Valorizamos a amizade sincera, o respeito e a boa disposição (aqui http://gg.gg/D4Casal já tem 50% de certeza que vai funcionar) Nós não fumamos ou usamos drogas Swing sim, traição e mentirosos NUNCA! Não somos melhores que ninguém e sempre amamos transparência e objetividade!! Abraços a todos!

Result #1

potentially—was that the one who talked his way into the museum of modern art?—Paulo Marroquin

Result #2

Valorizamos a amizade sincera, o respeito e a boa disposição (aqui http://gg.gg/D4Casal já tem 50% de certeza que vai funcionar) Nós não fumamos ou usamos drogas Swing sim, traição e mentirosos NUNCA! Não somos melhores que ninguém e sempre amamos transparência e objetividade!! Abraços a todos! (Go on, dance!), 2000–11, a new installation by Miranda July, takes its title from a line from a 1970 compilation of film and performance by the avant-garde Brazilian band UnConquer, and is part of the group Plásticas (The Fray Brothers). The installation features films by Alfred Hitchcock, Mariko Mori, and Oliver Nicks (who, like July, is a member of UnConquer) and is part of a larger installation that also includes a ceramic sculpture and photographs by Daniele Plesset. Miranda July also collaborates with other artists and found-object designers to create a book, Miséciones, 2009–11, which includes photos of the band and a video by the Brazilian collective K-SHIT.The videos are interspersed with a variety of found objects, including embroidered shoes, costumes, and paintings by young women from the Brazilian city of Salvador. They are on display in a wooden cabinet, one of a kind used in the 1940s by the museum at the Centro Cultural Recoleta in Salvador. In this case, the cabinet is a vast empty space, made up of columns, shelves, and doors that are reminiscent of old-fashioned radios. The work links two strands of Brazilian art: the 80s appropriation of modernist patterns and architecture, and the current artistic emphasis on the female body. The video installation, which was shot in both Salvador and New York, seems to comment on the fact that both cities have had a lot of negative space for art, with the city having, in the decades since the dissolution of the sociocultural equilibrium, been trying to consolidate its positions as a counterpower to the rest of the world.The video features footage of the band and Miranda gazing at a series of toys that resemble a scene from a film. They include batons, rubber bats, and a toy gun.

Result #3

Valorizamos a amizade sincera, o respeito e a boa disposição (aqui http://gg.gg/D4Casal já tem 50% de certeza que vai funcionar) Nós não fumamos ou usamos drogas Swing sim, traição e mentirosos NUNCA! Não somos melhores que ninguém e sempre amamos transparência e objetividade!! Abraços a todos! especially!Awful things have happened to me in the past 20 years: the greatest epidemic of violent abuse of women; the discovery of the jar; the death of my wife at the age of 44. I have been extremely frightened by these terrible circumstances, by the violence with which this man had treated me, and by the fact that I could not find the courage to walk in front of his painting anymore, which had been destroyed by a large painting falling down in the middle of the floor of the gallery. I could only do what I could to preserve it, to a degree unimaginable in those days. Then, from the age of 4, I became conscious of my "immateriality; I was still affected by the thought of being considered a thing in space and time, a thing of great importance, a forbidden substance, and of course the painting. I could not paint. I did not want to paint anything at all. This was not because I feared to be guilty of having done something harmful, or because I was afraid that the man who had abused me would think that I was doing something dangerous. I did not want to paint because it was essential to my psyche. But the fear was not the same as the fear of painting, and I did not want to go into a stage of confusion or confusion myself. I wanted to paint as he had done. That is how I decided, and how I stopped doing it.But painting is not the same as being alive, and this is what prevented me from going through with the painting. The fear of painting was, above all, the fear of a kind of imaginary painting—that of not being able to pass through the maze of esthetics. In the end, the fear came to an end: the man who had emotionally and physically abused me gave up his painting and left the gallery, leaving behind a series of empty signs and fragments.

Result #4

Valorizamos a amizade sincera, o respeito e a boa disposição (aqui http://gg.gg/D4Casal já tem 50% de certeza que vai funcionar) Nós não fumamos ou usamos drogas Swing sim, traição e mentirosos NUNCA! Não somos melhores que ninguém e sempre amamos transparência e objetividade!! Abraços a todos! (Myths) & de sentiras com cocídade (Politically Underground Photography), 1969, photosynthesized ink on paper, 6 x 9 x 9. New Mexico art historian/critic/art critic Marisol Martins first solo exhibition in her adopted home state, Santa Cecília, was dominated by works from the 1970s and early 80s, when she was still a graduate student at Yale University in New Haven, Connecticut. From 1972 to 1985, she worked to confirm her statehood by taking pictures and creating a brief but influential history of social actions by activists, artists, and writers. In the process, she produced work that reflects the cultural climate of that period and continues to resonate today. Like much of her other photos, these still lifes, tableaux, and vignettes of intimate moments and family life are decidedly antiestablishment, and the series features a retelling of family stories that document the artists ongoing investigation into her own personal history.Among the best of the group were images of the artists mother and sisters and their friends posed with various women artists of the time; most of them were nonwhite women. In these, Martins identity as an indigenous woman appears to be less an identity of difference than that of similarity and familiarity, suggesting that as a result of her persistent belief that inclusiveness is an essential ingredient of being authentic and that the purpose of making art should be to affirm it.The show contained works on paper and photographs in a variety of formats, many of which were never shown in the museum. All of them have the same subject: the mothers and other female relatives who are the subjects of the photographers work. This shows centerpiece was the four-part series After Sonia: A New Look, 1987–2012, a compendium of archival photographs of her father, taken in the late 80s during a visit to a New Mexico police barracks in which the artist is thought to have been interned.

Result #5

Valorizamos a amizade sincera, o respeito e a boa disposição (aqui http://gg.gg/D4Casal já tem 50% de certeza que vai funcionar) Nós não fumamos ou usamos drogas Swing sim, traição e mentirosos NUNCA! Não somos melhores que ninguém e sempre amamos transparência e objetividade!! Abraços a todos! (Not enough strokes to move mountains!)—its a slogan developed by Manuel Neri in his history of Salvador Dali (1934–45) and his son, Hélio Oiticica, and translated into Portuguese as, Che se vê rezende un paisagem arquitectura de la reina do primo para amnesia!Moreover, there are innumerable works by real, classicized painters whose art, like the late artists, is that of a perpetual incantation and its art-historical embodiment is a branch of the history of abstraction in that it extends into the formal possibilities of the 90s. The symbolic, spatial, and formal associations with these artists is what prompted me to make an exhibition of paintings, drawings, sculpture, and found objects that includes only real artworks. Those works tend to have historical, cultural, and historical precedents, as shown by the fact that several of the artists represented here have been living in the same countries for many years. But what I take from this exhibition is that the artists and artists represented are great artists who have not been widely known in their own countries, and those who use their art to generate awareness and action, whether through symbolic expressions or through their everyday life, are important for us as a society.In addition to these artists, there is a generation of young painters in Brazil whose work has had little visibility. When they were young, they had no art-world connection and were free to make their work in their studios. These works, even if they were crude, were never regarded as art; they were both artists and objects and as such they were most often recognized and invited to perform. Now that the art world is much more advanced, having become more observant, and their work more widely known, they are coming under greater scrutiny and thus their stature has grown. And, as a result, their work is being seen more and more.