tag:blogger.com,1999:blog-84750162178064435552024-03-12T23:55:28.411-07:00El Anexo Arte ContemporáneoEl Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-8475016217806443555.post-45403771374933893582019-10-16T08:16:00.000-07:002019-10-19T07:36:15.035-07:00Raquel Soffer. La tierra prometida<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfnWMViPbccX7aBR448riyo3SQFCAE4oqYp7q4nw3H3y3pipfLuxY4I8XpxB-XpX_j5EP3xR-op4ALaaXOkvZErQpSjoVdXD_t5vM0ikDSmpqQNqhgsfdqbd5VCVY6Lf6GsVSrZubmA/s1600/raquel+soffer_la+tierra+prometida_invitacion-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1490" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfnWMViPbccX7aBR448riyo3SQFCAE4oqYp7q4nw3H3y3pipfLuxY4I8XpxB-XpX_j5EP3xR-op4ALaaXOkvZErQpSjoVdXD_t5vM0ikDSmpqQNqhgsfdqbd5VCVY6Lf6GsVSrZubmA/s320/raquel+soffer_la+tierra+prometida_invitacion-03.jpg" width="298" /></a></div>
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<span style="background: white; color: #222222; font-family: "arial" , sans-serif;">“La tierra prometida”, exposición individual de Raquel
Soffer en El Anexo/Arte Contemporáneo, plantea un paralelo
simbólico entre la situación venezolana y la historia del pueblo judío,
utilizando micrografías, escrituras minúsculas que ponen en tensión el
texto y la imagen. Las palabras van apareciendo y con ellas van surgiendo los
contornos de geografías, situaciones y personajes provenientes de mundos
distintos pero que se deslizan hacia un destino similar de promesas,
mesianismo, barbarie y éxodo. La artista resuelve este desafío alternando el
dibujo, la gráfica y el vídeo, con los cuales construye una doble narrativa,
verbal y visual.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">La escritura es en realidad un trazado que
delimita las cosas y prefigura el sentido de las acciones. Es también una
cartografía psíquica, el lugar de una batalla milenaria entre el deseo y el
horror, entre la demagogia y la verdad. </span><span style="background: white;">Las micrografías de Soffer contienen
esa ambivalencia de las palabras; buenas para iluminar las mentes y también
para alojar los designios más oscuros. Todo ello puede surgir de la traza
iconográfica que van dejando sobre la superficie una serie de pequeños
caracteres, cual surcos de una memoria que todavía espera la redención. <o:p></o:p></span></span></div>
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<span style="color: #222222; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">¿Qué significa todo esto? ¿por qué se yuxtaponen
dos historias distintas en una misma propuesta? ¿qué tienen en común el pueblo
judío y la Venezuela actual? La respuesta está en el tejido de las palabras y
en cómo estas retienen al mismo tiempo el anhelo y la frustración.<o:p></o:p></span></span></div>
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<span style="color: #222222; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Cuando Soffer "dibuja" imágenes (fijas o en movimiento) con caligrafías de reducido
tamaño, su propuesta también da visibilidad a cuestiones imperceptibles o
latentes. Es decir, la escritura no solamente dice o describe; también muestra
o enseña, aunque en el caso de Soffer no haya una correspondencia semántica
entre la palabra y el icono. Su precedente se afinca en la memoria de su
bisabuelo paterno, quien hacía dibujos con letras en miniatura a partir de
textos judíos sagrados. Tal remembranza permite que la autora conecte lo
biográfico y lo histórico, precisamente en un momento en que los falsos
oráculos y sus trágicos desenlaces parecen repetirse. Lamentablemente, no
siempre la multitud anhelante puede discernir a tiempo entre las aguas y el
fango, el engaño y la redención. Frente a esa encrucijada, quizá sería bueno
reconocer que no hay maleficio en el Verbo sino en los propósitos traicionados
y en las promesas incumplidas. <span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></span></div>
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<span style="color: #222222; font-family: "arial" , sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">En los vídeos micrográficos de Soffer se
resuelve un algoritmo complejo, numérico y alfabético. Lo que se ve está está
literalmente "cifrado", bajo una capa invisible de ceros y unos,
conformando una paradoja perceptiva que rememora la antigua divergencia entre
lo sustancial y lo aparente. Las letras (y los números subyacentes) acaban
sufriendo una metamorfosis que las transforma en imágenes, que unas veces
refutan lo escrito y otras funcionan como una revelación. <o:p></o:p></span></span></div>
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<span lang="ES-VE" style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Otro tanto sucede con
la reconversión gráfica de los patrones cromáticos en una imagen digital, a
partir de la cual se genera una nueva forma de escritura, semánticamente
imprevisible y visualmente sugestiva. En
tal sentido, las “formas que producen los colores al agruparse” develan una
caligrafía ininteligible; acaso la clave de un misterio no develado. </span><span style="background: white; color: #222222; font-family: "arial" , sans-serif; font-size: 12.0pt;">De ese antagonismo
premeditado de la letra y el icono es que surge el sentido de la propuesta de
Soffer, quien se ubica en la intersección de varios horizontes, lugar de cruce
entre biografía e historia, palabra e imagen, lectura y visión.</span><!--EndFragment-->
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El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-17010103956077493552018-12-02T17:50:00.000-08:002018-12-02T17:50:31.625-08:00El Anexo in Pinta 2018. Venezuela: Art and Context<div class="separator" style="clear: both; text-align: center;">
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<!--StartFragment-->
<br />
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">El Anexo in Pinta 2018<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Venezuela: Art and Context<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">El Anexo / Arte
Contemporáneo, present for the fourth time in PINTA, and maintaining a
contextual perspective, offers a selection of Venezuelan artists whose works
addresses different aspects of the country's reality, from photography, video
and artist's books. In each case, there is a particular articulation of means,
languages and ideas based on a critical look at the current socio-political
environment of the nation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">The crisis that
the nation suffers has demolished all institutions and has affected every
aspect of civic life, destroying lives, jobs, resources, human rights,
transmuting subjectivities by the imposition of a general suffering and a
collective indignation. That is the context which each artistic propositions
this time we present dialogue with; all of them conscious and rooted in the
triple horizon of the artistic, the personal and the contingent dimensions.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil3eZ7A1hvSAmZ48pqUBJGBddiVJJH26C3ueYB3pVZdAA5pJLfugm6KSujevz8K7v8fnWbxxgSnYGZXtpJxNTp-LoiT0r7s-3_q9kgT2oFDK6ArleAR5FuCqhaOMBSGGn1Ov6g6fRNPg/s1600/Juan+Toro.+Tropus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1338" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil3eZ7A1hvSAmZ48pqUBJGBddiVJJH26C3ueYB3pVZdAA5pJLfugm6KSujevz8K7v8fnWbxxgSnYGZXtpJxNTp-LoiT0r7s-3_q9kgT2oFDK6ArleAR5FuCqhaOMBSGGn1Ov6g6fRNPg/s320/Juan+Toro.+Tropus.jpg" width="267" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Juan Toro
(Caracas, 1969) takes up again pictures of the shields raised by the protesters
during the civic fight against the violent government repression during 2017, a
theme that he had work on a previous photographic series. Now, after the
elapsed time, those images seem to vanish in an unpunished inertia. Of those
days only remains the flabby, almost faded picture of the emulsion, literally
torn from its support, like a memory without anchoring, detached from the flow
of events.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Muu Blanco
(Caracas, 1966) in his intervened bills, photographs and artist's books,
proposes a fabric where the reminiscences of a truncated modernity are
juxtaposed with the signs of a failed present; an iconographic mix where
everything leads to disaster: oil, power, money.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhinwRP22aGQ-PdBU0ZqzJNapAYZDmugsGNNj1v4b7TXy6-2CTmijlfT-LxRNHKr6E-GcU84ddjVKY77hEbE3FUPvA5O2huLqbG9vVoro_CgHuFLCVTIrdF_KoPN6hpqLfG-6rKBmH4eQ/s1600/Domingo+De+Lucia.+Serie+entropia+social.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="930" data-original-width="1600" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhinwRP22aGQ-PdBU0ZqzJNapAYZDmugsGNNj1v4b7TXy6-2CTmijlfT-LxRNHKr6E-GcU84ddjVKY77hEbE3FUPvA5O2huLqbG9vVoro_CgHuFLCVTIrdF_KoPN6hpqLfG-6rKBmH4eQ/s320/Domingo+De+Lucia.+Serie+entropia+social.JPG" width="320" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Domingo de Lucía
<span style="color: black;">(Italy, 1950)</span> in the work <i style="mso-bidi-font-style: normal;">From the series social entropy</i>, he glimpses a critical analogy
between the behavior of color and the political experience in present-day
Venezuela. The red that dyes the flag decomposes and mutates through the action
of bacteria, making visible its material and symbolic fragility.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Carolina Muñoz
(Judibana, Falcón state, Venezuela, 1966), meanwhile, rides between two planes
of the same avatar, between the affirmative adventures of subjectivity and the
loss or restriction of some vital inputs. In the book of artist <i style="mso-bidi-font-style: normal;">Mío</i>, the ego shakes itself off the
doctrinal mantle that suffocates it. In the photographic series <i style="mso-bidi-font-style: normal;">Naturalezas muertas</i> the lack of food
supplies becomes the "best" offer of an unproductive economy, whose
final sequel are empty cases, a cosmetic gastronomy and an imposed anorexia. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Everything the
subject feels and suffers is projected on the body and passes through it. The
body is ductile; it is the vehicle and the destination of any meaning,
individual or collective. Several artists of this selection operate from the intersection
of body, life and Art, using video as a medium.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTol-vY2s-3hE4QliA1uGRTTLA6apPhe4PRHJr9NANeWtnGIBXECbTslA7fcNDRDQGgqdpJTdrxrxMYSrPCpNqoe2mgKDFdLOF5CzB2Ym-sg8Cplng7MswJYbCIlb7umsNZaioAMYT8Q/s1600/Max+Provenzano+Inflacion+%2528capturas+video%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1078" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTol-vY2s-3hE4QliA1uGRTTLA6apPhe4PRHJr9NANeWtnGIBXECbTslA7fcNDRDQGgqdpJTdrxrxMYSrPCpNqoe2mgKDFdLOF5CzB2Ym-sg8Cplng7MswJYbCIlb7umsNZaioAMYT8Q/s320/Max+Provenzano+Inflacion+%2528capturas+video%2529.jpg" width="215" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Max Provenzano
(Caracas, Venezuela, 1986) deals with different states of the body in its
interaction with the territory, both native and foreign. In the proposal <i style="mso-bidi-font-style: normal;">Inflation</i>, its own breathing and the constellation
cartography come together; the air is here the way of escape and return, to and
from itself. In the work <i style="mso-bidi-font-style: normal;">Ostracismo,</i>
the subject allows a specimen of another geography to roam through his own body,
supporting quietly the ignominy. The skin of the artist is now the floor of
another creature.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">Teresa Mulet
(Caracas, Venezuela, 1970) reproduces the accounting arithmetic of violence in
Venezuela in the videos <i style="mso-bidi-font-style: normal;">Cada-ver-es</i>
and <i style="mso-bidi-font-style: normal;">Ejercicio Contable</i>. One by one
the bodies fall, while the death toll increases. Counting is a palliative rite
in the absence of official data and statistics.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">A sicarial
sentence is the starting point of the video action of Juan José Olavarría <span style="color: black; mso-themecolor: text1;">(Valencia, Venezuela, 1969). </span><i style="mso-bidi-font-style: normal;">Your life is not worth a fucking shit (and
you know it)</i>, a proposal that alludes to the acts of violence on the
Venezuelan border. There are few options for such a warning: succumb to the
demands of criminal groups or resign themselves to reprisals.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US;">In summary, the
commented proposals explore a panorama of uncertainties, fades, mutilations,
transhumances and disfigured symbols. Faced with this, Art cannot do anything but
obliquely register the fragments of an entropic reality, waiting for its
material and sensitive reconstruction.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-family: "Arial",sans-serif; mso-ansi-language: ES;">El Anexo en Pinta 2018<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Venezuela:
Arte y Contexto </span></b><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-family: "Arial",sans-serif; mso-ansi-language: ES;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-family: "Arial",sans-serif; mso-ansi-language: ES;">Por cuarta vez en PINTA y manteniendo
una óptica contextual, El Anexo/ Arte Contemporáneo presenta una selección de
artistas venezolanos, cuyo trabajo aborda distintos aspectos de la realidad del
país, a partir de la fotografía, el video y el libro de artista. En cada caso,
hay una articulación de medios, lenguajes e ideas en función de una mirada
crítica al entorno socio político de la nación.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif;">La
crisis que padece la nación ha demolido todas las instituciones y ha afectado
cada aspecto de la vida ciudadana, destruyendo vidas, empleos, recursos,
derechos humanos, transmutando las subjetividades por la imposición del
sufrimiento general y la indignación colectiva. Ese es el contexto con el cual
dialogan las proposiciones artísticas que en esta ocasión presentamos, todas conscientes
y afincadas en el triple horizonte de lo artístico, lo personal y lo
contingente.</span><span lang="ES" style="font-family: "Arial",sans-serif; mso-ansi-language: ES;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Juan Toro </span></span><span style="font-family: "Arial",sans-serif;">(Caracas, 1969) </span><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">retoma las imágenes de los escudos enarbolados por los manifestantes
durante las protestas cívicas contra la violenta represión gubernamental de
2017, un tema ya trabajado en una serie fotográfica anterior y que ahora,
transcurrido el tiempo, tales imágenes parecen desvanecerse en una inercia
impune. De aquellas jornadas sólo queda la imagen flácida, casi desteñida, de
la emulsion, literalmente arrancada de su soporte, cual memoria sin anclaje,
desprendida del flujo de los hechos.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgcs1CALNCa4f5tYUpER9aafQ1KbLfWmpzdzzqNq70tqFEhVmgjVLMGzTXQfAJpczULMfHAzPRtGPhtgw7i4AcC8fe4UoJBkVRWu8L_H69_ltb2QbfN8nuRBHMxreNlndIWykn8kJjA/s1600/Muu+Blanco+NCT+%2523+8%252C+2015.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="759" data-original-width="718" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgcs1CALNCa4f5tYUpER9aafQ1KbLfWmpzdzzqNq70tqFEhVmgjVLMGzTXQfAJpczULMfHAzPRtGPhtgw7i4AcC8fe4UoJBkVRWu8L_H69_ltb2QbfN8nuRBHMxreNlndIWykn8kJjA/s320/Muu+Blanco+NCT+%2523+8%252C+2015.png" width="302" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Muu Blanco </span></span><span lang="ES" style="font-family: "Arial",sans-serif; mso-ansi-language: ES;">(Caracas,
Venezuela, 1966) </span><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">en sus
billetes intervenidos, fotografías y libros de artista, propone un tejido donde
se yuxtaponen las reminiscencias de una modernidad trunca y los signos de un
presente también fallido; un <i style="mso-bidi-font-style: normal;">mix</i>
iconográfico donde todo conduce al desastre: petróleo, poder, dinero.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Domingo De Lucía </span><span style="color: black; font-family: "Arial",sans-serif;">(Italia,1950) </span><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">en la obra De la serie entropía social vislumbra una analogía crítica
entre el comportamiento del color y la experiencia politica en la Venezuela
actual. El rojo que tiñe la bandera se descompone y muta por la acción
bacterias, haciendo visible su fragilidad material y simbólica.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdf3FDq0jm9-aEIVQOfMycUPJUl5VtFwbcn60tQaDncxGKONek1_V3Ezy7iGAMfrobim3T-X7H_EtUBIBGT4cYL_9LtrqGt9_tjtThRBhIdLOfL6EwLlgtowSfHRpSmxKj3Wly_0VJvQ/s1600/Carolina+Mun%25CC%2583oz.+Naturaleza+muerta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1066" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdf3FDq0jm9-aEIVQOfMycUPJUl5VtFwbcn60tQaDncxGKONek1_V3Ezy7iGAMfrobim3T-X7H_EtUBIBGT4cYL_9LtrqGt9_tjtThRBhIdLOfL6EwLlgtowSfHRpSmxKj3Wly_0VJvQ/s320/Carolina+Mun%25CC%2583oz.+Naturaleza+muerta.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">
<span style="background: white;">Carolina Muñoz </span></span><span style="background: white; font-family: "Arial",sans-serif;">(Judibana, estado
Falcón, Venezuela, 1966)</span><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">, por su parte, cabalga entre dos planos de un mismo avatar, entre las
peripecias afirmativas de la subjetividad y la pérdida o restricción de algunos
insumos vitales. En el libro de artista <i style="mso-bidi-font-style: normal;">Mío</i>,
el yo se sacude del manto doctrinal que lo asfixia. En las fotografías de la
serie <i style="mso-bidi-font-style: normal;">Naturalezas muertas</i> la carencia
de insumos alimentarios se convierte en la "mejor" oferta de una
economía improductiva, cuya secuela final son estuches vacíos, gastronomía
cosmética y anorexia impuesta.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Todo lo que el sujeto siente y padece, se proyecta
en el cuerpo y lo atraviesa. El cuerpo es dúctil, siendo el vehículo y el
destino de cualquier significado, individual o colectivo. Varios artistas de
esta selección operan desde la intersección del cuerpo, la vida y el arte,
utilizando el video como medio.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Max Provenzano </span></span><span style="background: white; font-family: "Arial",sans-serif;">(Caracas, Venezuela,
1986) </span><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">aborda
distintos estados del cuerpo en su interacción con el territorio, tanto el
oriundo como el foráneo. En la propuesta <i style="mso-bidi-font-style: normal;">Inflación
</i>se juntan la respiración propia y la cartografía constelar; el aire es
aquí la vía de escape y retorno, desde y hacia sí mismo. En el trabajo <i style="mso-bidi-font-style: normal;">Ostracismo</i> el sujeto se deja recorrer
por un espécimen de otra geografía, soportando la ignominia pacíficamente. La
piel del artista es ahora el suelo de otra criatura.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNi_gS40okOCYrJwa2qsKUKy2G-2XO18644DcnTVTpbAcn9viYK3gjuDXC00vwdj2TqViZFeNk_RK7Ldivp4hgEvgtVJL4o562tuQNYP8w42dl3Zo3KCNdvBY9YSvoa-OkOG5ertBqxg/s1600/Teresa+MUlet.+Ejercio+contable.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="1080" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNi_gS40okOCYrJwa2qsKUKy2G-2XO18644DcnTVTpbAcn9viYK3gjuDXC00vwdj2TqViZFeNk_RK7Ldivp4hgEvgtVJL4o562tuQNYP8w42dl3Zo3KCNdvBY9YSvoa-OkOG5ertBqxg/s320/Teresa+MUlet.+Ejercio+contable.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Teresa Mulet </span></span><span style="border: none windowtext 1.0pt; font-family: "Arial",sans-serif; mso-border-alt: none windowtext 0cm; padding: 0cm;">(Caracas, Venezuela, 1970), </span><span style="background: white; font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">en los vídeos <i style="mso-bidi-font-style: normal;">Cada-ver-es</i> y <i style="mso-bidi-font-style: normal;">Ejercicio contable</i> reproduce la aritmética de la violencia en
Venezuela. Uno a uno caen los cuerpos, mientras se incrementa la cifra de
muertos. Contar es un rito paliativo ante la ausencia de datos y estadísticas
oficiales. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: "Arial",sans-serif;">Una sentencia sicarial es el punto de partida
de la vídeo acción de Juan José Olavarría </span><span style="color: black; font-family: "Arial",sans-serif; mso-themecolor: text1;">(Valencia, Venezuela, 1969) </span><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; font-family: "Arial",sans-serif;">Tu vida no vale una puta mierda (y lo sabes)</span></i><span style="background: white; color: #222222; font-family: "Arial",sans-serif;">,
propuesta que alude a los hechos de violencia en la frontera colombo
venezolana. Son pocas las opciones ante semejante advertencia: sucumbir a los
reclamos de los grupos criminales o resignarse a las represalias.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrgBHBzZXZlDrvOMpANvmwjcGalIidO-B9cGgphSmdKquY-oEapqSp28Cvr1YgDqtq1uxKEzfTwSfj0f3WtLN4wSdOfh4BvWlZ99-KZRGVRxyr_FWbigBnHy2nYPMkejCpPn4cC6J3uw/s1600/jj-olavarria-tu-vida-no-vale-una-puta-mierda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrgBHBzZXZlDrvOMpANvmwjcGalIidO-B9cGgphSmdKquY-oEapqSp28Cvr1YgDqtq1uxKEzfTwSfj0f3WtLN4wSdOfh4BvWlZ99-KZRGVRxyr_FWbigBnHy2nYPMkejCpPn4cC6J3uw/s320/jj-olavarria-tu-vida-no-vale-una-puta-mierda.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">En síntesis, las propuestas comentadas exploran
un panorama de incertidumbres, desvanecimientos, mutilaciones, transhumancias y
símbolos desfigurados. Frente a esto, el arte no puede hacer otra cosa que
registrar oblicuamente los fragmentos de una realidad entrópica, a la espera de
su reconstrucción material y sensible.</span></span><span style="font-family: "Arial",sans-serif;"><o:p></o:p></span></div>
<!--EndFragment--><br />El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-2115923776930848422018-11-10T18:04:00.001-08:002018-11-10T18:04:52.686-08:00Territorios expandidos. Zeinab Rebeca Bulhossen<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvR1pgVdxPCVY2Lva5oS67h0lhfjgN5apvk4_lEIxtqsv1UT4REUlXQ6kwspW1pjfBufsVdHmKt6QsnM7BiXuZHNnROYZoBqfPe_MM3FxjWf_5GA50fXUFhiWxlgIzNfaSZ-VZgh4hVA/s1600/Invitacio%25CC%2581n_Zeinab+Rebeca+Bulhossen_Territorios+expandidos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1031" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvR1pgVdxPCVY2Lva5oS67h0lhfjgN5apvk4_lEIxtqsv1UT4REUlXQ6kwspW1pjfBufsVdHmKt6QsnM7BiXuZHNnROYZoBqfPe_MM3FxjWf_5GA50fXUFhiWxlgIzNfaSZ-VZgh4hVA/s320/Invitacio%25CC%2581n_Zeinab+Rebeca+Bulhossen_Territorios+expandidos.jpg" width="297" /></a></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
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<span style="color: #222222; font-family: Arial; font-size: 12.5pt; mso-bidi-font-family: "Times New Roman";">“Territorios
expandidos", muestra individual de Zeinab Rebeca Bulhossen, toma
como punto de partida una colección de tarjetas telefónicas emitidas por
la CANTV a fines de los años noventa e ilustradas con imágenes de diversos
sitios de Venezuela, entre los que se encuentran el Río Caroní, el Salto
Acha, el Salto Techinek-Merú y la Cueva del Guácharo, así como registros del
modo de vida de los Yanomamis (pesca, alimentación). La artista reubica dichas
tarjetas en una superficie mayor, generando una alteración de la escala y
significado de las imágenes, al tiempo que propone un diálogo analítico entre
el dibujo y el medio fotográfico. <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAv8UhraUjPjfeAzUdU5E0ta1N3ysR1bjOTG8JtUdcbjl7JjewnCWnSyRAY7J-wukt61iJe8C-bIEhbh8ucyfhMxKFILIay7fBZF4D6ySPHpr6Kuafrfx3XYO8OvoVKgcyxtT32_Y7vg/s1600/Fotodibujos+1IMG_0111+copia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="567" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAv8UhraUjPjfeAzUdU5E0ta1N3ysR1bjOTG8JtUdcbjl7JjewnCWnSyRAY7J-wukt61iJe8C-bIEhbh8ucyfhMxKFILIay7fBZF4D6ySPHpr6Kuafrfx3XYO8OvoVKgcyxtT32_Y7vg/s320/Fotodibujos+1IMG_0111+copia.jpg" width="320" /></a></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-line-height-alt: 12.0pt; tab-stops: 14.2pt 21.3pt 49.65pt 70.8pt 106.2pt 141.6pt 177.0pt 212.4pt 247.8pt 283.2pt 318.6pt 354.0pt 389.4pt 424.8pt 460.2pt 495.6pt; text-align: justify;">
<span style="color: #222222; font-family: Arial; font-size: 12.5pt; mso-bidi-font-family: "Times New Roman";">La propuesta nos presenta un panorama más amplio que el que
muestran las tomas seleccionadas, ahora convertidas en un elemento más de la
composición. Se plantean aquí una serie de interrogantes acerca de la
naturaleza de los medios y los límites de la representación. Frente a ello, la autora
se pregunta: “¿cómo puedo separar un plano del encuadre? </span><span style="font-family: Arial; font-size: 12.5pt; mso-bidi-font-family: "Times New Roman";">¿Únicamente
vemos lo que nos muestra la imagen?</span><span style="color: #222222; font-family: Arial; font-size: 12.5pt; mso-bidi-font-family: "Times New Roman";">”.<o:p></o:p></span></div>
<div class="Formatolibre" style="margin-bottom: 6.0pt; mso-line-height-alt: 12.0pt; text-align: justify;">
<span style="color: #222222; font-family: Arial; font-size: 12.5pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">En realidad, la
acción de “encuadrar” supone fijar un límite, establecer un marco para la
visión, una zona que delimita el registro de una escena. Tal operación puede
tener un condicionamiento técnico (el lente fotográfico), estético (la
composición) o cognitivo (el interés que impulsa el registro); y éste a su vez,
puede responder a propósitos descriptivos o ideológicos, según la intención.
Considerando estos elementos, reaparece aquí la recurrente asimetría o
incongruencia entre la intencionalidad y la dudosa fidelidad de
los dispositivos de captura y reproducción de lo real.</span><span style="font-family: Arial; font-size: 12.5pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwLs6UYLs5FXLFTzOEAxsXyVu1Xk0dI8LiqIQjvoMTtgDLF_X9ZJKf8D1jbFGFh5jzXbTtqNhB3TN1FD3YbgBNtwr3jLL_HR6ekTxXx1YNjNURzKaIjOdDbLZUo5dvoRCypNXFukvNQ/s1600/IMG_0025.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="709" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwLs6UYLs5FXLFTzOEAxsXyVu1Xk0dI8LiqIQjvoMTtgDLF_X9ZJKf8D1jbFGFh5jzXbTtqNhB3TN1FD3YbgBNtwr3jLL_HR6ekTxXx1YNjNURzKaIjOdDbLZUo5dvoRCypNXFukvNQ/s320/IMG_0025.jpeg" width="320" /></a></div>
<div class="Formatolibre" style="margin-bottom: 6.0pt; mso-line-height-alt: 12.0pt; text-align: justify;">
<span style="color: #222222; font-family: Arial; font-size: 12.5pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">Ciertamente, no se
puede separar la imagen del medio, que es a fin de cuenta el dispositivo
que garantiza la captura y reproducción de lo real. El horizonte continúa más
allá del límite de la imagen; es decir, más allá del encuadre (como
efectivamente sucede en la realidad), expandiéndose fuera del campo de visión.
Lo que no se ve en la imagen, puede ser completado con la mente, siendo el
dibujo el sucedáneo de la realidad suprimida por la visión. Ese trozo invisible
que queda fuera es el que recoge el plano que contiene las tarjetas
telefónicas.</span><span style="font-family: Arial; font-size: 12.5pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil7U7jhpzaIpIC9EWbS2Y2lDe1qaNmPUQjP92DFaDjvkrCLzPtHEyg4DSabGIDF7RM0X7d_g7lqDum1pa7Ycu4RXIVQVcP906kZwU-C_L0pKXjGPWqy3dj9VxH91V5hesMijGma0vrOw/s1600/IMG-20181023-WA0013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="1001" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil7U7jhpzaIpIC9EWbS2Y2lDe1qaNmPUQjP92DFaDjvkrCLzPtHEyg4DSabGIDF7RM0X7d_g7lqDum1pa7Ycu4RXIVQVcP906kZwU-C_L0pKXjGPWqy3dj9VxH91V5hesMijGma0vrOw/s320/IMG-20181023-WA0013.jpg" width="320" /></a></div>
<span style="color: #222222; font-family: Arial; font-size: 12.5pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "ヒラギノ角ゴ Pro W3"; mso-fareast-language: EN-US;"><div style="text-align: justify;">
<span style="font-size: 12.5pt;">De esta manera, volvemos al
problema de la reproducibilidad, el lugar y el sentido. La imagen fotográfica
como visión parcial, restringida a un marco perceptual que omite el contexto,
dejando fuera del horizonte el sitio del registro. Solo allí nos damos cuenta
que la convención prevalece sobre lo real. Ante ello, la artista propone un
ejercicio de expansión que contiene su propia impronta, sus trazos, su
recorrido por una geografía que no acaba en la imagen. Lo hace yuxtaponiendo el
dibujo y la fotografía, añadiendo al paisaje el trozo de horizonte que le
falta, completando el panorama que está fuera del encuadre. Hay aquí,
naturalmente, una paradoja irreductible, un nuevo marco y con este un nuevo
límite perceptual. Solo que este ámbito expandido reconoce -ahora si- la huella
de una subjetividad que es consciente de su finitud e intencionalidad. Se da
aquí la reconstrucción de un habitad al que se incorpora una traza individual;
una episteme que recupera la huella del cuerpo que percibe. De ahí la dimensión
performática de esta tentativa.</span></div>
</span><br />
<span style="color: #222222; font-family: Arial;"><span style="font-size: 16.6667px;"><br /></span></span>
<div class="MsoNormal" style="tab-stops: 14.2pt 21.3pt 49.65pt 70.8pt 106.2pt 141.6pt 177.0pt 212.4pt 247.8pt 283.2pt 318.6pt 354.0pt 389.4pt 424.8pt 460.2pt 495.6pt; text-align: justify;">
<span style="font-family: Arial; font-size: 13pt;"><b>Territorios expandidos </b></span></div>
<div class="Formatolibre" style="text-align: justify;">
<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">(Texto de la artista Zeinab Rebeca Bulhossen)</span></div>
<div class="Formatolibre" style="text-align: justify;">
<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div class="Formatolibre" style="text-align: justify;">
<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">Hace tiempo, recibí como obsequio de un amigo su colección de tarjetas
telefónicas emitidas por la CANTV, (principal empresa de telecomunicaciones de
Venezuela). Muchas de ellas se ilustraban con obras de fotógrafos venezolanos
reconocidos. Inicialmente me interesaron por lo que significaba la circulación
pública de estas imágenes (su calidad y estética), y por la posibilidad que
sugerían de manipularlas libremente. Fue así como seleccioné aquellas que registraban
lugares venezolanos, incluyendo algunas que correspondían con viajes que hice
por el país.<o:p></o:p></span></div>
<div class="Formatolibre" style="text-align: justify;">
<br /></div>
<div class="Formatolibre" style="text-align: justify;">
<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">Dada mi inquietud constante por la conjunción de medios, consideré
explorar posibles relaciones entre la fotografía y el dibujo (“fotodibujos”),
buscando derivar hacia otros modos de hacer imagen. Así, utilicé los motivos de
las tarjetas no como un paisaje contenido en una pequeña fotografía sino como
el encuadre de una composición, un territorio, un área física propia,
separándola del primer plano y, en otros casos, sumergiéndola en un plano general
(panorama), modificando “el encuadre”, conjugando dos o tres encuadres en una
misma composición, lo cual ha permitido alterar materialmente sus componentes
haciendo que surjan interrogantes como:<o:p></o:p></span></div>
<div class="Formatolibre" style="text-align: justify;">
<br /></div>
<div class="Formatolibre" style="text-align: justify;">
<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">El dibujo a través del trazo manual, ¿cómo interactúa con la imagen
mecánica capturada por cámara?.<o:p></o:p></span></div>
<div class="Formatolibre" style="text-align: justify;">
<br /></div>
<div class="Formatolibre" style="text-align: justify;">
<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">¿Es un plano una superficie bidimensional?, ¿puedo separarlo de la
imagen plana (fotografía) sin que pierda correspondencia referencial?. Si la
imagen es plana, ¿cómo puedo separar un plano del encuadre?.<o:p></o:p></span></div>
<div class="Formatolibre" style="text-align: justify;">
<br /></div>
<div class="Formatolibre" style="text-align: justify;">
<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">¿Cómo vemos un plano?, ¿por qué es explanado? o ¿por qué corresponde a
las capas que ocupa en un espacio encuadrado?<o:p></o:p></span></div>
<div class="Formatolibre" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Arial; font-size: 13.0pt; mso-bidi-font-family: "Times New Roman";">El horizonte es una convención que
trazamos entre el suelo y el cielo, cuando<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Arial; font-size: 13.0pt; mso-bidi-font-family: "Times New Roman";">trasladamos la tierra del lugar (playa
ó médanos) y la extendemos a una línea: ¿se crea un horizonte real?<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: Arial; font-size: 13.0pt; mso-bidi-font-family: "Times New Roman";">Siendo el límite de nuestra mirada:
¿Por qué es inaprensible el horizonte?<o:p></o:p></span></div>
<div class="Formatolibre" style="text-align: justify;">
<br /></div>
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<span style="font-family: Arial; font-size: 13.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">¿Únicamente vemos lo que nos muestra la imagen?<o:p></o:p></span></div>
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<!--EndFragment--><span style="color: #222222; font-family: Arial;">
</span><!--EndFragment-->El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-22721010626956327102018-06-19T12:39:00.000-07:002018-07-07T20:31:42.060-07:00El Avión. Valerie Brathwaite <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbz2eLRLkRvYthVLGE9FX_TOsAiqaSCZJfgxH4IT8gP59_JJq7VreIv0wnV0NWS23ec6gb_0TcKrdGsex0rtMPQyY4aAlNd1KZ3LMi4qlZLO2xU_2JvAGQrZI6eaIzAMjm0sM4YIL8g/s1600/PHOTO-2018-06-16-08-17-35.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1005" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbz2eLRLkRvYthVLGE9FX_TOsAiqaSCZJfgxH4IT8gP59_JJq7VreIv0wnV0NWS23ec6gb_0TcKrdGsex0rtMPQyY4aAlNd1KZ3LMi4qlZLO2xU_2JvAGQrZI6eaIzAMjm0sM4YIL8g/s320/PHOTO-2018-06-16-08-17-35.jpg" width="297" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: "arial";">Todo es un juego, incluso la guerra, el hambre,
la indefensión. Sólo es cuestión de cambiar de un tablero a otro, moverse de un
terreno a otro. Pasar de la simulación lúdica a la confrontación real, donde
"todo está en juego", desde el deseo hasta la sobrevivencia y donde
al final todos pierden, incluyendo a los que obtienen la victoria.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Valerie Brathwaite aborda esa parábola
frustrante en <b style="mso-bidi-font-weight: normal;">El Avión</b>, basándose en
la estructura gráfica de uno de sus juegos predilectos de la infancia, dentro
de cuya retícula ha intercalado imágenes, letreros y signos que delatan
un panorama de incertidumbres, conflictos, decepciones que marcan la pérdida de
la inocencia. La artista recuerda la emoción que le producía este divertimento
durante su niñez, pero también lo que significó para ella el reconocer que el
juego de la vida no era tan placentero y que en lugar de gratificaciones y
afectos lo que hay es insensatez, discriminación, muerte, chauvinismo,
intolerancia, xenofobia. <o:p></o:p></span></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvqSxLUmxuUT5FiOwnnS9OcOIS7aD6QxBCznkDG_Y4PQek2tyO1xYCI6ngWsHGQFSNlXGFgmkkik4DV9GFxmciWOWbiZX2fZoQDiEH40R9sBCzsPyUoPG7a6cdW8D48GlkoGopask6Dw/s1600/Valerie+M+Brathwaite+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="890" data-original-width="1198" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvqSxLUmxuUT5FiOwnnS9OcOIS7aD6QxBCznkDG_Y4PQek2tyO1xYCI6ngWsHGQFSNlXGFgmkkik4DV9GFxmciWOWbiZX2fZoQDiEH40R9sBCzsPyUoPG7a6cdW8D48GlkoGopask6Dw/s320/Valerie+M+Brathwaite+2.png" width="320" /></a></div>
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<span style="color: #222222; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Con esta propuesta -muy puntual en su
trayectoria creativa-, Valerie se aparta momentáneamente de los elementos
característicos de su producción, comúnmente centrada en el manejo de formas
orgánicas de alta depuración sensible. En contraste con ello, en <b style="mso-bidi-font-weight: normal;">El Avión</b> la artista recurre al collage,
la imagen documental, la textualidad y la gestualidad pictórica. <o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1lbiRCP93L9bxoswJL1Z5F8n42p1sMi8e9M7us91CseDmoQ2ChN9J_E0qo-eHsYXt2ZsHUEy4eCDNDYxjm4rOQRA05_9KOceM37J7CaXK0VdSoL7IOwFrSkeQFAgt_-YZPgiDAVH1w/s1600/Vlaerie+M+Brathwaite+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="894" data-original-width="1199" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw1lbiRCP93L9bxoswJL1Z5F8n42p1sMi8e9M7us91CseDmoQ2ChN9J_E0qo-eHsYXt2ZsHUEy4eCDNDYxjm4rOQRA05_9KOceM37J7CaXK0VdSoL7IOwFrSkeQFAgt_-YZPgiDAVH1w/s320/Vlaerie+M+Brathwaite+1.png" width="320" /></a></div>
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<span style="color: #222222; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Pero, ¿por qué este giro tan drástico de un
lenguaje a otro? ¿por qué esta ruptura con el apacible mundo de sus esculturas
blandas y jardines cerámicos? Este trabajo, tal como sugiere la artista,
implica el tránsito del mundo hechizado de las artes al territorio agónico de
una humanidad convulsionada. De esta manera supone un punto de inflexión en la
postura de la artista que reemplaza, al menos temporalmente, el sofisticado
imaginario de las formas que la distinguen, por una iconografía surgida de la
hostilidad y el sobresalto confrontador de las imágenes. <o:p></o:p></span></span></div>
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<br /></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
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<!--StartFragment-->
<span style="background: white; color: #222222; font-family: "arial"; font-size: 12.0pt;">Aquí el juego se ha transformado en una
batalla. Cada cuadro en la geometría de <b>El Avión</b>, es en realidad un abismo que hay que saltar a riesgo de perecer o
ser mutilado por el peligro. La "zona segura" de la retícula del
juego ha desaparecido. Ahora es un "campo minado", como cualquier
calle de Venezuela o cualquier ciudad del mundo. Donde quiera que uno apoye sus
pies hay una escena trágica. Las reglas no son muy claras, ni tampoco es diáfana
la utilidad de jugar un juego que no se puede ganar. Digamos entonces que <b>El Avión</b> de Valerie no es un artilugio
lúdico sino un dispositivo para meditar, ahora que la artista nos ha mostrado
la reversa del espejo del país de las maravillas y la realidad se ha hecho
visible.</span><!--EndFragment-->
<br />
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;">El avión de Valerie*</span></b><span style="color: black; font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;">Cuando emprendí mi proyecto, El avión, necesitaba expresar mi
desolación y confusión; para hacerlo requería romper con mis sueños de niña
ingenua; de borrar o redibujar esas fantasías que atesoraba en el avión de mis
juegos infantiles. Elaboré un nuevo avión en cuyas secciones plasmaba o
exorcizaba los “feelings” que ahora enfrentaba en mi experiencia vital.</span><span style="color: black; font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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<span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;">Mi nuevo avión quedo estructurado de la siguiente manera: En su primer
rectángulo hago referencia a la guerra que recién empezaba en
Yugoslavia, esta situación me frustró enormemente porque tenía planes de viajar
a ese país donde tenía muy buenos amigos desde que estudiaba en Europa.</span><span style="color: black; font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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<span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;">En el segundo rectángulo aparece el símbolo del dólar como alusión al
poder de la manipulación monetaria. Para mí resultaba repugnante como ciertos
países vertían a los océanos ríos de leche fresca para impedir que sus precios
bajaran en los mercados, sin la menor consideración a los miles de niños que
morían de hambre en los países más pobres.</span><span style="color: black; font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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<span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;">En el tercer elemento aludo a las hambrunas que asolaban varios países
africanos, luego de su liberación. En el primer par de alas aparece una
esvástica con la palabra “neo” repetida en diagonal y la palabra “ismos”
repetida infinidad de veces, metáfora de la influencia persuasiva de los <i>ismos</i>
en la psicología del ser humano y barrera a la unión de los pueblos. También
aparece reflejada mi preocupación surgida a raíz de la creación de la Galería
de Arte Nacional. En mi opinión se despojaba al Museo de Bellas Artes de parte
de su sede y de su colección, con un enfoque de matices políticos y
nacionalistas, en detrimento de la excelencia artística.</span><span style="color: black; font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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<span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;">En el último par de alas retomo nuevamente aspectos relacionados con
las guerras que sucedían en el mundo. Con mi nuevo avión quise mostrar mi angustia
por el sempiterno regreso de las guerras desde que el hombre es hombre. Me
desilusiona que el adelanto cultural y tecnológico no haya apaciguado los
instintos destructivos del ser humano.</span><span style="color: black; font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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<span lang="ES-VE" style="color: black; font-family: Arial; mso-ansi-language: ES-VE; mso-fareast-language: ES-TRAD;">*Extracto de una conversación de Valerie Brathwaite con Nelson Otero
en torno a su proyecto “El avión”. Corrección: Leonardo Nieves</span><span style="color: black; font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-20157081603991827732018-04-04T05:46:00.000-07:002018-05-27T13:09:29.960-07:00María Virginia Pineda. Paisaje a máquina <div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">En la exposición “Paisaje a Máquina” de María
Virginia Pineda (Mérida, 1980) la estrategia se traslada de la obra al texto
que la comenta sin pasar por las exigencias técnicas del medio plástico. La
artista prefiere la máquina de escribir en lugar del pincel, el lápiz o la
cámara fotográfica. Como el enigmático Pierre Menard, la autora transcribe
fragmentos de textos críticos sobre el paisaje, uno de los motivos arquetipales
del arte venezolano durante los siglos XIX y XX. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqkyJ6KFsKykctxtFY8WBheDBxjNBA3jo_EE8lqKCw4GUf46eUJ5FeRV2YODTKWunbXJ3SCgLfN0JIL3skqNra2NoFt9jIHsWzPxasaZANa253hMBJ0TRElKUbfmF2vgYp4HaiL_vAGQ/s1600/PaisajeAMaquina_Vista2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1546" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqkyJ6KFsKykctxtFY8WBheDBxjNBA3jo_EE8lqKCw4GUf46eUJ5FeRV2YODTKWunbXJ3SCgLfN0JIL3skqNra2NoFt9jIHsWzPxasaZANa253hMBJ0TRElKUbfmF2vgYp4HaiL_vAGQ/s320/PaisajeAMaquina_Vista2.jpg" width="320" /></a></div>
<br />
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">El observador de estos trabajos, realizados</span><span lang="ES" style="background: white; color: #222222; font-family: "arial";"> </span><span style="background: white; color: #222222; font-family: "arial";">en tinta mecanográfica sobre
papel,</span><span style="font-family: "arial"; mso-ansi-language: ES;"> <span lang="ES">no tiene ante sí la incandescencia pastosa del óleo, ni el claroscuro argentado
de la fotografía. Tampoco puede apreciar el contorno inciso del grafito ni la
leve atmósfera que dejan los pigmentos al agua. Debe, por el contrario, inferir
lo visible a través de la escritura; unas veces alegórica otras anecdótica. “L</span></span><span style="background: white; color: #222222; font-family: "arial";">as palabras </span><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">–</span><span style="background: white; color: #222222; font-family: "arial";">afirma la artista</span><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">–</span><span lang="ES" style="background: white; color: #222222; font-family: "arial";"> </span><span style="background: white; color: #222222; font-family: "arial";">son utilizadas para activar esa contemplación, de
alguna forma la dirigen”. </span><span style="color: #222222; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--></span><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Sin líneas, ni manchas, ni formas que delaten la
exuberancia sensible de los lugares narrados, cada quien tiene la oportunidad
de hacer su propia “lectura” de la escena descrita. Lo que se ve, está
“cincelado” a máquina y su única impronta visible son las inscripciones
tipográficas sobre el papel. Eso nos recuerda que al final –como al principio</span><span lang="ES" style="mso-ansi-language: ES;">–</span><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"> el dibujo, la pintura e incluso la fotografía son
cosas mentales. <o:p></o:p></span><br />
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5fLZRUo9eXYUbOmy1nkqHQBnz6eGFmkqXqeOd3VPLkyCWqWwMhpSzAAbTXCcouc8QlE5hQlTh_VlVVVUX1HwxckySQL4wWfikcB1abhiE46s-YrKT7cvvO2rFu3KKlcJnJ9HaPgKpmg/s1600/PaisajeAMaquina12_Det3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1546" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5fLZRUo9eXYUbOmy1nkqHQBnz6eGFmkqXqeOd3VPLkyCWqWwMhpSzAAbTXCcouc8QlE5hQlTh_VlVVVUX1HwxckySQL4wWfikcB1abhiE46s-YrKT7cvvO2rFu3KKlcJnJ9HaPgKpmg/s320/PaisajeAMaquina12_Det3.jpg" width="211" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Decir que “el texto es la imagen” –como alguna vez
esgrimió Joseph Kosuth– es algo más que un argumento ingenioso. En realidad, es
reconocer el lazo <i style="mso-bidi-font-style: normal;">ecfrásico </i>que hay
entre el verbo y lo visible. En el caso de la propuesta de María Virginia
Pineda, “el texto es el paisaje”, el territorio donde se emplazan árboles,
estanques, llanos, páramos y montañas que no se ven, pero que emergen
precisamente de la imagen que la palabra configura. A fin de cuentas, la
palabra escrita es aquí el borde mecanográfico de un paisaje ciego. <o:p></o:p></span><br />
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
</div>
<span style="font-family: "arial";">Pero, ¿Por qué ese desvanecimiento de la materia
visible y su remplazo por el verbo configurante? ¿Por qué esa paradójica
desaparición</span><span style="font-family: "arial";"> </span><span style="font-family: "arial";">de los horizontes, las</span><span style="font-family: "arial";"> </span><span style="font-family: "arial";">tonalidades y las texturas? Sucede que el
texto crítico en su afán de valorar y enaltecer la tradición paisajística se ha
convertido en la paráfrasis escrita de aquella arcadia equinoccial, plasmada seminalmente
por pintores, dibujantes y fotógrafos. Importa entonces, revisar esas
anotaciones y escrutar –como lo hace la artista– la manera en que estas
construyen la voluptuosa mitografía del paisaje local.</span><br />
<span style="font-family: "arial";"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdsd2il7mtI5GrciVsXxPVZzmbTdLegyTWHPed3IJz0cBnb3lV6_LZWFfXfUFkbcvVla9HH6uxczeKHK9Smfit1asnikR05-iwZ1l_47QxNcT70qA7KWrVVBkHjH1BK_3LujEvFeMhg/s1600/PaisajeAMaquina_Vista1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1024" data-original-width="1546" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqdsd2il7mtI5GrciVsXxPVZzmbTdLegyTWHPed3IJz0cBnb3lV6_LZWFfXfUFkbcvVla9HH6uxczeKHK9Smfit1asnikR05-iwZ1l_47QxNcT70qA7KWrVVBkHjH1BK_3LujEvFeMhg/s320/PaisajeAMaquina_Vista1.jpg" width="320" /></a></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
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<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Al ser la representación de la representación, el
texto crítico es tam</span><span style="font-family: arial;">bién la traza inasible de un esfuerzo imposible por
aprehender los atributos de una obra –ya sea pictórica, dibujística o
fotográfica– cuyo referente también está en otra parte. De esta manera, la
exposición “Paisaje a máquina” es la suma de varios diferimientos que van del
texto a la imagen y de esta a la realidad, resumiendo así la frustración de una
quimera intraducible que sólo puede ser descrita pero no mostrada.</span></div>
<!--EndFragment-->El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-15275376610011544962018-02-20T15:08:00.000-08:002018-02-20T15:08:53.100-08:00Crónicas insumisas: 11 maneras de asfixiar el periodismo en Venezuela <div class="separator" style="clear: both; text-align: center;">
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<span style="color: black; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">“Crónicas insumisas”, una exposición del
Instituto Prensa y Sociedad de Venezuela (IPYS Venezuela) en alianza con la
Embajada de Canadá, el portal La vida de nos, la ONG y El Anexo, es un
repertorio de relatos que abordan la vida de periodistas que se han reinventado
en este oficio y también han resistido de violaciones a la libertad de
expresión.</span><span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; text-align: justify;">
<span style="color: black; font-family: Arial; mso-fareast-language: ES-TRAD;">Es un
trabajo colaborativo que contó con el apoyo de 22 destacados periodistas,
fotógrafos y editores quienes se acercaron a casos emblemáticos de violaciones
de la libertad de expresión. </span><span style="color: #222222; font-family: Arial; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; text-align: justify;">
<span style="color: #222222; font-family: Arial; mso-fareast-language: ES-TRAD;">Este
proyecto</span><span style="color: black; font-family: Arial; mso-fareast-language: ES-TRAD;"> muestra un evidente patrón, a través de diversas facetas, que ha
buscado podar el periodismo como una oficio de escrutinio, de denuncia y como
una fuerza de contrapoder. El trabajo lo acompañan las miradas de los
fotógrafos </span><span style="color: #222222; font-family: Arial; mso-fareast-language: ES-TRAD;">Martha Viaña Pulido, Gabriela Carrera, Vladimir Marcano, Leo Alvarez,
Rodrigo Picón, William Urdaneta y Carlos Eduardo Ramírez.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; text-align: justify;">
<span style="color: #222222; font-family: Arial; mso-fareast-language: ES-TRAD;">El
proyecto también contó con el aporte editorial de Albor Rodríguez y Héctor
Torres y la curaduría abierta del fotógrafo Nelson Garrido, así como con la
coordinación de Marianela Balbi y Mariengracia Chirinos, de IPYS Venezuela.
Este nutrido grupo conformó una mesa de trabajo a lo largo de seis meses para
registrar a profundidad las historias que se esconden detrás las estadísticas
de agresiones, impedimentos y hechos de censura en el país. Juntos construyeron
estas evidencias que apuestan a luchar contra en el olvido y preservar la
memoria del rumbo del periodismo en Venezuela. <o:p></o:p></span></div>
<!--EndFragment--><br />El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-91988865554180621712017-11-28T05:41:00.000-08:002017-12-05T07:58:22.128-08:00Miguel Braceli en Pinta Miami 2017<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYduNe6B0qcTBFT_Tc8bdBjIeCb4YLtBPgW-KHDu5ttoCeza7hhU8wVMd9HZUeq7fYe1XiohiZrZIGyuNnK5GW9ojCxCFXt9OLStcsHZwWwto8T4_kwpmk0vYr-J4SCkXvz2edri6xOg/s1600/Miguel+Braceli_Projects_Pinta+Miami+2017.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="699" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYduNe6B0qcTBFT_Tc8bdBjIeCb4YLtBPgW-KHDu5ttoCeza7hhU8wVMd9HZUeq7fYe1XiohiZrZIGyuNnK5GW9ojCxCFXt9OLStcsHZwWwto8T4_kwpmk0vYr-J4SCkXvz2edri6xOg/s320/Miguel+Braceli_Projects_Pinta+Miami+2017.png" width="281" /></a></div>
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<b><span style="color: #333333; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Miguel Braceli en Pinta Miami 2017<o:p></o:p></span></b></div>
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<br /></div>
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<span style="color: #333333; font-family: "arial"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Del 5 al 10 de diciembre El Anexo/Arte
Contemporáneo presentará el trabajo del arquitecto y artista visual Miguel
Braceli en Pinta Miami 2017, sección Solo Projects, bajo la curaduría de Jesús
Fuenmayor y Dan Cameron, quienes </span><span style="color: #333333; font-family: "arial";">proponen <i style="mso-bidi-font-style: normal;">confrontar las
verdades y ficciones de las categorías geopolíticas, </i>idea<span style="mso-spacerun: yes;"> </span>enmarcada en la noción de “</span><span style="color: #333333; font-family: "arial"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Geografías Errantes”</span><span style="color: #333333; font-family: "arial";">. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial";">La propuesta de Braceli se orienta
fundamentalmente al desarrollo de intervenciones y acciones en espacios
naturales y urbanos, concebidas para generar situaciones de interacción e
intercambio simbólico entre el sujeto y su entorno. Son experiencias de
colaboración donde los participantes construyen una memoria común que se
afianza en lo corporal y lo sensible, trascendiendo las demarcaciones
disciplinares y las prescripciones funcionales. Lo determinante en su caso es
lo que sucede en el lugar y el registro de ese acaecer, marcado por su
condición efímera y carácter nómada, aspectos coincidentes con el planteamiento
curatorial de la sección Solo Projects de Pinta Miami 2017. <o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6bTIh3u2jn6kzmOBO83NOHrQ3aZKpOrAqd66T1q3NMS0Tz7boUDCGUTiZU9IIyKlpJAIVWgxBiMtEMX5xFHUUVpI7U5CtLzSigUI12nreDUL4F3Pi7N9JawV9K7zNryDXhQxFouk-kQ/s1600/2017+Pinta+Miami+Solo+Project+Miguel+Braceli+-2264.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="1240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6bTIh3u2jn6kzmOBO83NOHrQ3aZKpOrAqd66T1q3NMS0Tz7boUDCGUTiZU9IIyKlpJAIVWgxBiMtEMX5xFHUUVpI7U5CtLzSigUI12nreDUL4F3Pi7N9JawV9K7zNryDXhQxFouk-kQ/s320/2017+Pinta+Miami+Solo+Project+Miguel+Braceli+-2264.jpg" width="320" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUifhjwL0DxLq1d57Txr9NwfhshOjg2WjQ6bilv4_906Q6HNbo2lCH-Lh-aV-rYI5_1FQs5jF1h15_YsD7AJr8PrJ4d0tbZMphyphenhyphenPGed2-_c-stknAnSuYXHQ1iuhq4XU1O7WSyiVojvw/s1600/2017+Pinta+Miami+Solo+Project+Miguel+Braceli+-2311.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="1240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUifhjwL0DxLq1d57Txr9NwfhshOjg2WjQ6bilv4_906Q6HNbo2lCH-Lh-aV-rYI5_1FQs5jF1h15_YsD7AJr8PrJ4d0tbZMphyphenhyphenPGed2-_c-stknAnSuYXHQ1iuhq4XU1O7WSyiVojvw/s320/2017+Pinta+Miami+Solo+Project+Miguel+Braceli+-2311.jpg" width="320" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD4VRO90UUG7-badcJ6qXWVnwd7AgRpfo_COFzt6TJjC2-smCj3BnOqIaqNV9YH1g1-lUg4xdDvaeHRMWqX2AA6libFbgQGwlbKknfV5i44pEQLK-LyJ9VgoB567DnPHlh7Njex_JiRA/s1600/2017+Pinta+Miami+Solo+Project+Miguel+Braceli+-2333.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="1240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD4VRO90UUG7-badcJ6qXWVnwd7AgRpfo_COFzt6TJjC2-smCj3BnOqIaqNV9YH1g1-lUg4xdDvaeHRMWqX2AA6libFbgQGwlbKknfV5i44pEQLK-LyJ9VgoB567DnPHlh7Njex_JiRA/s320/2017+Pinta+Miami+Solo+Project+Miguel+Braceli+-2333.jpg" width="320" /></a></div>
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<span style="color: #333333; font-family: "arial";">Entre los trabajos de Braceli que podrán ser apreciados en el
evento se encuentran fotografías de la serie </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial";">Ficcionados</span></i><span style="font-family: "arial";"> (2014), videos de la intervención participativa <i style="mso-bidi-font-style: normal;">El fin del mar</i> (2017) y la instalación
interactiva <i style="mso-bidi-font-style: normal;">Cuerpo público</i> (2017),
versión ajustada especialmente para la Feria a partir de una obra homónima con
la que obtuvo el </span><span style="background: white; color: black; font-family: "arial";"><span style="mso-spacerun: yes;"> </span>premio de Arte Público de Extremadura, España,
en el marco de Supertrama 2017. Dichas obras, al igual que otras acciones
participativas del autor, se incluyen en un libro de artista, actualmente en
proceso de edición, titulado <span style="mso-spacerun: yes;"> </span>“Coreotopías” con textos de Gerardo Zavarce,
Lorena González y Félix Suazo. <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: black; font-family: "arial";">Miguel Braceli (Valencia, 1983) cursó estudios en
la Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela
(2002-2007), institución en la que también realizó el Magister Scientiarum en
Diseño Arquitectónico (2008-2013). Activo desde 2007 en la escena artística
venezolana, ha expuesto individual y colectivamente en diversos espacios de
exhibición en Latinoamérica, Europa y los Estados Unidos de América.<span style="mso-spacerun: yes;"> </span>Igualmente ha </span><span style="font-family: "arial";">realizado numerosas intervenciones y acciones participativas en sitios
naturales y urbanos de Venezuela, Costa Rica, Chile, Argentina, Bolivia y
España.<span style="mso-spacerun: yes;"> </span></span><span style="background: white; color: black; font-family: "arial";">Su labor creativa<span style="mso-spacerun: yes;">
</span>ha sido distinguida </span><span style="font-family: "arial";">con el Premio
Supertrama del Programa de Arte Público de Extremadura, España (2017) y el
Premio Artista Emergente de la Asociación Internacional de Críticos de Arte,
Capítulo Venezuela (2015), entre otros reconocimientos. </span><span style="background: white; color: black; font-family: "arial";"><o:p></o:p></span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-21273618967017903732017-11-04T07:56:00.001-07:002017-11-04T07:56:12.358-07:00Charla sobre la Semiología de las Máculas<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/3X069xe_JLM" width="480"></iframe>El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-10201777076212215462017-10-02T16:12:00.000-07:002017-10-02T16:12:27.811-07:00Nelson Garrido. In-macula-das<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5K2i3BmP7JK5dl5Um0fjzJqiNHekv-oqJvIiLzZxRab1lFpbyQQWHbcgNmkVDLpJQPVPnjR5pBTlC7H4fGH0t_7gPsvD6hqgRXJZN6EAY1jrYEpIwELHosFi7_inNxWY2GiqbIMH41g/s1600/flayer+nelson-01+%25281%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1293" data-original-width="1040" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5K2i3BmP7JK5dl5Um0fjzJqiNHekv-oqJvIiLzZxRab1lFpbyQQWHbcgNmkVDLpJQPVPnjR5pBTlC7H4fGH0t_7gPsvD6hqgRXJZN6EAY1jrYEpIwELHosFi7_inNxWY2GiqbIMH41g/s320/flayer+nelson-01+%25281%2529.png" width="257" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Considerado uno de los fotógrafos más connotados
del país, Nelson Garrido (Caracas, 1952) desarrolla su trabajo en diálogo con
diferentes medios y soportes; del diseño a la escenografía teatral, de los
retablos a la instalación y los impresos. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Tal postura ha generado controversias estéticas y
gremiales, como la acaecida en 1991 cuando se le otorgó el Premio Nacional de
Artes Plásticas, una distinción que algunos consideraban exclusivamente para "artistas
plásticos" (pintores, escultores, dibujantes) y no para fotógrafos. Lo
cierto es que el trabajo de Garrido ha cruzado diversas fronteras
disciplinares sin desviar, en cada caso, sus principales motivaciones artísticas,
centradas en un enfoque irreverente de las nociones de erotismo, religión,
muerte y violencia, con base en el arte sacro, la cultura popular y la historia
del arte. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">En realidad,</span><span style="background: white; color: #222222; font-family: Arial; font-size: 9.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"> </span><span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Garrido más que un fotógrafo es un imaginero “posdisciplinar”,
un artífice cuyo accionar es muy similar al del tallista popular, los pintores
de íconos y la gente devota cuando recrean personajes, escenas y narrativas basadas
en las imágenes. </span><span style="font-family: Arial;">“Mi función social como
individuo –escribe- es ser un hacedor de imágenes. Es hacer una iconografía de
una época”. En ese mismo orden de ideas puntualiza: “La imagen es una totalidad
de hechos visibles (…); el hombre fundamentalmente es un hacedor de imágenes.
Lamentablemente, la sociedad contemporánea ha ido propiciando el
fraccionamiento del concepto imagen.<span style="mso-spacerun: yes;"> </span>No
se se asume que la escultura, la pintura, la cerámica, la fotografía, son un
mismo hecho de imagen (…)”<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">La cámara es solo un medio de fijación iconográfica,
que en su caso recoge alteraciones críticas <span style="mso-spacerun: yes;"> </span>que cuestionan los estereotipos religiosos. Su
serie de <i style="mso-bidi-font-style: normal;">In-macula-das </i>(2016),
compuesta por más de 40 maculaturas impresas sobre papel de 48 x 66 cm, enlaza
varias de sus inquietudes creativas. </span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">La relación de Garrido con el mundo editorial es
prolongada y estrecha. Además de realizar fotografías para revistas,
libros, portadas de disco, cine y publicidad, ha utilizado postales y multígrafo
para difundir su obra, apelando a la reproducción masiva y su capacidad de
evadir el limitado alcance de los aparatos de exhibición tradicionales y las reservas
de los sectores de opinión conservadores. Impartió clases en el Instituto de
Diseño Neumann y trabajó en el taller de Carlos Cruz-Diez quien también ejerció
como diseñador. Esta cercanía con el mundo gráfico, sus procesos y
posibilidades lo ha mantenido atento al recorrido de las imágenes (de la
construcción de la escena al registro, de la foto a la diagramación, del arte
final a la imprenta) que en definitiva constituyen su centro de atención. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4jV3jRwe6d92qqiBKXUztqnbP9Br45CLHULPKSmDbjdaAJexPl7FaO-XNFVmHmiKv5_hgIOGdXtBSuLioxRujoXBsF9M3PIukLagBS6bQnpGN-sL0xh9DKV7EtF0x48hNazQ5dksycw/s1600/IMG_3258.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1216" data-original-width="869" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4jV3jRwe6d92qqiBKXUztqnbP9Br45CLHULPKSmDbjdaAJexPl7FaO-XNFVmHmiKv5_hgIOGdXtBSuLioxRujoXBsF9M3PIukLagBS6bQnpGN-sL0xh9DKV7EtF0x48hNazQ5dksycw/s320/IMG_3258.jpg" width="228" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">En su caso, la reproductividad es una herramienta
que permite sortear con éxito las prescripciones litúrgicas y las
convenciones expositivas. La imagen masiva puede ser una postal, una fotocopia
o un afiche y puede colocarse en un álbum, en una billetera, entre las páginas
de un libro o en un muro callejero. Cualquiera puede tenerlas. Y es que en
Garrido, el hecho estético se produce en el acto de circulación y no solo en
los productos que muy celosamente albergan recintos de la fe y el arte. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Sus maculaturas in-macula-das (valga la
contradicción) son una consecuencia de ese ir y venir de las imágenes, esa
continua profanación del ícono en su recorrido <i style="mso-bidi-font-style: normal;">intermedial<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; font-family: Arial; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">[2]</span></b></span><!--[endif]--></span></span></a></i>
a través de diversos procedimientos y soportes. Llegan -al fin- <span style="mso-spacerun: yes;"> </span>las imágenes a esa suerte de Purgatorio,
regentado por los "arcángeles" de Gutenberg que han de cumplir la
faena de seleccionar lo que se ha de reproducir y lo que no cumple los
estándares previstos. Garrido opta por recuperar lo ya desechado, encontrando
en ello otras fugas de la imagen, más allá de su pretensión de origen. Y allí,
en el error, la imperfección y la incongruencia, fuera de un propósito
específico, radica la "inmaculada impureza" de su significado.</span><span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<br />
<span style="background: white;">Al igual que Garrido, otros artistas han
trabajado con desechos impresos, apropiándose de los residuos propios o ajenos,
ya sea para aprovecharlos tal cual o para modificarlos. Gego en sus <i style="mso-bidi-font-style: normal;">Tejeduras </i>(1988-1992), Claudio Perna en
sus <i style="mso-bidi-font-style: normal;">Maculaturas</i> (1975) y más
recientemente Javier Rodríguez en sus intervenciones sobre la prensa escrita
incluidas en la exposición “Doble discurso” (La Caja, Centro Cultural Chacao,
Caracas, 2012) y Juan Toro con las pruebas de su libro "Expedientes"
(Ediciones B, Caracas, 2015). <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqvzUzTtne36wVmKYMUfOsHmXghCGU9oqo0Cho6Pj3WqGNX77cY5JteRi7AFsyeYh2JfbHtol6mM2ULPhWwwKUjPr2yuAdn-JYb82ZzFXbc7nV6vljrxGFQXz1K67cxEUu3ttcga7YQ/s1600/IMG_3287.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1218" data-original-width="872" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqvzUzTtne36wVmKYMUfOsHmXghCGU9oqo0Cho6Pj3WqGNX77cY5JteRi7AFsyeYh2JfbHtol6mM2ULPhWwwKUjPr2yuAdn-JYb82ZzFXbc7nV6vljrxGFQXz1K67cxEUu3ttcga7YQ/s320/IMG_3287.jpg" width="229" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">En el caso de Garrido, </span><span style="background: white; color: black; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD; mso-themecolor: text1;">recuperar </span><span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">las maculaturas del libro antológico
sobre su obra, editado por La Cueva. Casa Editorial en diciembre 2016 <span style="mso-spacerun: yes;"> </span>significa potenciar el cruce fortuito de las
imágenes, convertir las pruebas de impresión en una extensión de su laboratorio
creativo, tratar el accidente como un desenlace significativo donde el lenguaje
visual encuentra otra forma de pertinencia. </span><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><br />
<span style="background: white;">Sus “Inmaculadas” nos recuerdan que las imágenes
nunca aparecen solas<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; color: #222222; font-family: Arial; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">[3]</span></span><!--[endif]--></span></span></a>
aunque surjan de una pulsión singular. Deben compartir su exclusividad
con un torrente iconográfico variado, añadir su impronta a las demás, sufrir
distorsiones inesperadas y resignarse a su eventual desaparición. Garrido
afronta está promiscuidad de manera irónica y entusiasta,</span></span><span style="background: white; color: black; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD; mso-themecolor: text1;">
aprovechando </span><span style="background: white; color: #222222; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">la
yuxtaposición espontánea de algunas de sus obras más emblemáticas con toda
clase materiales impresos: publicidad, arte, historia, autoayuda. El <i style="mso-bidi-font-style: normal;">Cochino levitando</i> (1986) y el <i style="mso-bidi-font-style: normal;">Ternero de la vaca Mariposa</i> (1992) con
el busto de Simón Bolívar, <i style="mso-bidi-font-style: normal;">Rintintín
después del ataque comanche</i> (1983) con un recetario de cocina, <i style="mso-bidi-font-style: normal;">Trilogía marina</i> (1988) con pimentones,
aguacate y berenjena, la </span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Autocrucifixión</span></i><span style="background: white; font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"> (1992-1993) <span style="color: #222222;">con
publicidad, el <i style="mso-bidi-font-style: normal;">El mito andrógino</i> o el
<i style="mso-bidi-font-style: normal;">hombre bola</i> (2016) con tragos de
ginebra, paños absorbentes y legumbres, <i style="mso-bidi-font-style: normal;">La
Nave de los locos</i> (2000) con el vino “La Sagrada familia”, <i style="mso-bidi-font-style: normal;">Saturno devorando a sus hijos</i> (2015) con
pizzas, Marcos Pérez Jiménez y el cuadro <i style="mso-bidi-font-style: normal;">Muerte
de Marat</i>. Todo se confunde en el momento en que la imagen es
"entronizada" en el "nicho" gutenbergriano que hará de
ella un objeto de devoción laico. <o:p></o:p></span></span></div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
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Nelson. <i style="mso-bidi-font-style: normal;">Editorial</i>. En: http://www.nelsongarrido.com/webgarrido2/editorial/editorial.htm<o:p></o:p></span></div>
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El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-13418295729690131722017-08-23T17:05:00.000-07:002017-08-25T20:24:53.993-07:00Max Provenzano. Elucidaciones<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_0i9a0IY04luZNiPAuRt9ZeqiHz_4YaSnZKBX2xH2UEMdlS_9ax3g2az2fkuF84ggjLwzfUXhBe4HN5iW5bxUkBJW-1Rdf_-kXMTG1Oswarj2utNKlaHF7yUc-NgOSHqlQBVXFJEs3g/s1600/max+provenzano_elucidaciones_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="575" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_0i9a0IY04luZNiPAuRt9ZeqiHz_4YaSnZKBX2xH2UEMdlS_9ax3g2az2fkuF84ggjLwzfUXhBe4HN5iW5bxUkBJW-1Rdf_-kXMTG1Oswarj2utNKlaHF7yUc-NgOSHqlQBVXFJEs3g/s320/max+provenzano_elucidaciones_web.jpg" width="250" /></a></div>
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<span lang="ES-VE" style="font-family: "arial"; font-size: 12.0pt;">¿Qué es <i style="mso-bidi-font-style: normal;">elucidar</i>?
Aclarar, explicar, esclarecer. Al parecer, ese ha sido el privilegio de la
ciencia por largo tiempo. El arte, en cambio, se ha ocupado de mostrar,
presentar. Entonces, la ruta propuesta por Max Provenzano (Caracas, 1986)
plantea un cruce epistémico entre ciencia y arte,<span style="mso-spacerun: yes;"> </span>a partir de “la necesidad de mostrar una
investigación al público y como éste puede recibirla, interactuar y hasta
modificarla”<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span lang="ES-VE" style="font-family: "arial"; font-size: 12.0pt;"><br />
Químico y artista, Provenzano transporta procedimientos y argumentaciones de
una disciplina a la otra, sin que ello signifique que una cosa pueda ser la
explicación de la otra. Es decir, no son traducciones y por tanto, el cometido <i style="mso-bidi-font-style: normal;">elucidatorio</i> queda en manos del
espectador que debe tratar con asuntos tan complejos como la luz, la materia,
el cosmos, la respiración, el cuerpo y la muerte. Son asuntos primordiales que
impactan lo existencial y donde las obra se presenta como un una metáfora dual;
el vehículo de un dilema a la espera de respuestas.<br />
<br />
No hay conclusiones, solo una bitácora de registros, experimentos y
mediciones. Sus trabajos se presentan entonces como "muestras de
laboratorio" o como "estudios de casos". <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span lang="ES-VE" style="font-family: "arial"; font-size: 12.0pt;"><br />
Gran parte de los materiales que componen la muestra “<b style="mso-bidi-font-weight: normal;">Elucidaciones”</b> <span style="mso-spacerun: yes;"> </span>(proyectores,
diapositivas, gráficos, pinturas) han sido recuperados, intercambiados o
adquiridos. Igualmente hay registros videográficos y fotográficos de acciones
para la cámara donde el autor interactúa con objetos y también con otras
personas. De manera que todo pasa por el artista, quien recrea
constantemente su vínculo corporal, intelectual y profesional con dichos
elementos. A fin de cuentas, todo conocimiento es, en primera y última
instancia, un proceso de auscultación y <i style="mso-bidi-font-style: normal;">elucidación</i>
personal.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlJ2BE2Izt5yquvYAE9SXL0b-tDkXjrhGxeS0d498veKHVI1Q1dGph9qZJwRF4VC9ahxljdOHV4VzEaFV2uTm1py8Iu9Dc6ZenKSvPQtMYp3GRQG_spff3E_oDY7CcTCzJ2NUDWeU-Q/s1600/Max+Provenzano_Colibri.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="636" data-original-width="875" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlJ2BE2Izt5yquvYAE9SXL0b-tDkXjrhGxeS0d498veKHVI1Q1dGph9qZJwRF4VC9ahxljdOHV4VzEaFV2uTm1py8Iu9Dc6ZenKSvPQtMYp3GRQG_spff3E_oDY7CcTCzJ2NUDWeU-Q/s320/Max+Provenzano_Colibri.jpg" width="320" /></a></div>
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<span lang="ES-VE" style="font-family: "arial"; font-size: 12.0pt;"><br />
En la intimidad, las pequeñas preguntas tienen un efecto trascendental. Allí, el
orden de los átomos socava las certidumbres del mundo, el aire contenido en una
esfera constelar es una vía potencial de escape, el polvo de los días es una
sustancia edificante, los fluidos corporales son -en fin- la constatación de
una ruta corpuscular hacia lo inteligible. Porque todo lo que acontece en el
ámbito social -la entropía cotidiana, la devastación económica, el
resquebrajamiento del aparato institucional- le ocurre en realidad a la persona.
De eso tratan estos experimentos que Provenzano elabora y comparte con la
audiencia. Ese es – en sus palabras- “el papel que juega el artista dentro de
una sociedad descompuesta”. <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEildSSfdu-MU-ljUleEPJZds7S-S1g70CglHHbX3Z14SudCRqVexti0d0p47S2km12eucdAZ4d6YqsRhBIesvAf6WpTEFqS3CJ9EqWRLLPZt0XnfYy2YRI7QtQkzrAnmgdoh_xXS3G7rg/s1600/Max+Provenzano_Prisma.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="635" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEildSSfdu-MU-ljUleEPJZds7S-S1g70CglHHbX3Z14SudCRqVexti0d0p47S2km12eucdAZ4d6YqsRhBIesvAf6WpTEFqS3CJ9EqWRLLPZt0XnfYy2YRI7QtQkzrAnmgdoh_xXS3G7rg/s320/Max+Provenzano_Prisma.JPG" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Sobre
las obras / Max Provenzano<o:p></o:p></span></u></b></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: -14.15pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES-VE" style="font-family: "arial";">Tabla Periódica o Cualidades Pertinentes del átomo (</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: "arial";">2011-2016):
</span></b><span lang="ES-VE" style="font-family: "arial";">“La revisión del archivo
y referentes científicos me remite a una tabla periódica encontrada en el año
2011 en la basura del laboratorio 141 de la Escuela de Química en la Facultad
de ciencias de la UCV (…) Esta pieza da cierto orden sobre el caos que vivo en
la incertidumbre” <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: -14.15pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES-VE" style="font-family: "arial";">¿Rayleigh, Por qué el cielo es azul? </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: "arial";">(2012-2016):
</span></b><span lang="ES-VE" style="font-family: "arial";">La dispersión de Rayleigh
es un fenómeno en el cual la luz atraviesa sólidos, fluidos o gases y es
dispersada por partículas cuyas dimensiones son menores a la longitud de onda
de los fotones dispersados, es el motivo de que percibamos el cielo de color
azul (…) Un conjunto de diapositivas de fotografías abajo del agua me remite a
este fenómeno”. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: -14.15pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES-VE" style="font-family: "arial";">Proyección- Pieza elaborada con Diapositivas 6X6</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: "arial";">
(2016-2017): </span></b><span lang="ES-VE" style="font-family: "arial";">“Combinando
las nociones sobre dualidad onda-partícula la luz de un proyector puede
atravesar diapositivas dando lugar a la refr(A)cción de la luz, sin embargo
abarcando mi propia corporalidad he preparado esta serie de 12 diapositivas con
mi semen [que] dejan un vestigio, una mancha de mi vida, trazas de material
orgánico encapsulado”. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES-VE" style="font-family: "arial";">Inflación </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: "arial";">(2016</span></b><span lang="ES-VE" style="font-family: "arial";">): “La acción de inflar un mapa o la
intención de introducirme en él, es el resultado de cierta inquietud acerca de
la necesidad de expandir mi propio horizonte, las nociones sobre territorio y
ubicación” <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES-VE" style="font-family: "arial";">Marina (Yo no sé pintar) </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: "arial";">(2016)</span></b><span lang="ES-VE" style="font-family: "arial";">: “<i style="mso-bidi-font-style: normal;">Marina</i>
es un paisaje que es producto de la intervención sobre un cuadro encontrado en
casa, la técnica pictórica es anular la escena típica de una marina y sus
atardeceres típicos de cuadros domésticos, con pintura blanca, utilizando polvo
recolectado en casa y dispersándolo sobre el soporte fresco”.</span></div>
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<span lang="ES-VE" style="font-family: "arial"; font-size: 12.0pt;">
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<div class="MsoNormal" style="margin-left: -14.15pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES-VE" style="font-family: "arial";">Pieza del Colibrí</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: "arial";"> (2017)</span></b><span lang="ES-VE" style="font-family: "arial";">: “ (…) la pieza junto a Marina (Yo no sé
pintar) sería parte del planteamiento relacionado al tiempo del deshielo y a
las nociones de obra, vida y muerte” <o:p></o:p></span></div>
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El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-17266204248690984322017-06-21T20:34:00.000-07:002017-06-23T17:42:43.676-07:00Arte + Contexto<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9zlr0kGR3B0inxcdDZVFUDmnPzWepqUl2y2HuqjvjiZSaUjlh7O7XFNbyI7XuYc5XGDRMKuwyscnbKi8Qv4jBc0_zlNqjZ9xVVgfbMDxKio_41yA4Tz7ej-dvFwvr1kZMzaK0TUJFGQ/s1600/arte+%252B+contexto_web.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="581" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9zlr0kGR3B0inxcdDZVFUDmnPzWepqUl2y2HuqjvjiZSaUjlh7O7XFNbyI7XuYc5XGDRMKuwyscnbKi8Qv4jBc0_zlNqjZ9xVVgfbMDxKio_41yA4Tz7ej-dvFwvr1kZMzaK0TUJFGQ/s320/arte+%252B+contexto_web.png" width="318" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">El contexto afecta la producción, circulación y
recepción del arte, constituyendo un horizonte multifocal que compromete
simultáneamente los propósitos, medios y significados de la obra. Dicho de otra
manera, no hablamos de uno, sino de varios horizontes, lo que consecuentemente
significa que no hay un único contexto sino varios de ellos.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Contrariamente a lo que podría suponerse, el
contexto no precede a la obra por lo que no debe ser entendido como un marco. A
veces es la obra la crea el contexto, e inventa las coordenadas de su ubicación
y lectura.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">El contexto es, por tanto, un ámbito de relación e
intercambio simbólico, comunicacional y social. Allí reside la verdadera connotación
política de lo artístico, cuya efectividad y alcance reside en la
administración estratégica de la alteridad, tanto la ajena como la propia.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Arte +
Contexto</span></b><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"> reúne el trabajo de cinco artistas venezolanos que abordan la manera en
que el poder afecta al lenguaje, los símbolos y la memoria de un país, pero que
al mismo tiempo reflexionan sobre la pertinencia del arte y sus medios.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjht1jOiZcoJAcQ1ga19HCSfhLWXiZnXnjhN98THWv47mJ7WZqcvRJQ4tDAUb2N3iLEC1TbSx_iqFl6pn-7PTjsYt61-7qEndCOIBh_QZT7ac7meJBI0UvFVhw3D6_4sBQzPoQ8mNyX3g/s1600/Teresa+Mulet_Dialogo+silente_2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="855" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjht1jOiZcoJAcQ1ga19HCSfhLWXiZnXnjhN98THWv47mJ7WZqcvRJQ4tDAUb2N3iLEC1TbSx_iqFl6pn-7PTjsYt61-7qEndCOIBh_QZT7ac7meJBI0UvFVhw3D6_4sBQzPoQ8mNyX3g/s320/Teresa+Mulet_Dialogo+silente_2014.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Diálogo silente. Serie Palabra
silente</span></i><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"> (2014) de Teresa Mulet opera desde la confusa retórica de la “afirmación
negadora”, esa que por ignorancia o premeditación conduce a la clausura del
lenguaje. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tm7ckJHiSZO0gH3S-F0x3W1jqUW4fbTRkJSEt_9W5uV_B6DuKDksTdf2-45sZYYdG2DzV1yrllQj9rHojkGh99oCcMcHqPCFF9QkRHgLaRUlTUIDVeo4jgsJOP09DZHFdmXq7Ns_TQ/s1600/Juan+Jose+Olavarria+_Bandera+deshilachada+roja_2013-2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1095" data-original-width="1600" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1tm7ckJHiSZO0gH3S-F0x3W1jqUW4fbTRkJSEt_9W5uV_B6DuKDksTdf2-45sZYYdG2DzV1yrllQj9rHojkGh99oCcMcHqPCFF9QkRHgLaRUlTUIDVeo4jgsJOP09DZHFdmXq7Ns_TQ/s320/Juan+Jose+Olavarria+_Bandera+deshilachada+roja_2013-2015.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Bandera
roja deshilachada</span></i><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"> </span><span style="font-family: "arial";">(2013-2015)</span><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;"> de Juan José Olavarría encara
la insignia nacional, tensada solemnemente y casi descolorida, con su banda
roja deshilachada: ¿sangrante acaso?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVoYRKVi4ERFSDiUidL4hpObXG-AUFU1fIxie1sLl6zAfEwXJJOQE_iAAER6MliJLsLFtj1ro3L7AWJW9XjmNr7Sti5xSTkFzu6ss8Ia4URmjSDQuIegDQ0lYpSR0l6p9QLBgmIbk5wA/s1600/Miguel+Braceli_Cambio+de+Poder_2017.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="1234" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVoYRKVi4ERFSDiUidL4hpObXG-AUFU1fIxie1sLl6zAfEwXJJOQE_iAAER6MliJLsLFtj1ro3L7AWJW9XjmNr7Sti5xSTkFzu6ss8Ia4URmjSDQuIegDQ0lYpSR0l6p9QLBgmIbk5wA/s320/Miguel+Braceli_Cambio+de+Poder_2017.png" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">Cambio de
poder</span></i><span lang="ES" style="font-family: "arial"; mso-ansi-language: ES;">
(2017) de Miguel Braceli enfoca el problema de la alternabilidad política tomando
como referente la franja azul con las ocho estrellas de la enseña patria, en
una acción realizada frente a la<span style="mso-spacerun: yes;"> </span></span><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-VE;">Brigada Parlamentaria de Santa Cruz, Bolivia.<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkV5uYgrthiH_ZTd2iAa_b5DRpbQRW5lSxT7R6RAQELw1HrEMd7flskRdpZB6GlGeXlka7ei8NyekcXzoYMc3wU-UkWP6HQyNvM442W4mQNXYnArZgHuVMQJWVfYt5jeNbzRNX5RGjLw/s1600/Domingo+De+Lucia_Santa-Maria_2010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="715" data-original-width="243" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkV5uYgrthiH_ZTd2iAa_b5DRpbQRW5lSxT7R6RAQELw1HrEMd7flskRdpZB6GlGeXlka7ei8NyekcXzoYMc3wU-UkWP6HQyNvM442W4mQNXYnArZgHuVMQJWVfYt5jeNbzRNX5RGjLw/s320/Domingo+De+Lucia_Santa-Maria_2010.jpg" width="108" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-VE;">Santa-María. De la serie Std color</span></i><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-VE;"> (2010) de Domingo de Lucía alude al efecto paralizante de las políticas
oficiales sobre la actividad productiva, sometida a la progresiva reducción de
sus capacidades. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjshhFmyV-r3kucgj0YcT5zVrvKCvK-zF-jROg-qZUTNFYUy_i1b8c2z9EOypWeKCzn_kkKwJA104_0YFPJuPUtSbY6hUPH-6NltKh8JB-O4n2QIYw4lHkeklXznX7mTgQYXTQfCvAoCQ/s1600/Juan+Toro%252C+escudos%252C+2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="579" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjshhFmyV-r3kucgj0YcT5zVrvKCvK-zF-jROg-qZUTNFYUy_i1b8c2z9EOypWeKCzn_kkKwJA104_0YFPJuPUtSbY6hUPH-6NltKh8JB-O4n2QIYw4lHkeklXznX7mTgQYXTQfCvAoCQ/s320/Juan+Toro%252C+escudos%252C+2014.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-VE;">Escudos. De la serie Fragmentos</span></i><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-VE;"> (2014) de Juan Toro constituye un micro archivo de la violencia, al
reseñar los precarios medios de defensa empleados por manifestantes para
resguardarse de las fuerzas uniformadas.</span></div>
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<!--StartFragment-->
<span style="font-family: "arial"; font-size: 12.0pt;">El
contexto siempre está allí, a veces como referente y en ocasiones como parte de
la obra. Sin embargo, no es el isomorfismo sino la “disimilitud” la que hace
significativa la </span><span style="font-family: "arial"; font-size: 12pt;">experiencia artística. Por tanto, el arte no es sólo “reflejo”
de lo real en cuanto exterioridad; también es una manera de situar las cosas en
contexto.</span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-59122266599782024522017-02-06T15:53:00.000-08:002017-02-28T07:54:02.763-08:00Néstor García. Pinturas impresentables <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggssiWHhw_INATiHq-QNp8dcJFY97Ff9KCb3UjYGYeB0T3fG0M37ucZItWEexRHyH07L597patWrBR29fH4zyvpyd-CIhnd45LTkLdOVK6dX-ja8YOj_2Us4U_I0wbWiN7NvyZb3bHZQ/s1600/nestor+garcia_pinturas+impresentables_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggssiWHhw_INATiHq-QNp8dcJFY97Ff9KCb3UjYGYeB0T3fG0M37ucZItWEexRHyH07L597patWrBR29fH4zyvpyd-CIhnd45LTkLdOVK6dX-ja8YOj_2Us4U_I0wbWiN7NvyZb3bHZQ/s320/nestor+garcia_pinturas+impresentables_web.jpg" width="281" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-size: large;"><span lang="ES-MX" style="font-family: "arial"; mso-ansi-language: ES-MX; mso-bidi-font-family: "Times New Roman";">La exposición “</span><b><span lang="ES-VE" style="font-family: "arial"; mso-bidi-font-family: Helvetica-Bold; mso-fareast-language: ES-TRAD;">Pinturas impresentables</span></b><span lang="ES-MX" style="font-family: "arial"; mso-ansi-language: ES-MX; mso-bidi-font-family: "Times New Roman";">” de
Néstor García </span><span lang="ES-VE" style="font-family: "arial";">(La Fría,
estado Táchira, 1981) </span><span lang="ES-MX" style="font-family: "arial"; mso-ansi-language: ES-MX; mso-bidi-font-family: "Times New Roman";">propone una
reflexión en torno a las convenciones de exhibición, el papel de la
reproductividad y la incidencia de lo performático en la estructuración de la
narrativa pictórica. </span><span lang="ES-VE" style="background: white; color: #222222; font-family: "arial";">Su interés se
orienta hacia una “taxonomía de procesos”, por medio de varias series que
funcionan como inventarios y tipologías.<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsLcBQzW1c8OZUw11c6yOtjO9E-NpB4T8gplpY14QntEf-hxKm0sDPOXEa4F37-hogPh6nGIkRtIE_-u1sx0jyH1CcC-H0TUjA6r-kLNy5bLdOvTnyy4KOTZxz60oKqqkYmihqTMsLA/s1600/Nestor+Garci%25CC%2581a_La+cola_Seire+Pinturas+impresentables_2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsLcBQzW1c8OZUw11c6yOtjO9E-NpB4T8gplpY14QntEf-hxKm0sDPOXEa4F37-hogPh6nGIkRtIE_-u1sx0jyH1CcC-H0TUjA6r-kLNy5bLdOvTnyy4KOTZxz60oKqqkYmihqTMsLA/s320/Nestor+Garci%25CC%2581a_La+cola_Seire+Pinturas+impresentables_2017.jpg" width="260" /></span></a></div>
<span style="font-size: large;"><br /></span>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span lang="ES-VE" style="background: white; color: #222222; font-family: "arial"; font-size: large;">En sus obras reaparece la imaginería de un mundo fenecido que aun
persiste en fotografías, reproducciones y postales; una "realidad"
que no está en lo representado y que tampoco está en la pintura como objeto
sustitutivo, sino en las acciones que la desencadenan, en los aditamentos que
la componen, en los artilugios que la sostienen. <o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXzRS9rMcUplWL5F30dps2TBSlvmneAq2iBGXlGbJDSQ1a7UE_2ZueWb0QIYco0gv6wV3muw71pssBUoa0acjF9zslwYN_jIyuLYlPFtiU8JDlYcQWjgRmP1FobRyzwmEeluIGXCVbg/s1600/Nestor+Garcia_Serie+Pinturas+impresentables_2017.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXzRS9rMcUplWL5F30dps2TBSlvmneAq2iBGXlGbJDSQ1a7UE_2ZueWb0QIYco0gv6wV3muw71pssBUoa0acjF9zslwYN_jIyuLYlPFtiU8JDlYcQWjgRmP1FobRyzwmEeluIGXCVbg/s320/Nestor+Garcia_Serie+Pinturas+impresentables_2017.JPG" width="320" /></span></a></div>
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<div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span lang="ES-VE" style="background: white; color: #222222; font-family: "arial"; font-size: large;">Sin embargo, los problemas de la imagen y los de la pintura no son
idénticos. La primera es una entidad nómada en busca de un cuerpo para alojarse
según sugiere Hans Belting en su “Antropología de la imagen”. La segunda es una
idea sustentada en la articulación escénica de la obra como ventana hacia el
mundo o como realidad añadida a lo existente. Entonces, eso que llamamos
"imagen pictórica" es un pacto cómplice entre dos entidades que
reclaman su completamiento cada una en la otra y con la anuencia simbólica de
sus destinatarios. <o:p></o:p></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRlVaXUiofLeZoCL45n_xYdu1LHyynKYjc6qzAVHVn-LOUqHdSinN55ogtreMULmAOW3Lhcz3-kRQ_0OpjVjE7VsYHNnePujINTgJD4wklmK-bu9HoNqLbf64Hxv31ME62XEdRUfoO1w/s1600/Nestor+Garcia_Bajo+la+nieve_Serie+Suen%25CC%2583os_2017.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRlVaXUiofLeZoCL45n_xYdu1LHyynKYjc6qzAVHVn-LOUqHdSinN55ogtreMULmAOW3Lhcz3-kRQ_0OpjVjE7VsYHNnePujINTgJD4wklmK-bu9HoNqLbf64Hxv31ME62XEdRUfoO1w/s320/Nestor+Garcia_Bajo+la+nieve_Serie+Suen%25CC%2583os_2017.JPG" width="320" /></span></a></div>
<span style="font-size: large;"><br /></span>
<br />
<div style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span lang="ES-VE" style="background: white; color: #222222; font-family: "arial"; font-size: large;">El artista trabaja en el intersticio o interfase procesual que
determina lo pictórico por medio de cortes, arrugas y dobleces, a través de los
cuales se advierte<span style="mso-spacerun: yes;"> </span>la verdadera
consistencia del soporte desprovisto del bastidor, al tiempo que se resaltan
las alteraciones discursivas que sufre la imagen cuando esta se traslada de un
medio a otro; por ejemplo, de la televisión y la fotografía a la pintura o de la
pintura al video. <o:p></o:p></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-size: large;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2AEg-CxjnC9ULWVt2wAn4tQDn8vzS5NarqDJdG7S2g4pfHNHAD7KfgFQElYSbHI5jY_6kFKw5C-jCU0ChqVgb1c1D-hBg3CinqiUc8HMFywR0l_nWk8_WB1vFMHLXfgAenB8MNmOrg/s1600/Nestor+Garcia+La+danza+del+fuego+sobre+el+agua%252C+video+2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2AEg-CxjnC9ULWVt2wAn4tQDn8vzS5NarqDJdG7S2g4pfHNHAD7KfgFQElYSbHI5jY_6kFKw5C-jCU0ChqVgb1c1D-hBg3CinqiUc8HMFywR0l_nWk8_WB1vFMHLXfgAenB8MNmOrg/s320/Nestor+Garcia+La+danza+del+fuego+sobre+el+agua%252C+video+2017.jpg" width="320" /></span></a></div>
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<span lang="ES-VE" style="background: white; color: #222222; font-family: "arial"; font-size: large;">Las imágenes -automóviles viejos, iglesias, edificios, paisajes
catastróficos- solo son señuelos perceptivos. De ahí esa desnudez de materia
desvanecida, esa hiperrealidad arrugada, esa superficie desamparada, medusal y
sin esqueleto sobre la cual se aferra la imagen buscando un soporte que se ha
debilitado o está ausente.</span><span lang="ES-VE" style="font-family: "arial";"><o:p></o:p></span><br />
<span lang="ES-VE" style="background: white; color: #222222; font-family: "arial"; font-size: large;"><b><a href="https://www.mixcloud.com/traficovisual/foro-sobre-pintura-con-nestor-garc%C3%ADa-y-luis-arroyo-moderado-por-felix-suazo-en-el-anexo/" target="_blank"><br /></a></b></span>
<span lang="ES-VE" style="background: white; color: #222222; font-family: "arial"; font-size: large;"><a href="https://www.mixcloud.com/traficovisual/foro-sobre-pintura-con-nestor-garc%C3%ADa-y-luis-arroyo-moderado-por-felix-suazo-en-el-anexo/" target="_blank"><b>Foro: "Conversando sobre pintura" con Néstor García y Luis Arroyo. Moderador: Félix Suazo. El Anexo/Arte Contemporáneo, Domingo 26 de febrero de 2016</b>. En: Tráfico Visual: https://www.mixcloud.com/traficovisual/foro-sobre-pintura-con-nestor-garc%C3%ADa-y-luis-arroyo-moderado-por-felix-suazo-en-el-anexo/</a></span><br />
<span lang="ES-VE" style="background: white; color: #222222; font-family: "arial"; font-size: large;"><br /></span>
<br />
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</h1>
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El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-19476090390116549412016-11-20T18:15:00.000-08:002016-11-20T18:18:48.255-08:00El Anexo en Pinta Miami 2016<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="background: white; font-family: "arial"; font-size: 12.0pt;">REPRODUCIBLE
UNITS. 6 ARTISTS FROM VENEZUELA <span style="color: #222222;"><o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="background: white; color: #e36c0a; font-family: "arial"; font-size: 12.0pt;">UNIDADES REPRODUCTIBLES. 6 ARTISTAS DE VENEZUELA <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "arial"; font-size: 12.0pt;">PINTA. THE MODERN & CONTEMPORARY ART SHOW <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "arial"; font-size: 12.0pt;">MIAMI, November 30 - December 4, 2016<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "arial"; font-size: 12.0pt;">Mana </span><span lang="EN-US" style="font-family: "arial"; font-size: 12.0pt;">Wynnwood, Miami FL<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "arial"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="background: white; color: #222222; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">The selection of authors and works
that make up this exhibition suggests a generational and discursive dialogue
where a historical core is confronted with another emerging movement. Claudio
Perna, Diego Barboza and Luis Villamizar constitute three of the pioneers of
conceptual art practices in Venezuela. Linked to <i style="mso-bidi-font-style: normal;">actional</i> and <i style="mso-bidi-font-style: normal;">site specific</i>
work, they configured some of the strategies of creation and artistic display
in the seventies and eighties that are now being studied by specialists and
artists from the local scene, being an inescapable reference for young artists
like Ivan Candeo Juan Toro and Ivan Candeo.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="background: white; color: #222222; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">The work of Art is considered as a relational
variable in eco-biological processes in Villamizar and Candeo, as a residue of
the breeding practices in Perna and Toro, as axiological conversion system in
Pittari and as a facsimile of the actional and reflective experience in
Barboza. In general, they are artists who consciously move within the limits of
reproducibility and uniqueness of the work.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho5-aTjVCUR1Th5cPCuN7PEvzuGAGy2hYtC7s215UxkVFhZkLoaTxRmWuMTubek3GzHGbbEHJBuBSgubGbMGca3a4_YJ9I1f-Q2bAN7RVxg2_qxGeUCrMlulxUqMgcXBN2VaEauk8HDA/s1600/Claudio+Perna_Maculatura_1975.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho5-aTjVCUR1Th5cPCuN7PEvzuGAGy2hYtC7s215UxkVFhZkLoaTxRmWuMTubek3GzHGbbEHJBuBSgubGbMGca3a4_YJ9I1f-Q2bAN7RVxg2_qxGeUCrMlulxUqMgcXBN2VaEauk8HDA/s200/Claudio+Perna_Maculatura_1975.jpg" width="140" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwGp9akw0xy40U6uQWtmYs6UwLkkbnxrQXk78fs_5_i9kYFZztqkbIz4kulDwAQewnsiKU8omsHVd-CXIF__9Z6OTFBjlKX91tqjysjz8cTydjrVZ0kPbZLKoTyI5MZD1QzeCWuNyrtg/s1600/Diego+Barboza_+Buzon+de+arte_enero+76+anverso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwGp9akw0xy40U6uQWtmYs6UwLkkbnxrQXk78fs_5_i9kYFZztqkbIz4kulDwAQewnsiKU8omsHVd-CXIF__9Z6OTFBjlKX91tqjysjz8cTydjrVZ0kPbZLKoTyI5MZD1QzeCWuNyrtg/s200/Diego+Barboza_+Buzon+de+arte_enero+76+anverso.jpg" width="145" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="background: white; color: #222222; font-family: "arial"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="background: white; color: #222222; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">Among the <i style="mso-bidi-font-style: normal;">ready-mades</i> of Duchamp and the iconophagy of <i style="mso-bidi-font-style: normal;">pop art,</i> the “Maculaturas” (Stained Paper Sheets, 1976) of Perna
draws a map of the editorial, artistic, educational and industrial landscape of
the early 1970s, period during which he performed simultaneously his
“Autocopias” and other forays linked to the experience of the territory.
Barboza meanwhile has a pendular relation with the means of capture and
reproduction of printed images, sometimes used as a document of his
"Expresiones” (Expressions) and sometimes derived as an autonomous
element. In the case of Villamizar, it is noticed a long parable of more than
four decades thinking over the folds of the sensible world, both in nature and
in urban areas. <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmahL9srFXCbfPiWpDY-08qUtzc_QVfElFLl9gKXihrap2AC-LGreGwrniMsV7Lonz91431l9boe6FcTKk0tTPA6X7l6QBeOD5Mb3oHWfW6aJes1q7Cko_QmNf9WlDRds7k5NGsxokEA/s1600/Luis+Villamizar_Men+at+work_1976.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmahL9srFXCbfPiWpDY-08qUtzc_QVfElFLl9gKXihrap2AC-LGreGwrniMsV7Lonz91431l9boe6FcTKk0tTPA6X7l6QBeOD5Mb3oHWfW6aJes1q7Cko_QmNf9WlDRds7k5NGsxokEA/s320/Luis+Villamizar_Men+at+work_1976.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: "arial"; font-size: 12.0pt;">Candeo in his series “Vuelo del colibrí”
(Hummingbird Flight, 2016) adds a dialogic turn to confront the uniqueness and
the variety in the biological field and from the viewpoint of technical
reproduction based on the taxonomic model applied to different copies of the
same species in a collection of hummingbirds. Pittari, meanwhile, structures
his proposal “$ 1 = 1.024 bs” (2016) on a system of equivalence impacting
simultaneously the monetary and the aesthetic. Toro takes again the printing
proofs of his book “Expedientes” (Files, 2014) and reproduces them
photographically, using the disposable material and accentuating with this
procedure the ominous persistence of violence and impunity in the contemporary
Venezuela.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: "arial"; font-size: 12.5pt;">From their respective singularity, the
commented artists are interested in the meaning of the “mediatic” and
discursive operations intended to set up procedural and reflective experiences
involving the institutional environment of Arts and its rituals of
legitimation, particularly those derived from technical reproduction
procedures, both analog and digital. Consequently, they take advantage of all
kinds of resources, including those found in photography, photocopy and
printing devices operating simultaneously as document of processes and as work
of Art, but always located in a gray area where the Unique can suffer multiple
declensions.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="EN-US" style="color: #1a1a1a; font-family: "arial"; font-size: 12.5pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-VE" style="color: #e36c0a; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">La selección de
autores y obras que integran esta exposición sugiere un diálogo generacional y
discursivo donde se confrontan un núcleo histórico y otro emergente. </span><span lang="ES-VE" style="background: white; color: #e36c0a; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">Claudio Perna, Diego Barboza y Luis Villamizar
constituyen tres de los pioneros de las prácticas conceptuales en Venezuela.
Vinculados al trabajo accional y <i style="mso-bidi-font-style: normal;">site
specific</i>, configuraron algunas de las estrategias de creación y exhibición
artística en los años setenta y ochenta que hoy son objeto de estudio por parte
de investigadores y artistas de la escena local, siendo referente ineludible
para jóvenes creadores como Iván Candeo, Juan Toro e Iván Candeo. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-VE" style="color: #e36c0a; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">La
obra de arte es considerada como variable relacional en los procesos
eco-biológicos en Villamizar y Candeo, como residuo de las prácticas de
reproducción en Perna y Toro, como sistema de reconversión axiológica en
Pittari y como facsímil de la experiencia accional y reflexiva en Barboza. </span><span lang="ES-VE" style="background: white; color: #e36c0a; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">En general, son artistas que se desplazan
conscientemente entre los límites de la reproductividad y la unicidad de la
obra. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #e36c0a; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">Entre
el <i style="mso-bidi-font-style: normal;">ready made</i> duchampiano y la
iconofagia del <i style="mso-bidi-font-style: normal;">pop art</i>, las <i style="mso-bidi-font-style: normal;">Maculaturas</i> (1976) de Perna trazan un
mapa del panorama editorial, artístico, educativo<span style="mso-spacerun: yes;"> </span>e industrial de inicios de la década de 1970,
periodo durante el cual realiza en simultáneo sus <i style="mso-bidi-font-style: normal;">Autocopias, </i>así como otras incursiones vinculadas a la experiencia
del territorio. Barboza por su parte tiene una relación pendular con los medios
de captura y reproducción impresa de la imagen, a veces utilizados como
documentos de sus "Expresiones" y en ocasiones derivados como
elemento autónomo. En el caso de Villamizar, se advierte una larga parábola de
más de cuatro décadas reflexionando sobre los pliegues del mundo sensible,
tanto en la naturaleza como en el ámbito urbano. <o:p></o:p></span></div>
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<span style="color: #e36c0a; font-family: "arial"; font-size: 12.0pt;">Candeo en su serie “Vuelo del colibrí”
(2016) añade un giro dialógico al confrontar la unicidad y la variedad en el
campo biológico y desde la óptica de la reproducción técnica con base en el
modelo taxonómico aplicado a distintos ejemplares de una misma especie en
una colección de colibríes. Pittari, por su parte, estructura su propuesta “1
dólar = 1.924 bs” (2016) sobre un sistema de equivalencias que impacta
simultáneamente lo monetario y lo estético. Toro retoma las pruebas de
impresión de su libro <i style="mso-bidi-font-style: normal;">“Expedientes”</i>
(2014) y las reproduce fotográficamente, aprovechando el material desechable y
acentuando con este procedimiento la ominosa persistencia de la violencia y la
impunidad en la Venezuela de nuestros días.<o:p></o:p></span></div>
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<br /></div>
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<span lang="ES-VE" style="background: white; color: #e36c0a; font-family: "arial"; font-size: 12.0pt; line-height: 115%;">Desde su respectiva singularidad, todos los artistas
comentados están interesados en el significado de las operaciones mediales y
discursivas destinadas a la configuración de experiencias procedimentales y
reflexivas que involucran el entorno institucional del arte y sus rituales de
legitimación, particularmente aquellos que se derivan de los procedimientos de
reproducción técnica, tanto analógicos como digitales. Consecuentemente,
aprovechan toda clase de recursos, entre los que se encuentran la fotografía,
la fotocopia y los impresos, dispositivos que operan simultáneamente como
documento de procesos y como obra, pero siempre ubicados en una zona de
indefinición donde lo único puede sufrir múltiples declinaciones.<span style="mso-spacerun: yes;"> </span><span class="hps"><o:p></o:p></span></span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-51099840974004471452016-09-28T15:41:00.001-07:002016-10-05T07:07:27.352-07:00Iván Candeo. Contratiempo<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaomuq8WhB4TWhHil4N8roXl1vBeFXmK2Csf3HMZcs5kmv5WfvtCYPaZpt6WYXon7WUPDPDK3VtkeL8Ia3ZOYys7M-l3yyclo1hMKsBnIDmA_-xziF5TX6OxE4BS9LkE687OVW8Y0NHA/s1600/ivan+candeo+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaomuq8WhB4TWhHil4N8roXl1vBeFXmK2Csf3HMZcs5kmv5WfvtCYPaZpt6WYXon7WUPDPDK3VtkeL8Ia3ZOYys7M-l3yyclo1hMKsBnIDmA_-xziF5TX6OxE4BS9LkE687OVW8Y0NHA/s320/ivan+candeo+web.jpg" width="295" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">La exposición “<b>Contratiempo</b>” de Iván Candeo (Caracas, 1983), se centra en la exploración de la idea del tiempo y la marcación de los intervalos como componentes de la narrativa audiovisual. La propuesta enfoca la existencia de factores interiores a la imagen (ritmo, composición, escala, montaje, etc.), cuestión que aborda a partir de la yuxtaposición de varios medios como el video, la fotografía, la pintura, la instalación y el sonido. </span></div>
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En el conjunto destaca la instalación La pasión de Gibson (2016), basada en la miniaturización pictórica de videogramas y el uso de fragmentos sonoros extraídos de la película La pasión de Cristo (2004) dirigida por Mel Gibson. Igualmente significativas son las obras El reloj solar de Humboldt (2016), registro nocturno de un artefacto decimonónico que no funciona más allá del crepúsculo, Mapa (2016), una meditación sobre la perspectiva y el movimiento y Campeonato Nacional de Boxeo (2016), que afronta la violencia en planos sucesivos.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_idkRimsC-ndfVGhivwtTB61QKVSodufeydXr3TCjocBVjnbtGVblHqCwz2j2vvYgP2U_nRuX1Ojph7JRKp_XgFk4jsVxP3vxC83Ceya9BaYRxf_2h_mjnzBdIidBUe96nIrTv1AfTA/s1600/Ivan+Candeo+Pasion+Gibson+detalle01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_idkRimsC-ndfVGhivwtTB61QKVSodufeydXr3TCjocBVjnbtGVblHqCwz2j2vvYgP2U_nRuX1Ojph7JRKp_XgFk4jsVxP3vxC83Ceya9BaYRxf_2h_mjnzBdIidBUe96nIrTv1AfTA/s320/Ivan+Candeo+Pasion+Gibson+detalle01.jpg" width="320" /></a></div>
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Todos los trabajos conforman una suerte de inventario de interrupciones, cortes e imposibilidades, tras las cuales se vislumbra una compleja alegoría de la incertidumbre contemporánea. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDk_U9wJIcU2YGyd4or8zftV8f97k7QgDqqxkumxI1-VgDiM7lGH14wr8_jkgPax8v_A38Zqsqj9KGhsS7C49I4gHfFPTNrHZycPyhd7SnpgGAg4UOAOaSbHZHqzCPTS7bMvra2tMQw/s1600/Ivan+Candeo+mapa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDk_U9wJIcU2YGyd4or8zftV8f97k7QgDqqxkumxI1-VgDiM7lGH14wr8_jkgPax8v_A38Zqsqj9KGhsS7C49I4gHfFPTNrHZycPyhd7SnpgGAg4UOAOaSbHZHqzCPTS7bMvra2tMQw/s320/Ivan+Candeo+mapa.jpg" width="320" /></a></div>
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Tiempo interrumpido del icono martirizado, tiempo imposible del reloj solar iluminado artificialmente, tiempo oscilante el de la cartografía promisoria que va y viene, avanza y retrocede, tiempo continuo el del combate deportivo que demarca los instantes a trompadas. Todos a "contratiempo", palpitando en frecuencias distintas. Todos sujetos a un "golpe de luz" que marca los lapsos de aparición y desaparición de la imagen. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCyjLBfPqfRvIbd8x_O0Z2Qc30DLuDA-k-N0YU6lVzb1bFlgPVC3l3XxPqfQA-xs2S9H3exJtfcXaTJTurOnFbLyYuez22w2w26F_hhXp2mwYKyAUafEZLG9zFxtJex2g7DhR3WdU7Rg/s1600/Ivan+Candeo+CampeonatoNacional.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCyjLBfPqfRvIbd8x_O0Z2Qc30DLuDA-k-N0YU6lVzb1bFlgPVC3l3XxPqfQA-xs2S9H3exJtfcXaTJTurOnFbLyYuez22w2w26F_hhXp2mwYKyAUafEZLG9zFxtJex2g7DhR3WdU7Rg/s320/Ivan+Candeo+CampeonatoNacional.jpg" width="320" /></a></div>
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Dispuestos en el espacio expositivo en una relación de proximidad estratégica, las obras de esta exposición manifiestan una fuerte discordancia temporal. Y es allí, en el corolario escénico de las convenciones expositivas, donde finalmente el “montaje” se revela como exterioridad configurante. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqTe6QEx1r53FWLBoKOUTAmiwTvGqF705qzVYgc5pfffmSHh7hUAvM-St9UZkKZ64n_hdwVSNcDg1AJv3rLyCzto8djg784Hoh92SlFJVQv2wNsVCEpJtMa3M9_x9yjkWW7SGK333gyA/s1600/Ivan+Candeo+RelojSolar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqTe6QEx1r53FWLBoKOUTAmiwTvGqF705qzVYgc5pfffmSHh7hUAvM-St9UZkKZ64n_hdwVSNcDg1AJv3rLyCzto8djg784Hoh92SlFJVQv2wNsVCEpJtMa3M9_x9yjkWW7SGK333gyA/s320/Ivan+Candeo+RelojSolar.jpg" width="212" /></a></div>
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El crítico Robert Hughes dijo en una ocasión que necesitamos "un arte que guarde el tiempo como un vaso guarda el agua"<a href="file:///C:/Users/Nancy/Documents/MAC%20Caura%202016/EL%20ANEXO%20respaldo%202016/2016/04%20IVAN%20CANDEO/Ivan%20Candeo%20TEXTO%202.doc#_ftn1">[1]</a>. En realidad, la obra es un contenedor sin paredes que no puede "guardar" el tiempo, pero si puede alterar, distorsionar o subvertir sus patrones para intensificar o ralentizar la duración. Esa es, precisamente, la apuesta de Candeo en estos trabajos. En su caso, pareciera que la obra solo puede existir como interrupción temporal, como digresión sincopada del suceder convencional. En definitiva, la temporalidad artística es ya una bifurcación metadiscursiva, a “contratiempo”, de la incomprensible cronometría que determina el acontecer general. Solo se trata de hacer consciente lo que ya está dado y aceptado. </div>
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Sabemos que la narración se construye gracias a los cortes significantes que "interrumpen” el flujo temporal, y mediante esas discontinuidades deducimos la historia, asignándole a cada acontecimiento un antes y un después. "A veces -escribe Gilles Deleuze- hay que hacer agujeros, introducir vacíos y espacios blancos, rarificar la imagen, suprimirle muchas cosas que se le habían añadido para hacernos creer que se veía todo. Hay que dividir o hacer el vacío para reencontrar lo entero"<a href="file:///C:/Users/Nancy/Documents/MAC%20Caura%202016/EL%20ANEXO%20respaldo%202016/2016/04%20IVAN%20CANDEO/Ivan%20Candeo%20TEXTO%202.doc#_ftn2">[2]</a> </div>
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Al activar una imagen fija o detener una imagen en movimiento, Candeo nos coloca ente la paradoja del tiempo, sus sacudidas y carencias. Pero también nos permite percibir aquello que convierte una imagen en parte de un relato y como este se alimenta de exterioridades configurantes en el torrente duracional. Ahora bien, en todas estas instancias la imagen es, como sugieren los crono-signos deleuzianos, subsidiaria de su condición maquinal, que es la que determina la cualidades y frecuencias de lo visible. Es decir, la imagen como el relato se completa fuera de lo visible, en las interrupciones voluntarias o espontáneas que asedian constantemente su condición de cosa estable.</div>
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<span style="font-size: x-small;"><a href="file:///C:/Users/Nancy/Documents/MAC%20Caura%202016/EL%20ANEXO%20respaldo%202016/2016/04%20IVAN%20CANDEO/Ivan%20Candeo%20TEXTO%202.doc#_ftnref1">[1]</a> Hughes, Robert. Arte Contemporáneo. Documental. BBC, 2004 </span></div>
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<span style="font-size: x-small;"><a href="file:///C:/Users/Nancy/Documents/MAC%20Caura%202016/EL%20ANEXO%20respaldo%202016/2016/04%20IVAN%20CANDEO/Ivan%20Candeo%20TEXTO%202.doc#_ftnref2">[2]</a> Deleuze-, Gilles. La imagen-tiempo. Ediciones Paidos, Barcelona, 1987, p.37</span></div>
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<b>Apuntes sobre la exposición (Fragmentos)</b></div>
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La exposición muestra un evidente interés sobre la imagen en movimiento, referido al ritmo, composición, escala, montajes de partes y elementos. Contribuye a una experiencia sensible del transcurrir del tiempo. Con ella, sigo interpretando la temporalidad de los medios, abordo el devenir de la sociedad e intento advertir el flujo del tiempo histórico en el movimiento de las imágenes. </div>
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Busca ser una exposición que interrogue el sistema narrativo de la imagen en movimiento, sin perder de vista las aproximaciones de producción y las direcciones contrarias de recepciones entre el entorno del arte y las salas de cine. La exposición procura contribuir a la “desnaturalización” sensible de las experiencias fundadas (en salas o en televisión) y constituidas como un modo de representación institucional insoslayable en la construcción del relato, de la historia.</div>
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Esta situación en la que las imágenes se disponen a la inmovilidad, negando o escapándose del sentido narrativo de desenlace, la identifico con la época que me ha tocado vivir. Una época en la que percibo una dificultad para orientar un nuevo principio, en la política, en la economía, en el arte, en distintos aspectos de la vida. Cuando volteo hacia atrás, lo que percibo son rupturas. Tampoco al ver hacia adelante es fácil divisar con claridad una condición de posibilidad. El porvenir pareciera detenido, entonces jugamos a resucitar formas de otros tiempos.</div>
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Iván Candeo, 2016</div>
</span>El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-8435766983926689572016-06-14T15:56:00.000-07:002016-06-14T15:56:14.630-07:00Luis Villamizar. Manifold<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3DZuSzjeyXwZ_19UsIlLE3mJVpqDDeZ3XKQAneln_nDn3ZlBIbUL5b2RbdhVN8d6jxfI_9PkOkugF6GRXZMlJcxitwj7vYMogpQ9RocQ3c9Kdf62htTLmx1y99izAwe6I2M561E-inw/s1600/luis+villamizar_manifold_web.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3DZuSzjeyXwZ_19UsIlLE3mJVpqDDeZ3XKQAneln_nDn3ZlBIbUL5b2RbdhVN8d6jxfI_9PkOkugF6GRXZMlJcxitwj7vYMogpQ9RocQ3c9Kdf62htTLmx1y99izAwe6I2M561E-inw/s320/luis+villamizar_manifold_web.png" width="287" /></a></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">“El objetivo del artista no es
instruir al espectador, sino proporcionarle información”<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;">[1]</span></span></a></span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Sol Lewitt</span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">El término <b style="mso-bidi-font-weight: normal;">Manifold</b>, generalmente utilizado en matemáticas, física<span style="mso-spacerun: yes;"> </span>e informática, significa <i style="mso-bidi-font-style: normal;">variedad </i>(múltiple, diverso, numeroso).
Un plano, por ejemplo,<span style="mso-spacerun: yes;"> </span>es un
contenedor de variables, activas o potenciales, que buscan su propia
organización material y sensible. La pintura, y en general cualquier superficie
bidimensional, pueden asimilarse a dicha premisa. En el caso del proyecto
homónimo de Luis Villamizar </span><span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial;">(Maracay, estado Aragua, 1947) </span><span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">basta
con pequeños trozos de tela sobre madera artificial o colocados directamente
sobre la pared. La tela es el material, el soporte y el motivo. Todo<span style="mso-spacerun: yes;"> </span>se deriva de la intervención
estratégica de la superficie con cortes, pliegues<span style="mso-spacerun: yes;"> </span>y perforaciones, las cuales permiten pasar del plano
homogéneo a configuraciones más complejas e inestables. Surgen de allí líneas,
círculos, cuadrados, así<span style="mso-spacerun: yes;"> </span>como
sus<span style="mso-spacerun: yes;"> </span>variantes dinámicas. <a href="https://www.blogger.com/null" name="_GoBack"></a></span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">De cierta manera, los<b style="mso-bidi-font-weight: normal;"> Manifold</b> de Villamizar<span style="mso-spacerun: yes;"> </span>son dispositivos de relaciones
múltiples<span style="mso-spacerun: yes;"> </span>que funcionan como
“pantallas” de operaciones mentales. Para el artista, el pensamiento precede la
forma, lo que significa que esta última se puede entender como la manifestación
fáctica de la estrategia intelectual que la propicia.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">No queda claro si los <b style="mso-bidi-font-weight: normal;">Manifold </b>son<span style="mso-spacerun: yes;"> </span>dibujos, pinturas o relieves; cuestión que en verdad ya ha
perdido relevancia en la era de los <i style="mso-bidi-font-style: normal;">transmedios</i>.<span style="mso-spacerun: yes;"> </span>Lo que sí es importante y definitorio,
es el propósito reflexivo que los anima en cuanto ejercicio intelectual y
estético.<span style="mso-spacerun: yes;"> </span>En realidad, la
propuesta no se refiere a lo que vemos, sino a la manera en que pensamos. La
lógica es una herramienta para establecer relaciones y desenredar acertijos,
especialmente aquellos que permiten la estructuración de las formas, su
aparición y<span style="mso-spacerun: yes;"> </span>desvanecimiento. </span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Los <b style="mso-bidi-font-weight: normal;">Manifolds</b> se recortan en el contexto de dos tradiciones en tensión:
una “analítica”, centrada en la pureza de las formas y asociada con la
abstracción geométrica; otra “deconstructiva” que enfoca el arte como una
proposición de lenguaje. </span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">El proyecto está compuesto por una
selección de obras de mediano formato realizadas en tela, grafito y pintura
sobre mdf, fechadas<span style="mso-spacerun: yes;"> </span>entre 2005 y
2006. Con un repertorio cromático bastante austero que se limita al negro el
blanco y el color de los materiales “crudos”, el cojunto dialoga con una serie
de fotografías de intervenciones en la naturaleza datadas en los años
setentas.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><br />
Mesurado y consistente, el itinerario de Villamizar no se aferra a ninguna
doctrina estetica, sino que va desarrollando su trabajo de manera sistematica.
Los <b style="mso-bidi-font-weight: normal;">Manifold </b>aportan una visión
sintética, derivada de las intervenciones en espacios naturales
realizadas por el artista en los alrededores de Caracas, el litoral de la
Guaira y los médanos de Coro en los años setenta. Interesado desde entonces en
el estudio del espacio euclidiano y la teoría de la relatividad, abordó las
nociones de pliegue y despliegue en el paisaje, centrándose en el efecto de las
modificaciones físicas sobre la percepcion y el pensamiento. "En un solo
contexto -afirmaba entonces- se relacionan numerosas variables y se
multiplican las conexiones espaciales"<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftn2" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;">[2]</span></span></a>.</span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><br />
Los <b style="mso-bidi-font-weight: normal;">Manifold</b> son la manifestación
lógica de aquellas tentativas primigenias e intuitivas, especialmente en
trabajos como <i style="mso-bidi-font-style: normal;">Guías perdidas</i> (1976).
Los pliegues en la arena, las páginas borradas, la transformación de los
contornos gracias a la incidencia de las variables naturales, son esas líneas y
formas que ahora ingresan en estos relieves elaborados en el estudio. A veces
comprendemos las cosas antes de poder verlas. En ocasiones, sin embargo, vemos
lo que sucede sin poder entenderlo. Los <b style="mso-bidi-font-weight: normal;">Manifold</b>,
entonces son paisajes diagramados, como si se tratara de un atlas tectónico de
la diversidad. La línea, el cuadrado y el círculo progresan o evolucionan sobre
si mismas, dando lugar a múltiples configuraciones. Su dinámica es consecuencia
de desplazamientos calculados pero infinitos. </span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftnref" name="_ftn1" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-special-character: footnote;">[1]</span></span></span></a><span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">
Sol Lewitt. En: Navarro, Mariano. <i style="mso-bidi-font-style: normal;">Las
fotografías encadenadas de Sol Lewitt</i>. El Cultural,<span style="mso-spacerun: yes;"> </span>26-06-2003. </span><span lang="ES-MX" style="font-family: Arial; font-size: 10.0pt; mso-ansi-language: ES-MX; mso-bidi-font-size: 11.0pt;">http://www.elcultural.com/revista/arte/Las-fotografias-encadenadas-de-Sol-LeWitt/7400</span><span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;"></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftnref" name="_ftn2" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-special-character: footnote;">[2]</span></span></span></a><span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">
Cfr. Ramos, Maria Elena. <i style="mso-bidi-font-style: normal;">Luis Villamizar.
La relatividad del espacio. Arte y naturaleza</i>.<span style="mso-spacerun: yes;"> </span>Carta Ecologica. Lagoven, 1987</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">MANIFOLD<a href="https://www.blogger.com/null" name="_GoBack"></a>. Multiplicación de variables en un solo contexto</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Por Luis Villamizar </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Nuestra visión es el producto
final del desarrollo lento y largo de una construcción,<span style="mso-spacerun: yes;"> </span>y esta construcción depende más de
operaciones mentales que de la percepción. Las leyes de la perspectiva son
regidas por la lógica y no por formas visuales “a priori”. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">En la medida en que se desarrolla
el pensamiento conceptual se observa más atención hacia las relaciones lógico
objetivas que hacia las afectivas y las emociones. Es por adaptación a las
cosas que el pensamiento se organiza a si mismo y es organizándose a si mismo
que estructura las cosas. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">El concepto de “manifold” remite a
una representación de variables dentro de un sistema de conexiones espaciales
que se caracterizan por la multiplicidad y simultaneidad en cuanto a presencia
y relaciones. Los “manifolds” vienen a ser un escenario natural de problemas
que requieren numerosas variables.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">ProyectArt</span></div>
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<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Arte y Comunicación 2006<b style="mso-bidi-font-weight: normal;"> </b></span></div>
<br />
</div>
</div>
<br />El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-19383658831703084772016-04-21T06:34:00.000-07:002016-04-22T18:51:32.150-07:00Claudio Perna. Maculaturas<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4yBuGHianpN84_j2MFHkr9j34HeDY8pgIiuFliWW0KKt5yfXD2rkBMwfk4IkjptV6_Syd9rxlZUDN4eMGMG57Ve1rFe2SgHE2h_pzw5aNx3SYoVav775aQsfHJeTHhyphenhyphenPNWs-qSPOnHA/s1600/claudio+perna_maculaturas_web_ok.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4yBuGHianpN84_j2MFHkr9j34HeDY8pgIiuFliWW0KKt5yfXD2rkBMwfk4IkjptV6_Syd9rxlZUDN4eMGMG57Ve1rFe2SgHE2h_pzw5aNx3SYoVav775aQsfHJeTHhyphenhyphenPNWs-qSPOnHA/s400/claudio+perna_maculaturas_web_ok.jpg" width="400" /></a></div>
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<span style="color: #1d1b11; font-family: Arial;">Hacedor compulsivo de proposiciones diversas y simultáneas,
Claudio Perna </span><span style="color: #1d1b11; font-family: Arial; layout-grid-mode: line; mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES;">(</span><span style="color: #1d1b11; font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;">Milán, Italia, 1938 – Holguín, Cuba,
1997</span><span style="color: #1d1b11; font-family: Arial; layout-grid-mode: line; mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES;">) </span><span style="color: #1d1b11; font-family: Arial;">ocupó su energía en varios proyectos
durante 1975, año en que colaboró con Charlot Moorman en dos de sus presentaciones
en el <i style="mso-bidi-font-style: normal;">Festival de vídeos</i> del Museo de
Arte Contemporáneo de Caracas, expuso "Autocopias" en el MBA, hizo
infiltraciones junto a Bernardo Moran, Héctor Fuenmayor, Luciano Perna y Joe
Troconis en la Galería Conkright de El Rosal en Caracas, al tiempo que
realizaba fotos intervenidas, polaroid y trabajaba en los Block Caribe. Las <b style="mso-bidi-font-weight: normal;">Maculaturas</b>, forman parte de ese
torrente creativo. Se trata de 29 folios de un cuarto de pliego de cartulina
impresos por ambas caras donde se superponen pruebas de imprenta de folletos
institucionales y corporativos, libros, invitaciones, revistas y catálogos de
arte. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #1d1b11; font-family: Arial;">Textos e imágenes de diferente carácter se combinan azarosamente
sobre la superficie: harina pan con arte colonial, cigarrillos y ofertas de
pascua con obras de arte, vistas de ciudades con índices estadísticos, planos
de color, transparencias y manchas, entre otros elementos discordantes. Pese a
ello, el material arroja algunos indicios reveladores que remiten a la
producción editorial de la época, al tiempo que dejan ver parte de las
inquietudes y predilecciones estéticas de Perna - por ejemplo, la iconografía
del pop art- que más tarde se verán reflejados en su trabajo gráfico y
pictórico. Algo de esta estrategia se vislumbra, por ejemplo, en las manchas de
tóner en algunas de sus <b style="mso-bidi-font-weight: normal;">Autocopias </b>realizadas
a partir de recortes de periódicos y libros. En aquellas como en las <b style="mso-bidi-font-weight: normal;">Maculaturas</b>, Perna aprovecha el error y
lo utiliza como punto de partida, para explorar los estratos superpuestos de
una realidad definitivamente impura, maculada.</span></div>
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<span style="color: #1d1b11; font-family: Arial;">En un mundo que hasta no hace poco buscaba la perfección y la
pureza, en realidad hay máculas por todas partes, ya sea en esas manchas negras
en la superficie de los planetas, o en esa aureola lútea de 5 mm (amarilla) que
se localiza en la retina, precisamente en el área de mayor agudeza visual del
ojo humano. Contrariamente a lo que muchos desean, el mundo visible es un
reino maculado, marcado por el estigma del error. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #1d1b11; font-family: Arial;">Pero en vez de "macular" (oficio residual de la
actividad impresora y práctica común de algunos <i style="mso-bidi-font-style: normal;">informalismos</i> pictóricos), Perna aboga por recuperar o seleccionar
lo ya maculado, para ingresar la mancha rescatada al régimen de visibilidad de
las "bellas artes". Esas superficies compuestas por capas
superpuestas, fuera de los estándares admitidos e ilegibles en su mayor parte,
configuran una trama paralela que se desvía del sentido original de las
representaciones. </span></div>
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<span style="color: #1d1b11; font-family: Arial;">Entre la entropía visual y el arte sólo hay un paso: la
selección consciente e intencionada de determinados motivos. Precisamente esa
es la operación que convierten estas <b style="mso-bidi-font-weight: normal;">Maculaturas</b>
en algo significativo, tanto en términos estéticos como conceptuales. Perna, en
su insaciable exploración de los medios impresos, de la fotocopia al cartel, de
la fotografía a la serigrafía, consigue un nuevo sentido para esos pliegos
desechados, encontrando un ámbito para la compatibilidad de lo diferente, para
el encuentro con lo incongruente. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #1d1b11; font-family: Arial;">El segmento más extenso del conjunto, precisamente donde aparece
la figura de Mao Tse-Tung realizada por Andy Warhol en 1972, está relacionado
con una exposición titulada “Gráfica Internacional”, inaugurada por la Galería
Conkright<span style="mso-spacerun: yes;"> </span>el 14 de diciembre de
1973 y en la cual participaron obras gráficas de unos 25 autores venezolanos
(Gego, Leufert, Flores, Soto, Cruz-Diez), latinoamericanos (Abularach, Viano,
Porter, Camnitzer, Polesello), europeos (Miró, Fontana) y estadounidenses
(Oldenburg, Lichtenstein, Warhol). Roberto Guevara reseñó la exposición de la
Conkright y describió la citada obra de Warhol como “el juego amargo con los
dioses de un olimpo oxidado”, una especie de “evocación desesperada y
decadente, la magnificencia del derrumbe”<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;">[1]</span></span></a>.
En las <b style="mso-bidi-font-weight: normal;">Maculaturas</b> de Perna, la
efigie del líder chino se yuxtapone con anuncios publicitarios e impresos
institucionales, conjugando hallacas y harina pan con vestigios del boletín
estadístico del INCE y del manual de biología de segundo año de bachillerato. </span></div>
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<span style="color: #1d1b11; font-family: Arial;">Más allá de la cuestión estética, las “<b style="mso-bidi-font-weight: normal;">Maculaturas”</b> de Perna guardan relación con su interés por los
medios de reproducción técnica y el consumo masivo, aspecto programático de la
cultura <i style="mso-bidi-font-style: normal;">pop</i> y factor recurrente en la
obra del artista. Lo que está en juego es un tipo de operatoria centrada en la
manera de articular el proceso artístico; es decir, un sistema para la creación
y la experimentación basado en mecanismos de producción no necesariamente
artísticos.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #1d1b11; font-family: Arial;">De ahí esa persistencia en procedimientos técnicos de alcance
masivo como la xeroscopia, la fotografía popular y la imprenta. La postal, el
cartel y demás producciones impresas como las <b style="mso-bidi-font-weight: normal;">Maculaturas</b>, constituyeron un soporte no convencional de cara a
nuevas búsquedas, más interesadas a la comunicación de significados sociales
que a la generación de resultados o productos estrictamente estéticos. Según
acota Gerardo Zavarce, Perna va hacia el margen, buscando los procedimientos de
uso más común que lo acercan al imaginario colectivo y que para entonces
permanecían "fuera de registro" en las representaciones canónicas del
arte. Consecuentemente,<span style="mso-spacerun: yes;"> </span>el autor
nos confronta a la obra como palimpsesto, soporte de pruebas, errores,
apariciones fortuitas y significados inesperados.</span></div>
<div style="mso-element: footnote-list;">
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<div id="ftn" style="mso-element: footnote;">
<div class="MsoNormal" style="text-align: justify;">
<a href="https://www.blogger.com/blogger.g?blogID=8475016217806443555#_ftnref" name="_ftn1" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-special-character: footnote;">[1]</span></span></span></a><span style="font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> </span><span style="font-family: Arial; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Guevara,
Roberto. <i style="mso-bidi-font-style: normal;">Gráfica Internacional</i>. El
Nacional, Caracas, 18/12/1973. En: La profundidad de ver. Textos escogidos de
Roberto Guevara. Consejo Nacional de la Cultura. Caracas, 2002, p. 117.</span><span style="color: red; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"></span></div>
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El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-27618261997795895482016-02-09T06:50:00.001-08:002016-02-18T11:41:51.036-08:00Linda Philips. La Batalla de El Rodeo<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";"> </span></b></div>
<div style="margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
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<span style="font-size: small;"><b><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">La Batalla de El Rodeo</span></b><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">, proyecto expositivo de Linda Philips
conformado por un video, una fotografía,
telas estampadas y material documental, yuxtapone dos acontecimientos de
significado opuesto que gravitan sobre un mismo lugar. De un lado, la “Batalla
de El Rodeo”, librada por el General independentista José Francisco Bermúdez el
12 de mayo de 1821 contra el ejercito realista, evento que sirvió de preludio
táctico para la “Batalla de Carabobo” acaecida el 24 de junio de 1821. Del otro
lado, el motín protagonizado por los reos de la cárcel de El Rodeo en Guatire y
la consecuente respuesta de un contingente de efectivos militares en 2011. Yoifre y Oriente -los pranes del
correccional- liderizaron la revuelta que duró 28 días y dejó como saldo varios
muertos, lesionados de ambos bandos y la fuga de uno de los sediciosos
al mando.</span></span></div>
<span style="font-size: small;">
</span><br />
<div style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-size: small;"><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">Mientras
la historia nos recuerda un pasado glorioso, el presente nos arroja una
realidad ominosa. </span><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">El video<i> Batalla de El Rodeo</i> (2015) recoge testimonios de las mujeres que
solicitaban ayuda e información en las inmediaciones externas del
establecimiento correccional. La propuesta establece un contrapunto entre sus
voces, </span><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">el traqueteo de los disparos y una selección de escritos del historiador Eduardo Blanco en torno a
la campaña patriota.</span><i><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";"></span></i></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-size: small;"><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">De
cierta manera, el país se configura en tiempos y narrativas inversas. Mediante una fotografía de la </span><i><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">Placa conmemorativa
a la Batalla de El Rodeo </span></i><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">(2015)</span><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">, Philips da cuenta de esta controvertida coincidencia en la
cual un sitio de memoria es también el emplazamiento de una sórdida trama de
presos amotinados, autoridades incompetentes y civiles en riesgo. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-size: small;"><i><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">Discursos épicos</span></i><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";"> (2015), trabajo estructurado a partir de una reproducción
intervenida de la obra <i>Batalla de
Carabobo</i> (1887) de Martín Tovar y Tovar, sirve de anclaje de situaciones
divergentes. La escena del combate esta horadada por un texto en negativo donde
se lee la palabra PRAN. Aquí la historia y el presente quedan “entre líneas”,
en una zona inestable entre la visión y la lectura, configurando
una estrategia paradójica que constantemente desestabiliza el sentido de
los hechos. </span></span></div>
<span style="font-size: small;">
</span><br />
<div style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">Esa ambivalencia simbólica y
etimológica se repite en la obra <i>Sublimación</i>
(2015), compuesta por una serie de pañuelos estampados con términos y frases del
entorno carcelario. Sin embargo, esta vez lo que se opone es la tersura
profiláctica de la tela y la violencia del dialecto penitenciario. El pañuelo
blanco –prenda de “caballeros” y signo de paz- es el soporte maculado de un glosario de infamias. </span></span></div>
<span style="font-size: small;">
</span><br />
<div style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">En la exposición <b>La Batalla de El Rodeo</b>, pasado y
presente sostienen una relación de figura y fondo que no sólo es conflictiva
sino que es alternable. </span><span style="color: #1d1b11; font-family: "arial";">El crimen y la ley parecen no tener una frontera divisoria; así como
tampoco hay una distinción muy clara entre la acción ejemplar y la transgresión
de las normas. </span><span lang="ES-VE" style="color: #1d1b11; font-family: "arial";">La
nación se dibuja como una escenografía hostil sobre la cual se recortan las
audacias de héroes y antihéroes, mientras los ciudadanos comunes permancenen en
un “toque de queda” forzado, “presos en libertad”. </span></span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-82683019569498994152015-11-25T16:08:00.000-08:002015-11-25T16:08:50.018-08:00Colectiva
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLatwivneLEXK5IXYbMKH_2zBFvHjbG_tIyogDM0RtLzygXRqFulONe8k6HtKUBX1cN7gV21XnWdbjnJc7Yz5HcI2GST30-1U3aEvU5yXmBpmmvDLQbixyHn-Gj5vVCDe5i6wpsFNaXw/s1600/invitacion_colectiva.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLatwivneLEXK5IXYbMKH_2zBFvHjbG_tIyogDM0RtLzygXRqFulONe8k6HtKUBX1cN7gV21XnWdbjnJc7Yz5HcI2GST30-1U3aEvU5yXmBpmmvDLQbixyHn-Gj5vVCDe5i6wpsFNaXw/s320/invitacion_colectiva.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-bidi-font-family: Arial;"></span></b><br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial; mso-bidi-font-family: Arial;">Violencia,
memoria y autorreferencialidad artística son algunos de los tópicos que abordan
las obras de Diego Barboza, Bonadies & Olavarría, Iván Candeo, Néstor
García, Carolina Muñoz, Conrado Pittari y Juan Toro, que conforman la muestra
"Colectiva". Fotografías, pinturas e instalaciones que mantienen el
foco en los imaginarios y contextos de la sociedad contemporánea. El terrorismo
internacional, la crisis alimentaria, los homicidios, las políticas de la
historia y el archivo, trazan un panorama de incertidumbres y problemas aún
insolubles. <br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial; mso-bidi-font-family: Arial;">El sustrato
discursivo de la cultura audiovisual -de las telenovelas a los noticiarios y el
cine-, la estética de la publicidad y el fotodocumentalismo, son puntos en
cuestión en cuanto al manejo de la sintaxis visual, concebida desde un
patrón de hibridación que convierte los códigos en significados y las imágenes
en dispositivos de relación articulados, no unívocos. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial; mso-bidi-font-family: Arial;">Néstor
García (La Fría, Táchira, 1981), siguiendo el imaginario noticioso, reproduce
pictóricamente varios acontecimientos desastrosos que se produjeron en
diferentes épocas y lugares pero en un día similar en la obra “11 Coincidentes”.
Iván Candeo (Caracas, 1983), a propósito del texto <i style="mso-bidi-font-style: normal;">La democracia, para otro día</i> (1989) de Jacques Derrida, propone un
vídeo donde se pregunta: ¿hoy no se puede votar?, en el cual se yuxtaponen la
imagen fija y el sonido ambiental. De igual manera, esa lógica de contraposición
entre dinamismo e inmovilidad se advierte en otra serie del mismo autor, compuesta
por 4 dibujos de un afiche enrollado, publicado por el Museo de Bellas Artes,
cual si se tratara de una tira fílmica que intenta rotar sobre su eje. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial; mso-bidi-font-family: Arial;">Conrado
Pittari (Caracas, 1983), también vinculado a la cultura audiovisual, transfiere
al lienzo uno de los fotogramas de la telenovela venezolana <i style="mso-bidi-font-style: normal;">Por estas calles</i> (1992) donde un
personaje vestido de militar corre sin avanzar, preludio dramático de la
descomposición moral de la sociedad venezolana. Carolina Muñoz (Falcón, 1966) dirige
su atención hacia la cuestión alimentaria y la estética de la publicidad;
irónicamente todo lo que hay en oferta es una bolsa estrujada de harina de maíz
sobre un budare. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial; mso-bidi-font-family: Arial;">Ángela Bonadies
(Caracas, 1970) & Juan José Olavarría (Valencia, 1969) registran el
escenario ruinoso de una torre financiera convertida en vivienda popular. Diego
Barboza (Maracaibo, 1945- Caracas, 2003), pionero del arte de acción en
Venezuela, presenta <i style="mso-bidi-font-style: normal;">La célula</i>, un
dispositivo ideo-conceptual vinculado a un proyecto de <i style="mso-bidi-font-style: normal;">mail art</i> como mecanismo orgánico de interacción postal. Juan Toro (Caracas,
1969) lleva la cuestión de la violencia a una escala monumental en un trabajo
de la serie “Plomo”, desarrollado a partir de balas extraídas de fallecidos por
homicidios en el país.</span></div>
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<br /></div>
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<span style="font-family: Arial; mso-bidi-font-family: Arial;">En
síntesis, los acontecimientos y situaciones que refieren estas obras son muy
específicos. En cada caso, lo singular forma parte de una taxonomía más amplia,
en la que temas y medios están concatenados de manera crítica. Son propuestas
localizadas, concebidas desde las circunstancias no siempre deseables de
nuestro tiempo.</span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-22539051641000260832015-08-31T17:37:00.000-07:002015-08-31T17:37:30.992-07:00Refugio. Carolina Vollmer <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1taiAxiH2xcHc6dNqd8VwmS-D0qDBhF_uC9IXRTIn3HNL42RkC2ADOGuFMn64N-9MwczgfF9ru-goX942qV42r-YzZ2P6mWQF5js6lmyvxtG9TqravTVO9Dyt1P6bq1E4lMphmOJKQ/s1600/carolina+vollmer_refugio_invitacion_web+el+anexo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1taiAxiH2xcHc6dNqd8VwmS-D0qDBhF_uC9IXRTIn3HNL42RkC2ADOGuFMn64N-9MwczgfF9ru-goX942qV42r-YzZ2P6mWQF5js6lmyvxtG9TqravTVO9Dyt1P6bq1E4lMphmOJKQ/s400/carolina+vollmer_refugio_invitacion_web+el+anexo.jpg" width="395" /></a></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span class="il"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"></span></b></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;"><span class="il"></span></span></b><span class="il"><span style="font-family: Arial;"></span></span><span style="font-family: Arial;"></span><span style="font-family: Arial;">¿Qué hacer? Es la
pregunta que todos se plantean ante los desafíos y ansiedades de los tiempos
que corren. ¿Resistencia, éxodo o indiferencia? Ante tales interrogantes, <span class="il">Carolina</span> <span class="il">Vollmer</span> retorna al taller para
restablecer el orden que ya no se encuentra en la realidad, sólo para constatar
que la rutina cotidiana -como el país- están postergados hasta nuevo aviso. </span>
</div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;">De esta experiencia
de diferimiento obligado surge el proyecto expositivo <b style="mso-bidi-font-weight: normal;">Refugio </b>en El Anexo/Arte Contemporáneo<b style="mso-bidi-font-weight: normal;">,</b> muestra que establece un paralelo entre la parálisis forzada del
aparato productivo y las dubitaciones propias de la creación artística. Con eso
en mente, la artista hecha mano de materiales y objetos recuperados en fábricas
y edificaciones que poco a poco han detenido sus máquinas y cerrado sus
puertas. Queda la tarea de inventariar y almacenar todo ese patrimonio
inactivo, a la espera de un momento más propicio para su reactivación. Piezas
de una rotativa, filtros de chimeneas, fragmentos de pared … quedan reagrupados
como si se tratara de un almacén de fracasos, la memoria adelantada del
naufragio de un proyecto. </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;">La idea de la
exposición, enmarcada en una reflexión desde el arte sobre la situación país,
se complementa con una instalación de bolsas transparentes con los capítulos de
la Carta Magna de la nación vuelta papelillo y un vídeo que muestra el proceso
de destrucción de dicho documento en una máquina de cortar papel. </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;">La inhabilitación
simbólica del aparato económico y del ordenamiento constitucional genera una
causalidad disruptiva de la cual se alimenta la propuesta de la artista. Todos
los recursos empleados (bolsas plásticas, cables, botellones vacíos) son
recurrentes en su trabajo anterior, sólo que en esta ocasión hay menor carga de
intervención externa sobre ellos y más énfasis en catalogarlos. En definitiva,
se trata de testimoniar la quiebra funcional de un sistema, mostrando sus
vestigios inertes y desmembrados, fuera de la lógica productiva a la que
pertenecen.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;">Ya en otras
oportunidades la autora ha tocado temas propios del contexto actual, siempre
buscando un paralelo entre lo plástico y lo social, como sucede en el vídeo de
la demolición de una pared pintada (<i style="mso-bidi-font-style: normal;">Siento,
luego hago</i>. Carmen Araujo Arte, Caracas, 2010) o en la acción en un mercado
donde ofrece cables empaquetados como sucedáneos para palear la escasez de
alimentos (</span><span style="font-family: Arial;"><i></i><style>(( <!--
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div.Section1
{page:Section1;} <i>(</i></style><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">Sucedáneos</span></i>, Galería Okio,
Caracas, 2012). En aquellos casos, como en la instalación <b style="mso-bidi-font-weight: normal;">Refugio</b>, hay una convergencia entre la obra y el entorno que
recorre aspectos como la violencia y el desasosiego personal frente al caos. En
medio del drama, lo derruido, lo abandonado, lo inservible, recobran un sentido
diferente. </span></div>
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<span style="font-family: Arial;">Finalmente, no se
trata sólo de los objetos que quedaron fuera de lugar y orden, sino del efecto
material y simbólico que esto tiene sobre la vida de las personas, cada
quien buscando un refugio y preguntándose qué hacer, mientras el polvo, las
telarañas y el moho continúan horadando las piezas de un mecanismo que ya no se
mueve.</span></div>
</div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-35528996723424721892015-06-08T19:14:00.001-07:002015-06-10T05:23:36.897-07:00Carolina Muñoz. "Diván"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3tt_0OmalhIPo0s63SUD0ep3PNhimih82vDgog2UOhBT5O9kFPxP4VuSNc4jNNpeQuQo-PStRWLHfgdBHpB7Eot-9Ffso3XoasVxdCooPJyGHiPjkdooG0iaeIGPh22fOgbfeSEVASA/s1600/carolina+mun%25CC%2583oz_diva%25CC%2581n_invitacion_ok_ok.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3tt_0OmalhIPo0s63SUD0ep3PNhimih82vDgog2UOhBT5O9kFPxP4VuSNc4jNNpeQuQo-PStRWLHfgdBHpB7Eot-9Ffso3XoasVxdCooPJyGHiPjkdooG0iaeIGPh22fOgbfeSEVASA/s400/carolina+mun%25CC%2583oz_diva%25CC%2581n_invitacion_ok_ok.jpg" width="397" /></a></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;">El inconsciente es como un océano de
partículas donde cualquiera puede ahogarse. Cada recuerdo, sensación o emoción
es un indicio significativo para reconstruir la experiencia del sujeto en el
mundo. Sin embargo, ninguna narrativa del ser es completa o totalmente
satisfactoria, pues siempre hay omisiones y discontinuidades involuntarias. De
manera que, gran parte de la existencia humana consiste en rescatar
fragmentos dispersos y asignarles un sentido. Esa es la tentativa que encara impetuosamente
el trabajo de Carolina Muñoz en la exposición “<b style="mso-bidi-font-weight: normal;">Diván</b>”, integrada por una selección de fotografías, un libro
objeto y una pieza de cerámica <i style="mso-bidi-font-style: normal;">kintsugi</i>,<span style="mso-spacerun: yes;"> </span>centrados en
la compleja dialéctica del inconsciente. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;">En Muñoz hay una equivalencia entre el
proceso creativo y el ritual interior. Todo está delicadamente sincronizado: lo
técnico y lo sensorial, lo artístico y lo personal. Más que representar algo
especifico, sus imágenes registran el acontecer íntimo: obsesiones, incertidumbres,
anhelos; cuya implicación o significado profundo se desliza entre materias
confusas y confesiones de diván. Pliegues, transparencias, volúmenes y
oquedades tienden a confundirse con los fluidos corporales y el agua misteriosa
de los sueños. Esa identificación tácita entre el psiquismo y la liquidez, no
solo alude al cruce que hay entre la biografía personal y los símbolos, sino a
la potencia amenazante de lo ininteligible.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;"><br />
<i style="mso-bidi-font-style: normal;">Diván</i> (2009-2012), libro objeto cuyo
titulo también identifica la muestra, está conformado por una caja de madera y
40 fotografías de pañuelos utilizados en el transcurso de dos años y medio de
análisis, descubriendo un paisaje de emociones privadas; una suerte de archivo
personal o de hoja clínica de sentimientos. Fotografiar esos pliegos
desechables es recuperar el "yo", traer a escena la geografía de un
trance, corporizar la imprecisa topografía del inconsciente.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial;">La serigrafía craneal <i style="mso-bidi-font-style: normal;">Sin título </i>(2015<i style="mso-bidi-font-style: normal;">)</i>, realizada a partir de una tomografía de la artista, devela la
cuenca ósea donde se asienta la materia gris. Imagen <i style="mso-bidi-font-style: normal;">transmedial</i>, "filtrada" técnicamente, que busca
desentrañar la apariencia recóndita del "yo" en su morada. Dicha
indagación lleva la exploración interior a un plano especulativo. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">La serie <i style="mso-bidi-font-style: normal;">Mar
rojo</i> (2013) propone otra forma de autorretrato donde el foco no está en la
cabeza o el rostro sino en un lecho líquido sobre el cual se vislumbran las
piernas sumergidas de la artista. La obra se ubica en una esfera ambigua, entre
la pérdida y la purificación. </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><br />
El plato <i style="mso-bidi-font-style: normal;">kintsugi</i> (2015) propone la
metáfora de la reconstrucción psíquica. Un sujeto fracturado, al igual que una
pieza rota, exhibe las fisuras de su existencia reparada. El ser que aspira a
la unidad no puede hacerlo sino juntando los trozos de un ser quebrado. El plato,
por tanto, es el contenedor vacío que da cuenta de esa experiencia de zurcido
interior.</span><br />
</div>
<div style="text-align: justify;">
<br />
<span style="font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Finalmente, la tarea del inconsciente es hacer
conciencia del cuerpo donde habita. De cierta manera, el "yo" y el
cuerpo son la misma cosa, aunque uno y otro se manifiesten de modo distinto.
Ambas instancias responden a una respiración similar y su inmovilidad o
despliegue tiene efectos recíprocos. </span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.comtag:blogger.com,1999:blog-8475016217806443555.post-83223523188782388312015-04-18T11:44:00.000-07:002015-04-18T11:44:03.618-07:00Editorial V (Papel)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD2_JEQCmS4bin1wHbqOpCBlc0NAevKgFPA1nQjGo6q0qhOrRynkIbiOqrDh6B2XrPAZRb5cO1nc_tuqVmVo4US6WoLGMYgafRzl-Irpm3Jp2kIPMy4zdMSOlDZeoYi-PvMRLcS-YdjA/s1600/invitacion_editorial+V_web.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD2_JEQCmS4bin1wHbqOpCBlc0NAevKgFPA1nQjGo6q0qhOrRynkIbiOqrDh6B2XrPAZRb5cO1nc_tuqVmVo4US6WoLGMYgafRzl-Irpm3Jp2kIPMy4zdMSOlDZeoYi-PvMRLcS-YdjA/s1600/invitacion_editorial+V_web.png" height="210" width="320" /></a></div>
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<span style="font-family: Arial;">Cinco
artistas abordan la relación entre el arte y los medios impresos, empleando
como soporte bastidores serigráficos, libros divulgativos, periódicos y pruebas
de imprenta a partir de los cuales ofrecen una visión critica de la comunicación
y el poder. Déborah Castillo (Caracas, 1971) toma como referencia los avisos de
ofertas servicios domésticos para tratar la desigualdad laboral y de género,
Javier Rodríguez (Caracas, 1975) reflexiona sobre el manejo informativo de las
noticias de actualidad internacional, Conrado Pittari (Caracas, 1983) propone
un cruce irónico entre el mundo del espectáculo y los acontecimientos políticos.
Teresa Mulet se detiene en el conteo simbólico de los homicidios en el país y
Jesús Hdez-G</span><span lang="ES-MX" style="font-family: Arial; font-size: 11.0pt; mso-ansi-language: ES-MX; mso-bidi-font-size: 12.0pt;">ü</span><span style="font-family: Arial;">ero (La Habana, 1983) alude a las medidas de
silenciamiento comunicacional que intentan omitir el problema de la violencia
producto del uso ilícito de armas de fuego.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjso97OFgKGHVmhKGwpGBlzq5QD_zIufvJMVuTBqVHiIjTkZfXa_owQV1ddnCP-Qe41Nk2ciFjUyuywF_d_R9cN8GF5KyAFXzehbJjm9QXywmfRG5PMcKj5hSvJjVFmyfMDvuugIxQtMQ/s1600/Teresa+Mulet+Ejercicio+_+volumen+24.763_2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjso97OFgKGHVmhKGwpGBlzq5QD_zIufvJMVuTBqVHiIjTkZfXa_owQV1ddnCP-Qe41Nk2ciFjUyuywF_d_R9cN8GF5KyAFXzehbJjm9QXywmfRG5PMcKj5hSvJjVFmyfMDvuugIxQtMQ/s1600/Teresa+Mulet+Ejercicio+_+volumen+24.763_2014.jpg" height="320" width="206" /></a></span></div>
<span style="font-size: x-small;">
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<span style="font-size: x-small;"><span style="font-family: Arial;"> Teresa Mulet. </span><i><span style="font-family: Arial;"><style><!--
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</span></i><span style="font-family: Arial;"><i>Ejercicio _ volumen 24.763</i>, 2014</span></span></div>
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<br /><span style="font-family: Arial;"></span><span style="font-family: Arial;">
La totalidad de las propuestas refieren hechos específicos, acaecidos en el
país o en entornos foráneos. Así desfilan la muerte de Bin Laden, el impacto de
la telenovela Kasandra en Bosnia, el fallecimiento de un extranjero en Turumo,
los requerimientos productivos de un sector social y las estadísticas
criminales en Venezuela en 2014. Lo común a todas estas proposiciones es que
gravitan sobre informes y noticias que circulan en medios impresos, algunos de
los cuales están sujetos a presiones externas, no siempre justificadas. Frente
a esto, la obra es un comentario a pie de página, donde el acontecimiento reseñado
adquiere una resonancia reflexiva. Visto desde este ángulo el arte funciona
como una forma de interpelación sensible -no literal pero precisa- en torno al
significado de los hechos y su efecto sobre la configuración del imaginario
común. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7yvbZzGxAor_hmndI04Ti8wq-4kBf2TKIbS2IBtTluo2LaKYSS_XLpARq_2EiJZSmi2_aDNSFyh996iBhg-EDJEuoxRMAI0IGg5kTF5RPFSp-VPlsCXzhE7LZ_MRtTpGuX-MSM4VaRQ/s1600/Deborah+Castillo+Documentos+en+regla.+Clasificados,+2008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7yvbZzGxAor_hmndI04Ti8wq-4kBf2TKIbS2IBtTluo2LaKYSS_XLpARq_2EiJZSmi2_aDNSFyh996iBhg-EDJEuoxRMAI0IGg5kTF5RPFSp-VPlsCXzhE7LZ_MRtTpGuX-MSM4VaRQ/s1600/Deborah+Castillo+Documentos+en+regla.+Clasificados,+2008.jpg" height="320" width="193" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-size: x-small;"><span><span style="font-family: Arial;"> Déborah
Castillo</span></span><i><span lang="ES" style="color: #333333; font-family: Arial;">. Documentos en regla. Clasificados</span></i><span lang="ES" style="color: #333333; font-family: Arial;">, 2008</span></span></div>
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<span lang="ES" style="color: #333333; font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt;"> </span>
</div>
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<span style="font-size: x-small;"><span><span style="font-family: Arial;"> Javier
Rodríguez. </span></span><i><span style="font-family: Arial;">No Photo Finish, </span></i><span style="font-family: Arial;"><span style="font-family: Arial;">2012</span></span></span></div>
<div style="text-align: justify;">
<i><span style="font-family: Arial;"></span></i><br /><i><span style="font-family: Arial;"></span></i><span style="font-family: Arial;">
</span><div style="text-align: justify;">
<span style="font-family: Arial;"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Arial;"></span></div>
</span><span style="font-family: Arial;">
Ahora bien, no solo los datos de la realidad que a menudo circulan en los
medios impresos son de interés para el arte contemporáneo. También los procesos
gráficos (diseño, diagramación, reproducción) tienen un fuerte magnetismo sobre
los creadores. La tinta, la marca de los rodillos, la textura del papel, la
forma y tamaño de las letras conforman un repertorio de elementos
precodificados, una retórica del discurso, que hace emblemáticos y reconocibles
a los productos impresos. Los trabajos aquí expuestos dialogan con esos
principios, ya sea bajo la forma del collage visual y la superposición de
imágenes (Rodríguez), la infiltración de contenidos apócrifos en espacios
noticiosos (Castillo), el reciclaje de pliegos de imprenta desechados (Mulet),
la construcción de objetos imposibles mediante la apropiación de ejemplares de
prensa (Hdez-Güero) o la creación de volúmenes facsimilares (Pittari).</span></div>
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<span style="font-size: x-small;"><span><span lang="ES" style="color: #333333; font-family: Arial;"> Jesús Hdez-Güero</span></span><b><span lang="ES" style="color: #333333; font-family: Arial;">. </span></b><i><span style="font-family: Arial;"><span lang="ES" style="color: #333333; font-family: Arial;">Balas de papel</span></span></i><span style="font-family: Arial;"><span lang="ES" style="color: #333333; font-family: Arial;">, 2013</span></span></span></div>
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<span lang="ES" style="color: #333333; font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt;"></span></div>
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<span lang="ES" style="color: #333333; font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt;"></span></div>
<br />
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<span style="font-family: Arial;">Sin
embargo, a veces, la tecnología y la barbarie se juntan para impedir que las
cosas funcionen. Los medios impresos, particularmente la prensa, las revistas y
los libros, están bajo amenaza. Dos razones de signo opuesto justifican esa
presunción: de un lado el avance irreversible de la cultura digital que ha
modificado los criterios de publicación y los hábitos de lectura a escala global.
Del otro lado, las estrictas (y en ocasiones caprichosas) restricciones de
contenido que sufren los espacios editoriales en sociedades que confunden la
transparencia informativa con la conspiración. Como dice una sentencia anónima:
“cuanto más blanco es el papel, más resalta la mancha”. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;"> </span></b><i><span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;"> </span></i></div>
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<span style="font-size: x-small;"><span lang="ES-MX" style="font-family: Arial;">Conrado Pittari</span>. La guerra
de Bosnia</span></span></i><span style="font-size: x-small;"><span lang="ES-MX" style="font-family: Arial;">, 2014</span></span></div>
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El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-8319597173485565962015-01-27T16:31:00.000-08:002015-01-27T16:48:33.702-08:00Acera Nº1. Conrado Pittari<style>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RENeAfjTzZZSawnru8Z9dOzz7q9a1f17rjS5ylswGvGOphVkV-10dSRljgLfrxKRiuWMKWppUR14IK9pfzAna88tFSEy-BilGyCyH6AOIEQ6Yx8qE3k2rza0RWHa1r3_tZBSJ_dwEw/s1600/2+El+A%CC%81vila+desde+Blandi%CC%81n.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4RENeAfjTzZZSawnru8Z9dOzz7q9a1f17rjS5ylswGvGOphVkV-10dSRljgLfrxKRiuWMKWppUR14IK9pfzAna88tFSEy-BilGyCyH6AOIEQ6Yx8qE3k2rza0RWHa1r3_tZBSJ_dwEw/s1600/2+El+A%CC%81vila+desde+Blandi%CC%81n.png" height="229" width="320" /></a></div>
<span style="font-family: Arial;">Enfrascado en el estudio de las formas
de legitimación de la cultura plástica y audiovisual en Venezuela, Conrado
Pittari (Caracas, 1983) hace un paréntesis para enfocar sus intereses creativos
en los dispositivos mediales y perceptivos que afianzaron la idea del paisaje
en la primera mitad del siglo XX. Lo hace a partir de la obra <i style="mso-bidi-font-style: normal;">El Ávila desde Blandín</i> (1937) de Manuel
Cabré, una pieza perteneciente a la Colección de la Galería de Arte Nacional,
cuyo motivo central -el Ávila- está condicionado por la posición y el ángulo
desde el cual es visto, mostrando también la singularidad topográfica del pie
de monte donde actualmente se ubica el Caracas Country Club. </span></div>
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<span style="font-family: Arial;">Sin embargo, el modelo de Pittari no
es la pintura de El Ávila de Cabré, sino las reproducciones impresas y
digitales que la han hecho perdurar como ícono más allá de su
existencia física. Sus fuentes, por tanto, son libros, afiches y páginas web.
De allí saca imágenes que luego edita e interviene, utilizando vectores, patrones
y fragmentos significativos que posteriormente <span style="mso-spacerun: yes;"> </span>manipula y reinserta en collages, instalaciones y esculturas.
En todo caso, el proceso de reconstrucción <i style="mso-bidi-font-style: normal;">transmedial
</i>de la imagen pasa por distintos soportes, arrastrando en cada caso, las
convenciones del medio empleado, así como el significado cultural de los
mismos. El resultado es un palimpsesto <i style="mso-bidi-font-style: normal;">hiper-codificado</i>,
que recoge puntos de cuatricomías, píxeles, tramas pigmentadas y bloques
matéricos. Aquí no se trata solamente de la cita y apropiación de una imagen
canónica, sino de la reconversión perceptiva de la misma, en cuanto vehículo
ideológico, si consideramos aquella sentencia mcluhaniana que sostiene que
"el medio es el mensaje". </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN6JZvqIfQfIXfMsxD7V40Ekg1KClallu3XAb19ugeKTl2BfWMce5-n-LZWx1DTBy7j527ISxzqKQIFI5i6gyDzCVfS2oSvql2gEdGNwiMt2c2EGZcRGwD0aSOaJatpGm-AAgM3MeK6w/s1600/5+Blandi%CC%81n+vs+Blandi%CC%81n+(Pintura%2Bpara%2Blibro).png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN6JZvqIfQfIXfMsxD7V40Ekg1KClallu3XAb19ugeKTl2BfWMce5-n-LZWx1DTBy7j527ISxzqKQIFI5i6gyDzCVfS2oSvql2gEdGNwiMt2c2EGZcRGwD0aSOaJatpGm-AAgM3MeK6w/s1600/5+Blandi%CC%81n+vs+Blandi%CC%81n+(Pintura%2Bpara%2Blibro).png" height="228" width="320" /></a></div>
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<span style="font-family: Arial;">Cuando Cabré pintó <i style="mso-bidi-font-style: normal;">El Ávila desde Blandín</i> en 1937 lo que
retrató fue un trozo de la memoria rural del Valle de Caracas, cuya morfología
fue “re-encuadrada” por el trabajo de paisajismo realizado por la firma Olmsted
Brothers (Boston, Massachusetts) unos años antes -en 1930-, a propósito del
acondicionamiento de los terrenos del Caracas Country Club en el área que
ocupaba la antigua Hacienda Blandín. Su observatorio entonces, ya había sufrido
una primera patrimonialización (al menos simbólicamente), que antecede por
varias décadas a la declaratoria de Bien de Interés Cultural<span style="mso-spacerun: yes;"> </span>decretada por el IPC<span style="mso-spacerun: yes;"> </span>en<span style="mso-spacerun: yes;"> </span>el año 2009 (Gaceta Oficial Nro 39.272, 25 de septiembre de
2009).</span></div>
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<span style="font-family: Arial;">La propuesta de Pittari no es solo
sobre el paisaje sino en torno a la manera en que se construyen los códigos que
permiten su reconocimiento. El cuadro de Cabré reseñado se convierte así en la
suma de todas las operaciones técnicas e intelectuales que permiten edificar su
valor y sentido como objeto cultural. Pero, ¿por qué Cabré? ¿por qué no
Reverón? ¿acaso será porque desde el plano de las representaciones colectivas,
se ha preferido la escena colorida de una arcadia casi moderna a la imagen
desteñida de un paraíso primitivo?. Lo cierto es que, tanto Cabré como los
pintores del Círculo de Bellas Artes, lograron desgajar el paisaje del género
épico y el costumbrismo, omitiendo el relato. Hasta donde les fue posible,
delinearon otro tipo de soberanía, fundada en el trato directo con la
naturaleza, desde una óptica diferente a la prescrita por el academicismo
decimonónico. En síntesis, asumieron el paisaje como identidad. </span></div>
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<span style="font-family: Arial;">De ahí al estereotipo, hay "solo
un paso"; <span style="mso-spacerun: yes;"> </span>precisamente el
trayecto que revisa y desmonta Pittari en la exposición<span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;">Acera
</b></span><b><span style="font-family: Arial; mso-bidi-font-family: Helvetica-Bold; mso-fareast-language: ES-TRAD;">Nº1</span></b><span style="font-family: Arial;">.
Su horizonte es ahora la línea de borde amarilla que demarca el área peatonal.
Su mirada es deliberadamente contradictoria, toda vez que reemplaza la
perspectiva monumental de El Ávila de Cabré por su disección ortoganal, al
tiempo que sustituye la exuberancia tonal de aquel, con superficies
monocromáticas. El resultado es un fuerte aplanamiento espacial y cromático, tratado
con meticulosidad analítica. Las piezas que integran la propuesta toman como
referencia las dimensiones de la obra original -68,3 x 95,3 cm-, medidas que se
confrontan constantemente con otras escalas, tanto la humana -1:1- como la que
delinea la cartografía de la época.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK7YIDoL_wfoS27hu4o8Z5SJuN6WpxiG-BaFJZT5N3LblxXtp4jSQLSkM4LoJxFZaqkUDQK29ifpILOmWDUFQjV_Q9i1ThCo6pSFJOhbN5AWgLy2fUxGQhSUNDQepT-KFhFJWQVZZNSg/s1600/4+Acera+Nro+1+(maqueta).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK7YIDoL_wfoS27hu4o8Z5SJuN6WpxiG-BaFJZT5N3LblxXtp4jSQLSkM4LoJxFZaqkUDQK29ifpILOmWDUFQjV_Q9i1ThCo6pSFJOhbN5AWgLy2fUxGQhSUNDQepT-KFhFJWQVZZNSg/s1600/4+Acera+Nro+1+(maqueta).jpg" height="168" width="320" /></a></div>
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<span style="font-family: Arial;">
Lo que propone Pittari es pararse hoy en el lugar donde Cabré pinto El Ávila
-que es uno de los lugares desde los cuales se construyó el estereotipo de la
ciudad moderna flanqueada por una cortina natural- para ver su transformación.
Tomar el pavimento como plataforma para imaginar nuevas relaciones entre lo
urbano, lo natural y lo estético, sugiriendo así un cruce especulativo entre
los aspectos físicos del territorio y sus implicaciones culturales.</span></div>
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<span style="font-family: Arial;">El estereotipo del valle pintoresco
con la cortina montañosa al fondo ha resistido los cambios urbanos. Incluso hoy
El Ávila sigue siendo el modelo inmóvil de una arcadia de postal, mientras
abajo, en la acera de la avenida Blandín, los transeúntes no consiguen
conciliar aquel ideal con la realidad que los acecha. Pittari nos recuerda la
manera en que esta ilusión sobrevive sin memoria y ya casi sin anclaje físico,
en los medios de reproducción de la imagen, sometiéndola a permutaciones anacrónicas
y contradictorias. Así, las obras que integran la exposición <b style="mso-bidi-font-weight: normal;">Acera </b></span><b><span style="font-family: Arial; mso-bidi-font-family: Helvetica-Bold; mso-fareast-language: ES-TRAD;">Nº1</span></b><span style="font-family: Arial;">, nos confrontan a El Ávila según Malevich, según la
cartografía oficial, según Google Earth, según los libros y las postales.
Finalmente, quedamos ante un Ávila caleidoscópico, metamorfoseado –tanto
material como virtualmente-, que deja en suspenso ese pretendido<span style="mso-spacerun: yes;"> </span>horizonte alegórico de “lo nuestro”. </span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-88819553359680735162014-11-16T21:47:00.001-08:002014-11-16T21:56:08.759-08:00El Anexo/Arte Contemporáneo en PINTA, Miami, FL, 3-7, Diciembre, 2014<div class="separator" style="clear: both; text-align: center;">
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<span lang="ES-VE" style="color: black; font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"></span><span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 18.0pt; mso-fareast-language: ES-TRAD;"> Del 03 al
07 de diciembre de 2014 El Anexo/Arte Contemporáneo participará en </span><span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">PINTA. THE MODERN & CONTEMPORARY LATIN AMERICAN ART SHOW,
con una selección de artistas venezolanos, pertenecientes a diversos nucleos
generacionales y orientaciones estéticas.<span style="mso-spacerun: yes;">
</span>Ellos son: </span><span style="color: #ff6600; font-family: Arial; font-size: 12.0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;">Ángela
Bonadies, Amada Granado, Argelia Bravo, Claudio Perna, Conrado Pittari Volcán,
David Palacios,<span style="mso-spacerun: yes;"> </span>Diego Barboza,
Iván Candeo, Juan Toro , Juan José Olavarría <span style="mso-spacerun: yes;"> </span>y<span style="mso-spacerun: yes;"> </span>Teresa Mulet. </span>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Dichos autores
articulan sus propuestas a partir de una reflexión sobre los problemas
contextuales, tanto del entorno país (memoria, territorio, identidad) como del
arte (medios, códigos). En tal sentido, sus obras ofrecen una mirada crítica
hacia el contexto de producción y recepción donde se originan, enfocando sus
contradicciones. Particularmente significativos son los temas que se derivan de
la situación carcelaria, la demanda habitacional, los problemas de género, las
representaciones mediáticas y la demagogia política. Se trata de un arte que se
alimenta de lo contingente, aprovechando medios y procedimientos de diverso
origen –fotografía, ensamblaje, collage, instalación, video- y operando como una
suerte de archivo sensible de la contemporaneidad.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span class="hps"><b style="mso-bidi-font-weight: normal;"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;">El Anexo</span></b></span><b style="mso-bidi-font-weight: normal;"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;"> <span class="hps">/</span> <span class="hps">Arte Contemporáneo</span> <span class="hps">at</span>
<span class="hps">PINT</span>A, Miami, FL,<span style="mso-spacerun: yes;">
</span><span class="hps">2014</span></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span class="hps"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;">From 3
to</span></span><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;"> <span class="hps">7 December 2014</span>
<span class="hps">El Anexo/Arte Conteporáneo</span> <span class="hps">will
participate in</span> <span class="hps">PINTA.</span> <span class="hps">THE MODERN</span>
<span class="hps">&</span> <span class="hps">CONTEMPORARY</span> <span class="hps">LATIN</span> <span class="hps">AMERICAN ART</span> <span class="hps">SHOW,</span>
<span class="hps">with a selection of</span> <span class="hps">Venezuelan artists</span>
<span class="hps">belonging to different</span> <span class="hps">generational</span>
<span class="hps">and</span> <span class="hps">aesthetic</span> <span class="hps">guidelines.</span>
<span class="hps">They are:</span> <span class="hps">Angela</span> <span class="hps">Bonadies</span>,
<span class="hps">Amada</span> <span class="hps">Granado</span>, Argelia <span class="hps">Bravo</span>, <span class="hps">Claudio</span> <span class="hps">Perna</span>,
Conrado <span class="hps">Pittari</span> <span class="hps">Volcán,</span> <span class="hps">David</span> <span class="hps">Palacios,</span> <span class="hps">Diego</span>
<span class="hps">Barboza</span>, Iván <span class="hps">Candeo</span>, <span class="hps">Juan</span> Toro, <span class="hps">Juan</span> <span class="hps">Jose</span>
<span class="hps">Olavarria</span>, <span class="hps">and</span> <span class="hps">Teresa</span>
<span class="hps">Mulet.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: ES-TRAD; mso-fareast-theme-font: minor-latin;">These
authors articulate their proposals </span><span class="hps"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;">from</span></span><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;"> <span class="hps">a reflection</span>
<span class="hps">from</span> <span class="hps">the contextual</span> <span class="hps">problems, both</span> <span class="hps">the country</span> <span class="hps">environment</span> <span class="hps">(</span>memory, <span class="hps">territory,
identity</span>) <span class="hps">and art</span> <span class="hpsatn">(</span>media,
<span class="hps">codes).</span> </span><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: ES-TRAD; mso-fareast-theme-font: minor-latin;">As
such, his works offer a </span><span class="hps"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;">critical
look at</span></span><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;"> <span class="hps">the context</span>
<span class="hps">of production and reception</span> <span class="hps">where they
originate</span>, focusing <span class="hps">its contradictions.</span> <span class="hps">Particularly significant are</span> <span class="hps">the issues</span>
<span class="hps">that arise from</span> <span class="hps">the prison</span> <span class="hps">situción</span>, <span class="hps">housing demand</span>, <span class="hps">gender issues</span>, <span class="hps">media representations</span> <span class="hps">and political</span> <span class="hps">demagoguery.</span> <span class="hps">It is</span> <span class="hps">an art</span> <span class="hps">that feeds
on</span> <span class="hps">the contingent,</span> <span class="hps">leveraging</span>
<span class="hps">resources and procedures</span> <span class="hps">of various
origins</span> <span class="hps">-Photograph</span>, <span class="hps">assemblage</span>,
collage, installation, video <span class="hps">and operating as</span> <span class="hps">a kind of</span> <span class="hps">sensitive</span> <span class="hps">file</span>
<span class="hps">contemporaneity.</span></span><span class="hps"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: ES-TRAD; mso-fareast-theme-font: minor-latin;"></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<b><span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 12.5pt; mso-fareast-language: ES-TRAD;">Dirección:</span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">3401
NE, 1st Avenue - Miami, FL 33137</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Stand:
C 02</span></div>
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<br /></div>
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<b><span lang="ES-VE" style="color: #ff6600; font-family: "Trebuchet MS"; font-size: 12.0pt; line-height: 115%;">Horarios:</span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 12.5pt; mso-fareast-language: ES-TRAD;">Miércoles
3 de diciembre, 3-9 pm </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 12.5pt; mso-fareast-language: ES-TRAD;">VIP
Opening (Sólo por invitación)</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Jueves
4 al sábado 6 de diciembre: 11 am a 8 pm</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Domingo
7 de diciembre: 11 am a 6 pm</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Para
más información visite: </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="color: #ff6600; font-family: Arial; font-size: 10.0pt; line-height: 115%; mso-fareast-language: ES-TRAD;"><a href="http://www.pintamiami.com/Exhibitors/Art-Galleries/El-Anexo-Arte-Contemporaneo-Caracas"><span style="color: #ff6600;">http://www.pintamiami.com/Exhibitors/Art-Galleries/El-Anexo-Arte-Contemporaneo-Caracas</span></a></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; line-height: 115%;">Location: <br />
</span></b><span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; line-height: 115%;">Midtown Miami<br />
3401 NE, 1st Avenue / Miami, FL 33137<br />
<br />
<b><span style="font-family: Arial;">VIP Opening (By invitation only):</span></b><br />
Wednesday, December 3, 3–9 pm <b style="mso-bidi-font-weight: normal;"><br />
<br />
Dates:</b> </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; line-height: 115%;">Thursday, December 4 11am – 8 pm Open to the public<br />
Friday, December 5 – Saturday, December 6, 11am – 8 pm<br />
Sunday, December 7, 11am – 6 pm</span><span lang="ES-VE" style="font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span class="hps"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;">For more
information visit</span></span><span class="shorttext"><span lang="EN" style="font-family: Arial; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN; mso-bidi-font-size: 11.0pt;">:</span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span lang="ES-VE" style="font-family: Arial; font-size: 10.0pt; line-height: 115%; mso-fareast-language: ES-TRAD;"><a href="http://www.pintamiami.com/Exhibitors/Art-Galleries/El-Anexo-Arte-Contemporaneo-Caracas"><span style="color: windowtext;">http://www.pintamiami.com/Exhibitors/Art-Galleries/El-Anexo-Arte-Contemporaneo-Caracas</span></a></span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-20048832815135023162014-09-12T11:35:00.002-07:002014-09-12T11:35:41.148-07:00Néstor García. Gran Ferrocarril del Táchira
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRw5U90DvWWJ_BMQqdmHrUmSPrTR3dRTAeL39XxOQS-MNgJVU3wHxXOKstaXEZURTLXjUMZyh1V49S7cmaJfzKSxPl0IcuueG8pae67OYH4iZ0tLWM00neZYE07TMyRVF_6G83ZPQlg/s1600/Locomotora+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRw5U90DvWWJ_BMQqdmHrUmSPrTR3dRTAeL39XxOQS-MNgJVU3wHxXOKstaXEZURTLXjUMZyh1V49S7cmaJfzKSxPl0IcuueG8pae67OYH4iZ0tLWM00neZYE07TMyRVF_6G83ZPQlg/s1600/Locomotora+4.jpg" height="240" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;">Hoy, cuando el transporte
ferroviario en Venezuela es todavía un balbuceo incierto, el pasado regresa
para recordarnos aquel anhelo frustrado. En La Fría, un localidad de 37.932
habitantes, el tren cronometraba la cotidianeidad de los residentes hasta
mediados de la década del cincuenta, cuando el <b style="mso-bidi-font-weight: normal;">Gran Ferrocarril del Táchira</b>, fundado en 1895 , concluyó sus
operaciones.<span style="mso-spacerun: yes;"> </span>Por allí circulaban
víveres y personas en un itinerario que enlazaba el Sur del Lago de Maracaibo,
el estado Táchira y el norte de Santander en Colombia. Se beneficiaban con esta
ruta los pequeños poblados como El Guayabo, Encontrados y La Fría. En esta última
localidad nació en 1981 Néstor García, cuando ya la promesa del tren se había
disipado. Su contacto con aquella quimera de hierro se reduce entonces a
recuerdos familiares, documentos fotográficos y al sorpresivo (y
estimulante)<span style="mso-spacerun: yes;"> </span>encuentro con una
locomotora de la extinta compañía ferroviaria en el Museo del Transporte en
Caracas. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;">En esta, su primera muestra
individual, García se desplaza entre las memorias locales y ciertos eventos
globales que condicionan la vida de millones de personas , ya sea en pequeños
asentamientos o en grandes conglomerados urbanos. Se completa así un ciclo que
informa parte de su trabajo reciente, centrado en la reflexión en torno a las
representaciones del territorio y sus implicaciones simbólicas. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KGEJDds1a9BVnvkrtM_Fv3XVG9o_8MB6VKXU0cRIhJucGYWbY4w6wpEcFl0a9zgDNB97J4apWns6hu_ofDwRO1noTQzfqAwBWsFeq7jfhmmLk6G4ODI6GND8N22tgTupzoKWVRNtiQ/s1600/Locomotora+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KGEJDds1a9BVnvkrtM_Fv3XVG9o_8MB6VKXU0cRIhJucGYWbY4w6wpEcFl0a9zgDNB97J4apWns6hu_ofDwRO1noTQzfqAwBWsFeq7jfhmmLk6G4ODI6GND8N22tgTupzoKWVRNtiQ/s1600/Locomotora+3.jpg" height="237" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;">En el conjunto de obras en
exhibición destaca la instalación <i style="mso-bidi-font-style: normal;">Gran
Ferrocarril del Táchira</i> (2014) –que también da título a la exposición-
compuestas por tres pinturas realizadas con café, miche y chimó, una fotografía
de 1955, y una video acción; elementos con los cuales propone la reconstrucción
documental y afectiva de un acontecimiento ligado a la historia económica y política
del país. </span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;">La serie “<i style="mso-bidi-font-style: normal;">La punta del Iceberg</i>”<span style="mso-spacerun: yes;"> </span>(2012), por el contrario, no se
refiere<span style="mso-spacerun: yes;"> </span>a un sitio específico o
localizado, sino a la recreación de un<span style="mso-spacerun: yes;">
</span>problema que trasciende la geografía local. </span><span style="font-family: Arial; mso-bidi-font-size: 14.0pt;">Son emplazamientos
minúsculos, facsímiles ruinosos del confort urbano, empacados en maletas
desvencijadas, perfilando así una topografía de espacios construidos “sin
lugar”, cual paisaje diatópico y desencantado. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4fgNM_M_PwPjphRX3xh-wkyHAoEVnXH16vULaL7SayPZqbf7M3V40MJ0Yy992UgNU8dsazhyphenhyphen3PDAvXrCTuE4UEZp5o6G1gCgui076rNVWH0HG3QcZ-D_3Nji1PCtlG4AUws_4kreHWA/s1600/DSCN1304.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4fgNM_M_PwPjphRX3xh-wkyHAoEVnXH16vULaL7SayPZqbf7M3V40MJ0Yy992UgNU8dsazhyphenhyphen3PDAvXrCTuE4UEZp5o6G1gCgui076rNVWH0HG3QcZ-D_3Nji1PCtlG4AUws_4kreHWA/s1600/DSCN1304.JPG" height="320" width="240" /></a></div>
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<span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;">Finalmente, la instalación <i style="mso-bidi-font-style: normal;">Termodinámica</i> (2012), compuesta por
nueve planchas eléctricas de uso doméstico, alude al problema energético
global, mediante la reproducción de imágenes de reactores nucleares
accidentados en distintas partes del mundo. Aquí se reconectan dos ámbitos que
se sitúan en escalas diferentes, una afincada en la cotidianeidad y otra sujeta
a la compleja dinámica de los recursos y las tecnologías en el planeta. </span></div>
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<span lang="ES-MX" style="font-family: Arial; mso-ansi-language: ES-MX;">En tal sentido, el “tren del
progreso” que se avisora en la exposicón <b style="mso-bidi-font-weight: normal;">Gran
Ferrocarril del Táchira</b> va dejando a su paso una serie de secuelas
contradictorias, algunas promisorias y otras potencialmente destructivas. A su
manera, García logra articular<span style="mso-spacerun: yes;"> </span>una
reflexión desde lo artístico, en la cual convergen sus preocupaciones creativas
y los asuntos comunes.<span style="mso-spacerun: yes;"> </span></span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0tag:blogger.com,1999:blog-8475016217806443555.post-9530004262722898412014-06-27T07:55:00.000-07:002014-06-27T07:55:44.008-07:00Contrapaisaje<div style="text-align: justify;">
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<span lang="ES-VE"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibkIC2gJxK0G8OuLoo0BMRO-lkRKjJeWB0ajN-GjTPI4q3d_tWZN5zL5GnkZ2WsXpeXUELwBkrm6jilcLnGrouyTlh2LjT0saWUMuuaFdn0Pxs7jDuCtTkgx-VQ46KA18q-zxgQBehjA/s1600/Contrapaisaje+web.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibkIC2gJxK0G8OuLoo0BMRO-lkRKjJeWB0ajN-GjTPI4q3d_tWZN5zL5GnkZ2WsXpeXUELwBkrm6jilcLnGrouyTlh2LjT0saWUMuuaFdn0Pxs7jDuCtTkgx-VQ46KA18q-zxgQBehjA/s1600/Contrapaisaje+web.png" height="186" width="320" /></a></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE">La exposición <b style="mso-bidi-font-weight: normal;">Contra</b>paisaje
reúne un conjunto de proposiciones visuales que exploran las tensiones críticas
que giran sobre las representaciones del territorio y la naturaleza que lo
conforma. En tal sentido, las
obras de Nayarí Castillo, Ara Koshiro, Claudio Perna, <span style="mso-spacerun: yes;"> </span>María Virginia Pineda Aranda y Conrado
Pittari se enfocan en la revisión de los estereotipos del paisaje y plantean
una postura autorreflexiva respecto a los mecanismos discursivos que permiten
su estructuración sensible.</span></span><br />
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<br /></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE">Las obras que conforman la muestra no exhiben ningún lugar en
concreto, sino que hacen visible la retórica de las representaciones y la
manera en que estas delimitan distintos marcos de visión, destacando la óptica
del turista (Castillo, Koshiro), la mirada del crítico (Pineda), el enfoque del
geógrafo (Perna) o la perspectiva del naturalista instrumental (Pittari). Medición,
valoración o itinerario creativo; tales son los encuadres ¨ciegos¨ que enmarcan
el paisaje según las técnicas, criterios y motivaciones que impulsan su
abordaje.<span style="mso-spacerun: yes;"> </span>Contrapaisaje supone
entonces un juego exploratorio que trasciende la imitación retinal. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KbOH52HfAkrL3xuo8gGnZyTorLfwqL5JEpAfyuGLnhzvzk6RX-dUlKZc7dvcUMzQEYYfUspqNoor6r1MENlli7ja2TNWyrYluWJ8SgyAOr_gMfUWn7OJonpJqs8zDtUxhYqG7Vn1og/s1600/Nayari+Castillo+de+la+serie+imagenes+cognitivas+2010+detalle+baja.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KbOH52HfAkrL3xuo8gGnZyTorLfwqL5JEpAfyuGLnhzvzk6RX-dUlKZc7dvcUMzQEYYfUspqNoor6r1MENlli7ja2TNWyrYluWJ8SgyAOr_gMfUWn7OJonpJqs8zDtUxhYqG7Vn1og/s1600/Nayari+Castillo+de+la+serie+imagenes+cognitivas+2010+detalle+baja.jpg" height="200" width="149" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE">Nayarí Castillo (Caracas, 1977) se acerca al paisaje desde la
representación<a href="https://www.blogger.com/null" name="_GoBack"></a> discursiva de la noticia como relato
imaginario, curiosidad informativa o relación de cosas vistas por el viajero,
actuando como una cronista que invierte el foco de su interés hacia las
metrópolis foráneas, las mismas que en otro tiempo se ocupaban de descubrir y
representar lugares exótico.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE"><span style="mso-spacerun: yes;"> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoYcE5IGA7hgF2yq_tnuE5Tlca17b2Kc3FIKEP8RbWBfQixTbu12kUZgEp0m_IsNYJM5zHU7vNL71yMKnv8CRmV8HarHgQG5WZSZS8X78WMGPI7RkmF6IPssJg_cvWx2TkbJUjFv9E2Q/s1600/Ara+Koshiro+The+Typical+Venezuelan+Picture.+Anochecer+en+la+Gran+Sabana,+2011.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoYcE5IGA7hgF2yq_tnuE5Tlca17b2Kc3FIKEP8RbWBfQixTbu12kUZgEp0m_IsNYJM5zHU7vNL71yMKnv8CRmV8HarHgQG5WZSZS8X78WMGPI7RkmF6IPssJg_cvWx2TkbJUjFv9E2Q/s1600/Ara+Koshiro+The+Typical+Venezuelan+Picture.+Anochecer+en+la+Gran+Sabana,+2011.jpg" height="150" width="200" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE"> </span></span></div>
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<br /></div>
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<br /></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE">Ara Koshiro (Maracaibo, 1967) recurre al paisaje como estereotipo
pero se concentra en el reverso de lo sensible, el lado opuesto de la
representación; precisamente el que da mayor relevancia a la información
textual y donde la imagen está suprimida. El país y el paisaje quedan reducidos
a un lugar sin contorno ni colores. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLzvQegHOt-86oJwaO8Ut7O0i_aGajqGi8-WaOG0oOmzmaCpAuPKCDqgpSNtHlKYyqwlH8_qHAhvpVI75D30DB4lsC8FJxUFMkpiODBsBsfVZsEKKyILKmzD-O8dDkIV-ZDgTucr7xOA/s1600/Claudio+Perna+Serie+Fotografia+Satelital+Ficha+tecnica.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLzvQegHOt-86oJwaO8Ut7O0i_aGajqGi8-WaOG0oOmzmaCpAuPKCDqgpSNtHlKYyqwlH8_qHAhvpVI75D30DB4lsC8FJxUFMkpiODBsBsfVZsEKKyILKmzD-O8dDkIV-ZDgTucr7xOA/s1600/Claudio+Perna+Serie+Fotografia+Satelital+Ficha+tecnica.png" height="200" width="177" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE"> Claudio Perna </span><span lang="ES-VE" style="color: #333333; font-size: 10.0pt; layout-grid-mode: line; line-height: 115%; mso-bidi-font-family: Arial; mso-fareast-language: ES;">(</span><span lang="ES-VE" style="font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Milán, Italia, 1938 – Holguín, Cuba, 1997</span><span lang="ES-VE" style="color: #333333; font-size: 10.0pt; layout-grid-mode: line; line-height: 115%; mso-bidi-font-family: Arial; mso-fareast-language: ES;">) en la
serie de Fotografías satelitales</span><span lang="ES-VE"> busca indicios
cualitativos en pleno territorio virgen, poniendo al descubierto las
prescripciones académicas para el manejo de la data. Pionero del arte
conceptual en venezuela, el autor trabaja con fotografias aéreas del Instituto
Nacional de Cartografia, incorporando fichas, recortes de revistas, fragmentos
publicitarios e infografías que anudan la geografia a los modos de vida,
pasando del territorio sin nombre a las relaciones, acuerdos, actividades y símbolos
que definen la soberania de un territorio. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2i6Ikptdr88z1BEF6zvqefI9HnbORJpPXwc1OfJNbFTNPovSFSUJ3ju2ngmJzzcMP_SCBKZn1ixwqpLwj_PRQui1r_AYFpuKCZqoFD4Jvx-H2mC8sLo-_Ku18JU2azaLtYENzNzDgA/s1600/Maria+Virginia+Pineda+Que+tus+palabras+sean+mas+doradas+que+tu+silencio2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2i6Ikptdr88z1BEF6zvqefI9HnbORJpPXwc1OfJNbFTNPovSFSUJ3ju2ngmJzzcMP_SCBKZn1ixwqpLwj_PRQui1r_AYFpuKCZqoFD4Jvx-H2mC8sLo-_Ku18JU2azaLtYENzNzDgA/s1600/Maria+Virginia+Pineda+Que+tus+palabras+sean+mas+doradas+que+tu+silencio2.jpg" height="59" width="200" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE"> María Virginia Pineda Aranda (Mérida, 1980) confronta la
preeminencia de los criterios de validez artística que se desprenden de la
escritura crítica. Las palabras ocupan el lugar de la imagen, omitiendo el
referente, subvirtiendo el contenido. </span></span></div>
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<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJ0lwdowaAmQgss2riaClm3KuRTNW3BjI-seAQd30OvS9TWwVPLDyEkRPaamy39kgpuNxepfYbUmxx-OOBj8FmPEm_tkI-IsMA_awwTpKZraRmEewI5l2gRuAewe_r_NPDbyL74J_VQ/s1600/Arte+prensa+2+Conrado+Pittari.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJ0lwdowaAmQgss2riaClm3KuRTNW3BjI-seAQd30OvS9TWwVPLDyEkRPaamy39kgpuNxepfYbUmxx-OOBj8FmPEm_tkI-IsMA_awwTpKZraRmEewI5l2gRuAewe_r_NPDbyL74J_VQ/s1600/Arte+prensa+2+Conrado+Pittari.jpg" height="169" width="200" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE">Conrado Pittari (Caracas, 1983) se decanta por la ¨condensación¨ literal
del paisaje y su conversión en evidencia palpable aunque desfigurada, mediante
la obtención de secreciones líquidas del ambiente por medio de un
deshumidificador doméstico.<span style="mso-spacerun: yes;"> </span>Todo
lo que queda del paisaje es agua filtrada y embotellada.</span></span></div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE">En realidad, <b style="mso-bidi-font-weight: normal;">Contra</b>paisaje
esboza una espistemología de lo sensible que se apropia, subvierte y recrea las
taxonomías y valores del saber canónico, tanto científico como artístico. <span style="mso-spacerun: yes;"> </span>Y es que, de cierta manera, el paisaje
es una potencialidad entre signos de interrogación. Todavía en gestación o
cuando ya se han cumplido sus posibilidades, surge la pregunta de si el
paisaje<span style="mso-spacerun: yes;"> </span>es lo que se ve –llanura, montaña
o maraña urbana- o es tan sólo una operación singular de enmarcado y
codificación de la realidad visible. Lo que ¨salta a la vista¨ no es la escena,
sino la manera en que ésta aparece acotada en la representación, el andamiaje
que la sostiene.</span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="ES-VE">Finalmente, llega el momento en que el paisaje es simplemente el
país o la extensión sustantiva de un proyecto ideal. <span style="mso-spacerun: yes;"> </span>El paisaje como país, el país como escenografía.<span style="mso-spacerun: yes;"> </span>Así,<span style="mso-spacerun: yes;"> </span>la dupla país-paisaje se revela como un artificio
persistente que ha trascendido los presagios apocalípticos para reencarnar en
el contrapunto de nociones enfrentadas.<span style="mso-spacerun: yes;">
</span>Después del paisaje<span style="mso-spacerun: yes;"> </span>como
escena originaria,<span style="mso-spacerun: yes;"> </span>todo es
contrapaisaje; es decir, autoconsciencia representacional y alternancia de
opuestos, danza especulativa de los estereotipos y sus referentes. </span></span></div>
El Anexo Arte Contemporáneohttp://www.blogger.com/profile/05131993240120104885noreply@blogger.com0