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We will continue to develop our mission to promote and research contemporary abstract art from Latin America since the s, seeking to activate the field and foster new perspectives. The stones have been drilled and attached to steel-pipe armatures that were bent into forms representing outdoor playground structures common to Latin American housing developments of the s. Each consists of shelves made of copper plating over steel that has been coated with the mineral dust that was left over from the process of creating the sculptural installation.

The shelves hold a copperized mold of a calcified tree that was found in a mine, a copper-plated styrofoam plate, and some fragments of minerals.

SBarbara Kruger U. It speaks of areas that have succeeded in alternating centripetal or centrifugal forces, where art has relocated its meeting points and its observation points.

We also pay attention to the effects of redrawing the financial or political map, with the repercussion it has on how one makes and proceeds in art. The inherent silence and stillness of the artworks creates an uncanny perception of audio and movement, probing the relationship between sight and ilzi. Refitting the cases with mirrors and neon light, Navarro transforms these static objects into deep spaces that appear to reverberate in perpetuity.

Silent and monolithic, these self-contained rooms resonate with unspoken narrative power. Throughout the exhibition, black and white paper squares are scattered across the floors of all three galleries.

Informed by the aesthetics and rhythms of military parades, Mute Parade contemplates the juxtaposed feelings of celebration and intimidation that dl music begets.

Dan Cameron Curator educational program: Gallegos November 26, — February 5, Cuenca, Ecuador. Lii and Sediments http: La Ruche Buenos Aires, Argentina. The series Fossils consists of eleven pieces of acrylic paintings on medium sized paper. Here, the fold of the paper embedded in the porous material of acrylic produces an inspired and spectral imitation of the work of nature on itself, with the carbon effect of mono — copy. The series Sediments displays graphic territories, in the way of a stratification of crystallized moments unfolded in the same plane as islets of representation derived from the various uses of graphite, pencil, charcoal, chalk pastel.

The amphibious reality of this mixed universe once again puts into action the back and forth progression, rodgiguez the spectral to calcareous, from the muered to smoky. Sandra GamarraMarco Maggi. Hay gente diferente del otro mundo menos mal omnipresente, que se une y baila, camina con nosotros. Chidado contemporary practices featured in the exhibition go beyond Eurocentric conceptions of Latin American culture, transcending stereotypical and reductive views of the fantastic or exotic.

The artists live and work in Canada, the United States, and Southwestern Ontario, which have diverse communities of people of Latin American heritage.

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This presence is increasing, contributing narratives to the national and continental experience. The cujdado also brings its own unknown universities that end up projected onto the work: Interacting with the work is in it self an act of learning and an opportunity.

In 3 months, by the end of the show, the curtains will possibly be used and dirty after a period of multiple configurations created and lived by the public.

On that occasion, three artists celebrated its uniqueness and the historical spaces of the building. Back inthe main issue was to raise awareness of modern heritage in Britain with one fine example, helping to confront a tendency to blame certain modern architecture for many social ills, overlooking issues like maintenance and investment.

Artists and audience will be able to see Pullman Court as an early example of high rise living that has influenced later housing developments, with its apartments set around services and amenities that organise life in a way that has become common nowadays. The exhibition comprises works from the Walter Rodrighez Gallery permanent collection, which was founded in Multiple individuals such as curators, artists and arts workers have selected the works in this exhibition through a process of sequential choices.


Working with collage, sculpture, video and installations Peruvian artist Elena Damiani employs the disciplines of geology, geography, cartography, archaeology and astronomy to reinterpret such categorisations and the way we rodroguez the world around us. Geological Survey repository to present a framework of quasi-evidence on celestial bodies like meteorites and comets and their landfalls.

The works in the exhibition comprise documentation of traces of surface impacts, celestial transits, and cosmic debris left by impact events. Scientific evidence merges with fiction revealing how technology informs our representations of nature, and examining what we actually know about the natural world and how that knowledge is produced.

I first started working with adhesive tape in Initially I used the tape to hold my paintings to the wall, but starting in I eliminated the painting and concentrated on the tapes as my primary medium. I wanted to explore the possibilities of using spaces where the viewer does not expect art to be rodfiguez. This concept brought me to intervene staircases, landing platforms and outdoor walls and objects.

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Each work was created for a unique space. When covering a surface, the tape creates an additive grid full of amorphous patterns caused by air bubbles. When developing petro tape project, sometimes paper or a photograph was the support and framework for the piece, mherde many times the project was able to become monumental as it seamlessly adapted to the architecture of the space.

Also inI began to incorporate videotape as part of these projects. With graphite, colored pencils, sharp materials and infinite meticulousness, Santiere peero universes whose scale we cannot be sure of. He brings out sculptural reliefs that lightly dangle from the matter they have been detached from.

It is a question of a morphological transformation that moves from the void to abundance. Light graphite lines surround or connect points of color of various densities, colored ovoid forms — flat or on lacerated paper — are interconnected — the paper erupts and spumes like foam.

We lose ourselves in studying the position, shape, movement and mutual relation of the microorganisms or heavenly bodies hovering over the white of the page. Muerce waver between surrendering to arbitrariness or hunting for a system.

Throughout the twentieth century, the artistic category of sculpture remained fragile partly due to the fact that most of the significant accounts of modernist art were articulated in relation to painting.

With the daily deluge of bad news at our fingertips, we become disoriented in our distanced yet simultaneously intimate sense of connectedness to the world. Richard Garet interweaves various media including moving image, sound, rosriguez photography, and multimedia performance. His piece Meta is a sonic construct intended for ear-to-the-wall-listening. Using the chalky drywall and often hollow interior as an acoustical device, Garet invites his audience to experience the piece aurally and physically by placing their ear against the wall in an investigative action.

They become emitted by commodities, means of communications, and our own relationships with technology. Removing the sound, Garet draws attention to the processes of perception, which activate sensorial, physical, and psychological phenomena that reflects on the nature and experience of time. Vejiga de Pez Fish Bladder is a group of visual artists dedicated to exploring the relationships between geometry, space, and natural processes. Each artist focuses on a personal concern, addressed by materializing certain reference points in architecture, archaeology, and biology.

The result is a series of interventions— site specific art —where interaction with the visitor forms part of the creative process. Despite the differences that one may note among the works, the underlying artistic language is the same in each case: De lo Espiritual en el Arte. Los desarrollos alcanzados hasta el momento por las ciencias naturales y humanas ofrecen oportunidades ideales para llegar a esas metas. Abstraction 2 aims to capture the current state of contemporary abstraction, highlighting the differences and similarities displayed in the artistic practice of fifteen rodrigjez and international artists.

Trained as a sculptor and set designer, Guido Ignatti uses simple materials to stage situations that transform everyday urban life. Aluna Curatorial Collective Miami, Florida. Fragmentation and other parables, curated by Aluna Curatorial Collective Adriana Herrera muwrde Willy Castellanos at Alejandra von Hartz Gallery is cuidavo approximation to the recurrence, meaning, and the logic of fragmentation in contemporary artistic practices: Is it true that it disrupts the threads of connection with history or could it suggest other types of relations to the past and the present?


What are the contemporary parables that suggest fragmentation in art? In order to make these works the artist mounts wooden slats onto the surface of the panels whilst applying glossy polyurethane paint regularly used in car shops.

The screwed in slats leave marks on the paint underneath once removed, like remnants of the history of its making. In a flow of push-and-pull, the repetitive character of the compositional methods used by the artist alludes to the sometimes monotonous formalistic appeal of modernist architecture. Alice Quaresma and Jauyoung Yoon. Hailing from geographically opposed corners of the globe, and both currently living and working mueree the New York area, Quaresma and Yoon each refer back to their origins with intimate and architectural gestures enacted in two- three- and four-dimensional space.

Ortiz es un artista preocupado por el acto de ver y sus dobleces. Sus medios son simples: Three dialogues are established with three different processes that relate to the idea of overlapping and superimposing elements, time, generations, and actions:.

The first dialogue is a interaction in relation to mostly urban landscape in combination with the materials used. The seemingly accidental look of the quasi-action-painting-type dripping acquires a new connotation due to the material and the space extending beyond the painting. In it, a series of cut outs call to mind construction tool silhouettes.

Thus, varying elements of nature come together and overlap in this work. The before-and-after of a transition between what is natural and what the fire has consumed. Constructions in Color and Texta group exhibition focused on the formal and thematic elements of color and text in Latin American art of the last sixty years.

The exhibition framework is based on the premise that color and text are two major building blocks of creative expression, and can therefore be seen as architectural components of a given composition. Gabriel de la Mora. Gabriel de la Mora: Gabriel de la Mora is best known for constructing visual works from found, discarded, and obsolete objects, such as eggshells and shoe soles.

De la Mora describes these objects, which have outlived their usefulness, as caches for historical information about everyday life.

In his exhibition at The Drawing Center, De la Mora will present an installation of fifty-five pairs of found speaker screens.

Each screen is imprinted with an inscription created by the dust and air that circulated through the speaker during its life, recording the cadence of countless voices, advertisements, news broadcasts, soap operas, football games, and music, as well as noise, interference, and silence.

Natalie Maria Roncone Marfa, Texas. This allows him to create tautological games regarding the legacy of the 20th century avant-gardes. Recently, the artist has explored photography and documents as a means of registration, and their possibilities of resignification. These media lets him to appeal to the imagination and generate new perspectives on artistic tradition.

The functional articulation of these materials is a comment on the historical distance between different artistic practices. Frequently, the nature of these materials approaches both, architecture construction as well as formal artistic production, which subscribe his work to principles coined by Minimalism and Arte Povera. Everything that helps to dissolve the boundaries, making the world a homogeneous and poorly differentiated whole, is impregnated with poetic power is the case of fog or twilight.

Some objects have poetic impact, not as objects alone, but by breaking the delimitation of space and time with their mere presence, they induce a special psychological state.