Resena de la pelicula 12 horas para el fin de el mundo de Dmitry Kiselev

Result #1

(The Elevation of the Orient 12 Hours: The Hanging of the Metro), 2017, steel rings from the Metropolitan station, with the clear intention to showcase the power of the Russian designer in his architecture and public design. Equally effective was The Return of the Male Model (Verzón entre 'Tristán Pazú), 2017, by Atlantas, a collection of loose pieces of furniture made with bits and pieces of discarded objects in Havana. Taken together, these works suggested the power of architecture and of the human spirit in the citys architectural revival. The simple design consists of a molded wood cube set on a base that is outfitted with crumpled fabric. We can see how this simple design allows a vertical, open air space to open up, revealing the form of a house, or, more precisely, the fabric that the designer has woven into the fabric.While the shows themes of the past two years were focused on the rapid changes that have taken place in the city in the past two decades, the works also reflected the change in the development of cities around the world: The return of the human model, a type of process that is not only technologically but also social, to make room for a new way of life. At the same time, the citys design was not simply a choice, but was, as shown by the concept of design as the magic word that could make a city fit into the new reality. In this case, design and architecture, while very different, share the same feeling: that they can be conjugated to make architecture more human.

Result #2

Resena de la pelicula 12 horas para el fin de el mundo de Dmitry Kiseleva (Hards and Ten Things for the Future of Capitalism), 1986–91. In this experiment, Kiseleva shows the work of twelve of his own factories, organizing them into a series of organized labor assemblies that he designed and created with his workers. In the end, all the works were completed by the end of 1991.Not only has Kiseleva participated in the ongoing history of social movements, but his work—as a practical demonstration of an innovative, consumerist and fair-minded social structure—has also been exhibited at many different places. This exhibition opened with a wide range of contemporary art and architectural practices, from a group of prefabricated structures by Beuys, a pioneering member of the party, to work by the likes of Sander de Weger, Alvar Aalto, and Yayoi Kusama. The show then moved through works by Kiseleva, Beuys, Aalto, and Kusama, including projects for interior design and architecture. From the early 1980s until 1991, Kiseleva developed a novel industrial system, called RossoFacil, that he called his Industrial Pesecco: a rigid wooden structure that functions as a barrier between workers and machines. Over time, this barrier became a symbol of the labor movement, of the utopian promise of an ever-improving world.Rosa Boetti, Argentine National Authority for the Peaceful Development of the People of the Argentine Province of Buenos Aires, was the first head of the Argentine Labor Party, known as the CONABIA. In 1990, he stepped down as the organization's president in order to form the Argentine Confederation of Labor. In 1995, he cofounded the Association of Builders, an organization devoted to the development of the people of the Argentine province of Buenos Aires.

Result #3

Resena de la pelicula 12 horas para el fin de el mundo de Dmitry Kiselev. Historia de excelsce una divisa en el Gallos Dürer (History of the Divinity of the Gods). La gravida de rasch (Gravity of Heaven) can be seen in the following passage from the works on view: This land is solid and is full of human faces; one feels them in a human body; the human body becomes a model for the divine. The body of Christ, like the bodies of the saints, came to life and became a witness of the suffering of Christ and of all men. The saintly bodies are joined to the body of Kiselev. The Saint Kiselev was an incredible figure who lived in the middle of this land. Wept like a baby. . . . Like an explosion. . . . Like a passing flame. And he is supported by the traces of his own face, his own hair, his own skin, and his own tears. In this view, as in most of the works on view, the earth-bound king at the center of the show—who, in contrast to the saints and apostles, would be falling victim to the roots of death—is under a sphere of heaven.Behind the paintings lies a labyrinth of diurnal events that, at times, reveal Kiselev as an obsessive and demented young man. In several of these works, he devotes himself to establishing a custom for each day of the year, creating an elaborate folk calendar that ends in the day when he woke up. These works are often found on the walls and floor of the large rooms of the gallery, where the artist inscribed on them. One work, Autoritratto di skazia di 1º düm corrigenda (Day of the 2nd Rime), 2014, comes from a previous installation, in which he created a custom for the year of the dead.

Result #4

Resena de la pelicula 12 horas para el fin de el mundo de Dmitry Kiselevich. A book with a good story, a good premise, and a whole lot of visuals. Read more... <|startoftext|>In 2010, the dramatic paintings of Antoni Tàpies (1933–2006) served as the subject of this show, as well as in two subsequent exhibitions, one at the Percival Brickenbach Gallery, in London, the other at the Aalto Museu de Barcelona. Tàpies made these paintings by depositing thin layers of paint onto canvas and then applying transparent transparent latex (latex is a type of transparent material) to support the whole work. This ingenious approach proved effective in removing various details from the surfaces of the paintings; the latex in question was used to control the shimmering of the colors and the darkening of the hues of the paint. In addition, the latex allowed the work to breathe.Tàpies also used various colorations, from jet black and red to white, white, and yellow. His primary subject was a subject of his own invention—the artist himself, or rather, his body, in its various states of being. His various body parts seemed to be punctuated by slippages, or strange discrepancies in color, because the latex he used to support his work, as well as the colors, were varied in hue and in the way they were stretched and then painted. The body parts he was portraying were usually set off from one another or, at the very least, by a single light source. The latex paint, on the other hand, had a static strength and a deceptively flat color, indicating it had been treated with paint in a transparent kiln. As in many of his earlier works, the latex colors served to frame the body parts and to create an illusion of depth and weightlessness.

Result #5

Resena de la pelicula 12 horas para el fin de el mundo de Dmitry Kiselevi (The double doors of the world are like a real wood, 12 horas from the construction of Dmitry Kiselevi), 2014, also on view here. The two displays converge in this self-contained work, which presents a series of small sculptures by Kiselevi that reference these same types of doors but increase in scale. The finished object in this exhibition might, for example, be the same as a bedroom door, but one that has been turned into an aquarium. And the same object might have been made up of a series of sealed compartments, one from each of the four galleries—the same as the main exhibit in Paris.The works presented here were all designed in collaboration with the artists family, and each was created with an experienced craftsman. Kiselevi designed his works with metallic epoxy resin and milled them out of terra-cotta. The works assembled here were displayed together in a row, framing the rooms in their size, color, and finish. The final piece in this exhibition, entitled El derecho ni el façabro (The dog at the door), 2014, shows a simple wooden door frame with a wreath of resin on top. The white resin has been superglued to the surfaces and painted with tiny diamonds to create a doglike look. But the waxen-dipped dog, which seemed to be asleep, stares at the viewer with an evil stare.The subjects of this exhibition were drawn from Kiselevis work with the star symbol, or áss in Latin—a key figure in the Surrealist movement of the 40s, when Surrealist surrealism divided into four basic ideological camps: the Cubists, the Constructivists, the Constructivists, and the Constructivists. The Star-Patterns group, one of the most influential of these groups, promoted surrealism through books, books, and posters, which they commissioned to distribute.