual, que se transforma al ser mirada, es toda una declaración de intenciones sobre nuestra identidad colectiva. Although trained as a sculptor, she tackled paint early on. Her work is tinged with Persian flavors that speak of her origins and exhibit Sufism influences. As in her paintings, Dust is subtle and delicate; the image changes before our eyes if we gaze at them for an extended period of time. The idea of an image in constant change—that is both personal and individual—that mutates under scrutiny is a declaration of intention with regards to our collective identity. Marcellvs L. BRA Los sujetos y argumentos parecen insignificantes, pero los planos secuencia con los que trabaja —sin cortes ni montaje posterior— hacen que las piezas resulten cercanas y, a la vez, confusas y distantes. Origina un punto de encuentro entre lo que filma y quien ve lo filmado. A través de cinco pantallas paralelas, muestra cinco vistas de los corredores que se entrecruzan. La filmación. The subjects and arguments seem insignificant, but his long takes—without cuts or edits—make the resulting works appear close, while at the same time confusing and distant. He orchestrates a meeting point between the subject of the film and the viewer of the film. He presents five views of the crisscrossing corridors on five screens. The cameras are all pointing in the same direction, from five different fixed positions, exhibiting the symmetry of the halls. The images are interrupted by wandering people that randomly intersect the screen, appearing in different sizes on different screens due to their positioning. The filming does not follow any recognizable pattern or. La vista se vuelve una abstracción irritante, como sugiere también el título. The coordinates are as exact as they are abstruse, while the symmetry of the place restricts human movement to only two possible directions: the figures traverse the scene horizontally to the plane of the camera or move deeper into the space. The formal makeup is divided into two temporal levels: the videos, recorded at intervals for six months, and the varying duration of each, between eight and forty minutes. Dana Levy ISR Es una alusión ineludible a los cuentos góticos de terror. Mueven las alas poco a poco, como si despertaran de un sueño centenario, y a continuación despegan y vuelan por el espacio. Esa fantasía enormemente teatral parece natural; la combinación de lo real y lo sobrenatural suscita infinitas asociaciones. The Wake was recorded in the dark halls of the Department of Invertebrate Zoology at the Carnegie Museum of Natural History in Pittsburgh, a mysterious place where light from the fluorescents on the ceiling is reflected on the nineteenth century displays. It unavoidably alludes to Gothic tales of horror. The slow panoramic of long dead insects soon discovers a drawer where the butterflies are breathing with renewed vigor. They bat their wings little by little, as if awaking from a centuries-old sleep, and proceed to take flight and fly down the hall. The enormously theatrical fantasy gives us the impression of it being normal; the combination of the real and the supernatural elicits infinite associations. Levy attempts to deconstruct the manner in which communication media simplifies and decontextualizes the desire for freedom, specifically through the use of images of war, immigration, and displacement, topics charged with questions about life and death, history and memory. Beth Moysés BRA A través de diversos medios como la fotografía, el video, los dibujos y la instalación, Beth Moysés crea sus obras en torno a la violencia hacia la mujer. Utiliza un corpus de símbolos ligados a lo femenino: el dedal y la aguja, el rojo y el blanco, símbolos poéticos y enormemente poderosos, utilizados a lo largo de la Historia para presentar una iconografía femenina delicada, intimista y refinada, pero que acarrea consigo una historia de violencia y tragedia. Reconstruyendo sueños es una serie de fotografías a partir del registro de la performance con el título homónimo que presentó en Uruguay en el año Entonces, mujeres vestidas de novia caminaron por las calles de Montevideo, portando guantes blancos transparentes como símbolo de la propia piel, en los que bordaron las. Through the diverse media of photography, video, drawing, and installation, Beth Moysés builds her work around the subject matter of violence against women. She approaches this idea through notions of romantic love, imposed on the collective unconscious centuries ago, notions that are one of the main causes of physical and psychological assaults on women. She deals with a corpus of symbols related to the feminine, such as thimbles and needles, or red and white, poetic symbols that are tremendously powerful and that have been used throughout history to present a delicate, private, and refined feminine iconography that carries with it a history of violence and tragedy. Reconstruyendo sueños Rebuilding Dreams is a series of photographs from a performance by the same name presented in Uruguay, in It involved one hundred women dressed in wedding gowns walking through the streets of Montevideo, wearing white, transparent gloves as a symbol of their own skin in which they embroidered their. Mientras bordaban tenían que recordar los daños sufridos a lo largo de su vida, en cada puntada debían concentrarse para liberar el sufrimiento. They were told to remember the abuse they had suffered throughout their lives with each stitch they made, in order to release the pain. Moysés has recurring images in her work, such as images of battered women, wedding dresses, women working, and mother-daughter bonds. These symbols and images are used as a method of exorcism, a cathartic ritual for the purification of women. Emeka Ogboh NGA Trancemission es una instalación sonora que indaga en la memoria, el espacio y el tiempo a través de la existencia itinerante del propio artista. De esta manera, el agua del pozo se convierte en depósito de experiencias. Emeka Ogboh has an artistic interest in amplifying the concepts of listening and hearing. His work is predominantly video and sound. In this case, he brings together field recordings to explore history and the aural infrastructures of cities as cosmopolitan sites with unique identities. This is especially true for Lagos, whose sound landscape is constantly being updated. The piece captures the sounds of two port cities, Lagos and Yokohama, through extracts of recordings that reflect the aural experience of the artists in these places. Trancemission is installed on a well as an electroacoustic composition in the Palacio de la Inquisición Patio de la Huerta, in another port city. The water in the well becomes a repository of life experiences, creating an opportunity for the audience to project themselves into their environment as they experience the sounds. Trevor Paglen USA Sin título Reaper Drone La polémica envuelve a estas nuevas armas de guerra que vigilan y bombardean de manera precisa, fría y aséptica, y cuyas acciones han causado terribles matanzas de civiles. Trevor Paglen is a scientific, social writer and artistic provocateur. His works deliberately blur the boundaries between science, contemporary art, journalism, and other disciplines to create new and unusual forms, product of meticulous research— a lens for seeing and interpreting the world around us. As an artist he is intrigued by the idea of photography as a vehicle of truth, but his images do not adjust well to the traditional notion of documentary material. For example, in the photo series Limit Telephotography he uses long-distance optics to photograph top-secret military installations. In The Other Night Sky he uses amateur satellite observation data to seek and photograph Earth orbiters. He has previously transformed. En la serie Limit Telephotography, por ejemplo, utiliza sistemas ópticos de larga distancia para fotografiar instalaciones militares altamente secretas. En The Other Night Sky usa datos de observadores amateurs de satélites para buscar y fotografiar naves que orbitan la Tierra. En otros trabajos transforma documentos como pasaportes, datos de vuelo y nombres en clave de operativos de la CIA en auténticos objetos de exposición. The three photographs exhibited at the biennial are part of a project dedicated to tracking the almost invisible flights of the remotecontrolled military drones, combat aircrafts that were first used systematically by the American army in the Afghanistan war. Controversy surrounds these new instruments of war that expertly watch and bombard with surgical precision—the agents of terrible civilian massacres. Libia Posada COL Dibujo: impresión digital sobre poliestireno. Drawing: digital print on polystyrene. Variable dimensions La formación médica de Libia Posada se refleja en sus proyectos artísticos, que tienen como punto de intersección el cuerpo, sus diferentes representaciones y el impacto que tienen en él las influencias culturales. El cuerpo es punto de partida para analizar, definir y relatar los fenómenos y circunstancias sociales hostiles que concurren sobre él. Doce fotografías dibujan el mapa del recorrido de algunas de las víctimas del desplazamiento en Colombia. Estas cartografías de las zonas recorridas son retratadas en blanco y negro por la artista. La demarcación del recorrido hace visible la topografía del dolor que acompaña a. The body is the starting point to analyze, define, and speak of hostile social phenomena that take place. Ambiguity, irony, beauty, and the pillage of culture are permanently present in her body of work which stretches from installation to collective action and interventions in public space, all approached from a feminist perspective. Signos cardinales Cardinal Signs is a powerful installation. Twelve photographs draw the map of the itineration of internally displaced Colombians. Each itinerary is drawn with ink on their legs and feet. The collection presents us with the topography of the pain that belongs to each of the victims forced to abandon their homes due to political and economic conflicts that have little to do with them. These drawings on skin act as a memory activator and a means for reclaiming the identity. Freya Powell GBR Su campo de acción abarca diferentes medios como el dibujo, la literatura, la fotografía y el video. Pero todos ellos comparten la idea de archivo debido a que sus obras funcionan como colección; en sus propias palabras, un archivo sentimental que se procesa desde lo institucional a lo personal. Sus proyectos, de estética minimalista y abstracta, superan lo meramente documental para convertirse en un proceso de percepción pausada y conectar con las experiencias colectivas de sujetos concretos, evitando así los efectos nocivos de la distancia. Freya Powell exercises the notion of personal and political distance via experiences of loss and through finding connections between a given historical moment and the present. Her field of action includes media as diverse as drawing, literature, photography, and video. In all of them she deals with the concept of the archive, since all of her works are collections—an emotional archive, to paraphrase her, that processes both the institutional and the personal. Her minimalist, abstract compositions go beyond documenting to become a process of paused perception, of connective, collective experiences with concrete subjects which escape the limitations of distance. Desde una perspectiva de archivo, Esta noche cuando cierre los ojos. Sobre un fondo negro, estos fragmentos escritos en letras blancas y acompañados de las fechas de las ejecuciones aparecen y desaparecen en completo silencio. Fiel a su propia estética, todo es pausado, simple y calmado. A través de varias experiencias individuales de un mismo colectivo, su intención es detenerse ante una situación real para darle voz, fecha y palabra. Conceived as an archive, Esta noche cuando cierre los ojos. This video brings together the last words spoken by death row inmates in Texas, minutes before their execution. Against a black backdrop, these fragments in white lettering appear and disappear in total silence, accompanied by the date of execution. 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Variable dimensions La formación médica de Libia Posada se refleja en sus proyectos artísticos, que tienen como click de intersección el cuerpo, sus diferentes representaciones y el impacto que tienen en él las influencias culturales.

El cuerpo es punto de partida para analizar, definir y relatar los fenómenos y circunstancias sociales hostiles que fuckking storeis en fuente gujarati sobre él. Doce fotografías dibujan el mapa del recorrido de algunas de las víctimas del desplazamiento en Colombia.

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Estas cartografías de las zonas recorridas son retratadas en blanco y negro por la artista. La demarcación del recorrido hace visible la topografía del dolor que acompaña a. The body is the starting point to analyze, define, and speak of hostile social phenomena that fuckking storeis en fuente gujarati place. Ambiguity, irony, beauty, and the pillage of culture are permanently present in her body of work which stretches from installation to collective action and interventions in public space, all approached from a feminist perspective.

Signos cardinales Cardinal Signs is a powerful installation. Twelve photographs draw the map of the itineration of internally displaced Colombians.

Each itinerary is drawn with ink on their legs and feet. The collection presents us with the topography of the pain that belongs to each of the victims forced to abandon their homes due to political and economic conflicts that have little to do with them. These fuckking storeis en fuente gujarati on skin act as a memory fuckking storeis en fuente gujarati and a means for reclaiming the identity.

Freya Powell GBR Su campo de acción abarca diferentes medios como el dibujo, la literatura, la fotografía y el video. Pero learn more here ellos comparten la idea de archivo debido a que sus obras funcionan como colección; en sus propias palabras, un archivo sentimental que se procesa desde lo institucional a lo personal.

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Sus proyectos, de estética minimalista y abstracta, this web page lo meramente documental para convertirse en un proceso de percepción pausada y conectar con las experiencias colectivas de sujetos concretos, evitando así los efectos nocivos de la distancia.

Freya Powell exercises the notion of personal and political distance fuckking storeis en fuente gujarati experiences of loss and through finding connections between a given historical moment and the present. Her field of action includes media as diverse as drawing, literature, photography, and video. In all of them she deals with the concept of the archive, since all of her works are collections—an emotional archive, to paraphrase her, that processes both the institutional and the personal.

Her minimalist, abstract compositions go beyond fuckking storeis en fuente gujarati to become a process of paused perception, of connective, collective experiences with concrete subjects which escape the limitations of distance.

Desde una perspectiva de archivo, Esta noche cuando cierre los ojos. Sobre un fondo negro, estos fragmentos escritos en letras blancas y acompañados de las fechas de las ejecuciones aparecen y desaparecen en completo silencio.

Fuckking storeis en fuente gujarati a su propia fuckking storeis en fuente gujarati, todo es pausado, simple y calmado. A través more info varias experiencias individuales de un mismo colectivo, su intención es detenerse ante una situación real para darle voz, fecha y palabra.

Conceived as an archive, Esta noche cuando cierre los ojos. This video brings together the last words spoken by death row inmates in Texas, minutes before their execution. Against a black backdrop, these fragments in white lettering appear and disappear in total silence, accompanied by the date of execution. The piece is faithful to its simple, calm aesthetic. Through the individual experiences of the collective, the artist seeks to take on read more real situation that is relevant despite taking place far away, lending it a voice and a date.

Elena del Rivero ESP Perlas, agujas, hilos y alfileres. Pearls, needles, thread, pins. Her signature is the use of alternatives to traditional drawing tools, such as needle and thread, as well as the written word. Her meditations on time, intimacy, and femininity are frequent in her work, although always built more around a question than an assertion. The brutality of the inquisition. También se exhibe su video Nu descendant un escalier fuckking storeis en fuente gujarati returning, as well, grabado al abandonar su casa-estudio gravemente dañada por los ataques del S.

Here the nude hides her face behind a mask, representing a global nude, homeless and alone. Yinka Shonibare GBR De familia nigeriana, comenzó a utilizar las llamadas telas africanas en los años noventa. En realidad, son telas de algodón holandesas estampadas a la cera y compradas en Londres.

En sus composiciones toma como punto de partida esa idea de construcción artificial, de híbridos culturales que constituyen lo que luego se considera auténtico.

Utiliza telas para componer vestidos de corte victoriano que cubren figuras de alienígenas, o para estirarlas fuckking storeis en fuente gujarati pegarlas en lienzos. Otras veces reinterpreta obras famosas del arte o la literatura, que invierte conceptualmente introduciendo símbolos de la cultura africana.

Using a variety of colors and textures as a hallmark, Yinka Shonibare touches on the problems of colonialism in particular the tangled relationship between Africa and Europe and the concepts of class and race in the contemporary context. In fact, the cloth is actually Dutch wax-printed cotton bought in London.

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La utilización del cobre como materia prima para la ejecución de labores tradicionales sugiere una reapropiación de recursos naturales, adquiriendo una dimensión simbólica. Como si fuera un metal con memoria de forma —que regresa a su forma original al ser expuesto a cierta temperatura—, se sugiere el retorno del cobre a ser material de una manifestación cultural, a través de la orfebrería y artesanía de diversas épocas. The use of copper as a raw material for the production of traditional artifacts suggests a re-appropriation of natural resources, taking on symbolic dimensions. It is as if the metal had shape memory—a metal that returns to its original form when heated—and it suggests the return of copper to its role as a medium of cultural expression through the work of coppersmiths and artisans through the ages. Sheila Hicks USA Puro lino natural de Francia. Variable dimensions Artista precursora en el uso de materiales no tradicionales del arte, Sheila Hicks utiliza fibras y otros materiales textiles en sus obras que considera una experiencia a medio camino entre la escultura y la performance. La obra Lares and Penates hace referencia a la mitología romana antigua, donde los lares y penates eran deidades protectoras de la familia y el estado romano. La instalación consiste en piezas textiles compactas, llenas de color, adheridas a un muro de forma conjunta, listas para ser adoradas. Museo Naval del Caribe. Sheila Hicks is an artist known for her use of nontraditional materials, such as textiles, in her work. This interest was born during her studies at Yale of traditional manufacturing techniques from Peru and Mexico in the pre-Colombian era. She considers her work midway between sculpture and performance. The cultural and social anthropologies of the peoples she has visited in the course of her extensive travels make an important appearance in her work, particularly their beliefs and ancient rituals. Lares and Penates references the relics of Roman mythology in which the Lares and Penates were deities that protected the Roman family and state. Albeit different entities, they were frequently worshipped together. According to Roman beliefs, the Lares watched over the family lineage and the Penates guarded the state and Roman patriotism. The installation is made up of compact textile pieces in Forma parte de una serie inicialmente conocida como The Evolving Tapestry. Viking is a sculpture made up of a linen tapestry that entwines itself. It is part of a series originally known as The Evolving Tapestry. The piece recalls a linen landscape, a vast natural expanse, a knoll of memory, precarious yet solid, firmly occupying its territory. Katie Holten IRL Utiliza habitualmente materiales reciclados con los que aborda conceptos y temas ecológicos, buscando la manera de comprometer el arte con el paisaje natural. La pieza gira y se tuerce sobre sí misma, deambulando por la pared, y constituye un registro de los desplazamientos personales de la autora a través del espacio y el tiempo a lo largo de cuatro meses. Cada vez que viajaba —en automóvil, en tren o en avión—, Holten creaba un segmento de esta composición. La artista muestra así. The piece turns and twists on itself, wandering along the wall as a record of the personal displacement that its author has experienced for four months, through space and time. Each time she travels—be it by car, train, or plane—Holten adds a segment to the composition. Her itinerary and carbon footprint are metaphorically enmeshed in the complex weaving of organic lines. The title of the work refers to the fact that the angle between leaves in many plants is The angle is derived from the golden number, equivalent to the ratio between two successive items in the Fibonacci sequence. In this manner she demonstrates her interest in emerging mathematics and mapping. Al explorar la elegancia y la lógica del croché tradicional irlandés, Holten utilizó la puntada simple, de manera inexperta, para dibujar líneas que representaran sus movimientos en el tiempo y el espacio. Cada vez que la pieza es instalada, el dibujo es ligeramente diferente, pero el trazo de las jornadas queda intacto. In exploring the elegance and logic of traditional Irish crochet work, Holten amateurishly uses a simple stitch to draw lines that represent her movements through space and time. Each time the piece is installed, the picture varies slightly, but the record of the day remains intact. Kimsooja KOR Su interés es lograr un equilibrio entre polos opuestos para alcanzar la armonía. Así, en sus performances ella misma se presenta como sujeto y objeto, presencia y ausencia. Otro de los temas que aborda en su trabajo son las diferentes perspectivas de la realidad y cómo interactuamos con ellas. Rechaza las categorizaciones sociales que nos son impuestas. Es un documental ni descriptivo ni narrativo, considerado por la artista como un poema y un estudio de antropología visual. Los siguientes capítulos, del total de seis no incluidos en esta Bienal , revelan la elaboración de encajes y la arquitectura de las ciudades europeas, las estructuras de arcilla de. She seeks to achieve a balance between contrasts to create harmony, the reason for which she presents herself as subject and object in her performances, present and absent. Another issue she approaches in her work is the existence of contrasting views of reality and how we interact with them. She rejects the social categories that are imposed on us. Thread Routes is the first chapter of the film serial about textile culture which focuses on Peru and its domestic traditions, popular culture, and national landscape. It is a nondescriptive, non-narrative documentary that the artist considers a poem and a visual anthropological study. The other five chapters of the series not included in this biennial reveal lacing techniques, the architecture of European cities, the clay structures of Gujarat in India, or the architecture and fabrics of Mali. Clemencia Labin VEN Concibe la pintura como un fenómeno que se rebela y se expande en el espacio, y la escultura como algo en el que el propio cuerpo puede participar, como en sus performances. Sus obras tienen una reminiscencia kitsch y tropical, muy ligada al imaginario de la infancia, que recrea para atraer la capacidad imaginativa sin reglas ni ataduras estéticas. Realizadas con retazos de telas, las piñatas y las truncas son formas tubulares que organizan el espacio desde diferentes alturas. Clemencia Labin has created an artistic universe of painting, installation, vibrant colored plastic sculpture, pop reminiscences, and abstract figures that speak of a cheerful, positive, energetic world. She conceives painting as a phenomenon that rebels and expands within space. Sculpture, too, is seen as something useful, that the body can even engage with; she expresses this concept occasionally through performance. Her works are tinged with the kitsch and the tropical, invested with childhood imagery recreated to attract a capacity for the fantastic that knows no aesthetic limits. Her piñatas are made out of scraps of various fabrics. They are presented as cylinders, organizing the space to create a geography that favors interbreeding, a place where cultures and molecularly different ways of being can coexist. En el mundo de Labin, la moda es un factor determinante, pero siempre a contracorriente. Desmitifica el objeto-marca y lo doblega. Quiebra argumentos estéticos y planta cara a las tendencias. Piñatas, truncas y ensamblajes son espejos de nítida precisión de su voluntad artística. Reordenan su identidad. She de-mystifies the object-brand and breaks it in two. She splits aesthetic arguments and challenges fads. Her piñatas and assemblages are faithful mirrors of her artistic will. They rearrange her identity. Con sus obras reflexionan sobre el impacto del arte en los sistemas políticos y sociales, unidos de manera inevitable a los acontecimientos culturales. Utilizan un lenguaje y unos conceptos claros, focalizados en el presente y en las tecnologías de nuestro tiempo. Se formaliza como una superficie de luz y patrones textiles, uniendo lo artesanal y tradicional a las tecnologías de la información. Con este proyecto parten de la concepción de los tapices tradicionales como formas de comunicación de historias de. Nora Ligorano and Marshall Reese have collaborated since the eighties. Their trademarks are unusual materials, industrial processes, limited edition multiples, and diverse disciplines including video, sculpture, and installation. The fibers morph into a surface of light and textile patterns, blending artisanal traditions with information technology. The work is born from the conception of traditional tapestries as a means to communicate battle stories, myths, and religious ideas. Through this piece, we have a glimpse of a virtual world that narrates in real-time the history of global cultural information. Uniendo los dos campos, se visualiza un mundo virtual que narra la historia de la información cultural global en tiempo real. La obra pretende conectar el arte con formas de networking, comunicación y sociedad. The optical fiber brocade is joined to panels and connected to green, blue, and red computercontrolled LEDs that follow color sequences according to information downloaded from Twitter on the number of take offs and landings at the John F. Kennedy airport in New York City as well as information from other sources, such as from seismographs. The tapestry intends to link art with networking, communication, and society. Guillermo Mora ESP Esta precariedad del elemento que sustenta la pintura hace que esta pierda su forma, caiga al suelo, se adapte a los espacios y nos haga conscientes de su calidad blanda. Prescinde de la estructura que por siglos la ha sustentado —el bastidor— y es ella misma la que genera su propia estructura. These pieces are made by laying coat over coat of paint some weighing more than twenty kilos and then simply binding them with rubber bands. The precariousness of this support allows it to lose its shape, fall to the ground, and adapt to the space where it is placed. We become aware of its malleable quality. Paint is presented in its most physical, material state. Without the help of the stretcher that has, for centuries, been its support, paint generates its own structure. Nevertheless, without even the rubber bands it would lose the little shape that is takes on in his works. What are they? Kristin Oppenheim USA Esta letra de la canción de los Beach Boys apropiada por la artista Kristin Oppenheim le sirve para su instalación de sonido Sail on Sailor. En el patio del Museo Naval, la voz de la artista se escucha sola, sin acompañamiento, repitiendo unas pocas frases en un bucle. Cantando a capela, su voz recita un estribillo repetidamente, creando una atmósfera relajante e hipnótica. Esta obra de sonido forma parte del trabajo de esta artista cuyas instalaciones híbridas, casi minimalistas, de sonido, fotografía y pintura buscan dramatizar la experiencia personal y la memoria. Utiliza su voz, melancólica y misteriosa, para crear un determinado clima emocional. Singing a capella, she recites the chorus over and over, creating an atmosphere of relaxation and hypnosis. She uses her melancholy and mysterious voice to fabricate a particular emotional climate. Her sound pieces, almost like soundtracks, offer the audience dense layers of sound and special effects—the spoken word, thunder, raindrops—both to build and to blur the narrative impulse. Oppenheim forma parte de los artistas audiovisuales que han utilizado la voz humana como materia de experimentación. Oppenheim stands among audiovisual artists that use the human voice as a means of experimentation. This interest shown by visual artists in the human voice dates back to phonetic Dada poetry and post-World War II poésie sonore. A veces eso es casi cierto, por ejemplo en dos obras suyas de el tríptico en video Hermitage Pier, que nos pide que contemplemos las olas de un lago; o Dokumentarfilm, un video monocanal Doshi, 12 de abril de , A veces el malentendido se convierte en parte de la comprensión, y la obra se vuelve discursiva sin necesidad de decir mucho. Pero un haz de luz es, en sí mismo, una imagen; en este caso, una imagen de la luz atravesando un espacio cerrado, habiendo penetrado en él a través de una pequeña abertura. Y cuando Penalva proyecta una imagen de esa imagen, no puede evitar que se convierta en una metaimagen. Sometimes this is almost true. For instance, in earlier works he has presented a video triptych for our contemplation of waves in a lake or, in a single-channel video, an almost impenetrable mist. 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Light Beam nos muestra todas las partículas suspendidas en el aire, temporalmente agitadas, que un haz de luz vuelve visibles —y magníficamente resplandecientes, aunque eso tal vez sea irrelevante—; pero también arroja luz sobre lo que condiciona nuestra visión: el espacio limitado, la oscuridad, y otra cosa: la no oscuridad que vemos como no limitada y que nos hace conscientes del entorno y de nuestra propia existencia. Light Beam shows us all the temporarily agitated and suspended small particles that a light beam makes visible—and luxuriously resplendent, although that may be beside the point—but it also casts light on what conditions our vision: the confined space, the darkness, and that other thing, the nondarkness that we see as unconfined, that makes us both aware and selfaware. I see no real reason to, and besides, how can I speak of the light beam as a shadow image of itself? Jessica Rankin AUS En el inicio de su carrera, sus obras estaban basadas en textos que de alguna manera trataban de captar los pensamientos de la artista. A medida que su trabajo ha ido evolucionando, la linealidad y coherencia de los pensamientos representados se ha desintegrado. Las palabras ya no se asientan en líneas reglamentadas y bloques sólidos. Reflejan ahora su naturaleza fragmentada, borrosa, en capas, interconectada, con sentido o sin él. También ha crecido el interés de la artista por el espacio entre las Museo Naval del Caribe. The artist sews textual landscapes into this material that appears to be mountainous terrain, thermodynamic tables, and astronomical maps. As her work has evolved, the linearity and coherence of thought has disintegrated. The words no longer follow strict guides or form solid blocks. More and more she attempts to let thoughts and words reflect her fragmented nature—blurry, layered, and interconnected, with or without meaning. In her most recent creations the words drip and morph to create a complex network. The images and abstractions in her works here operate similarly. Emergen y se disuelven, y pueden ser estridentes y ambiguas al mismo tiempo. Son una reacción ante algo y a veces delatan a las palabras que las rodean, y luego crean significados en sus diferentes combinaciones. They emerge and dissolve; they can be strident and ambiguous at the same time; they are a reaction to something and they sometimes betray the words that surround them, only to later create meaning out of different combinations. The artist also has a growing interest in the space between letters—the lacuna— the resonance of this negative space and the meaning it grants to the letters, works, and structures around it. The translucency of the organdy, hung several centimeters from the wall, allows for a reverberation of its shapes, projecting faint shadows on the surface behind. Teresa Serrano MEX Las dos esculturas conectadas representan dos ríos: uno rojo y otro azul, que cuelgan por separado de sus respectivas estructuras de hierro. Son ríos ambiguos, sin embargo, referenciales. Reinterpretando la realidad, cambian de forma, siempre vivos, nunca iguales. Ríos que corren como una continuidad del hombre-dios. Quetzalcoatl is the king of the Toltecs and the god of the Aztecs and several other Latin American cultures. The feathered snake, Kukulcan, is associated to nature and to Tlaloc, the god of rain. Quetzalcoatl was transformed into a half-god, half-man deity. The connected sculptures represent two rivers—one red and one blue—that hang independently from their iron structures. They are ambiguous and yet symbolic rivers; they reinterpret reality and are permanently alive and changing shape, never the same—rivers that run along the god-human continuum. Quetzalcóatl, escueto en la interpretación, expone la yuxtaposición de los materiales empleados: hierro, que pertenece a la industria rígida y pesada, y las colchonetas de tela bordada por donde fluye la sensualidad líquida de la naturaleza, que representan la dualidad masculino-femenino. Serrano es una artista que trabaja alejada de modas y tendencias predominantes. Serrano is an artist that remains separate from dominant trends. Her main interests lie in gender and in how power is exerted to control individuals—particularly women—in ways that are sometimes obvious and violent and at other times subtle and psychological. Hassan Sharif ARE Sin embargo, suele mezclarlos intencionadamente de forma. One of the pioneers of conceptual art in the Middle East, Hassan Sharif mixes performance, installation, drawing, painting, and assemblage. His work is a statement against industrial production, presented as a satire through the monotonous repetition of industrial materials in a minimalist format. By divorcing himself completely from his work, he brings the viewer to react exclusively to the object itself. Many of his works take their name literally from the materials they are composed of. This is how he highlights the industrial and aseptic features of the contemporary world. However, he often mixes materials that contradict each other, causing confusion and altering this. Su obra no pretende ser entendida, sino explorada, activada por el mismo espectador. His work is not meant to be understood but rather explored and activated by the viewer himself. He works with found materials, investing them with an identity that goes beyond their quotidian reality. His assemblages breathe new life into common objects. Where others see trash, Sharif creates art that sits somewhere between Arte Povera and existential angst. He finds freedom in the rejects that goes beyond the formal rules of art. It is here that he has sought to find himself. Philip Taaffe USA El vocabulario que utiliza es extenso: el collage, el estampado, la serigrafía, el gouache, el esmalte, las acuarelas y el pan de oro. A pesar de su aspecto decorativo, el gusto artesanal y la profusión de tonalidades, su obra es extremadamente intelectual, cargada de gestos artísticos absolutamente intencionados. Los cuatro lienzos seleccionados para la Bienal, mostrados por primera vez el pasado verano en Nueva York, se acercan a la abstracción a través de su alejamiento de la realidad. Cargados de una fuerte sensación de vibración óptica y una poderosa energía visual, conectan la abstracción con el mundo natural y exploran las propiedades de Museo Naval del Caribe. Taaffe employs lino prints, collages, etchings, serigraphs, gouache, chinecollé, stencil, speckling, acrylic, varnish, watercolor, and gold leaf. His work is extremely intellectual, drenched in cultural references and artistic gestures that are absolutely intentional. His works contain an important conceptual cargo but simultaneously exhibit a decorativeness and artisanship, due to the techniques and compositions used. The four canvases selected for the biennial point in the direction of abstraction, distancing themselves from reality. Charged with visual energy, they connect abstraction to the natural world and explore the properties of optics and the conceptual. They suggest microscopic imagery from some other place, pictured Sugieren una imaginería microscópica procedente de otros lugares, mostrada en una situación cinética e interactuando de una manera imprevisible, como una estructura visual que sucede en el ahora y en el nunca a la vez. Tallur IND Para él, si un objeto cualquiera pasa a ser una obra observada en un museo, adquiere una quinta dimensión. La idea de redimensionar una obra de arte se inspira en la teoría de la relatividad de Einstein, que introduce coordenadas temporales que ocupan una cuarta dimensión, en la que se ubica el objeto en un momento y espacio determinados. Born and raised in a rural Indian community, L. Tallur springs from the simple life of the countryside with a body of images that are on occasion rough and depressing, as they condemn social utilitarianism. A student of museology, Tallur investigates the way in which value is attributed to certain art works and how these take on an aura of power that influences the way they are portrayed. For Tallur, if an art work gets exhibited in a museum, it acquires a fifth dimension. Through works like this, Tallur asks himself what the fifth dimension is: Is it the institutionalization of the object, or is it the intangible component which cannot be described scientifically? In order to express this quandary, Tallur presents us with a cross-section slice of a tree trunk where its age can be seen in its rings. Inlay techniques are employed in order to incorporate natural rings into the museum as an object. In this matter he continues to question the role of museums in the immortalization of objects. Squatter Doorway En Squatter Doorway y Multiple Shots with Knife Slashes apela a la arquitectura y el espacio interior para revelar el dolor de la vida de los desposeídos por la reciente crisis económica basada en la especulación inmobiliaria. El espectador experimenta un espacio arquitectónico no por su contenido, sino a través de sus huecos, en las marcas, agujeros y la absorción que hay en casas abandonadas que han sido objeto de vandalismo. Esas marcas Museo Naval del Caribe. Her works frequently include landscapes, elements of nature, portraits of acquaintances, scenes from daily life, and even abstract compositions that cede prominence to the material itself. In the two works exhibited at 1 Cartagena the artist appeals to architecture and internal space to reveal the desperate lives of those disinherited by the recent economic disaster, exploring the human impact of the evictions that followed the housing bubble in the United States. The viewer experiences an architectural space, not by its contents but by its gaps, the marks and openings, the absorption present in the abandoned houses, victims of The marks evidence the emotional distress of people that have lost their properties and show the feelings of frustration and impotency that are still tangible in the abandoned homes. Ana Torfs BEL Tapices Jacquard 6. Se trata de un juego elíptico que conforma un extraño dispositivo de trucos visuales que invitan al espectador a pensar y a desentrañar su significado. Recoge su inspiración de un grabado en madera de Jean-Jacques Grandville, de , que ilustra una edición francesa de la novela Los viajes de Gulliver. TXT Engine of Wandering Words is a set of six tapestries, each made up of a collage of twenty-five squares. Each of these squares inset with engravings, paintings, photographs, maps, flyers, or book pages, each from a different era. These are connected by lines and cranks, suggesting an array of cubes that could reveal new images by turning. It is a game of ellipsis, a strange device for producing visual tricks which encourage the viewer to think hard and get through its meaning. In the novel, the main character visits the Academy of Lagado on the island of Balnibarbi, a scientific institution that has created a machine that, with each crank of the handle, produces a new combination of random phrases, setting forth a debate about words, the naming of things, and the futility of these endeavors. Ana Torfs es una artista que utiliza en sus instalaciones varios medios, desde proyecciones de diapositivas, sonido, fotografía y films hasta grabados, tejidos y serigrafías. Esta tensión es el punto de partida para sus obras, que transmiten una percepción de actualidad y autenticidad de los vestigios dispersos de nuestra historia cultural y política. Torfs uses multiple media in her installations: slide projections, sound, photography, film, engraving, fabrics, and silkscreen. Betty Woodman USA Sus primeras piezas eran obras de artesanía convencionales y funcionales. Pronto comenzó a experimentar con las arcillas y el color, aunque no fue hasta los años setenta cuando abandonó por completo la parte funcional de sus vasijas. Her ceramic forms frequently combine with brightly colored drawings or diluted images. She is meticulous in her method—a heritage of modern painting but also related to multiple other influences, a container for traditions and personalized experiences. Traditionally trained, her first works were conventional and functional works of artisanship. She soon began to experiment with clays and color, although she did not abandon the functional component of her vessels until the seventies. She also gradually increased the scale of her pieces which began taking on stranger forms, displaying features of other cultures and swaying from the figurative to the abstract. Her extensive travels have broadened her influences; from the sculpture of the Etruscan and Minoan to that of the Aztecs and the Japanese. She incorporates traditional Western uses of ceramic as well as the formal, chromatic experiences of. At the same time, in her ceramic sculptures paint is just as important as form, lending a completely new sense to traditional media. The mural piece selected for 1 Cartagena, The Vase with Pink Flowers and the Yellow Vase, includes a variety of elements in the form of vessels, a good example of the heterodox and hybrid character of her work. Yin Xiuzhen CHN La preservación de la memoria se ha convertido así en su bandera y meta artística, a través de sus esculturas e instalaciones. Yin Xiuzhen was raised during the Chinese Cultural Revolution. She uses her artwork to explore modern issues of globalization and homogenization and has become known for her work with found and recycled objects. She seeks to extract the memory of the objects, personalizing them so as to remove the toxic homogenization often produced in the drive toward modernization. The preservation of memory has become the beacon of her sculptures and installations. Divorced from strict academic practice and having abandoned traditional painting early on, Xiuzhen is at the vanguard of contemporary Chinese art, a scene that is still dominated by men and only recently developed since the cultural awakening in China. Bookshelf No. La introducción de las telas se debe a dos motivos. Primero, las ropas a las que esas telas pertenecían son objetos que dicen mucho de las personas que las llevaban. The reason for the cloth is twofold. First, the clothes that the fabric was taken from offer information on their previous owners. They are completely unique pieces that say something about a particular time and piece of history. There is a reason why they were kept and not discarded. Second, the cloth speaks to an artisanal process, slow and patient, a rhythm that contrasts with our fast and automated daily lives. Closed Saturdays, Sundays and holidays. Helena Almeida PRT La artista asume situaciones meticulosamente coreografiadas e interviene en los videos y dibujos para crear composiciones visuales complejas que reflexionan sobre el espacio y el tiempo. La serie Sin título , incluye un grupo de fotografías y un video. Ambos representan la ruta que la artista y su marido recorren en su estudio con las piernas atadas con alambre. Una celebración del amor, pero también del esfuerzo, parece reflejarse en la dificultad de moverse el uno con respecto al otro, donde la distancia recorrida se. Despite always appearing before the camera, Helena Almeida maintains that her images are not self-portraits. The artist takes on meticulously choreographed situations and manipulates the videos and drawings to create complex visual compositions that reflect on space and time. Initially her videos and drawings played the part of studies for the photographs, but these have now gained autonomy and legitimacy as an art form in themselves. 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