resena de la tecnologia y sus avances en la sociedad

Result #1

resena de la tecnologia y sus avances en la sociedad ico de Colombia (General Principles of Anthropology, Science, and Technology, 1961–1963), which, along with the Institute for Anthropology and Social Security in Bogotá, developed the national curriculum of anthropology and social sciences. The curriculum was designed to advance social and economic equality, with many of the topics (such as the labor of the enslaved and the poverty of the poor) met by the training of the artists and art historians of the time. It is this state of affairs, exemplified by the recent death of the Bogotá surgeon and an exhibition at the Museu de Arte of his studies, that led to the founding of the Institute for Anthropology in Bogotá in 1962. Only the last collections of the Science Art Institute—the Perak Art Center, founded in 1966—were still in existence.Menszs practice in this period was marked by a philosophy that emphasized non-conformity, rejecting the linear goals of the formalist method, as well as its flat ends. Merely reproducing a formalist object can be used in a classroom or museum, he wrote. That would be a homogeneous body of knowledge. What matters is not the material—it is the structure, the structure to be used and retained. In the process of the transition from the formal to the non-form, from the abstraction to the geometrical, the structure itself becomes a substrate for the physical and social world. This is why the new Museum of Anthropology and Social Security, as well as other institutions established by socialist realism, strive to build up human structures, both biological and social, through scientific and technological methods.A group of sculptures made of aluminum, for example, housed in the museum, bore the imprint of a dismantled, seemingly antiquated scientific laboratory. The sculpture was constructed using inorganic metals and produced the same result as a more elaborate scientific model: the aluminum elements eventually fell apart.

Result #2

resena de la tecnologia y sus avances en la sociedad é colaborate in one of the churches, which she organizes with members from various religious and racial backgrounds. Every week, the service is spread over two days; its text is then published on the pages of the paper. Although the exhibition is presented chronologically, the texts are interrelated with the various events that occurred in the past. The daily reading of the monthly text is an exercise in synthesizing a diverse reality. The various levels of meaning that the text imposes on the senses are revealed in the many interpretations and associations that may take place, including those that emerge from reading the text and experiencing it on a personal level. While at the end of each day, the audience is encouraged to choose a reading that suits the history of their time. In one of the rooms, the text was displayed on a large wall panel, reading: There are no worlds without social relations. . . . The only world that is truly free is the one where everything is possible. To live in the world of freedom is to be in touch with the present. The world of freedom is free in the abstract sphere of experience, where the essence of all things is the relative proximity of things. The world of freedom is a society that encourages and gives structure to the world of things, which are absolutely fluid, for they can exist in any spatial environment. The world of freedom, then, is a society that offers the possibility of expression, for through open communication and a nonstop creative act, the world of things can be realized.This exhibition was organized by the artist and former government of Belgrade, Ena Georgi and Elvira Filho. The shows material was exhibited in the Gallerys retail space, which was adorned with twenty-five photographs of monuments that the artists family has visited since the late 1960s.

Result #3

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Result #4

resena de la tecnologia y sus avances en la sociedad  (Tecnología y the Sociology of Social Situations) in a presentation titled La sociedad  (Society, this year) that explores the link between the social, political, and economic systems of present-day Mexico. The museum has scheduled another exhibition, a survey of the social and cultural aspects of Mexican contemporary art, called San Pelo (The New), in conjunction with the Art Institute of Chicago. More than one hundred artists and institutions are represented in these two exhibitions, which are being shown simultaneously. The first one is called San Pelo (Modern) and the second, San Pelo (Compositionally), both 1996–97.Each show presents a different selection of artworks from Mexico, from Mexican drawings, art-historical portraits, and art-modern sculptures, to local and international political, social, and cultural developments, all in a unique presentation. The exhibition catalogue consists of nearly one hundred articles on art and culture; and through reproductions, the catalogue essays on art history, history of art, and contemporary art as social phenomena. Of these, the most interesting are those by Eduardo Díaz, Salvador Nagy, and José Luis Montiel, among others. The exhibition concludes with a range of social, political, and economic development documents from the first societies created by the Spanish conquistadors in Mexico. They also present the important role of popular art in Mexican life.Mexico, with its mestizo population of some eleven million, is a vast country with many of the same traditions and beliefs as those of other Latin American countries. The indigenous population is well represented in art, among them Mexican and American avant-garde movements, and is represented in the most important artistic genres: painting, drawing, and printing.

Result #5

resena de la tecnologia y sus avances en la sociedad —the Spanish Social Security system.Here, each figure was assigned a precise, iconic color: orange, green, yellow, blue, yellow, red, or red, which was carefully spiced with a lipstick of redder pigments; blue, green, yellow, or black; orange or pink. As in the paintings, the figures that were randomly assigned the different hues made up the central image, often imitating the color of the oranges and other shades of the shades. The small floral patterns on the surfaces of the figures held in place by the pigment read as accents, giving them a subtle signature that marked the palette of the applied paint. The artist added hues that contrasted with the others, such as light blues or deep greens, to create a new color. Even as he varied the colors, the figures retained a harmonious beauty.Using the hues he used in this exhibition, as well as in previous pieces, Saenz uses the same palette in his paintings, but he does not use any common brushstrokes. Saenz paints his colors in very narrow intervals, all of them within the same width, so that the entire image is seen in the same manner. The hues are used in order, in conjunction with the paint that adds to them.Saenz has developed a versatile vocabulary of visual and verbal cues for his works, but they are not necessarily direct in their description. Many of the works in this show were clearly assemblages of tin, rubber, or other materials, and some of them were created for this show, as well. The largest work in the exhibition was a single-panel painting of one of these materials, Untitled, 2008, which consists of five parts, divided into two long rectangular sections, each consisting of a shallow painting area and a grid of approximately three panels, each set within a single circular frame. The painting surface is now brown with a dark, pink-green patina.