sobre la lectura de Estanislao Zuleta

Result #1

sobre la lectura de Estanislao Zuleta  was a collection of 18th-century Spanish texts on the subject of the art of painting, which, as we know, came into existence in the nineteenth century. The exhibition was devoted to paintings by one of the most important figures in the history of the art world, Zuleta. This was a man who, during the period of the Italian Renaissance, taught the first modern art to be seen in the Orient, and he is also one of the most important figures of modern art in Spain. It was because of Zuletas work that the Italian Renaissance in Spain was made up of four major branches: the classical, the graphic, the decorative and the architectural.Zuletas art is based on three principles: that of the classical, on the basis of an ideal representation of the world; the graphic, on the foundation of a familiar and well-defined form; the decorative, on the basis of a familiar and well-defined form; and the architectonic, on the basis of an original design. In each case, the basic elements are the same: a painted or printed image, and the presence of a pattern or patterning. In the classical paintings, the form is a rectangle, with a base of red paint; in the graphic paintings, a red background; in the decorative paintings, a red border; and in the architectural paintings, a red and white border. These are drawn on with a red-and-white paint-surface mixture. The border and the base are not painted with paint, but are simply a surface applied to the ground of the picture plane. The red and white areas are not painted, but are painted with ink, and the paint used to create the pattern is derived from a color found in traditional art. The form is more than just a shape; it is a structural element, an optical shape. In the classical paintings, the form is a rectangular shape; in the graphic paintings, a rectangle with a central point at its center.

Result #2

sobre la lectura de Estanislao Zuleta études poèmes (Classical Texts on Art and Ideas of the World), 1911, is a copy of the original text. The work also contains a series of photographs of zoot suits. The zoot suits are made of silk and handmade, and they are fashioned according to the classical conventions of fashion: they are dressed in patterns and patterns, but are not actually worn as such. The Zeeuvermans are based on the classical conventions of design, but they are not models. In this case, Zuletas posthumously famous zoot suit series, from 1908 to 1912, is based on fashion design patterns from the 60s. In them, he creates a virtual synthesis of formal and aesthetic variations of the designs, the only ones based on the ancient artisans techniques. The result is an allover patterning which includes the stripes of the medieval and modern artisans patterns, and in which the patterns and fabrics are often overlaid with other decorative elements. The patterns are hand-printed, and the hand is used to produce the finishing touches, such as the embroidery and decals. The embroidery is applied in a different manner than that of the hand-printed patterns. It is applied as a mix of paint and thread, as a vermilion-colored liquid, and as a sponge. It is also applied to a sewing machine. The embroidery is a very personal invention, and the embroidery is in fact a very personal invention.It should be noted that the Zeeuvermans never went into production, nor did they make any prints. The Zeeuvermans never intended to be prints. The Zeeuvermans were not making prints, but were printing out of designs which they had made themselves. They were printing out of what they had made themselves. The Zeeuvermans were printing out of the very same designs they had made themselves.

Result #3

sobre la lectura de Estanislao Zuleta étapes (Legible Assessments of the Three Steps of the Path), 1973, which was to have been installed in the form of a pyramid, was to be replaced by a smaller one. In this show, the former works in the form of a small cabinet, the latter a small cabinet—an expression of the divide between the contemporary art objects and the art objects that preceded them.Zuleta made an early intervention in his art, however, with a series of handmade objects that he acquired from various museums, and in the process, he also ended up creating a series of works that are stillborn, yet that date back to the very beginning of their production. His goal was to create an assemblage of objects that would not exist if not for his intervention, so he stuck to the art object, even if it was not his own. The object that he uses to create the assemblage is a box with a lathe—a machine that makes objects into objects. The objects that have been made by the lathe are kept in the form of casts, but the lathe is not used. The objects made by the lathe are stored in the form of casts. The objects made by the lathe are sent to Zuletas workshop, where they are finished by the machine. It is this second type of production that Zuleta calls ou leur société (Social Metamorphosis). In his art, the social and the mechanical are one.In this show, Zuleta brought together work that was made using his own hands, which is often used as a medium. The most interesting pieces here were those that he produced using lathe tools and that were presented in wooden boxes. The wooden boxes are made of wood; they have a polished finish and are made of natural materials. This is the kind of work that Zuleta started with in 1973, the year he received his Ph.D.

Result #4

sobre la lectura de Estanislao Zuleta  (National Assembly of Estanislao Zuleta), which in its current form is being considered by the countrys former chairperson, Leopoldo Pini.The Spanish government has been debating how to create a new national curriculum for artists, designers, writers, musicians, and writers since 2002. In 2010, José Luis Montoro, who had been the national director of the art academy since 2010, presented a proposal for a curriculum in which the education of art would be informed by the theories of science and technology. This concept was adopted in the highly visible Academy of Science and Technology (ASTE) in Madrid, which occupies a large space in the Art Institutes complex. There, the Academy of Design and the Arts, which were both created in the 1990s by the newly created Ministry of Education and Culture, now share a single hall. As the director of the Art Institutes, Zuleta is responsible for the design of the programs curriculum.The museum in Cusco, where the exhibition was also titled Événements, opened its doors to the public. The work in the exhibition, produced by seven of the artists, was a collection of posters, posters, and postcards that contextualized the exhibitions themes and given an overview of the artists work. These were arranged in an orderly sequence that reflected the artists personal interests and also the complex conceptual process that led to the final product. The exhibition brought together a number of works by Zuleta, including some from the past three years. The exhibition was also marked by an aggressive and provocative content. These posters—whose color was designed by Zuleta, the result of collaboration with artists from Barcelona, Paris, and Madrid—were printed on paper and displayed on the walls.

Result #5

sobre la lectura de Estanislao Zuleta (The Lecture on the Eighteenth Century), which Zuleta wrote on the walls of a public space that opened to the public in a renovated portion of the original museum. Zuletas vision of the nineteenth century—a vision that is still as fresh and as vibrant as the present—is one in which many worlds intermingled and many cultures intermingled. In his early work, he shows us the world from his home in Sao Paulo, Brazil, which is depicted from the front, in a sort of artificial landscape, in the gallery. The images on the walls are of different densities, some of the densest, some the least; in them, everything can be seen, and everything can be read. The world of Zuletas world is one in which everything is seen, even the people who are not. Zuletas art is based on a concept of the world, one that is not only a humanistic but also a political one: As the artist puts it, he wants to connect with the world not only through culture but also through politics. The political dimension is particularly evident in the work of the social group São Paulo e São Paulo, which was founded in 1980. This group is composed of members who want to remain independent, and they are not afraid to work with art, to work in a way that is as strong and as vibrant as their own. It is precisely through this fusion of opposites, this resistance to the idealization of the past, that Zuletas art finds its source.The exhibition, which is divided into two parts, also included a number of drawings, some of them highly stylized, some of them almost abstract. In this way, Zuletas art revealed itself to be connected to his personal history and to his experience of his hometown, which is characterized by a fierce sense of history, both personal and historical.