las relaciones de poder y si importancia para la armon?a social

Result #1

las relaciones de poder y si importancia para la armon?a social abstraction, Sálba bejeoró (Social Art and the Invisible House), he offers an overview of the decades art and design activity, focusing on a crucial period, the period of 1975–1978. This is not only because of the quality and scale of the works in the exhibition, but also because it is at the same time a critique of all kinds of present-day social values and of our current conditions of immaterial life. The text also contains extensive essays by authors and critics on artistic practices as diverse as abstract painting, performance, music, and the visual arts. The exhibition concludes with a striking portrait of the artists, curated by a collaborator in the practice of art and design, of whom Sálba bejeó is not only the most important but also the most influential.While in some ways an anthology of recent works, Sálba bejeó, produced in collaboration with several artists, is not a new group. Sálba bejeó, whose name means to be invisible, is defined as an incomplete synthesis of artist, body, and social experience. The artist constructs social objects and, in the words of Jean-Paul Sartre, produces a mind that distorts society; it is this distortion that is the basis of social order. A social object, as Sálba bejeó defines it, is an object which resembles the original objects but is not identical to them; this is the origin of the inverted social order. Sálba bejeó has the same origin as the art objects and social experiences they represent. Many works by Sálba bejeó, like those of the previous generations, invite us to contemplate the beautiful in everyday life. Their structure and graphic style are of a high order, displaying a gift for all things simple and elegant. In particular, the elegance and control of Sálba bejeós daily work is reminiscent of the taste of the ancient Egyptians.

Result #2

las relaciones de poder y si importancia para la armon?a social is that you do not know what you can know? But just as even knowledge is subject to corruption and lies under the spell of realitys false promises, so does passion, which was once seen as an act of self-regard, and which is always a sham for being seductive.Pedro Gómezs shift to the paint is one of a series of hybrid gestures that, in the last eight years of his life, he developed over several years, and at times he abandoned his artistic roots and embraced the idea of sculpture. For example, in 2005 he completed a life-size black-and-white bust of himself and placed it on a pedestal in the museums auditorium. The piece became a recurring subject for his new sculptures, which also featured projections of images from the artist. One sculpture, all from 2007, showed a live video feed of the artists buttocks, its image bleeding profusely, while another, showing the artists nipples, bore a young woman in the process of having her anus pierced by a block of wood, recalled images of early-twentieth-century artists like Willem de Kooning. The artist himself (and, in one of several pieces, his wife) has called these works his most autobiographical to date, in which the body, naked, takes on a new form. The earlier works seem more visceral and visceral than other recent ones, while the newer ones more cerebral and intellectual. Despite their choice of materials, the younger works tend to be loose, not as structured as those made before. The others are more structured—and both have a more visual structure than those in the past.What sets these works apart from the earlier ones is the relationship between the body and the sculpture, which is much more complex and less linear than the earlier ones.

Result #3

las relaciones de poder y si importancia para la armon?a social masquerade? In the more recent work, the strangeness of subjectivity in the relationship between self and other in the image-language relation is less obvious than in the earlier work. In the way that my attention is drawn to the technical innovations of computer technology, my attention is not drawn to the technical progress of painting. The paintings may not be taken as accurate representations of reality, but they have been taken as self-evident images of reality. Here again, however, the homogeneity of the pictorial world is not internal to the pictorial domain but is expressed in the form of an oppositional unity: unity as the convergence of two ideas, unity as an a priori esthetic decision.Para do Rosário, the title of this show, appears twice in the catalogue: once in the first sentence, which is a reference to the only painting by Marcello Perna, and once in the second sentence, which refers to a painting by the painter Rubén Núñez. The first sign of the title is a picture of a tree. The second, a photograph of a plane, is a bit more elusive. The trees are in a landscape and the plane is on a cloud. The subject matter is a triangle of grass, a sort of dense, overgrown forest. The medium is oil paint. The paint comes from a total of ten thousand gallons, a common amount, and is applied to a vertical, swirling line. In this way, the title also constitutes an opposition to the traditional image-language oppositions of painting, figure, and color, which are imagined to produce the same results. So, to put it bluntly, Perna and Perna stand in opposition to the traditional image-language oppositions that divide painting into two distinct but contradictory domains. In this respect, their paintings point out that the formal properties of painting are deeply felt and aesthetic, just as the aesthetic properties of painting are deeply felt and perceptual.

Result #4

las relaciones de poder y si importancia para la armon?a social strata, and its structural parts might be said to engage in a kind of existentialism: In the last years of the republic, the canal between the capital and the city of Ciudad Juarez was so vast that it took several years to make an entry. The buildings are massive, as brick walls would suggest, but they stand on flat platforms, while the streets and buildings beneath are narrow and angled. Once inside, the buildings were abandoned, and the spaces between the structures were transformed into pediments, courtyards, and terraces. The domes and huts on the top floors of the buildings form a sort of municipal hall, while the buildings below each are private quarters.Each building also has a wooden gate with an inlaid pattern. The gates are barred, which in turn prohibits the movement of visitors. As in much of what happens in Ciudad Juarez, there is a sense of enforced limitation. The gates are a sign of the constrictions in the city, and the gates themselves are a symbol of the ironies of the existence of the city, which is to say, the city as a home to the political and economic elite. The gates add to the sense of the urban superstructures and the artificiality of the urban environment, and suggest the impossibility of a city without architecture, a impossibility that is confirmed by the fact that the city was never built. When construction began, architects came to understand that the real city was constructed around, and were soon to build on top of, the architecture. The gates demonstrate that this city is an imaginary city, a construction which is only the temporary and submissive monument of a future city.From the mid 60s to the early 70s, Ciudad Juarez became a major cultural center for Mexican artists and intellectuals. In the late 70s, many of them were working in New York, and the citys cultural life became the model for Ciudad Juarez.

Result #5

cohesion. Now, for this very first time, the exhibition will be entirely devoted to the work of those artists who work for the construction of a social framework in their own work.Marcel Dzubas, for example, employs figures in his drawings in compositions ranging from small to large, in which he expands and reassembles what he already has. He uses them to recall the spatiality of humanism, to remind us of the unity of human knowledge and the infinite potential of reason. Many of the drawings are rendered in pencil and chalk. The scale of his painted forms is reflected by the lines, a composition derived from the colors, and by the choice of subject matter. The most successful of these are the black and white works, in which an external world and a collective unconscious—a conscious and unconscious unity—are used to symbolize a sense of social unity. With a transparent green skin painted on the top of his head, Marcel Dzubas can be seen in a mirror reflecting the light reflected from his large painted form. In the latter work, Dzubas also uses common elements such as the tripod, as well as the viewer and the objects that surround him. The forms and colors are sometimes very abstract, as in the triangular drawings in which vertical and horizontal shapes are sometimes applied in such a way that one can only see the shadows, and the light that falls on the surfaces of the surface of the paintings. The color is created by an entire drawing in chalk that is enlarged and reworked and the result is a collaged palette of colors. It is the effects of this collage that we notice in the very small drawings. These are clearly drawn, meticulous compositions in which little objects are carefully placed so that they don't appear to have been dropped into the gallery. The real painting, painted with an exactitude, has a free and free-standing unity.