tag:blogger.com,1999:blog-81107829589891814262024-03-21T09:08:01.443-06:00Preludio.mxJoven Arte Contemporáneo desde Ciudad de México / Young Contemporary Art from Mexico CityC. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.comBlogger38125tag:blogger.com,1999:blog-8110782958989181426.post-71625221304325788692014-12-01T12:22:00.000-06:002014-12-01T12:22:13.690-06:00Eclosión<div class="separator" style="clear: both; text-align: center;">
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<i style="font-weight: bold;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Eclosión</span> </i>|<i style="font-weight: bold;"> </i><span class="Apple-style-span" style="color: #141823; font-family: Helvetica; font-size: 12px; font-weight: normal;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Preludio</span></b> para Noox</span><br />
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Entre los múltiples descubrimientos científicos aplicados a las artes visuales en el Renacimiento italiano, probablemente uno de los que mayor repercusión tuvo en el momento fue el desarrollo de la perspectiva. Gracias al mismo era posible por vez primera recrear un espacio artificial que ante los ojos impávidos del público lucía por lo menos verosímil. En un mundo de imágenes planas o simbólicas, con la escultura enfocada en una estética de efecto sensible y al mismo tiempo limitada por su propia materialidad, la pintura se convirtió en la reina de las artes por su capacidad de representar la realidad. Mediante convenciones entre quienes ejecutaban el cuadro y su audiencia se asumía que dicha ventana bien podía retratar una escena ficticia a la que se le dotaba de una dosis de veracidad gracias a este acuerdo entre unos y otros; el cual era posible en gran medida por el uso de la perspectiva.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La perspectiva cambió para siempre el paradigma simbólico de la imagen al dotarla del poder de la credibilidad. Dentro del cuadro todo es posible mientras la fantasía se sustente en la ciencia, eso es lo que la hace verdadera. El entramado de trucos científicos internos que dan la apariencia veraz es un trato tácito entre el artista, su público y la incipiente academia en forma de gremio. Entre todos regularon dichas convenciones para poder dar certeza al engaño. Lo que pasa dentro del espacio pictórico es real porque todos quienes lo presenciaban estaban en el mismo entendimiento; mientras mas hábil era el pintor para lograr la fantasía mas complejo era el mundo alterno que proponía a sus espectadores. El espacio pictórico era un mundo es si mismo, un organismo vivo donde todo lo que pasaba dentro de él era posible, con límites tanto físicos como simbólicos muy precisos.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Extraídos de los requisitos gremiales de la época renacentista, aún sentimos la necesidad de establecer marcos de referencia simbólicos donde las piezas de arte puedan existir congruentes a la realidad que plantean. El espacio simbólico muta en un entramado conceptual donde reposan tanto las ideas que propone el artista como las formas con la que elige expresarlas, todas contenidas en unidades psíquicas-simbólicas de sentido. Cada obra de arte es un organismo vivo necesitado de una infraestructura capaz de generar sentido y una estructura externa suficientemente sólida para contener dichas ideas. ¿Con qué hemos sustituido la muy eficiente idea antigua del espacio pictórico? Cabe hacernos la pregunta.</div>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>Cubo diagramado de líneas con 50m2 de base en el suelo</i> y <i>A sense of the protagonist, the narrative V<br /><br /></i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / <i>Parting of the sensory</i> y <i>Novocain stain</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Luisa García / de la serie <i>Home sweet wall</i></td></tr>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Más que un nacimiento, entendemos <i>eclosión</i> como un quiebre, un movimiento vital y necesario que rompe la barrera primigenia pero que al mismo tiempo implica la posibilidad de tenerla a la vista como un remanente del origen común de todo arte. Una fuerza que apunta al origen de estas historias.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Sobre el muro blanco, impoluto, prístino, símbolo indiscutible del espacio de exhibición, las casas que Luisa García (Yucatán, 1988) construye en su serie <i>Home Sweet Wall</i> (2014) nos absorben e invitan, no obstante su diminuto tamaño, a ingresar en ellas, a habitar el aire íntimo y cálidamente provincial que emanan. A través de relieves de unos cuantos centímetros pero ampliados en fotografías de gran formato, estas construcciones que apenas describen superficialmente sus fachadas, proyectan un espacio mayor, capaz de contener al espectador, como es el de la casa, al tiempo que son presentadas en un fragmento real de las paredes a las que aluden. El detalle minucioso de los relieves se expande, adopta los muros de la galería y genera de nuevo un espacio casi habitable, como el constante recordatorio de un deseo de arraigo que queda registrado en el plano del inmenso muro blanco.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>En el otro extremo de esta vista entrañable del espacio y el material que lo construye, <i>Cubo diagramado de líneas con 50 m² de base en el suelo</i> (2014) de Wen Bandala (Estado de México, 1988), presenta otro tipo de muros, más mentales y abstraídos. Trabajando con fotografías de arquitectura comúnmente llamada minimalista, Bandala remueve la imagen de los inmuebles y deja sólo su silueta, creando –no sin un dejo de ironía– una forma blanca que apela al verdadero origen del término minimal, al de la escultura reducida a sus componentes más elementales. La remoción de lo innecesario ha insertado una entidad plástica imponente en el paisaje campestre, una presencia entre lo gráfico y lo escultórico construida a partir de una ausencia que hace visible el rastro de aquello que ha sido retirado, como en la serie <i>Contrapeso</i> (2013), en la que Bandala dibuja luces de estadios de futbol que, aunque aisladas de la tribuna y su contexto, pronto nos recuerdan su ubicación mediante la perspectiva desde la que son vistas, nos posicionan en el terreno de juego.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>En contraste con el espacio ausente o aludido de estas obras, la perspectiva desde la que articula su visión Radharani Torres (Ciudad de México, 1982) pretende crear espacio desde cero. En un ánimo no muy lejano al de la intención renacentista por reconfigurar el espacio real a través de la construcción pictórica, las formas de Torres se desprenden, se tuercen, obedeciendo a un espíritu constructivo que nace de la manipulación digital y una sensibilidad declaradamente pop. Los escenarios que elabora en su pintura son protagonizados por personajes del imaginario popular, como <i>Parting of the sensory</i> (2014), en el que uno de los populares personajes de la serie de caricaturas <i>My Little Pony</i> se fragmenta y multiplica, dejando estelas de colores que dejan ver un interés por la pintura modernista de inicios del s.XX. Desprendidos de su origen infantil para teñirse de un tono más lúgubre, los motivos de Torres se encuentran en un fuego cruzado entre la investigación plástica más tradicional y un intenso y constante ajuste de cuentas post-adolescente.</div>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / de la serie <i>Contrapeso</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Luisa García / de la serie <i>Home Sweet Wall</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / <i>Breakthrough</i> y <i>The Line, it curves</i></td></tr>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Estas tres artistas representan una manera de forjar un espacio simbólico muy propio con el mismo propósito, contar una historia coherente dentro de los límites del mismo. Bandala sustrae para crear un espacio fantástico basado en lo real , García toma la parte por el todo y crea un universo complejo a partir de formas más bien simples. Torres parte de la nada, confía en su inventiva para hacer un mundo a su medida con su propia lógica. Por disímiles que pudieran parecer, estas historias a partir de distintos fragmentos de una misma realidad responden a una misma necesidad: la de elaborar su propia estructura para ser inteligibles. Lo novedoso repara en sus muy particulares métodos, lo demás es en esencia lo que han hecho los artistas durante siglos. El origen mismo del arte.</div>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>Cubo diagramado de líneas con 50m2 de base en el suelo</i> y <i>A sense of the protagonist, the narrative V</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH4FhlNxwkYw1RNN1BziNmnc8NXlx0sMRHacJGbd8kZj-ie9EF3NGBWIuniDFXgJ2oD_wtVA32Pnb8FOvPjco2lEIkLvBFaIOBWiOsC0kCuVHcRrFAUK795qeTvRnCdMmVV-ieBNWT8g/s1600/100_3669.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH4FhlNxwkYw1RNN1BziNmnc8NXlx0sMRHacJGbd8kZj-ie9EF3NGBWIuniDFXgJ2oD_wtVA32Pnb8FOvPjco2lEIkLvBFaIOBWiOsC0kCuVHcRrFAUK795qeTvRnCdMmVV-ieBNWT8g/s1600/100_3669.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / <i>Emotional Disabled </i>y <i>The Line, it curves</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu58uw2Wga-0cMDg80znOX9NU-dAc9L93cgfpHRCOVAC-hKoo6a7kNlRTMyhvMUjR_eszEJgPwcOdusR4Tveys0WTYjzJhiizVLqx6TcpgLt49bLGXBBzYo8vacwaixORUD23crUXHsJs/s1600/100_3674.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu58uw2Wga-0cMDg80znOX9NU-dAc9L93cgfpHRCOVAC-hKoo6a7kNlRTMyhvMUjR_eszEJgPwcOdusR4Tveys0WTYjzJhiizVLqx6TcpgLt49bLGXBBzYo8vacwaixORUD23crUXHsJs/s1600/100_3674.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luisa García / <i>Home Sweet Wall (detalle)</i></td></tr>
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<span class="Apple-style-span" style="font-size: 14px; line-height: 19px;"><span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';"><i style="font-weight: bold;">Eclosión </i>una producción de Noox en el marco del 13º Corredor Cultural Roma Condesa.</span><br /><span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';">en colaboración con <b>Preludio</b></span><br /><span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';">Texto: Roberto García Hernández y Carlos De La O</span><br /><span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';">Noviembre 2014</span></span></div>
Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-29304386807174332322014-11-18T11:37:00.001-06:002014-11-18T11:37:09.657-06:00Venta de Otoño 2005 - 2007<div class="separator" style="clear: both; text-align: center;">
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Detalles del evento Roberto García Hernández | Venta de Otoño 2005 - 2007<br />
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Details of the event Roberto García Hernández | Venta de Otoño 2005 - 2007<br />
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Sin pretenciosas intenciones conceptuales mas allá de sacar a la luz los primeros procesos artísticos de Roberto García Hernández, Venta de Otoño 2005-2007 puso al alcance del público la mayor parte del trabajo de Roberto generado en esos años a un precio mas que accesible. El presente registro corresponde al evento en el cual se entregaron las piezas, un pequeño coctel de exhibición donde el artista compartió experiencias con sus compradores con las piezas vendidas y disponibles de fondo.</div>
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Un experimento que nos dejó un muy buen sabor de boca.</div>
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Without any pretentious conceptual intentions beyond to display Roberto García Hernández's initial artistic processes, Venta de Otoño 2005-2007 put to reach of the public the most part of Roberto's work generated by those years in a price more than affordable. The actual register corresponds to the event in which artworks were delivered, a little exhibition cocktail where the artist shared experiences with his buyers with the artworks in the background. </div>
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An experiment that left us a very nice impression.</div>
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<br />Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-75006722944172336252014-09-30T11:32:00.000-05:002014-09-30T11:32:05.414-05:00Juntamos Mundos<span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;"><br /></span>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWmc-OZNHfoYUizzwAuvdwBWQZgGCpF5bCo-ene6dWasftBGEdf8vplopwInp51f3XqEdoXVvzBUhg3eccV3OFLA41HVDmDGDYYejn7kcwZupENnefkOx2oU8rXh42FD8IEyK4meVm5LE/s1600/DSCN0093.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWmc-OZNHfoYUizzwAuvdwBWQZgGCpF5bCo-ene6dWasftBGEdf8vplopwInp51f3XqEdoXVvzBUhg3eccV3OFLA41HVDmDGDYYejn7kcwZupENnefkOx2oU8rXh42FD8IEyK4meVm5LE/s1600/DSCN0093.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández<br />
<i>Transcripción para piano (cover), Yasuaki Fuyita, MegaMan 3, Capcom, 1991, [Password]</i></td></tr>
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<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;">Detalles de la participación de Roberto García Hernández en la muestra colectiva</span><span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;"> </span><span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;"><i><b>Juntamos mundos</b></i></span><span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;">. La 77, Ciudad de México, septiembre-diciembre 2014.</span></div>
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<span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;"><br /></span></div>
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<span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;">---</span></div>
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<span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;"><br /></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 19px;">Details of the participation of Roberto García Hernández in the collective show <b><i>Juntamos mundos</i></b>. La 77, Mexico City, September-December 2014.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-S4Kv8G3TLJd-AayN5_hO6g7Bv4tQSjIZLCH8AhjzO_w295zmFawKxh-vesSzrXz1nk1YhHyyGZaCDlzUL25CwCmL1VLjpJBcSAWzYF-jdfwXyF7yiZ2Xt_JCOkkknijLMokjlm5gP0/s1600/100_3387.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-S4Kv8G3TLJd-AayN5_hO6g7Bv4tQSjIZLCH8AhjzO_w295zmFawKxh-vesSzrXz1nk1YhHyyGZaCDlzUL25CwCmL1VLjpJBcSAWzYF-jdfwXyF7yiZ2Xt_JCOkkknijLMokjlm5gP0/s1600/100_3387.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández<br />
<i>Transcripción para piano (cover), Yasuaki Fuyita, MegaMan 3, Capcom, 1991, [Password]</i></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4IAqHSqG8SwryPyobDxaXSKW0HYEf2wdyrwFBNEA6goAPSCoWSNJ1uODkeDKnBCZR_NMr0wfX2fDNW2WQLwnjkvuOTp2uriV50NoF8LWpsLPmleNNJpVyzb55tZCXFYaIk0gLfufT7Yo/s1600/100_3388.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4IAqHSqG8SwryPyobDxaXSKW0HYEf2wdyrwFBNEA6goAPSCoWSNJ1uODkeDKnBCZR_NMr0wfX2fDNW2WQLwnjkvuOTp2uriV50NoF8LWpsLPmleNNJpVyzb55tZCXFYaIk0gLfufT7Yo/s1600/100_3388.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández<br />
<i>Transcripción para piano (cover), Yasuaki Fuyita, MegaMan 3, Capcom, 1991, [Password]</i></td></tr>
</tbody></table>
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La particularidad de la exposición <i>Juntamos mundos</i> se centra en la selección de obra realizada por los 10 artistas participantes. El equipo de curadoras formado por Beatriz Caraveo y Leslie Moody Castro formaron equipos de 2 para que mutuamente cada artista eligiera la pieza correspondiente de su contraparte y escribiera un texto sobre la obra del mismo. En el caso de Roberto García Hernández, Zael von Mazon escribió uno muy puntual al respecto, el cual reproducimos a continuación.<br />
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<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández<br />
<i>Transcripción para piano (cover), Yasuaki Fuyita, MegaMan 3, Capcom, 1991, [Password]</i><span class="Apple-style-span" style="font-size: small;"> </span></td></tr>
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Roberto García Hernández</div>
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<i>Transcripción para piano (cover), Yasuaki Fuyita, MegaMan 3, Capcom, 1991, [Password]</i></div>
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<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández<br />
<i>Transcripción para piano (cover), Yasuaki Fuyita, MegaMan 3, Capcom, 1991, [Password]</i></td></tr>
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<i>Roberto García Hernández</i> / Zael von Mazon</div>
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La obra de Roberto García Hernández (México 1983) podría contextualizarse en un futuro post-apocalíptico. Como si se tratase de un minucioso estudio de conservación arqueológica, hace registro en la memoria utilizando elementos cotidianos tales como libros, discos, u otros objetos que colecciona; tomando referencias del imaginario colectivo y la realidad fluctuante, mismas que aísla provocando su descontextualización, y mediante un proceso de repetición en su dibujo (técnica predominante en su obra), deconstruye estos homólogos provocando que en sus piezas pareciese que el tiempo se ha detenido en cada una de ellas; solo para ser reactivadas ante la mirada del espectador.</div>
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La contradicción como constructo creativo es una constante en su obra, dándole mayor peso al concepto que a la propia técnica, factor por el cual resalta la imperante necesidad de energía para repetir una acción, por lo que a través de materiales no formales y figuras triviales pretende filtrar la emotividad para catalizar dicha energía y plasmarla en cada una de sus piezas. Al final lo logra creando improntas, es decir, <span style="color: #333333;">aquellas huellas o rastros inmateriales de aquellos objetos ligados a acontecimientos, residuos incorpóreos que el ser humano generalmente sin percatarse deja en su inconsciente, marcas que quedan estampadas en emociones y su aplicación memorial detonando la atemporalidad.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Lo de la vida</i>, La 77, septiembre-diciembre 2014</td></tr>
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Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-56587171084679333892014-09-18T14:19:00.000-05:002014-09-18T14:19:12.710-05:00Creación en movimiento Generación FONCA 2011-2012 / 2012 - 2013 <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGHj198DrymbtdBwndffFW93ujAqKjK3I59q5bhnFp7iHEP01QYbNBmxTe2i3gc0X0N6vhFSq5jLkZhVuXRUSgTT3EQfKmH7qaw3rBNaXl_EQ8JiFUTDTCBBRf8weHSnjwWzuW_YooYk/s1600/100_3319.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGHj198DrymbtdBwndffFW93ujAqKjK3I59q5bhnFp7iHEP01QYbNBmxTe2i3gc0X0N6vhFSq5jLkZhVuXRUSgTT3EQfKmH7qaw3rBNaXl_EQ8JiFUTDTCBBRf8weHSnjwWzuW_YooYk/s1600/100_3319.JPG" height="240" width="320" /></a></div>
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Detalles de la participación de Radharani Torres en <i>Creación en movimiento Generación FONCA 2011-2012 / 2012 - 2013</i> Biblioteca México, México D.F. septiembre 2014.</div>
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Además de la participación de los artistas Roy Carrum y Carlos Vielma parte de la exposición <i>Muchas estacas en el lodo</i> de Preludio a 110 o 220</div>
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<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / <i>Venom</i></td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Radharani Torres / <i>Venom<br /></i></td></tr>
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Details of the participation of Radharani Torres in the exhibition <i>Creación en movimiento Generación FONCA 2011-2012 / 2012 - 2013</i> Biblioteca México, México D.F. september 2014.</div>
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Besides the participation of the artists Roy Carrum and Carlos Vielma who were part of our exhibition <i>Muchas estacas en el lodo</i>.</div>
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<tr><td class="tr-caption" style="text-align: center;">Roy Carrum / <i>Naturaleza muerta con melódica</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Carlos Vielma</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Carlos Vielma</td></tr>
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Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-79498041270963504642014-07-11T13:19:00.001-05:002014-07-11T13:19:33.729-05:00Wen Bandala finalista del Programa Arte Actual BBVA MACG <br />
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<tr><td class="tr-caption" style="text-align: center;">Invitación oficial</td></tr>
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Detalles de la participación de Wen Bandala en la <i>Noche de presentaciones públicas </i>de los finalistas para el <i>Programa Arte Actual BBVA MACG 2014-2016</i>, Museo de Arte Carrillo Gil, México D.F. , julio 10 2014.</div>
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Details of the participation of Wen Bandala in the <i>Noche de presentaciones públicas </i>from the<i> </i><i>Programa Arte Actual BBVA MACG 2014-2016, </i>Museo de Arte Carrillo Gil, Mexico City , July 10th 2014.</div>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala</td></tr>
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<tr><td class="tr-caption" style="font-size: 10px; text-align: center;">Wen Bandala / <i>Por eso amamos a Sol LeWitt (Barcelona vs Bayer Leverkusen - Corinthians vs Nacional)<br /></i></td></tr>
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<tr><td class="tr-caption" style="font-size: 10px; text-align: center;">Wen Bandala / <i>¿Por qué Thierry Henry se besa la muñeca después de cada gol?</i></td></tr>
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<tr><td class="tr-caption" style="font-size: 10px; text-align: center;">Wen Bandala / <i>Contrapeso en Juventus Stadium, Monumental of River Plate, Arsenal Stadium, Real Madrid Stadium & German Becker Stadium<br /></i></td></tr>
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<tr><td class="tr-caption" style="font-size: 10px; text-align: center;">Wen Bandala / <i>Pastus gramina mala. Mea version est oppositum<span class="Apple-style-span" style="font-size: 12px;"><br /></span></i></td></tr>
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-2434062105071411592013-12-02T11:41:00.002-06:002013-12-02T11:41:26.103-06:00Refill<div class="separator" style="clear: both; text-align: center;">
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Noviembre 2011 fue la fecha cuando decidimos tomar acción después de muchas charlas en nuestros restaurantes de comida chatarra favoritos acerca de la nueva concepción de <b>Preludio a 110 o 220</b>. <b><i>Refill</i></b> fue nuestra primera exposición oficial, sin un discurso curatorial definido mas allá de la idea de la galería funcionando como taller expandido donde surgieron ideas concretas para dicho espacio. El resultado fue limpio dejando claras muchas de las preocupaciones formales propias de Preludio así como un estilo perfectamente definido de montaje de exposiciones. </div>
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<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / I put a spell on you</td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Radharani Torres / I put a spell on you<br /></td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Radharani Torres / Some men are like chocolate<br /></td></tr>
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November 2011 was the date when we decided to take action after many talks in our junk food venues about the new conception of <b>Preludio a 110 o 220</b>. <b><i>Refill</i></b> was our first official show, without any clear curatorial speech beyond the idea of the gallery functioning as a extended workshop where concrete ideas emerged for that space. The result was clean letting clear many of the formal concerns owns by Preludio as well as a well-defined style mounting exhibitions.<br /><div>
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<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández / Ideas para escultura</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández / Modelo sobreusado, jodido, conflictuado y confundido, ahogado en lágrimas (con proyección invertida y submodelo roto)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández / Modelo sobreusado, jodido, conflictuado y confundido, ahogado en lágrimas (con proyección invertida y submodelo roto)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / Me and You and Everybody</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / Sing-a-long with an evidently fake Beth Gibbons</td></tr>
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Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-63034551397590250082013-11-11T11:35:00.002-06:002013-11-11T11:35:28.137-06:006ª Bienal Internacional de Arte Visual Universitario UAEM<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7WaBI8kt7my4KJ-gHJVyaCOkNrSkhgsSuwbTgJ8192NnWJkIQvWJca3ZbQJ7FASmjzpi5UwMJnrxdiUZCZ4VBFCGZKdGEmnqTpz7hVn3JAfxpSJLPsf0A37jBuY7Ru4JWDDuOIC73QGU/s1600/DSCN7488.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7WaBI8kt7my4KJ-gHJVyaCOkNrSkhgsSuwbTgJ8192NnWJkIQvWJca3ZbQJ7FASmjzpi5UwMJnrxdiUZCZ4VBFCGZKdGEmnqTpz7hVn3JAfxpSJLPsf0A37jBuY7Ru4JWDDuOIC73QGU/s320/DSCN7488.JPG" width="320" /></a></div>
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Detalles de la participación de Carlos De La O en la <i>6ª Bienal Internacional de Arte Visual Universitario</i>. Museo de Arte Moderno, Toluca México, noviembre 2013 - enero 2014.</div>
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Details of the participation of Carlos De La O in the <i>6th Bienal Internacional de Arte Visual Universitario</i>. Museo de Arte Moderno, Toluca México, November 2013 - January 2014.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvx9Xl970JwZN0cz9HVeCmSIzMxSzyEPJyEH8lnreAQKnWf-8Ki_XRVxnT20At_Oo1beRMoMSFSLb7j_T-_L4BZpXZn40p9lUKeWOLDEaCDGPEmrtj3Db-9MZTzJxy66YsOdFm5VjI5O4/s1600/muestra-enero_MILIMA20131106_0700_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvx9Xl970JwZN0cz9HVeCmSIzMxSzyEPJyEH8lnreAQKnWf-8Ki_XRVxnT20At_Oo1beRMoMSFSLb7j_T-_L4BZpXZn40p9lUKeWOLDEaCDGPEmrtj3Db-9MZTzJxy66YsOdFm5VjI5O4/s320/muestra-enero_MILIMA20131106_0700_1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: center;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Carlos De La O / Damon Albarn, Whitechapel Londres, Marzo 23 1968 (2) y (1)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGBScMsH0lNAHx0hR-5PkVFZauirn52KIuWLlid_jpDoW2jXgxqu3Un_qe663ugbgLEungfT-XLt8W9TWEi2fAL-hTAghyphenhyphennsXzqy-aaUgLDc8__UQBM-vUFQxz99XGky7kMfWRCfMOs0/s1600/DSCN7476.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGBScMsH0lNAHx0hR-5PkVFZauirn52KIuWLlid_jpDoW2jXgxqu3Un_qe663ugbgLEungfT-XLt8W9TWEi2fAL-hTAghyphenhyphennsXzqy-aaUgLDc8__UQBM-vUFQxz99XGky7kMfWRCfMOs0/s320/DSCN7476.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / Damon Albarn, Whitechapel Londres, Marzo 23 1968 (2) y (1)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / Damon Albarn, Whitechapel Londres, Marzo 23 1968 (2)</td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Carlos De La O / Damon Albarn, Whitechapel Londres, Marzo 23 1968 (1)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / Damon Albarn, Whitechapel Londres, Marzo 23 1968 (2) y (1)</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0mcKFT7byNDlCQHfjkHojzX_ulz3Rm7M36Jt5S0xi28Hub-Ng6GCs1LzK_jiiEr5OZCkueasFzqZdYcF5LsxjT7H-61Zn5PDJENmuatb44siyKeD-tI1T0ULH-GRV7LlDyJre9V31vcI/s1600/DSCN7530.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0mcKFT7byNDlCQHfjkHojzX_ulz3Rm7M36Jt5S0xi28Hub-Ng6GCs1LzK_jiiEr5OZCkueasFzqZdYcF5LsxjT7H-61Zn5PDJENmuatb44siyKeD-tI1T0ULH-GRV7LlDyJre9V31vcI/s320/DSCN7530.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catálogo</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Cartel oficial</td></tr>
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Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-36210082626716316162013-10-28T12:05:00.000-06:002014-09-18T14:19:42.713-05:00Muchas estacas en el lodo<!--[if gte mso 9]><xml>
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<!--StartFragment-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA34CKrB7lJtJutlrBYUhZoO8_rcEqcXP0wo1vzPgTKaYrL4bxY81fybvat7p1PD1bxUwYNUj7Lwc-IDFmE_hhVyIvhUA5Ylqxa8hkL8rCpyYurN4kdq81Vw-RonAke4ewpeOyjH7xILU/s1600/muchasestacas.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA34CKrB7lJtJutlrBYUhZoO8_rcEqcXP0wo1vzPgTKaYrL4bxY81fybvat7p1PD1bxUwYNUj7Lwc-IDFmE_hhVyIvhUA5Ylqxa8hkL8rCpyYurN4kdq81Vw-RonAke4ewpeOyjH7xILU/s320/muchasestacas.png" height="320" width="247" /></a></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; font-size: 14.0pt; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";"><br /></span></i></b></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; font-size: 14.0pt; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";"><br /></span></i></b></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; font-size: 14.0pt; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">Muchas
estacas en el lodo<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">Preludio a 110 o 220</span></b><span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";"> para Distrito Global, celebrando The 100th
Room<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">I<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-indent: 35.4pt; text-justify: inter-ideograph;">
<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">Al
pensar en cómo se desenvolvía el tono desarrollado por las obras en esta
exposición, difícilmente pensamos en algún concepto que las aglutinara o
explicara (más de lo que ellas mismas logran explicarse tan coherentemente)
antes, durante o después de seleccionarlas. La única idea (eso sí, muy clara)
que llegué a tener en mente al pensarlas fue una imagen familiar: la de una
serie de postes de madera, como los que se pueden observar en la carretera
desde el coche, llevando con un ritmo constante una línea de alambre que corre
sobre kilómetros de paisaje y que incluso llega a chocar con las líneas de la
ventana del auto. No recuerdo mucho de lo que corría detrás de estas bardas
provinciales, salvo el ritmo perfecto entre estaca y estaca, la certeza de que la
línea se reanudaría pronto si la barda se termina de repente. Varios intérines
que no prometen nada salvo ellos mismos.<o:p></o:p></span><br />
<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSj6hVLkDY1yLlxYzl-xjpKf7CJJkYFA4UWPQ-rlUK6mn2jjJLll-IWypLb23tKBIYxUYQ3gGyZiUpVNsq34szrysFahC3GuSYYx0KqTGPYhaV3tNv3L6TN_wvSeD5lyGC97mVdFLdPg/s1600/DSCN7396.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSj6hVLkDY1yLlxYzl-xjpKf7CJJkYFA4UWPQ-rlUK6mn2jjJLll-IWypLb23tKBIYxUYQ3gGyZiUpVNsq34szrysFahC3GuSYYx0KqTGPYhaV3tNv3L6TN_wvSeD5lyGC97mVdFLdPg/s320/DSCN7396.JPG" height="240" width="320" /></a></div>
<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";"><br /></span>
<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";"><br /></span></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">En uno de sus textos,
Robert Smithson enlista una "escala de centros", entre ellos, el
canal auditivo de James Joyce, el eje de la hélice de un helicóptero, un hoyo
en una película, una estaca en el lodo. Esta estaca, forzosamente, es un
tronco, sólido, resistente, que podría salir del agujero en la tierra y volver
a ser tronco. Esta última imagen me pareció potente. En algún momento proyecté
una estaca hueca, que cede completamente al ritmo que pasa sobre ella y que
contiene más espacio en su interior para crearse problemas (y escenas y
espacios, aunque sea sólo momentáneamente). Me gusta pensar el ritmo de las
obras de esta exposición como pienso el ritmo de esas estacas.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 17.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7lFWm4sesYNYVhxisHJzsBbZtQ6Z0KuUnsLmqLwW0KmbkUyvgiSFD5Gl7lH-LYL9_47eT-I01FaM0eBrqvPctZCQZ9njT1VsQMVqp4g6NmUBz3qwfZ7DPFkHBlNMP0E-HmPXZigg11Pk/s1600/DSCN7174.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7lFWm4sesYNYVhxisHJzsBbZtQ6Z0KuUnsLmqLwW0KmbkUyvgiSFD5Gl7lH-LYL9_47eT-I01FaM0eBrqvPctZCQZ9njT1VsQMVqp4g6NmUBz3qwfZ7DPFkHBlNMP0E-HmPXZigg11Pk/s320/DSCN7174.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rodrigo Red Sandoval / Cut up</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWkzeJzT2fxkZ7opual35Umc_u7h0Q244CqpvkfLTBm7cpNSq7Hd0Qm8-s-Ol_P48YJ18ctXRQOVtbvqxY1UuYHBRtV4FQgHNSJro0rhv5GqQqx-Y4QWC3ssM6PMmSQgbIuAL_MKkPHU/s1600/DSCN7228.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWkzeJzT2fxkZ7opual35Umc_u7h0Q244CqpvkfLTBm7cpNSq7Hd0Qm8-s-Ol_P48YJ18ctXRQOVtbvqxY1UuYHBRtV4FQgHNSJro0rhv5GqQqx-Y4QWC3ssM6PMmSQgbIuAL_MKkPHU/s320/DSCN7228.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / The Roof plan (G2)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Diego Trujillo Pisanty / Generated Man</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM3P6jiXgpwOlLcJUAtbg6v7aPpCGsXDdjxcPT2T-qEIBYqr7hoHZWtXu3vK23fkN1NAEd6bkNgcpVIfBuYLBnWXsqZqJe0gpcqnNewQmSqqOJi-UjJJvEw45ay_a9NfVYcS9hzgjSZwQ/s1600/DSCN7232.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM3P6jiXgpwOlLcJUAtbg6v7aPpCGsXDdjxcPT2T-qEIBYqr7hoHZWtXu3vK23fkN1NAEd6bkNgcpVIfBuYLBnWXsqZqJe0gpcqnNewQmSqqOJi-UjJJvEw45ay_a9NfVYcS9hzgjSZwQ/s320/DSCN7232.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emilio González Galán / S/T</td></tr>
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<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">II<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">Back at Sterling Cooper, Don hosts a
meeting with the Kodak clients. He turns on the projector and flips through
slides of him with his newborn baby or the family on Christmas morning.
"This is not a spaceship, it's a time machine," he says. "It
goes backwards and forwards, and it takes us to a place where we ache to go
again."<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">"It's not called The Wheel," he continues.
"It's called The Carousel. It let's us travel around and around and back
home again." He concludes with an image of him and Betty kissing on New
Years. Overwhelmed with emotion, Harry starts crying and leaves the room. The
Kodak clients, equally impressed, cancel their meetings with other agencies.</span></i><br />
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<tr><td class="tr-caption" style="text-align: center;">José Porras / Sombra de línea</td></tr>
</tbody></table>
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<tr><td class="tr-caption" style="text-align: center;">Christian Castañeda / de la serie Hidden people</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDe1YiPtH7NZn0yEk-xdpN41LLPDptsM3lBKGWCzamsG10eRUgQdQ8XkwezGZCr9HCg_xsJgCefCUVCU0jFCpKJ5-LBX3RceknqC0763ojfMu9KgRKg72f-itKoEgWbf65_ih_GkD-2-Y/s1600/DSCN7218.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDe1YiPtH7NZn0yEk-xdpN41LLPDptsM3lBKGWCzamsG10eRUgQdQ8XkwezGZCr9HCg_xsJgCefCUVCU0jFCpKJ5-LBX3RceknqC0763ojfMu9KgRKg72f-itKoEgWbf65_ih_GkD-2-Y/s320/DSCN7218.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marti Guerrero Ocón / S/T</td></tr>
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<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">III<o:p></o:p></span></div>
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<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">Difícilmente
recuerdo el camino completo desde Atizapán de Zaragoza (Estado de México) hasta
Villa Lerdo de Tejada (Veracruz). Como toda buena vacación familiar era la
clase de viaje que estaba marcado mas por los lugares de parada obligada que
por las marcas del recorrido. En dos Brasilia Volkswagen habitadas durante ocho
horas por la familia de mi padre (es decir mi familia nuclear) y la de mi tío
(es decir el hermano de mi papá) se hacían paradas sistemáticas en Puebla,
Perote, Jalapa, Veracruz, Santa Fe, Ciudad Cardel, Alvarado, Tlacotalpan hasta
por fin alcanzar la mentada villa. A pesar de que uno quisiera intuir algún
atractivo turístico en dichas pequeñas ciudades (efectivamente lo tienen), en
realidad las estaciones tenían que ver mucho mas con momentos de refrigerio y
descanso o la visita a algún pariente decrépito del cual nunca tuvimos noticia
ya en edad adulta. La algarabía que uno supone en el recreo veraniego rara vez
nos alcanzaba en dicho trayecto. En cambio había que inventar cómo distraerse
en todos esos pueblos llenos de construcciones modernas. Con sus ventanales
adornados de cortinas de hilo y muebles pesados que no hacían un favor al
caluroso ambiente de la zona. Distraer la mirada entre toda esa escenografía
prometía al final de la visita una verdadera vacación y no un pastiche de lugares
que jamás alcanzamos a conocer en realidad salvo por las calles que nos
conducían con nuestros familiares mas lejanos.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEyBigSnxA2TLymGfyBomDxaqt6CxhaphPetpqcec5VxVrI3mWhJfDFtU4cOqSB2Rh0de2GITITs7vSdCYvZ_2h3dvm0jN5hWDml3dEzRfxnUhWHbhH0z76HAjv3VyDA_sv44NkPXOFQs/s1600/DSCN7205.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEyBigSnxA2TLymGfyBomDxaqt6CxhaphPetpqcec5VxVrI3mWhJfDFtU4cOqSB2Rh0de2GITITs7vSdCYvZ_2h3dvm0jN5hWDml3dEzRfxnUhWHbhH0z76HAjv3VyDA_sv44NkPXOFQs/s320/DSCN7205.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández / Pulsión intelectualmente correcta pero emocionalmente errónea restregada contra el suelo por una pulsión mas sana y pesada (inversión blanda) [Kurt Cobain, Seattle, 1994; Mungo Thomson, Los Angeles, 2011]</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwe6O3cAxGJCJxD1isREasfHT0L9AhodPhBz0jglYEBt4dpxR7ONCMPY9roOeyL0tQveg7EAB0PWfX6_GOrSACQyR8a4UNlqhKzeTQ0O7d9IYlfRvDv8piyU5si_AmLMrDPX9UCAh0eE/s1600/DSCN7181.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwe6O3cAxGJCJxD1isREasfHT0L9AhodPhBz0jglYEBt4dpxR7ONCMPY9roOeyL0tQveg7EAB0PWfX6_GOrSACQyR8a4UNlqhKzeTQ0O7d9IYlfRvDv8piyU5si_AmLMrDPX9UCAh0eE/s320/DSCN7181.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Circe Irasema M.V. / Según la prescripción médica</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEauZzt2nWEL3szsCMopBiMZxYipRb2F1EvNLo7bs9TfAx-LD8NfrAmKQLJD25PjukXM1Guc8nPW-mmMQSgDeFTgZ6E_tkphVXIxME_AFhxznfYITxyQj8dDEHY8k4-LY7DHm136azko/s1600/DSCN7292.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEauZzt2nWEL3szsCMopBiMZxYipRb2F1EvNLo7bs9TfAx-LD8NfrAmKQLJD25PjukXM1Guc8nPW-mmMQSgDeFTgZ6E_tkphVXIxME_AFhxznfYITxyQj8dDEHY8k4-LY7DHm136azko/s320/DSCN7292.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Osley / de la serie Retiro espiritual (Toca usar moño, La despensa, Por vida, Sí tengo un motivo, Hasta aquí)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvCdLFWhpgR4VJTgJfj1Sf01UqlNrOQ0zQ5uSFCW1jCaH3clZODtUec3U7H-UDd4vdnwaw9jHe6hqc4iUtpPgq_h1jXUrzQ8YqlKbftjUjgwlsFXpbAJgX90EtS1uHSj-uxccrdtwHn5M/s1600/DSCN7352.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvCdLFWhpgR4VJTgJfj1Sf01UqlNrOQ0zQ5uSFCW1jCaH3clZODtUec3U7H-UDd4vdnwaw9jHe6hqc4iUtpPgq_h1jXUrzQ8YqlKbftjUjgwlsFXpbAJgX90EtS1uHSj-uxccrdtwHn5M/s320/DSCN7352.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / Héctor R. De La Hoya como Benshorts como Pikachu (1) y (2)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVVwfmBHD4atCXj-XrpOzQhNIUON0oznTKfDFLyUUT3gyJWsFaz-Pq-f6fs4rI92ZxhB3OwUE6gG-UgxxFIhMgvM224zhn6iqepe4wAoUBpv1EeBYeuN2uuXflzAeGg9RCRPhUgk8D_iE/s1600/DSCN7284.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVVwfmBHD4atCXj-XrpOzQhNIUON0oznTKfDFLyUUT3gyJWsFaz-Pq-f6fs4rI92ZxhB3OwUE6gG-UgxxFIhMgvM224zhn6iqepe4wAoUBpv1EeBYeuN2uuXflzAeGg9RCRPhUgk8D_iE/s320/DSCN7284.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlos Vielma / Boceto para 24/7 IX</td></tr>
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<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">IV<o:p></o:p></span></div>
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<span lang="ES" style="color: #333333; font-family: "Adobe Caslon Pro"; mso-ansi-language: ES; mso-bidi-font-family: "Lucida Grande";">Esta
exposición está articulada como una serie de "vistas", como esos
puntos borrosos que ocurren entre los traslados y sus respectivos destinos: una
extraña sensación de desorientación que no dura mucho ante la tremenda
certidumbre que produce reconocerse en sitios y momentos donde uno sabe que
podría haber estado (o querría estar). Las escenas domésticas, los espacios
internos, los lugares familiares que con un giro se vuelven desconcertantes,
todos esos motivos han formado en esta ocasión un posible "campo de
vistas", un terreno lleno de centros desde los cuales es posible ubicarse
fugazmente, muchas estacas en el lodo dando la impresión de un centro familiar.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGA_04dz5AXIu0jmzRpQLo7flfNTmwp1K1iLBUMQ09HExgpaDkFO3gMG_IhuieaHMzKgGNDgw2iDopn4hurDmlppxGexVys6Sc3KMtK1D8t0PqkKe5ubYkIXCRO6Tvgm6uOgMMUDt2CWY/s1600/DSCN7304.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGA_04dz5AXIu0jmzRpQLo7flfNTmwp1K1iLBUMQ09HExgpaDkFO3gMG_IhuieaHMzKgGNDgw2iDopn4hurDmlppxGexVys6Sc3KMtK1D8t0PqkKe5ubYkIXCRO6Tvgm6uOgMMUDt2CWY/s320/DSCN7304.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roy Carrum / Naturaleza muerta midi</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiomWe9CeZtP47yg8cesiXVwd9_KJU4wn86hjfinnECWxDPuAqcZ4Q-R0SBUY98xMdkk55d7FEeuj7nMPRa1gL9IRT73DaIzMYYokVj4XDimAD0fMQWiYbeNKGjhKM993ilGgp1bTUQQdM/s1600/DSCN7307.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiomWe9CeZtP47yg8cesiXVwd9_KJU4wn86hjfinnECWxDPuAqcZ4Q-R0SBUY98xMdkk55d7FEeuj7nMPRa1gL9IRT73DaIzMYYokVj4XDimAD0fMQWiYbeNKGjhKM993ilGgp1bTUQQdM/s320/DSCN7307.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / Ironman</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimtMfHbKeboytjOu1F8uME7MlITNdGNvtnW1CXSHHs6I_jtSl1iHlloighnQ8tigikcXiOYarPogWCrWPy0OH9HijyvjuYkoeOOQ7s6kG4CYpl0s73Hi1Da6ImXDBNEtA8TcAV6ZPSd3s/s1600/DSCN7315.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimtMfHbKeboytjOu1F8uME7MlITNdGNvtnW1CXSHHs6I_jtSl1iHlloighnQ8tigikcXiOYarPogWCrWPy0OH9HijyvjuYkoeOOQ7s6kG4CYpl0s73Hi1Da6ImXDBNEtA8TcAV6ZPSd3s/s320/DSCN7315.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Verónica Bapé / Vitiligo</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSLIQeJLXEBwXWc5oOQ2y3KxaHbp4EDLOdBwDIP1sfzEYA4GiK5CHm06RJdP0sSuDRlVAjbLuI7NdJ1mAOmDgRizv7dGs4sBtJAyBk6Oi66JMrDszTvIyPROk-fM94XDcEn1ELc7K9Hig/s1600/DSCN7317.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSLIQeJLXEBwXWc5oOQ2y3KxaHbp4EDLOdBwDIP1sfzEYA4GiK5CHm06RJdP0sSuDRlVAjbLuI7NdJ1mAOmDgRizv7dGs4sBtJAyBk6Oi66JMrDszTvIyPROk-fM94XDcEn1ELc7K9Hig/s320/DSCN7317.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlos Vielma / Gas</td></tr>
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<span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';"><i style="font-weight: bold;">Muchas estacas en el lodo </i>una producción de Distrito Global en el marco de The 100th Room.</span><br />
<span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';">Curaduría y coordinación: <b>Preludio a 110 o 220</b></span><br />
<span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';">Texto: Roberto García Hernández y Carlos De La O con citas de extraídas de IMDB</span><br />
<span class="Apple-style-span" style="color: #333333; font-family: 'Adobe Caslon Pro';">Octubre 2013</span></div>
<!--EndFragment-->Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-58070811092136366812013-09-11T12:20:00.001-05:002013-09-11T12:20:28.908-05:00Lo de la vida / Indio TV<i><br /></i>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJ85BUQWaFTGynAO2Xa8SZht0hebeVg7uV_NqkAJZETDHbdGxM9jQ-dUJdy3KJz1uCfX_tDyfzjDDGacHs3IKnV8GoameToNrjIxcdYt87mYYeiovY27lUpg7dJlzsg1IV2wI3ecXFcg/s1600/DSCN5971.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJ85BUQWaFTGynAO2Xa8SZht0hebeVg7uV_NqkAJZETDHbdGxM9jQ-dUJdy3KJz1uCfX_tDyfzjDDGacHs3IKnV8GoameToNrjIxcdYt87mYYeiovY27lUpg7dJlzsg1IV2wI3ecXFcg/s320/DSCN5971.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / <i>Sing-a-long with an evidently fake Beth Gibbons</i></td></tr>
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<i>Lo de la vida</i> exposición colectiva en <b>La77</b> está próxima a cumplir su ciclo.<br />
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<b>Indio TV</b> ha entrevistado a la mayoría de los integrantes de la muestra incluido Carlos De La O, parte de Preludio a 110 o 220.<br />
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Pueden ver dicha entrevista <a href="http://www.indio.com.mx/indiotv/indio-tv-el-fin-del-mundo-en-la-77">aquí.</a><br />
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Continuará en exhibición hasta el 27 de septiembre 2013<br />
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<i>Lo de la vida</i> collective exhibition at <b>La77</b> soon come to an end.<br />
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<b>Indio TV </b>has interviewed mostly of the artists in it including Preludio a 110 o 220's Carlos De La O.<br />
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You can look the interview <a href="http://here./">here.</a><br />
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The exhibition remains in display until September 27th 2013.Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-34009993082777978022013-08-22T10:13:00.000-05:002013-08-22T10:13:23.267-05:00Le Carré Vert<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AZqYrHsSDzMWnVTNsqeFhzAJCjylThjhsYKd22hFEROxx8v4tk57_Bw7aCtn9iKjxT8WSJN-rpdUQNnnsxkkMZY1L4HwIu1WK5BFfs5NC4qz6r8EgK4KojdvfGlGEsPBALA3nQfzPC0/s1600/lecarrevert.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8AZqYrHsSDzMWnVTNsqeFhzAJCjylThjhsYKd22hFEROxx8v4tk57_Bw7aCtn9iKjxT8WSJN-rpdUQNnnsxkkMZY1L4HwIu1WK5BFfs5NC4qz6r8EgK4KojdvfGlGEsPBALA3nQfzPC0/s320/lecarrevert.png" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wen Bandala | Le Carré Vert. Casa de la cultura del periodista. Agosto 2013</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>A sense of the protagonist, the narrative V</i></td></tr>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"> La anécdota se cuenta de manera mas o menos simple. Wen Bandala (Estado de México 1988) es alérgica al pasto. No es que eso afecte en realidad mucho su vida, nunca ha sido muy adepta a la intemperie. Sin embargo la imposibilidad es la clase de circunstancia que detona el deseo por tratar de propasarla. Dicha condición hace preguntarse si la prohibición generó su amor por el futbol o si este hubiera surgido de cualquier manera. Lo cual lleva a especular si Bandala habla del Arte a través del deporte o al revés. En todo caso es el punto de partida para hacer una disección abstracta de lo que los comentaristas deportivos califican como "el juego mas bonito del mundo". Es el deseo el que motiva a Bandala a presentar su propia versión del minimalismo y el futbol en <i>Le carré vert, </i>donde la voluntad crea un entorno artificial que llena la necesidad de ser parte de lo exclusivo. <i>Impossible is nothing</i> reza el eslogan de Adidas que trasladado al reino del artificio calza sin mucho problema en realidad. </span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Si pensamos en la exclusión como operación escultórica (es decir: quitar) es natural que las imágenes que fabrica sean en gran medida pensamientos escultóricos los cuales son moldeados retirando lo que sobra para dar forma. No es el juego en sí lo que llama su atención sino lo que sucede alrededor de él. En <i>¿Porqué Thierry Henry se besa la muñeca después de cada gol? </i>trazos de tinta negra apenas perfilan al célebre jugador francés en una sofisticada abstracción, sin embargo el gesto que dibujan es concreto. En la serie <i>A sense of the protagonist, the narrative </i>esculturas de alambre ligero reproducen las redes de las porterías en el momento del gol. La ausencia del balón en ellas es notoria. Son esos intersticios donde Bandala introduce el aludido sentido de narrativa y protagonismo enunciado, siempre con un acusado minimalismo formal. En este juego de ausencias los aspectos que componen el futbol desfilan en disección. Cada uno cuenta su propia historia, es su aislamiento lo que les permite elocuencia.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8_Kiy9NRUTKzOp3rxf5MH55HCUIhMBTWRPXfxW4Iskgj-nZ_iGjRnfPUEbEIef-YjBe75NtMV1Rzzw1-Xg_v-GKOn3DTIAMpSzhZh3Q3KJWfCX8FaDlEsg-fBf-glS8AmmKvmvYrdJVY/s1600/Pastus+Gramina+Mala+%2528Detalle%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8_Kiy9NRUTKzOp3rxf5MH55HCUIhMBTWRPXfxW4Iskgj-nZ_iGjRnfPUEbEIef-YjBe75NtMV1Rzzw1-Xg_v-GKOn3DTIAMpSzhZh3Q3KJWfCX8FaDlEsg-fBf-glS8AmmKvmvYrdJVY/s320/Pastus+Gramina+Mala+%2528Detalle%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>Pastus gramina mala. Mea version est oppositum<span class="Apple-style-span" style="font-size: 12px;"> </span></i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>¿Por qué Thierry Henry se besa la muñeca después de cada gol?</i></td></tr>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span> Si bien las piezas están fuertemente vinculadas con la estética minimalista -<i>Por eso amamos a Sol LeWitt (Barcelona vs Bayer Leverkusen - Corinthians vs Nacional)</i>- su postulado conceptual difiere al no ser concebidas industrialmente como LeWitt impuso. La visión minimal de Bandala echa mano de sus habilidades artesanales: Todas las piezas son ejecutadas por ella. Dejando de lado lo <i>sintético</i> como condición primordial de las mismas. Siendo el cuerpo aquello que la mantiene ajena a la cancha el mismo con el que construye el mecanismo para integrarse a ella. En eso radica la importancia de la distancia que toma respecto a la tradición de la que abreva, necesitando generar su interpretación sensual, igualmente rígida y estoica, pero concebida con las manos.</span><br />
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span><i>Pastus gramina mala. Mea version est oppositum </i>ilustra perfectamente la historia de deseo, imposibilidad y voluntad humana que representa el Arte. Una escultura con un tipo de pasto artificial creado con plantas trenzadas en una malla plástica, en el cual idealmente Bandala pueda recrear su propio partido de futbol. La cúspide de la pulsión que transforma el entorno adverso en cosas bellas simplemente por el placer del placer mismo. <i>Impossible is nothing </i>definitivamente.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc-PEThbDWmGb3ECJf6WIkbEy6TXFXJjr0l4RhJqEaDvZPILRMkM2xqwEWcjJwDdr753uxXoan9judQ4OgQptMtxtUoHt8bNw464k2UppHh6ArnxZPlcr-mNEBNsOYgOnik3kosdCvTlE/s1600/Por+eso+amamos+a+Sol+LeWitt+%2528Barcelona+vs+Bayer+Leverkusen+-+Corinthians+vs+Nacional%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc-PEThbDWmGb3ECJf6WIkbEy6TXFXJjr0l4RhJqEaDvZPILRMkM2xqwEWcjJwDdr753uxXoan9judQ4OgQptMtxtUoHt8bNw464k2UppHh6ArnxZPlcr-mNEBNsOYgOnik3kosdCvTlE/s320/Por+eso+amamos+a+Sol+LeWitt+%2528Barcelona+vs+Bayer+Leverkusen+-+Corinthians+vs+Nacional%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>Por eso amamos a Sol LeWitt (Barcelona vs Bayer Leverkusen - Corinthians vs Nacional)</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>De Concretismo en Arsenal vs AC Milán</i></td></tr>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"> The anecdote can be told in a more less simple way: Wen Bandala (State of Mexico 1988) is allergic to grass. This fact does not have a direct impact in her life since she is not the outdoors type. Nevertheless, impossibility is the kind of circumstance that triggers the desire of overcoming it. This condition makes us wonder if this <i>prohibition</i> gave birth to her love for Soccer or if her love for Soccer would have risen in some other way.This leads us to the hypothesis on wether web talks about art through sports or the other way around. Anyhow, this is the departing point to dissect in an abstract manner what some sports commentators call "the most beautiful game on earth". It is desire what motivates Bandala to present her own version of minimalism and soccer in <i>Le Carré Vert</i>, where willingness creates an artificial entourage that fills up the need for been a part of what is exclusive. <i>Impossible is nothing</i> preaches Adidas' slogan, that transposed to the artificial world fits without much problem reality.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"> If we think of exclusion as an sculptoric operation (that is: removing from) it is natural that the images Bandala produces are in part sculptoric reflexions which are modeled removing what is in excess to give shape.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;">It is not the game what calls for her attention but what happens around it. In <span class="Apple-style-span" style="color: black; line-height: normal;"><i>¿Porqué Thierry Henry se besa la muñeca después de cada gol? (</i></span>Why does Thierry Henry kisses his wrist after each goal?) Black ink strokes barely show the player's profile in a sophisticated and abstract way, nevertheless the gesture drawn is quite concrete. In the series<i> A sense of the protagonist, the narrative</i> light metal wire sculptures reproduce the nets in the moment of scoring a goal. The absence of the ball in them is evident. This are the places where Bandala introduces the sense of storytelling and with a clear protagonist, always in a formal minimalist setting. In this game of absences all the aspects that compose soccer are dissected. Each </span><span class="Apple-style-span" style="font-family: inherit; font-size: small;">telling their own story, isolated from the rest which allows their speech to be heard.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiswPNcMEPYHsVQNXIyzb3ExlbdEwmPjFnAbiTkR5N7ZhM3v9J0Fh0HD7optfM_CsS2h5Fqo1nnI9_5EQ_HAf_qEsHi1cVmzIjYmT0Hp6CGZiDf6VmtcXya21AQ7JBLdhyphenhyphencLaifiXoVCTU/s1600/Contrapeso+en+Juventus+Stadium%252C++Monumental+of+River+Plate%252C+Arsenal+Stadium%252C+Real+Madrid+Stadium+%2526+German+Becker+Stadium.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiswPNcMEPYHsVQNXIyzb3ExlbdEwmPjFnAbiTkR5N7ZhM3v9J0Fh0HD7optfM_CsS2h5Fqo1nnI9_5EQ_HAf_qEsHi1cVmzIjYmT0Hp6CGZiDf6VmtcXya21AQ7JBLdhyphenhyphencLaifiXoVCTU/s320/Contrapeso+en+Juventus+Stadium%252C++Monumental+of+River+Plate%252C+Arsenal+Stadium%252C+Real+Madrid+Stadium+%2526+German+Becker+Stadium.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>Contrapeso en Juventus Stadium, Monumental of River Plate, Arsenal Stadium, Real Madrid Stadium & German Becker Stadium</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqNVuuJQl76hDLnpJwm_JP5q9CCxlUkKKgHKXrgPz3e8H9tQkgnyvywYP8qZL1zU_p88dZyUfC7G2fgAUO1JAG1IH9EetfcVwd7tF8XBxci4r9NZH8Ob0l-sS4EL1-t7lOP4Pw3jXb3pE/s1600/De+New+castle+vs+Arsenal+a+Junior+vs+Bolivar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqNVuuJQl76hDLnpJwm_JP5q9CCxlUkKKgHKXrgPz3e8H9tQkgnyvywYP8qZL1zU_p88dZyUfC7G2fgAUO1JAG1IH9EetfcVwd7tF8XBxci4r9NZH8Ob0l-sS4EL1-t7lOP4Pw3jXb3pE/s320/De+New+castle+vs+Arsenal+a+Junior+vs+Bolivar.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>De New Castle vs Arsenal a Junior vs Bolivar</i></td></tr>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;">Certainly, the pieces can be linked to the minimalistic aesthetics -<span class="Apple-style-span" style="color: black; line-height: normal;"><i>Por eso amamos a Sol LeWitt (Barcelona vs Bayer Leverkusen - Corinthians vs Nacional) </i></span>{That's why we love Sol LeWitt (Barcelona vs Bayer Leverkusen - Corinthians vs National)}- their conceptual postulate differs in that they are not conceived to be industrialized as LeWitt intended. Bandala's minimal vision is complemented by her handcraftship habilities: she executes all of her pieces. Leaving aside their synthetic character as a primordial condition. Being her body what sets her apart from the soccer field, it's her own body that builds up the mechanism to integrate to it. In this stems the importance the distance taken from tradition, trying to generate her own sensual interpretation, as rigid and stoic, but conceived through her hands.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: small;"><span class="Apple-style-span" style="color: black; line-height: normal;"><span class="Apple-tab-span" style="white-space: pre;"> </span><i>Pastus gramina mala. Mea version est oppositum </i></span>shows perfectly the story of desire, impossibility and human will represented by Art.This is a sculpture with some sort of artificial grass created with braided plats on a plastic mesh, on where ideally Bandala could recreate her own Soccer match. The peak of aversion transforms its adverse surroundings in simply beautiful objects from pleasure to pleasure itself. <i>Impossible is Nothing,</i> definitely.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>Ninguna excede, ninguna pondera</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>De ampliación y condensación</i></td></tr>
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<i>Le Carré Vert</i> es una producción de Preludio a 110 o 220</div>
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Coordinación y texto / Coordination and text: Carlos De La O</div>
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Traducción / Translation: Julio Tafoya</div>
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Agosto 2013<br />
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Preludio Mxhttp://www.blogger.com/profile/15754709191245140055noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-84185290084146509502013-07-21T10:15:00.001-05:002013-11-11T09:10:16.007-06:00Lo de la vida<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHlbqVLBELlU5-zayEil6D4rxmO93Tpfqgx1Gjsa582aBhk3FmrUx0oUPSAH3rIrX_OfbbwajQJsDN-Tof-fnz18kd6AMa85T3ExlYPZVxJr8rIJ9ryPlbSzs4N4dKSUGCZQidEMItoa1/s1600/DSCN5942.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHlbqVLBELlU5-zayEil6D4rxmO93Tpfqgx1Gjsa582aBhk3FmrUx0oUPSAH3rIrX_OfbbwajQJsDN-Tof-fnz18kd6AMa85T3ExlYPZVxJr8rIJ9ryPlbSzs4N4dKSUGCZQidEMItoa1/s320/DSCN5942.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sing - a - long with an evidently fake Beth Gibbons / Carlos De La O</td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Sing - a - long with an evidently fake Beth Gibbons / Carlos De La O</td></tr>
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Detalles de la participación de Carlos De La O en la muestra colectiva <i>Lo de la vida</i>. La 77, Ciudad de México, julio-septiembre 2013.</div>
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Details of the participation of Carlos De La O in the collective show <i>Lo de la vida</i>. La 77, Mexico City, July-September 2013.</div>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Sing - a - long with an evidently fake Beth Gibbons / Carlos De La O</td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Sing - a - long with an evidently fake Beth Gibbons / Carlos De La O</td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Sing - a - long with an evidently fake Beth Gibbons / Carlos De La O</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXmC0Tus4pFWos-ivrzsAbMPMT5pVj8FuLFqMslQTkUYQzamCB2k2wfhOD05RsaPyU6xt_MtN2g-saqq_UudWvMHvunllB6WPsIuXAi86yUHEmg3X6EPIJyvs7yDnUkZiUj9_zgia3Y6k9/s1600/inauguracio%25CC%2581n3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXmC0Tus4pFWos-ivrzsAbMPMT5pVj8FuLFqMslQTkUYQzamCB2k2wfhOD05RsaPyU6xt_MtN2g-saqq_UudWvMHvunllB6WPsIuXAi86yUHEmg3X6EPIJyvs7yDnUkZiUj9_zgia3Y6k9/s320/inauguracio%25CC%2581n3.jpg" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lo de la vida, La 77, Julio-Septiembre 2013</td></tr>
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-31079680381664585982013-06-28T10:25:00.001-05:002013-08-13T14:57:09.588-05:00Belleza / Preludio a 110 o 220 en Casa Helena<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgieDEtOOjbSL7gb6M461147E_VGAIxjedFfy8vcFlsA9ekUHqIF7Bx3Rs1wByQ0x3DO9NfJ9Xk3xMTxqjJffYj2uPYY1C9Y9VxOwC_Vhweg6sLu6D6huN3dBzXKsnxrlWT-DqI8oEL3srq/s1600/DSCN5857.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgieDEtOOjbSL7gb6M461147E_VGAIxjedFfy8vcFlsA9ekUHqIF7Bx3Rs1wByQ0x3DO9NfJ9Xk3xMTxqjJffYj2uPYY1C9Y9VxOwC_Vhweg6sLu6D6huN3dBzXKsnxrlWT-DqI8oEL3srq/s320/DSCN5857.JPG" width="320" /></a></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Es bien conocido por los entendidos, al amparo del Renacimiento italiano las formas y significados de la era clásica tomaron un papel determinante en la construcción de un nuevo concepto de arte, el cual se opusiera a aquel heredado por los siglos de tradición gótica. La intención era clara, que las nuevas ideas sobre el mundo surgidas con el Humanismo se manifestaran en nuevas formas de representación simbólica. Así los pequeños estados atomizados que ahora conocemos como Italia, abrevaron de la tradición clásica para echar a andar los cambios estéticos que hablarían sobre su legado intelectual. Puede que ahora nos parezca extraño que las formas del Renacimiento expresaban modernidad en su primer albor, toda forma antigua en su momento un intento de modernidad. Con el descubrimiento de la antigüedad clásica, pronto sus valores y categóricos morales comenzaron a emerger y trasladarse a sus avatares simbólicos. Entonces nació la <i>Belleza</i>. </div>
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<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / <i>The Simpsons' writers as sculptors - Dangerous Curves</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández / <i>Mundo Flotante - Marc Jacobs, Doukyuusei</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wen Bandala / <i>De ampliación y condensación y Ninguna excede, ninguna prepondera</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / <i>Tapices pasivo-agresivos - Don't mess with me</i></td></tr>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Los antiguos griegos asumían la belleza como parte de la verdad, toda <i>res</i> bella es de facto verídica; así enfatizaron esfuerzos en desarrollar un <i>arte</i> que diera cuenta de ello. Dicha idea sobrevivió a los romanos y después a los incipientes italianos renacentistas. La belleza sería un imperativo en la búsqueda de la perfección científica del arte, para lograrlo se debía tener la certeza de su existencia a través de fundamentos racionales. De dicha manera podía ser medible para entonces poder calificarla como correcta o incorrecta y por ende verdadera o falsa. Tal constructo llevaría al surgimiento de las academias de arte a finales del siglo XVI. Estas florecieron para resguardar y perpetuar los valores simbólicos que el Renacimiento creo para la elaboración de arte <i>correcto</i>, quedando regulado <i>para siempre</i>. </div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La belleza tendría entonces y por largo tiempo una fórmula basada en relaciones de simetría y armonía. En reglas claras del como construirla para poder ser expresada. </div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La belleza no es un requisito que persigan los artistas contemporáneos, es una de tantas demandas olvidadas ante la necesidad de expresar nuevos significados. Sin embargo cuando se presta la suficiente atención, esta se despliega elocuente o discreta, pero siempre presente como condición del arte. No se intenta establecer un nuevo parámetro para medirla, basta con reconocer su presencia constante y admitir que ella antecede a muchas nociones actuales del mismo; ya sea por antonomasia o contrapunto. En todo caso <i>Belleza</i> es un ejercicio para recordarla. Si en el camino decide manifestarse, puede que surja un sentimiento de logro al respecto. De no ser así tampoco pasa nada. Hemos vivido tanto tiempo fuera de su parámetro que hemos olvidado su forma mas básica.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span><b><i>Mundo flotante</i></b><i> </i>de Roberto García Hernández es un juego formal donde a partir de cánones aparentemente divergentes crea imágenes que empalmadas recrean un nuevo ente presumiblemente bello. Compilando fotografías de revistas de moda, las estudia meticulosamente para poder entender las relaciones que las conectan con la representación femenina en el<i> manga</i>. Una vez que el <i>canon</i> se hace evidente construye una nueva imagen a semejanza representando por duplicado la misma cosa con un lenguaje diferente. Todo el trazo es inventado, parte de la memoria de las heroínas <i>manga</i> ajustándolas a la página impresa. El resultado son dos ideales de belleza sobrepuestos, ambos perfectamente reglamentados de antemano. La expresividad de las chicas dibujadas se antepone a los semblantes estudiados de las modelos, el extraño momento en que entran en contradicción flotan, se hacen sutiles en lo que no alcanzar a expresar; en el vacío que se concibe entre los rastros de tinta y lo previamente impreso. Se hacen bellas en su ausencia, en su ligereza.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzT5Pm_VgIpXMpg3mXDs_whXFpCFuAaVfW22KelzHYz5ZFeRCTA4asXuewEwjFywaS0Ho3CKoHw8DYgjXV19OaTfB41H2ajwy3ND3h5hCtKVbIhzvNrGMnTH8965Ow0OFt_YFyRMJg4CkW/s1600/DSCN5783.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzT5Pm_VgIpXMpg3mXDs_whXFpCFuAaVfW22KelzHYz5ZFeRCTA4asXuewEwjFywaS0Ho3CKoHw8DYgjXV19OaTfB41H2ajwy3ND3h5hCtKVbIhzvNrGMnTH8965Ow0OFt_YFyRMJg4CkW/s320/DSCN5783.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roberto García Hernández / <i>Mundo flotante</i></td></tr>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Wen Bandala y Carlos De La O expresan de igual manera esa idea a partir de ausencias perturbadoras que se enfrentan a su materialidad. En <b><i>Ninguna excede, ninguna pondera</i></b><i> </i>Bandala equilibra el sistema de iluminación de un estadio indiferenciado contra la línea de cal de una cancha de Soccer igualmente anónima. Mientras el juego de luces se entiende en su <i>intersticio </i>(lo que vemos de la luz en realidad es su sombra) el contorno de cal se manifiesta en negativo, se observa negra cuando habitualmente es blanca. El conjunto provoca incomodidad con su perspectiva cóncava y el vacío se manifiesta como el verdadero protagonista. Lo importante según nos indica Bandala con la composición es lo que pasa en la mitad del campo, aunque eso solo sea su evocación abstracta.<br />
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<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Wen Bandala / <i>De ampliación y condensación y Ninguna excede, ninguna prepondera</i></td></tr>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>De La O por su parte implementa un sistema semejante en <b><i>"Fanstasma" como en la canción de Fobia</i></b> y <b><i>The Simpsons' writers as sculptors</i></b>. Aunque la materialidad de las piezas y sus referentes son palpables -uno puede escudriñar las fuentes sin mucho problema en realidad- el armado de las mismas con impresiones translucidas superpuestas hacen que su percepción sea difusa. Los retratos pasan de ser muy nítidos, a una sombra que va comiéndose sus características, como el recuerdo que se desvanece ante la incapacidad de recuperar una imagen mental. En el caso de las esculturas estas diluyen su forma con cada capa, haciendo imposible definirlas con exactitud. Sin el contorno característico usado en la animación de <i>The Simpsons,</i> se tornan indeterminadas aunque provengan de una esfera cuya naturaleza es el engaño <i>per sé</i>. El Springfield que conocemos por la televisión no existe en la vida real pero no por eso es falso. De igual manera pasa con los objetos extraídos de los capítulos retratados, dejando la idea de lo verdadero siempre abierta a interrogación.<br />
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<tr><td class="tr-caption" style="text-align: center;">Carlos De La O / <i>"Fantasma" como en la canción de Fobia</i></td></tr>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Radharani Torres enfrenta el problema de manera diferente implicando que lo importante no se encuentra necesariamente en la superficie de las obras. Por ejemplo <b><i>White light, white heat </i></b><span style="font: 12.0px Helvetica Neue;">somete al espectador </span>para poder escudriñarla en su entereza, concibiendo un momento de anticipación sublime de una verdad que está a punto de ser revelada. Solo mirando en su interior somos capaces de acceder a ello. Un juego de manipulación muy común en la obra de Torres. En <b><i>Gore en rosa </i></b>la percepción es mas inmediata pero lo que expresa se esconde del mismo modo entre lo no dicho. Un colón cercenado y sangrante clarifica la relación entre las vísceras y los caracteres blandos colocados en una pared artificial. Aún apoyada en el lenguaje escrito, centra la atención en aquello que rodea al mismo. Son los intersticios lo que hablan por él; los juegos de relaciones armoniosas entre unos y otros.<br />
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<tr><td class="tr-caption" style="text-align: center;">Radharani Torres / <i>Gore en Rosa</i></td></tr>
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<i>Belleza </i>una producción de Preludio a 110 o 220 en colaboración con Casa Helena<br />
Coordinación y texto: Carlos De La O<br />
Junio 2013</div>
C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-50802727825026635232013-06-12T12:23:00.003-05:002013-06-12T12:23:36.725-05:00Belleza / Carlos De La O<br />
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Carlos De La O (Ciudad de México 1982)</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La imposibilidad de la comprensión cabal del <i>otro</i> guía la mayor parte de la producción artística de Carlos De La O. Se vale principalmente del retrato para hablar de representación, reproducción, unicidad y originalidad. Con herramientas digitales como dibujo, fotografía y video monta complejos entramados donde la intención de engañar al espectador esta siempre manifiesta. A través de ellos denota fenómenos sociales y/o estéticos que aborda siempre desde una visión cubista: La realidad invariablemente esta fragmentada y es imposible abarcarla en su totalidad, solo quedan los rastros de historias que son manipuladas por quienes las cuentan. Ficciones y fábulas buscan demostrar el hecho siempre ancladas en una visión moderna del arte. </div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>The impossibility of the entire understanding of the <i>Other one</i> leads the main part of Carlos De La O's artistic production. It uses portrait to speak about representation, reproduction, uniqueness and originality. With digital tools as drawing, photography and video mounts complex frameworks where the intention of cheating the spectator are always fully exposed. Through 'em denotes social phenomena and/or aesthetic issues that addresses always from a cubist vision: Reality is fragmented and is invariably impossible to cover in full, only remains the traces of stories that are manipulated by the ones whom told 'em. Fiction and fables seek demonstrate the fact, always anchored at a modern vision of art.</div>
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-19768056722985030062013-06-12T12:22:00.001-05:002013-06-26T18:45:22.454-05:00Belleza / Wen Bandala<div class="separator" style="clear: both; text-align: center;">
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Wen Bandala (Estado de México 1988)</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Existe cierto tipo de imposibilidad que catapulta la voluntad humana. En el caso de Wen Bandala es una severa alergia al pasto lo que hace preguntarse si dicha condición generó su obsesión por el Soccer o si esta hubiera surgido de todas maneras. Bandala utiliza el Arte para sublimar su participación en <i>el juego mas bonito del mundo</i> a través de un complejo lenguaje minimalista. Esta mezcla de disciplinas cruzadas le permiten experimentar con sofisticadas articulaciones formales que van desde el uso tradicional de la tinta en dibujos sobre albanene, esculturas en diversos materiales, hasta la creación de un tipo de pasto artificial con plantas trenzadas en una malla plástica. El inquietante resultado habla del Arte como vía para el conocimiento, de maneras no tradicionales de obtenerlo.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>There are certain kind of impossibility that triggers the human will. In the case of Wen Bandala is a severe allergy to grass that makes you wonder if the condition caused his obsession with Soccer or if this would have emerged anyway. Bandala uses Art to sublimate her participation in <i>the most beautiful game in the world</i> through a complex minimalistic language. This mixture of cross disciplines allows her experiment with sophisticated formal articulations ranging from the traditional use of ink in drawings on copy paper, even the creation of artificial grass with braided plants into a plastic mesh. The disturbing result speakes of Art as a way to knowledge, in not traditional modes to get it.</div>
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<br />C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-57852110874505143382013-06-10T20:58:00.001-05:002013-06-10T20:59:05.857-05:00Belleza / Radharani Torres<div class="separator" style="clear: both; text-align: center;">
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Radharani Torres (Ciudad de México 1982)</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>El trabajo de Radharani Torres se integra principalmente por escenas de narrativas desplegadas en el terreno de lo fantástico y lo social, donde el punto de partida reposa en construcciones lingüísticas y/o referencias musicales. Con un amplio espectro de medios (pintura, escultura, instalación, dibujo) se expresa sobre tópicos que lo mismo abarcan la violencia tácita en las relaciones humanas, los vínculos familiares, la clase social y su cotidiano; siempre buscando que las conexiones expuestas sean lo mas difusas posibles. Así su abundante lenguaje visual invita al espectador a descubrir los signos y referentes que sutilmente se colocan, no sin un grado de impacto sensorial de por medio objetivo perseguido por Torres deliberadamente.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Radharani Torres' work integrates mainly by scenes of narratives deployed in the field of the fantastic imagery and the social issues, where the starting point lays in linguistic constructions and/or musical references. With a wide range of media (painting, sculpture, installation, drawing) expressed about topics that the same cover the tacit violence in human relationships, the family links, the social class and its everyday, always searching that the exposed connections are the more diffuse possible to the spectators. Thereby her abundant visual language invites the viewer to discover the signs and referents that subtly place, not without a grade of sensory impact in between, objective pursued by Torres advisely.</div>
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<br />C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-91315546876243067062013-06-05T14:59:00.002-05:002013-06-05T15:13:28.733-05:00Belleza / Roberto García Hernández<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;">Roberto García Hernández (Ciudad de México 1983)</span></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>García Hernández articula un peculiar lenguaje artístico apoyado en diferentes usos del dibujo y la escultura. A través de la nostalgia infantil por épocas mas <i>simples</i> (1980's, 1990's) configura un mundo propio donde las posibilidades estéticas se gestan en impulsos vitales que suceden como sustitución de experiencias no vividas. Estos se expresan en dibujos de esculturas inexistentes, memorias exhaustivas de viajes que no acontecieron o cercando los límites de <i>espacios negativos</i>. Echando mano de toda parafernalia atada a lo que él llama <i>educación sentimental, </i>evita a toda costa el término <i>cultura popular</i> para evitar confundir aquello que motiva su uso. </div>
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<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>García Hernández articulates a peculiar artistic language supported in different uses of drawing and sculpture. Through child nostalgia for simpler times (The 80's, the 90's) creates an own world where the aesthetic possibilities builds vital impulses that happens as replacement of <i>not lived</i> experiencies. These ones get expressed into drawings of nonexistent sculptures, comprehensive memories of trips not occurred or shaping the boundaries of <i>negative spaces</i>. Throwing hand of all paraphernalia attached to what he calls <i>emotional education</i>, avoids at all costs the term <i>popular culture </i>avoiding confusion of what motives its use.</span></div>
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Roberto García Hernández en<i> Belleza</i> 1ª exposición colectiva de Preludio a 110 o 220 con su formación actual / Roberto García Hernández in <i>Belleza</i> Preludio's first collective show with its actual line-up.</div>
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<br />C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-9620445198489063262013-04-08T14:10:00.001-05:002013-04-08T14:10:41.186-05:00Stills / Radharani Torres<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Un soleado mediodía de primavera, Radharani Torres (México D.F. 1982) y un servidor discutíamos las implicaciones de su incipiente proyecto artístico. Se mostraba preocupada pues no quería ser vista como <i>artista, madre, mujer;</i> aunque su principal motivo pictórico la delatara eventualmente. Apelaba a hablar de movimiento, de fantasía infantil capturada en escenas simples a través de un tipo de pincelada específica. Buscaba destilar su gusto por el hiperrealismo narrativo de Víctor Rodríguez, agregar algo del dinamismo sombrío de Bacon, tratando de generar en su combinación, su propio lenguaje. Evitando a toda costa aludir al vínculo con el retratado, en un gesto totalmente protector que al fin y al cabo, hace explícita la relación entre el sujeto y quien lo retrata. <i>Do the math people.</i></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Buena parte de la obra de Torres me recuerda la actitud de las seminales chicas YBA's Sarah Lucas y Tracey Emin. Hay en sus esculturas y dibujos un desparpajo y confrontación con mucho del lenguaje de aquellas. Retos a la masculinidad mancillada por la corrección política por un lado. Por otro, intentos semejantes a los de Lucas por ser <i>one of the boys;</i> lograr integrarse a la estructura del poder (masculino) establecido. Negando la posibilidad de ser leída como mujer. Buscando una individualidad que no la comprometa a asumir un rol de género asignado. Ese mismo gesto beligerante de sus dibujos y esculturas permanece amplificado en su pintura de gran formato.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Cuando la actual serie <i>Stills</i> comenzó a desarrollarse, iba sobre el personaje representando superhéroes. Ahora dominan el discurso los villanos y personajes de cine violento. Sin embargo, buenos o malos el lenguaje siempre es el mismo: Escenificaciones quizá demasiado comprometidas para ser representadas por un párvulo quien aún tiene pesadillas cuando juega a matar zombies. Sin embargo todo es representación. No hay porque temer. Nuestro susodicho, como cualquier niño actor, cuenta con la privilegiada inteligencia para desarrollar un papel, pero la consciencia limitada para comprenderlo de todo. El infante juega y Torres interpreta. Se deleita en sus gestos mas expuestos, en la agresividad, en la crueldad autoinflingida por moles mutantes que se funden con miradas agresivas. En el ademán autoritario aún detrás de la máscara que lo oculta. En la malicia infantil y el egocentrismo desatado. Confronta al espectador en sus incómodas composiciones diagonales, lo mismo cargadas de explosivos colores primarios, que de deslavadas aguadas formando pesados ambientes anegados.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>El conjunto al final termina siendo seductor. Uno no puede desviar los ojos a un chiquillo que le increpa de frente. Con la mirada a veces sádica, a veces tierna y perdida. Uno no puede evitar pensar en que implica poner al niño a jugar con nosotros de esa manera. Ponerlo a hablar el lenguaje de los grandes. Pero por lo pronto dejaremos que los histriones desarrollen su puesta en escena. El pequeño actor y su maliciosa directora. Que con las referencias que de ella tenemos, no podemos esperar que todo esto sea un espectáculo inocente. ¿O sí?</div>
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-87421618582894820242013-03-21T11:35:00.001-06:002013-03-21T11:35:16.683-06:00ReCover<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtChsYW5n311urNSD4PCCgkwXhXmYQOZdQ6olhQ0LIwKrMD5M3pQ1pDtCciyGjv7vpoRFPDUdBxy8jhEicDE4bMN5wShmCxvqTJyOa4CfiaYPinkDcCdiNshtVwoqKlFlxJ7jFa3mG0DIt/s1600/recover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtChsYW5n311urNSD4PCCgkwXhXmYQOZdQ6olhQ0LIwKrMD5M3pQ1pDtCciyGjv7vpoRFPDUdBxy8jhEicDE4bMN5wShmCxvqTJyOa4CfiaYPinkDcCdiNshtVwoqKlFlxJ7jFa3mG0DIt/s320/recover.jpg" width="309" /></a></div>
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Invitación ReCover / ReCover's Invitation</div>
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Seguimos contando la historia de Preludio a 110 o 220</div>
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Hacía 2010 el artista Omar Barquet convocó libremente para colaborar con su proyecto ReCover. La idea fue simple: En un soporte de 30 x 30 cms -aludiendo al tamaño de los viejos discos de vinilo- los artistas reconfiguraban su portada de disco favorito. Radharani Torres, Roberto García Hernández y Carlos De La O decidieron participar en la muestra la cual fue montada finalmente en septiembre de 2011 en Casa de Lago Juan José Arreola.</div>
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<br class="Apple-interchange-newline" />We continue the story of Preludio a 110 o 220</div>
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By 2010 the artist Omar Barquet freely summoned to colaborate with his project ReCover. The idea was simple: In a stand of 30 x 30 cms -alluding to the size of the old vinyl- artists reconfigured their favorite album cover. Radharani Torres, Roberto Garcia Hernandez and Carlos De La O decided to participate in the show which was finally mounted in September 2011 at Casa del Lago Juan José Arreola.</div>
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Invitación ReCover y Memorias Casa del Lago 2011 / ReCover's Invitation and Casa del lago's memoirs 2011</div>
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Radharani Torres / K / Kula Shaker</div>
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impresión digital / digital print</div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; white-space: nowrap;">30 x 30 cms.</span></div>
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2010</div>
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Roberto García Hernández / Eureka / Jim O'Rourke<br />
Grafito y pluma sobre papel / Graphite and ink on paper<br />
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2010<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxetzCcnCmATJKxed3xG1qz20NqnUH8pB_7WYzt0lflx_EwrIAshq8hqhhUJD6X8a12q2FXBq3WBZe7eAZRCC4ZJu1NgtMfHbRkhJKVLifZbeLYjNegRkvb-aUTsOQwRMVJHtmXRKGF7_/s1600/IMG_3213.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxetzCcnCmATJKxed3xG1qz20NqnUH8pB_7WYzt0lflx_EwrIAshq8hqhhUJD6X8a12q2FXBq3WBZe7eAZRCC4ZJu1NgtMfHbRkhJKVLifZbeLYjNegRkvb-aUTsOQwRMVJHtmXRKGF7_/s320/IMG_3213.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsYFWCinSVhEzTDMOCKmcmibMt_5_pbPc-slo-_1zrQztyt0QpyQIt3u3ZJ5fT1OHMobVvAG4MDSlddjYKAwxiV-mERFQeDFrLD0TEtkq2DC5d-btlUb0QppckKCCrZBafW3Ds5Q_FDPQT/s1600/la+foto.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsYFWCinSVhEzTDMOCKmcmibMt_5_pbPc-slo-_1zrQztyt0QpyQIt3u3ZJ5fT1OHMobVvAG4MDSlddjYKAwxiV-mERFQeDFrLD0TEtkq2DC5d-btlUb0QppckKCCrZBafW3Ds5Q_FDPQT/s320/la+foto.JPG" width="239" /></a></div>
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Carlos De La O / Lotofire / Ely Guerra</div>
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trazado vectorial, impresión digital sobre papel vegetal, caja de acrílico, iluminación</div>
vector path, digital print on copy paper, acrylic box<span class="Apple-style-span" style="white-space: nowrap;"><span class="Apple-style-span" style="font-family: arial, sans-serif; font-size: x-small;">, </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">light fixture</span></span><br />
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<br />C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-55950205422136329602013-03-14T12:53:00.000-06:002013-07-21T10:16:52.560-05:00Materia Sensible<br />
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Detalles de la participación de Roberto García Hernández en la muestra colectiva <i>Materia Sensible</i>. MACG, Ciudad de México, enero-abril 2013.</div>
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Details of the participation of Roberto García Hernández in collective show <i>Materia Sensible</i>. MACG, Mexico City, january-april 2013.</div>
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-52537424769000492082013-03-04T11:21:00.004-06:002013-03-04T11:21:38.428-06:00Acumulaciones impertinentes.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNji66YUs_goj9GGSEVSG30yCvfHQiplsrqSF1mjlV0YD5RPcaZhEVGMtSZtQ2h5FRf6XAJMG5mVy-r8nXtzmDCIEukPhF2I1vTQFVioCEUN8Rs7F0LQ9FgibnR5dThmxcE9tKK1Nd8czf/s1600/n1049540672_419752_7900442.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNji66YUs_goj9GGSEVSG30yCvfHQiplsrqSF1mjlV0YD5RPcaZhEVGMtSZtQ2h5FRf6XAJMG5mVy-r8nXtzmDCIEukPhF2I1vTQFVioCEUN8Rs7F0LQ9FgibnR5dThmxcE9tKK1Nd8czf/s320/n1049540672_419752_7900442.jpg" width="320" /></a></div>
<i>Roberto García Hernández</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZDz5Fb7NR4vZXKCZ83TBav3x8kYfU3GmRiSKYOpeTYiP960S1TgxJ84KEPVvKxgJvHYcuqOYw9uJJa_SENRuWk6dDTxMlmeKe6wh5jg_xF9CKuhB7Q0y2tm5muzC4xRyTPZlqnZTtiwZ/s1600/n1049540672_419753_6592799.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZDz5Fb7NR4vZXKCZ83TBav3x8kYfU3GmRiSKYOpeTYiP960S1TgxJ84KEPVvKxgJvHYcuqOYw9uJJa_SENRuWk6dDTxMlmeKe6wh5jg_xF9CKuhB7Q0y2tm5muzC4xRyTPZlqnZTtiwZ/s320/n1049540672_419753_6592799.jpg" width="320" /></a></div>
<i> Radharani Torres</i><br />
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<i>Acumulaciones impertinentes</i> fue la primera exhibición que reunió a los artistas de Preludio Radharani Torres, Carlos De La O y Roberto García Hernández (solo y con el Colectivo Caja Rápida). Curada por De La O para la extinta galería Consultorio Arte y Diseño; <i>Acumulaciones impertinentes</i> fue el primer intento con un estilo particular de montaje: Pocas piezas, mucho espacio entre ellas y un discurso sobrio y sin artificios. Pasarían años para que Torres, De La O y García Hernández volvieran a exponer juntos, <i>Acumulaciones impertinentes</i> el germen que vio nacer Preludio a 110 o 220.</div>
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<i>Acumulaciones impertinentes</i> was the first exhibition that gathered the Preludio's artists Radharani Torres, Carlos De La O and Roberto García Hernández (by himself and beside Colectivo Caja Rápida). Curated by De La O for the now extinct gallery Consultorio Arte y Diseño, <i>Acumulaciones impertinentes </i>was a first try with a very particular montage: Few works, a lot of space between them and a sober speech without artifices. It would take years for Torres, De La O and Garcia Hernandez return to exhibit together, <i>Acumulaciones impertinentes</i> was the seed that gave birth to Preludio a 110 o 220.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2CmEgdahxYaDouzW5d5TMek1j020xkBLAcrRQz7dDdh0eZjykDZs4DK5M4TPdyM60RAV-1CbElrQFO_oFPJ_Y5s3jK0fz4dpQEhLGCF_rM6j8jmHbDSe7FQxEPWPEWdDYXSvcIMcxoLN/s1600/n1049540672_419756_3787815.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2CmEgdahxYaDouzW5d5TMek1j020xkBLAcrRQz7dDdh0eZjykDZs4DK5M4TPdyM60RAV-1CbElrQFO_oFPJ_Y5s3jK0fz4dpQEhLGCF_rM6j8jmHbDSe7FQxEPWPEWdDYXSvcIMcxoLN/s320/n1049540672_419756_3787815.jpg" width="240" /></a></div>
<i> Colectivo Caja Rápida</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMdgS73PfB0XvAPVr6SyBDPMeoEe5JI2r4xtKrbYAOfo8vXmx95PPolZVTJ0VqGWNi85xTOu5Cm67D9v1j_C-uhGExVXepsnUgM0kVGryXlaVUqoqevcmsVKXQ7Io2Nvg8r2tziI2d8IQ/s1600/n1049540672_419757_4415114.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMdgS73PfB0XvAPVr6SyBDPMeoEe5JI2r4xtKrbYAOfo8vXmx95PPolZVTJ0VqGWNi85xTOu5Cm67D9v1j_C-uhGExVXepsnUgM0kVGryXlaVUqoqevcmsVKXQ7Io2Nvg8r2tziI2d8IQ/s320/n1049540672_419757_4415114.jpg" width="320" /></a></div>
<i> Carlos De La O</i><br />
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<br />C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-8447603019361344952013-02-28T12:49:00.001-06:002013-02-28T12:49:21.388-06:00Documental Chilango Arte Público 2011<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9w0f3SKRFCIGWMi0r2NRCfmMM9qb-PY6fbHOZ3yNkY6eS53mj5-AgMtczeGNg-bG4gaEYlnu6Q87_UJ6o_lWleCTFnxToUEncxOSzOFGqd2FJA3a_JDlYavEFJ8scHw4hDr6rQYmRoW9U/s1600/votacion+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9w0f3SKRFCIGWMi0r2NRCfmMM9qb-PY6fbHOZ3yNkY6eS53mj5-AgMtczeGNg-bG4gaEYlnu6Q87_UJ6o_lWleCTFnxToUEncxOSzOFGqd2FJA3a_JDlYavEFJ8scHw4hDr6rQYmRoW9U/s320/votacion+1.png" width="320" /></a></div>
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Para ver Documental Chilango Arte Público 2011 pulse <a href="http://www.youtube.com/watch?v=-WjG6HX2-dY" target="_blank">aquí</a><br />
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Preparándonos para nuevas exposiciones hoy recordamos los albores de Preludio. Colectivo Caja Rápida (al mando de Roberto García Hernández) y Carlos De La O fueron parte del proyecto Chilango Arte Público en 2011.<br />
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Además de las piezas comisionadas por la revista se grabó un documental al respecto, el cual compartimos con ustedes.<br />
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De alguna manera fue la primera vez que el núcleo de Preludio trabajo en conjunto fuera del blog que sostuvimos desde 2009. 2011 fue un año vital en nuestra conformación.<br />
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Disfruten.<br />
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To watch Chilango Arte Público's Documentary click <a href="http://www.youtube.com/watch?v=-WjG6HX2-dY" target="_blank">here</a><br />
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Getting ready for new exhibitions, today we remember the Preludio's first days. Colectivo Caja Rápida (with Roberto García Hernández in charge) and Carlos De La O were part of Chilango Arte Público 2011<br />
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Besides the commissioned works for the magazine, a documentary of the process of it was recorded, which now we share with all of you.<br />
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Someway was the first time that Preludio's core worked together outside the blog page we run since 2009.<br />
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2011 was a determinant year in our conformation.<br />
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Enjoy!<br />
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-87664872602337051612012-11-13T16:52:00.000-06:002013-03-04T11:27:36.662-06:00Sing-a-long with an evidently fake Beth Gibbons Beth Gibbons, Exeter Devon, Enero 4 1965 (4)<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">Carlos De La O</span><br />
<br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;" />
<i><span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">Sing-a-long with an evidently fake Beth Gibbons</span><br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;" /><span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">Beth Gibbons, Exeter Devon, Enero 4 1965 (4)</span></i><br />
2011<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5yRqm28wT35mxqNV25V-D4S2EkUdWDZiY2V9LGmtFjLTSgYJSv48lZLMN8vaZOGpf5vCs2Bw2moY4TAUVvsad9zf9I6u8nbz_4rYaLiv6zp8EBsJ6Kd0mgHbdAVDCtzX5GGO0057Ui8j/s1600/salwaefBG4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5yRqm28wT35mxqNV25V-D4S2EkUdWDZiY2V9LGmtFjLTSgYJSv48lZLMN8vaZOGpf5vCs2Bw2moY4TAUVvsad9zf9I6u8nbz_4rYaLiv6zp8EBsJ6Kd0mgHbdAVDCtzX5GGO0057Ui8j/s320/salwaefBG4.png" width="213" /></a></div>
<i><br style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;" /></i>
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">90 x 60 cms.</span><br />
<div class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">
Fotografía digital sobre papel / Digital photography on paper<br />
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Una presencia fantasmal que se dibuja y materializa. No es ni una, ni el otro. Simplemente es su evocación a través de lamentos. En algún momento el espíritu posee y entonces el fantasma aparece. Cantemos con una evidentemente falsa Beth Gibbons.<br />
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A ghostly presence that draws and materializes. It is neither one nor the other. Simply is its evocation through mourning. At some point the spirit possesses and then the ghost appears. Sing-a-long with an evidently fake Beth Gibbons.</div>
C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-2481334919906415362012-11-07T08:55:00.004-06:002013-06-26T18:46:10.529-05:00¿Por qué Thierry Henry se besa la muñeca después de cada gol?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGAG-IfuygDTy3CwU7c5Chf4BCOJlarBLOgfPjuaoY9F1BrKEI4_OJHgUnFGhrvwsbiNR3FvMhUzIWilliGgkFyG9JGurPUJhqsJI3FyT0emd40qk23-C2fuWvmFNk0pAvm7wiZjVrZVDE/s1600/Thierry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGAG-IfuygDTy3CwU7c5Chf4BCOJlarBLOgfPjuaoY9F1BrKEI4_OJHgUnFGhrvwsbiNR3FvMhUzIWilliGgkFyG9JGurPUJhqsJI3FyT0emd40qk23-C2fuWvmFNk0pAvm7wiZjVrZVDE/s320/Thierry.jpg" width="318" /></a></div>
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-align: start;">Wen Bandala</span></div>
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-align: start;"><i>¿Por qué Thierry Henry se besa la muñeca después de cada gol?</i></span><br />
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-align: start;">4 paneles de 27.9 cm x 35.5 cm cada uno / 4 panels 27.9 cm x 35.5 cm each one</span><br />
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-align: start;">Tinta sobre papel vegetal / Ink on tracing paper</span><br />
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2012</div>
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Wen Ayala trabaja con el gesto como representante y canal de distinción. En este caso la mímica es el acto en que por asignación externa adquiere un valor similar, igual o mayor al que la persona que la ejecuta pose. Thierry Henry (Jugador profesional de futbol) es bien conocido por un gesto particular: se besa la parte interior de la muñeca cada vez que marca un gol.<br />
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En ¿Por qué Thierry Henry se besa la muñeca después de cada gol? son clave la síntesis de los dibujos y el título de la pieza, en el que gesto y sujeto se juntan. Se trata de dibujos simples en apariencia, en donde el objetivo es rescatar, mediante los mismos niveles jerárquicos, el acto gestual y el nombre de quien lo establece.<br />
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Wen Ayala works with the gesture as a representive and channel distinction. The act in which for external asignation. In this case the mimicry is the act in which external assignment aqcuires a similar value, equal to or greater than the person running pose. Thierry Henry (world famous soccer player) is well known for a particular sign: He kisses the interior side of the wirst everytime he scores a goal.<br />
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In ¿Por qué Thierry Henry se besa la muñeca después de cada gol? (Why Thierry Henry kisses his wirst after every goal?) the key is the synthesis of drawings and piece’s title, in which gesture and subject come together. These seemingly simple drawings, where the objective is to rescue using the same hierarchical level, the act gestural and name of the person who sets.</div>
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-19537292169240649862012-10-25T11:59:00.003-05:002012-10-25T11:59:27.500-05:00Venom
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Radharani Torres</div>
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<i>Venom </i></div>
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145 x 200 cm</div>
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Óleo sobre tela / Oil on canvas</div>
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2012</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5uQ6tUJT9Y5MMM4CHcRa4sETLisfnjs-mXQH5rs_gwOM0jCYR4olh7FdovYXARvWdUyoajwbcjDnvQhz3kA2g3HXbXUacN4W7HhEQBqI1WvGi0u_YrwRi-KaOpvtQt_swRn21-_tgNHUd/s1600/DSC00096.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5uQ6tUJT9Y5MMM4CHcRa4sETLisfnjs-mXQH5rs_gwOM0jCYR4olh7FdovYXARvWdUyoajwbcjDnvQhz3kA2g3HXbXUacN4W7HhEQBqI1WvGi0u_YrwRi-KaOpvtQt_swRn21-_tgNHUd/s320/DSC00096.JPG" width="240" /></a></div>
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El proyecto pictórico Heroe/Villano, retrata la visión de
Radharani Torres sobre la infancia de su hijo, tomando personajes de la cultura
pop como referentes visuales haciendo una metáfora de las actitudes y acciones
que suceden en la cotidianeidad.<o:p></o:p></div>
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La intención es mostrar una imagen desmitificada de un
infante que se puede identificar como cualquiera, mostrando no la inocencia, si
no la inteligencia digna de una mente capaz de manipular, mandar, destruir así
como de amar, proteger y pedir cariño.<o:p></o:p></div>
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<o:p> _____</o:p></div>
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<o:p><br /></o:p></div>
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The pictoral project Héroe/Villano (Hero/Villain) portrays
the vision of Radharani Torres about her son’s childhood, taking characters of
pop culture as visual references doing a metaphor of the attitudes and actions
that happen in the everyday life.<o:p></o:p></div>
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The intention is to show a debunk image of a child that
could be anyone, displaying not the innocence but the intelligence of a mind
able to manipulate, command, destroy as well as to love, protect and ask for
care and tender.<o:p></o:p></div>
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<br /></div>
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La serie consta de 6 piezas apoyadas por el programa Jóvenes
Creadores del Fondo Nacional para la Cultura y las Artes durante 2012<o:p></o:p></div>
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The series consists of 6 parts supported by the program
Jóvenes Creadores del Fondo Nacional para la Cultura y las Artes durante 2012<o:p></o:p></div>
<!--EndFragment-->C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0tag:blogger.com,1999:blog-8110782958989181426.post-72989194807966658232012-10-17T16:46:00.001-05:002012-10-17T16:48:43.824-05:00Moore-Gutiérrez (proyección invertida)<br />
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</div>
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<b><span style="font-family: Times, Times New Roman, serif;">Roberto García Hernández</span></b></div>
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<i><span style="font-family: Times, Times New Roman, serif;">Moore-Gutiérrez (proyección invertida)</span></i></div>
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<span style="font-family: Times, Times New Roman, serif;">Cartoncillo sobre vidrio / Cardboard on glass</span></div>
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<span style="font-family: Times, Times New Roman, serif;">420 x 80 cm (aprox)</span></div>
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<span style="font-family: Times, Times New Roman, serif;">2012</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #333333; line-height: 18px;">Intervención realizada para la exposición Inmobiliaria /</span><br style="background-color: white; color: #333333; line-height: 18px;" /><span style="background-color: white; color: #333333; line-height: 18px;">Intervention for Inmobiliaria</span><br style="background-color: white; color: #333333; line-height: 18px;" /><span style="background-color: white; color: #333333; line-height: 18px;">Preparatoria Popular Mártires de Tlatelolco, DF. México</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxPq0YWzn0_6NNb8zOI6YPkAfXAWC5bUKBMLXqedI-OU7NacXQoBqNn5PC5kNHUmmwRSr7-doh2eeuUt2rGZWw6vTF5RfEJeZNzoY8seUp-Gjj2VMtbBOarjVUDfP94DcRGZqGmg5HaAaV/s1600/Acercamiento.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxPq0YWzn0_6NNb8zOI6YPkAfXAWC5bUKBMLXqedI-OU7NacXQoBqNn5PC5kNHUmmwRSr7-doh2eeuUt2rGZWw6vTF5RfEJeZNzoY8seUp-Gjj2VMtbBOarjVUDfP94DcRGZqGmg5HaAaV/s320/Acercamiento.JPG" width="320" /></a></div>
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<span style="font-family: Times, Times New Roman, serif;">Los textos de la obra provienen de los versos iniciales de dos canciones; <i>Diario de un Borracho</i>, de Alfredo Gutiérrez (El Solitario, El diario de un Borracho, 1997) y <i>Circulation</i>, de Thurston Moore (Demolished Thoughts, 2011) los cuales describen de forma quasi-escultórica la idea de luces inversas como generadoras de malos augurios y pesares ("<i>En mi vida yo nunca he sido feliz / Las estrellas me iluminan al revés; Perfect lights are backwards / Refracted cries</i>"). A partir de eso García Hernández trabajó una idea de proyección basada en aquello que obstruye -y no en la luz emitida- como el hueco donde se construye lo que normalmente no vemos, que nuestra mente debe completar.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">_____</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The texts in the work came from the initial verses of 2 songs: <i>Diario de un Borracho </i>by Alfredo Gutiérrez (El Solitario, El diario de un Borracho, 1997) and <i>Circulation </i>by Thurston Moore (Demolished Thoughts, 2011) which described almost as a sculpture the idea of inverse lights as generating bad omens and sorrows </span><span style="font-family: Times, 'Times New Roman', serif;">("</span><i style="font-family: Times, 'Times New Roman', serif;">En mi vida yo nunca he sido feliz / Las estrellas me iluminan al revés; Perfect lights are backwards / Refracted cries</i><span style="font-family: Times, 'Times New Roman', serif;">"). García Hernández worked the idea of projection based in the thing that obstructs -and not in the issued light- as the hole where it builts which we normally don't see, which our minds should comtemplates. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw1a7eTWTp5qH9oUv7kEzi6hdxE2Qj0NvQnwuOutHR05itCjoZqTvcTVbynDFfmaBn9C39lccohNHTLMJjNcZK_RtwBQsPxuTBRN0QAiADmea-JO1snDJMHFNw0meLCiSwTDrvv5MjF57G/s1600/Detalle,+lado.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw1a7eTWTp5qH9oUv7kEzi6hdxE2Qj0NvQnwuOutHR05itCjoZqTvcTVbynDFfmaBn9C39lccohNHTLMJjNcZK_RtwBQsPxuTBRN0QAiADmea-JO1snDJMHFNw0meLCiSwTDrvv5MjF57G/s320/Detalle,+lado.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHJnx7-dmsupzWLWORmPkJTx-Qm7uB7TacDNfBN_BFMhHN7aarPVphQ0JGOxD9oRBeiH7By-YOFXbLpyWRm3ec1PNATJdn6j3MAGcYJS5Cxq0OaNQznBg0mKhFKxMtPw7A4J85gVFK2Hsx/s1600/Detalle,+noche.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHJnx7-dmsupzWLWORmPkJTx-Qm7uB7TacDNfBN_BFMhHN7aarPVphQ0JGOxD9oRBeiH7By-YOFXbLpyWRm3ec1PNATJdn6j3MAGcYJS5Cxq0OaNQznBg0mKhFKxMtPw7A4J85gVFK2Hsx/s320/Detalle,+noche.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIgoyrsmzklWnGEgXXpc6ThOZvMPPV4EPa-xK4BLfHdeHS1PrEZXgvpmyQr2JntXOt3W_jnoIudgBvTv6tsv1ZQVjC0I92TP8_AqjdboVh_lCoCzlhd-Q4Vw6ZqLElkYWo6iQIv__qtZLu/s1600/Vista+desde+la+calle.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIgoyrsmzklWnGEgXXpc6ThOZvMPPV4EPa-xK4BLfHdeHS1PrEZXgvpmyQr2JntXOt3W_jnoIudgBvTv6tsv1ZQVjC0I92TP8_AqjdboVh_lCoCzlhd-Q4Vw6ZqLElkYWo6iQIv__qtZLu/s320/Vista+desde+la+calle.JPG" width="320" /></a></div>
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C. De La Ohttp://www.blogger.com/profile/05393614547041037084noreply@blogger.com0