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

Result #1

Resena de la pelicula 12 horas para el fin de el mundo (The Hour of Death is a Mystery 12 Chapters for the Real Real World), 2019, displays both signature and lowercase letters, but theres also an asterisk below. The Latin allude to uncertainty, which seems to be a sense of the part-dead and the whole alive. In her paintings and collages, the artist traces a past, but also places a metaphorical future.In a video, El instituto de los árboles (Hour of Electricity), 2019, produced in collaboration with the Quarten dArt Contemporani de Barcelona, the artist examines a maze constructed of collaged electric cables, driven by an electromagnet, that extend from the ceiling in the direction of the viewer. The works title refers to an ancient Greek architecture—the labyrinth—that was found in northern Greece in the fourth century BC and that is the oldest surviving example of building in North America. Hanging on the ceiling are lights that read ANTIQUES' (an abbreviation of the Latin antiaquilibrium). The collages on the wall recall the ghostly hands of medieval painters. As the light dims, the objects that made up the sculptures begin to emerge. The figures are made of wax and encrust their surfaces with layers of painted pigment, with slight movements and curlicuing crevices. The most striking work in the show, La peda de la el posición del lengua (The Spear of the World), 2019, is a three-part piece in which she manipulates wax so that a compass becomes a curved spear. This diagram of the direction of the earth and sky, a modern globe and a spiral, implies the spiral that will be revealed in time. An electric cord snatches the light, producing an oscillation that is profound, a momentary vibration. In a more conventional sense, the sculptures perform a similar function. Their form embodies the earth.

Result #2

Resena de la pelicula 12 horas para el fin de el mundo (For the Heart of the World 12 Horas in the World Before the Sun), as they were formally titled. These paintings, for which they were made, are eminently formal, with an unearthly quality that is at once ancient and modern. The coldly concrete surfaces seem to float, without any support, without the aid of gravity. The formlessness of the materials—weathered wood, plaster, or acrylic—consistently seems to suggest a hollow, isolated thing, an organic monolith. Such a practice (as well as the simplicity of the textures) evokes Goya and Roussel, who were both attracted to organic forms, and so on.The art of this century has been a great deal about reduction, and it is as if these paintings, by virtue of the amount of detail, detail as much as of its form, were shrunken and shrunken again. In fact, the artist, thanks to his organic experiments and his investigation of nature, has created a vast array of models to test human designs. In the past, natural forms have been reduced to such a degree that they will soon be lost to memory, and the only way to avoid memory is to create something new. Dele mavra de una panorama del quena nada (Concerning the Panoramic Universe), 2000, for example, is a large blue-green canvas, the same size as the world itself, but twenty times larger. The canvas is filled with charts on which are written, some more dramatic than others, some more melancholy than others. With this list of possible human designs, the artist has extended the natural object to the most esoteric of modern forms, to the most improbable. This is exactly the kind of thinking that brings us to the heart of modernity.

Result #3

Resena de la pelicula 12 horas para el fin de el mundo (Collection of twenty paintings from the past year), which he organized in collaboration with his cousin Carlos Feliciano, is a de facto set of thirty-five abstract canvases, most dating from 1989 to 2016. The works that have been abandoned and on display are displayed along with objects related to the curators perception of the artists life. The exhibition also includes video essays by some of the artists, such as Cristina Bellandri, and their families. Since the early 1990s, when he was diagnosed with breast cancer, Gauguin has been constantly reworking his paintings. The artist has often gone through phases in which he makes little to no progress. On one occasion, in 1997, he only made a single improvement in his work, albeit in a period of severe pain and numbness. It is an astonishing feat, as Gauguin was severely ill for the first few months of his treatment, and he died in 2003, at the age of forty-four.The paintings in the exhibition were based on the nearly universal tropes of Minimalist abstraction, and they echo the dematerialized visual models of modernism—now adapted for the digital age—as well as their fictional, mythical, and architectural contexts. In an eerie but brilliant sequence of black-and-white paintings from the 50s and 60s, Gauguin shows paintings hanging on the wall with a painterly vision that evokes the art of the modern past. He regularly places the paintings on display, and his own work is on display in the same way. In the late 50s and early 60s, Gauguin developed a style that was as painterly as that of the Minimalists, but in no case was he a connoisseur of their discipline. Rather, he simply painted.

Result #4

Resena de la pelicula 12 horas para el fin de el mundo. El estado del curio (The Making of the World), 2001, is a unit of twelve bricks assembled in a certain order, the inside of which is adorned with a cross, which points toward an unexplained origin. The first room of the gallery is devoted to two structural pieces—the first, a rectangular sculpture made of the same materials as the three-dimensional elements—that rest on the floor in front of them, and on a narrow, recessed wall. El estado del curio, an irregular structure constructed in a manner similar to those of some of the walls in the gallery, has a given shape and a certain volume.The space of the gallery and the room called bedroom contain a large collection of paintings. La última, 1962–1986, a number of objects made from black silk, a material used in the original production of the Venetian painting La última, was exhibited here. These artworks were then transported to the museum; the silk, which was not used for any other purpose but to produce the painting, was placed on a shelf in the middle of the room. These paintings are especially distinguished by the ornamental compositions and the idea of classical forms, which make reference to the motifs of traditional art. A large group of eight small paintings also included in the exhibition, which show the black-and-white techniques used in the design of the surface of these works. The silver-gray picture plane is also represented by a gold-brown relief, and some small square or rectangular canvases are covered with gold paint. These works, along with several other things, provide the setting for another intermedia installation: a group of drawings from the artists notebooks, which are filled with internal composition and internal color. In one of the most charming and successful works in the exhibition, the visualization of the internal structure of the shape of the human form is manifested with a variety of levels of color and shapes.

Result #5

Resena de la pelicula 12 horas para el fin de el mundo (Striped Night Slighted Floor), 1970, led to the formation of a new kind of sculpture: a mundane object that combines three of the hallmarks of Minimalism: a free-floating solid object, a free-floating still life, and a piece of wallboard. The piece was built with an idea of space that is still in place today—a kind of space-filled bathroom. In the early 60s, when Minimalism began, the ideas and objects that characterized Minimalism were subjected to exhaustive experiments and demonstrations. Six years after the end of the movement, the idea of space had become so ingrained in Minimalist thought that its continuation was impossible to deny.This exhibition, curated by Isabelle Mazzeo, included three distinct epochs of Minimalism: from their very beginning, through the late 60s, through the 70s, when Minimalism gained a more static and systematic identity. The theme of space was associated with Minimalism, but the notion of space as a more or less unitary entity was alien to Minimalism. To the artists of Minimalism, space was also a container for organic matter, and this was the true basis of Minimalism. Although the objects in this exhibition were based on concrete objects, they were also based on the idea of the glass-and-wood shelf. A sculpture of glass, printed with the words terra incognita (of time), was, like many of the pieces in the exhibition, a delicate object whose appeal to our memory was never explained. The glass-and-wood works belong to a younger generation, some of whom have followed Minimalism into other areas of art, and are producing sculpture that is more rich than Minimalist.In Minimalism, space was found in materials like glass, steel, aluminum, wood, and chalk. The concrete works of the 60s and 70s were based on glass.