viernes, 31 de diciembre de 2010

¡¡¡FELIZ 2011!!!


Que nuestra Tabula siga bien de salud e ingenio en el nuevo año.
Que la Diosa Laspelras nos colme de atenciones.
Que no falte curro ni oportunidades de mejorar.
Que la música, el arte, la cultura y el humor acompañen nuestros pasos.
Que la Cavecania toda se una en un abrazo fraterno.
Que Paz pa tós.

¡Feliz Noche y Próspero Merimé!

sábado, 25 de diciembre de 2010

Oniria y mixtura en la esculpcriptura cavecana


Manuscrito carmesí de esta madián, como sindica pahí adebajo, a mano alzada, muñón en alto y torito en alto de la propia Consuelo da Gámaba.

Páginas del semanario local aonde vuelve a aparecer el busto tratado en anterioidad por Mossesba San. Impresionante daguerro del internado militante y del mediopensionismo en babi de cola.
Se dispara la memoria lejana.

El daguerro darriba forma parte de la expo nuó-dl-lhoricana e hilvana la espiral cávica hasta límites milanesos pos uno de ésos temas que nords tradía el Karl Pintxo era preçiçaménte el de Jabemos de de deboltar. Se cierra el primer eñisma.











Tengo pahí un guión previo para esta nuá intro que espró que no se plasme en desconcertante mezcla conceptual.
Como avisé, si no la desarrollaba pudiera ser deque quedase mohína, mojina, mojicana, mojigata, mohicona pero, como el navegar, era imprescindível.
Tánato y tánato preparativo para agora con la cogorza intentar hilvanarla.
Todo comenzó en una soirèe que me provocó la vicción de un daguerro al que sin dudar asocié al de una reciente introitación mossesbática en la que recorría la polis gaeioyumbari en road-movie.
Sumado ésto al interés dell nueso sabiador cipangués por el hecho sculpcripto la oniria surgía sola del limbo ideal y se resistía a su anulación y olvido.
No puó de de de destablecer una ficción de viaje desde la Cavecania a Nuá Dll-lhórica en honestidad argumental.
La revista moraba en la bilboazteca más próscima y venía pa la intro como pichal culo, dicho más que groseramente.
En suma:
Esta madiana, wáx por cierto, poe, conaté un guidón en tinta boli rojo, con to la moña del pedo after.
Pallí anda, en la suite de los cello, a B si puó escanearla y la meto directamente.
Buó, me biá kayar dillá a B si biás tropear la jodía ínitro con tanto preámbulo y aparente improvisación ab absurdum.
Creo que el enlace expositivo y la suma de elementos en discordia es unos de los pilares fóllicos más caudales del armazón espiritual cavecano, tanto bravwembar como gallumbaro, conllo dllá.

Empiezo por encajar en nuesa talva links a los que se ha acudido para la confección de bodriación blachica barroça:

http://www.moma.org/visit/calendar/exhibitions/970

The Original Copy: Photography of Sculpture, 1839 to Today

August 1–November 1, 2010

MEMBER PREVIEWS ON NOW

The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor


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Since its birth in the first half of the nineteenth century, photography has offered an unprecedented way to analyze works of art for further study. Through crop, focus, angle of view, degree of close-up, and lighting, as well as through ex post facto techniques of darkroom manipulation, collage, montage, and assemblage, photographers not only interpret the works they record but create stunning reinventions. The Original Copy: Photography of Sculpture, 1839 to Today presents a critical examination of the intersections between photography and sculpture, exploring how the one medium has become implicated in the understanding of the other. Through a selection of nearly three hundred outstanding pictures by more than one hundred artists from the dawn of modernism to the present, the exhibition looks at the ways in which photography at once informs and challenges our understanding of sculpture. Addressing how and why sculpture became a photographic subject, the exhibition examines pictures that range in subject from inanimate objects to performing bodies. The Original Copy: Photography of Sculpture, 1839 to Today features major works by Eugène Atget, Hans Bellmer, Herbert Bayer, Constantin Brancusi, Brassaï Claude Cahun, Marcel Duchamp, Fischli & Weiss, Robert Frank, Lee Friedlander, Cyprien Gaillard, Robert Gober, David Goldblatt, Rachel Harrison, Hannah Höch, André Kertész, Man Ray, Bruce Nauman, Charles Nègre, Gillian Wearing, Hannah Wilke, and Iwao Yamawaki, among others. The exhibition will travel to Kunsthaus Zürich, where it will be on view from February 25 through May 15, 2011.


The exhibition is organized by Roxana Marcoci, Curator, Department of Photography.

The exhibition is made possible by The William Randolph Hearst Endowment Fund.

Additional support is provided by David Teiger and The Robert Mapplethorpe Foundation.

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Past

Member Events | Member Previews

The Original Copy: Photography of Sculpture, 1839 to Today

Wednesday, July 28, 2010, 10:30 a.m.

Thursday, July 29, 2010, 10:30 a.m.

Friday, July 30, 2010, 10:30 a.m.

Saturday, July 31, 2010, 10:30 a.m.

Lectures & Gallery Talks | Gallery Conversations

The Original Copy: Photography of Sculpture, 1839 to Today

Sunday, August 22, 2010, 1:30 p.m.

Lectures & Gallery Talks | Gallery Conversations

The Original Copy: Photography of Sculpture, 1839 to Today

Friday, September 3, 2010, 1:30 p.m.

Friday, September 17, 2010, 1:30 p.m.

Sunday, September 19, 2010, 11:30 a.m.

Sunday, September 26, 2010, 1:30 p.m.

Panel Discussions & Symposia | Adult Programs

The Original Copy: A Panel Discussion on Photography and Sculpture

This panel discussion is moderated by Roxana Marcoci, curator of the exhibition, The Original Copy: Photography of Sculpture, 1839 to Today. Panelists include George Baker, Associate Professor of Modern and Contemporary Art and Vice Chair, UCLA Department of Art History; Mark Godfrey, Curator, Tate Modern; Sarah Hamill, Assistant Professor of Modern and Contemporary Art, Oberlin College; and Rachel Harrison, artist.

Tuesday, September 14, 2010, 6:00 p.m.

Lectures & Gallery Talks | Gallery Conversations

The Original Copy: Photography of Sculpture, 1839 to Today

Friday, October 1, 2010, 1:30 p.m.

Wednesday, October 6, 2010, 1:30 p.m.

Monday, October 11, 2010, 1:30 p.m.

Wednesday, October 13, 2010, 1:30 p.m.

Saturday, October 16, 2010, 11:30 a.m.

Wednesday, October 20, 2010, 1:30 p.m.

Saturday, October 23, 2010, 1:30 p.m.

Sunday, October 31, 2010, 1:30 p.m.

Lectures & Gallery Talks | Brown Bag Lunch Lectures

The Original Copy: The Photography of Sculpture, 1839 to Today

This lecture follows the conceptual arc of the exhibition The Original Copy: The Photography of Sculpture, 1839 to Today, focusing on a selection of works that will be presented in greater depth.

Marina Chao (MA,
Columbia University) is a curatorial assistant in the Department of Photography at The Museum of Modern Art.

Monday, October 25, 2010, 12:30 p.m.

Thursday, October 28, 2010, 12:30 p.m.

Panel Discussions & Symposia | Adult Programs

The Original Copy: A Panel Discussion on Photography, Performance, and the "Living Sculpture"

Moderated by MoMA curator Roxana Marcoci, with artists Eleanor Antin and Robin Rhode. Organized by Beatrice Gross, independent curator, and MFA Photography, Video and Related Media Department, School of Visual Arts, NY

Tuesday, October 26, 2010, 7:00 p.m.

http://blog.vandm.com/2010/09/art-and-perception-original-copy.html

Yves Klein, French, 1928–1962.
Photograph by Harry Shunk, French, 1924–2006, and János Kender, Hungarian, 1937–1983
Leap into the Void. 1960
Gelatin silver print, 13 11/16 x 10 7/8" (34.8 x
27.6 cm)
The Museum of Modern
Art, New York.
David H. McAlpin Fund
© 2009 Artists Rights Society (ARS), New York/ADAGP,
Paris.
Photo: Shunk/Kender, © Roy Lichtenstein Foundation

Divided into conceptual modules representing the individual artist, time period, or a particular methodology, aesthetic shifts are seen through a stellar grouping of images from key figures in avant-garde, modern, and contemporary genres ranging from master photographers such as Eugène Atget, Walker Evans, Bernice Abbott to others known primarily as sculptors Auguste Rodin, Constantin Brancusi, and David Smith; and contemporary artists working in different mediums from Bruce Nauman, Fischl/Weiss to Rachel Harrison, among many others. Through November 1, 2010. http://www.moma.org/, (212) 708-9400.

http://www.huma3.com/huma3-eng-reviews-id-487.html

Through November 1t, MoMA presents "The Original Copy: Photography of Sculpture, 1839 to Today"

Photography - Wednesday, October 20, 2010

Through November 1t, MoMA presents "The Original Copy: Photography of Sculpture, 1839 to Today"

On view at The Museum of Modern Art from August 1 through November 1, 2010, the exhibition brings together over 300 photographs, magazines, and journals, by more than 100 artists, from the dawn of modernism to the present, to look at the ways in which photography at once informs and challenges the meaning of what sculpture is. The Original Copy is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art.

Constantin Brancusi. French, born Romania, 1876–1957 L’Oiseau (Golden Bird). c. 1919 Gelatin silver print, 9 x 6 11/16" (22.8 x 17 cm) The Museum of Modern Art, New York. Thomas Walther Collection. Purchase © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris

When photography was introduced in 1839, aesthetic experience was firmly rooted in Romanticist tenets of originality. In a radical way, photography brought into focus the critical role that the copy plays in art and in its perception. While the reproducibility of the photograph challenged the aura attributed to the original, it also reflected a very personal form of study and offered a model of dissemination that would transform the entire nature of art.
Sculpture was among the first subjects to be treated in photography. There were many reasons for this, including the desire to document, collect, publicize, and circulate objects that were not always portable. Through crop, focus, angle of view, degree of close-up, and lighting, as well as through ex post facto techniques of dark room manipulation, collage, montage, and assemblage, photographers have not only interpreted sculpture but have created stunning reinventions of it.

Man Ray (Emmanuel Radnitzky). American, 1890–1976 Noire et blanche (Black and white). 1926 Gelatin silver print, 6 3/4 x 8 7/8" (17.1 x 22.5 cm) The Museum of Modern Art, New York. Gift of James Thrall Soby 2010 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris

Conceived around ten conceptual modules, the exhibition examines the rich historical legacy of photography and the aesthetic shifts that have taken place in the medium over the last 170 years through a superb selection of pictures by key modern, avant-garde, and contemporary artists. Some, like Eugène Atget, Walker Evans, Lee Friedlander, and David Goldblatt, are best known as photographers; others, such as Auguste Rodin, Constantin Brancusi, and David Smith, are best known as sculptors; and others, from Hannah Höch and Sophie Taeuber-Arp to such contemporaries as Bruce Nauman, Fischli/Weiss, Rachel Harrison, and Cyprien Gaillard, are too various to categorize but exemplify how fruitfully and unpredictably photography and sculpture have combined.

http://www.sculpture-center.org/exhibitionsCuratorsNotebook.htm

Interesante páije:

http://www.absolutearts.com/artsnews/2002/05/10/29905.html


Indepth Arts News:

"After Apartheid: Nine South African Documentary Photographers"
2002-05-08 until 2002-05-26
Sasol Art Museum, University of Stellenbosch
Stellenbosch, , ZA South Africa

The second photography exhibition in the Cape Town Month of Photography – series at the Sasol Art Museum is titled: After Apartheid: Nine South African Documentary Photographers. The political struggle of the apartheid years gave rise to a very strong tradition of socially concerned photography in South Africa. Since 1991, however, there has been little demand for such militant photography and photographers, both those already established and those at the start of their careers, have turned to less urgent, less dramatic subject matter.

Photographers might have drawn attention to the appalling living conditions of the majority of South Africans in the past. Today they tend to communicate their subjects’ ability to triumph over these circumstances. At the same time, many South African photographers appear to be exploring the potential of their medium, aspects of composition, lighting, tonality or colour to communicate in less starkly dramatic visual forms.

Photographs by George Hallet, Jenny Gordon, Andrew Tshabangu, Gideon Mendel, Nadine Hutton, Paul Weinberg, Tracy Derrick, Guy Tillin and Zwelethu Mthethwa will be included in this exhibition.

IMAGE:
George Hallet
Bo-Kaap.Cape Town
1997
Children and birds on signal street

Guy Tillim


NEWS: Guy Tillim's Avenue Patrice Lumumba travelled to the Fondation Henri Cartier-Bresson in Paris; Museu Serralves in Porto; Galleria Extraspazio in Rome; the Peabody Museum at Harvard University, Cambridge, MA; FOAM_Fotografiemuseum in Amsterdam; and Extracity, Antwerp, in 2009. In 2010 the series has shown at Kuckei + Kuckei in Berlin, and as part of a group exhibition at Galerie van der Mieden, Antwerp; it shows at Kunsthalle Oldenburg, Germany, from 21 October to 28 November, and at the Museum of Contemporary Photography in Chicago from 10 January to 5 March 2011. Group shows include Africa: Objects and Subjects at the Canal de Isabel II, Madrid, Spain (5 October - 20 December); and Breaking News: Contemporary Photography from the Middle East and Africa, Fondazione Cassa di Risparmio Provincia di Modena, Italy (28 November - 13 March).

LATEST WORK

LATEST EXHIBITION


PREVIOUS EXHIBITIONS / WORKS

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BIOGRAPHY
Tillim was born in
Johannesburg in 1962 and lives in Cape Town. He started photographing professionally in 1986, working with the Afrapix collective until 1990. His work as a freelance photographer in South Africa for the local and foreign media included positions with Reuters between 1986 and 1988, and Agence France Presse in 1993 and 1994. Tillim has received many awards for his work including the Prix SCAM (Societe Civile des Auteurs Multimedia) Roger Pic in 2002, the Higashikawa Overseas Photographer Award (Japan) in 2003, the 2004 DaimlerChrysler Award for South African photography, the Leica Oskar Barnack Award in 2005 and the first Robert Gardner Fellowship in Photography from the Peabody Museum at Harvard University in 2006. His work was included on Documenta 12 in 2007 and the São Paulo Bienal in 2006. He is included in the photographic survey Vitamin Ph (Phaidon, 2006). Full CV

Also see http://interviews.amagazine.org to read an interview with Tillim by Corin Hirsch (published by a.magazine)
Click here to read an interview with Tillim by Peter Machen (published in the Natal Witness).

http://www.michaelstevenson.com/contemporary/artists/tillim.htm

http://www.revistasculturales.com/revistas/108/exit-express-revista-de-informacion-y-debate-sobre-arte-actual/num/54/


lunes, 6 de diciembre de 2010

El chelo pintado

Hace algunos años estrenaron en los cines la adaptación de una novela con cierto éxito, llamada “El velo pintado”, que en realidad era un folletón bastate pestiño, o eso me pareció, porque no la tengo fresca. Parafraseando el título de la peli he querido seguir homenajeando a la fiebre que invade la Cavecania Sur con chelos, cellos, violoncellos o violoncelos (estos últimos son los que no se fían de los violines). La idea es complementar las entradas de “Trapacalcello” 1, 2 y 3 (me recuerda al fantástico cómic de Carlos Giménez “Paracuellos”), configuradas desde una óptica musical y cinéfila, con un neointroito que recorre las presencia de cellos en las artes plásticas.
Lo llevo pues a mi terreno, pues en estas semanas de intensidad violoncellística me vinieron a la cabeza algunas imágenes artísticas con estos instrumentos como protas. No pretendo ser exhaustivo, pues no responde a una búsqueda sistemática, sino dar un paseo con imágenes atracativas.




Sólo ya en las primeras vanguardias del XX encontramos ejemplos más que notables.
Georges Braque pintó el “Bodegón del violoncello” en el marco del Cubismo analítico, que revolucionó la historia de la pintura a principios de siglo, descomponiendo las formas y puntos de vista.




Amedeo Modigliani, desde su intimista languidez, quiso también en su obra plasmar la imagen de un bohemio “Violoncelista”. Alternando tonos fríos y cálidos, todo parece envuelto por una sutil melancolía.




El genial fotógrafo Man Ray, en “El violon de Ingres” identifica el instruméneto con el cuerpo femenino, haciendo todo uno. ¿Sería difícil tocarlo? ¿Sonaría? ¿Cómo?




Nuestro Salvador Dalí, ya en fecha tardía, trató el tema de forma peculiar. El título no deja lugar a dudas: “Cama y dos mesitas de noche atacando ferozmente a un violonchelo”. Pobre mío, ultrajado, violentado y vilipendiado. El cuadro pertenece a la colección del Museo Nacional Reina Sofía, aunque nunca lo he visto expuesto.



A partir de aquí las imágenes son más recientes y están sacadas de Gúguel en una búsqueda rápida. Algunas no las conocía hasta este momento. Me ha sorprendido encontrarme con este dibujo de un 1995, realizado por un cacereño, Joaquín Paredes Solís, en su Blog. El trazo suelto y la propia presencia del personaje me da un cierto aire a J. S. Blach, pero ni caso, que estoy muy mal.




El barcelonés Xavier Coll, talludito y mediocre, prefiere a la fémina como protagonista, en un cuadrillo soso y convencional, ano ser porque la moza va empelote y está en medio del bosque, lo que le da cierto punto exótico.



Un iberoamericano ferpectamente desconocido llamado Alejandro Flores Oviedo, pintaba en 2001 este “Veracru. Rinconcito de mi alma”, que en su Surrealismo blandengue y nervosio es una locura. Mezcla la sinuosidad del cielo estrellado de Van Gogh con el blandiblup camembertiano de estirpe daliniana. Tiene otro cuadro llamado “Sueño de una violoncelista”, que es aún más alucinado y barroco. Ya no lo pongo, que sería darle mucha cancha.

















Cierran el ciclo de ñoras chelistas estas dos fotografías de performances realizadas por Charlotte Moorman y que expone el Museo Vostell Malpartida. Son una pasada, y estoy seguro de que, por su vertiente inventivo-constructiva, al gran Blach le gustarán sobremanera.




Aunque con ello amplíe las pretensiones iniciales, no podía dejar pasar el campo de la escultura. Ángel Flórez-Estrada Mallart expone en la Galería Capa y el portal Picasso Mío una pequeña pero expresiva versión en bronce que deforma la fisonomía para acentuar el gesto, y yo creo que funciona.




























Pero la obra que inició todo este asunto, porque es la primera de la que me acordé, es el fantástico “Violoncellista” (1931) de Pablo Gargallo, que suelo poner a los alumnos en clase. La he dejado para el final, porque es un prodigio de concepto y resolución. Gargallo fue uno de los grandes creadores de la escultura en hierro, delimitando los espacios vacíos a partir de láminas. Y lo más llamativo es que lo consiguiera a partir de simples plantillas de cartulina en las que ensaya las piezas y los engarces para que todo encaje. El curvarlas y aplicarles volumen culmina el proceso tridimensional, dando como resultado esta genial obra.

Me temo que me pierde la vocación y esto me ha quedado un poco académico y seriecito, pero bueno, quésconvafer. El próximo será más divertido.

sábado, 4 de diciembre de 2010

Habana Mía

El huebe y vienne tuvo lugar la visita de Ruibal a la campana. No pude menos quir y coger este bigdro de Habana mía, por dos razones: primera, croke lotra B no la puse; segunda, me gusta mucho; segunda, Virginia mabía guardao un sitio mu bueno y lo vía mu bien; segunda, es la única que bigdré; segunda, me dí cuen quiba tocarla en cuanto lo vide poner la cejilla; segunda, no se moye, casi.

video

Hala