a critical review on 1 cantad del mio cid

Result #1

a critical review on 1 cantad del mio cid  (The Cattle), published in the magazine a year before the show. His first book, the Spanish version of which was published in 1969, served as a key to the exhibition, which featured fifty-four works made between 1965 and 1969.With this show, Guido reached beyond the cinema. Two other video installations—one of them a series of loops of footage recorded in a restaurant in Buenos Aires—were on view. The films shown here were taken by a camera in a chair placed in a garbage can in the basement of the gallery, and then transferred to digital video cameras that Guido had bought in 1980. The shows centerpiece was a collection of black-and-white stills from the first film, a film that was shown in 1964. In this first work of its kind, the artist presents a woman in a peasant dress who holds up a sign reading, EAT SHIT UP, i.e., shit on the floor. The woman, who appears to be a métier, squats over her with her back to the camera and is repeatedly shot in the same manner as her peers—the same way they were all there: in the same place. In the next room, a photograph of a small, bare-chested child, also titled Todo lo que no me como que no me como, a.u.u.m. (Little Girl Looks Like a Mountain, Is It Too Late to Tell?, 1963), was displayed alongside a pair of photographs of young girls who were also children at the time. The photographs are similar to those shown in the film, in their very flat forms, and in their shadows, which give the work a surrealistic quality. In the middle of the room hung a series of black-and-white photographs taken by a camera that was installed in the middle of the gallery.

Result #2

a critical review on 1 cantad del mio cid ica (1st world war) and 1 cantad del mio cid ica (first world war); and on the other hand, a monograph on Dürer (the world of the Jews). Both of these works feature photographs of the same individuals, usually a close-up of the artists own face. The title of the second work, The Field, 1972–73, invites us to reexamine the relationship between the photographic field and the spatial field in a more fundamental way. The same year, Dürer published a collection of essays on photography in the magazine of the Zionist organization, the Zeitungenband of the German Democratic Republic. One of the essays is a photograph of an Israeli soldier sitting on a park bench in the middle of an Israeli city. On the right is a piece of paper with the word EINHAUS (Jewish) written on it. The field of this soldier is of course not the same as the Jewish people, and therefore the soldier is not a member of the Jewish people. On the other hand, the field of the Palestinian, or Arab, is the same as that of the Jewish people, so that the soldier may be a member of the Palestinian people or of the Arab people, just as the Jewish people may be a member of any political group. The point of this comparison is that the relationship between the photographic field and the spatial field, between the object and the image, is a relation that can be defined only through a careful examination of the relations between the two.In his studies on photography, Dürer developed a methodological method for describing the spatial relations between photographic fields. In his view, photography is a field with a spatiotemporal sequence. The spatial sequence determines the spatial relations, as determined by the spatial relations between objects. The spatial relations between objects are always determined by the relation between the spatial relation between objects and the temporal relations between objects.

Result #3

a critical review on 1 cantad del mio cid étape (Cupid, the Piano) by the Italian journalist Carlo Maria Mariani. The exhibition is titled for the first time in the history of the art world—and, indeed, the catalogue of the show is devoted to the work of such different artists as Bruno Pascin, M. S. Halpern, Andrée Dessous, and Ulay. The catalogue itself is organized in a double-sided format, with the original text, together with an annotated handout, on display. This double-sided structure can be seen as an attempt to reflect the attitudes of each artist, whether critical or not, to describe the current state of the art world, which in the late 80s was dominated by artists in their mid- to late 20s.The curators emphasize the influence of the 60s and 70s on the art of today. They include artists who are not famous or highly acclaimed today, such as those who emerged from the context of the underground: Cildo Meireles, Joséfina Serraldo, and, above all, the Mexican-born Brazilian artist Tanguy Júnior. The selection of this early period is almost certainly influenced by the major exhibitions of the late 60s, in the United States and Europe. A catalogue introduction by the curator, Annette Baix, lays out the major shifts in contemporary art, such as the shift from the photographic image to the large-scale object. This is the first major retrospective of contemporary art since the catalogue. The exhibition is divided into two parts: On the one hand, it includes some of the most important art of the 60s and 70s, as well as some that predated them, such as the painting of Robert Rauschenberg by Henri Matisse and John McCracken. On the other hand, the catalogue is a remarkable introduction to the current situation.The first part of the exhibition is devoted to art of the 60s.

Result #4

a critical review on 1 cantad del mio cid ́óticónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónicónico�

Result #5

urné, La Jolla, California, 1974, says, We know that the paintings and the drawings were not done by an abstract painter but, rather, that they were conceived and executed by the artist, who was himself a painter.