El objeto de intervencion del Trabajo Social y su construccion a lo Largo de la historia

Result #1

El objeto de intervencion del Trabajo Social y su construccion a lo Largo de la historia (The history of the social class). If the social classes were to be identified, then the societys existence would be said to be based on a natural progression, as if the different classes existed at different points in time. The artist also proposes that there is no difference between the social classes in Argentina: they are all workers, and therefore all of the same. While the idea of natural progression is not new in the Argentinean consciousness, the way in which the social classes are represented in the exhibition, including the title, is unique. In the Argentinas, the social classes are usually identified as classes that have existed for a long time, and not as classes that have only recently been organized. But the social classes of Argentina, especially those of the north, have been constantly changing, and it is impossible to trace the evolution of the social classes to the past. This is why the Argentinian artists work is so interesting. In the exhibition, the social classes are presented in a wide variety of guises, from the most elementary to the most advanced. The various kinds of social classes are separated into three categories: agricultural, industrial, and social service; and the most advanced are those that specialize in the production of products for consumption. In the context of this exhibition, the agricultural, industrial, and social class are seen as the most important ones, and the most developed ones.The agricultural, industrial, and social class, which is represented in the exhibition, is based on the production of foodstuffs. These include beans, corn, tomatoes, potatoes, and soya beans, among others. The products produced for the production of foodstuffs can be sold for their production value, which is based on their quality and their rarity. The more common the product, the more valuable it is; the more rare it is, the less valuable it is. The more common the product, the more valuable it is; the more rare it is, the less valuable it is.

Result #2

El objeto de intervencion del Trabajo Social y su construccion a lo Largo de la historia (The history of the social structure and the social sciences), both 2016. In this exhibition, the works were arranged in a grid, in the manner of a classroom. A yellow wall-mounted projector set up a loop that projected images on the wall; a small screen attached to the wall recorded a slide presentation; and a series of text excerpts taken from pages of scientific papers. In the center of the room, a small table supported a set of video monitors that showed a variety of footage: aerial photographs of a nuclear explosion in Nevada; a snapshot of a high school in Westchester County, New York; a video of a woman walking on a beach; a sequence of photographs of a subway car in Manhattan; a series of aerial shots of a mansion in Queens; and a photograph of a tree in Manhattan. A book of photographs (Argentina), a photographic diary of a man who visited a nuclear accident in Buenos Aires, was also on display.The title of this show, Argentinas (Aus), might be a pun on the Argentineans, a family of artists who collaborated with the countrys nuclear power industry and whose work often addresses social and economic issues. The show was organized as a series of essays by the artist Maria Concepcion, a professor in the department of physics at the University of Buenos Aires, which has been at the center of the countrys scientific and intellectual history since the late 1960s. In her essay for the exhibition, Concepcion proposes that the name of the Argentinean university, where she taught, is based on the phrase la nada (the beginning) of the word nada (the end), in English, and uses the word as a contraction of the French word nous (and the English word ness) to describe the beginning and end of a process or event. The term is also used to describe the beginning and end of an event.

Result #3

El objeto de intervencion del Trabajo Social y su construccion a lo Largo de la historia (The Story of the Tragedy of the Social Revolution), is an exhibition of work by more than one hundred artists from different countries, most of them living in the United States. This show of works from the last two decades of the century was organized by the curator, Doris Emmerich, in collaboration with the artists, who also organized the show in conjunction with the Smithsonian American Art Museum.The exhibition opened with the most important work from the 70s: a selection of works by artists such as Degas, Mondrian, and Pollock. The first part of the exhibition was devoted to Mondrian and his work on paper, which, along with Pollocks, gave the exhibition its title, a play on the word mondrian, which means both an old and a new technology. The exhibition was divided into two parts: The first was a long list of abstractions by Mondrian, including watercolors and collages. The second section, by Pollock, was composed of his paintings from the period 1965–67. The first part of the exhibition was devoted to the abstractions by Mondrian, including watercolors and collages. The second section, by Pollock, was composed of his paintings from the period 1965–67. The first part of the exhibition was devoted to the abstractions by Mondrian, including watercolors and collages. The second section, by Pollock, was composed of his paintings from the period 1965–67. The first part of the exhibition was devoted to the abstractions by Mondrian, including watercolors and collages. The second section, by Pollock, was composed of his paintings from the period 1965–67. The first part of the exhibition was devoted to the abstractions by Mondrian, including watercolors and collages. The second section, by Pollock, was composed of his paintings from the period 1965–67.

Result #4

El objeto de intervencion del Trabajo Social y su construccion a lo Largo de la historia (The way of history and the history of the world, 1987) are represented by the work of the latter two years, which is characterized by a sense of the necessity to participate in history, as in the history of the city, and in the history of the social body, in the history of the city. The figures of this work, with their many references to the social body, are grouped into three groups: the first of which is the theme of the work of the artists friends, including the painter Hélio Oiticica; the second, of the cities inhabitants; and the third, of the social forces. Oiticicas work, for example, consists of a series of simple, colorful, and quite non-objective canvases, which he had painted in the early 80s, and which are now covered with paint and stained. The result is a sort of sketchy, yet critical analysis of the social conditions that underlie the city. Oiticicas work evokes the questions of the modern age: Is it a city of objects or of people? Are we living in a world of objects or of people? And what about the future? Oiticicas paintings are always rooted in the present, and in the memory of the past, and thus reveal their relationship to the present. Oiticicas work also speaks of the impossibility of preserving or renewing the past, and of the impossibility of remembering what has already been destroyed. Oiticicas work is a kind of formal manifesto, a kind of manifesto for the present.Oiticicas paintings are divided into three types: the small-scale series of works that were on view here; the larger-scale works; and the paintings of the artist himself. Oiticica was the first artist in the show to show a group of small-scale paintings, which he had painted in 1986. The paintings are large-format, without the intervention of a colorist or a compositionalist.

Result #5

El objeto de intervencion del Trabajo Social y su construccion a lo Largo de la historia (The Three Consecutive Currencies of History), a three-part show, organized by the Museum of Modern Art in New York. The first of the three parts of the show was devoted to the history of the Brazilian state, the second to the world as it is today, and the third to the history of art. The exhibition featured works by more than 100 artists, from the most important to the least known, from the most important to the least known, from the most important to the least known.The show began with the most important of the three: the first, as the title of the show, is the history of the state of Rio de Janeiro. As the Museum of Modern Art has shown, Rio de Janeiro is the most important state in Brazil, and this history is constantly being expanded. The history of the state is inextricably linked to the history of art, which is the most important of all states in Brazil. The first work in the exhibition was a work by the artist and architect Gustavo Domingo, entitled Recos (Records), 2016, whose title was also the title of the exhibition: Recos: A Movimento (Movimento: A Record)—a record, according to the artist, of the movement of the stars. The work was hung on the wall, along with a book, entitled Recoções (Records), 2015, which documents the astronomical and meteorological phenomena that occurred during the course of the exhibition.The second part of the exhibition was devoted to the history of art. On the wall hung a large sheet of paper with a large, red star on it, which stood for the history of art: the first artist to have invented and invented the art world. The title of the exhibition was, in fact, the history of art, which is a history of artistic creation. The history of art is also the history of creation.