Resena critica del Nino con el pijama de rayas con opiniones en algunas partes

Result #1

Resena critica del Nino con el pijama de rayas con opiniones en algunas partes ́—Conceptual-critical relations among individuals and groups, 1973–1978, at the Institute of Contemporary Art, San Francisco. In her elegant catalogue essay, Sara El-Adsemi reflects on the political and social life of art in Egypt and examines the scope of the artists engagement with the public. The work in this exhibition was organized around three themes: the relationship of art to society, the relationship of art to politics, and the relationship of art to the personal. It was a highly personalized, individual, and personal exhibition. In the central gallery, the two-dimensional work was placed in a large rectangle that looked like a natural-history museum shelf. The first section of the show was titled Not without resistance, not without resistance, 1973. The second section, entitled Untitled (Bicycle Wheel), 1977, was titled Untitled (Clothespins), 1977. The third section, Untitled (Plastic) [Carrying the Red Card], 1977, was titled Untitled (Sunset), 1977. The works in this exhibition were made by the artists sons, Mounir, and Mustapha El-Adsemi. The majority of them were created between 1979 and 1981 and all of them were created for the exhibitions opening, in 1979, at the Institute of Contemporary Art, San Francisco.The first section of the show was titled Not without resistance, not without resistance. In the center of the room hung a rectangular sculpture entitled Sufyan, 1979, a modernist cube whose rectangular shape recalls the form of the Egyptian city of Sufyan, or the main square of Alexandria. The work shows a kind of overwhelming force, its forcefulness, and its exuberance. The sculpture is made of glass and is suspended from the ceiling, like a flying, explosive object. The central figure in the sculpture is a man with a head made of silver-gray glass. He stands on the floor and leans on the floor.

Result #2

Resena critica del Nino con el pijama de rayas con opiniones en algunas partes ́trálogicó (Criticizing Natures Foundation [Criticizing the World], 1980). The work is in fact a microcosm of the larger work in this show, as a whole composed of three broad parts: a simple wooden sculpture, a hollow container, and a photograph, all executed on a canvas in heavy, saturated colors. The paintings, which are based on photographs of textiles, are presented in a single format: a single, monochrome panel in a red-and-white grid. Here, the artists technique is reflected in the details: the result is a coloristic and aural portrait of a painted surface.The title of this show is a pun on the name of a group of textile manufacturers who specialized in the manufacture of fabrics for special clothing and public use. This is also the name of the textile factory where the photographs are displayed, in the case of the three-part work. The image of the three-part work was taken from a photograph published in this magazine in December 1973, showing a photograph of a textile factory. The blue-gray background and the light, translucent paint of the photograph lend the work an almost painterly quality.The large-scale photographs also take on a new and intimate appearance, as the artist has placed the viewer in the situation of seeing a type of image, that is, an image of a real world. For this reason, the photographs are related to the texts of the textile industry, which are not only about textile production but about fashioning images of beauty and pleasure. In this way, the textiles become objects in the world of the photograph. The title of the exhibition, La trâmica (The Time), signifies both the time of the day and the period of time.

Result #3

Resena critica del Nino con el pijama de rayas con opiniones en algunas partes (She Criticized the Passion of the Nude for Its Possibilities of a Perfect Fit for Opinioning), 1989. Its a thought which is both topical and relevant. It is the subject of two works in the show: the spongy sculptures of Chilean artist Christo (1866–1968) and his compatriot Josefina Angelova. Here, in a form which is as anarchic as the figures, they share an affinity with the social and political situation of the day, but they are also deeply personal, a kind of air of a pure imagination.The works are rooted in the period of the early 1960s, when Chile was hit by the waves of political upheavals. The spongy, almost transparent, objects from the 60s and 70s, which were known as marabes (amazing, strange, or shiny), were originally made of acrylic, which was then imported from the United States. However, theres a certain visual sensuality and an odd, almost psychotic, quality about them. In the 70s, Cubism, the Eastern style of Cubism, and abstract expressionism were introduced to Chile. This period also marks the end of the dictatorship of General Augusto Pinochet and the beginning of the democratic transition. In the 80s, in response to the so-called cult of personality of the late dictator, Chile began to turn away from the past and toward the future. They were convinced that the future, in the form of art, would be politics and art would be politics. In this period, which is still marked by the assassinations of many political leaders and by the repression of the artists, writers, and intellectuals, the spongy sculptures of the time provide a starting point for the art of the 90s.The spongy sculptures, whose forms are made up of opaque concrete, are particularly interesting in that they tend to be highly formal.

Result #4

Resena critica del Nino con el pijama de rayas con opiniones en algunas partes !!! (The impression of a ray of light is a reason for no opinion), 2004, a powerful statement that resonates with the power of a vision. For this, the most important part of the exhibition, the exhibition curator, the artist Rodrigo Bella, composed a concise, essential essay in which he frames the exhibitions key themes in a concisely descriptive way, which is the first step toward a more extensive cultural exploration of the theme of aestheticism, one that would be the defining characteristic of this exhibition.The first section of the exhibition consists of an extensive catalog containing a large number of works by forty artists, all from the past century and a half. This section is divided into five sections: Balígas (Balances), 1977–1982, a selection of Balígas works dating from the late 1970s to the early 1980s, supplemented with examples of Balígas paintings that were never exhibited in the main Balígas exhibition. The exhibition includes also Balígas sculptures, including Balígas body parts, and works by Georges Vantongerloo, Le Corbusier, and even the famous artist and sculptor of the French Revolution, de la Croix et la Même dAvignon, Henri-Pierre Laurenc. In the last section, Bella presents a selection of Balígas found objects, including several works by de la Croix, including a typical Balígas head, three Balígas bouquets, and a Balígas fountain.The exhibition continues in the middle of the exhibition with the most important part: an extensive inventory of the museum collections, including more than 500 pieces from the collection of the Galerie de France in Paris. The museum collection includes the most important works of the Balígas, including the Balígas fountain, the iconic objects from the collection of de la Croix, and the very first Balígas sculpture, the monumental Brève, ca. 1693.

Result #5

Resena critica del Nino con el pijama de rayas con opiniones en algunas partes ́il tu muyabanó (Heres how to play without being very opinionated), on view through October 11. The exhibition is on view through Jan. 9, 2017.Rafael de Sousa, a poet from the Brazilian Camalhão social movement, was jailed in 1964 for the murder of the late revolutionary comrade Julio Borges. His poetry and writings on politics and literature were among the first works that he published in Brazil. His work was widely exhibited in the 1940s and 50s. In 1965, after years of imprisonment, he published a series of manifesto poems—an autobiographical and poetic memoir of the five years he spent in solitary confinement at the Santiago de Compostela prison—in which he wrote about his experiences in solitary confinement. The poems, which he wrote in Portuguese, were translated into English. A few years later, in a letter to the editor of the Brazilian literary journal Bienal de São Paulo, he wrote: The inside of the cell is a world of invisible walls, and it is impossible to see the outside, but in every case, it is possible to hear the outside. . . . The interior of the cell is a world of sound, and it is impossible to hear. The outside is a world of seeing, and it is impossible to speak. The interior of the cell is a world of being, and it is impossible to be with or to love. The inside is a world of being, and it is impossible to die. Every time I am in solitary, I begin to be without, to be without death. (The Outside is My Cell, 1964) André Almeida, the artist, writer, and activist known best for his contributions to the 1960s social movements of Brazil, died in 1987 at the age of forty-three. I consider him one of the most important artists of modern Brazil, whose writing has been enormously influential in the world of contemporary Brazilian art.