tag:blogger.com,1999:blog-298754602024-03-25T22:05:13.758-07:00JUDITH PEDROZAArtist/WriterJudith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comBlogger146125tag:blogger.com,1999:blog-29875460.post-17539897986970894562024-02-14T18:16:00.000-08:002024-02-14T18:16:20.386-08:00El Artista y el Fragmentado, 23/10
<div><span style="font-family: courier;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="font-family: courier;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="font-family: courier;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: courier;"><br /></span></div><div class="separator" style="clear: both; text-align: right;"><i style="text-align: left;"><span style="font-family: times;">“But the grease and the felt, those that I absorbed and understood so thoroughly like Descartes understood he existed “I think therefore I am” He questioned everything, everything.
Everything can be an illusion, a trick, his imagination but then he realized that something he was thinking, those thoughts so something must exist, and that something he decided call myself.</span></i></div><div style="text-align: right;"><i><span style="font-family: times;"><br /></span></i></div><div><i><span style="font-family: times;"> </span></i><i><span style="font-family: times;">But who are you?</span></i></div><div><i><span style="font-family: times;"><br /></span></i></div><div><i><span style="font-family: times;"> What are you? </span></i></div><div><i><span style="font-family: times;"><br /></span></i></div><div><i><span style="font-family: times;">This is not you” </span></i></div><div><i><span style="font-family: times;"><br /></span></i></div><div><i><span style="font-family: times;">Perhaps Joseph Beuys in the fiction of Florian Henckel Von Donnersmarck- sounds more beautiful in German/ Ich, Ich, Ich </span></i></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> ¿Por qué separarse del Arte?</span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> ¿Qué sucedió? </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> Fue un día de realización, donde lo observado era una realidad difícil de recrear, podría haberme quedado más noches en tinta y tiza, con papeles muy baratos, cambiar una realidad de luz tenue o una ausencia de luz. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> ¿Qué realidad quería yo que ya no entraba en el bastidor, por que no creo que ninguna sensibilidad cabe en ella, tampoco en el movimiento pero quizás en el trayecto, en el recuerdo o en aquella sensibilidad del grito de la pérdida, de la no consolación por todos los esfuerzos, por los caminos buscados, por los laberintos, buscando la ayuda indicada, la cura, la verdad propia. Las pérdidas han proyectado la sensibilidad presente, donde no hay culpables, solo actores, médicos, malas recetas y malos consejos. Poca paciencia, cincuenta y un años de espera. ¿Qué pasa cuando alguien puede abstraer la belleza contenida, pero no le alcanza el cuerpo para resolverla en el exterior, la abstracción fragmentada, las líneas de creación, el deshacerla, el recrearla, eso es la labor de artista o de la locura. Yo escogí por un momento conectarme con la práctica del primero, el fragmentado escogió lo segundo. El pensamiento puede abandonar el cuerpo, separar los pies del piso, elevar, agujerar, disolver la materia. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> El artista no olvido el cuerpo, lo alimenta de experiencias sensibles, el fragmentado se separa del cuerpo. El artista no deja de mirar ese cuerpo diluir y grita “Volver al Cuerpo” no lo dejes ir no lo dejes ir en fragmentos, en partículas disociables, el artista pidió ayuda, el artista uso su obra para tratar al fragmentado. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> No hubo respuesta… </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> El artista pidió que no se llevaran los cascajos de memoria del fragmentado, pintó sobre ellos. Recordar debe ser trasformar y mirar distinto al fragmentado que al igual que el artista caminaron kilómetros en direcciones opuestas buscando la belleza en lugares distintos. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> El fragmentado le hizo agujeros a sus zapatos, el artista intentó recrearlos igual con la piel maltratada por el uso cuando se puede caminar buscando algo. El artista tenía que parar de caminar por que estaba a punto de fragmentarse también. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> El fragmentado decidió irse primero. Dejar el cuerpo de una vez, dejar al cuerpo maltratado por los otros, ya que no podía amarlo más. Su cuerpo mancillado por las violentas masculinidades, por las agresivas combinaciones de las palabras maternas, por la violencia sostenida de la clínica y el medicamento que le designa al cuerpo una caducidad. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> El artista decidió parar al abandono del cuerpo fragmentado. El artista optó por la ilusión y contraer el deseo. El grito de la ausencia, la apertura de un cajón, el “Facetime" de un cuerpo que yace abandonado del pensamiento y gesto. El artista no sabe como fue el final del fragmentado pero comienza a unir las ideas y las formas de la fuga del cuerpo a otro lugar dejando un vacío en el artista. El artista no quiere volver a crear jamás, por que no esta el fragmentado para decir los más elocuente del resultado. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> Ojalá el artista encuentre la vía de regreso y miré de vuelta. Las ideas del fragmentado dejaron voz en el artista que no se quiere separar del cuerpo. </span></div><div><span style="font-family: times;"><br /></span></div><div><b><span style="font-family: times;"><br /></span></b></div><div><span style="font-family: times;"> Noviembre </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> De figuras y espejos rotos de promesas invalidadas y de enemistades. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> 23,10 inicio de una guerra de cercanos, pareciera que esta fecha la inventamos en la distancia, fecha guardada y manipulada para un futuro. Noviembre es el resultado del desengaño de los rojos separados, de los cristales brillantes que se mueven en opuesto, objetos preciosos que compiten, donde las hermandades se separan, la guerra es un conflicto de hermandades que se disuelven. Ya no basta sentirse iguales, por que los iguales están en competencia. Las hermandades en 23,10 sacrificaron los Noviembres de celebraciones y los Diciembres de unión. Porque mantener un territorio y cultura sale más caro que elegir destruirlo. Noviembre mes de los llantos, de las búsquedas de los cuerpos desechos, de ruidos de milicia grandilocuente de algún país que genera separaciones. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> Los cuerpos pequeñitos nos dejaron en Noviembre, nos dejaron las imágenes de lo que se supone que ya hubiésemos entendido como humanidad. Noviembre en la separación de las hermandades y la eliminación las ideas de la madre, de las protecciones y de las mesas de los buenos deseos. En los Diciembres y Eneros de las masculinidades desbordadas en gritos no empáticos, “scrollings” de evacuación, la no conversación y la disputa del que no acepta que el conservar es la clave de las humanidades sensibles. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> Noviembre fue la distancia de la memoria, los generales olvidan, las masculinidades coloniales reviven, los iguales se vuelven contrarios, la diferencia es la cantidad de ofensivas e intensidades destructivas.</span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> Noviembre de las desmemorias con poca deserción y avaricia, de los que quieren más para el molino histórico de la otredad prefabricada. Noviembre fue de las venganzas necesitadas de una cara y cuerpo para lacerar, herir las cosas pequeñas, contaminar los oxígenos, no pensar en los insectos, ni en la tierra que nos resguarda como humanidad. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> Noviembre fue de caminar solo, con angustias y ojeras multicolores de verde y morado pensar y no poder dar vueltas en círculo. Las sensibilidades de la catástrofe de lo que avecina, de la ignorancia de las potencias, de la pelea del más vulnerable, en guardia, en toque de queda. En Diciembre todas las flores sobrevivieron los infortunios, emocionadas ellas se emancipan y cortan sus tallos viejos para alargar su vida. En Enero esas flores siguen en pie, se secaran despacito, esperando los relevos más fuertes. En Enero, descubrí el Noviembre de Richter y aceleró todas las sensibilidades en mí. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> En Enero, los cambios aguardaban, no bajaré la guardia, por que lo que no se puede hacer en pluma, lo hace el pensamiento y lo extiende en su humanidad. En Enero hubo el desentierro de las humanidades para fines más sensibles, hay una grandeza más allá, un balanceo en el aire, una moneda no resuelta, una capacidad a desarrollar. </span></div><div><span style="font-family: times;"><br /></span></div><div><span style="font-family: times;"> Qué los vulnerados se trasformen, y hasta entonces.
</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><br /></span></div><br /><span><a name='more'></a></span>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-4185649290654287832021-03-28T15:58:00.004-07:002021-03-28T15:58:41.642-07:00"We Sail in the smallest boat"-Orlando Díaz<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/p/CJ87XFDDnah/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="13" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/p/CJ87XFDDnah/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; 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overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/CJ87XFDDnah/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Orlando Diaz (@orlandodiaz478)</a></p></div></blockquote> <script async src="//www.instagram.com/embed.js"></script>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-44031111157337668212021-03-28T15:57:00.000-07:002021-03-28T15:57:22.148-07:00Magnetic Currents- The Front Arte y Cultura<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/p/CH_10znjiS6/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="13" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); 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width:50px;"><svg width="50px" height="50px" viewBox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div><div style="padding-top: 8px;"> <div style=" color:#3897f0; 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<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/p/CITuxa5jyZu/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="13" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/p/CITuxa5jyZu/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div></div></div><div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewBox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div><div style="padding-top: 8px;"> <div style=" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;"> View this post on Instagram</div></div><div style="padding: 12.5% 0;"></div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"><div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div></div><div style="margin-left: 8px;"> <div style=" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"></div> <div style=" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)"></div></div><div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div></div></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div></div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/CITuxa5jyZu/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by The Front Arte & Cultura (@thefrontartecultura)</a></p></div></blockquote> <script async src="//www.instagram.com/embed.js"></script>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-92052317174550876412020-04-27T23:31:00.019-07:002021-03-28T15:52:06.257-07:00Togetherness Panel/Index Art Book Fair/Expo Chicago with Ediciones Manivela<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/p/B2pNXxMD0HM/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="13" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/p/B2pNXxMD0HM/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div></div></div><div style="padding: 19% 0;"></div> <div style="display:block; 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overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/B2pNXxMD0HM/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Ediciones Manivela (@edicionesmanivela)</a></p></div></blockquote> <script async src="//www.instagram.com/embed.js"></script>
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overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/B2miQ7SDlA4/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Ediciones Manivela (@edicionesmanivela)</a></p></div></blockquote> <script async src="//www.instagram.com/embed.js"></script>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-9988156488021931062018-05-08T14:11:00.000-07:002020-03-04T19:57:11.711-08:00PIANOS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">Pianos by Judith Pedroza <o:p></o:p></span></div>
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“I am a piano tuner”, a young man explains while he is waiting for his appointment
with the psychiatrist. He is accompanied by his mother. Two other families with
patients are waiting and Moisés' family has been the last to get a “token.” Tokens
are literally like an old game. The hospital gives 15 tokens for specialty, but
psychiatry has already fixed ten patients for a Friday consultation. The
hospital used to be an old school, now transformed. It is run by a group of
nuns and doctors who have jobs in large hospitals where they charge more than
five times what they charge here in the community hospital. They practice one
day a week for half a day, giving the hospital a very good reputation. Their
furniture is very old, but it serves the needs of patients. Every Friday,
families who already know each other and who have children with similar
illnesses, meet there. Curiously, all patients are young males. Moisés is the
oldest of all. There is a 12-year-old who his mother says is uncontrollable and
cannot stop talking all day. Yet, the whole time in that room, the mother is
the one speaking and the boy is quietly attentive. Big, curious eyes, the child
just seems bored and his mother seems stressed. Moisés is the patient of this
other family, 45 years old already. He left behind a past of economic triumphs,
money, and maximum creativity. He does not know how to do it again. He became
ill at age 24 at the time when he opened his own business, started a family,
and then his wife divorced him after one year of marriage. He closed his
business, brought all their furniture there and locked himself inside for
months. He would not eat, did not want to, his parents did everything even
losing some of their assets to pay his debts. From there he went in and out of
different hospitals and treatments that never gave continuity, his parents
could not get him stabilized. Her younger sister tried everything. <span style="background: white;">Presently, she makes another attempt, because he
does not want to go to the other side of town, to the best specialty hospital.
So he was brought to this small hospital, a ten-minute walk from home.</span> <o:p></o:p></span></div>
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<span style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> Families there
talk, looking for something, remedies, tips, dialogue. They have stories to
tell, details of the disease, hobbies, droll things. The disease does not allow
the mood to disappear. Emotions run from worry, crying, to laughter. “We are
alive”, the piano tuner’s mother says. She explains how her son has been in
therapy for a year and a half and how he decided to leave the university. He
just wants to make music because he has a special ear that allows him to earn
money, tuning pianos in small state orchestras, and he participates as a guest
musician in popular presentations. The piano tuner is 22 and discusses
science and philosophy with Moisés.<o:p></o:p></span></div>
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<span style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> The piano tuner
has read Nietzsche’s <u style="text-indent: 0.5in;">Human,
All Too Human</u>, <u style="text-indent: 0.5in;">Ecce
Homo</u>, the work of Freud and one of St. Thomas Aquinas, <u style="text-indent: 0.5in;">The Summa Contra Gentiles</u>.
The Piano Tuner makes Moisés attend to him. There is a kind of
alternate joy. It is a small waiting room for happiness. It is a therapy
itself, where patients and families are recognized as a common group who share
a half day on Friday waiting for an appointment.<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; line-height: 150%; margin-bottom: .0001pt; margin: 0in; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-justify: inter-ideograph; widows: 2; word-spacing: 0px;">
<span style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> The piano
tuner explains that in order to tune a piano, first, you have to check the
central note, hence the LA 440. Then, you begin to check the octaves of each
note: do, re, mi, fa, sol, la, all frequencies with the same pulse, and there
are parts: fifths, fourths, sixths, sevenths. When the central note is tuned,
this tune becomes the bone side of each note, which is called temperament. It
is like a cube. Harmonics must have the same speed and the piano has to be very
sweet with subtle colors, marrow notes. When the piano tuner talks about a
sweet piano, the first image that comes to mind is Rafal Blechacz playing
Szymanowski’s "Piano Sonata." It was love at first sight, the first
time I heard this young polish musician playing and talking about his music
with impressionist-expressionist and melodic tunes, slow comings on the piano
and then using his full hands. In this room, which only seems to have a
disease, there is music, melodies of talk that lead to another life.<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; line-height: 150%; margin-bottom: .0001pt; margin: 0in; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-justify: inter-ideograph; widows: 2; word-spacing: 0px;">
<span style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> There is
another group in the small waiting room of happiness: the pharmacists, those
who sell new medicines, fresh from the laboratory, new features for the
psychiatrist. Medications for those who suffer from a mental or emotional
illness are the most expensive in the market. In Mexico, more than half the
population does not have health insurance and even this kind of medicine is
scarce in public hospitals due to high costs and the fact that mental health is
not considered a disease or a priority. It is classified as an incurable disease.
But there is always hope. Many patents for these drugs are nearing expiration,
which means that local or national laboratories can produce them at lower
costs. At the time a patent expires, the laboratories in Mexico begin to
produce affordable medication and patients begin to consume since they are
cheap and a better stabilizer for their condition. Finally, families and
patients can access the drugs, giving them more faith to hear the promises in
the corridors of pharmaceuticals, who sound like the politicians of health,
offering health as a commodity controlled drug. If the patient had tremors from
using the older drugs, the pharmaceutical representatives would draw from their
brochures to reassure the patient, generating trust between families, patients,
and pharmacists. A fiction to heal is also part of the Friday half day.
Pharmacists are the hope inside the room. <o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; line-height: 150%; margin-bottom: .0001pt; margin: 0in; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-justify: inter-ideograph; widows: 2; word-spacing: 0px;">
<span style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> Four weeks
pass and patients are already using this medicine. They feel better
and there are some signs of improvement in their quality of life. Some of them
feel dignified because they have the energy to do things, to follow the course
of their lives, making plans. It's another Friday before noon, the room is
filled with patients each time, the same families, the same products. Today, it
is time to buy the sweets of health. The mother of the boy who never stops
talking is happy. The medicine has had a positive effect on her child. The
doctor gives the prescription for the next dose. The mother orders the
medication from the pharmacist, who has a leather briefcase, impeccable suit
and shoes bought from the San Diego outlets. She tells about her weekend trips
to California. Everybody is observing her high heels while she organizes her
first order. It will be 380 pesos. The mother reacts, “But
last month the medicine was 190 pesos. If I am correct, the patent had already
been released.” The pharmacist with pretty shoes and leather briefcase answers,
“Yes indeed, the patent had been released, but the product offered and taxes
that the government extracted from these labs this month make the drug double
in price. It won’t be a fixed price. Next month, it’s possible that
the price doubles again, and so the product will rise until its cost of
production and profits are not eaten by taxes and can stabilize at a fixed
price. It is a fact that next month it will double.” Families are angry.
Another family member breaks into the discussion, “I am sorry, but if you had
this information before why did you not inform us? If the drug is tripled, it
will be impossible to continue with treatment and that causes harm to the
patient's health.” The pharmacist answers, “I am sorry ma'am. I'm only selling
the product, the doctor is the one who suggests and makes the prescription.”
Moisés says, “But you promised to improve our quality of life, gave a kind of political
speech and we trusted you.” The pharmacist answers with a violent tone, “Excuse
me, I'm not a politician. I am a vendor. My responsibility is to sell. I am not
able to resolve your life.”<o:p></o:p></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; line-height: 150%; margin-bottom: .0001pt; margin: 0in; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-justify: inter-ideograph; widows: 2; word-spacing: 0px;">
<span style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> It's like
finishing and leaving someone with a new life, and a new voice, the piano tuner
says.<o:p></o:p></span></div>
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-->Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-19400988059366769762018-02-08T09:21:00.001-08:002018-05-25T19:24:31.322-07:00 Exposición “Hierática” de Radharani Torres / Autor Judith Pedroza<div dir="ltr" style="text-align: left;" trbidi="on">
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<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Bdgy-HGhQCN/" data-instgrm-version="8" style="background: #FFF; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 658px; padding: 0; width: -webkit-calc(100% - 2px); width: 99.375%; width: calc(100% - 2px);">
<div style="padding: 8px;">
<div style="background: #F8F8F8; line-height: 0; margin-top: 40px; padding: 49.629629629629626% 0; text-align: center; width: 100%;">
<div style="background: url(data:image/png; display: block; height: 44px; margin: 0 auto -44px; position: relative; top: -22px; width: 44px;">
</div>
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<a href="https://www.instagram.com/p/Bdgy-HGhQCN/" style="color: black; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">Queen Bitch Acrílico y òleo sobre tela. Ya todo listo para la expo en Guanajuato #cat #sacred #queenbitch #gato #sacro #arte #art #paint #pintura #artesacro #sacredart #radharanitorres</a></div>
<div style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">
A post shared by <a href="https://www.instagram.com/radharanit/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Radharani Torres</a> (@radharanit) on <time datetime="2018-01-04T03:27:46+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jan 3, 2018 at 7:27pm PST</time></div>
</div>
</blockquote>
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<div>
<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BdLcBvThEZ4/" data-instgrm-version="8" style="background: #FFF; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 658px; padding: 0; width: -webkit-calc(100% - 2px); width: 99.375%; width: calc(100% - 2px);">
<div style="padding: 8px;">
<div style="background: #F8F8F8; line-height: 0; margin-top: 40px; padding: 51.38568129330254% 0; text-align: center; width: 100%;">
<div style="background: url(data:image/png; display: block; height: 44px; margin: 0 auto -44px; position: relative; top: -22px; width: 44px;">
</div>
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<a href="https://www.instagram.com/p/BdLcBvThEZ4/" style="color: black; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">El próximo miércoles 17 estaré exponiendo en Salamanca, Guanajuato en la galería "San Juan de Sahagún" de la casa de cultura Salamanca. Todos invitados #soloshow #exposicion #paint #art #pintura #guanajuato #salamanca #arte #pintura #radharanitorres</a></div>
<div style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">
A post shared by <a href="https://www.instagram.com/radharanit/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Radharani Torres</a> (@radharanit) on <time datetime="2017-12-26T20:23:14+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Dec 26, 2017 at 12:23pm PST</time></div>
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</blockquote>
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<div class="m1564765079576196475p1" style="background: white; line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span class="m1564765079576196475s1"><span lang="ES-TRAD" style="color: #222222; font-family: "garamond" , "serif"; font-size: 16.0pt; line-height: 115%;"><br /></span></span></div>
<div class="m1564765079576196475p1" style="background: white; line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span class="m1564765079576196475s1"><span lang="ES-TRAD" style="color: #222222; font-family: "garamond" , "serif"; font-size: 16.0pt; line-height: 115%;"><br /></span></span></div>
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<span lang="ES-TRAD" style="color: #222222; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">Exposición “Hierática” de Radharani Torres</span><span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div style="background: white; line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div style="background: white; line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: #222222; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">Texto Judith Pedroza</span><span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div style="background: white; line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div style="background: white; line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: #222222; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> Cuando era niña yo creía que tenía una conexión con
las moscas dice Radharani Torres, la mosca era una especie de alter ego que se
conectaba con el mundo del inconsciente, la imagen de que una mosca que
acompaña como aliada pero también como un súbdito en un reino de imaginación.
Una mosca que dirige, apoya, y sirve.</span><span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div style="background: white; line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: #222222; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> Radharani Torres se coloca como objeto en el centro de su pintura,
familiares y gatos la acompañan, presencias femeninas que en su contexto. En la
historia de la pintura occidental la mujer en una posición de privilegio se
articula como un objeto a admirar, tomemos en cuenta que esta mujer de
privilegio no se pintó a sí misma, ella no es un suceso de su subconsciente, es
el resultado de la mirada del hombre pintor. La mujer artista latinoamericana
muy lejana al privilegio occidental, se pinta así misma con una premisa
distinta –articular un nuevo poder, una nueva posición en lo que occidente
afirmaría como inadecuado. La historia de la mujer en las sociedades
occidentales, es un objeto de apoyo, consuelo y cuidado. La belleza o la
narrativa de el sacrificio la llevaría a ser el centro en una pintura. Cuántas
narrativas invisibilizadas de sacrificio lejos de ser un privilegio no han sido
contadas en pinturas o imágenes en Latinoamérica</span><span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">. </span><span lang="ES-TRAD" style="color: #222222; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">Pero la artista fuera del privilegio esta contando una narrativa de
dignificación nueva en compañía, de otras mujeres, tótems y deidades que
empoderan y sirven de soporte del consciente-inconsciente. La mujer
latinoamericana se representa a sí misma dignificada, llena de magia y presente
para contar. Le ha quitado el poder a la historia de la pintura.</span><span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"><o:p></o:p></span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">“Aquí hay más de cien canciones y cien consultas de
psicoanálisis<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">esperando
a suceder. Estampitas sacras para todo tipo de monstruo<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">mental
que se quiera aparecer. Remedios para desamores y<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">pociones
para amarrarse los huevos y salir a la calle a<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">pelear.
Homenajes a los caídos y monumentos a los que siguen en<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">pie.
Nuevas formas de querer y cabida al odio absoluto. Deidades<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">autoritarias
que no temen castigar mientras escupen bolas de<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">pelo.
Crossovers con tiempos que definitivamente no fueron<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">mejores,
pero tenían los vestidos más “<span style="mso-bidi-font-style: italic;">cool-ever</span>.”
Ven vamos a<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">vengarnos
de quienes nos hicieron daño y luego a abrazarnos<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">hasta
que amanezca.”<o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<div style="text-align: right;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;">Radharani Torres</span><span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"><o:p></o:p></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<div style="text-align: right;">
<br /></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "courier new"; font-size: 11pt;"> Beatas
sin rostro, la coronación de un gato, la veneración de la muerte de una mosca,
el círculo espiritista, el tercer ojo de tu ojo ó de tu gato. Son las tantas
direcciones en la pintura de Radharani Torres que más que generar una
iconografía, esta leyendo una interioridad de la cual fortalecer una reflexión
interna. La magia es la que empuja a crear. La magia también parte de nuestros
sitios, de los significados que damos a nuestros espacios y a quiénes nos
acompañan. En la ansiedad y en la idea de la búsqueda interior se crean
círculos de protección, círculos de imaginación, donde un estudio puede
convertirse en la mesa redonda del inconsciente, ¿A quién vamos a invocar
ahora?. “</span><span style="font-family: "courier new"; font-size: 11pt;">I thought I heard you cry”</span><span style="font-family: "courier new"; font-size: 11pt;"> es
la vista de una antigua iglesia en la Ciudad México, cargada de significados,
en un espacio que ha sido construido para la contemplación, se comunica con un
interior histórico, las mujeres en la historia de nuestra colonización,
encontraban calma y consuelo en estos espacios. –“Pensé que te escuche llorar”
ahí en el centro donde yo puedo leer ese enunciado que se comunica conmigo, un
momento para hablarlo conmigo, hablarlo en una pintura, encontrar un sitio
visual donde preguntarnos las respuestas que necesitamos</span><span style="font-family: "courier new"; font-size: 11pt;">. “Queen Bitch”–</span><span style="font-family: "courier new"; font-size: 11pt;"> la coronación de la “Bicha” la compañera
de pintura de Radharani Torres, porque en los procesos de la pintura de Torres
no son solitarios, están dibujados de micro-compañías femeninas, de
observadoras soñadoras y juguetonas, de respuestas incompresibles pero llenas
de poder. Si hay que coronar, se corona quién merece convertirse en deidad, a
quién emite sonidos de resguardo, alteridad, vocales de fidelidad y alegría. Se
aman más las compañías que a los amantes, se aman más los lazos de comprensión
entre iguales que entre las atracciones entre contrarios– </span><span style="font-family: "courier new"; font-size: 11pt;">“I wish that we were magic so we couldn´t be
so young and tragic”</span><span style="font-family: "courier new"; font-size: 11pt;"> –las hermanas Indriani y Radharani aparecen
ahí, vestidas en bordados a modo de pintura del siglo XVI, de cuando
se necesita el crear una alegoría personal de cuidado y solidaridad.
La imagen eleva a estas dos mujeres jóvenes, a un nivel de dignificación hacia
todo lo posible en su tiempo.</span></div>
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<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: black; font-family: "courier new"; font-size: 11.0pt; line-height: 150%;"> Una
vez Radharani Torres y su interlocutora en este texto, nos hacíamos una
apuesta, –¡Midámonos la dignidad a ver quién la tiene más grande – Sí… a ver
quién la tiene más grande!– La artista se pone en el centro, sin ninguna mirada
masculina al lado, “Please let me be your third eye” nos invita al diálogo con
los iguales, –déjame abrir esa otra puerta imaginativa de transformación hacia
la toma de un poder propio, el velo del fantasma, la identidad que se oculta de
bajo, el gesto de dar la espalda, e impedir el paso a acercarse, encontrar
resguardo de mitificar la intimidad. La pintura es la búsqueda de apoderarse de
un mundo posible femenino, dignificado y consciente. “They told us: Our gods
would be outlive us. But they lie”–Nos contaron que nuestros dioses nos
sobrevivirían, pero nos mintieron– Hora de enterrar a los dioses como a los
gusanos de las deidades en desuso, tiempo de mitificar nuevos modelos de
deseos, de imaginaciones, conquistar las otras imaginaciones para contemplarnos
por primera vez y desde ahora a nosotros.<o:p></o:p></span></div>
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<span lang="ES-TRAD">A post shared by <a href="https://www.instagram.com/radharanit/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Radharani Torres</a> (@radharanit) on <time datetime="2017-07-08T17:35:24+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jul 8, 2017 at 10:35am PDT</time></span></div>
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<!--EndFragment-->Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-15125770344131418942017-12-28T23:09:00.001-08:002019-03-14T18:12:54.221-07:00Caffè sospeso<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "garamond"; font-size: 32pt;"> </span><br />
<span style="font-family: "garamond"; font-size: 32pt;"> Caffè sospeso</span><br />
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<span style="font-family: "garamond"; font-size: 19.0pt;"> Café Pendiente<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 35.0pt;"> Pending Coffe</span></div>
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<span style="font-family: "garamond";"><span style="font-size: small;"> By Judith Pedroza</span></span></div>
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">I pay 2 and take one,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">Then five and drink three,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">Waiting, expecting you at the door,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">One day you will appear,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">Caffè sospeso, here I leave you,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">Take one for me,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">One day we will sit in the same chair<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">With a similar cup, the pending coffee that I leave<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">I hope to go back and find you,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">And have the coffee that we could not have together,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">The coffee that could have led me to follow you on the roundabout <o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">of Amsterdam<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">And walking in circles<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">Sugar and milk, more milk than coffee,<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">Come by and ask for the pending coffee with your name.<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 115%;">Do you have a pending coffee?<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 26.0pt;">Caffè sospeso<o:p></o:p></span></div>
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<span style="font-family: "garamond"; mso-bidi-font-family: Helvetica;">From Wikipedia, the free encyclopedia</span><span style="color: #6a6a6a; font-family: "garamond"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 13.0pt;">Jump to: <span style="color: #0c2ba4;">navigation</span>, <span style="color: #0c2ba4;">search</span><o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 13.0pt;">A <b>caffè sospeso</b> (</span><a href="http://en.wikipedia.org/wiki/Italian_language"><span style="color: #0c2ba4; font-family: "garamond"; font-size: 13.0pt; text-decoration: none;">Italian</span></a><span style="font-family: "garamond"; font-size: 13.0pt;">: <i>suspended coffee</i>) or <b>pending coffee</b> is a cup of </span><a href="http://en.wikipedia.org/wiki/Coffee"><span style="color: #0c2ba4; font-family: "garamond"; font-size: 13.0pt; text-decoration: none;">coffee</span></a><span style="font-family: "garamond"; font-size: 13.0pt;"> paid for in advance as an anonymous act of </span><a href="http://en.wikipedia.org/wiki/Charity_(practice)"><span style="color: #0c2ba4; font-family: "garamond"; font-size: 13.0pt; text-decoration: none;">charity</span></a><span style="font-family: "garamond"; font-size: 13.0pt;">. The tradition began in the working-class </span><a href="http://en.wikipedia.org/wiki/Caf%C3%A9"><span style="color: #0c2ba4; font-family: "garamond"; font-size: 13.0pt; text-decoration: none;">cafés</span></a><span style="font-family: "garamond"; font-size: 13.0pt;"> of </span><a href="http://en.wikipedia.org/wiki/Naples"><span style="color: #0c2ba4; font-family: "garamond"; font-size: 13.0pt; text-decoration: none;">Naples</span></a><span style="font-family: "garamond"; font-size: 13.0pt;">, where someone who had experienced good luck would order a <i>sospeso</i>, paying the price of two coffees but receiving and consuming only one. A poor person enquiring later whether there was a <i>sospeso</i> available would then be served a coffee for free.<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 13.0pt;">Thinking about the Tonino Guerra Tale.- </span><span style="font-family: "garamond"; font-size: 14.0pt;">Caffè Sospeso<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 28pt;"> Someone wants to escape...</span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>A curtain flirts through the window of a building. It is the only one. The curtain is determined to be rebellious and has decided to play with the air that comes after an open door, plays to walk abroad. The other windows of the building are kept locked because in September, in Graz, a slightly cold air begins, but this curtain does not hesitate to come and go.<span style="mso-spacerun: yes;"> </span>Passing by, I 'm looking at the curtain and it seems to want to tell me something, "Look at me, look how I wave the colors of the flowers in my autumn pattern; I have no fear, someone in their carelessness left me here with only a moment to meet you.<span style="mso-spacerun: yes;"> </span>Stay there. Look at me.<span style="mso-spacerun: yes;"> </span>I don’t know how long the door will be open." Why don’t you come over here? Surely from here, you would appreciate all who walk with their bread in hand toward their homes. I have never seen someone in Graz walk with a coffee in hand. That's for people from America, who are always in a rush, but this is a city of contemplation. Right now, if you look up, you could appreciate the beauty of this, my home. Sacred time of this building has colored those dark shadows on the walls around the windows … I stop, but it's hard because I'm in a conversation with the curtain. I've always hated those who need to take a picture of every meaningful moment; there are images that only live in experience and memories. The photograph is never a good reference to the experience, but this curtain wants to stay as an image. <o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 150%;">After 20 minutes of contemplation, I have to wait for the time frame and flirting. Here you are curtain; I know you want to reach the cables hanging in a perfect horizontal and linear way. Why did I have to encounter you? I imagine your home with old books. Surely, from the beginning of the last century with illustrations in black and white, cups of strong coffee, those that do not let you sleep for three days. I would let you escape every day with a promise to return.<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 150%;">Thus, you would conquer the bread walkers. I'm standing here talking to you from a distance again. The bread walkers are curious, asking why I am looking at you. Some of them stop. You have conquered them as well. Remember me next time. I will pass through here. I'll have a coffee in hand and you will know that I am a foreigner.<o:p></o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 150%;"><o:p>Canon, Issue 7</o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "lucida grande";">© 2014, the contributors</span></b></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 150%;"><o:p>Department of Visual and Critical Studies</o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 150%;"><o:p>The School of Art Institute of Chicago</o:p></span></div>
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<span style="font-family: "garamond"; font-size: 14.0pt; line-height: 150%;"><o:p>Chicago, IL 60603 </o:p></span></div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-21587875471942086642017-12-28T18:14:00.000-08:002017-12-28T21:33:12.474-08:00Apropos of the Question “What is the Purpose of Art?” — A Simple Machine <div dir="ltr" style="text-align: left;" trbidi="on">
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<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BXdkNFAHYjb/" data-instgrm-version="8" style="background: #FFF; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 658px; padding: 0; width: -webkit-calc(100% - 2px); width: 99.375%; width: calc(100% - 2px);">
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<span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.12px;"><a href="https://www.instagram.com/p/BXdkNFAHYjb/" style="color: black; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">Open hours 1-4pm Today! Adela Goldbard - A Simple Machine</a></span></div>
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<span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.12px;">A post shared by <a href="https://www.instagram.com/newcapitalprojects/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> New Capital</a> (@newcapitalprojects) on <time datetime="2017-08-06T18:12:39+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Aug 6, 2017 at 11:12am PDT</time></span></div>
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<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Adobe Arabic";">Apropos to the question what is the purpose of Art? — A Simple
Machine<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Adobe Arabic";"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Adobe Arabic";">By Judith Pedroza <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Adobe Arabic";">Beyond a
political reflection, the interest of Adela Goldbard is to touch other
sensibilities. It is not enough to only create objects or sculptural
constructions but to be involved in the concerns or imaginary of the people who
are affected by these political movements directly. In order to produce
artistic statements, Goldbard needs the strength of others to create a critique
as a whole.<span style="mso-spacerun: yes;"> </span>Artists are never alone at
their reflections, they (artists) are close to the others who do not belong to
art, of whom they participate, in solidarity and dialogue. Because the artists'
materials are their own people, with whom they identify the vulnerability of
the present, where there are vulnerable immigrants, institutions of violence
and order with corporate colors and buildings that guard guilty bodies in
transit, that policies decide now to blame them, its economy takes advantage of
them and where the capital apparatus can find a way to produce a profit for
some corporation that can not have a visible face that is only recognized
through signs and colors.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Adobe Arabic";"><span style="mso-spacerun: yes;"> </span>Goldbard has the need to identify her social
place in-company and build the questions that can not be so simple to turn around,
there is not a single facade in a gallery, there are several in each state of
blue and red. It is a "simple machine" articulated and planned in
each place that is built. A simple and like other economic apparatus that
invisibilizes the vulnerabilities and minimizes numbers. This machine, which is
now simple, will be a testimony to our present.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="mso-bidi-font-family: "Adobe Arabic";"><br /></span>
<span style="mso-bidi-font-family: "Adobe Arabic";">"The history of Africa was
narrated by the hunter, it is time to be narrative by the leopard"<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Adobe Arabic";">African
proverb told by Boaventura de Sousa Santos,<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times, Times New Roman, serif; mso-bidi-font-family: "Adobe Arabic";">Mexico
City 2014.<o:p></o:p></span></i></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><o:p> </o:p></span><span lang="ES-TRAD" style="font-size: 12pt;">¿ </span><span style="font-size: 12pt;">“</span><span lang="ES-TRAD" style="font-size: 12pt;">Apropos</span><span style="font-size: 12pt;">”</span><span lang="ES-TRAD" style="font-size: 12pt;"> a la pregunta para qué sirve el
arte? - A Simple Machine</span></span></div>
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<span lang="ES-TRAD" style="font-family: Times, Times New Roman, serif; mso-ansi-language: ES-TRAD;">Judith
Pedroza<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: #222222; font-family: Times, Times New Roman, serif; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Más allá de una reflexión política, el interés de Adela Goldbard es de
tocar otras sensibilidades, no es suficiente solo crear objetos o edificaciones
escultóricas, sino involucrarse en las preocupaciones o imaginarios de la gente
a quiénes afectan estos movimientos políticos directamente. Para poder crear <i style="mso-bidi-font-style: normal;">Statements</i> <i style="mso-bidi-font-style: normal;">artísticos</i>, Goldbard necesita de la fuerza de otros para crear una
crítica en conjunto, el artista nunca esta solo en sus reflexiones, <span style="mso-spacerun: yes;"> </span>esta cercano a los otros que no pertenecen al
arte, de quiénes el artista participa, se solidariza y dialoga. Porque los
materiales del artista son su propia gente, con quienes identifica en conjunto
la vulnerabilidad del presente, donde hay inmigrantes vulnerados, instituciones
de la violencia y de el orden con colores corporativos y edificaciones que
resguardan los cuerpos culpados en transito, que las políticas actuales deciden
culpar, que su economía aprovecha y donde el aparato capital puede encontrar
una manera de producir una ganancia en beneficio de alguna corporación que no
puede tener una cara visible que solo se reconoce en signos y colores. <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><br /></span>
<span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Goldbard necesita identificar su lugar social en compañía y construir
las preguntas que no puedan ser tan sencillas de dar la vuelta, no
hay una sola fachada en una galería, hay varias en cada estado de
color azul y rojo. Es una máquina simple articulada y planificada en cada lugar
que se edifica. Un simple y como otro aparato económico
que invisibiliza las vulnerabilidades y minimiza números. Esta
máquina que ahora es simple, será un testimonio de nuestro presente.<o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;"><br /></span></span>
<span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;"><br /></span></span>
<span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;"> </span></span><span style="color: #222222; font-family: "ms 明朝" , "serif"; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">“</span><span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">La historia de África fue contada por el cazador, ya es tiempo que sea
contada por el leopardo</span><span style="color: #222222; font-family: "ms 明朝" , "serif"; mso-ansi-language: ES-TRAD; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">”</span><span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Proverbio africano contado por
Boaventura de Sousa Santos,</span></i><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: #222222; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;"> </span></span></i></span><br />
<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: #222222; font-family: Times, Times New Roman, serif; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Ciudad de México, 2014.</span></i></div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-79364260406669954832017-06-12T06:46:00.001-07:002017-12-28T18:24:30.432-08:00"A Cosmetic Decision" Juan Camilo Guzmán<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ0UOCeIBfc7qjFL9dA21XRvtFNdFLO-otupfk6P0RTas-Xk1JN9FsacH0LUN2AHAk8FIxLx0EK7Hy48kHNtveUnfTDP-sUWCbC-7KiRoyThceJhjeHmm3DCIzAYMG5EQfripP/s1600/juan+camilo+guzma%25CC%2581n+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1356" data-original-width="1125" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ0UOCeIBfc7qjFL9dA21XRvtFNdFLO-otupfk6P0RTas-Xk1JN9FsacH0LUN2AHAk8FIxLx0EK7Hy48kHNtveUnfTDP-sUWCbC-7KiRoyThceJhjeHmm3DCIzAYMG5EQfripP/s640/juan+camilo+guzma%25CC%2581n+%25282%2529.jpg" width="529" /></a></div>
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<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BVSPsf3DPr1/" data-instgrm-version="8" style="background: #FFF; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 658px; padding: 0; width: -webkit-calc(100% - 2px); width: 99.375%; width: calc(100% - 2px);">
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<a href="https://www.instagram.com/p/BVSPsf3DPr1/" style="color: black; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">TONIGHT 6:00 - 7:30 PM | #JuanCamiloGuzmán will engage in a conversation with Terry R. Myers, critic and independent curator, about the thought process and formation of his #BOLTResidency solo exhibition "A Cosmetic Decision" currently on view at the Chicago Artists Coalition through June 15, 2017. #📷: JUAN CAMILO GUZMÁN, "Poster Sampler", 2017, Digital Print on foam board, 51 x 59 in. #chicagoart #chicagoartist #arttalk</a></div>
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A post shared by <a href="https://www.instagram.com/cacoalition/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Chicago Artists Coalition</a> (@cacoalition) on <time datetime="2017-06-13T15:39:00+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jun 13, 2017 at 8:39am PDT</time></div>
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<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><br /></span>
<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><br /></span>
<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">By Judith Pedroza<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">“I shop as an artistic
practice. What I like about the things I buy is their attitude.” Juan Camilo
Guzmán (Bogotá, 1987) wrote about his exhibition “A Cosmetic Decision” where he
problematizes the subject of “surface,” as the very superficial layer.
Analyzing, observing and collecting, he frames visual information from
different sources. Guzmán finds preciosity in "Stuff"-- objects that
exceed the mass trans-cultural market, which we can all recognize in (our
present). Objects like a finely wrapped <i style="mso-bidi-font-style: normal;">Iridescent
eyelash curler</i> in silver from Forever 21, a bag of gummy worms, a pink
dolphin, a sentence such as<span style="mso-spacerun: yes;"> </span>"Devour
me Again " [Devórame Otra vez], from "Aesthetic power" or
"Mystery Journey".<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">The basis that can describe
a Latin American artist is the understanding of his context, to experience in
his own sensitivity and the use of his own time, the personal reflections that
can be opened in different interpretations. Not define in a studio, instead of
in the experience of his time.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span>Juan
Camilo Guzmán likes Colombian salsa, which he exchanges in Karaoke moments,
when he sings and admires Mexican short stanzas of <i style="mso-bidi-font-style: normal;">José José</i>, tennis once a week, discussing soccer in WhatsApp groups
of <i style="mso-bidi-font-style: normal;">"Los Millonarios"</i> and
the <i style="mso-bidi-font-style: normal;">"Real Madrid,"</i> asking
you dichotomous questions (where you can only choose one answer), creating the
perfect mustaches and beards for everyone, (even if you cannot grow one),
infinite hashtags for a single Instagram image —wearing short dresses and wigs.
He does not like the sand on the beach, nor even getting wet in the rain,
natural disasters or when people run even a few minutes late. </span><span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";">He has a big golden duck crown, as a
ring, that has accompanied all in the streets of Chicago</span><span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">. Guzmán received his MFA in Painting and
Drawing from the School of the Art Institute of Chicago in 2016.</span><span style="color: #222222; font-family: "adobe garamond pro"; font-size: 9.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #777777; font-family: "adobe garamond pro"; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>“</span><span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">I do
not know how to win, but I try</span><span style="color: #777777; font-family: "adobe garamond pro"; font-size: 10.0pt; line-height: 115%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Perhaps
I don´t risk as much but, I dare<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">If
someone defines me, I ignore<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; margin-left: .5in; text-align: justify; text-justify: inter-ideograph;">
<span style="color: black; font-family: "adobe garamond pro"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">If I
lost, I recognize”<o:p></o:p></span></div>
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<br /></div>
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<span lang="ES-TRAD" style="font-family: "adobe garamond pro"; mso-ansi-language: ES-TRAD;">Grupo Niche/Colombia,1986.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "adobe garamond pro";">“A Cosmetic
Decision”</span><span lang="ES-TRAD" style="font-family: "adobe garamond pro"; mso-ansi-language: ES-TRAD;"> by Juan Camilo Guzmán<o:p></o:p></span></div>
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<span style="font-family: "adobe garamond pro";">Chicago
Artists Coalition <o:p></o:p></span></div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-11003964079641522102016-12-29T16:15:00.002-08:002016-12-29T21:07:16.966-08:00El Nacimiento de Perlita del Azul<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
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<span style="font-family: "georgia" , "times new roman" , serif;">En el 2016 nació un personaje en mi escritura: Perlita del Azul, quién reflexiona en forma anácronica, fragmentada y discontinua. Le gustan las letras de canciones desde las cuáles recrea historia, o historias. Perlita del Azul es bilingüe, no le importa brincar entre idiomas, y no tiene una identidad definida. Perlita del Azul nació de una memoria, nació del mar, nació en el sur de México. A Perlita del Azul le gustan las epígrafes, le gustan los "discursos"- "speeches" políticos. La poesía y la filosofía son su base, pero las letras de canciones latinoamericanas pueden brincar en su presente del pasado o en el futuro. Para Perlita del Azul no hay nada más honesto que una línea corta que pueda explicar la belleza del presente. Le gustan los lagos y los océanos. Le gusta las vistas de lejos, le gusta mirar de lejos, pero escucha de cerca voces de diferentes idiomas. Perlita del Azul es un personaje en construcción haciéndose de las líneas viejas y de las nuevas. Perlita del Azul opera en la fragilidad, y cómo es anacrónica no entiende la fuerza de pisar a otros para seguir. También, como es anacrónica no entiende todos los tiempos, necesita hacer regresos y adelantos, para entender los tiempos que pisa. Perlita del Azul cree que esta viviendo los noventas en los dosmiles diez y otra vez tiene que explicar todo de forma continua y repetitiva, antes y ayer, hoy y después. En el 2016 Perlita del Azul escribía poco, pero escribía. Aquí algunos fragmentos:</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif;">12.27.16</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">En los últimos días, la reflexión se ha encaminado a hacer las cuentas de la magia vivída, no sé si sucedió, no sé si me la inventé, pero la experiencia me dice, que ha sido tanta que se quedó en cada punta de mis cabellos que siguen enredándose y jugueteando.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="color: #1d2129;"><span style="background-color: white;">12.7.16</span></span></span><br />
<span style="background-color: white; color: #1d2129;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span> <span style="background-color: white; color: #1d2129;"><span style="font-family: "georgia" , "times new roman" , serif;">In my second youth, I am becoming a swimmer in snow, a new song of beauty.</span></span><br />
<span style="background-color: white; color: #1d2129;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span> <span style="background-color: white; color: #1d2129;"><span style="font-family: "georgia" , "times new roman" , serif;">12.1.16</span></span><br />
<span style="background-color: white; color: #1d2129; font-family: "georgia" , "times new roman" , serif; font-size: 14px; letter-spacing: -0.24px;"><br /></span> <span style="background-color: white; color: #1d2129; font-family: "georgia" , "times new roman" , serif; font-size: 14px; letter-spacing: -0.24px;">La historia que se ha escrito en castellaño, español latinoaméricano tiene las narrativas de las otras formas de encontrarse y situarse en mundos forzados e impuestos. Las historias, las palabras que se cuentan, sus choques sociales, sus imaginarios, sus otras formas de encontrar la belleza, los otros mundos posibles, son la fuerza de nuestro idioma, quererse en español, pasar la lengua en el cuello de un tono y melodía de color con la lengua de la historia dura, la que tiene "las únicas formas." Estás son mis batallas. En mi mundo caben muchos sonidos con melodías distintas, las dignifico a cada una, desde la más grave a la más aguda, desde la más envidiosa, hasta la más sencilla. No me impongo, en mis batallas solo seduzco. Y en la tierra donde no te quieren del todo:</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Yo seduzco, yo desarmo.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">11.21.2016</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Message to the "Chicken donut supremacist, alters and nationalist" Go travel and enjoy life, stop producing so bad and boring content. Be happy and healthy. Eat fruits and veggies, sing love songs, eat butter cookies, make a life with laughs. Do not hate, guys could die of cancer with all the hate in your souls. No time to go back, this world is so big for all of us.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">11.18.2016</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span> <span style="font-family: "georgia" , "times new roman" , serif;">[Toda cultura tiene su raíz en la barbarie y toda renovación de la cultura se engendra en ese fondo de la barbarie y cuando ésta se agota, la cultura se seca, se aniquilosa y muere]</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> Ortega</span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 14px; letter-spacing: -0.24px;">9.11.16</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Memorias anacrónicas- de las que se juntan en noches de 1991 y se conectan con noches del 2016, epígrafes musicales. Ahí por enero estas líneas sonaron sin razón y se han quedado todo el año. Sobre todo -ese encanto que provoca tu fragilidad- Me gusta rehacer momentos en palabras, conocer de nuevo y como en contadas ocasiones en mi cortísima vida, el miedo, el encanto y la fragilidad juntas.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"Tantas cosas en la mente me aterran<br />El pensar en todo y nada de una vez<br />El estar <span class="text_exposed_show" style="display: inline;">dormido, el soñar con frío<br />El permanecer perdido, buscándote</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Tras los muros de mi casa tan fría</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Puedo pensar en algo para hacer calor</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">El moverme me hace titubear y dudar</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Pero esa imagen no se irá jamás</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Y el pensar en ti me hace recordar</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">El encanto que provoca tu fragilidad</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Quedarme sentado aquí me puede congelar</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">El hablar de ti me puede delatar "</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Perlita del Azul 2016 con epígrafe musical de los Amantes de Lola 1991</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">8.18.16</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="letter-spacing: -0.24px;"><br /></span> <span style="letter-spacing: -0.24px;">A Purepecha story:</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Many stories ago, when the first gods made the world, they were circling still night, two gods who were one communicated with each other. They wanted to move at the same time but they could not, so they made an agreement for one to move first and then the other would follow…and they began to move, who cares who moves first, because now we are moving. Since the gods walk with questions and never stop ... they never arrive, never leave. Since then, the true m<span class="text_exposed_show" style="display: inline;">en and women to walk they ask, to arrive they say goodbye, to go they say hello ... they are never still.</span></span></div>
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Walkers : xanarantilla in purepecha</div>
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Translation: Perlita del Azul</div>
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8.10.16</div>
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<span style="letter-spacing: -0.24px;"><br /></span> <span style="letter-spacing: -0.24px;">Sólo recuerden: la sensibilidad no es algo que se aprende en recintos institucionales.</span></div>
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<span style="letter-spacing: -0.24px;">8.6.16</span></div>
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Luna, Luna mexicana<br />
tu que sabes tantos secretos<br />
de los llantos de ayer<br />
de las mitomanías<br />
de los sonidos conocidos<span class="text_exposed_show" style="display: inline;"><br />de Amsterdam y Sonora<br />de los parques llenos de amor<br />de las manías de caminatas en círculo<br />Por Alfonso Reyes y librerías con dedicatoria<br />¿Caminata nueva?<br />Por casitas de ladrillos rojos<br />sin mitomanías<br />habrá que contarle mis secretos a las lunas amarillas</span></div>
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Perlita del Azul</div>
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7.25.16</div>
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The reflection of my afternoon, the accurate excerpt of this interview:</div>
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"I remember a great German poet, Wolfgang Goethe, a romantic poet. He was asked a question close. Did he have a happy life? What he thinks about his life. And his answer was, " Yes. I had a very very happy life."<br />
"But", he added immediately, "I don't remember a single happy week." And that's against contemporary philosophy. The warning for us because we have been brought up by marketing, by advertising<span class="text_exposed_show" style="display: inline;"> by ever new temptations, seductions and so on, ever new fashions to think about happiness as an uninterrupted row of better and better pleasures. And what Goethe suggests, -as he was a very very wise man, not only a great poet- is that happiness is in overcoming happiness, troubles. In one of his poems he says that the worst nightmare is a long, long row of sunny days. The alternative of that, the product of that is not happiness but boredom lack of excitement, lack of purpose to pursue, to fight for, and so on.<br />So what Goethe said was a warning for the younger people: Don't think your life as a collection of gifts picked up from the unlimited container of pleasurable items. Think about your life as a long, long struggle, you resolve one trouble, comes another and the side effects are very often unpleasant. What makes short term pessimist and long-term optimist."</span></div>
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Zygmund Bauman</div>
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7.8.16</div>
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<span style="background-color: white; color: #1d2129; font-size: 24px;"><span style="font-family: "georgia" , "times new roman" , serif;">Mango y michelada para la novia mexicana</span></span></div>
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<span style="background-color: white; color: #1d2129;"><span style="font-family: "georgia" , "times new roman" , serif;">7.7.16</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">"If you go shopping today, try to buy some respect and dignity for others, it will be hard to find it, but you can try. Bye now."</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">Perlita del Azul</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 14px; letter-spacing: -0.24px;">7.1.16</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">De cuando dejé de dibujar líneas</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">De brincar charcos</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">de contar esa historia</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">tan mía y tan tuya</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">Ya no brinco en oceános fríos</span><span class="text_exposed_show" style="background-color: white; color: #1d2129; display: inline; font-size: 14px; letter-spacing: -0.24px;"><br />Ahora salto en los lagos más dulces<br />helados y dulces<br />dulces y helados<br />Menos hondos, menos largos<br />Desde mis aguas dulces de veranos cortos<br />Un poco más despacio que de costumbre<br />Y sin libros en mano<br />Sin puntas, sin lápiz<br />Sin libretas y caminatas<br />Aquí dejo los dos miles pasar<br />Con un gato, con sopas calientes<br />Con canciones viejas<br />Con canciones nuevas<br />Con mis anacronismos<br />Volver<br />Sin temerlo<br />Sin morderme el labio<br />Tocándome el pelo<br />sin cortarlo, sin miedo<br />Con esas rodillas y sueños largos<br />Con Shiraz color púrpura y fruta cortada con anillos de oro<br />Una vez más, para un día<br />...</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 14px; letter-spacing: -0.24px;">5.25.16</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">"En la historia no hay una fuente. No hay relación causa-consecuencia sino una suerte de río que fluye. El origen no esta aquí -en la imagen vertical- sino en estos trazos desordenados. Es una revuelta. Hay dos modelos. El que yo prefiero es el modelo de superviviencia que tiene una concepción radical de la raíz."</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">Georges Didi-Huberman</span></span></div>
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<span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;"><span style="font-family: "georgia" , "times new roman" , serif;">5.4.16</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">En los tonos más largos </span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">sin cantar</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">sin dormir</span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">los dos miles </span><br style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;" /><span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;">sus bellezas</span><span class="text_exposed_show" style="background-color: white; color: #1d2129; display: inline; font-size: 14px; letter-spacing: -0.24px;"><br />sus recuerdos<br />en los tonos más largos sin cantar<br />en los tonos más largos</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 14px; letter-spacing: -0.24px;">4.15.16</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 14px; letter-spacing: -0.24px;">Pinche mal servicio...</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 14px; letter-spacing: -0.24px;">3.21.16</span></span></div>
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<span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;"><span style="font-family: "georgia" , "times new roman" , serif;">Que dice Perlita del Azul que los leones ya no se levantan con arrugas y enojados los lunes por la mañana. Que se tendrá que acostumbrar a 2666 de Bolaño o lo que dure la lectura en silencio. Big grumpy cats have been hidding in my room.</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="font-size: 14px; letter-spacing: -0.24px;">3.18.16</span></span></div>
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<span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;"><span style="font-family: "georgia" , "times new roman" , serif;">Nota: nunca me ha gustado el helado en los Estados Unidos, mucha textura, mucho color, mucho sabor que termina por no gustarme desde la primera cucharada. La vainilla o el chocolate pueden saber a lo mismo. En cambio las nieves mexicanas limoncito para la herida, mezcalito para el corazón, guayaba para la mexicana. Mango para los días con salecita, y mamey para los domingos de caminata. Vasito azul para llenar con sabor zapote los dulces deseos.</span></span></div>
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<span style="background-color: white; color: #1d2129; font-size: 14px; letter-spacing: -0.24px;"><span style="font-family: "georgia" , "times new roman" , serif;">2.12.16</span></span></div>
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<span style="background-color: white; color: #1d2129; font-size: 24px;"><span style="font-family: "georgia" , "times new roman" , serif;">Pues ya saben que a mi me gustan los tonos sol de invierno.</span></span></div>
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<span style="color: #1d2129; font-family: "georgia" , "times new roman" , serif;"><span style="background-color: white;">2.11.16</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Train lyrics session- 90's mexican song:</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">"Tras los muros de mi casa tan fría<br />puedo pensar en algo para hacer calor<br />El moverme me hace titubear y dudar"</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Los Amantes de Lola</span></div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-77596990979111935902016-03-30T19:35:00.000-07:002016-05-09T17:05:13.585-07:00Ejemplar Dibujo Contemporaneo Jan. 28.16 Mexico City
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgdXlZeVx6jtxR4CIzwRNUhw_Qnp_ZIRnWd00nqB1Yz7KPVTE_Wld75r8Dnn4pyT6j9KQjqFDUAMOP_w6OZ-E-UESpMzWGTX410RZ48izeymEceVV-byMut2jUsrh9TlgeRDr/s1600/Screen+Shot+2016-03-30+at+9.38.59+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgdXlZeVx6jtxR4CIzwRNUhw_Qnp_ZIRnWd00nqB1Yz7KPVTE_Wld75r8Dnn4pyT6j9KQjqFDUAMOP_w6OZ-E-UESpMzWGTX410RZ48izeymEceVV-byMut2jUsrh9TlgeRDr/s640/Screen+Shot+2016-03-30+at+9.38.59+PM.png" /></a></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://www.instagram.com/p/BBBPFoYrXHD/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A video posted by Ejemplar Dibujo Contemporáneo (@dibujocontemporaneo)</a> on <time datetime="2016-01-26T22:38:43+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jan 26, 2016 at 2:38pm PST</time></div>
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<a href="https://www.instagram.com/p/BAr64dlLXLf/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A video posted by Ejemplar Dibujo Contemporáneo (@dibujocontemporaneo)</a> on <time datetime="2016-01-18T15:58:07+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jan 18, 2016 at 7:58am PST</time></div>
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<a href="https://www.instagram.com/p/BBnV7wKrXIZ/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A photo posted by Ejemplar Dibujo Contemporáneo (@dibujocontemporaneo)</a> on <time datetime="2016-02-10T17:49:41+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Feb 10, 2016 at 9:49am PST</time></div>
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<a href="https://www.instagram.com/p/BBWIfAaLXAv/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A photo posted by Ejemplar Dibujo Contemporáneo (@dibujocontemporaneo)</a> on <time datetime="2016-02-04T01:25:04+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Feb 3, 2016 at 5:25pm PST</time></div>
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<div style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">
<a href="https://www.instagram.com/p/BBJmCpgrXN7/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A photo posted by Ejemplar Dibujo Contemporáneo (@dibujocontemporaneo)</a> on <time datetime="2016-01-30T04:33:13+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jan 29, 2016 at 8:33pm PST</time></div>
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<a href="https://www.instagram.com/p/BBG1-Jxr4Cs/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" target="_blank">A photo posted by Guillermo Eduardo (@guillermoeduard)</a> on <time datetime="2016-01-29T02:54:41+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jan 28, 2016 at 6:54pm PST</time></div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-91601654419001250012016-03-30T19:12:00.002-07:002017-12-22T20:54:34.891-08:00Acerbunundrum Ballroom Projects April 4-25 2015, Chicago IL<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://ballroomprojects.tumblr.com/tagged/judith-pedroza">Ballroom Projects</a></div>
Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-65948908110394840682014-07-03T14:42:00.002-07:002015-03-10T22:49:19.564-07:00Intermezzo - a similar piece performed independently: the fall<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpNAwTMduiBe3TUbwp_jHsJV_MkdpYjoamL4iBnZLPYsYq_JY1vS5FDQq0x5t_vP5s-7bMFzXBZoN2mjc9baAZCDmVoYvz9AtLaoVZYd3fs14nds_3lk3HNt2uUM-_k0-mLuoE/s1600/Pedroza_Fragments.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Judith Pedroza" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpNAwTMduiBe3TUbwp_jHsJV_MkdpYjoamL4iBnZLPYsYq_JY1vS5FDQq0x5t_vP5s-7bMFzXBZoN2mjc9baAZCDmVoYvz9AtLaoVZYd3fs14nds_3lk3HNt2uUM-_k0-mLuoE/s1600/Pedroza_Fragments.tif" height="480" title="Judith pedroza" width="640" /></a></td></tr>
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By Judith Pedroza<br />
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Fifty-seven minutes ago, Gabriel García
Márquez died. Five or six hours ago from today, I felt an anxiety, the one that
made me look through my books in Spanish. <span style="color: #343434; mso-bidi-font-weight: bold;"><span style="mso-spacerun: yes;"> </span>I took a walk
through references to find where the ideas that I cross with Art and culture
come from. Among the books browsed, Heriberto Yépez translation of a lecture
presented at the University of Chicago in 1926 by José Vasconcelos (writer,
philosopher and founder of the public university program in Mexico) creator of
the famous phrase that accompanies the shield of my Mexican University, UNAM,
" Through my race, the spirit will speak" a phrase I feel strange
mentioning in this text because in Mexico I would have never thought of such a
reference, but because of my personal exile in Chicago, I bring in an indirect
reference, and I also add<span style="mso-spacerun: yes;"> </span>" The Cosmic
Race " or "the unity of complementarity diversities rather than
confrontation" (Da Jandra:13:2010). According to Heriberto Yépez, the
Cosmic Race was dedicated to Latin American readers and he noted that
Vasconcelos would refer to U.S. diversity as "Another Cosmic race".</span></span><br />
<span style="font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"><span style="color: #343434; mso-bidi-font-weight: bold;"><br /></span></span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">I prepare a text -“The Text” - the one
that won´t have my voice. <span style="color: #1a1a1a;">Instead, it will have the
voice of an acute Anglo-Saxon tone, as James Elkins says, the language of
History; The language that in my intent to succeed in America, trips and is
misunderstood, filled with binary senses. The language that I use sounds like a
claim, a sham, pronouncing its bass tones that sometimes manifest so sharply. I
look at my listeners, moving their lips as a gesture to try to understand. Even
so, English tones are full of experiences.</span></span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">The
task, in finding the beauty between the difference, between that space where
nothing seems to exist, where otherness leaves something in the middle among
the misunderstanding and the new meaning, between the desire to say and the
silence that interprets the sound, between the space of a seat. Between the
space of two languages that cannot talk about the same, there is the place
where I find liberation, between what cannot be said, and what is said. The
difference, like a liberating act of beauty, creates another language -far from
the mother's house, or books- the one that requires more development before
jumping to the next screen. Giusseppe Patela says, in his essay Resistance As
(Art of) Difference " A strategic idea of beauty, thought of as an experience
of opposites and challenge." The challenge of standing in the difference
itself, where there is a third opportunity that emerges. The difference I also
imagine as the vigil of Borges, the opportunity to be between awake and asleep.
I imagine the dream as a state of beauty that is in the middle. It may be this
third state, where no expected experiences happen, that links the night to fullness.</span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 16.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">Interlude</span><span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">
- </span><span style="font-family: "Times New Roman"; font-size: 16.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">temporary amusement or source of
entertainment that contrasts with what goes before or after</span><span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">:
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">Today
when I dream in English, I want to dream that I'm awake and in class, where I
wrote a line with the present experiences, where I speak the German of Tina,
the English of Michael, and the Spanish of Carlos, and I move my hands with the
grace of Joseph. I want to dream, dream that you respond in Mediterranean and
Latin words from a place in Imperia, telling me about the many walks that I
missed. </span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">Beauty
as the third experience between sleep and vigil may be the transformation to
the absolute absence of pain. </span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">Note:</span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">Beauty
is when two friends share in each other the acuteness and detail I see in each
one and make me part of every distant moment of thought. </span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">The
images make me share wanderings in full markets, full of daisies, sunflowers
and tuberose, the ride in the subway with flowers, on a Thursday farewell
before the trip. They remember you with a glass of "mezcal de amores,"
mezcal of love, and they ask when you can go for a walk with them.</span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">I
want to think of the first time I had an encounter with history, walking at the
age of seven, accompanying my grandmother to the market through Popotla, one of
the oldest parts of Mexico City, which houses the "Tree of the sad Night, an
[ahuehuete] from [</span><span lang="ES-TRAD" style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic; mso-themecolor: text1;">āhuēhuētl] </span><span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic; mso-themecolor: text1;">- </span><span lang="ES-TRAD" style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic; mso-themecolor: text1;">the Moctezuma Cypres,</span><span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">
which means "Old water tree" or "Tree that never ages."
This is the tree where the leader of the Spanish conquest, Hernán Cortés, cried
in June of 1520 in defeat of the Mexica people. My grandmother introduced me to
this fallen trunk, which at that time represented more than 464 years of life.
She made me touch it, because it is known that the trees like to be touched.
Touching them will tell you the full history and all the weeping lived through defeated
nights. She told me this is where the braiding of my hair came from. Braids were
the root of the mixture of Mexican races, the crossings of pain, but also joy,
and once again, in the middle is where we keep history and cultural difference.
This trunk resists the idea of death. It stays strong, predicting life for more
than five centuries, holding on to the desire to live in time. Some historians
say that the Spaniards arrived in Mexico happy to meet the new lands and
Mexican cultures – a people also divided by the Mexica civilization. The
history twisted, when the Spaniards found all the gold that the Mexica people
had, they decided to attack. But in this first battle, the Spaniards lost and
the tears of the Spanish leader remain in the trunk of this tree.</span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 18.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">Prelude</span><span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">
- </span><span style="font-family: "Times New Roman"; font-size: 16.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">the introductory part of a poem or
other literary work</span><span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">:</span></div>
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<span style="color: #343434; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">Another thought plays back. The first time art made
sense to me. I was walking between Champs-Elysees and George Eliott in the
city, escaping from home for the first time, making my first trip to the nearby
neighborhood. </span><span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;">On that corner, the first and
short-lived Museum of Contemporary Art was established. I had never heard the
word “contemporary” before. I entered the museum. I was ten years old and
nobody asked me anything, and the best part - it was free. I walked into the
museum as you would walk into your home. The first art piece I saw and I would
never forget from the art collective SEMEFO, was called “Study of dead body
clothing”, five pieces of clothing from young people that were killed in
accidents and pulled from the morgue. I encountered these pieces of clothing
and smelt the blood from the unknown. This was my first art experience that
taught me the existence of other ways and how to use language to name problems,
to address them.<span style="mso-spacerun: yes;"> </span>From there that corner
turned into my favorite corner in Mexico City that I visit every time I can.
Today there is nothing special about this corner, but it is rich in my memory.</span></div>
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<br /></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;">I want to think about my first
art experiences that occurred in the daily life of Mexico City - determined by
contrasts and tensions without a purist approach to history, beauty,
literature, art, or philosophy. The idea of art and culture becomes a pretext,
an appropriate license to say what cannot be said in the everyday life. The
space between the contrasts and tensions is a hybrid of fiction and reality,
the two are mixed, a state of constant vigilance that crosses the city in long periods,
where there are places of language transformation, where when the tension of
class or race rises in the middle of an argument or a fight, can turn, in seconds
into humor. </span><span lang="EN-GB" style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;">Yoshua Okon</span><span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;"> mentioned that,
“The humor is actually a very sophisticated way of communication and is also a
very sophisticated way of coping with the many harsh and violent aspects of
everyday life.” Cynicism is not the same as humor, cynicism aims to disarm and
disable any event. Humor reinvents and motivates the relationship of opposites.
Cynicism voids, humor activates and catalyzes. The construction of identity is
developed in these interludes, in halves, at crossroads, in the possibility.
So, humor is a serious thing.</span></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 16.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;">Intermezzo</span><span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;"> - a</span><span style="font-family: "Times New Roman"; font-size: 16.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">
similar piece performed independently</span><span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;">: <span style="mso-spacerun: yes;"> </span>the fall</span></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;">I want to think about the
different times I fell down in Mexico. Falling is almost impossible. There are few
spaces to fall. Just as you feel your foot trip, your knees weaken, your arms
in the air, just as you’re almost on the ground, right when your face is about
to touch the floor, different arms and unknown hands are there to never let you
fall or to lift you up and tell you immediately - “Its over." They never
ask, "Are you okay?”<span style="mso-spacerun: yes;"> </span>They always
say, “Its over.” The beauty of the language makes you move from floor to
posture, from trance to immediate equilibrium.</span></div>
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<br /></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 14.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold; mso-themecolor: text1;">"Its over" is the sentence
that means "continuity.” Seeing someone fall activates an immediate motion,
presto momentum. If one falls, we all fall. We can´t. We all are practicing the
present and the present does not stop to wait for us.</span></div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-49652129050227193002013-03-19T00:57:00.000-07:002017-12-28T16:44:17.957-08:00Amanecer Dorado/ Golden Dawn/ Judith Pedroza<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvS59eXd_vDAyz6XGEYsf4xNMFwTybwPDIdgnuFR1sdntnnlcOs7yaqcxk0c3p6ynUJ33mDsDkkaEQvuaqCtzDg41TuAAyw9FAfHbDdp-GVbZ9IV_T0uoOZJOpUo5cVbtR8I_r/s1600/AMANECER+DORADO:+GOLDEN+DOWN.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvS59eXd_vDAyz6XGEYsf4xNMFwTybwPDIdgnuFR1sdntnnlcOs7yaqcxk0c3p6ynUJ33mDsDkkaEQvuaqCtzDg41TuAAyw9FAfHbDdp-GVbZ9IV_T0uoOZJOpUo5cVbtR8I_r/s640/AMANECER+DORADO:+GOLDEN+DOWN.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglJd0vjoYJWHZ92bBm0pffaavgXIjStT5cVFg-Yokjj89evOuuJuOaOl4HgaH62A5U7XpztXjwxMK3njq2M7ebfpOTABRpINPlC0Q5S90EbAJdhhwZ1yrBSc8MbVEXxIUDBMV4/s1600/aguila+Amanecer+Dorado+Golden+Dawn+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglJd0vjoYJWHZ92bBm0pffaavgXIjStT5cVFg-Yokjj89evOuuJuOaOl4HgaH62A5U7XpztXjwxMK3njq2M7ebfpOTABRpINPlC0Q5S90EbAJdhhwZ1yrBSc8MbVEXxIUDBMV4/s400/aguila+Amanecer+Dorado+Golden+Dawn+2.png" width="400" /></a></div>
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<span style="color: #333333; mso-bidi-font-family: Times; mso-bidi-font-size: 14.0pt;">AMANECER DORADO</span><span lang="ES-TRAD" style="color: #333333; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Times; mso-bidi-font-size: 14.0pt;">/ GOLDEN DAWN<o:p></o:p></span></div>
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A poetic imminence comes from the risk involved in transforming a violent fact into an experience of a drawing, a song or an epic. To narrate this fact that causes a deep fear from its most sensitive proceedings in a manner that articulates its existence, I watch, listen and read articulating poetic imminences that cross the individual. Among the beauty, the difference, the weakness, and its shades, lies the diverse materials I use for my practice; going between questions and alliances, between games and the knowledge of the other, to create the possibility of another kind of knowledge, no longer expected of high culture but of a contemplation between individuals and experiences joining in the present.</div>
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“The roots of poetry is the epic and the epic is the first poetic genre. In the epic, there is time: a before, during and after. All of this is poetry”<a href="http://draft.blogger.com/blogger.g?blogID=29875460#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference">[1]</span></a> Artistic poetics as a vigil experience; exploring untold narratives, mixing what I live, what I think, what I observe and what I fear with crossing narratives to create a sensory experience of them.</div>
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<span style="mso-bidi-font-family: Times; mso-bidi-font-size: 14.0pt;">"Art comes from a place that is not known, that happens when you do not know it” during the development of a singular idea of a cultural narrative.<o:p></o:p></span></div>
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<span style="color: #333333; mso-bidi-font-family: Times; mso-bidi-font-size: 14.0pt;">AMANECER DORADO</span><span lang="ES-TRAD" style="color: #333333; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Times; mso-bidi-font-size: 14.0pt;">/ GOLDEN DAWN<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">Inminencia poética por el riesgo de transformar un hecho violento, en una experiencia de dibujo, un canto, una épica. Contar del hecho que causa un miedo profundo a partir de su proceder sensible, en la forma que articula su existencia,<span style="mso-spacerun: yes;"> </span>yo observo, escucho, le leo, articulo inminencias que convierto poéticas que me cruzan como individuo. Entre la belleza, la diferencia, la debilidad y sus tonalidades, los materiales diversos que uso para mi práctica que va entre preguntas y alianzas; entre juegos uno a uno y el conocimiento del otro; las posibilidades de otro tipo de <span style="mso-spacerun: yes;"> </span>saber que ya no espera de la alta cultura sino de la contemplación entre sujetos y vivencias conectadas en el presente.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">“En las raíces de la poética esta la épica y la épica es el genero poético primordial narrativo. En la épica esta el tiempo, en la épica hay un antes un mientras y un después todo eso es poesía”<a href="http://draft.blogger.com/blogger.g?blogID=29875460#_ftn2" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;">[2]</span></span></a> El arte como una experiencia de vigilia, que explora narrativas no contadas, donde se mezcla lo que se vive, lo que se piensa, a lo que se le teme . Cruzar narrativas, para crear una experiencia sensible de ellas.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">“El arte por venir de un lugar que no se conoce que acontece cuando usted no lo sabe” De el desarrollo de una idea singular de una narrativa cultural.<o:p></o:p></span><br />
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><br /></span><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><br /></span><span lang="ES-TRAD" style="font-family: "times" , "times new roman" , serif; mso-ansi-language: ES-TRAD;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="color: #333333; font-size: x-small;"> </span><span class="Apple-style-span" style="color: #333333;">Pre and post-exhibit soundtrack by </span><a data-hovercard="/ajax/hovercard/user.php?id=1254613162&extragetparams=%7B%22group_id%22%3A0%7D" href="http://www.facebook.com/alexander.jarman.5?group_id=0" style="text-decoration-line: none;"><b><span class="Apple-style-span" style="color: black;">Alexander Jarman</span></b></a></span></span></div>
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<a href="http://draft.blogger.com/blogger.g?blogID=29875460#_ftnref" name="_ftn1" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference">[1]</span></a> Borg<a href="http://draft.blogger.com/blogger.g?blogID=29875460" name="_GoBack"></a>es, Jorge Luis. Seven Nights. Fondo de Cultura Económica. 1980</div>
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Translation Copyright <span style="font-family: "symbol"; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-char-type: symbol; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin; mso-symbol-font-family: Symbol;">Ó</span> 1984 by Eliot Weinberger</div>
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<a href="http://draft.blogger.com/blogger.g?blogID=29875460#_ftnref" name="_ftn2" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference">[2]</span></a> Borges, Jose Luis. Siete Noches.1980 Edit Meló pp 6</div>
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Special Thanks to:<br />
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Debra Abel and Woodbury School of Architecture for all the support and resources for this project.</div>
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Janet Asuncion</div>
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Alexander Jarman( records ) </div>
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Marilia Maschion </div>
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Tristan Shone<br />
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-9943644555432383692012-11-11T13:07:00.001-08:002012-11-12T20:02:04.161-08:00Becoming/ Tijana Porobic//Project # 7 /Sala de Espera <div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large;">Becoming / Tijana Porobic//Project # 7 /Sala de Espera </span></div>
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Texto : Judith Pedroza</div>
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<blockquote class="tr_bq" style="text-align: justify;">
La niña que crece y lo intenta todo, el objetivo : la transformación de la inocencia con el juego, práctica, prueba-error, la imaginación revuela y revolotea para inventarse un quehacer, una vida en un lugar nuevo y cultura distinta. Aprender del mundo con los compañeros de juego, con hermanos, amigos, y abuelos. "The bussiness of something very unimportant"[...] la "balerina" que no es una sirena sino una niña que viaja en sueños y crea dibujos en una pared, que nada en oceános de tela en una guerra en puerta, el translado del viaje al sueño, ida y vuelta completando palabras en tres idiomas.</blockquote>
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Risas honestas de áquellas que escuchas desde el edificio de enfrente. Ella sabe a dónde ir, rumbo a la siguiente aventura en la tierra de las mejores promesas. El llanto, el recuerdo, como cuando se come por primera vez una piña con el primer amor en un país de Los Balcanes : el descubrimiento de lo "artístico" y a su vez la guerrera que vive cerca del mar en un país de América.</div>
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Tijana Porobic realizó el proceso de "Becoming" en Sala de Espera, el proyecto comenzó con un dibujo en la pared con cables, transladándose a papel y una proyección en la pared que se convertiría en video. La decisición final de Tijana Porobic fué mostrar sólo partes de la secuencia del video en el sitio de Sala de Espera.</div>
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Agradecimientos a Marilia Maschion por su colaboración y soporte en todo el proceso.</div>
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Becoming / Tijana Porobic//Project # 7 /Sala de Espera </div>
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Text by Judith Pedroza</div>
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The girl who grows and tries everything. The goal, the transformation of innocence through the game, with practice and trial and error. The imagination flutters and flies to invent a chore, a life in a new and different culture, learning the world with playmates, with siblings, friends, and grandparents. "The business of something very unimportant." The ballerina is not a mermaid, but a girl who travels in dreams and makes drawings on her wall, swims in oceans of fabric of war at your door step, the trip transfers into dreams, round trip, completing words in three languages. </blockquote>
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The honest laughter you hear from the building across the way. The girl who knows where to go and what the next adventure is in the land of the most promising. The tears, the memories, like when you eat a pineapple for the first time with the first love in a country in the Balkans: the discovery of the artistic and in turn, the warrior who lives by the sea in a country of America.</div>
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Tijana Porobic conducted a long process in her creation of Becoming in Sala de Espera. The project started with a drawing on the wall with cables, transferring into drawings on paper and a projection on the wall that would become a video piece. The final decision of Tijana Porobic was to show select portions of the video sequence on Sala de Espera´s site.</div>
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Thank you to Marilia Maschion for her cooperation and support throughout the process.</div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-25203653218679651482012-09-03T14:51:00.000-07:002012-09-30T12:09:21.955-07:00Un concierto inútil/ The Useless Gig/ Carlos De La O /Project # 6 Sala de Espera & Error 404<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: Helvetica; font-size: small;"><b>Un Concierto Inútil/ The Useless Gig/ Carlos De La O /Project # 6 Sala de Espera & Error 404</b></span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="font: normal normal normal 12px/normal Helvetica;">Irradiation</span> / Omar G. Villegas</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Translation: Judith Pedroza</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">A gesture or a musical note contain strength or vulnerability, sensuality or anxiety, rage or despair; all together they shape sensory universes like the work of visual artist Carlos De La O (DF, 1982).</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">His art pieces emerge from the conjunction of music and visual arts and through an artistic exercise of representation in which the fantasy, the sounds and the playing with the idea of being someone else are threads weaving stories in which characters are merged and mixed up .</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Carlos moves from the music to the portrait: from abstract to figurative. He chooses characters from music who captivate him then he reconstructs their songs, to later perform and represent them in portraits in the form of drawings, a splitting exercise in which the imagination flies off and away.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Since 2009, Carlos De La O began this exploration of plastic-sound with a project that has consisted of returning to the music of five well noun musicians that combine corporal frailty with the explosiveness of vocal sexiness, proposing an average of three drawing portraits of each musician and rethinking their songs.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">This playful transforming adventure has evolved into the follwing order of musicians: Chetes (Mex) , Nina Persson (The Cardigans, A Camp), Jeff Tweedy (Wilco), Damon Albarn (Blur, Gorillaz), Beth Gibbons (Portishead) and Ely Guerra, through which Carlos De La O bases his piece <span style="color: #333333; font: 13.0px Lucida Grande;">Un concierto inútil/ The Useless Gig/</span> (2012).</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="color: #333333; font: 13.0px Lucida Grande;">Un concierto inútil/ The Useless Gig/</span> is derived from a weighted maturity. From the first four musicians, Carlos drew portraits of each and performed songs with the support of his band, leading into the powerful voice of Beth Gibbons.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Of Portishead vocalist, he created four drawings and played the song "Roads" during the performance "Sing-a-long With An evidently fake Beth Gibbons" in 2011 as part of the exhibition "Refill" at the House of Culture Juan Rulfo from Mexico City.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">After three years, he arrives at "<span style="color: #333333; font: 13.0px Lucida Grande;">Un concierto inútil/ The Useless Gig/</span>", in which the passionate and cathartic music of Ely Guerra and her chameleonic sexy figure become a fable full of eroticism, desolation and histrionics.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Carlos took the album "Sweet & Sour, Hot & Spicy" (2004) and extracted five songs: "Tu boca"(Your mouth), "Quiéreme mucho"(Love me), "Mi playa(My Beach), "El colchón" (The Mattress) and "Ojos claros, labios rosas"(Clear eyes, pink lips) which he rethinks and will interpret in a simultaneous transmission between San Diego and Mexico City, where the artist will be "locked up" in a room. </span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Along with the virtual concert, nine reproductions of three portraits of Ely will be showcased in two separate locations - Six at Error 404 project in Mexico City and three at Sala de Espera, San Diego CA.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">This ebb and flow of images and sounds is where the prestidigitation is born. The reality is dislocated and fiction is born: the perception explodes in unexpected directions because what you will see and hear in both countries will be determined not only by the narrative that Carlos De La O proposes, but also by the presence of chance.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Carlos will dress in a cloak and a wig that, in turn, will refer to a sort of alter ego whose existence will not culminate in this piece. From "<span style="color: #333333; font: 13.0px Lucida Grande;">Un concierto inútil/ The Useless Gig/</span>will move on in the form of a video which focuses on a man who crosses water and abundant vegetation by boat.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The story of this man begins one day when he finds a sheet music for the album "Sweet & Sour, Hot & Spicy" by Ely Guerra. This enchantment encourages him to rethink and rewrite the songs, leaving behind a record in a book.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The mysterious publication is then found by a "creature" dressed in cape and mane and owning an organ at home. He thus interprets the music based on the proposals of the boat man, becoming the author of the music prone to be interpreted by any professional musician.</span></div>
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<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Carlos De La O's work is a box of resonances and radiation; of echoes and faces of peers coming up from a reality that is imbued with illusions, emotions, lines and bodies that roam between shyness and outburst of excitement. The utility is disrupted by the chimera, transforming the music into faces.</span></div>
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Irradiaciones / Omar G. Villegas</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Un gesto o una nota musical contienen fuerza o vulnerabilidad, sensualidad o angustia, arrebato o desolación; unidos conforman universos sensoriales como la obra del artista visual Carlos De La O (DF, 1982).</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Las piezas del mexicano emergen de la conjunción de la música y las artes visuales mediante un ejercicio artístico de representación en el que la fantasía, los sonidos y el juego a ser alguien más son hilos para tejer historias en las que los personajes se funden y confuden.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Carlos transita de la música al retrato: de lo abstracto a la figuración. Elige personajes de la música que lo cautivan, reconstruye sus canciones, los representa en performances y los retrata en dibujos. Un ejercicio de desdoblamiento en el que la imaginación despega y sobrevuela libre.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Desde 2009 comenzó esta exploración plástico-sonora con un proyecto que ha consistido en retomar la música de cinco personajes que conjugan la fragilidad corporal con la sexy explosividad vocal; proponer un promedio de tres retratos en dibujo de cada uno y replantear sus canciones.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La lúdica aventura transformista ha avanzado este orden: Chetes, Nina Persson (The Cardigans, A Camp), Jeff Tweedy (Wilco), Damon Albarn (Blur, Gorillaz), Beth Gibbons (Portishead) y Ely Guerra, en quien se basa esta pieza "Un concierto inútil" (2012).</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>"Un concierto inútil" ha derivado de una maduración sopesada. De los primeros cuatro músicos Carlos realizó dos dibujos de cada uno y practicó canciones con apoyo de una banda, hasta desembocar en la poderosa voz de Beth Gibbons.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>De la vocalista de Portishead hizo cuatro dibujos y la interpretó con el tema "Roads" durante el performance "Sing-a-long with an evidently fake Beth Gibbons" en 2011 como parte de la exposición colectiva "Refill" en la Casa de Cultura Juan Rulfo de la Ciudad de México.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Después de tres años llega al "Un concierto inútil", en el que la música pasional y catártica de Ely Guerra y su sexi y camaleónica figura se convierten en una fábula plagada de erotismo, desolación e histrionismo.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Carlos tomó el disco "Sweet & Sour, Hot & Spicy" (2004) y extrajo cinco canciones: "Tu boca", "Quiéreme mucho", "Mi playa", "El colchón" y "Ojos claros, labios rosas", las cuales replanteó e interpretará en una transmisión simultánea entre San Diego y Ciudad de México, donde el artista estará "encerrado" en un cuarto.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>A la par del concierto virtual se exhibirán nueve reproducciones de tres retratos de Ely, seis en la Ciudad de México y tres en San Diego.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>En este ir y venir de imágenes y sonidos es donde nace la prestidigitación. La realidad se disloca y nace la ficción: la percepción explotará en direcciones imprevistas porque lo que se verá y oirá en ambos países estará determinado no sólo por la narración que propone Carlos, también por el azar.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>Carlos vestirá con una capa y una peluca que, a su vez, remitirá a una suerte de alter ego cuya existencia no culmina en esta pieza. De "Un concierto inútil” se trasladará a un video que planea el artista sobre un lanchero que surca aguas y vegetación abundantes.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La historia de este hombre es como sigue: un día se encuentra las partituras del disco "Sweet & Sour, Hot & Spicy" de Ely Guerra. Su encantamiento lo incitará a replantear las canciones; a reescribirlas y dejarlas como registro en un libro.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La misteriosa publicación es hallada a su vez por una “criatura” de capa y melena que tiene un órgano en casa. Él las interpretará según la propuesta del lanchero que devendrá en autor de la música proclive a ser interpretada por cualquier músico profesional.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>La obra de Carlos es una caja de resonancias e irradiaciones; de ecos y rostros asomados de una realidad que se impregna de ilusión, emociones, líneas y cuerpos que deambulan entre la timidez y arrebato. La utilidad es trastocada por la quimera y la música adquiere rostros.<br />
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Specials Thanks<br />
Radharani Torres and Raul Montes De Oca Ramírez (artist/musician)<br />
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Marilia Maschion<br />
Tristan Shone<br />
Sound system<br />
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-791254303283547342012-06-25T07:51:00.002-07:002012-11-12T06:52:36.830-08:00Women and Children/Author and Punisher/Project #5 Sala de Espera<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large;">Women and Children/Author and
Punisher/Project #5 Sala de Espera</span></div>
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<b>Sala de Espera </b></div>
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<b>June 30 </b><br />
<b>8.00 pm</b></div>
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<b>1515 Ninth Ave </b></div>
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<b>San Diego, CA 92101</b></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Experimentation and curiosity, the use of hands as the main
tool that transforms anxiety into sound, a force that pushes back, the need to struggle:
"Drone and Doom / devastated and sad, pushing its own weight, its
strength, the idea of duality between machine control and emotional
exploration of its own sounds.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The
hands, in artistic fields today, have very little intervention since the role
of producer is passed on from one individual to another. The idea of
"creating" through the body is a technique almost nonexistent as it
constitutes a verbal system, a language structure that supports "a kind of
thinking", "a kind of knowledge" when "doing" becomes
secondary, which for <b>Tristan Shone/</b><b>Author and Punisher </b>happens in an opposite manner. The ¨doing¨ converts into a physical
action through the use of the hands, in a permanent state of imminence, the
hands, the precise space between the desire and the artistic, harmony<span lang="ES-TRAD">/</span>energy, strength<span lang="ES-TRAD">/</span>roughness, tenderness<span lang="ES-TRAD">/</span>desire and are reflected through work-chapped hands resisting through
inward screams, screams not released but constrained. "No one is listening
to nothing, when there's everything happening inside of this." Force the
body into punishment, squeeze the voice, and conserve the sound in an
intermediate state. Search for a state of vertigo and an intoxication that
translates existence. "Rolling out for you to use." Seduce through
the cry that is released from the weight of his condition, free from the pains
of individualization, as Jean Brun would say. The opposite
"artistic", a counter-poetic that situates itself better between the
interstices of practices, between the mouth and the cry, between sculpture and
technology, between fingers cracked by the friction of metal, between the
primary processes of a society of industrial production when lathes were used
to produce precision for a living for those who belonged to a labor force of
groups suffering with illusions of a future: the anti-poetic takes those primary
processes and makes them his own. "Art comes from a place that is not
known, that happens when you do not know it – That which is produced from a
distant concern, yet, at the same time, as close as extinction can be, the
devastation to groups who have been the first to receive violence or be
marginalized in practice, knowledge, interventions or conflict. Art that makes
a journey encoding the experience of effort and enhancing the sensitive: Author
and Punisher / Women and Children</span></div>
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<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-size: 14px; line-height: 21px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><strong><em>Author & Punisher</em></strong> is an industrial doom and drone metal, one man band utilizing primarily custom fabricated machines/controllers and speakers. He has performed and shown these machines in <a href="http://www.tristanshone.com/exhibitionsshow-list/" style="border-bottom-color: rgb(105, 105, 105); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; text-decoration: none;" target="_blank">festivals and exhibitions</a> in the United States and abroad extensively, releasing his third album, yet first sculpture/art based album entitled “Drone Machines” in 2010 on <a href="http://hcbrecords.com/" style="border-bottom-color: rgb(105, 105, 105); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; text-decoration: none;" target="_blank" title="http://hcbrecords.com/">Heart & Crossbone Records</a>out of Tel-Aviv. His new record, focused primarily on the newer Dub Machines, entitled “Ursus Americanus”, was just released April 24th, 2012 on <a href="http://blog.seventhrule.com/" style="border-bottom-color: rgb(105, 105, 105); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; text-decoration: none;">Seventh Rule Recordings</a>. Drone/Dub Machines are custom made machines fabricated from raw materials and utilizing open source circuitry. The devices draw heavily on aspects of industrial automation, robotics and mechanical tools and devices, focusing on the eroticism of interaction with machine. The machines require significant force from the performer, aligning he or she with the plodding drone and doom influenced sounds that are created.Alongside fabricating machines and composing sound for performance, Tristan works at the National Center for Microscopy and Imaging Research (<a href="http://ncmir.ucsd.edu/" style="border-bottom-color: rgb(105, 105, 105); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; text-decoration: none;" target="_blank" title="http://ncmir.ucsd.edu">http://ncmir.ucsd.edu</a>) as a mechanical engineer and the Center for Research and Computing in the Arts (<a href="http://crca.ucsd.edu/" style="border-bottom-color: rgb(105, 105, 105); border-bottom-style: solid; border-bottom-width: 1px; color: black; font-weight: bold; text-decoration: none;" target="_blank" title="http://crca.ucsd.edu">http://crca.ucsd.edu</a>) at the University of California, San Diego as a researcher in sound interface design.</span></span></div>
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<span lang="ES-TRAD"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Women and Children/Author and Punisher/Project #5 Sala de Espera<o:p></o:p></span></span></div>
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<span lang="ES-TRAD"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">La experimentación y la curiosidad, el uso de las manos como
herramienta principal que transforma la ansiedad en sonido, que empuja una
fuerza en su contra, la necesidad de seguir el forsejeo “Drone and Doom/devastado
y triste”, empujar su peso, su fuerza, la idea de tener esa dualidad entre el
control de la maquina y la exploración emocional de sonidos propios. <o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span lang="ES-TRAD"> Las manos en ámbitos
artísticos en el presente tienen muy poca intervención, ya que la producción es
traslada a otro. La idea de “crear” a través de cuerpo, del oficio son casi
inexistentes, porque constituye un sistema verbal, una estructura de lenguaje
que soporte “un tipo de pensamiento”, “un tipo de conocimiento”, entonces el
“hacer” se vuelve algo secundario lo cual para Tristan Shone sucede de manera contraria. El “hacer”
se convierte en una acción física a través de el uso de las manos, en un estado permanente de inminencia, las
manos, justo el espacio entre el deseo y lo artístico, tienen armonía/energía,
fuerza/rudeza, delicadeza/deseo. Manos agrietadas del trabajo que resisten el grito hacia adentro, el que no puede
salir porque se contrae. “No one is listening to nothing, when there´s everything
happening inside of this” forzar el cuerpo al castigo, apretarle la voz,
conservar el sonido en un estado intermedio. Búsqueda del vértigo y embriaguez que traduzcan la existencia, “Rolling out for you to use”, seducir a
través del grito que se libere del peso de su condición, librarse de los
dolores de la individualización diría Jean Brun. Lo contra “artistico”, una
contra-poética que se sitúa mejor entre los intersticios de las prácticas,
entre la boca y el grito, entre la escultura y la tecnología, entre los dedos
agrietados por la fricción del metal, entre los procesos primarios de una
sociedad de la producción industrial cuando se usaban los tornos para producir
presición, para ganarse la vida, que pertenecían a una fuerza de trabajo a
grupos vulnerados con ilusiones de un futuro: lo contra-poético tomar esos
procesos primarios y hacerlos suyos </span>“El arte por venir de un lugar que
no se conoce, que acontece cuando usted no lo sabe”, el que se produce a partir
de una preocupación lejana pero a la vez tan cercana como puede ser la
extinción, la devastación en grupos vulnerados quiénes han sido los primeros en
recibir violencia o ser marginados en prácticas, saberes, intervenciones o
conflictos. El arte que hace un recorrido codificando la experiencia de un
esfuerzo y exalta lo sensible: Author and Punisher/ Women and Children<span lang="ES-TRAD"><o:p></o:p></span></span></div>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-4905250390848695952012-05-20T18:10:00.000-07:002012-05-20T18:10:10.760-07:00Oxala, o Carnaval aconteca<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="ES-TRAD">Algunas veces se olvida la emoción por lo que acontece, imaginar lo
que va a suceder y de ahí partir para el encuentro entre personas que imaginan también.
Luis Pérez-Oramas diría: “El arte por venir de un lugar que no se conoce, que
acontece cuando usted no lo sabe”. Mientras yo me preguntaba How to find the beauty? me encontré
con Paulo Nazareth, en un <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Conversatorio</i></b> de un proyecto llamado
<b style="mso-bidi-font-weight: normal;">Taller Multinacional </b>en la Ciudad de
México, que daba asilo a Paulo en su paso por esta ciudad, con su único
objetivo llevar la tierra pisada de Latinoamérica caminada por meses hacia los
Estados Unidos. En un proceso desordenado de viaje, iba y venía por meses,
entonces la llegada a Estados Unidos se veía lejos, en el camino pequeños tesoros que la calle regala, en
los trayectos largos, las reflexiones largas del por qué un artista se aventura
a realizar ciertas empresas, el preciosismo de ruta,-Tomaré el camino de la
costa o pasaré a visitar a las ballenas en Baja California, y el tiempo no contando con la gente
que se ofrece para escuchar y
compartir noches de música. Cabezas de animales dispuestas solo para que
Nazareth las recogiera y las pusiera en sus costales con los que viaja, montados
en un carrito de metal, Latinoamérica con sus infinitas bellezas. Las sorpresas
vienen cuando se contempla la dura decisión de vida, la sensibilidad que
acontece se desarrolla justo en los lugares no conocidos, en las decisiones no
contadas, ahí donde la fragilidad es una fortaleza, ahí donde se comparte la
comida, ahí donde se habla de una banana no en el sentido que el arte pop nos
enseñó a leer, sino en el sentido del valor en sí y del esfuerzo
latinoamericano que significa alimentar a gran parte de la población de este
continente y quién hace ese esfuerzo, es sacrificado. <o:p></o:p></span></div>
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<span lang="ES-TRAD">Mientras camina con sus sandalias brasileñas, se funde en el paisaje,
oculta su cabeza en arbustos, ramas y agua o reproduce a sus dobles en las
calles, quiénes en países como este, desde donde escribo Estados Unidos, se les
confiere la culpa sobre sus decisiones de vida, quiénes aunque pertenecen a un
país sin duda con recursos, tienen que dormir en la calle, donde no hay ningún
lugar donde ocultar su culpa. “What is the color of my skin?” dice el pedazo de
cartón que Nazareth llevó colgado en el cuello caminando por las calles de San
Diego California,-Cafecito le dijeron en un cruce peatonal-, el color de piel
en esta sociedad lo determina todo. <o:p></o:p></span></div>
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<span lang="ES-TRAD">Su participación en cada destino visitado deja imágenes, deja amigos,
deja billetes de dóllar, tradición brasileña muy a la Cildo Meireles, pero esta
vez con leyendas selladas:<o:p></o:p></span></div>
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<span lang="ES-TRAD"> [ PARA DEMOSTRAR
GENOCIDIOS PASADOS EN LAS AMERICAS antes del pago APUNTE EL NOMBRE DEL (A)
DESAPARECIDO(A) , PAIS DE ORIGEN _________ y/o etnia -- periodo histórico(
colonia ,imperio , dictadura, democracia)]<o:p></o:p></span></div>
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<span lang="ES-TRAD">[ PARA DENUCIAR SECUESTROS PASADOS EN LAS AMERICAS antes del pago
APUNTE EL NOMBRE DEL (A) DESAPARECIDO(A) , PAIS DE ORIGEN _________ y/o etnia
-- periodo histórico( colonia, imperio, dictadura, democracia)]<o:p></o:p></span></div>
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<span lang="ES-TRAD">Es ahí donde las prácticas artísticas suceden cuando usted no sabe,
suceden cuando se camina solo, para encontrarse con otros, cuando los otros se
sorprenden de lo que ven o escuchan, las prácticas artísticas una y otra vez atentan
contra las estructuras de lo que se conoce, de lo que vemos todos los días,
están escondidas entre todos nosotros, observando, por esta sencilla razón, </span><b>“Banana
Market/Art Market” </b><span lang="ES-TRAD">brincó
en Art Basel, justo por todo lo vivido antes de llegar a la feria. Paulo
Nazareth es un artista que vive la propia angustia de sus trayectos, no los
piensa desde su estudio, no rellena desde vacío, no habla de lo contemporáneo,
en cambio pone atención a lo que esta más presente, a lo que nadie quiere
mencionar, a lo que todos queremos ocultar. <o:p></o:p></span></div>
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<span lang="ES-TRAD">Nazareth se fue de mi Sala de Espera, durmió en un sillón victoriano
por un mes, envolvió mis litografías vienesas y una pieza de otro artista
mexicano con papel revolución, enseñó a mi compañero a cortar verduras y de Latinoamérica,
guardaba el pan duro para dárselo a los pájaros, reciclaba sus documentos de
paso, el cual se convirtió en una pequeña montaña de recuerdos, empacados en
costales, para su siguiente destino.<o:p></o:p></span></div>
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<span lang="ES-TRAD">Judith Pedroza<o:p></o:p></span></div>
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</div>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-8344534805522043252012-04-29T19:34:00.003-07:002017-12-28T17:07:09.019-08:00Performance of-> Mute/Gate/Dither/ Tristan Shone/Performers -> Judith Pedroza, Marilia Maschion, Sam Lopez, Bobby Bray, Jason Begin and Tristan Shone.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: x-large;">Performance of-> Mute/Gate/Dither</span></div>
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<span class="Apple-style-span" style="font-size: large;">Performers -> </span><span style="font-size: large;">Tristan Shone</span><span style="font-size: large;">, Marilia Maschion, Sam Lopez, Bobby Bray, Jason Begin and </span><span style="font-size: large;">Judith Pedroza</span><span style="font-size: large;"> .</span></div>
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This new body of work by Tristan Shone, "Mute/Gate/Dither", focuses on a set of voice-modulating masks, which will be pe<span class="text_exposed_show" style="display: inline;">rformed on by a small group of performers, alongside piano. The masks physically influence the performer through both electromechanical and passive means, while still maintaining a fully acoustic nature. The performers for the two pieces to be performed, "Tigers and Lions" and "I pain myself", are: Jason Begin, Bobby Bray, Sam Lopez, Marilia Maschion, Judith Pedroza and Tristan Shone.<br />---<br />Show Dates: March 30-May 5, 2012<br />Main Gallery and rotunda Gallery<br />2011 San Diego art Prize reCiPientS<br />Jay Johnson<br />adam Belt<br />RuBén oRtiz-toRRes<br />tRistan shone<br />opening reception:<br />Friday, March 30, 6:30 - 8:30 PM</span><span class="text_exposed_show" style="display: inline;">the san diego art Prize is funded by the san diego Visual arts network.</span><br />
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<span class="text_exposed_show" style="display: inline;"><iframe allowfullscreen="allowfullscreen" frameborder="0" height="281" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/53282467?badge=0" webkitallowfullscreen="webkitallowfullscreen" width="500"></iframe> <a href="http://vimeo.com/53282467">Tristan Shone</a> from <a href="http://vimeo.com/user5287999">Judith Pedroza</a> on <a href="http://vimeo.com/">Vimeo</a>.</span></div>
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Photos: Mark Gusmann</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9HvDJAXYHharOA8t8VjS2nmQhIbFMrfUReEVfmqQS4AvVjH84umvwoXmbOkCUAmijEWagK3WCKjfiHWL88eGD3C9nouRKrOhfjrJII9TU6Inzxo5DdAv4UFMhryyNPn9hQc3X/s1600/Tristan+Shone+and+Judith+Pedroza,+San+Diego+ART+Price+2011+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9HvDJAXYHharOA8t8VjS2nmQhIbFMrfUReEVfmqQS4AvVjH84umvwoXmbOkCUAmijEWagK3WCKjfiHWL88eGD3C9nouRKrOhfjrJII9TU6Inzxo5DdAv4UFMhryyNPn9hQc3X/s400/Tristan+Shone+and+Judith+Pedroza,+San+Diego+ART+Price+2011+.jpg" title="Performance of-> Mute/Gate/Dither, Tristan Shone and Judith Pedroza" width="400" /></a></td></tr>
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-88705823114113311012012-01-18T18:16:00.000-08:002012-04-25T13:53:12.137-07:00"I Clean your bathroom for a fair price"/Paulo Nazareth Sala de Espera/ Project # 4/<div dir="ltr" style="text-align: left;" trbidi="on">
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Project # 4
Sala de Espera: “I clean your bathroom for a Fair price”/Paulo Nazareth </div>
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Paulo Nazareth is an artist who
has been walking from Brazil and the rest of Latin America to bring the dust of
these places to the United States where upon arrival Paulo sold bananas from
Guatemala out of a van at the Art Basel Fair in Miami Beach, 2011. Paulo Nazareth´s work occurs through his
exploration of cities and subsequent translation of social issues through observing
and enacting social experiments, which create trans-cultural connections
between distinct societies. His
processes are participatory as he walks, establishing himself for a short time
within a space. Through his process, artistic contemplation takes place at any
moment of the day. “I clean your bathroom for a fair trade” is a sign that
Paulo Nazareth has been carrying with him, to which he says –“It is true, It is
my business, I am a business man”- he has carried this sign throughout the
city, beaches, as well as art shows. The result: looks of disappointment –
Acting as a mirror to those around him, Paulo begins to connect, in our minds,
to an image of a unique portion of this society- the unemployed and those
without resources. Represented
by a sign, poverty holds a very negative connotation here in Southern
California, where being poor brings with it a “Guilt” – A guilt held by those who live it sent from the
eyes of others and the blindness from those who intend not see it. It is true, poverty
exists in the United States and it is devastating because there is no structure
of support or rehabilitation to change this reality. The individual that is
poor is alone and he or she wears “guilt” for their decisions. </div>
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Sala de Espera reactivates its activities with Paulo
Nazareth - first artist in residence<span style="color: #222222; font-family: Arial; font-size: 13pt;"><o:p></o:p></span></div>
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<span style="color: #333333;">Paulo Nazareth (Governador Valadares, 1977) lives and
works in the Metropolitan Region of Belo Horizonte/Minas Gerais/ Brazil. Graduate in Drawing and Engraving at
Escola de Belas Artes da UFMG/2003. Student of Linguistics at the Facudade de
Letras, UFMG. Student of Mestre Orlando artist and popular
professor from Bahia, located in Belo Horizonte. Listening to his mother and
talking with friends is part of his process. Awards and exhibits include: JACA residence
in Canada, Jardim Art Center and Technology Nova, 2010, Member of collective Kaza
Vazia Traveling Art Gallery. <i style="mso-bidi-font-style: normal;">Art Basel
Miami Beach 10<sup>th</sup> Edition Art Fair 2011</i> participant with the
piece </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia;">“Banana Market/Art
Market”</span></b><b style="mso-bidi-font-weight: normal;">.</b><span style="color: #333333;">
Currently, he is developing the project: <b style="mso-bidi-font-weight: normal;">“Noticias de America”,</b>
which consists of his route and travel from Brazil to the United States.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222;">Taller zona Imaginaria</span></i></b><span style="color: #222222;"> residence
2011 Buenos Aires / AR<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222;">Familia Calel</span></i></b><span style="color: #222222;"> residence 2011 San Juan Comalapa/GUATEMALA<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222;">Taller Multinacional</span></i></b><span style="color: #222222;"> residence 2011 DF/MEX<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222;"> Sala de Espera</span></i></b><span style="color: #222222;"> residence 2012 San Diego/ USA<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: 13pt;"><a href="http://www.nytimes.com/slideshow/2011/12/03/arts/design/20111203-artbasel-ss-10.html">“Banana
Market/Art Market”/ New York Times</a></span><span style="color: #888888; font-family: Arial; font-size: 13pt;"><o:p></o:p></span><br />
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<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="http://player.vimeo.com/video/41035756?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/41035756">Paulo Nazareth/Sala de Espera/ Alimentando Palomas</a> from <a href="http://vimeo.com/user5287999">Judith Pedroza</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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<br /></div>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-23128156273185502902011-11-22T08:53:00.001-08:002011-11-22T08:55:41.144-08:00Recover 2011, Ciudad de México , Casa del Lago<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-38469272072273062012011-11-22T08:42:00.001-08:002011-11-22T08:50:51.571-08:00Pensamientos Nómadas 2011, Ciudad de México, Sinestesia<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-35681466633255845452011-11-22T00:28:00.001-08:002011-11-22T00:30:27.964-08:00Belleza...<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="ES-TRAD" style="color: black; font-family: Garamond; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Helvetica;">La segunda característica que compete a esta
búsqueda es profundizar en el conocimiento del resto de las personas y las
cosas, para ello hay que ponerse del lado de los seductores,<span style="mso-spacerun: yes;"> </span>existe en la practica artística, de
conocimiento contemporáneo y en las mismas prácticas sociales, los
“intimidadores” aquellos sujetos que ponen en el objeto ciertas connotaciones
de conocimiento incomprensible para poner una distancia con los demás
individuos, o el caso de las prácticas sociales los intimidadores que usan su
fuerza para controlar a otros. Yo contemplo en este ejercicio de búsqueda la
comunión, uno a uno e individual. No aferrarme a lo que nos separa si no, a lo
que nos une.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Garamond; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Helvetica;">¿Para qué sirve el arte? dice Muriel Barbery: <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Garamond; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Helvetica;"><br /></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Garamond; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Helvetica;">"Da forma y hace visibles las emociones y al hacerlo,
les atribuye este sello e eternidad que, a través de una forma particular,
saben encarnar el universo de los afectos humanos."<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Garamond; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Helvetica;">"Un placer sin deseo, una existencia sin duración,
una belleza sin voluntad."<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Garamond; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Helvetica;">"Pues el arte es la emocion sin deseo"<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Arial; mso-ansi-language: ES-TRAD;">Las Cuatro
Estaciones de la belleza<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Arial; mso-ansi-language: ES-TRAD;">Todo comienza
con dos notas de piano, dos dedos tocan e intentan tocar una melodía de dos
sonidos en un órgano Viejo. La casa es triangular con ventanas<span style="mso-spacerun: yes;"> </span>grandes desde las cuales una niña teme
del cielo, se tapa con un suéter cada vez que pasa por la terraza que da a la
salida, de esta casa ubicada en una avenida grande que a penas se forma. Hay
plantas por toda la terraza, junto a la ventana una mesa con galletas y té , en
el vidrio aparece una lagartija quién es bautizada con el nombre de “Pascualita”,
quién visita el cristal y pareciera que también le gustan las tardes de té. La
niña ve pasar a los adultos, y adolescentes que pasean por la casa. Si suena el
teléfono , corre a contestar espera una llamada, no sabe de quién pero sabe que
alguien llamará. Nunca es para ella pero no para de esperar. Tiene un carrito
rojo donde ya no cabe, juega con lo que encuentra, como uno de los cascos de
esgrima de sus hermanos, con un gusano o un ratón recién nacido encontrado como
su Tesoro. Le gusta investigar todo como por que su hermana<span style="mso-spacerun: yes;"> </span>mira tanto por la ventana, o que hace
su hermano en el taller debajo de su casa.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Arial; mso-ansi-language: ES-TRAD;">Duerme aún en
su cuna donde aun cabe, con un vestido azul con encajes blancos, su pelo es
corto con fleco, y es un pequeño fantasma por la casa que corre y se esconde.
Cuatro adultos más la ven pasar pero no la miran. Su padre un<span style="mso-spacerun: yes;"> </span>hombre entrado a los setenta, usa
lentes color humo y pantalones de dandy, su pelo ya es blanco -siempre lo fue
desde entonces- tiene carisma y suficiente dinero como atractivo principal. Su
madre la mujer con la Mirada más distante, nunca esta presente, la niña ama
pero a la vez la recuerda poco. Su hermana una belleza de 13 ó 14 años es la
preocupación de la casa, <span style="mso-spacerun: yes;"> </span>la cual
esta a punto de descubrir el mundo -mientras tiene la mitad del closet- donde
guarda cartas, un diario recién comenzado y regalos especiales en un maletín de
viaje verde que solo ella sabe abrir. Ahorraba en unos tubos de plástico que el
banco de México regalaba a los niños, lo cual ella hacía religiosamente con sus
domingos, nadie sabía cuales eran sus planes, o para que guardaba el dinero.
Compartía la mitad del cuarto con su hermano, el mayor de los tres niños, un
año mayor de la bella adolescente y 10 años mayor que la pequeña niña. En su
cuarto compartido en el lado del niño un póster de KISS y del lado de la niña
un póster de MENUDO, “ven claridad “ se escucha a veces en la habitación, ella
tiene un pequeño radio de metal que escucha para dormir, la niña pequeña desde
la cuna que ya no le queda tiene siempre mucha curiosidad por aquel cuarto,
para ella ,sus hermanos mayores son su fascinación y su presentación para el
mundo .<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Arial; mso-ansi-language: ES-TRAD;">Lippy Kids<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: Arial; mso-ansi-language: ES-TRAD;">Chicos
insolentes, así los pienso cada vez que escucho a Elbow- “built the rocketboys
“ imaginando esas dos notas de piano de la mano de ella, mientras dirige las
risas, que por muy irónicas que sean muestran la feminidad a cada minuto, mezcladas
con piezas a la Tracy Emin, con la determinación de hacerse de un lugar donde
lo artístico no se comprende del todo,-lippy kid with the rocket boy who leaves
his videos in my phone-, juegos de superhéroes y enfrentamientos de guerra, gritos
de futuro. Y así tu tocas la guitarra y tomas las notas del dibujo de
Siddartha, con sudadera amarilla que se multiplican en acordes completos, te
preparas para una de tu más grandes invenciones, esta vez con los compañeros de
camino la diversión y la discusión se puede hacer en cualquier lado, ningún
lugar es tan estrecho para poder entrar y para poder expandirlo. Siempre habrá
una melodía para recordar, ya sabes, te regalo,<span style="mso-spacerun: yes;"> </span>mi sol, mi luz, mi playa, pero prefiero recordarte con
Elbow, en un viaje largo al pasado pero hoy, si No body Knows me at home any
more. Y de la puerta para afuera dices, nada existe, para que salir calle, hay
que enloquecer desde adentro, a mi me pasa al revés, yo bajo de los árboles y
ya no puedo robar besos, <span style="mso-spacerun: yes;"> </span>te cuento
lo difícil que se me hace<span style="mso-spacerun: yes;"> </span>ser
artista, tu asientes, esa es mucha responsabilidad, traducir las experiencias
en arte. Entonces otra vez esos chicos insolentes con sus coronas doradas están
en la esquina…built the rocket boys.<o:p></o:p></span></div>
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</div>Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-10357408736923737082011-09-22T11:39:00.000-07:002011-09-22T11:43:51.434-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large;">¿Cómo encontrar la belleza? </span></div>
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Conversatorio con Judith Pedroza </div>
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<br /></div>
<div style="text-align: justify;">
VIERNES SOCIAL
Conversatorios con Artistas, Curadores, Críticos, Historiadores e Investigadores en Arte:
Presenta:</div>
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¿Cómo encontrar la belleza?
Conversatorio con: JUDITH PEDROZA
Lugar: Taller Multinacional </div>
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(Eje Central Lázaro Cardenas #13 piso 21 despacho 2105, México DF)
Fecha: Viernes 23 de Septiembre de 2011 a las 19:00 hr (7:00 pm)
ENTRADA LIBRE
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¿Cómo encontrar la belleza?
"La primera característica para reconocer la belleza es en la ausencia de dolor, en la curiosidad de aquél otro que esta enfrente y que no es posible reconocer o incluso ver, por que sin la curiosidad básica por la naturaleza del otro no se puede ver que la vida es una conjunción de experiencias compartidas. Cuando llegué a esta mi nueva casa, en un país nuevo, en una ciudad de los Estados Unidos, surgió una urgencia de abrir mi puerta y mirar hacia el interior de la cultura y alimentarme de una nueva manera de observación más aguda, no sólo la observación de una ciudad con un espectro de monumentalidad o el gran conocimiento de las universidades. En vez de eso descubrí que mi forma de mirar y observar, habría de cambiar y la volví una práctica intensa de contemplación de “La belleza de las pequeñas historias de vida” las cuales se alimentan de emociones y experiencias." (Judith Pedroza)
Durante el conversatorio Judith dará una lectura de las ideas primarias y referencias que han construido su búsqueda de la belleza.</div>
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Judith Pedroza:
Artista. Estudió Diseño y Comunicación Visual en la Escuela Nacional de Artes Plasticas de la Unam (ENAP) mientras se hacía su educación personal visitando la Esmeralda (ENPEG) y la ENAH. En su obra actual reflexiona sobre preocupaciones a partir de la curiosidad, la felicidad y la belleza. Su trabajo ha sido expuesto recientemente en San Diego Museum of Art, (San Diego), Arte BA, (Buenos Aires), y Unlocation Gallery (San Diego) . Vive y trabaja en San Diego CA con un proyecto llamado Sala de Espera.
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.comtag:blogger.com,1999:blog-29875460.post-66193176867181160232011-05-25T00:34:00.000-07:002017-12-28T18:01:44.286-08:00How to find the Beauty?<div dir="ltr" style="text-align: left;" trbidi="on">
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How to find the beauty?<br />
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In the absence of pain, in the curiosity about the other who is in front of you and you don´t want to see because without curiosity for the basic nature for your neighbor you can´t see more than your life because life is a conjunction of shared experiences. When I arrived at this country the urgency to open my door and look inside the culture fed this new way to observe - not just to observe the city in a spectrum of monumentality or the “big” knowledge at the universities. Instead, It is a practice of looking for the “beauty of those small stories of life” of the youth of this city. Asking a lot of questions directly, I can say that not everyone is just looking to aesthetically enhance his or her life. This new youth is looking for interconnections beyond race or economic status, but, instead, through the emotions and experiences - not in solitude anymore, I think in communion. To define this new youth that I observe in a contemplative way the intimidators are something of the past and the seducers take the city with art, with books, with bikes, with instruments, with science, with food.<br />
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“To know who we are we need to know how we are connected” -James Fowler<br />
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Searching for a new knowledge where the individual cares about all the details. All its beauty is in the intimate practices that he or she makes, shares and connects.<b style="text-align: justify;"><span style="font-family: "garamond";"> </span></b><br />
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Judith Pedrozahttp://www.blogger.com/profile/14618523955714402195noreply@blogger.com