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Women: Contemporary Reflections In Memoriam

"Architects build, artists destroyed, "said the American artist Dan Graham and theoretical.

Serisuelo

Augustine is known for being an artist who explores the confluences and interference between sculpture and architecture, which in turn agree in thinking about space and the possibility of creating new realities through construction. Although as operator searches the internal space architecture beyond the mere geometry built. To this end, drawings and notes made previously on his book, which implies poussiana how he conceives the picture as a picture within the project.

In Memoriam is a process in itself, an investigation, which in turn generates a kind of visual and textual narrative, through their images, as it explains both the course of the play as their domestic context. Augustine in his travels throughout the province of Castellón aims to discover spaces without a name, hiding places and abandoned. No interventions carried out in buildings directly as did Gordon Matta-Clark, but thanks the photographs which deconstructs the space, move it, then rebuild it cuts through, allowing you to realize that ideas about space as a dialectic personal intuition, ie single and designated spaces in the same way that creates complexity. Augustine sets in this series is not busy and uninhabited places, where past and present coexist, destruction and construction. For this first makes photographs that are taken from the same point of view as a succession of frames, and then through the assembly of them, abandoned places reconstructed from photographic fragments. You could say that the architecture would function as a frame and the sculpture is the result of emptying. Discover, well, dualities and contrasts perfectly reflected in his photographic montages (vertical / horizontal, interior / exterior, empty / full) summarizing aesthetic experience in terms of years of research and philosophical positions on space.

In his photographs the light breaks transforming an abandoned building in a temple "That light invites us to enter, welcomes us and embraces us with warmth of home, since every house is not a case lived inert always inhabited space transcends geometrical space. Its obligation to re-think the livability of contemporary space transgress as an intruder, forcing look beyond mere functionality, opening new perspectives and drawing attention to forgotten corners that escape the logic of capitalism under which we live. Somehow, establishing an emotional relationship with the environment that surrounds us about an unknown reality virtually erased from our memory; stresses, thus, our capacity to act on it. Both

eight sculptures like twenty photographs that make up the exhibition, reveal layers of information, stories, construction of living ... The space acts as a memory device, extracted from each person their unconscious thoughts and gives them body. We need to open the house so you can remember, we must move to put freedom back into memories. That does Augustine reconstructing the image, creating gaps that cause movement and open windows and doors to wander memory. Transform

space

interpreting, assimilating and offering new perspectives. In memorian pays tribute to all those areas marginalized by our society, because each building that disappears or vanishes becomes a ritual way of life, knowledge and muted light off the locations in which lived memory and transited the passing of time.

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If we focus on the concept of "contemporary art space, which began to emerge in the late nineties, it is inevitable to talk about transmission multidisciplinary artistic-research laboratory, production, training, dissemination, and exchange.

With the emergence of places like the Espai d'art de Castello, the slaughterhouse of Madrid, Barcelona CCCB, the Radial System V, Berlin, Rome Attiva Zone ... we realize the money that is suffering the art world, where what matters is the process of creation itself and not the finished work itself same.

are spaces that are transformed and where the interplay between ideas, projects, artists, groups, ... becomes a laboratory in constant turmoil, at a multiartístico which combines both the local as well international character public and private.

is essential the idea of \u200b\u200b"recycling", ie space rescues, readjusting and condition an abandoned building for example, the center of Paris Centquatre old building was the funeral of the French capital. From reconstructed space stands totally different space alternative within the art world as we knew so far.

Which leads me to reflect on art education, is there participation and dialogue outside the visiting specialist? Centers as the Centquatre have been attacked and unfairly branded, supermarket of art or artists as well zoo Palau Paloma says in his article, Centquatre: Alternative to showcase cultural policy in Paris, when what is actually intended to break barriers that for years have been built with prejudice, so, it seems very appropriate and enriching the public be required to build their own learning to promote their experience and not merely consume or contemplate the works exhibited. And most important it is that visitors have access to the process of creation itself.

Equally interesting is the reflection of Jacinta Negus in his article, pain and beauty in contemporary art, about the pain and beauty in our era. How to represent the pain? And beauty? When we are surrounded by chilling images of wars, natural disasters, poverty, etc.. on the one hand, and on the other misleading advertising about the aesthetic value that has been given to the beauty of today.

How to capture and translate something as pain and suffering in the contemporary world, constantly bombarded with desperate and tragic images every day that impact us fleetingly and forget to three seconds because the pain is alien to us. How represent the beauty when we mark and direct us trends and intoxicate us with established patterns. Our society and the media have been destroyed in some way the ability to feel and experience, as well as the element of surprise, we live immunized, we have lost the pure and innocent eyes of a child.

But at the same time, when we Bacon face paintings or Frida Kahlo, among many others, comes to light our innate ability to feel the same pain flesh torn and despair suffered by the artist himself. Similarly we can see a picture of Cy Twombly and flooded in a world of poetic beauty.

Each artist, whether painter, sculptor, writer, etc., Feels and reflects the suffering in different ways, for example Müller pain would become a helpless cry in the stifling atmosphere, while Cioran says that only the ugliness is painless because the beauty germinates and lives harassed and surrounded by the horror.

Thus, Negueruela points in his article that all artists are directed to the other, to the unsaid, what to what the word dumb, for example, Poe terror and beauty, pain and beauty for Bacon, Kafka absurdity and beauty, angst and beauty for Müller .... that is, the pain can be beautiful and painful beauty, comes what might be called "poetic synesthesia.

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Patricia Bonet: Vibration electrifying

In Blue by the artist lies an underlying meaning that has more to do with the sensory and emotional, something more universal that connects us to everyone and everything. Difficult to intellectualize. You can feel the heart or feel. She tells the everyday experience of the passing of the days, the seasonal cycles of transformation of rhythms, non-coincidence of light and darkness.

Blue represents the sea, nature, freedom itself that connects with our inner eye, with nearly forgotten our origins, evoking the memory, the memory. Patricia Yet this series focuses on the study of color and its influence on emotions and mood. Through ethereal brushstrokes and electrifying colors that vibrate with the line horizontal dominated throughout the series.

be seen, without doubt, a pleasant calm in their oil lines that create a balanced atmosphere that takes us away to welfare. You could say that an instant plasma unfinished, natural, free and unhurried that brings hope and positivism. Patricia aims to discover the extraordinary in the ordinary, that is, always see the bright side of life, get excited with the small details, and of course we shut down our minds and allow ourselves to be invaded by the protective halo that emanates blue, leaving behind all the buzz and bustle of everyday activities.

Es un arte que fluye, que brota, que se va formando conjuntamente con el visitante; ella misma afirma: “nunca copio, pinto de memoria. Impresión y expresión, es el espectador quien da continuidad a la acción propuesta en los cuadros a través de su imaginación o de la memoria”. Una vez más, nos muestran la llave para traspasar el umbral de los sentidos y las sensaciones, adentrándonos en nuestros recuerdos.

El espectador es diluido en grandes campos de color que conducen a la esfera interior, al cosmos y a la nada; se produce una vulnerabilidad al placer y al dolor. Azul nos sume en un estado de contemplación tal que nos pushed into the abyss of emptiness and then bring back to life.

His work is a certain spirituality that is provided by a non-form, ie a monochrome background on floating areas of symbolic colors to create tension between them. They are beautiful paintings based on a lyrical abstraction, away from the representative, we overwhelm with its meaning and evoke emotions deep underground.

In blue colors predominate depleting expansive mind to her free of convention and go without intermediaries to introspection. So, Patricia creates a relationship between his work and the viewer. The visitor undoubtedly, is enveloped by the atmosphere to reach the vastness of our artist has to offer with touches of the most sensitive.

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History Of love and other reasons look to the past

"Keep the love in your heart. A Life Without it is like a sunless garden When the flowers are dead. "

Oscar Wilde

Although it is a day peculiar to re-publish in this medium and although the absence of the author is a common justification and the return is still uncertain, today, that love seems to be in the air, that marketing has done its part and our human need to believe in something the other party has the feeling that explodes all around us today is love ... It's that feeling we call love and we like to qualities, to which we have developed a profile, a pattern and what has become the excuse for more madness we see in the world. Today we celebrate his day, today we celebrate the day of love and even the chattering intellectuals-not to boast to announce the date as another act of placing a feeling, though many of the current we live and celebrate what they call " love almost every day and
any time, date gives me the perfect excuse to share a phrase that the brilliant John Lennon said years ago:

"Love is the answer, and you know That for sure."

Love is the answer, pure feeling moves the world and whether you share this day with someone else or share it with themselves, I wish you never forget love ... loving life, loving the world, love yourself, love your neighbor. After all, as Lennon said: "Nowhere You Can Be That Is not Where You're Meant to Be. It's easy, all you need is love. "

All we need is love, believe in it, is breathing with partner or no partner, surrounded by friends, family or alone, is caused by a kiss, a caress, a smile, a glance, a promotion work, a goal achieved or a reflection in the mirror, all we need is love
are those moments that take your breath away.

do what they call "love" is his excuse and reason is her reason to smile.



Happy Valentine's Day!

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Literary Review: A versatile Andy Warhol presents ... Josep

timely A phrase became a "Warhol". His remarks, in platitudes. The American Andy Warhol succeeded in creating a character synonymous with media, and it preferred to remain a mystery to the rest of mortals. Perhaps for this reason, Kenneth Goldsmith decided to recoplar a series of 37 interviews he conducted professional and artistic colleagues in the field. Throughout the 'Andy Warhol. Interviews' discovered that the artist was a totally contradictory - complex, naive, subtle, shy, passive, sophisticated ...--, who liked to live in a vacuum because it allowed him to be alone to work, although paradoxically Warhol was known for its great parties.

Andy Warhol himself, in which I consider more serious interview, he confesses to Gretchen Berg - daughter of renowned film historian Herman G. Weinberg - in more than one occasion, not passionate about anything, which is served from what happens around them just as firmly believes that part of his time, the culture of that era such as missiles and television. It also states that each After being asked about his past he invented a different story because he forgot what he said yesterday. And no one doubts the particularity of one of the creators of pop-art. Such was their game to the press that often sent his interviews with a double in his place or answered only in monosyllables or just told the interviewer to give him the answers to which could be repeated because he was unable to, as it was think nothing exciting. And if asked: who was the father of pop?, You can find answers as diverse as this: "Pop art is more parents in all Shirley Temple movies." "Transgresor? "Comedian? Who knows. Knowing that he stated he never wanted to be a painter, but he wanted to tap dancing, or that art was dead, that the painting was bored and that movies are more exciting because they are artificial, the dispute is served.

Thanks to the editorial Books Blackie can enjoy this fascinating book at the same time interesting, easy and entertaining read that reveals through each interview with a multifaceted Warhol, surprisingly "cuasirromantico.