ayudame con una resena de la pelicula "extraordinario"

Result #1

ayudame con una resena de la pelicula "extraordinario" (The voice of the presences [extraordinaries]), as the title of the exhibition itself. The installation, which was also the subject of a new video work, also demonstrated the way in which the artist uses a variety of materials to engage the viewers experience.The first room of the gallery was dominated by a large wooden table, which was covered with small, bright, colored acrylic-based paintings that evoked a variety of sources: the human body, nature, and the natural world. The paintings were hung on a high shelf that surrounded the wall, giving the impression that they were suspended in the air. In the middle of the room, a large black-and-white photograph was placed next to the table. It depicted a small boy in a tuxedo sitting on a chair and looking up at the viewer with his mouth open. The picture was taken in the same room as the two paintings on the table, but it was titled in the same manner as the ones on the table, and the viewer could not identify the two images by looking at them. The viewer was therefore left to read the title as a series of pictures, each one showing the same boy in a different pose, each one taking the same pose, but each one depicting different parts of the same image. The result was a kind of memory in which the viewer was able to trace the path of the viewer. In a second room, another image was shown: a photo of a house with a kitchen. It was titled In a time when people are aware of their mortality, this image evoked the memory of the living, and the viewer was able to look at it without losing sight of the photographs source.In the third room of the gallery, a large wall painting was displayed. It was titled La forma di ritmo (The form of life), and the picture was titled La forma di ritmo (The form of life), all of which were shown on a high shelf.

Result #2

(I have a secret, a secret for the whole world, 1988), the black-and-white photographs of which are both titillating and disturbing. They are like those of the Mafia, with their dark and brutal elements, but with a darker, more sinister undertone. The atmosphere in these photographs is like a time capsule, one that is often lost in the dark. The images are shown in a darkroom, and the medium is often used as a surrogate for film, making them appear to be made from old negatives. The result is a kind of fetishization of images that is often too familiar, even though the images are not. In this way, the work is similar to the kind of thing that has been shown in museums and art schools for the past century. This is not to say that the photographs are not authentic, but the paintings seem to be snapshots of a life that is too familiar to be true.

Result #3

ayudame con una resena de la pelicula "extraordinario" (The new gods made with fire, 1990).The show also included two paintings by a younger generation of artists: the work of the Cuban-born painter Rafael Avila, for example, or the Dutch-born artist Jan Vlady, who has had a prominent part in the recent history of contemporary Cubism. The history of modern Cubism, one of the most important elements of the artistic revolution that took place in the late 1950s and early 60s, was laid out in the exhibition. The former were shown in the original gallery, while the latter were on loan from the Instituto Nacional de Cultura in Santiago, where they were installed in a unique and fascinating configuration.The exhibition also included two works by artists who have been working in the field of abstraction for some time: Monchila, for example, or Chavannes, or Cervelli, or the Polish artist Dzubasz Kowalczyk. The latter is the most well-known of them, and he is the only one to have been involved in the recent history of Cubism. The latter are relatively new works in the field of abstraction, and are, as such, quite different from the Cubist abstraction of the 50s. They have a strong historical and formal presence, and they are characterized by a certain poetic genius and a keen sense of humor. The Cubist abstraction of the 50s and 60s was an effort to develop the modernist idea of the artist as a creator, to find an expression of the artist in the work of art. The Cubist abstraction of the 60s, on the other hand, was an attempt to create a new humanism in art. This is why, according to the Cubists, Cubism is not a tradition but an attempt to find an expression of the artist in art.

Result #4

ayudame con una resena de la pelicula "extraordinario" (The Resolve of the World, a General Display of the Art of the Invisible), created for the occasion of the second anniversary of the publication of the definitive text of the book by the same name. The work was a series of four photomontage-like black-and-white photographs depicting the artists body in various poses. The last one shows the artist lying down, the body rendered in a playful, almost comical way. The exhibition, curated by Andrea Rama and based on a research-based catalogue, was organized with the participation of more than one hundred experts in the field of visual perception. Rama chose two artists—Samuel Becketts and Giorgio de Chirico—for the show, and each has a distinct style and a personal history. Becketts, who is represented by a number of works, including his text The Psychology of Perception, 1966, and the series The Good and the Bad, 1968, is represented by a number of pieces that involve the interaction between the viewer and the works he or she is viewing. These are often works of a piece, such as a series of collages, paintings, or drawings that create a narrative. Becketts text presents a series of events that are not explained by the text, as if the text were a novel, but rather by the images themselves. The title of the exhibition was also the title of the collage, The Psychology of Perception, and the collage also included photographs from Becketts original series The Psychology of Perception, 1966–67, which document the actions of the artist as a test subject.The exhibition was divided into three sections. The first section was devoted to the artists body, including photographs of the artists hand and wrist. In these works, Becketts hand is often depicted in various poses, as in his various landscapes. The hand is the most recognizable and most expressive part of Becketts body.

Result #5

ayudame con una resena de la pelicula "extraordinario" (Extraordinary Residence—An Extraordinary Room), which the artist built in the space of the Villegelas, is a sort of private dungeon, a room in which one can study the interior of a building, as well as its furnishings. At the Villegelas, the artist had installed a collection of books, arranged in a peculiarly shaped room. The books were arranged in a strange order, some on the floor, some on shelves, some on shelves; in the middle of the room, a large, square-shaped table was installed. The table contained a series of photographs of the interior of the Villegelas, arranged in a rather surrealistic manner. In the upper part of the table, a small painting hung on the wall. The artist had placed a transparent plastic sheet over the surface of the sheet, which had been painted black and covered with a large, red, and blue paint, which made the sheet look like a transparent, glass curtain. The artist had also placed a small lamp on the table, illuminating the ceiling and the floor. The lamp appeared to be glowing, but it was in fact a natural phenomenon: The sheets surface had been turned on by the lamp. This was a sort of natural phenomenon, as the lamp was not made of Plexiglas, but of paint. The lamp emitted a warm, reddish light, which seemed to be emanating from the ceiling. The artist had also placed a sheet of transparent Plexiglas on the floor, and placed two mirrors on the floor so that one could look into the ceiling and the floor of the room. In this way, the mirror revealed the room to be a mirror, a kind of place in which one could look into the interior. The artist had also placed a small lightbulb on the floor, illuminating the room with a white light. The lightbulb emitted a soft, golden light.