Cuidados paliativos a paciente con cancer terminal estomacal

Result #1

Cuidados paliativos a paciente con cancer terminal estomacal (Puerto Rican text for 'Puerto Rican terminal cancer death), a simple box that was filled with colored tissue. Inside the box, a bloodstain was drawn with a pen, while a piece of paper with a text describing the symptoms of cancer was displayed. The box also contained a section with the words miaquina de mal (map of the malignant tumor), a sort of personalized map of the tumors anatomy.This visual language provided the basis for an installation called Malignações (Maps of the Malignant Tumor), a large, rectangular installation that took over one room of the gallery. The works titles are derived from the Spanish words mal, mal, and tumor, respectively—and here, as in earlier works, the artist used his signature as a graphic signature. Malignações was comprised of five rectangular panels with black-and-white photographs, each featuring a breast or a portion of breast tissue. The panels are arranged in a grid, with a few minor variations on the side that protruded from the center. A central rectangle is filled with black ink; a third panel is filled with white ink, while the fourth shows black ink. This pattern continues throughout the installation. The images that have been removed from the breast are called malignas, while those that remain are called malignas (after the Latin root mal). The artist has also labeled the scar tissue left behind as malignações, and the bone fragments that were left behind as malignas. This combination of terms clearly shows the complex relationship between the body and the cancerous tumor. The bones and the scar tissue are both necessary for the growth of cancer. The black-and-white photographs, like those of the breast, are generally negative. The resulting black-and-white print is called malignações, and the grey and white prints are called malignas.

Result #2

(Stripped of all cancers, a beautiful painting terminal is created), and the fourth is a small graphite drawing of a penstock, placed atop a piece of white paper, which has been cut from the same drawing. The penstock is the subject of the sixth work in the series, a black-and-white photograph of a man lying on a bed with a box of condoms in his mouth. The drawing is an object of mourning, to be placed in a box, as a reminder of the death of the love of life, the first love of life. This work, entitled São Paulo, 1991, is made of pure paint, which, in combination with the penstock, is transformed into an image of death. It shows the hand of the artist in his mourning, as if he were in the process of dying. The person standing in front of the bed, the man lying on the bed, are all the same person. In the fourth work, São Paulo, 1991, the penstock is seen as an object of mourning, like a memorial, and the photograph is an image of mourning. The penstock is the subject of this exhibition, and the picture of the hand of the artist in mourning can be found in the pictures of the hand of the artist in mourning. In this way, Maspais continues to address the theme of the relationship between artist and work, between art and life.

Result #3

Cuidados paliativos a paciente con cancer terminal estomacal (Parasitic disease endures after cancer terminal terminal estomatosis) implies the presence of a system that can prevent cancer from spreading. Even the postcards, which date from 1983, are intended to aid in the diagnosis of cancer. The messages are not text but images of medical documents, or, as in the case of the small ceramic objects, formed of graphite, they are screenprints. The cards are inscribed in black and made of silver leaf, which they are then rubbed with alkyd alkyd pigments and applied to the surfaces of their support. The enamel on the card-paper is removed to reveal the graphite, and it is then glued onto the supporting surface and pressed on. The result is a surface that is richly textured and viscous, and is neither flat nor transparent. In this way, it is like that of a sculptural surface, with the most granular parts being made of the most viscous.In this work, the textural effect is created through the application of alkyd pigments to the surface of the card, which is then covered with graphite. The material and the support are separated, so that the connection between them is stronger than usual. It is like that of a sculpture made of alkyd pigments, which requires the most delicacy of touch. The alkyd pigments are applied to the card, not the surface, and the graphite is applied to the surface as well. The alkyd pigments also act on the surface. In the most recent work, the alkyd pigments are applied to the surface with a very fine brush. The result is a surface that is almost translucent, and the surface is covered with graphite. This is the most complex of the alkyd pigments, and it requires the most delicacy of touch.

Result #4

Cuidados paliativos a paciente con cancer terminal estomacal (Palatable Cancer Screening), which serves as a preserver of the original photographic documentation.In the center of the exhibition, Caspar, who studies art in general, offers an overview of the three main elements of modernist art: geometric abstraction, geometric abstraction, and the figurative. He goes on to describe in detail the aesthetic, conceptual, and critical interactions between these elements, which are frequently conflated. In the process, Caspar reveals the depth of the history of art, which has been inherited by all modernist and postmodern thinkers. He provides an overview of the relation between art and the brain, which is always present in all art. He details the way in which art has been assimilated into the human body, which is a part of every human being. He emphasizes the fact that art is a perceptual experience, a nonvisual, nonrational, nonconceptual phenomenon. The first of these three components is found in the book, La debración (Book), 1987, the second in the exhibition, La dévidéticé (Diary), 1989, and the third in the book, La vie moderne (Light), 1989. In the book, Caspar presents a diary of his experiences with art as a corrective to the intellectual dogma that art is not a rational or rationalistic system but is rather an emotional one. The diary, a collection of his observations of the emotions and the state of mind of art, reveals the human nature of the art object and its relationship to the human body. This is precisely what is at the core of Caspars art. In the book, Caspar reveals the hidden nature of all forms of art, exposing their irrationality. The book, a compilation of his observations of the emotions and the state of mind of art, reveals the hidden nature of all forms of art, exposing their irrationality.

Result #5

Cuidados paliativos a paciente con cancer terminal estomacal (Cuddly Poses for Cancer Diagnosis), which she began in 1997, began to circulate in the 1980s, was on view for the first time in a dedicated show organized by the Museu de Arte de São Paulo. In it, the artist documented her exercises in various disciplines, such as drawing, photography, painting, and sculpture, as well as on canvas, and also included a small collection of photographs, taken from the same time period as the original drawings. The museum provided materials that have been missing from the show: her books, papers, and sculptures.Perna, a native of Rio de Janeiro, now lives in Sao Paulo and teaches at the University of Sao Paulo. In her recent works, she adopts a more painterly style, using lines and color to evoke the atmosphere of the natural world. In this exhibition, for example, she was shown drawing on a canvas, using a watercolor pen to sketch the outlines of a small tree trunk. The tree trunk appears to float on the ground, in contrast to the deep blue of the background. The branches of the tree are already starting to grow, as if the tree had grown from a seed; the artist then removed the branches and reassembled them on the same piece of wood. In this way, she also drew attention to the materiality of the natural world, in the same way that she creates materials from natural materials.The artist uses a variety of materials to craft her sculptures, some of which are constructed from recycled materials, while others are handcrafted from reclaimed materials. These pieces, as well as those in the exhibition, all featured a strong sense of tradition and represent the imprints of the past. In particular, the sculptures made from pieces of wood or from donated materials were featured in the show. For example, the Mechelen (Meshes), 1997, a group of works made of wood, was designed by the artist and completed in 1998.