FIRE 
Oil on canvas
Sunday, September 14, 2008
Thursday, September 11, 2008
Pepsi Holiday Spice 2009
Performance Precursor in Latin America, (images of artists displayed for educational purposes)
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(foto de archivo Coco Fusco)
Stock Photo of Ana Mendieta, Cuba died in 1985.
file photo Tania Brugera, Cuba
"Mary Teresa Hincapie came from the theater, which went away - after a long and intense exercise - to see that in a way that will set limits curtailing a need for expression that went beyond the conventional notion of "spectacle". That's why the time dimension is crucial in all his work: the eight hour working day, the forty days of fasting Bible, the twelve hours of day or night, the 21-day pilgrimage to the pre-Columbian archaeological site of San Agustin . This tries to say that art requires a real engagement "
José Roca, Bogotá, Febrero de 2000 em>
José Roca, Bogotá, Febrero de 2000 em>
(foto de archivo Coco Fusco)
Born 1960 in New York, New York; lives in New York.
Coco Fusco is an interdisciplinary artist, writer, and curator whose practice includes video, performance, and lectures. Born to Cuban and Italian parents, she often explores the dialogue between identity, globalization, technology, gender, and race. In the quasi-documentary film a/k/a Mrs. George Gilbert (2004), she navigates the racial politics dictating the FBI’s intense 1970 hunt for African-American activist Angela Davis. Fusco focused on the subtleties of hierarchy and power as co-curator of Only Skin Deep: Changing Visions of the American Self, a photography exhibition organized by New York’s International Center of Photography in 2003 illustrating how images construct and perpetuate racialized vision.
Coco Fusco is an interdisciplinary artist, writer, and curator whose practice includes video, performance, and lectures. Born to Cuban and Italian parents, she often explores the dialogue between identity, globalization, technology, gender, and race. In the quasi-documentary film a/k/a Mrs. George Gilbert (2004), she navigates the racial politics dictating the FBI’s intense 1970 hunt for African-American activist Angela Davis. Fusco focused on the subtleties of hierarchy and power as co-curator of Only Skin Deep: Changing Visions of the American Self, a photography exhibition organized by New York’s International Center of Photography in 2003 illustrating how images construct and perpetuate racialized vision.
Jeep Liberty Front Plate Holder
Letters Written ...
San Salvador 9 de Junio del 2008
Querida Alanna:
En respuesta a los documentos que me sent the last day of June of this year, after studying some of these writings, carefully, I felt inclined to make the following comments:
"I do not doubt that in life as in art ( and if we start from the thesis of Oscar Wilde, that life imitates art), everything is consciousness.
Women of biographies and sent me pictures of his works coincide in many respects intentional: to take the needs of each artist to assert the necessity for conscious and unconscious in a metaphysical world, allowing us to live and experiencing the plane of the here and now. Although you mentioned it to me: the delicacy with which to manage the self-referentiality .... but definitely a self-referential piece leads to assume a peculiar way of observing a peculiar way of seeing, feeling and doing life.
Performance art responds to the performer or artist, as an end in itself capable of intervening in the everyday context of the other, since we left that we are sentient beings, individuals with a specific social relation, then art is responding to this reference , and from the peculiar way to say, it becomes a political speech, which violates both the executor be issued, so if this occurs transgesión genuinely self, happens as if by magic, on the other.
The magic for me in art is an issue that occurs almost shamanic ritual and symbolic level for which I quote the following: "The myth of origin has an" individual "production and transmission are required and socially determined, because why your result will be shown in their rehabilitation. Put another way, the myth has no author, belongs to the social group that relates, is not subject to any transcription and its essence is the trasnformación. A repeat mitante believe it .. GCA the self is reduced to that place of transit, confluence and passage. "Claude Levi-Strauss, Myth and Meaning
With regard to artistic work and personally, based on my readings charges following happens: if, according to Levy Strauss at the time of the myth, the self in this case: performing artists of performance or action, becomes the medium that transforms and denotes a code universal historical memory and collective unconscious ... in a constant unmasking of previous symbols that arise as aspects or representations of fact, Jones argues in his lecture Enrst read to Piscoanalítica British society, in November 1953 on the Theory of Symbolism " If the word symbolism is taken in its broadest sense, is that the item contains most of the development of civilization. What is it therefore but an endless series of evolutionary substitutions, a ceaseless replace an idea, an interest, an ability or a tendency for others? The progress of the human mind, considering GM is is not (as commonly thought) in a number of additions, added from outside, but in the following two processes: first, extension or transfer of interest and understanding from more primitive and simple ideas, etc. a most difficult and complex ideas, in a sense are continuations of those, and symbolize, and on the other hand, the constant exposure of previous symbols, the recognition that although they were previously considered as literally true, in fact were only aspects or representations of fact, the only representations that were capable minds at the time for emotional or intellectual. "
-Is There a ritualistic aspect? J. Antonine
"Sure ... I WAS thinking of everyday rituals like eating and bathing. But Also Other rituals. Certainly the Eucharist is about eating the body, so That Also Comes to mind. "
Through the texts that you sent me, and some other references that I have acquired over time, always delving into the neglected shelves of libraries or museums, exclusive shopping in particular is where this type of literature delicate eye on complex nature artists, self-reflexive phenomenological intimately immersed in human existence. Within these ranges of reference, I've always felt drawn to the work of Frida Kahlo, who personally represents: one of the icons of the first women artists in Latin America that is self-registration and document an almost performative, with the use of brush and canvas, revealing and exposing the unconscious force where pain is the vehicle of redemption, and the sense of duality is the connection to absolute pleasure, between humor and evil.
Nietzsche says in The Birth of Tragedy: "Every artist is an imitator, and Apollo particular artist or an artist's dream Dionysian intoxication, or end (as in Greek tragedy), while an artist of intoxication and sleep with whom we imagine more or less disintegrated, in the binge Dionysian and mystical self-alienation, alone and away from exalted choirs at the time under the influence of Apollonian dream, expresses its own state, ie the unit closest to the bottom of the world, an image analog dream. "
Because I quote these things .... The tragedy! Hence the origin of my own melodramas which questioned me, but I've come to understand without them there would be no catharsis, catharsis necessary for the purification of the soul and calming the mind.
On a recent visit to your beautiful land in the Caribbean Dominican, I was able to talk long hours with Amable Lopez Melendez, curator of the Museum of Modern Art, who will surely remember and remind you, now I understand when they told me that resembled Dominican El Salvador, as a petit country with so much contrast and strength.
For in that wonderful conversation we had, reaffirmed the value of the force that holds the body of the performer artist, the involvement of social responsibility it takes to lead its energy in a space loaded with a certain intrinsic absolute intention, and a karmic baggage on a given line of time.
definitely carries its light body, also transfers magic or duality, Ana Mendieta knew the potential was in the presence from the solution, the absence and the inviolability of existing, his exile from his own body boundaries, violated the boundaries of the ritual sense of longing for a lost paradise, and metaphysical internal, external and palpable. "I Have Tried to reveal the relation entre the space of loss exists in Which Mendieta's work, the space of exile in Which she exists, and the border That We Occupy" quote of Peggy Phelan in the Book Where is Ana Mendieta by Jane Blocker.
“The title is contradictory and implies that elsewhere is right here—or the elsewhere within. It also has echoes
of the famous declaration by Rimbaud: "Je est un autre" (I is another). Most of the artists in the exhibition inhabit
an elsewhere or speak from a critical position outside the status quo. I suppose it is another way to make an
oblique reference to the "Other" without using that very old-fashioned word. I am using this very loosely. Luce Irigaray talks about women's permanent state of exile, as they essentially exist in a culture and a language that
they have not played a role in shaping. Others, because of their sexual orientation, color, or cultural background,
can, if you like, be seen as literally or metaphorically in a similar state of exile”. Entrevista con Mona Hatoum.
Para mí la relación entre rito y performance no están del todo separadas, y no creo que esto abone nada nuevo para la teoría del performance, si es que existe alguna pero, te escribo estas reflexiones como parte de una necesidad de reafirmarme. Si lo vemos desde el punto de vista de que : un performance pertenece a un acto , una acción con un contenido de transferencia energética de implicación y resonancia social por medio de componentes de valor simbólico, por lo tanto = ritual; y éste contenido de significados albergados en cada simbolismo ritual sunstentan is deep in the continuum of the collective unconscious that has been passed down from generation to generation and from culture to culture from ontological myths of humanity.
San Salvador 9 de Junio del 2008
Querida Alanna:
En respuesta a los documentos que me sent the last day of June of this year, after studying some of these writings, carefully, I felt inclined to make the following comments:
"I do not doubt that in life as in art ( and if we start from the thesis of Oscar Wilde, that life imitates art), everything is consciousness.
Women of biographies and sent me pictures of his works coincide in many respects intentional: to take the needs of each artist to assert the necessity for conscious and unconscious in a metaphysical world, allowing us to live and experiencing the plane of the here and now. Although you mentioned it to me: the delicacy with which to manage the self-referentiality .... but definitely a self-referential piece leads to assume a peculiar way of observing a peculiar way of seeing, feeling and doing life.
Performance art responds to the performer or artist, as an end in itself capable of intervening in the everyday context of the other, since we left that we are sentient beings, individuals with a specific social relation, then art is responding to this reference , and from the peculiar way to say, it becomes a political speech, which violates both the executor be issued, so if this occurs transgesión genuinely self, happens as if by magic, on the other.
The magic for me in art is an issue that occurs almost shamanic ritual and symbolic level for which I quote the following: "The myth of origin has an" individual "production and transmission are required and socially determined, because why your result will be shown in their rehabilitation. Put another way, the myth has no author, belongs to the social group that relates, is not subject to any transcription and its essence is the trasnformación. A repeat mitante believe it .. GCA the self is reduced to that place of transit, confluence and passage. "Claude Levi-Strauss, Myth and Meaning
With regard to artistic work and personally, based on my readings charges following happens: if, according to Levy Strauss at the time of the myth, the self in this case: performing artists of performance or action, becomes the medium that transforms and denotes a code universal historical memory and collective unconscious ... in a constant unmasking of previous symbols that arise as aspects or representations of fact, Jones argues in his lecture Enrst read to Piscoanalítica British society, in November 1953 on the Theory of Symbolism " If the word symbolism is taken in its broadest sense, is that the item contains most of the development of civilization. What is it therefore but an endless series of evolutionary substitutions, a ceaseless replace an idea, an interest, an ability or a tendency for others? The progress of the human mind, considering GM is is not (as commonly thought) in a number of additions, added from outside, but in the following two processes: first, extension or transfer of interest and understanding from more primitive and simple ideas, etc. a most difficult and complex ideas, in a sense are continuations of those, and symbolize, and on the other hand, the constant exposure of previous symbols, the recognition that although they were previously considered as literally true, in fact were only aspects or representations of fact, the only representations that were capable minds at the time for emotional or intellectual. "
-Is There a ritualistic aspect? J. Antonine
"Sure ... I WAS thinking of everyday rituals like eating and bathing. But Also Other rituals. Certainly the Eucharist is about eating the body, so That Also Comes to mind. "
Through the texts that you sent me, and some other references that I have acquired over time, always delving into the neglected shelves of libraries or museums, exclusive shopping in particular is where this type of literature delicate eye on complex nature artists, self-reflexive phenomenological intimately immersed in human existence. Within these ranges of reference, I've always felt drawn to the work of Frida Kahlo, who personally represents: one of the icons of the first women artists in Latin America that is self-registration and document an almost performative, with the use of brush and canvas, revealing and exposing the unconscious force where pain is the vehicle of redemption, and the sense of duality is the connection to absolute pleasure, between humor and evil.
Nietzsche says in The Birth of Tragedy: "Every artist is an imitator, and Apollo particular artist or an artist's dream Dionysian intoxication, or end (as in Greek tragedy), while an artist of intoxication and sleep with whom we imagine more or less disintegrated, in the binge Dionysian and mystical self-alienation, alone and away from exalted choirs at the time under the influence of Apollonian dream, expresses its own state, ie the unit closest to the bottom of the world, an image analog dream. "
Because I quote these things .... The tragedy! Hence the origin of my own melodramas which questioned me, but I've come to understand without them there would be no catharsis, catharsis necessary for the purification of the soul and calming the mind.
On a recent visit to your beautiful land in the Caribbean Dominican, I was able to talk long hours with Amable Lopez Melendez, curator of the Museum of Modern Art, who will surely remember and remind you, now I understand when they told me that resembled Dominican El Salvador, as a petit country with so much contrast and strength.
For in that wonderful conversation we had, reaffirmed the value of the force that holds the body of the performer artist, the involvement of social responsibility it takes to lead its energy in a space loaded with a certain intrinsic absolute intention, and a karmic baggage on a given line of time.
definitely carries its light body, also transfers magic or duality, Ana Mendieta knew the potential was in the presence from the solution, the absence and the inviolability of existing, his exile from his own body boundaries, violated the boundaries of the ritual sense of longing for a lost paradise, and metaphysical internal, external and palpable. "I Have Tried to reveal the relation entre the space of loss exists in Which Mendieta's work, the space of exile in Which she exists, and the border That We Occupy" quote of Peggy Phelan in the Book Where is Ana Mendieta by Jane Blocker.
“The title is contradictory and implies that elsewhere is right here—or the elsewhere within. It also has echoes
of the famous declaration by Rimbaud: "Je est un autre" (I is another). Most of the artists in the exhibition inhabit
an elsewhere or speak from a critical position outside the status quo. I suppose it is another way to make an
oblique reference to the "Other" without using that very old-fashioned word. I am using this very loosely. Luce Irigaray talks about women's permanent state of exile, as they essentially exist in a culture and a language that
they have not played a role in shaping. Others, because of their sexual orientation, color, or cultural background,
can, if you like, be seen as literally or metaphorically in a similar state of exile”. Entrevista con Mona Hatoum.
Para mí la relación entre rito y performance no están del todo separadas, y no creo que esto abone nada nuevo para la teoría del performance, si es que existe alguna pero, te escribo estas reflexiones como parte de una necesidad de reafirmarme. Si lo vemos desde el punto de vista de que : un performance pertenece a un acto , una acción con un contenido de transferencia energética de implicación y resonancia social por medio de componentes de valor simbólico, por lo tanto = ritual; y éste contenido de significados albergados en cada simbolismo ritual sunstentan is deep in the continuum of the collective unconscious that has been passed down from generation to generation and from culture to culture from ontological myths of humanity.
Levy That according to Strauss, in the case of the myth is what happens "The openness of history is assured by the innumerable ways to compose and recompose cells or cells mythological explanation, what were originally and mythological which demonstrates that using the same material, which basically is a type of material that belongs to the common heritage or common heritage of all groups, of all the clans or all languages a person can still get to develop an original story for each of them. "Myth and Meaning. Page 72.
This definitely shows that if art is the only metaphysical experience of man as Nietzche said, then the only way to pay something other than art: it is through this territory metaphysical self-conscious experience, and from this peculiarity of seeing the experience, then prepare the speech.
Within that biogarfías e IMAGES sent me, although I have not had enough time to delve into all of them but certainly I have been fascinated to discover wonderful work by artists not yet known, as Tracey Moffat, and his "violent nature of their relationship and the strange power that sees them. His works granted an important role to sound and make use of resources close to the paint to articulate the use of lights and shadows, color or composition. It also seeks inspiration from postcards, TV shows, movies Etc. series. His "photo - narratives" are a series of photographs that the artist often appears as the protagonist of his own personal history ."... (Alana Lockward text).
Other work that surprised me is the Sheemann Carolee; I love the cosntrucción of its parts, the strength of his body and the presence with which it is manifested "I am Both image maker and image. The Body May Remain erotic, sexual, Desire, Desiring, But it is as well votive: marked, Written over in a text of stroke and gesture female discovered by my creative will. "- Carolee Sheemann ......... ...
feel a great need to do, say, experiment with the body and the leit motif that gives strength to my life, this for me is just the beginning or access other female manifestations of consciousness ...
I wrote and I will follow looking, reading, living doing. Thanks for sharing your knowledge and your time with me.
With love and respect always
Alexia Miranda.
This definitely shows that if art is the only metaphysical experience of man as Nietzche said, then the only way to pay something other than art: it is through this territory metaphysical self-conscious experience, and from this peculiarity of seeing the experience, then prepare the speech.
Within that biogarfías e IMAGES sent me, although I have not had enough time to delve into all of them but certainly I have been fascinated to discover wonderful work by artists not yet known, as Tracey Moffat, and his "violent nature of their relationship and the strange power that sees them. His works granted an important role to sound and make use of resources close to the paint to articulate the use of lights and shadows, color or composition. It also seeks inspiration from postcards, TV shows, movies Etc. series. His "photo - narratives" are a series of photographs that the artist often appears as the protagonist of his own personal history ."... (Alana Lockward text).
Other work that surprised me is the Sheemann Carolee; I love the cosntrucción of its parts, the strength of his body and the presence with which it is manifested "I am Both image maker and image. The Body May Remain erotic, sexual, Desire, Desiring, But it is as well votive: marked, Written over in a text of stroke and gesture female discovered by my creative will. "- Carolee Sheemann ......... ...
feel a great need to do, say, experiment with the body and the leit motif that gives strength to my life, this for me is just the beginning or access other female manifestations of consciousness ...
I wrote and I will follow looking, reading, living doing. Thanks for sharing your knowledge and your time with me.
With love and respect always
Alexia Miranda.
Tuesday, September 9, 2008
Raising Height Of Dining Room Chair
historiography of Performance Data and some images of his predecessors
(photo taken from website. Elvira Santamaria).
" The artist of the action built in the present realities of substance to their very existence, enfocádose in the areas of most interest in life. It destabilizes itself to recover from the standardization of the forms of breathing under heaven. "(Elvira Santamaria, Mexico)
(Elvira Santamaria, Mexico)
Some Performance and Theatricality readings published by the National Research Center Theatre Usigli Rodolfo, Mexico City, and various internet articles.
Performance Art, term denoting a complex and heterogeneous array of live art, performance art: it arises from a crisis of transience among various disciplines of art. Much can talk about performance art, but while there is still no theory is taken as the last word, so I'll start this essay by quoting everything that is not a performance, to bring through the mirror and ... otherness between theatricality and performativity addressed which stresses the rupture lies in: INTENT. Let
theater: the theater is half if not an end in itself, but the performance is different from being a non-theater environment. The theater always keeps a referential function associated with the representation of characters, actions, relationships and situations, the performance: this is the execution of successive actions.
From the 50's the discussion about the boundaries between theater and performance to dim ... Theatre as an end or as a cultural space where you can match the physical space drama, dance, musical entertainment and so on .... while the performance manifested as a kind of practice that while there might be cultural, artistic, eduactiva, politics or whatever,, but was held in very different physical spaces for the theater: the gallery, museum, hall, street place clandestine, etc. address ...... even then bring the performance up in the theater .... causing major subsequent theoretical confusion for critics.
LIMINAL LINE BETWEEN PERFORMANCE AND THEATRICALITY :
lot would have to delve between theatrical trends, which is not our goal, but it is important to distinguish that in the sixties, the transformation of the stage came from within, with the INTENTION surgimieto ANTI-ENTERTAINMENT, (actor-creators) and as the indeterminate, process of musicians and visual artists provinientes of the great "isms" of art ... At this crucial stage desteatralizador process was experienced by the scenic artists agreed and food with a theatrical approach to the part of visual artists and musical ... Dada militants. What happens after the 50's is that several developers tried to minimize vangurdia the referential function of theater (in the case of Catalan Joan Brossa, which was considered as an example of post theater, ... in the formulation of a particular theater ... proposals emerged Tadeuz CANTOR designer painter, and the actions of the musician John Cage nortemaericano, 1952. These intentions mentioned above .. .. aimed to "redefine" the cultural concept theater, emphasizing its performative function.
John Cage.
John Cage WFMU's Beware of the Blog: John Cage on a TV Game Show in 1960 (video) Performs using Water Pitcher, Iron Pipe, Goose Call and a slew of musical Other implements in 1960 on the game show I've Got a Secret: video at ...blog.wfmu.org/freeform/2007/04/john_cage_on_a_.html - 54k - Cached - Similar page
fusion, selective, and the breakdown ... due to multiple resistance of the theatrical institution muto the term itself: a performance art but also redefined to emphasize the difference in the theater it was linked with a referential representational playwright ... actors dramatic space etc ... and the performative: as a sequence of actions where the actor matches the function of individual character and affects the real timepo of his life, and found the viewer in space.
The coincidence of the theatrical and the performative comes in the 70's with the emergence of the Living Theatre, in the panic stage of Jodorowsky, and the collaboration of postmodern dance.
The coincidence of the theatrical and the performative comes in the 70's with the emergence of the Living Theatre, in the panic stage of Jodorowsky, and the collaboration of postmodern dance.
All images belong to the Living Theater
Living Theatre:
Founded in 1947 as an imaginative alternative to the commercial theater by Judith Malina, The Germ-born student of Erwin Piscator, and Julian Beck, an abstract expressionist painter of the New York School, The Living Theatre has staged Performed Nearly a hundred productions in eight languages \u200b\u200bin 28 Countries on five continents - a unique body of work has Influenced That theater the world over.
Within the performance incorporates the need for ritual ... and visual artists inroads SPECIFIC MEASURES: as Joseph Beuys, Yoko Ono, Chris Burden, and Bruce New man.
The ritual, the play of the absurd in art action in the visual arts was paralleled by the introduction of the performative in the avant-garde theater.
And here is where the avant-garde theater artists are beginning to take possession of alternative spaces;: as the street, basement, garage and industrial building, and subsequently performance artists are both areas as: theater, gallery or museum. Reverses the order: CONFUSION CREATED theoretical purists.
Yoko Ono
"But at one point that many artists TRASNSITAN FREE VIDEO OF THE DANCE, THE PAINTING TO MUSIC THEATRE ARTS ACTION, THERE IS NO LIMIT TO TALK BETWEEN THE ARTS " Jose Sanchez, Ph.D. in philosophy from the College of Fine Arts of Cuenca Spain ... has written: THEATRICALITY and performativity in the contemporary scene SPANISH: Isadora Duncan and books ..
I think the importance lies in the pertinecia that both or multiple disciplines can steppes and I think it should coexsistir .... and within this transience comes the term "discipline".
The twentieth century was a century of breaks and breaks for art: the proposals of Marcel Duchamp and the motion given ... meant a great springboard to conceive of art as a process of reflection and self-analysis. REPLACING (PAINT-PAINTING), POR (PAINT-IDEA). SURGE He postulated that: A MENTAL ACTIVITY OF ARTISTS IN THE PROCESS OF CREATION is of greater significance than the object created. SUBSECUENTEMENE
.. JACKSON POLLOCK anticipates the incorporation of the body within the play, with the canvas placed on the floor moving rhythmically. KNOWN AS: Action Painting
Pollock
Elements in a Performance rating, if there are others that are not included please appreciate them those added to the list, if any of those with whom they disagree it would be interesting to know.
1.THE BODY AS A VEHICLE FOR COMMUNICATION AND SUPPORT RITE
2.TRASNGRESIÓN
3.THE
REAL 4.TIEMPO
5.EXPERIENCIACIÓN/FENOMENOLÓGICA
6.LENGUAJES CONVERGENT
7.LABORATORIO PHYSICAL AND MENTAL EXAMINATION.
9.SIMBOLISMOS 8.RECEPCIÓN AND PERCEPTION. ON THE OTHER 10.INCIDIR
13.EXPONERSE YOURSELF WITHOUT MASKS
12.PRÁXIS
13.CONSCIENCIA
14.INTENCIONALIDAD
15.CONCEPTO
16.
17.
18 ....
1.THE BODY AS A VEHICLE FOR COMMUNICATION AND SUPPORT RITE
2.TRASNGRESIÓN
3.THE
REAL 4.TIEMPO
5.EXPERIENCIACIÓN/FENOMENOLÓGICA
6.LENGUAJES CONVERGENT
7.LABORATORIO PHYSICAL AND MENTAL EXAMINATION.
9.SIMBOLISMOS 8.RECEPCIÓN AND PERCEPTION. ON THE OTHER 10.INCIDIR
13.EXPONERSE YOURSELF WITHOUT MASKS
12.PRÁXIS
13.CONSCIENCIA
14.INTENCIONALIDAD
15.CONCEPTO
16.
17.
18 ....
BIBLIOGRAPHY:
ACTION PERFORMANCE AND ARTS IN LATIN AMERICA , CITRU,
Ex Teresa, Ediciones Sin Nombre, 2005, Mexico City
PERFORMANCE AND THEATRICALITY , Citru.Doc, National
InvestigaciónTeatral "Rodolfo Usigli, 2005, Mexico City
WHERE IS ANA MENDIETA ?, Jake Locker, Duke University Press, Durham
and London, 1999 USA
"Troops Out2 Living
by Teather
Metal Rabbit Cages San Diego
We had over 120 people on the esplanade ... 2008 National University
Carlos Quijada, comes to our workshop by being a teacher teaching drawing at the University, their awareness of the body comes from the dance and the human figure.
The piece that we shared good space management, was very visual, there was tension between them, their energy was there.
attach your statement here:
Part Title: WHO WOULD ? THAT WOULD MAKE TODAY?
Author: Carlos Quijada.
Size: variables.
Description:
social phenomena that are a headache for sociologists, psychologists, economists, etc., Is what drives artists to pictorial representations, dance, theater, music etc., artistic creation and to give it a thought and making the public aware of such receptors exhibitions.
This art piece titled, "Who would be? that would make today? ", is focused on the phenomenon of abortion, which are meant to encourage reflection receptor about this complicated emotional situation, especially in women.
The show will last approximately 10 to 15 minutes, which will be used everyday objects such as baby dolls, plastic bags, scraps of paper, trash container for cardboard box.
photos courtesy: School of Arts Quezada Francsico
part Evangelina Laboratory.
Laboratorypart Urquilla Marcos, seeking contact and interaction or human affection, it hit the floor by several minutes.
Types Of Hydrocodone Pills
a table How to intervene? simultaneous intervention several individuals in the laboratory
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The work was based on the concept of" intervention "an object with a specific use but while a large order without of possibilities, the way that was organic to students, either with the body, graphically, or simply the physical presence
attach here a series of images of the shares of: Emilio , Evan, Johanna, and Carlos Javier Quijada.
Ameristar Council Bluffs Coupons
Days was held the workshop: Tuesday 26 to Friday August 29
Topics to be addressed :
Topics to be addressed :
1-Introduction historiographical and conceptual Performance in Contemporary Art (discussion and chat show)
2-Working Group (introduction to the conscience of the artist's body as a vehicle of communication in art and society) August 27
3-Presentation of individual comments and open discussion valuation constructive criticism on the value of the elements identified in the performance art staff and peers. Awakening the self in the assessment of work performance. August 28.
4 - Introduction to the importance of documentation, added values \u200b\u200bof artistic documentation, techniques and possibilities to document a performance piece. Ephemeral Through the Transcendent. Practical exercises for documentation of a performance piece.
August 5-29 (Documentation of shares short on the campus of the University) Presentation of the public: Thursday, September 4th 4:00 to 6:30 pm.
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Richtiger Name Cytherea
First Performance Laboratory at the Universidad Nacional, El Salvador 2008
this blog is started with the desire that magical things happen, then everything in the art of action should always be an implicit magic ... I do not know if this creates other opportunities to talk about it or not, but the important thing is to try to make a difference to grow .... . because there is no dialogue where the artwork and the human energy stagnates, if in your place no residence conditions you need to create the language that you like, because you have to assemble endless possibilities to make things happen on a reciprocal and circumstantial. This first lab is process and result ..
Please feel yourself with all the freedom of opinion and to make evaluative and critical thinking about it.
Alexia Miranda
Sunday, September 7, 2008
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