Wedding Bubbles Wording

8, the European Biennial of Contemporary Art in Buenos Aires Tucumán

9th October 2010 to January 9, 2011.


Official Site
www.manifesta8.es / http://www.manifesta.org/


Note related
Salad creative insolence by PABLO LEON for The Country
see note>>> ;>

The Artillery Barracks Murcia, scene of Manifesta 8 - Ilya Rabinovich

_______________________________________
biennial structure
For 100 days, Manifesta 8 will take place in the cities of Murcia and Cartagena in historic buildings, museums, unconventional spaces and various media channels communication. Manifesta 8 is led by three independent curatorial collective, each of which will develop a curatorial project itself as a contribution. The groups are ACAF (Alexandria Contemporary Arts Forum), CPS (Chamber of Public Secrets) and tranzit.org.

ACAF - Alexandria Contemporary Arts Forum, a question arises: How can anyone genuinely touching art project sophisticated random complex web of life? OVERSCORE proposed response (deletions), a multifaceted project that maintains its consistency with the logic of an interface created especially for it and called The Theory of Applied Enigmatics (theory enigmática aplicada).

Comisario: Bassam El Baroni / Comisario asociado: Jeremy Beaudry / Asistente de comisariado: Yolanda Riquelme García.

Artistas: The Action Mill / Gonzalo Ballester / Lene Berg / Michael Paul Britto / Pablo Bronstein / Ergin Çavuşoğlu / Common Culture / Céline Condorelli / Willie Doherty / Juan Downey / Sherif El-Azma / Alfonso Escudero / Simon Fujiwara / Ryan Gander / Melanie Gilligan / Nav Haq / Ann Veronica Janssens / Jeleton / Mahmoud Khaled / Hassan Khan / Irene Lucas & Christoph Euler / Suhail Malik / nOffice / Ana Martínez / Rosell Meseguer / Metahaven / Nástio Mosquito / Charles Mudede / Kenny Muhammad & Adam Carrigan / Lorraine O'Grady / Olivia Plender / Wanda Raimundi-Ortiz / Jasper Rigole / Red 76 / Alexandre Singh / Jean-Marc Superville SOVÁK / Take to the Sea / Mariusz Tarkawian.

CPS - Chamber of Public Secrets. Through the critical use of media production, documentary filmmaking, journalism, art and aesthetic research, the curatorial project of CPS, "THE REST IS HISTORY? (The rest is history?, Deals and question the structures that define today's reality and its history.

curatorial team: Khaled Ramadan & Alfredo Cramerotti / Assistant commissioner: Rian Lozano of Pola.

Artists: AGM / Mounira Al Solh / Abed Anouti / Esref Armagan / The ARTS ASSEMBLY / Michael Baers / Ghassan Ben Jeddou / Brumaria / Filipa César / Danilo Correale / Anders Eiebakke / Aida Eltorie (with Fateen Abdel Wahab, Dalia Neis, Sergio Leone, Bassem Yousri, Naiza Khan, Pauline M'Barek, Jan Ijas, Aissa H. Deebi, Ghamkin Saleh, Madeline Djerejian, Yto Barrada) / Marcelo Expósito & Veronica Church / Thierry Geoffroy-Colonel / Laurent Grasso / Khaled Hafez / Ralf Homann / Erlea Maneros Zabala / news: Renée Ridgway & Rick van Amersfoort / Angel Nevarez & Valerie Tevere / Fay Nicolson (in collaboration with Rasheed Araeen, Mark Ashurst, Katerina Gregos, John M. Kennedy, Huda Smitshuijzen, Alex Vesudevan) / Nothing Prlja / Ariel Reichman / Maria Noise / David Rych / Nikolaus Schletterer / Michael Takeo Magruder / Stefanos Tsivopoulos / Wooloo (in collaboration with Gema Alava, Helidon Gjergji, Pedro Guirao, Clarinda Mac Low, Matthias Neumann) / Raed Yassin.

tranzit.org. If asked about the conventions of the group exhibition, CONSTITUTION FOR TEMPORARY DISPLAY (Constitution for a temporary exhibition) of tranzit.org is the result of a collective thought about the potential for self-constituted space, shaped by the aesthetic conditions, social and political , a space where artists and curators work open to reflection, imagination and reprocessing.

curatorial team: Vít Havránek, Zbyněk Baladres, Dóra Hegyi, Boris Ondreička, Georg Schöllhammer / Assistant curator: Anna Pahissa Deulofeu.

Artists: Basma Alsharif / Babi Badalov / Neil Beloufa / Erick Beltrán / Igor & Ivan Buharov / Banu Cennetoğlu & Shiri Zinn / Boris Charmatz / Loulou Cherinet / Heman Chong / Kajsa Dahlberg / Craig David / Stephan Dillemuth / Carla Filipe / Peter G. Romero-File FX / Alexandra Galkina / Karl Holmqvist / Sung Hwan Kim / Adela Jusic / Mathieu Kleyebe Abonnenc & Sarah Maldoror / Darius Mikšys / The Otolith Group / Bouchra Ouizguen / Emily Roysdon / Ruti Sela / Catarina Simão / Tomáš Vanek / Martin Vongrej / Tris Vonna-Michell / Tanja Widmann.

Education: Manifesta 8 special attention to educational activities. It has established a special mediation program in art to investigate and reflect with our visitors about the works and concepts presented in Manifesta 8. During opening hours guided tours in English, English, Arabic, French, German and Italian, as well as a range of special projects, educational materials and activities for schools and students of art. www.manifesta8.es/medular . OCTOBER

Unusual Design Suitcases

. Juliet Ruiz in Buenos Aires Photo and more

Buenos Aires Photo



The "quick picture" of Juliet Ruiz in the 6th edition of Buenos Aires Photo

Fast-paced and daring, the work of artist Juliet Ruiz Tucuman can be seen at the fair Buenos Aires Photo, which will run from 28 to 31 of this month at the Palais de Glace.

; ; Stand of the art production Rolf Ruiz
Art exhibit Hidden Garden series, produced by photo-etching in motion that plays with a high speed image captures the lens of a camera. Although this is only the beginning of his work, then use the etching technique embodied in different metals. In his work, the art teacher recovered parts of the province of Tucuman think might miss, like cottages, landings and scenery cane year after year are more urbanized.

Ruiz's participation will be in the framework of the institutional presence of the art production Rolf Art, in the sixth edition of Buenos Aires Photo sustain artistic matrix interior.

Draft Rolf exhibition is to bring Art Acculturation and the languages \u200b\u200bof visual arts photography: photography black and white - color photo, photography with audio, photo-engraving, and photo ceramic. It also presents the contrast and the combination of large format, medium and small. In addition to Ruiz, are involved in this project the artists Ananke Asseff and Celeste Martinez. Buenos Aires Photo

bring together more than 30 galleries from seven countries in America and Europe. Will be open from 28 to 31 October, 13-21, in the Palais de Glace (Posadas 1725).


Lebenshon
Foundation Works in Bethlehem Romero Gunset Lebenshon
Foundation
LANDSCAPE Series Titled A - 3D, Belén Romero Gunset presents an unprecedented exhibition of paintings made during this year.

"Five years ago I am developing a series of landscape paintings where the engine is my reflection on the world. Pinto as ontological reflection.

and I feel disturbed by the mystery that holds each stone, cloud, tree, voice, shade, color. My inability to transcend my limiting language. Pinto

landscapes can remember, I see I think, build and imagine. Another way to be of reality that is not visible every day. "

The exhibition was inaugurated on Tuesday 19 October, Lebenshon Foundation (General Horn 238). Space

Tucumán
Marisa Blasco Elena Rossini and
\u0026lt;\u0026lt;\u0026lt;see sample>>>>

"The Language of Painting" is called the sample to women artists Marisa Elena Blasco Rossini and presented this month in space Tucumán.

Marisa

Rossini Elena Blasco

"Someone comes, not me, and declares:" I am interested in the language of painting. "

anyone, yes I am, thinks: "I am interested in Japanese gesture painting"

Someone who is my friend tells me: "The city is nature," I read Baudelaire.

Please understand: the speaker is unmoved, remained motionless during the course of his sentence, being careful not to make any gesture.

Consider: during the course of my work I have tried to give credibility to the painting, as did those who for one reason or another decided to become familiar with images Japanese and culture.

I remember: in my mapping, in your layer of veils. The painting is what matters.

just comes and announces: "I am interested in the language of painting '."

"The Language of Painting" will be open throughout the month of October, from 9 to 18 in Space Tucumán.

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secret drawings of Francis Bacon, through the eyes of Sosa Horacio Cordero, a close friend of the artist. CYCLE

see sample>>>>

"One day that will make history" - This could be defined the conference organized on 21 October by Argentina Cultural Industries and the Comptroller General's Office, where for one week, forty of the drawings exhibit extraordinary Christian Collection Ravarino, "La Punta del Iceberg" curated by Edward Lucie-Smith and Massimo Scaringella . This collection, whose authenticity-and supported-has been questioned for more than ten years, consists of drawing independent, intense and essential, true works of art that are an inner reflection, a look back performing on one's own Francis Bacon, which is almost the last stage.

But what is unique about this day is not just the fact that we may discover little-known drawings, or that is being given in first in Buenos Aires and throughout Latin America. What makes it unique is that we walked through the eyes of those who was one of the great friends of Bacon, one of the few to the painter "counted on the fingers of one hand" ... the friend with whom he shared anecdotes , partying, art, moods, life and even the friend who called to identify his body lifeless on a night in 1992, Madrid. It is, ultimately, the writer, painter and sculptor of international fame Horacio Sosa Cordero.

conversation with Horacio Sosa Cordero

"By pure chance, I came face to face with my friend talking from their strokes, from a previously unknown work for me and finally came to light, it deserves is in the best museums in the world to the delight of all. " Sosa Cordero said. After examining each, we offered to give a talk about it, gradually deepening the work, personality and friendship that joined Francis Bacon for forty years. It is he who takes us inside, then the life of one of the most brilliant artists of the century XX. He, along with Francis Bacon, were those who made this day a day "most historic" .

conversation with Horacio Sosa Cordero




You, Horacio Sosa Cordero, was a close friend of Francis Bacon, the proof is, the portraits he made of you. How did this friendship? And how would you describe Bacon?

A Francis I met him in the 60's, as a young artist living in London. We had a mutual friend, David Sylvester, and so began a great friendship.

What was Bacon? He was a puzzling, unpredictable, charisma ... but also very bad temper, especially when asking him questions he did not like. For example, you could not talk about painting, although the great whom he admired, Velazquez, Picasso or our good friend Alberto Giacometti. Anyway, it was puzzling, unsociable, irritable, representing all points: it could make a scene before the Queen of England or be a true gentleman of a vagabond. And above all, was a close friend of his friends. Now that I look at this late self-portrait of his, made in 1980, I remember I once asked: "Why always so many self-portraits, Francis?". And he answered: "And ... what do you want? No I have many people to paint, I know many people. Furthermore, with this face pudding-face that I have ... so I get. "



The attribution of the drawings in this exhibition of Francis Bacon has been the subject of controversy for more than ten years, especially following the acceptance general that "Bacon painted only, not draw. " What is your opinion?

First of all, it is not an opinion. And I can not speak of "attributing" the drawings to Bacon, as an "attribution" implies that one is not sure. And here, "and this is a fact we are dealing with authentic drawings of Bacon, and that's not debatable, nor is arguably the fact that he himself drew.

The great confusion about their drawings the artist created, Michael Ayrton who wrote a note Burlington Magazine Review of Art, which states that "Bacon could not draw.", It said one critic, a mediocre artist. Therefore, one day, Bacon is this street artist, and very angry, scolds him, saying: "And you do know if I draw?".

drawing course, only most of the time were stored in folders (could not teach them all a commitment I had with some commercial galleries), or broke and left abandoned in their "brothel" atelier in London. His studio: that place that I was privileged to attend almost daily, as people who visited him could count only on the fingers of one hand.

Turning to the drawings, Francis Bacon makes more than 300, you might call "drawings secrets "of Francis Bacon, as there are" secret drawings of Leonardo Da Vinci, Michelangelo Buonarroti, or Caravaggio. And there are drawings that gives to his friends and lovers. And Ravarino, in this case, is the repository of all these drawings that Bacon drew, either in his studio in London or Bologna, Venice or elsewhere, in all those trips he made to Italy.

It is definitely an honor to watch this collection of Christian Ravarino these "drawings secrets' of his own. This is a sample that could be in any international museum like the Metropolitan Museum, the Tate Gallery or the Louvre. But today is here in Buenos Aires, becoming a first for Latin America.



"would highlight some of the drawings in the collection?

First of all, I should say that drawings are suddenly and rapidly implemented, and which affords a reflection in his works, a return to consistent themes: self-portraits and portraits of the crucifixion, the Popes ... De Indeed, the representation of Pope Innocent X after Velazquez, is a constant in the work of Francis Bacon, datándose his first painting about 1947. This drawing in particular, carried out between 70-80, is a masterpiece where you can see all consequences of his earlier paintings, as seen in the rest of the collection: the nervous character of its lines, strains, simple compositions, their atmospheres, the hint ... It reminds me of when asked about his painting, to he answered me: "Horace, my painting is, above all, in a game. And at the chance. And in pure intuition. The game, and chance, and how to capture the look with a sum of sensations. " Bacon's words.



could say that Bacon's work was steeped in irrational feelings in force contained in intuition, "fate", perhaps. But ... what about your life?

Francis Bacon was always surrounded by fate, as he said. All his best friends and lovers were dying one after another. And so it was falling, day after day, year after year, alone. Therefore, in his enigmatic life, he always said "I'm surrounded by death." I am one of the few friends left alive Bacon.

He loved life, casino, chat rooms, fine dining, drinking, partying, bars ... I remember, for example, the first trip he took to Madrid, which he did with me. "Horacio, take me to Spain." And there we were, because he loved bullfights. Then he was in London, Paris I, and we are right on Madrid. From then took the plane and traveled many times to Madrid, taking forever to visit the Prado and watch their favorite painters: Goya, Velazquez and Picasso, in his last trip, in 92, went to Madrid together with his friend John Edward to attend an extraordinary exhibition of Velazquez. But he had a heart attack and he was interned in a clinic ... And he was never practicing or stepped on a church, put it in the clinical care of two nuns .... Well, there it dies. John Edward phoned me to Paris, and traveled to Madrid to identify the body and fix all those things that need to be addressed in such circumstances, as unpleasant and sad, being a friend.



How would you rate this collection of drawings of Bacon? Why is it so important?

believe that these drawings are of vital importance for the art and will open new avenues for young artists. Not only are important for the quality and performance, but because they mark the last period of Francis Bacon, in which he made the drawings with great thought and courage by checking all your work done earlier. I will say a few words of Bacon, because Bacon painting, or drawing, which was made- was a game. I will answer with these words of Francis: "All art is now a sort of game in which the man is distracted. And it's always good to say so: quite a game. I think in that sense, things have changed, and what is really fascinating is that this game will be harder for the artist, it will need to further deepen the game to make it something good. " Bacon's words, which are a great lesson for new artists and art adventure, XXI century

Horacio Sosa Cordero Spring 2010

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LATIN AMERICAN ART: Art and Activism in Argentina

Art and Activism in Argentina. Mesa discussion at the European University of Madrid (Campus de Villaviciosa de Odon, Edify, Graduate Hall).
Date: October 25, 2010. Of 12.30 h. to 14.30 h.

Participants: Ms. Carolina
Golder, visual artist, member of the Grupo de Arte Callejero (GAC) of Buenos Aires and professor at the Instituto Universitario Nacional de Arte in this city (IUNA). Ms. Liliana di

Black, visual artist, member of the group Urbomaquia (artists without a net) and professor at the Universidad Nacional de Córdoba (UNC)

D. Leo Ramos, cultural architect and manager of the Media Museum of Resistance.

art situation in Argentina is substantially than the one we live in Spain and therefore the implications for artists and architects to the defense of human rights and civil society has a much higher degree of involvement than we're used to in Europe.

The three guests, who will discuss their approaches and show their most iconic works, have contributed to the American phase of the research project Interactions (post) Election, driven by the European University of Madrid and led by Dr. D. Joaquín Ivars, director of the Department of Art and Design University. They are in Spain to participate in the Global Network Conference for citizen participation, organized by the Chamber Parpalló of the Diputación de Valencia, and the proposed Arts, Culture and deception that Domingo Mestre, professor at the Universidad Europea de Madrid, presented the same day at the Museo Nacional Centro de Arte Reina Sofía.

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Alicia Candiani and Andrea Juan at the 4 International Art Biennale Beijing

The National Museum of Arts of China opened on 20 September the 4th International Biennial of Art in Beijing, this year the theme was the Environment, Art and Man. The shipment consisted of Argentina and Andrea Candiani Alicia Juan digital work and photography.

; ; Andrea Juan and Alicia Candiani in Beijing.
The exhibition features works by over 500 artists from 86 participating countries and Andrea Juan received the Biennial Award for excellence in the work.

Expo Shanghai 2010
From October 2 presents the sample Andrea Juan Antarctica Project 2005/2010 in the Argentine Pavilion of Expo 2010 Shanghai will open until the close of the Expo on October 31.

The exhibition is composed of different series of photographs of 100 x 150 cm carried out through performances and video installations in Antarctica between 2005 and 2010. The project is based on climate change research conducted by scientists from the National Antarctic Directorate.

Antarctica Project in Beijing.

The show, which is an itinerant, will be presented on October 22 (parallel to the Expo), the National Center for the Performing Arts, Beijing. Then it will display at the National Library and the University of Beijing UIBE until mid-2011.

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Reality and Utopia shows 200 years of Argentinean art: an overview from this

video>>>

The Reality and Utopia shows 200 years of Argentine art: a view from the present, curated by Diana Wechsler, will be open to the public until November 14, 2010 in

Academy of the Arts Berlin (Akademie der Künste based Pariser Platz), compared to the iconic Brandenburg Gate.

works of over 70 modern and contemporary artists from Argentina.

the exhibit, among others, the following works of Argentine artists: Roberto Aizenberg, Carlos Alonso, Luis Fernando Benedit, Antonio Berni, Oscar Bony, Horacio Coppola, Victor Consulate use, Ernesto Deira, Juan Carlos Distefano, Juan Doffo, Hernán Dompé , Diana Dowek, Ana Eckell, Leonardo Erlich, Thomas Thorn, Sara Facio, Fernando Fader, León Ferrari, Lucio Fontana, Raquel Forner, Leonid Gambartes, Victor Gomez, Sebastian Gordín, Carlos Gorriarena, Victor Grippo, Alfredo Guttero, Miguel Harte, Alberto Heredia, Alfredo Hlito, Enio lommi, Andrea Juan, Gyula Kosice, Guillermo Kuitca, Fortunato Lacámera, Raul Lozza, Leonel Luna, Jorge Macchi, Romulo Maccio, Tomás Maldonado, Martin Malharro, Matilde Marín, Quinquela, Marta Minujín, Adolfo Nigro, Charly Nijensohn, Luis Felipe Noé, Daniel Ontiveros, Pacenza Onofrio, Esteban Pastorino, César Pasternosto, Teresa Pereda, Diego Perrotta, Emilio Pettoruti, Enrique Policastro, Marcela Pombo, Liliana Porter, Juan Del Prete, Alejandro Puente, RES, Silvia Rivas, Josefina Robirosa, Juan Carlos Romero, Miguel Rothschild, Graciela Sacco, Daniel Santoro, Tomás Saraceno, Mariano Sardon, Eduardo Sivori, Xul Solar, Lino Enea Spilimbergo, Eduardo Stupía, Juan Travnik, Carlos Trilnick, Nicolas Garcia Uriburu Jorge de la Vega, Maria Juana Heras Velasco, Juan Andres Videla, Yente, Horacio Zabala and Facundo de Zubiri.

Argentine art, in parallel with its rich and complex history, has developed between dictatorships, crisis and democratic reforms as an important means of social criticism and political opinion.

The focus of the debate is the culture of memory and the search for identity in contemporary history, ie from the early 20 th century.

The exhibition is accompanied by an extensive catalog (Castilian / English) to broaden the spread of Argentine art.

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Southern Identity. Contemporary Argentine Art at the Smithsonian Institute in Washington

Tribute to contemporary Argentine art in the United States. Next Tuesday
12 will open the exhibition "Identity in the South. Contemporary Argentine Art 'in the most important museum complex in the United States, the Smithsonian Institute in Washington.

This exhibition, one of the most important changes in the country's north, is divided into four themes: "The political imprint," The landscape immanent "," Notes on Identity "and" Poetics of abstraction. "

Participating artists are: Jorge Abot, Fernando Allievi, Carlos Alonso, Nicola Costantino, Miguel D'Arienzo, Juan Carlos Distefano, Hernán domp, Susana Dragotta, Fermin Eguia, León Ferrari, Daniel Garcia, Norberto Gomez, Eduardo Iglesias Brickles, Enio Iommi, Gyula Kosice, Marcos Lopez, Jorge Macchi, Marta Minujín Ariel Mlynarzewicz, Luis Felipe Noe, Caesar Paternoster, Duilio Pierri, Rogelio Polesello, Victor Quiroga, Tulio of Sagastizábal, Daniel Santoro, Marcia Schvartz, Antonio followed Paul Siquier, Eduardo Stupa, Marcelo Torretta, Facundo de Zuviría. La muestra

it will remain open until 23 de enero de 2011

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IV Official opening of the Central Bank Painting Prize 2010

He next Wednesday 13 October at 19 will perform the official opening and award ceremony of the IV Central Bank Painting Prize 2010. This event will be held at the Museum of Fine Arts Eduardo Sivori (Av Infanta Isabel 555, opposite the bridge of the Rose Garden of Palermo). It will be on display until 31 October.
The sample IV Central Bank Painting Prize 2010 is composed of 41 works. The Selection Board (composed of Rosa Aiello, Ernesto Ballesteros, Oscar Smoljan, Juan Eduardo Astica and Stupia) had to choose the 38 finalists. At the award ceremony Jury Award (Luis Wells, Monica Guariglia, Fernando Farina, Juan Andres Videla and Ana Battistozzi) determine the winning works.

On the other hand, the Jury Grand Prix Tribute (made by Luis Felipe Noe, María Teresa Constantin and John Doffo) distinguished the artist Alejandro Puente. The Jury was honored to be considered one of the most important artists in Argentina, diver of new languages \u200b\u200band also possesses a highly personal stamp that marks in our history plastic, a crossing point between the avant-garde of the '60s that the last century with the great tradition of pre-Columbian cultures. The acquisition work, Yocavil II, 1983 acrylic s canvas, 120 x 120, the work is notable exponent of this line of work which gave a new concept of modern plastic linked to our cultural identity.

The winning of this fourth edition will be part of the permanent collection of painting and BCRA. The convening of this fourth edition brought 672 artists submitted more than 2000 works.

After the exhibition at the Museo Eduardo Sivori, the 41 works (finalists and winners) make up the traveling exhibition of the National Prize for Painting 2010 Central Bank in 2011 will travel to different cities. This action allows a direct arrival of the Central Bank to cultural institutions across the country.

Thus, the central bank reaffirms their relationship with the community by promoting contemporary Argentine art in pursuit of integration and consolidation of national identity.


List of finalists

IV Central Bank Painting Prize 2010 Grand Prix Tribute





1. Alejandro Puente
Yocavil II / acrylic on canvas / 120 x 120 / 1983 (acquisition)

2. Alejandro Puente
Chamal / acrylic on canvas / 121.5 x 102.5 cm / 1990

3. Alejandro Puente
Tuyunti / acrylic on canvas / 100 x 100 / 1987

Category

over 35

4. Beatriz Carolina Antoniadis
Bracket / acrylic and lacquer on canvas / 100 x 180 cm / 2010

5. Carlos Eduardo Bissolino
Picto Code / acrylic on canvas / 180 x 150 cm / 2010

6. Natalia Cacchiarelli
converse Series / acrylic on canvas / 130 x 180 cm / 2009

7. Diana Dowek
Cortes, Series Shipyards / acrylic painting and photographic work on canvas / 170 x 150 cm / 2009

8. Roque Onofre Fraticcelli
The Reaper / acrylic pigment on canvas / 172 x 180 cm / 2010

9. Jereb
Ariel Fernando Casas / acrylic on canvas / 80 x 140 cm / 2010

10. Valeria Maculan
Lake / acrylic on paper / 78 x 114 cm / 2009

11. Alberto Mendez
Untitled / ink on paper / 178 x 128 cm / 2010

12. Untitled
Montich Dante / acrylic on canvas / 150 x 150 cm / 2009

13. Pablo Paez Riva
Eclipse / acrylic on canvas / 200 x 150 cm / 2010

14. Jorge Pietra
Piano Piano / acrylic on canvas / 180 x 180 cm / 2010

15. Felipe Carlos Pino
Final Salute / acrylic and oil on canvas / 180 x 130 cm / 2009

16. Jorge Horacio Pirozzi
The Shower / acrylic on canvas / 136 x 176 cm / 2009

17. Mercedes Ramayón
Untitled / Oil sobre tela / 130 x 180 cm / 2010

18. Magdalena Rantica
Húmedas y aéreas raíces / acrílico sobre tela / 150 cm de diámetro / 2009

19. Ricardo Roux
Carta para la oficina / esmalte acrílico / 130 x 160 cm / 2010

20. Hernán Salamanco
Abstractivista / esmalte sobre chapa / 200 x 150 cm / 2010

21. Jorge Sarsale
Sin Título / técnica mixta / 170 x 160 cm / 2010

22. Roberto Mauricio Scafidi
Espejo de tus ojos / acrílico sobre tela / 250 x 170 cm / 2009-10

23. María Cristina Schiavi
Algo me está tocando / pintura sobre madera / 147 x 117 cm / 2008

24. Richard Sturgeon
Hairy Violet Stain / oil on canvas / 170 x 170 cm / 2010

25. Marcelo Torretta
Untitled / acrylic on canvas / 149 x 149 cm / 2008

26. Mariano Vilela
Swing / graphite and varnish on paper / 106 x 143 cm / 2010

27. Horacio Zabala
Hypothesis XII / acrylic on canvas, enamel on wood / 100 x 180 cm / 2010

28. Magnetic
Zech Carola 106 / polychrome steel and acrylic paint layered, magnets / 150 x 180 x 8 cm / 2010

29. Ana Zitti
Untitled / acrylic on canvas / 100 x 100 cm / 2010



Category under 35 years:

30. Untitled
Bourse Delfina / acrylic and oil pastel on MDF / 150 x 100 cm / 2010

31. Laura Codega
Nostalgia Paradise # 3 / lemon juice on paper revealed by action of fire / 70 x 100 cm / 2010

32. Diego De Benedetto
Collector reading levels / digital print on canvas / 120 x 177 cm / 2010

33. Martin Di Paola
Concrete-fun III / synthetic over wood / 150 x 150 / 2010

34. Noelia Farías
The visit / oil on canvas / 120 x 120 cm / 2009

35. Untitled
Mariana Ferrari / Mixed media on paper / 155 x 178 / 2010

36. Margarita Garcia Faure
Untitled / Oil on canvas / 280 x 180 cm / 2008

37. Mar García
I put the world off / Oil and enamel on resin nylon / 137 x 180 cm / 2010

38. Laura Langer
Untitled / Oil on canvas / 135 x 105 cm / 2010

39. Jasmine Lopez
Black straight line / oil on canvas / 220 x 180

40. Pablo Lozano
Untitled diptych / acrylic on stainless steel / 100 x 100 cm / 2010

41. Marina Marre
hatched buoys Series 3 / collage and synthetic / 70 x 120 cm / 2010



Central Bank of Argentina

75 th Anniversary 1935-2010

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What Does Robert Pattinson Use In His Hair

Hector Tizon and Sara Facio presents AMERICA, a book of photographs of SZYD SEBASTIAN

AMERICA

A BOOK OF PHOTOGRAPHS OF SEBASTIAN SZYD

Present: Hector Tizon and Sara Facio

+ dance + music + food projections northern

16, October, 18 am

CCEBA See Balcarce 1150

Free admission

The Cultural Center of Spain in Buenos Aires presents America, a book of photographs by Argentine Sebastian Szyd. publication is an edition of Sara Facio, foreword by Hector Tizon and design Oscar Pinto.

are 60 black and white photographs published by The Roof.

The opening presentation will take place in the yard at San Telmo's CCEBA Sikuris a banda, dance, film and food from the north. The closure will be in charge of the singer and percussionist Mariana Baraj a cappella songs.

SEBASTIAN SZYD (Buenos Aires, 1974) at age 19, with camera and backpack, he began a series of trips to Latin America to be extended for more than two decades.
Since 2003 began developing a new series of images: America . This essay portrays the life and customs of the Andean peoples from Argentina, Chile, Bolivia, Peru and Ecuador.
collaborated in the main media of America and his work has been exhibited and published individually and collectively at home and abroad.

His photographs are in public collections, such as the Museo Nacional de Bellas Artes, Buenos Aires and in numerous private collections in Argentina, USA and Europe. Just get
Photography Grant 2010 from the Guggenheim Foundation.

Hack Cubefield The Game

The Thursday, October 7 at 18:30 will be held in the Centro Cultural Borges , the conference MADI ART TALKS, coordinated by Sarah War and with the participation of the artists exhibiting in the sample MADI INTERNATIONAL, currently on display.

The series of talks will be completed on Thursday 14 October, 1830 also

Center Borges Cultural

Viamonte esq. San Martín

Reports: 5555-5359 / 4311-4865

In Belfast Where Would You Get A Sweater

by Robert Graziano.

I felt the sensation that a 'big helix', like that of the Coplanales, kept the house suspended in space.

Then came Sophie Müller to welcome and look forward to Caramel, on arrival, invited us to another room.

were everywhere works on the walls, floor, new and old.

wanted to hold in my eyes all that great; intended to decipher the man, that more than 90 years, passed on so much history and energy.

A piece of twentieth century art was there, in front of me, Present .

She could not wait to photograph it, I started doing it slowly, say on tiptoe so as not to invade all that harmony.

After several shots, I discovered the presence of a small mirror on a cabinet, in which randomly reflected Sofia.

Tome distance-and-shoot.

With great astonishment, pointing to the mirror with your finger and staring me in the face; Carmelo told me - she also ?.

That man more than 90 years and still lively twinkling eyes, he understood the whole scene ...

met again in December 2009, but that's another story ...

Roberto Graziano

September 30, 2010 4:00 a.m.. Copyright ©

Roberto Graziano
.......................
Roberto Graziano. Born in Buenos Aires .
lives in Rome since 1978. He works as a textile designer between 1979 and 1987, creating a studio in Rome and gaining the recognition and sponsored by the "Regione Lazio" and "Comune di Roma." Resumes operations in 1989 with Federico Fellini picture, as a photographer of the scene in the Cinecitta studios.

Beldray Replacement Covers

By Mariana Rodríguez Iglesias

On Friday September 24 Salvador University organized a panel of notables who spoke on the work of the great Hungarian-born artist and ex-Argentina by choice, Magda Frank.

Nelly Perazzo

USAL The auditorium shines illuminating the artistic figure and the itinerary of this artist who left more than twenty monuments in France. On stage, a panel of very important figures of the Academy of Fine Arts and culture in general to present on topics, forming a choral portrait of Frank Magda, his life and his work.

The panel was moderated by Prof. Nelly Perazzo, who gave the floor to Mr. Alberto Pineiro. He lectured on display at the Museum Frank Saavedra made the experience of having interviewed and hosted his work. Then, Dr. of History and Research of prehistoric items, Ruth Corcuera, expressed Frank on the link to the pre-Columbian symbolic universe. Then they discussed the public sculptures and their particular locations, in the words of Prof. María del Carmen Magaz. The panel of notables, the speech ended with the director of the Casa-Museo Frank Magda, Andreussi Tulio, who in short, but emotional speech, reminded the artist and said the forthcoming exhibition at the Museum Oscar Niemeyer in Curitiba, Brazil.

Ruth Corcuera

In late October, the Oscar Niemeyer Museum, located in Curitiba, Brazil, will be a retrospective of his work, the first major comprehensive exhibition of his work in America. There will be a catalog of critical texts written by Perazzo, and Magaz Corcuera, who with their depth work, context and research managed to bring new perspectives to the history of this incredible woman. The catalog will be a book of studies for future generations of art historians and researchers in the field, since there is no one test to date to address in a thorough and scholarly work of Frank Magda. The hall will house MON Frida Kahlo sculptures in various materials, representing the broad spectrum of interests Magda plastics and expertise demonstrated by each technique, bronze, marble, wood and siporex. Also, the public can enjoy two-dimensional works such as reliefs, drawings exploratory sketches, drawings of monuments and other preliminary searches. Finally, we will make the visitor a series of writings by Frank Magda, which is a fundamental access key to his legacy. During his search

figurative, undoubtedly, is the Big Man (1952) the most important work. Conceived a year before making his first exhibition in Argentina is a job where they condense the pain with hope. The man looks at the sky, hoping to find an answer. In this era of his artistic life, we witness the art critic who writes Iturburu Córdoba in Clarín newspaper of June 20, 1953: "The first exhibition she performed confronts us with a true value, a strong spirit, a metier perfect, always in search of renewal "on the occasion of his first personal exhibition at the Henry Gallery in Buenos Aires, notes Hector Tizon to write his biography.

The Big Man (1952)
Because Magda diligence and perseverance led to the habit of writing in a journal, we know the importance of Big Man. As she notes, "reflects my soul. Each part, as a whole, expresses an infinite despair. Nobody wants it, he charged, shocking the viewer. Looking to Heaven, question: why do we have to suffer so much? Who asks, still wait .... "
It highlights the value of documentary collection and the leading role played by texts written by the artist herself being infinitely Journal treasured jewel. Today, it is a mute witness of the most interesting manuscripts among the most protected hundreds of writings by Frank Magda based File in the Casa-Museo del barrio de Saavedra.

Dialogue (1967) represents the inquiry in the field of abstract geometry. Frank had returned to Paris, where they receive with exhibitions, monuments and participation fees for international competitions. Embodies its own path toward constructivism, which will soon be separated from its international exponent become a development that begins timidly interested in pre-Columbian forms. This is a culmination of a series of compositions where the empty nest charge acquiring the same value as the full. The volumes are straight, Cu human figure is only a suggestion proportions.

Dialogue (1967)

In 1975, exhibitions and construction of numerous monuments throughout France, finished carving Vegetation. Is an exponent of the constant renewal of his imagination, which is animated by a living breath, a kind of movement of ascent. In this capture movement and give it as a new consciousness to the piece we can find the debt of admiration for the great Constantin Bracusi. That, no doubt father of twentieth-century aesthetic essentialism as Nelly Perazzo said in his tribute to the artist, "she teaches me to let go of outside intervention data natural for a regulated approach towards building their own laws. "

Vegetation (1975)

In terms of his approach to pre-Columbian world, the intersection of the primitive with the drive for monumentality, is perhaps the strongest and most eloquent of his works . It's a powerful piece, strong, direct. It is a monument to eternity, bringing his history behind him. As Ruth Corchera show, "most of the sculptures refer to the dualism Frank Magda." Dualism in geometric progression is given in the voltage to bid for a centrifugal force in opposition to evidence refocusing of centripetal energy. It appears, in turn, traces of Qutzalcoatl, in the twisted forms, the universe is referred Columbian deep in its symbolism, in its verticality, in the synthesis. In all cases, we find the assertion of an inherent monumentality, no doubt, echoes of greatness as related to the work of Henry Moore, as that was akin to the pre-Columbian.

Geometric Progression

The first time an exhibition of Mgada Frank is coming to Brazil in 1957, when participating in the Biennial of Sao Paulo. That same year, carving his first sculpture in wood, leaves to always work in clay and begins a long series of wood and stone stelae.

Over 50 years later, after leaving a series of more than 20 monuments in France and a House-Museum parts sheltering infinite, the course of a life again set foot in Brazil.

Mariana Rodríguez Iglesias
Assistant director and curator Magda
Frank House Museum

Appropriations panel
Photos: Rodolfo Schmidt works
Photos: Gustavo Lowry


Thanks Maria del Carmen Magaz and Lucrecia Palacios ( USAL)
Rita Zalazar (Magda Frank House Museum)