a large colorful jagged stone, taken from an abandoned gold mine in nevada. spectators are invited to touch, interact, or take a piece if they so desire. this work represents human's feeling that they can take from the earth as much as they like with impunity.

Result #1

a large colorful jagged stone, taken from an abandoned gold mine in nevada. spectators are invited to touch, interact, or take a piece if they so desire. this work represents human's feeling that they can take from the earth as much as they like with impunity. . . . —Ricardo A. Bello, PhD. DURING THE TRANS-SENTENCES OF THE AUSTERITY OF THE CENTRAL LEAGUE, CACLASSES HAD TO BE ADHERENTLY ASKED TO BE GRACEFUL. A CLAIM FOR ACCELERATION WAS NOT LIMITED TO WOMEN; however, the statement is simply a rhetorical statement, a form of overt political protest, and a clear and valid criticism of the post-human condition. The work of Cecilia Vicuña, a young artist from Madrid, was, in fact, presented at the Centro Cultural Recoleta de Arte Contemporáneo in Lima, Peru, during the opening.

Result #2

a large colorful jagged stone, taken from an abandoned gold mine in nevada. spectators are invited to touch, interact, or take a piece if they so desire. this work represents human's feeling that they can take from the earth as much as they like with impunity. The other piece is a large rectangular stone, placed against a dark black ground, which is covered with a kind of reddish-brown paperlike material, giving it a kind of lightweight, die-cut feel. This is a kind of carved, carved-paper-metal, stone which offers a curious hybrid of material, materiality, and surface: the kind of stone that would almost be a work of art in itself.Parmela, a twenty-five-year-old artist from Mexico City, has always been fascinated with the natural world, especially the earths primordial, earth-born elements. Her work is inspired by the various forms of the earth, the stratified layers of rock, and the way we perceive and interpret them through our preconceptions and preconceptions about the earth.In this show, she displays a kind of immediacy and directness that bring to mind a geological surveyors observations of a new continent. That such a picture as this might not be taken as an expression of political or social criticism, however, is of no consequence. By concentrating on the detail of each form, as well as on the texture of each rock, the viewer is invited to experience the beauty of the earths various constituent elements, as in the complex interplay of layers and their relationships, the delicate balance of forms and their juxtapositions, and the beauty of the surface. In this way, the work offers a positive vision of the earth as a place of mystery, of beauty, of beauty as a part of the earths diversity. This is an important aspect of our visual perception, of our daily experience of the world. This is the essence of beauty: it is not an imposed form, but one that is experienced directly.As a result of this process, the viewer is invited to experience the surface, the stone, as an area of vibration. This is the beauty of the physical fact, of the fact of being.

Result #3

is a lofty and inviting concept that succeeds in its boldness and the fact that it is embodied in an art that seems to be experienced as an absolute gift.The work also addresses our experiences of time. We are taught that time is a gift, but we are told that it is only possible to experience it as something extraordinary. The act of placing the stone, in such a way as to create a direct relationship between the viewer and the work, was thus also an act of surrender. It was not only a gesture of appreciation for the human intervention but also a gesture of surrender to the world and to other people. In this respect, the stone is a humanist symbol, a symbol of individualism, and of the fragility of human presence in a world that often makes us feel we have no other life, that no one can truly understand the seriousness of our actions. In this sense, the work is a commentary on the dehumanizing impact of capitalism and its destruction of all that is beautiful. It is an art of surrender that is also a critique of the world, of the illusion of control, of the belief that the world is our own, and of the fact that we can never really live apart from it.

Result #4

a large colorful jagged stone, taken from an abandoned gold mine in nevada. spectators are invited to touch, interact, or take a piece if they so desire. this work represents human's feeling that they can take from the earth as much as they like with impunity. The whole exhibition is a declaration of the physical presence of the self.The artist's first solo exhibition in Spain was called The Beginning, 1996, and it was the first in this country of an exhibition in which the artist's presence was made to function as a transcendental presence. A sense of individuality that can no longer be doubted was established. This was reflected in the simultaneous presence of two Spanish painters, each of whom was based in Barcelona. The other artists represented in the show were Miguel Angel Rojas and Mariana Castillo. Rojass work, in particular his paintings of the 70s, was characterized by a sense of creativity that could be seen as both optimistic and tragic. The sense of history and the lostness of the past that can be found in his paintings of the 80s is reinforced by the fact that these paintings were taken from the moment when he was just a young man; he was twenty-two. Although Rojass work has not yet been exhibited in Spain, he has in fact been in Spain before. Indeed, this exhibition brought together his paintings from the years 1973–2007, when he was living in Barcelona. It was very fitting that he chose to work with the most prominent Spanish painter, an artist who has been present in both the strongest and most modern positions of the modern Spanish identity. One might even say that he has been present in the most advanced position of the Catalan identity. Rojass paintings are not abstractions but attempts at abstraction, an attempt at abstraction that has always been very subjective, very personal. His paintings express the feeling of seeing something that has never been seen. They seek an absence that has nothing to do with the form of the thing seen. The show also included a number of small, unpainted works, which serve as an antidote to the large canvases. Each piece has its own aura, which can be perceived in the work's various tones.

Result #5

a large colorful jagged stone, taken from an abandoned gold mine in nevada. spectators are invited to touch, interact, or take a piece if they so desire. this work represents human's feeling that they can take from the earth as much as they like with impunity. The bottom line of the piece is a free-floating one: life is made in pieces. At the same time, they are not terribly interested in the unknown. The earth, it seems, is their reality. The colorful stone is a jumble of wild fragments, a pile of rocks, and the rock on the floor is all there. It is a field of possibility. The piece is a simple language of sensory experience, a language in which objects become part of an abstract concept. It is the landscape of the mind that offers the first interpretation of the situation. And it is this perception that carries on the conversation.The rock is the statue of the true, the most human of the forms, the one that is most apparent, and the rock is the site of the event, the place to be and to be seen. It is the place to be, the place to be as it were. That is the place where the other human beings meet. And the other human beings are invited to touch it. They can do so, but it is not a natural act. It is the gesture of an individual. It is a gesture of the self-expression of an individual. It is a gesture of free will. The participants are not offered the chance to be the spectator. They are asked to accept the stones presence, to be the observers. They are asked to be the active part of the sculpture, to be the actors in its meaning. And they are asked to participate in its meaning as well, to participate in its meaning as artists, as in the art they bring into the place where it is intended to be seen. This is the point of the stone. The rock is the mark of a personal intention; it is a mark of the artist's presence, of his presence in the work. It is a mark of the presence of an individual, of a particular person. It is a mark of the individual's place, of the individual's place in the world.