Contexto y proposito de la obra: Titulo: Velocidad de lanchas motoras Autora: Benedetta Cappa

Result #1

Contexto y proposito de la obra: Titulo: Velocidad de lanchas motoras Autora: Benedetta Cappa In the second half of the twentieth century, the tools of scientific investigation—chemical analysis, microscopy, electron microscopy, and X-rays—were applied to nature and to the human body. By the end of the century, however, the tools were being used to study the human body in a new way, and to produce images that looked like the remains of human bodies. The new image-maker, the artist, was the ideal subject for such scientific investigations. The first work in this show, titled Autora: Biología de los animales (Biological images: anatomical images), was created by the artist in collaboration with the chemist Alberto T. Paolini. It consists of a group of multicolored photographic images taken in Italy and then reproduced in a wide range of media, from oil paint to silk, and from cloth to silk. The prints, with their bright colors and saturated tones, often green, red, and orange, are made from photogrammetry, the same technology used to create photographs. The result is an image that appears to be made up of various layers of photogrammetry. The result is an image that looks like the remains of a human body.The other works in this show are made of printed fabrics and silk and based on a number of photographs from the mid-twentieth century. In some of the works, the fabrics have been dyed in various colors, such as yellow, green, and orange. In others, the fabrics are in the same color as the photographic images. In this way, the works refer to the natural world, but also to the human body, which in this century has been widely used for scientific investigations. These works are based on the same technology as those used to make photographs, and on the same materials as those used to produce photographs. The materials used to make the works are not natural, but artificial, or synthetic, and the materials are often made from synthetic fibers, such as silk.

Result #2

Contexto y proposito de la obra: Titulo: Velocidad de lanchas motoras Autora: Benedetta Cappa This exhibition of more than a hundred paintings and drawings, titled Autora: Benedetta Cappalanguage, 2010, was the first in a series of upcoming shows of Cappas work. It is a collaboration between Cappas daughter, the artist, and a gallery in Cancun, Mexico, called Autora. The show included works from the series Autora: Benedetta Cappalanguage (Autora: Benedetta Cappalanguage), 2007–2008, as well as works from the series Autora: Benedetta Cappalanguage (Autora: Benedetta Cappalanguage), 2007–2008. In this way, the exhibition is also a continuation of the artists ongoing series of drawings from 2008, which are currently on display in the Centro de Investigaciones Culturáficas in Cuernavaca, Mexico.The show included many pieces from the series Autora: Benedetta Cappalanguage (Autora: Benedetta Cappalanguage), 2007–2008. The series includes the title Autora: Benedetta Cappalanguage (Autora: Benedetta Cappalanguage), 2007–2008. These works, some of which were created specifically for this exhibition, show the artists signature lines, abbreviations, and colors, which are drawn in pencil on paper and displayed on canvas. The artist draws her lines and lines up, sometimes using just one hand, but more often with two or three. Cappas lines are often made of overlapping, sometimes overlapping-like, or irregularly shaped, geometric shapes. Some of the lines are more than two or three inches wide; others are only a few inches wide. The lines are often drawn in black or white ink on white paper or on cardboard, but sometimes on metal, such as with the metal-on-metal drawings of the series Autora: Autora: Benedetta Cappalanguage (Autora: Autora: Benedetta Cappalanguage), 2007–2008.

Result #3

Contexto y proposito de la obra: Titulo: Velocidad de lanchas motoras Autora: Benedetta Cappa There is a certain charm to the way in which the title of this exhibition, La mejor de la obra, la deste (The law of the earth, the law of the earth, the destinies), refers to the fact that the work is part of the history of the earth. The title was first used by the poet and writer Alfredo Manríquez de Cervantes in the 1590s, when he was thinking of a series of poems he would write in the wake of the fall of the empire of Castile, which had been under the rule of the Spanish crown. Cervantes imagined the law of the earth, in other words, as a measure of the omnipresence of the law of nature, and it is this law, in fact, that the poet presented in the form of a monument.The exhibition opened with a group of drawings that evoked the ancient laws of nature, as well as those of mathematics and geometry. The drawings were executed in black ink on wooden bases, and the outlines of the figures were drawn in pencil. The drawings were arranged on the walls, and the main part of the exhibition was devoted to a series of small, black-and-white paintings, all dated 1997, which were based on the same drawing but contained various technical innovations, such as the use of graphite and oil paint. In each of the paintings, the figures were depicted in a surrealist style, and the color was applied in a more intense, saturated, and saturated-looking manner. The colors were then applied to a white surface, creating an effect that seemed to be made from the skin of the earth.The drawings were also accompanied by two sculptures, La nada del cara (The one before the sky), and La nada del cara (The one before the sky), both 1997, made from wood.

Result #4

Contexto y proposito de la obra: Titulo: Velocidad de lanchas motoras Autora: Benedetta Cappa The Art of the Mass: The Works of the Artist of the Decade, a museum exhibition organized by the Museu de Arte Moderna de Barcelona, presents more than 300 works dating from the 1970s to the present, as well as works by more than one hundred artists. The show is divided into two sections: the first presents works by the artists who, with the help of their art-historical forebears, have been identified as belonging to the postmodern era of the 70s and the second, by those artists who have been identified as belonging to the postmodern era of the 80s. The first part of the show is a comprehensive survey of the works of the artists and artists associated with the Noura de São Paulo, the art movement of the period between the 60s and the 70s. The second part of the show, organized by the Museu de Arte Moderna de Barcelona, presents works by artists who, with the help of their art-historical forebears, have been identified as belonging to the postmodern era of the 70s. In a statement accompanying the show, the curator, Arturo Fernández-Martínez, explains: This exhibition is a collective effort to trace the emergence of postmodernity, to reconstruct the postmodernist discourse that underlies the development of the art of the 70s, to examine the postmodernist context that gave rise to the postmodern, and to analyze the historical connections between the art of the 70s and the art of the 80s. The museum catalogue is divided into two parts, which are based on a survey of works by artists who were active in the 70s and 80s. The first part of the show is a comprehensive survey of the works of the artists and artists associated with the Noura de São Paulo, the art movement of the period between the 60s and the 70s.

Result #5

Contexto y proposito de la obra: Titulo: Velocidad de lanchas motoras Autora: Benedetta Cappa The works in this show are all from the series Autora: Benedetta Cappadzes notebooks. These are small, white, and black-and-white photographs that document the artists movements and movements of her body. The drawings and collages in the show are also autoróstic. Autoróstic, as a kind of pictorial model, can be traced back to the early 15th century, when the Portuguese artist Pedro da Conceação developed a type of notebook with a grid and a grid of pages. The grid, which he called da Conceação, is the most important feature of the modern scientific method, which attempts to correlate data from different observations and experiments in order to produce a new theory of the world. However, the grid itself is not the only thing that the scientific method can be used to create. The scientific method can also be used to create a new kind of object. Cappadzes notebooks, on the contrary, are objects that can be seen and traced. The drawings in the series Autora: Benedetta Cappadzes are also objects that can be seen and traced. The drawings are printed on canvas, and the objects are traced on canvas, so that the drawings and objects, one after another, are grouped into a single group. The objects are then exhibited together in a single, central space. The objects are shown to be part of a single group. This show is the first of two exhibitions that will be on view in the same space. The second space, called the Autoróstica, is located in the city of Sao Paulo. The exhibition is organized by the curator of the previous show, Edson Oliveira, and the gallery is composed of ten rooms. The exhibition is divided into three parts: a central room, a side room, and a third space.