ELOGIO DE LA DIFICULTAD Y OTROS ENSAYOS hacer una resena critica

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ELOGIO DE LA DIFICULTAD Y OTROS ENSAYOS hacer una resena critica ily si cuerpo el vallélió. In the same way, as much as they are shaped by the earth, the pieces are also governed by the human body. Curated by the artist Isabella Sala, the show also included photographs, drawings, and paintings.The sculptures, which range from 20 to 70 years old, were all made of a mixture of earth and plaster. As is the case in many of the works on view, they were constructed out of lengths of wood. The wood was gathered from the nearby town of Panjimiro, where Sala moved in 1998 to make works inspired by her own experiences with poverty. The artist has described the work as a form of resistance, or a sort of defense against the forces of civilization. (It is also one of the few remaining works from her collection of plaster sculptures.) The resulting works are now part of the collection of the National Palace Museum in Basel, where Sala now shows them. The works on view were created in the past two years and exhibited at the Galeria Anton Germen in Basel. The materials were selected from the collections of the Institute of Contemporary Art in Amsterdam, the Institute of Contemporary Art in Bern, and the Minimalist Art Foundation in New York.Sala also collected materials from the Swedish Museum of Modern Art and the Kölnischer Kunstverein in Basel. She then created objects based on her own experiences with the materials. Her sculptures are not only based on the earth but on her own experiences with it. The pieces are sometimes colored and sometimes decorated with paint. Some are made from wood or plaster, and one is made of bronze. They are sometimes the same size, and sometimes from different materials, such as bronze for a piano, or bronze for a piece of wood. The works on view were constructed from the same materials.

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ELOGIO DE LA DIFICULTAD Y OTROS ENSAYOS hacer una resena critica ética en españolada. This word, which means to bring the critic, or the devil, to the rescue, can also be used as an insult. Can you think of anything more scandalous than the word dissapropriation? It was in response to the controversy surrounding the appropriation of the name of a Mexican national icon, the Goddess of Resistance, by the French government in 1967, that the artist Solange de la Déposicion, who was born in 1970, made the work in the show I Am a Dissapropriation.The list of names is one that can be found on the internet and is constantly updated as new information surfaces. The artists aim to reveal how the system of institutions that supports art and culture is an instrument of power. In the case of Mexico, art and culture can be seen as a tool of both the state and the state-sponsored media. Yet in La Déposicion, the works are not necessarily works of art. The works on the wall were done with the assistance of the architects, and the modernist tradition of the decorative has been replaced by an aggressive graphic style. In this exhibition, for instance, the classical monuments, such as the one of the dead presidents, are painted a dark blue. The colors are striking in their cachet and verge on the vulgar. However, these colors are not as strong as in the past, and the artist takes his inspiration from the worst images that are not only used by the media but are also commonly found in advertising. In one case, the colours are black. The objects on the wall are mostly abstract: a jar of peanut butter, a metal fan, and a dress. Their colors are vivid, but also a little too vivid. They have the look of a dream, or a dreamy nightmare.

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ELOGIO DE LA DIFICULTAD Y OTROS ENSAYOS hacer una resena critica ética (The painters asses are the painters thoughts). José Luis Burgos masterpiece, which dates from 1912 and is still in print, depicts a pair of hands made of wax and stamped with an image of a man licking a severed head, but its title is no doubt an homage to the desire of the artist to capture the horrible brutality of nature. For some time, Burgos signature loomed over the most important work in the show. The human figures, with their human features, were draped over the front of the gallery, where they illuminated a shadowy field of light, while a group of bees and a beeswax figurine filled the other side of the room. On the wall nearby, an elongated painting of the same name appeared. On a single sheet of clear acrylic, Burgos image was filled with a grotesquely elongated head.Burgo was a master of the metamorphosis between life and death, life and death, and death. In the passage from the work on display, he states, He did not want to die, he wished to live to the age of 100. I am saying that, by every means, he wished to live to the age of 100, but he was unsuccessful. He could not make it. He could not move from the age of one to the age of another. He could not move from one age to the age of the next, from the living to the dead. He wanted to be dead. He wanted to be immortal. In the end, he only succeeded in being immortal. He did not wish to live to the age of 100, he wished to live to the age of 100, he said in his autobiography. When I looked at that painting, I saw that it was the will of God to make me immortal.Burgo knew of the presence of death, but he also knew of the inevitability of death. He knew that the last moment of life was the moment of death.

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ELOGIO DE LA DIFICULTAD Y OTROS ENSAYOS hacer una resena critica ética, el espacio de una para (A view of the topsoil of the earth, a criticism of the earth, a critique of the humanism of man) are some of the most powerful philosophical concepts in the history of modern art. In this context, the artists in the show speak of their own physicality, as if they were sculptural creations, in which the physical objects were materials for the living world. It is therefore not surprising that they were chosen by García Martínez, who has studied them extensively. In the six sculptures, all dating from the 80s, Martínez has created a unique pictorial language. The artist has built up layers of steel, steel plates, and wooden and metal frames, all covered with white paint. The surface of the steel is either a mirror or a stage for a process of reflection; the images in this show are reflections of a physical process, and Martínez is the reflection of the processes of creation. The form of the steel is that of a girdle, a thread, or an elastic band. The steel plates have become soft and porous, like the soft, folded fabric in a vase. The images are abstract, as if they were an inexhaustible store of information on the mind or on the body. For example, one of the steel plates is suspended from the ceiling by a thread, like a small, leafless tree. In another work, a steel girdle forms a transparent band around a table that is set on the floor. These tables are like a sculpture for a mind, a collection of thought that the artist creates.Martínez has also created a series of pieces that are filled with images. In one work, a golden, golden-yellow-and-black-white sculpture is made of a group of white metal plates. The plates are painted black, then removed and divided into smaller sections.