tag:blogger.com,1999:blog-19185511011725243572024-03-19T05:40:57.660-07:00Carla Rippey: El uso de la memoriaC. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-1918551101172524357.post-52225617482918226142024-02-19T20:27:00.000-08:002024-02-20T09:40:49.899-08:00<p style="text-align: center;"><i><span style="font-family: arial;"><b>Elsewhere (Otherness): Disfraz, otredad y exotismo</b></span></i></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieCjBQP4YRCW7qeyP3RH0sSoLyi_avw2sT9feqJQkgUz1bR6AW7zKBuhKPIU8CuKLo_Ui3BoL6IBZd-Z31DhfqbcuZ4-aW53NfaLWqfu7REQwwxJjD-wAgF8NXupwjR3nQk2lHlEqlOi7pqrIlGfCaJ_a_A-4Fty1-uvwG-GtYfBi7nzocduhJyH77DuuG/s881/all%20I%20wanted%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="695" data-original-width="881" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieCjBQP4YRCW7qeyP3RH0sSoLyi_avw2sT9feqJQkgUz1bR6AW7zKBuhKPIU8CuKLo_Ui3BoL6IBZd-Z31DhfqbcuZ4-aW53NfaLWqfu7REQwwxJjD-wAgF8NXupwjR3nQk2lHlEqlOi7pqrIlGfCaJ_a_A-4Fty1-uvwG-GtYfBi7nzocduhJyH77DuuG/w574-h452/all%20I%20wanted%202.jpg" width="574" /> </a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-small;">Detalle, </span><i style="font-family: arial; font-size: x-small;">All I wanted him to do was take out the trash </i><span style="font-family: arial; font-size: x-small;">de la serie </span><i style="font-family: arial; font-size: x-small;">/</i><span style="font-size: xx-small;"><i style="font-family: arial;"> </i><span style="font-family: arial;">from the series</span></span><span style="font-family: arial; font-size: x-small;"> </span><i style="font-family: arial; font-size: x-small;">Belicoso -Bellicose</i><span style="font-family: arial; font-size: x-small;">, 2015</span></div><p></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">Empecé el proyecto<i> Elsewhere (Otherness): Disfraz, otredad y exotismo </i>en 2009 y recién volví a agrandar esta serie. Parto de mi propia condición de siempre ser de otro lugar, es decir, extranjera/migrante, y de mi gran afinidad por la estética de culturas asiáticas, con la admisión de que no manejo el contexto cultural profundo de las imágenes en que baso mi obra, pero tengo una fascinación con su estética. Mi único encuentro personal con Aisa fue en 2012 cuando viajé a Camboya, donde pude presenciar algo de la estética que tanto me interesa, y regresar con material visual nuevo propio de la región que me permite una nueva exploración del tema, con los resultados que detalle a continuación.</span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlg3q6AsnYE7YyaZ1xcLn8Xjc_i71CFhywNVe1AeVb2DpTl9JiX_j9BWZ5Ql5juIlWTXdZxIKQ8rmwhzqx8E_E5AgIMDmHLKpC7__KatVAPaj_Nt9SWBhzaFS0Y-h-cy2n_ZqbeQENLHG7Eqt1ZLvc7amZiotR9u0Xfsn2MF6Jdxs7Dk7ynf-qtfZJkiBR/s693/art%20of%20war%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="693" height="483" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlg3q6AsnYE7YyaZ1xcLn8Xjc_i71CFhywNVe1AeVb2DpTl9JiX_j9BWZ5Ql5juIlWTXdZxIKQ8rmwhzqx8E_E5AgIMDmHLKpC7__KatVAPaj_Nt9SWBhzaFS0Y-h-cy2n_ZqbeQENLHG7Eqt1ZLvc7amZiotR9u0Xfsn2MF6Jdxs7Dk7ynf-qtfZJkiBR/w517-h483/art%20of%20war%204.jpg" width="517" /> </a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-small;">Detalle, </span><i style="font-family: arial; font-size: x-small;">The Art of War</i><span style="font-family: arial; font-size: x-small;">, de la serie / from the series </span><i style="font-family: arial; font-size: x-small;">Belicoso / Bellicose</i><span style="font-family: arial; font-size: x-small;">, 2015</span></div><span style="font-family: arial; text-align: left;"><br /></span></div><p><span style="font-family: arial;"><i>I began the project </i>Elsewhere (Otherness): Disguise, the foreign, and exotisms<i> in 2009, and recently took up these themes again. They have their origin in my own situation as perpetually being from somewhere else, which ties in with my great affinity with the aesthetics of Asian cultures (tempered by the admission that I don’t have a profound knowledge of these cultures, just a fascination with said aesthetic). Since the show in 2009, I had travelled to Asia for the first time and was able to accumulate a great deal of new material, and the nature of these visual stimuli was apt for embarking on another exploration of the theme, with the results I share below.</i></span></p><p><span style="font-family: arial;"><b>Serie,<i> De un televisor en Phnom Penh, 2012</i></b></span></p><p><span style="font-family: arial;">En mi visita de 2012 pasé un mes en la capital de Camboya, dando un curso de grabado a estudiantes de la Universidad Real de Camboya, como seguimiento de la donación de un tórculo por el colectivo mexicano Tequio. Pasé muchas noches en el hotel tomando fotografías de las imágenes que pasaban por el televisor, como el cable tenía canales de toda Asia, incluyendo China, Japón, La India, Laos, Corea, Australia y Camboya misma. Había películas chinas con subtítulos en inglés y películas americanas con subtítulos en chino, entre otras variaciones. En el proceso me volví adicta de una telenovela coreana, por cierto. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh70ADciK0yS8D0OKVpctz5PMaAXaORMJY4hWTWeqaIUUmFkeUHOOrhCNSO9GCO1ztvmV3_hxynhmHKHVcpreba_C94QvDtJoZ6a2Vk7Pn2dRnjHXhyphenhyphenTU6_uodx5KvIEEetTSej0-iaivxcum1hFJYU8kqhq8pLkqZ8c0g_XyUKJoaTku919efgEd0vDn5h/s2365/televisor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1599" data-original-width="2365" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh70ADciK0yS8D0OKVpctz5PMaAXaORMJY4hWTWeqaIUUmFkeUHOOrhCNSO9GCO1ztvmV3_hxynhmHKHVcpreba_C94QvDtJoZ6a2Vk7Pn2dRnjHXhyphenhyphenTU6_uodx5KvIEEetTSej0-iaivxcum1hFJYU8kqhq8pLkqZ8c0g_XyUKJoaTku919efgEd0vDn5h/w597-h403/televisor.jpg" width="597" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: xx-small;">de esa pantalla...from that screen-</span></div></div><p></p><p><span style="font-family: arial;"><b><i>Series, </i>From a television set in Phnom Penh, 2012</b></span></p><p><span style="font-family: arial;"><i>In 2009 I spent a month in the capital of Cambodia, giving a course on printmaking to students at the Royal University of that country as the follow-up of a donation to the school of an etching press by the Mexican collective “Tequío”. I spent many a night alone in my hotel room taking photos with my cell phone of the images that passed before me on the TV set, as cable in Cambodia includes channels from all over Asia, including China, Japan, India, Laos, Korea, Australia, and Cambodia itself. There were Chinese movies with subtitles in English and movies from Fox TV with subtitles in Chinese, among other variations. In the process, by the way, I became addicted to a Korean soap opera, but that’s another story...</i></span></p><p style="text-align: center;"><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaLRccS28-6fAm-EF_ucE3aE1GTGP9CzX-smCcVlscqTYDmtUv2XSAnrAvo0QBEnQlw6SbNLx5ENFSJCrQ1UEkyFm8uOPyqKtQavP9xpCsQHG9gHjyOpjU2UjuzciX70jG3g1VAiNlzSu8sADVOxzF89C1dE12xsx2NFXP_oC10NE-ixUBrYwPGLX3ZUvJ/s1500/screen%20shot%20asian%20tv%20recortado.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1183" data-original-width="1500" height="453" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaLRccS28-6fAm-EF_ucE3aE1GTGP9CzX-smCcVlscqTYDmtUv2XSAnrAvo0QBEnQlw6SbNLx5ENFSJCrQ1UEkyFm8uOPyqKtQavP9xpCsQHG9gHjyOpjU2UjuzciX70jG3g1VAiNlzSu8sADVOxzF89C1dE12xsx2NFXP_oC10NE-ixUBrYwPGLX3ZUvJ/w575-h453/screen%20shot%20asian%20tv%20recortado.jpg" width="575" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span style="font-size: xx-small;">algunas de las imágenes de pantalla...some of the images from the screen</span></span></div><p style="text-align: left;"><span style="font-family: arial;">Años después, en 2015, trabajando con este archivo hice la serie <i>Belicoso</i>, narrativas en forma de libros de artista extendidos. </span></p><p style="text-align: left;"><span style="font-family: arial;">
</span></p><p></p><div class="layoutArea">
<div class="column">
<p><span color="rgb(12.549020%, 12.941180%, 13.333330%)" style="font-family: 'ArialMT';"><i>Years later, working with this archive I made the series “Bellicose”, narratives in the form of artist’s
books presented as a flat sequence (as opposed to folded or in book form).
</i></span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; color: #202122; font-family: ArialMT; font-size: 12pt; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6O9rLOpVAIHP1_AbSp97YjT5HCRkl2rTvmyU_ZCazhjs-7-xT0Owsf2gSIsTHTv3cBsUvnyT69y3kWHu3_IP3SKGpD2GDFGdrG4sNWND9hTZuImlPs5AbRYm3d63KdKEC3m0gRQeYNBM7AR7TFZLtg9cWO7uFDBselARJgKtZePpBRdX6vLsyJMNNCcWN/s800/8.%20de%20la%20serie%20Belicoso%202015.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6O9rLOpVAIHP1_AbSp97YjT5HCRkl2rTvmyU_ZCazhjs-7-xT0Owsf2gSIsTHTv3cBsUvnyT69y3kWHu3_IP3SKGpD2GDFGdrG4sNWND9hTZuImlPs5AbRYm3d63KdKEC3m0gRQeYNBM7AR7TFZLtg9cWO7uFDBselARJgKtZePpBRdX6vLsyJMNNCcWN/w536-h402/8.%20de%20la%20serie%20Belicoso%202015.jpg" width="536" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cccccc;"><span style="font-family: ArialMT; font-size: xx-small;">Serie<i> Belicoso</i> / series <i>Bellicose </i>(Colección Muac - </span><span style="font-family: ArialMT; font-size: xx-small;">Collection of the Museum of Contemporary Art, National University of México)</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #cccccc; font-family: ArialMT; font-size: xx-small;"><br /></span></div><div style="text-align: left;"><span style="color: #cccccc; font-family: ArialMT;">Tres de estas obras, que considero “libros de artista”, como se trata de una narrativa, aunque la pieza esté extendida en vez de doblada, funcionaron juntos y forman un tríptico. Una cuarta obra funcionó mejor sola y contiene imágenes de fotografías que tomé de las ruinas de Ángor Wat, una pelea en la televisión camboyana y escenas de una película china con subtítulos en inglés.</span></div><div style="text-align: left;"><span style="color: #cccccc; font-family: ArialMT;">Con el extenso archivo que me quedaba, en 2023 empecé a formar otras series con este material- lo que me interesaba era formar más narrativas basadas las imágenes sueltas, de imágenes relacionadas. La primera serie que armé se llama <i>Beauty</i>— </span></div><p></p>
</div>
</div><p style="text-align: center;"><span style="color: #eeeeee; font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq_xeAjJ7r33KoS4u-sRtNsugOsF-FZ1wAdwjgMykfbZade9PyAECrp4EJFFqMYqk8frfHPVxhHmy1LUBxHKf9N7zzLX4Krab69BwRzzSXU-LlBJenhZYOKaUQDusQ9UcsnLdY9FNheQQ4PzV69cIOjN9lfbZfJGesi2Agl00EvaiUBSdpVq3QFS6pXyYK/s3715/groaning%20and%20grunting.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1748" data-original-width="3715" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq_xeAjJ7r33KoS4u-sRtNsugOsF-FZ1wAdwjgMykfbZade9PyAECrp4EJFFqMYqk8frfHPVxhHmy1LUBxHKf9N7zzLX4Krab69BwRzzSXU-LlBJenhZYOKaUQDusQ9UcsnLdY9FNheQQ4PzV69cIOjN9lfbZfJGesi2Agl00EvaiUBSdpVq3QFS6pXyYK/w581-h274/groaning%20and%20grunting.jpg" width="581" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: xx-small;"><i>Grunting and Groaning</i> - serie <i>Belicoso</i> / series <i>Bellicose</i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><i>Three of these pieces, which I consider “artist’s books” because they create a narrative, work together well, and form a triptych. A fourth piece worked better alone and contains images from photographs I took of the ruins of Angor Wat, a televised fight in Cambodia, and scenes from a Chinese movie with English subtitles.</i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><i>With the extensive archive I still had before me, in 2023 I started to make up new series, putting together scenes I imagined had some relation to each other. The first one I made up is called </i>Beauty<i>--</i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitMBB5LkSVP3ufeuCQ-vVOfQSWkXEedJOg2NkFh4diOeBPiDu13CxEkrdr-1DDLdwTvzzeA8YCf9BkOx-Fs_eDq82BMhim7Q-ziu5auM9dYSxI1lucbGSwu9AFq31mxiooQiLF4Wv8Dnxw3KgwtkyAncBubFH48-N62bILpDkWX3XyxqEO0KdUeWu4l7tx/s6436/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20I.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4402" data-original-width="6436" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitMBB5LkSVP3ufeuCQ-vVOfQSWkXEedJOg2NkFh4diOeBPiDu13CxEkrdr-1DDLdwTvzzeA8YCf9BkOx-Fs_eDq82BMhim7Q-ziu5auM9dYSxI1lucbGSwu9AFq31mxiooQiLF4Wv8Dnxw3KgwtkyAncBubFH48-N62bILpDkWX3XyxqEO0KdUeWu4l7tx/w557-h381/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20I.jpg" width="557" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>Beauty I </i>(de un televisor en Phnom Penh, 2012 - from a TV screen in Phnom Penh, 2012)</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Transferencia sobre papel kozo-shi y momigami con costura, hoja metálica y montado en bastidor de madera con imprimatura</span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;">Transfer print on Kozo-Shi and momigami paper with stitching, metal leaf and collage, mounted on a gesso-coated wooden frame</span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;"> 27 x 42 x 4 cm, 2023</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><br /></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggpgYb6IWi-ZE_O23h4NxeikHnvWyRJUTNuIjCNYnAHXfHBE5Xjpp-lb73Yg-ZFxZjVsS_mcDuRddYgtIXtsv-cbRXGG2hKYfGGSKQ7RiuUJzJ2NT5FD-kxlNPPIfXxUQqW0_zf-VZbrGebOhamYcFvHrqzKJqxIclbFazWdipgHy_qpMRr-O2e62E9z3N/s6007/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20VI%20-Completa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4972" data-original-width="6007" height="541" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggpgYb6IWi-ZE_O23h4NxeikHnvWyRJUTNuIjCNYnAHXfHBE5Xjpp-lb73Yg-ZFxZjVsS_mcDuRddYgtIXtsv-cbRXGG2hKYfGGSKQ7RiuUJzJ2NT5FD-kxlNPPIfXxUQqW0_zf-VZbrGebOhamYcFvHrqzKJqxIclbFazWdipgHy_qpMRr-O2e62E9z3N/w653-h541/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20VI%20-Completa.jpg" width="653" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>Beauty VI </i>(de un televisor en Phnom Penh / </span><span style="font-size: x-small;">from a TV screen in Phnom Penh, 2012) </span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Transferencia sobre papel kozo-shi y momigami con costura y plástico residuo de impresora 3D, montado en bastidor de madera con imprimatura, </span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;"> Transfer print on Kozo-Shi and momigami paper with stitching and residual plastic from a 3D printer, mounted on a gesso-coated wooden frame</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">27 x 42 x 4 cm, 2023</span></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBIzOXkP727WV9PzXiIeXmH2ZshJbAn7Eik0RxGsRyW2aRUhAByZZ6SWKogrnE3p9Id0mDdYfMEfYLTvaQGeFfA084HG2Vb1XqKqI7HUHtJo1ht8rHAva2tkNH_vlWIXEyag-sgmi-WgXt5Fa_6b7LCLGIqOanOBPdOYtKKZF7mEr0JkJWZ4Nt-nzgwdii/s6545/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20II%20-completa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6545" data-original-width="4998" height="808" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBIzOXkP727WV9PzXiIeXmH2ZshJbAn7Eik0RxGsRyW2aRUhAByZZ6SWKogrnE3p9Id0mDdYfMEfYLTvaQGeFfA084HG2Vb1XqKqI7HUHtJo1ht8rHAva2tkNH_vlWIXEyag-sgmi-WgXt5Fa_6b7LCLGIqOanOBPdOYtKKZF7mEr0JkJWZ4Nt-nzgwdii/w616-h808/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20II%20-completa.jpg" width="616" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>Beauty II </i>(de un televisor en Phnom Penh / </span><span style="font-size: x-small;">from a TV screen in Phnom Penh, 2012) </span></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Transferencia sobre papel kozo-shi y momigami con costura y plástico residuo de impresora 3D, montado en bastidor de madera con imprimatura, </span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;"> Transfer print on Kozo-Shi and momigami paper with stitching and residual plastic from a 3D printer, mounted on a gesso-coated wooden frame</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">27 x 42 x 4 cm, 2023</span></div><div><br /></div></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFMhAbsmusRs3sRdJmSGMod_yh0wJe5NoAihxk6FYEuZyi7Yo08C5fBFcabSuf1_n4vyWRSCBnwVOb0dELBIW1zIa9SByXPV-GizVj93FrdKQ4WQfOVDrdlsyd9qKkzrztzVdy1sok5Y9FeIjUoqQwY3Fe_GKTrsfEhIaIMC01ohwC03wJlsB_aZVZyfDm/s6684/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20III%20-completa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6684" data-original-width="5044" height="771" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFMhAbsmusRs3sRdJmSGMod_yh0wJe5NoAihxk6FYEuZyi7Yo08C5fBFcabSuf1_n4vyWRSCBnwVOb0dELBIW1zIa9SByXPV-GizVj93FrdKQ4WQfOVDrdlsyd9qKkzrztzVdy1sok5Y9FeIjUoqQwY3Fe_GKTrsfEhIaIMC01ohwC03wJlsB_aZVZyfDm/w581-h771/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20III%20-completa.jpg" width="581" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>Beauty</i> <i>III</i> (de un televisor en Phnom Penh / </span><span style="font-size: x-small;">from a TV screen in Phnom Penh, 2012) </span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;">Transferencia sobre papel kozo-shi y momigami con costura y hoja metálica ,montado en bastidor de madera con imprimatura, </span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Transfer print on Kozo-Shi and momigami paper with stitching and metal leaf, mounted on a gesso-coated wooden frame</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">27 x 42 x 4 cm, 2023</span></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRa9_fOYu_XGEcFT66od-smX61cVoUeQm02xxN98QEvY0LFGy9E2K5SLZOpYZh1h80zjtHlOlslydZ9_R2D7G3olFYwvAPlH2JoVDHhYgugXS9fju44Dg7g8oank74WaqutJrVnPFAVsvh4t4jRQfVXqj0FDJfwXuhifKdak6HUg4sNQJGy31yLOFpVue/s8254/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20V%20-Completa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="8254" data-original-width="5133" height="885" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRa9_fOYu_XGEcFT66od-smX61cVoUeQm02xxN98QEvY0LFGy9E2K5SLZOpYZh1h80zjtHlOlslydZ9_R2D7G3olFYwvAPlH2JoVDHhYgugXS9fju44Dg7g8oank74WaqutJrVnPFAVsvh4t4jRQfVXqj0FDJfwXuhifKdak6HUg4sNQJGy31yLOFpVue/w550-h885/Beauty%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20V%20-Completa.jpg" width="550" /></a></div></span><span><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: xx-small;"><i>Beauty</i> <i>V</i> (de un televisor en Phnom Penh / </span><span style="font-size: x-small;">from a TV screen in Phnom Penh, 2012) </span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: x-small;">Transferencia sobre papel kozo-shi y momigami con costura y plástico </span><span style="font-size: x-small;">residuo de impresora 3D, montado en bastidor de madera con imprimatura, </span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"> Transfer print on Kozo-Shi and momigami paper with stitching and residual plastic from a 3D printer, mounted on a gesso-coated wooden frame</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">27 x 42 x 4 cm, 2023</span></div><div><br /></div><div style="text-align: left;">Otra narrativa, más corta, se llama simplemente <i>Guys</i>, y se armó como tríptico.</div><div style="text-align: left;"><i>Another shorter narrative is named simply </i>Guys<i> and works as a triptych.</i></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOrSYXrsnUldiDaIhls5Y2Uv20is4tG6Bim2NjyjI6ROsb1aJHR0qiIwLAIUPhjp6Pfzjg_wPZ978_nnE5744gbisqsmmm2Y1MtYn7QqnqlQ2brTz72r60jLY_tx7ReV9Ki_cGFU-j_NH64eYgjOOxozd-6Ao3XFLTAu8X057olW-5vlHNUCNCywOmQoJ/s8181/Guys%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20-completa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="8181" data-original-width="2502" height="1055" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOrSYXrsnUldiDaIhls5Y2Uv20is4tG6Bim2NjyjI6ROsb1aJHR0qiIwLAIUPhjp6Pfzjg_wPZ978_nnE5744gbisqsmmm2Y1MtYn7QqnqlQ2brTz72r60jLY_tx7ReV9Ki_cGFU-j_NH64eYgjOOxozd-6Ao3XFLTAu8X057olW-5vlHNUCNCywOmQoJ/w323-h1055/Guys%20(de%20un%20televisor%20en%20Phnom%20Penh,%202012)%20-completa.jpg" width="323" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>Guys</i> (de un televisor en Phnom Penh, 2012 - from a tv screen in Phnom Penh, 2012)</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Transferencia sobre papel kozo-shi y momigami con costura, montado en bastidor de madera con imprimatura</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Transfer print on Kozo-Shi and momigami paper with stitching, mounted on a gesso-coated wooden frame</span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;">Tríptico - Tryptich 21 </span><span style="font-size: xx-small;">x 27 x 4 cm c/u, 2023</span></div><div><br /></div></div></div><div style="font-family: arial; text-align: left;">Al regresar al proyecto, me interesaba mucho experimentar con trabajar con color, y encontré material en el libro que forma parte de mi biblioteca desde hace años, que comento a continuación:</div><div style="font-family: arial; text-align: left;"><i>When I took up the project again, I was very interested in experimenting more with color, <span style="text-align: center;">and found material in a book which has been in my personal library for years, which I'll comment below:</span></i></div><div style="font-family: arial; text-align: left;"><i><span style="text-align: center;"><br /></span></i></div><div style="text-align: left;"><div class="separator" style="clear: both; font-family: arial; font-style: italic; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyyFqJRvEqJBRcND2P-22Agn4r9ik1DwUQkcFf9-FtuiQBfYfJ74fdjVDrcoYULxRgv6T4yJB7K8hpzYqDzcykbf2xwILheWSXnCqXYzOQCRKXuRof1lIUSZT_AXjPlVcMlwPAQN5o4Jxx5zoJZX6sz_XyPW0gpJhGCg62SNWjXK-i8eulzh7IbAg04gHo/s647/fruits.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="647" data-original-width="499" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyyFqJRvEqJBRcND2P-22Agn4r9ik1DwUQkcFf9-FtuiQBfYfJ74fdjVDrcoYULxRgv6T4yJB7K8hpzYqDzcykbf2xwILheWSXnCqXYzOQCRKXuRof1lIUSZT_AXjPlVcMlwPAQN5o4Jxx5zoJZX6sz_XyPW0gpJhGCg62SNWjXK-i8eulzh7IbAg04gHo/w409-h530/fruits.jpg" width="409" /></a></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; font-family: arial;"><b>#Harajuku/street fashion/hibridación, años 90</b></div><div class="separator" style="clear: both; font-family: arial;"><br /></div><div class="separator" style="clear: both; font-family: arial;">“A mediados de la década de 1990, el fotógrafo japonés Aoki Shōichi (1955) comenzó a notar una diferencia en la moda callejera japonesa. Se dio cuenta de que los jóvenes combinaban prendas de ropa tradicional japonesa con ropa de segunda mano y accesorios hechos a mano para crear una nueva mirada al ojo humano.”</div><div class="separator" style="clear: both; font-family: arial;">Aoki se impresionaba con estilos eclécticos y con el hecho de que los jóvenes estaban tratando de crear trajes originales. Los jóvenes japoneses fueron incluyendo piezas de ropa tradicional japonesa en sus trajes “self-made”. Aoki pensó que la nueva moda reflejaba la historia y la cultura japonesa.”</div><div class="separator" style="clear: both; font-family: arial;">Uno de los primeros lugares de congregación de los jóvenes fue el distrito de Harakuju en Tokio, donde Aoki captó sus imágenes. Aoki dio a conocer sus fotografías en una revista y luego en varios libros (Fruits, etc.); el impacto consolidó este aspecto de street fashion en Japón, y sigue vigente hasta hoy en día. A mí me impresiona la manera en que estos looks, de los cuales hago mis versiones, toman prestado de Occidente y de China, pero con un dejo en que se manifiesta el trasfondo de estética japonesa. </div><div class="separator" style="clear: both; font-family: arial;"><br /></div><div class="separator" style="clear: both; font-family: arial;"><i><b>#Harajuku/street fashion/hibridatión, the 90s</b></i></div><div class="separator" style="clear: both; font-family: arial;"><i><br /></i></div><div class="separator" style="clear: both; font-family: arial;"><i>“In the middle of the decade of the 90s the Japanese photographer Aoki Shōichi (1955) began to notice something different in Japanese street wear. He realized that young people were combining traditional Japanese clothing with secondhand wear and hand-made accessories to create a new look. Aoki was impressed by the eclectic styles and the fact that these kids were intent on making original outfits. The young Japanese were including items of traditional Japanese clothing in their “self-made” styles. Aoki felt that the new fashion reflected the history and culture of Japan.”</i></div><div class="separator" style="clear: both; font-family: arial;"><i>One of the first gathering places of these young people was the Harajuku district in Tokyo, where Aoki registered his subjects. He published his photographs first in a magazine in Tokyo and later in the book Fruits; the impact of his images consolidated these trends in Japanese street fashion and continues to be influential today. What interests me in these looks, of which I’ve made my own versions, is the way they borrow from Chinese and Western styles, but with a flare in which is manifested the background of Japanese aesthetics.</i></div><div class="separator" style="clear: both; font-family: arial;"><i><br /></i></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59Ok7kkTtBxfev0IU9vANSSzZvHVW6DTsWJ40w4vl09wGYQ6LM4TlVwZ8SBofXJt4_1Nn1BuWkpusETVKK_UZJfxLB5XpJrQPu7if3zl3mhwcQo4-h54WMHVkLP6LPCXUj_FpULFuq9nse4tOjnVrF3gGd5mEG-8pypLIAucWwpj22HNVQ9Ba2GUZMril/s1040/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-I%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1040" data-original-width="800" height="644" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59Ok7kkTtBxfev0IU9vANSSzZvHVW6DTsWJ40w4vl09wGYQ6LM4TlVwZ8SBofXJt4_1Nn1BuWkpusETVKK_UZJfxLB5XpJrQPu7if3zl3mhwcQo4-h54WMHVkLP6LPCXUj_FpULFuq9nse4tOjnVrF3gGd5mEG-8pypLIAucWwpj22HNVQ9Ba2GUZMril/w495-h644/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-I%20ch.jpg" width="495" /></a></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i><span style="color: #cccccc;">#Harajuku/street fashion/hibridación, años 90</span></i><span style="color: #cccccc;"> / </span></span><span style="color: #cccccc; font-family: Arial; font-size: x-small; font-style: italic;">#Harajuku/street fashion/hybridization, t</span><span style="font-family: Arial; font-size: x-small; font-style: italic;"><span style="color: #cccccc;">he 90s -I</span></span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;"><span style="color: #cccccc;">Lápiz de color sobre papel Hahnemühle con imprimatura</span></span></div><div class="separator" style="clear: both;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;">Colored pencil on Hahnemühle paper prepared with gesso</span></span></div><div class="separator" style="clear: both;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;"> 70 x 54 cm, 2023</span></span></div><div class="separator" style="clear: both;"><span style="color: #202122; font-family: ArialMT; font-size: x-small;"><br /></span></div><div class="separator" style="clear: both;"><span style="color: #202122; font-family: ArialMT; font-size: x-small;"><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxETQIRPPyIk26Yk_j-MrTPPUNhq4p6YmJ-AB8sIqy4EDJ4i6DXTJj2aPpfEeOSGRgooBBMHS3g6yb797BrQMROXkvbwdYWEqAlJt1cBB0u-0_nUHltoaGhtzhxP-j5dbonCmSHeJcss1y4Qh4Sb9f2N5ZlqmSpQIFZN_LoLP-kRdPpsB6HXfrSCze0Yl/s1030/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-II%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1030" data-original-width="800" height="649" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicxETQIRPPyIk26Yk_j-MrTPPUNhq4p6YmJ-AB8sIqy4EDJ4i6DXTJj2aPpfEeOSGRgooBBMHS3g6yb797BrQMROXkvbwdYWEqAlJt1cBB0u-0_nUHltoaGhtzhxP-j5dbonCmSHeJcss1y4Qh4Sb9f2N5ZlqmSpQIFZN_LoLP-kRdPpsB6HXfrSCze0Yl/w505-h649/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-II%20ch.jpg" width="505" /></a></div></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><div class="separator" style="clear: both;"><span style="color: #cccccc; font-size: xx-small;"><i>Harajuku/street fashion/hibridación, años 90</i> / </span><span style="color: #cccccc; font-family: Arial; font-size: x-small; font-style: italic;">#Harajuku/street fashion/hybridization, t</span><span style="font-family: Arial; font-size: x-small; font-style: italic;"><span style="color: #cccccc;">he 90s -II</span></span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;"><span style="color: #cccccc;">Lápiz de color y pastel de óleo sobre papel Hahnemühle con imprimatura</span></span></div><div class="separator" style="clear: both;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;">Colored pencil and oil pastel on Hahnemühle paper prepared with gesso</span></span></div><div class="separator" style="clear: both;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;"> 70 x 54 cm, 2023</span></span></div><div><span style="color: #202122; font-family: ArialMT; font-size: x-small;"><br /></span></div></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihPZf9UCf-Wxbx_-7NVet1c-LtrpeGGqq3M_Iw_gmdodiWyw9DLs-0hqt0R5PABGMZb9ZcrD8GHC3X4aDv9VFlqv6za6gzLcDvGXmKAaW3MQFfo5a1iHGekbwZMEbb9gtX9yv3yXtmzqTUHmYrsP6UySC80xKJVaX7ai62iFyFK7Mx1QDZmBSyDgPHFFld/s1306/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-III%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1306" data-original-width="1000" height="641" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihPZf9UCf-Wxbx_-7NVet1c-LtrpeGGqq3M_Iw_gmdodiWyw9DLs-0hqt0R5PABGMZb9ZcrD8GHC3X4aDv9VFlqv6za6gzLcDvGXmKAaW3MQFfo5a1iHGekbwZMEbb9gtX9yv3yXtmzqTUHmYrsP6UySC80xKJVaX7ai62iFyFK7Mx1QDZmBSyDgPHFFld/w491-h641/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-III%20ch.jpg" width="491" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="color: #cccccc;"><span style="font-family: arial; font-size: xx-small;"><i>Harajuku/street fashion/hibridación, años 90</i> / </span><span style="font-family: Arial; font-size: xx-small;"><i>#Harajuku/street fashion/hybridization, t</i></span><span style="font-family: Arial; font-size: x-small; font-style: italic;">he 90s -III</span></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: x-small;"><span style="color: #cccccc;">Lápiz de color y pastel de óleo sobre papel Hahnemühle con imprimatura</span></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;">Colored pencil and oil pastel on Hahnemühle paper prepared with gesso</span></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;"> 70 x 54 cm, 2023</span></span></div><div style="font-family: arial;"><span style="color: #202122; font-family: ArialMT; font-size: x-small;"><br /></span></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVJa4SQEgAvwcHedSKrkoo-Ukki70KwzFkTMloUmJ8lfX0Pqt9xFngSQ-9tR6x6D5F2okhmtJTbWtfQTKo2RM4Oa6vAImO6JRi94RWarSlmWvqKYgywRMAtHMlfjoML4Ok3ld08RjNfp2PH8FGiD639hmFktPA1R5-d41nTbtfI5Zq5L-uSxDsk0kN8Ec3/s462/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-IV%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="462" data-original-width="360" height="653" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVJa4SQEgAvwcHedSKrkoo-Ukki70KwzFkTMloUmJ8lfX0Pqt9xFngSQ-9tR6x6D5F2okhmtJTbWtfQTKo2RM4Oa6vAImO6JRi94RWarSlmWvqKYgywRMAtHMlfjoML4Ok3ld08RjNfp2PH8FGiD639hmFktPA1R5-d41nTbtfI5Zq5L-uSxDsk0kN8Ec3/w508-h653/%23Harajuku:street%20fashion:hibridacio%CC%81n,%20an%CC%83os%2090%20-IV%20ch.jpg" width="508" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><span style="color: #cccccc;"><span style="font-family: arial; font-size: xx-small;"><i>Harajuku/street fashion/hibridación, años 90</i> / </span><span style="font-family: Arial; font-size: x-small; font-style: italic;">#Harajuku/street fashion/hybridization, t</span><span style="font-family: Arial; font-size: x-small; font-style: italic;">he 90s -IV</span></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: x-small;"><span style="color: #cccccc;">Lápiz de color y pastel de óleo sobre papel Hahnemühle con imprimatura</span></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;">Colored pencil and oil pastel on Hahnemühle paper prepared with gesso</span></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-family: ArialMT; font-size: x-small;"><span style="color: #cccccc;"> 70 x 54 cm, 2023</span></span></div><div style="font-family: arial;"><span style="color: #202122; font-family: ArialMT; font-size: x-small;"><br /></span></div></div></div><div class="separator" style="clear: both; font-family: arial;">A esta serie de dibujos agregué la imagen de un actor vestido de samurái, a fines del siglo 19.</div><div class="separator" style="clear: both; font-family: arial;"><i style="font-style: italic;">T</i><i style="font-style: italic;">o this series of drawings I added that of an actor dressed as a samurai, in the late 1800s.</i></div><div class="separator" style="clear: both; font-family: arial;"><br /></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixJIab9Sm8xuHEi-_OvTRNSl0wsZXw34I0OnhHm1ShQsVJMYD9vmLW-dkMNfi48M_dsb5wGeMkePlXc20T5FsRGd4HKbclr8XsaC4ic-2mi_Lgvb42Jh7Z0SuA_p6k1a2EaxUHkekQjQ4iBSqPana4uwf7s4Kndr0d3OwQmcrgfMWOyRh3guiRhOwztX6V/s800/Actor%20japone%CC%81s%20vestido%20de%20samurai,%201897,%20desdibujado%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixJIab9Sm8xuHEi-_OvTRNSl0wsZXw34I0OnhHm1ShQsVJMYD9vmLW-dkMNfi48M_dsb5wGeMkePlXc20T5FsRGd4HKbclr8XsaC4ic-2mi_Lgvb42Jh7Z0SuA_p6k1a2EaxUHkekQjQ4iBSqPana4uwf7s4Kndr0d3OwQmcrgfMWOyRh3guiRhOwztX6V/w442-h442/Actor%20japone%CC%81s%20vestido%20de%20samurai,%201897,%20desdibujado%20ch.jpg" width="442" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;"><i>Actor japonés vestido de samurái, 1897</i>, <i>desdibujado / Japanese actor dressed as a samurai, 1897</i></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: x-small;"> </span><span style="font-size: x-small;">Lápiz de color y pastel de óleo sobre papel Hahnemühle con imprimatura /</span><span style="font-size: xx-small;"> pencil and oil pastel on Hahnemühle paper prepared with gesso</span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;">54 x 54 cm, 2023</span></div><div class="separator" style="clear: both;"><div style="font-family: arial;"><br /></div><div style="font-family: arial; text-align: left;">En otro ejercicio junté una joven de Harajuku con llamas de una versión japonesa del infierno. Puse <i>Gaki del siglo XXII</i> a la pieza porque los gaki, nombre para los fantasmas hambrientos, también se aplica en Japón a los chavos malcriados.</div><div style="font-family: arial; text-align: left;"><br /></div><div style="font-family: arial; text-align: left;"><i>In another exercise I brought together a Japanese girl from Harajuku and flames from a Japanese version of hell. I named the piece </i>Twenty-First Century Gaki,<i> gaki being the hungry ghosts of Japan, because "brats" -like this girl, perhaps, are also called gaki en Japan.</i></div><div style="font-family: arial; text-align: left;"><i><br /></i></div><div style="font-family: arial; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gLJcX3VG8CiS6G-n9AuHGCwW1V_qqwYKJe_W8ZzL6fiUnQEsWthnDCbtZsuHSQjm0uFUaHELM5FJ5aicDAXaNLZsjdM2ryCUNSLpWNFIppkcjO19O-eOdP9YopBDzOwSvxpm8gxmJRV0EgkLMWM3TXodpa0HOPJcZ0SstkIlRLmjwnKTLR5ne_SsP3JB/s1200/Gaki%20siglo%2021.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="1200" height="431" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gLJcX3VG8CiS6G-n9AuHGCwW1V_qqwYKJe_W8ZzL6fiUnQEsWthnDCbtZsuHSQjm0uFUaHELM5FJ5aicDAXaNLZsjdM2ryCUNSLpWNFIppkcjO19O-eOdP9YopBDzOwSvxpm8gxmJRV0EgkLMWM3TXodpa0HOPJcZ0SstkIlRLmjwnKTLR5ne_SsP3JB/w656-h431/Gaki%20siglo%2021.jpg" width="656" /></a></div><span style="font-size: xx-small;"><i>Gaki del siglo XXII / Twenty-first Century Gaki</i></span></div><div style="font-family: arial; text-align: center;"><i><div><span style="font-size: xx-small;">Lápiz de color sobre papel Hahnemühle con imprimatura / Colored pencil on Hahnemühle paper prepared with gesso</span></div><div><span style="font-size: xx-small;">72.5 x 109 cm, 2023</span></div><div><br /></div></i></div><div style="font-family: arial;"><div style="font-weight: bold; text-align: left;">De mis archivos/cine japonés</div><div style="font-weight: bold; text-align: left;"><br /></div><div style="text-align: left;">Around November 2023, decidí descansar del color y volver al dibujo en blanco y negro, tan característico de mi trabajo. En mis archivos había encontrado un par de imágenes del cine japonés, fotocopias xerox del periodo antes de contar con la buena definición de la fotocopia láser. Las imágenes son, para mí, casi abstracciones; sugieren escenas pero contienen muchos elementos que no se entienden, aunque establecen un estado de ánimo. En la imagen fuente para el primer dibujo, me interesaba la yuxtaposición de una escena de una película de Nagisa Oshima junto con otra de su proceso de filmación. En la segunda, me intrigó el peso del espacio entre los dos personajes.</div><div style="font-weight: bold; text-align: left;"><br /></div><div style="font-weight: bold; text-align: left;"><i>From my archives / Japanese films</i></div><div style="font-weight: bold; text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Around November 2023, I decided to take a break from color and go back to monochrome drawing, more characteristic of my work. In my archives I had found two images from Japanese films, xerox photocopies from the period before the good definition of laser printing became available. The images are for me, almost abstract- they suggest scenes but contain many elements not clearly understood, although they do establish a mood. And in the image used for the first drawing, I was interested in the juxtaposition of a scene from one of Nagisa Oshima’s films together with an image of his actual process of filmmaking. In the second drawing, I was intrigued by the weight of the space between the two people.</i></div></div><div style="font-family: arial; text-align: left;"><i><br /></i></div><div style="text-align: center;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKEl6djk6WJtoXnq_dBUbC3ukqXH7txWJPGPn5yjYeOWiXSpoS9br7yhFeaCuVns-GwcaZRhv0NfemTqk7Mdlg_09WQbVZr92JVvLlIpVfpmhrovujF6vvlpY7lU5aVZsGJHLvnhNjuzwdA9B-rZxBSnv9i752F2B1a0dBajWoRXCRyzrdM-v5yFH_dd-z/s5923/De%20mis%20archivos:Nagisa%20Oshima,%201975.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5923" data-original-width="4802" height="728" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKEl6djk6WJtoXnq_dBUbC3ukqXH7txWJPGPn5yjYeOWiXSpoS9br7yhFeaCuVns-GwcaZRhv0NfemTqk7Mdlg_09WQbVZr92JVvLlIpVfpmhrovujF6vvlpY7lU5aVZsGJHLvnhNjuzwdA9B-rZxBSnv9i752F2B1a0dBajWoRXCRyzrdM-v5yFH_dd-z/w590-h728/De%20mis%20archivos:Nagisa%20Oshima,%201975.jpg" width="590" /></a></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>De mis archivos/Nagisa Oshima, 1975 / From my archives/ Oshima Nagisa, 1975</i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Graphite on Hahnemühle paper prepared with gesso / Grafito y lápiz de color sobre papel Hahnemühle con imprimatura </span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">95 x 75 cm, 2023</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><br /></span></div></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-family: Arial; font-style: italic;"><span style="font-size: xx-small;"><span style="color: #202122;"> </span></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkSJL8MO1xNPAS7fjvM8hi_NC9H0rlSdd3xKhJzYAzSTnLyYibqXXTJtf3d0F5_4sVP8LHpnGxwHpnmDfHDceLpnQoqD5mkhtP2Gm5bECaTVlWCI2eY0HB6lVDGLPAUEU6ovVrroah00j-DJGmVPXn4g7syd-iRtdQ9UZpXfrvfip4eSCe4EFRN0Fa6u8/s2000/De%20mis%20archivos%20:%20Silencios,%20an%CC%83os%2070%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: xx-small;"><img border="0" data-original-height="1391" data-original-width="2000" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkSJL8MO1xNPAS7fjvM8hi_NC9H0rlSdd3xKhJzYAzSTnLyYibqXXTJtf3d0F5_4sVP8LHpnGxwHpnmDfHDceLpnQoqD5mkhtP2Gm5bECaTVlWCI2eY0HB6lVDGLPAUEU6ovVrroah00j-DJGmVPXn4g7syd-iRtdQ9UZpXfrvfip4eSCe4EFRN0Fa6u8/w617-h430/De%20mis%20archivos%20:%20Silencios,%20an%CC%83os%2070%20ch.jpg" width="617" /></span></a></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;">De mis archivos /silencios, años 70 / From </span><span style="font-size: x-small;">my archivos / Silence, the 70s</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: xx-small;">Graphite on Hahnemühle paper prepared with gesso / </span><span style="font-family: arial; font-size: xx-small;">Grafito sobre papel Hahnemühle con imprimatura </span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: xx-small;">50 x 72 cm, 2023<span style="font-family: TimesNewRomanPS; font-style: italic;"> </span></span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: xx-small;"><span style="font-family: TimesNewRomanPS; font-style: italic;"> </span></span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: xx-small;"><span style="font-family: TimesNewRomanPS; font-style: italic;"><br /></span></span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><div class="page" title="Page 17"><div class="layoutArea"><div class="column"><div class="separator" style="clear: both; text-align: center;"><b style="text-align: left;">Serie,<i> Imagen/adorno/identidad</i></b></div></div></div></div></div></div><div style="font-family: arial;"><div style="text-align: left;"> </div><div style="text-align: left;">Seguí con la yuxtaposición de épocas en la estética japonés con los cuadros de la serie, en que los personajes se visten con imágenes como un <i>statement </i>de identidad, o con los tatuajes del samurái o las camisetas de las chavas de la plaza Harajuku.</div></div><div style="font-family: arial; text-align: left;"><br /></div><div style="font-family: arial; text-align: left;"><b><i>Series, </i>Image/ornament/identity</b></div><div style="font-family: arial; text-align: left;"><br /></div><div style="font-family: arial; text-align: left;"><i>I followed up the previous drawings with a juxtaposición of the Japanese aesthetic in different epochs, in both of which people wear images, as tattoos or sweatshirts, on their bodies as a statement of identity.</i></div><div style="font-family: arial;"><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTA3Suk2KDHpEFXwugb-SZxJND0B1_7x8Zh-B9-vrvIsbDceVp_baF_5hhxIjOUBts8ILLSt4ez658-D4JxJBBgb5TPvae9nvX_sQHL0Olu-4YQtOjfPDWa6Q4RrhAn3eEHa6nW5BvL1owebwjEF8Ew9lysJ7J-st3buGiUSJeRH4DVpev3m8F7qjxy1UV/s1141/Imagen-adorno-identidad-chavas%20de%20Harajuku%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1141" data-original-width="900" height="688" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTA3Suk2KDHpEFXwugb-SZxJND0B1_7x8Zh-B9-vrvIsbDceVp_baF_5hhxIjOUBts8ILLSt4ez658-D4JxJBBgb5TPvae9nvX_sQHL0Olu-4YQtOjfPDWa6Q4RrhAn3eEHa6nW5BvL1owebwjEF8Ew9lysJ7J-st3buGiUSJeRH4DVpev3m8F7qjxy1UV/w542-h688/Imagen-adorno-identidad-chavas%20de%20Harajuku%20ch.jpg" width="542" /></a></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;">De la serie<i> Imagen/adorno/identidad, Muchachas de Harajuku</i> / from the series<i> Image/Ornament/Identity, Kids from Harajuku</i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Lápiz a color sobre papel Hahnemühle con imprimatura / </span><span style="font-size: x-small;">Colored pencil on Hahnemühle paper prepared with gesso</span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;">93 x 73 cm, 2024</span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;"><br /></span></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHyjL-w_PE84ZSUsr9xHodILomiS2tF7x3TmVdRpblNUxSTYYABM2uhGYfiIx6t8p0CUQEUv2n58hQX2-IKBPAR0NdGgseFgwZJU-AbPWzCTyUuRxkoz6sq_8eGBZ2rlPOwL7Yde-Os9KMPRP8L4Wjm8dk2g9SrwabIErJCJwMld7NnXsSNd-KGzvUnTCY/s1349/Imagen-adorno-identidad%20-%20samura%CC%81i%20ch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1349" data-original-width="800" height="757" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHyjL-w_PE84ZSUsr9xHodILomiS2tF7x3TmVdRpblNUxSTYYABM2uhGYfiIx6t8p0CUQEUv2n58hQX2-IKBPAR0NdGgseFgwZJU-AbPWzCTyUuRxkoz6sq_8eGBZ2rlPOwL7Yde-Os9KMPRP8L4Wjm8dk2g9SrwabIErJCJwMld7NnXsSNd-KGzvUnTCY/w450-h757/Imagen-adorno-identidad%20-%20samura%CC%81i%20ch.jpg" width="450" /></a></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;">De la serie Imagen/adorno/identidad, <i>El último samurái </i>/ From the series <i>Image/Ornament/Identity</i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Lápiz a color sobre papel Hahnemühle con imprimatura / Colored pencil on Hahnemühle paper prepared with gesso </span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">105 x 65 cm, 2024</span></div><div><br /></div><div><br /></div></div></div></div><div style="font-family: arial; text-align: left;"><b><i>Lookbooks</i></b></div><div style="font-family: arial; text-align: left;"><b><i><br /></i></b></div><div style="font-family: arial; text-align: left;">Cuando empecé a explorar el uso de color en el otoño de 2023, para soltarme la mano, armé unos libros de fotocopias de imágenes del libro <i>Fruits</i> de impresora casera, desdibujadas con agua.</div><div style="font-family: arial; text-align: left;"><i>When I began to explore the use of color in autumn of 2023, to loosen up I put together a few booklets of photocopies from an inkjet printer (these copies are soluble in water) of images from the Fruits book, with the images altered with water.</i></div><div style="font-family: arial; text-align: left;"><i><br /></i></div><div style="text-align: center;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHDUUyvm5I0o-bIk-FmdnTAQfmE0lp6x-4pQ1D0q3_btI1CqT_6j7i_vvhlrINT3W1Y-nRWjGftqA50E90jxswu5tBaB5XCxx6G9_Uu5a-Av3udD3tQPTtqGmQV1duSXDPf3flGj5Jw8FHJmBWzePis6vP5YampmioC2lyjS9p6OxTPWOwdJDP2A7KqjaE/s2237/Book%201-1%20dupla.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="2237" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHDUUyvm5I0o-bIk-FmdnTAQfmE0lp6x-4pQ1D0q3_btI1CqT_6j7i_vvhlrINT3W1Y-nRWjGftqA50E90jxswu5tBaB5XCxx6G9_Uu5a-Av3udD3tQPTtqGmQV1duSXDPf3flGj5Jw8FHJmBWzePis6vP5YampmioC2lyjS9p6OxTPWOwdJDP2A7KqjaE/w635-h284/Book%201-1%20dupla.jpg" width="635" /></a></div><br /><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSvBigb51V6XF6LzuRH5EpH84_s7XSD1ce6hehqcs6ca9O7IMobmEeF-BxqBGVQFGlDeKqOg2DrziU1A720hoNqzLiDOBUJYbeueLEGIdRyzIBOfqPyvC-V-YMFqc7MEqHxlUkYtVsY1EXFJZiIqwajnjj9ryALzxnZQrO4689jJnU8oNRyIEKjArntAQN/s1000/Book%201-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1000" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSvBigb51V6XF6LzuRH5EpH84_s7XSD1ce6hehqcs6ca9O7IMobmEeF-BxqBGVQFGlDeKqOg2DrziU1A720hoNqzLiDOBUJYbeueLEGIdRyzIBOfqPyvC-V-YMFqc7MEqHxlUkYtVsY1EXFJZiIqwajnjj9ryALzxnZQrO4689jJnU8oNRyIEKjArntAQN/w674-h506/Book%201-3.jpg" width="674" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1nV9AMREIL8D0fYPuzvCJqdPorFCnLSRxfESdfV3KryLst46_P2ZD4KoEGaXO2mfRKYuSgylMVXnZXVH7RCdkHdaVPMNNJFogTLZGPsGol9zTZAGOen3E5sH1X_zwOdO-DvGsYvKPBovfMmgTqcXBJgP3ILR_YdrbGz6I-949YvVfeWMAzpWCQevKguOh/s1000/Book%201-10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="764" data-original-width="1000" height="505" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1nV9AMREIL8D0fYPuzvCJqdPorFCnLSRxfESdfV3KryLst46_P2ZD4KoEGaXO2mfRKYuSgylMVXnZXVH7RCdkHdaVPMNNJFogTLZGPsGol9zTZAGOen3E5sH1X_zwOdO-DvGsYvKPBovfMmgTqcXBJgP3ILR_YdrbGz6I-949YvVfeWMAzpWCQevKguOh/w662-h505/Book%201-10.jpg" width="662" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBBCUaJ5CtBPhY9MEkXpHAXFO1NG0x3QX0tZ5EXxpfvQIbGWI-ME8xONKRn5gX1xR9sugGTekCidgm43d-j9cUX8nJn7ORrNCSPf582sGkiYSo2ulCnPitRNklvhTlnPI5VC0EnBbi_m04zXAvwH5oNKJrXHXvRCTD6f3zfXi8GxyMmzFIcKdQ2O9DDk0/s1000/book%202%20extra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1000" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvBBCUaJ5CtBPhY9MEkXpHAXFO1NG0x3QX0tZ5EXxpfvQIbGWI-ME8xONKRn5gX1xR9sugGTekCidgm43d-j9cUX8nJn7ORrNCSPf582sGkiYSo2ulCnPitRNklvhTlnPI5VC0EnBbi_m04zXAvwH5oNKJrXHXvRCTD6f3zfXi8GxyMmzFIcKdQ2O9DDk0/w645-h350/book%202%20extra.jpg" width="645" /></a></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7Z7y5x9sUlJ4On9fDRGEy_Le9kffSKkwdIQwUSaEMUuaFe2UYnsmMqdKQy-AXHCl6aWwZusxB4lLryo_wUGKwdXYugkttxbgHiysFOZ64LgKVvwUA78vwhMEskQjy5CnTRIaN83C0ANT2iQzWVWSxOYzfYt93fTPpSeQSZsEBFxx0zATVIuZ2KL_IUzR/s1000/Book%202-3.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: xx-small;"><img border="0" data-original-height="548" data-original-width="1000" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7Z7y5x9sUlJ4On9fDRGEy_Le9kffSKkwdIQwUSaEMUuaFe2UYnsmMqdKQy-AXHCl6aWwZusxB4lLryo_wUGKwdXYugkttxbgHiysFOZ64LgKVvwUA78vwhMEskQjy5CnTRIaN83C0ANT2iQzWVWSxOYzfYt93fTPpSeQSZsEBFxx0zATVIuZ2KL_IUzR/w609-h333/Book%202-3.jpg" width="609" /></span></a></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji7cVQlwH8nNy-NuGaJro_hpiSGrZ6cOU6rtRt5pxaEY0_o-82JfDko9dYhAh1wDTEBvt2nOcyr4qjcE95v3sxomek_Z3r2Qe-b7G3my7_5Q1adMcmUQu8yTM0H-WjN0cTNj4aaPbT_hbzPSC2sn_8P9QYP2PleE8iC989ffhvM7s_sbt5vljZSlk3R_ox/s1000/Book%201-7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="772" data-original-width="1000" height="429" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji7cVQlwH8nNy-NuGaJro_hpiSGrZ6cOU6rtRt5pxaEY0_o-82JfDko9dYhAh1wDTEBvt2nOcyr4qjcE95v3sxomek_Z3r2Qe-b7G3my7_5Q1adMcmUQu8yTM0H-WjN0cTNj4aaPbT_hbzPSC2sn_8P9QYP2PleE8iC989ffhvM7s_sbt5vljZSlk3R_ox/w556-h429/Book%201-7.jpg" width="556" /></a></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: x-small;">Páginas de los "lookbooks, 2023 / Pages from the "lookbooks", 2024</span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><br /></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="background-color: #f3f3f3;"><br /></span></div><p style="text-align: left;"><span style="font-family: arial;">Todavía no termino de investigar las posibilidades de este ejercicio, pero </span><span style="font-family: arial;">de allí ya encontré material para una obra que complementa las series de<i> Beauty </i>y<i> Guys</i>.</span></p><p style="text-align: left;"><span style="font-family: arial;"><i>I still haven’t investigated all the possibilities of this exercise, but </i></span><span style="font-family: arial;"><i> there I found material for the making of a piece to complement the series</i> Beauty <i>and</i> Guys.</span></p><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJuFob-P9FBWC-zR8ibZ8E-xiKdRY6reJKWwnXbTVH6OZ3v7DWpbE4hpImnme9uWHUtX-IQFtx1RB-UPqkA3WNzBpkzH9fXCTA-tlLoL6n1ZyXxahiOWA1X4Z_1Zq1iuFHT3f0c3AaCl97tNnrVc47_n-RJDwsYFviljlQCwjZAfrJha2BHhFdbO880Pn/s1000/Book%202-2a.jpg" style="font-family: arial; margin-left: 1em; margin-right: 1em; text-align: left;"><img border="0" data-original-height="509" data-original-width="1000" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJuFob-P9FBWC-zR8ibZ8E-xiKdRY6reJKWwnXbTVH6OZ3v7DWpbE4hpImnme9uWHUtX-IQFtx1RB-UPqkA3WNzBpkzH9fXCTA-tlLoL6n1ZyXxahiOWA1X4Z_1Zq1iuFHT3f0c3AaCl97tNnrVc47_n-RJDwsYFviljlQCwjZAfrJha2BHhFdbO880Pn/w613-h312/Book%202-2a.jpg" width="613" /></a></p><p style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Imagénes fuentes /Source images</span></p><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMyA21Qv9iMV1joymGy5R4wwq-fzyn5rb2DxjVwMP-7Q72hVmf2yccDGHwC2JOXUqz9NcqRx6YcVqieVjf4Mhel8ohcEuefQ9eMcXhJIpEbbQLvW20vTJMvPUsKn3TAWgP4C3Ml3A27QllxzY2oI9eylFKKlatbLMFIMuNlAmD3BNSBOVh2wqfjX_ZhCoH/s7884/Toma%20de%20Aoki%20Shoichi,%20deslavada,%20an%CC%83os%2090%20-%20Completa.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: xx-small;"><img border="0" data-original-height="7884" data-original-width="4306" height="721" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMyA21Qv9iMV1joymGy5R4wwq-fzyn5rb2DxjVwMP-7Q72hVmf2yccDGHwC2JOXUqz9NcqRx6YcVqieVjf4Mhel8ohcEuefQ9eMcXhJIpEbbQLvW20vTJMvPUsKn3TAWgP4C3Ml3A27QllxzY2oI9eylFKKlatbLMFIMuNlAmD3BNSBOVh2wqfjX_ZhCoH/w395-h721/Toma%20de%20Aoki%20Shoichi,%20deslavada,%20an%CC%83os%2090%20-%20Completa.jpg" width="395" /></span></a></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: xx-small;"><span>Toma de Aoki Shoichi, deslavada, años 90 / </span><span>A washed-out image from Aoki Shoichi, the 90s</span></span></div><div class="separator" style="clear: both; font-family: arial; text-align: center;"><span style="font-size: xx-small;">Transferencia sobre papel kozo-shi y momigami con costura Montado en bastidor de madera con imprimatura</span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;">Transfer print on Kozo-shi and momigami paper, mounted on a wooden frame prepared with gesso </span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;"><span>Diptych /</span><span> Díptico, 27 x 42 x 4 cm, 2023</span></span></div><div class="separator" style="clear: both; font-family: arial;"><br /></div><div style="font-family: arial;"><div class="separator" style="clear: both; text-align: left;"><b>De la serie <i>Lectura Interrumpida</i></b></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Como una última aportación, empecé a juntar imágenes de mi archivo de material que tiene que ver con Asia (y Japón en particular), con el afán de hacer una obra que fuera a hacer referencia a este vasto mundo estético, pero que hiciera de tantas visiones distintas, una sola. Empecé a imprimir en papel japonés (kozo-shi) en transferencia las imágenes escogidas y recortarlas en tiras, para crear un ensamblaje desfasado. Empecé con un solo collage de gran tamaño y después experimenté con diverso tamaños. En las más chicas se aprovecha el impacto visual de las terminaciones irregulares. Estaba trabajando con la idea de entretejer distintas épocas.<div class="separator" style="clear: both; text-align: center;"><br /></div></div></div><div class="separator" style="clear: both; font-family: arial; text-align: left;"><b><i>From the series</i> Interrupted Images</b></div><div class="separator" style="clear: both; font-family: arial; text-align: left;"><b><br /></b></div><div class="separator" style="clear: both; font-family: arial; text-align: left;"><i>One last contribution: in November 2023 I started to put together images from my archives of material related to Asia (Japan in particular), with the idea of making a piece that would reference this vast aesthetic world, but that could somehow integrate many images into one. I started to make transfer prints of the chosen pieces and cut them into strips, to create one out-of-synch complex image. I started with one large collage and then made others in diverse sizes. The smallest take advantage of the visual impact of the irregular endings of the collage strips.</i></div><div class="separator" style="clear: both; font-family: arial; text-align: left;"><i>i was working with the idea of weaving in and out of history.</i></div><div class="separator" style="clear: both; text-align: center;"><i style="font-family: arial;"><br /></i><div class="separator" style="clear: both; font-family: arial; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HKojg5s8-azAyM2izmhqPpnp3mBC1yDlv6ZXevJLD4Px3nkN8Z-5Zrt8copM0gn2zswQ3L1UQsW245fRIdYnlIudZgBfMOyP_QYEQy8tQMaAST-D1z4r5wki2HqcTARyZVyai10h2sd-R7VUSjzEHH3GhMybE5gB4aPr0Qy4ZXZBxzlHCL_vjLDNYYZN/s2400/lectura%20interrumpida.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1825" data-original-width="2400" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1HKojg5s8-azAyM2izmhqPpnp3mBC1yDlv6ZXevJLD4Px3nkN8Z-5Zrt8copM0gn2zswQ3L1UQsW245fRIdYnlIudZgBfMOyP_QYEQy8tQMaAST-D1z4r5wki2HqcTARyZVyai10h2sd-R7VUSjzEHH3GhMybE5gB4aPr0Qy4ZXZBxzlHCL_vjLDNYYZN/w632-h480/lectura%20interrumpida.jpg" width="632" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: x-small;"><i>Lectura interrumpida (la muchacha con el pelo en llamas)</i> /</span><span style="font-size: xx-small;"><i> Interrupted Images (the Girl with her Hair on Fire)</i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><span style="font-family: arial;">Transferencia</span><i><span style="font-family: arial;"> en papel kozo-shi mounted en papel momigami, con una capa al reverso de gesso y sellador en frente.</span></i></span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;">Transfer prints on Kozo-shi paper mounted on Momigami paper with Ph neutral paste, protected on the reverse with a coat of gesso and on the surface, with a fine layer of sealant.</span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;">118 x 154 cm, 2023</span></div><div class="separator" style="clear: both; font-family: arial;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxpin-TzKKGlN1e8coLhObYMOCswyaiZ9abZRMMSXXKPIisuXTKyYwcOiei-azqhGGijLEnvRysMyuadvxmWCzG3HgtxJBXjPuPsB08NWfwsWBBfwRHqlvgjzQDz-MG4i7YKy7AdM7DCX9jjBIGAKU2lTNzpomwy1FuL4wP7X4YgayP-YowZQUMpL6Rl4/s1628/dos%20detalles.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1628" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxpin-TzKKGlN1e8coLhObYMOCswyaiZ9abZRMMSXXKPIisuXTKyYwcOiei-azqhGGijLEnvRysMyuadvxmWCzG3HgtxJBXjPuPsB08NWfwsWBBfwRHqlvgjzQDz-MG4i7YKy7AdM7DCX9jjBIGAKU2lTNzpomwy1FuL4wP7X4YgayP-YowZQUMpL6Rl4/w620-h457/dos%20detalles.jpg" width="620" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: xx-small;">Dos detalles / Two details</span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6rIz7QHsU5RfS-bzSyK4hFA1oWEqQj4PoEchYxHTXfeWOoutnjD-UskDcVay8m2AiOqc8JwDPITn-a05UsgJdBoOrvK4Cqj5ZPLyy6foSoDo2zVevBFQNwHCXgBTfVVycOL4aDRSBacmfV_IvCfZxjD8BsnyZg39-Lv-TnEUemNgwocQjMUfn7g-dLRm0/s2500/serie%20Lectura%20Interrumpida,%20Harajuku%20y%20yokai.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2067" data-original-width="2500" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6rIz7QHsU5RfS-bzSyK4hFA1oWEqQj4PoEchYxHTXfeWOoutnjD-UskDcVay8m2AiOqc8JwDPITn-a05UsgJdBoOrvK4Cqj5ZPLyy6foSoDo2zVevBFQNwHCXgBTfVVycOL4aDRSBacmfV_IvCfZxjD8BsnyZg39-Lv-TnEUemNgwocQjMUfn7g-dLRm0/w637-h528/serie%20Lectura%20Interrumpida,%20Harajuku%20y%20yokai.jpg" width="637" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Lectura interrumpida (Chavos de Harajuku y yokai)</i> /<i> Interrupted Images (Kids from Harajuku and Yokai)</i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage de transferencia sobre papel japonés kozo-shi montado sobre papel momigami.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage of transfer prints on kozo-shi paper mounted on momigami paper.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">73 x 93 cm 2024</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Los yokai son monstruos y seres fantásticos japoneses.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI9Le5I5Gzja9RZmLJAR_Bqxj4IrYo4d48B6SkJpCbPlCjpA5W2J8yqGr5GjqtrAxnUh5lhr6CFpuHkkV3meVaD6CWeDeO-KOi4zisDtN9-K5C5KxdU4OZPDkqn1-Je00zU1kUwrLFEWBeG7KPOMifRuEMi6qYGPT1cdwcDQXxjeLf8QlsepXHS6sfqehN/s1875/dupla%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1875" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI9Le5I5Gzja9RZmLJAR_Bqxj4IrYo4d48B6SkJpCbPlCjpA5W2J8yqGr5GjqtrAxnUh5lhr6CFpuHkkV3meVaD6CWeDeO-KOi4zisDtN9-K5C5KxdU4OZPDkqn1-Je00zU1kUwrLFEWBeG7KPOMifRuEMi6qYGPT1cdwcDQXxjeLf8QlsepXHS6sfqehN/w663-h425/dupla%202.jpg" width="663" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>Lectura interrumpida (Geishas y yokai) / Interrupted Images (Geishas and Yokai) - Lectura interrumpida (Dos samuráis) / Interrupted Images (Two Samurais)</i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage de transferencia sobre papel japonés kozo-shi montado sobre papel momigami.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage of transfer prints on kozo-shi paper mounted on momigami paper.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">50 x 40 cm c/u 2024</span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWCiLLv7u6_CzQ4JnXWbjNWy0of0sJEvgVb2bgi0RrdNvrmypZkb7WqvANfKwjYn2xGUfXdsxw123DbxgAM6MBYGCsK1XsRWnxDz71G6ef5lWsF1kYnA-FT173eBP8IFDC3mJDEGL3bBggWMzGoJZ8Z4gbByia-3MSIwyeIO3o-z2zXdT12kgik7WdHBMS/s2500/serie%20Lectura%20interrumpida,%20Bugeisha%20y%20yokai%2050%20x%2040%20cm%202024.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2007" height="547" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWCiLLv7u6_CzQ4JnXWbjNWy0of0sJEvgVb2bgi0RrdNvrmypZkb7WqvANfKwjYn2xGUfXdsxw123DbxgAM6MBYGCsK1XsRWnxDz71G6ef5lWsF1kYnA-FT173eBP8IFDC3mJDEGL3bBggWMzGoJZ8Z4gbByia-3MSIwyeIO3o-z2zXdT12kgik7WdHBMS/w439-h547/serie%20Lectura%20interrumpida,%20Bugeisha%20y%20yokai%2050%20x%2040%20cm%202024.jpg" width="439" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><i>Lectura interrumpida (Onna Bugeisha y samurái) / Interrupted Images (Onna Bugeisha and Samurai) </i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage de transferencia sobre papel japonés kozo-shi montado sobre papel momigami.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage of transfer prints on kozo-shi paper mounted on momigami paper.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">50 x 40 cm 2024</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Las onna bugeishas son guerreras o samuráis mujeres. </span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">The Onna Bugeishas are women warriors or samurais.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0CRLefqWBGF9IMkG4qh4Ap4YZhCfVntrbWjXK9SEBlKhc_7tV34tVuVmIiS5Jnk9tMBIYsTKmw5ieZ0l8S4EWHLT2tArtfFSdk6KCkP-bO2bXXVnD1G-KdFImkPTK4LZRkjP-nBReoMiQzFoSViNRiYlkAFDyo7mWhI_C6faqUrGhMmryjEtN51m6NmQJ/s2500/serie%20Lectura%20Interrumpida,%20samurai%CC%81s%20y%20bugeishas%2073%20x%2093%20cm%202024.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2077" data-original-width="2500" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0CRLefqWBGF9IMkG4qh4Ap4YZhCfVntrbWjXK9SEBlKhc_7tV34tVuVmIiS5Jnk9tMBIYsTKmw5ieZ0l8S4EWHLT2tArtfFSdk6KCkP-bO2bXXVnD1G-KdFImkPTK4LZRkjP-nBReoMiQzFoSViNRiYlkAFDyo7mWhI_C6faqUrGhMmryjEtN51m6NmQJ/w641-h532/serie%20Lectura%20Interrumpida,%20samurai%CC%81s%20y%20bugeishas%2073%20x%2093%20cm%202024.jpg" width="641" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: xx-small;"><i>Lectura interrumpida (Samuráis y Onna bugeishas) / Interrupted Images (Samurais and Onna Bugeishas)</i></span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage de transferencia sobre papel japonés kozo-shi montado sobre papel momigami.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">Collage of transfer prints on kozo-shi paper mounted on momigami paper.</span></div><div class="separator" style="clear: both;"><span style="font-size: xx-small;">73 x 93 cm 2024</span></div></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5R4leSrnzMEElP3c2jTYnOBYhyphenhyphenMXE3bpx8kuwf8uD90tKhyphenhyphenc_bfQRfW_x5KgpIvCXNOwN9LQxST42DBJScs7cDQcso7Ju1K95_4mR9SxXC_YFmCV6s8c3Je0XS-tiX2w92X_jsnGtWXTR4OZZ3ETUPrMiWxNtvElVzGJC4wDkMR5jj6P5hl6RxCMqfBmD/s2500/detalle%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="1667" height="637" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5R4leSrnzMEElP3c2jTYnOBYhyphenhyphenMXE3bpx8kuwf8uD90tKhyphenhyphenc_bfQRfW_x5KgpIvCXNOwN9LQxST42DBJScs7cDQcso7Ju1K95_4mR9SxXC_YFmCV6s8c3Je0XS-tiX2w92X_jsnGtWXTR4OZZ3ETUPrMiWxNtvElVzGJC4wDkMR5jj6P5hl6RxCMqfBmD/w424-h637/detalle%202.jpg" width="424" /></a></div><span style="font-size: xx-small;">Detalle / Detail</span><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSNx2brm5LrTOMOGeBO92dEhJqsqwv8bZdCrkPqn-Uvl7aWXxY286s4Dlef6xF-6wCEoFYqXr0GaIyeyDJQd4ggAU9nfd7czTVmL7YwdJHiiHb2jvqVjT0hJMfZ2WPKkXr3h3Gsj6PXbOpNkEryqS1ycqYZqRtpEjJAwUqBgwo2MdyARCT2KAND8gmeGhj/s1823/Cara%20samura%CC%81i,%20acercamiento.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1667" data-original-width="1823" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSNx2brm5LrTOMOGeBO92dEhJqsqwv8bZdCrkPqn-Uvl7aWXxY286s4Dlef6xF-6wCEoFYqXr0GaIyeyDJQd4ggAU9nfd7czTVmL7YwdJHiiHb2jvqVjT0hJMfZ2WPKkXr3h3Gsj6PXbOpNkEryqS1ycqYZqRtpEjJAwUqBgwo2MdyARCT2KAND8gmeGhj/s320/Cara%20samura%CC%81i,%20acercamiento.jpg" width="320" /></a></div><br /><div style="text-align: center;"><br /></div></div><br /></div><br /><div class="separator" style="clear: both; font-family: arial; text-align: center;"><br /></div><br /><br /><i style="font-family: arial;"><br /></i></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div style="font-family: arial; text-align: left;"><i><br /></i></div></div></div></div></div></div></div></span></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-46302388302669111152022-01-05T14:54:00.003-08:002024-02-27T14:34:49.024-08:00Fire-- Prix Pictet, 2021<p>On December 15th in the Victoria and Albert Museum, London, the ninth edition of the Prix Pictet was inaugurated. A panel discussion examining the theme, "Fire" as well aspects of the work of various of the shortlisted photographers and artists, had been planned for that same afternoon, but was canceled for concerns about Covid. As I already had prepared my presentation, I've decided to present it here. </p><p><i>El 15 de diciembre en el museo Victoria and Albert, Londres, se inauguró la edición nueve del Prix Pictet. Estaba calendarizado una discusión del tema del premio, "Fuego", y aspectos de la obra de varios de sus finalistas para la tarde de la inauguración, pero la mesa redonda se tuvo que cancelar por el tema del Covid. Como ya tenía preparada mi intervención, la asiento aquí. </i></p><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiEZSFtLiPUru-gYbeDoxHxPGQ3PVKORYRO87540MIiUpXhV3U5Qx8sDMZb3tdqYr_IhTtQO602ev-vO-cVPvK7AcbYPajZwvZ3lJ7ystqMVfRvNV9WzbBgFkUSTdTJi_z0_xJgTswG55LL1wnunpgqLeh8VtETu-z7unhSc3iLyetvPGqPJskpYzO6Fg=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1163" data-original-width="1200" height="518" src="https://blogger.googleusercontent.com/img/a/AVvXsEiEZSFtLiPUru-gYbeDoxHxPGQ3PVKORYRO87540MIiUpXhV3U5Qx8sDMZb3tdqYr_IhTtQO602ev-vO-cVPvK7AcbYPajZwvZ3lJ7ystqMVfRvNV9WzbBgFkUSTdTJi_z0_xJgTswG55LL1wnunpgqLeh8VtETu-z7unhSc3iLyetvPGqPJskpYzO6Fg=w534-h518" width="534" /></a> </p><div class="separator" style="clear: both; text-align: center;"><p style="text-align: center;"><i style="font-size: x-small;">Fire- Fuego</i><span style="font-size: x-small;"> (o, </span><i style="font-size: x-small;">La caja de Pandora- Pandora's Box</i><span style="font-size: x-small;">) 2009 (versión 2021)</span></p></div><p>Carla Rippey: I am actually a visual artist, not a photographer, although my father was a photographer and photojournalist and so I grew up with photographic concepts –ideas about composition, cropping, juxtaposition and the creation of visual narratives. In fact, I figured out a few years ago that probably my biggest influences were patchwork quilts, and Edward Steichen’s book “The Family of Man”. From early on as an artist, I’ve worked with archives, and what is now called appropriation, collecting the images that catch my eye or create an echo for me. Here we see my part of my archives for the work in this show. </p><p><i>La verdad, soy artista visual, no fotógrafa, pero mi padre sí fue fotógrafo y fotoperiodista y así crecí familiarizada con conceptos fotográficos-- ideas sobre composición, encuadres y yuxtaposición y la creación de narrativas visuales, por ejemplo. Es más, hace unos años me di cuenta que mis influencias más grandes como artista han sido, probablemente, las colchas de parches (patchwork) del medio oeste y el libro/catálogo de Edward Steichen, "The Family of Man". Desde hace mucho, como artista he trabajado con archivos, y con lo que ahora se llama "apropiación", coleccionando las imágenes que me llaman la atención o que crean un eco para mí. </i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-sJoT9vHB3cc6PKgVurKeku-K5O8Sb9qXXVmRIhMvXcgcTFbyGMJtEWcbmA4gADrmuIDKwTACA7KpHpJ3qBljiTSCs6ESPXCAEZ-2EBkH_0qeUAGdWJ-OBFmUxZGlATlWu7bpwpkEcA070jQ5o5ISGuh0IwLwA2qNQp9m74604TCRzR5xO_tqWC314g=s1225" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1143" data-original-width="1225" height="497" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-sJoT9vHB3cc6PKgVurKeku-K5O8Sb9qXXVmRIhMvXcgcTFbyGMJtEWcbmA4gADrmuIDKwTACA7KpHpJ3qBljiTSCs6ESPXCAEZ-2EBkH_0qeUAGdWJ-OBFmUxZGlATlWu7bpwpkEcA070jQ5o5ISGuh0IwLwA2qNQp9m74604TCRzR5xO_tqWC314g=w532-h497" width="532" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: xx-small;"> fire archives / archivos de fuego</span></div><p><span style="font-family: inherit;">Around 1990 I started making artist’s books and installations with photocopies transferred with paint thinner onto Japanese and other papers and cloth. This work is a sort of mid-life piece made from my archives of vanishing points, called “From the Finite to the Infinite”. My work is always extremely personal, I start off trying to articulate something for myself, with the hope that the work will resonate on another level, for others.</span></p><p><i style="font-family: inherit;">Cerca de 1990 empecé a hacer libros de artista e instalaciones con fotocopias transferidas con solvente a papeles japoneses y otros, y tela. Esta pieza es una especie de pieza de la mitad de la vida hecho con mis archivos de puntos de fuga, llamada "Del finito al infinito". Mi obra suele ser bastante personal; empiezo tratando de articular algo para mi misma, con la esperanza que la obra pueda resonar para los demás, en algún nivel, en algún momento.</i></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj_uyFviBJBeA_5pq88WDqfe4F7_LZJeAGsc4U5VM5OZiGnV6DWIr4zIdK899ScNo_wsageVzOcdsbeGPRovIEK5xX8zLwEICszYv1y7ahURXBSKTD2AE0XeNPs-2exxzstI0qsLWoG0n0hm2GRzLrLcEO7DQ3nG1ldiXoeYc4BmsOQSjPsX6cbQWh79w=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1928" data-original-width="2000" height="534" src="https://blogger.googleusercontent.com/img/a/AVvXsEj_uyFviBJBeA_5pq88WDqfe4F7_LZJeAGsc4U5VM5OZiGnV6DWIr4zIdK899ScNo_wsageVzOcdsbeGPRovIEK5xX8zLwEICszYv1y7ahURXBSKTD2AE0XeNPs-2exxzstI0qsLWoG0n0hm2GRzLrLcEO7DQ3nG1ldiXoeYc4BmsOQSjPsX6cbQWh79w=w555-h534" width="555" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>From the Finite to the Infinite / Del finito al infinito</i>, 1998 </span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">For a long time now my principal medium has been drawing- graphite on paper, which I also base on photos, as with this version of a scene from a post WWII magazine:</div><div class="separator" style="clear: both;"><i>Desde hace mucho dibujo (grafito/papel) ha sido el medio de expresión al cual más concurro, como en mi versión de una escena de una revista de los años después de la Segunda Guerra Mundial:</i></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi47D534BS7M1_E_4uvyal93mDfQMLsB5jr07JOxkF1A7WIK3lIoLngKYcF3MtGDBzow5Zq3m-b_cA99HqsyUlEQtoVkI-GocxZ--FErbH5FCGhH6QVnyiq2mK7udYPssjZxgMhVsCseJDpLWl5_2_4FHHyLym8mgOsHHkok-EYXfL2QhNKQZJSusNpqA=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1424" data-original-width="2000" height="384" src="https://blogger.googleusercontent.com/img/a/AVvXsEi47D534BS7M1_E_4uvyal93mDfQMLsB5jr07JOxkF1A7WIK3lIoLngKYcF3MtGDBzow5Zq3m-b_cA99HqsyUlEQtoVkI-GocxZ--FErbH5FCGhH6QVnyiq2mK7udYPssjZxgMhVsCseJDpLWl5_2_4FHHyLym8mgOsHHkok-EYXfL2QhNKQZJSusNpqA=w539-h384" width="539" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Operación Camp Follower</i>, 2021</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Based on this photograph documenting a "successful" operation against Austrian girls hanging out with Allied soldiers-</div><div class="separator" style="clear: both; text-align: left;"><i>Basado en esta fotografía de un artículo sobre la operación "exitosa" para controlar a jóvenes austriacas paseando con soldados aliados- </i></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhLtPVSra5y5qyZrwnA0rSEoGi_U3LaxvT7meq4D7J_FI04TLmKzqTm-9VNzvllpA90WHXfADFvOF1KgaqLM63NQhCODshlxjcj5qWu7moJKIGovQ1ssgD5YYH9hJBq0MoIojx8rpFIwFb3tRBhaSH7wGtYaPU2r6j48oN-KGaiapXAbKh0VV-0RPQL1A=s2058" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2058" data-original-width="1495" height="550" src="https://blogger.googleusercontent.com/img/a/AVvXsEhLtPVSra5y5qyZrwnA0rSEoGi_U3LaxvT7meq4D7J_FI04TLmKzqTm-9VNzvllpA90WHXfADFvOF1KgaqLM63NQhCODshlxjcj5qWu7moJKIGovQ1ssgD5YYH9hJBq0MoIojx8rpFIwFb3tRBhaSH7wGtYaPU2r6j48oN-KGaiapXAbKh0VV-0RPQL1A=w399-h550" width="399" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">Pages from the magazine -- /Páginas de la revista -- 195-</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">I’ve also worked a lot with the Mexican national photo archives, especially with images of women detained in Mexico City police stations in the thirties--</div><div class="separator" style="clear: both; text-align: left;"><i>He trabajado mucho con los archivos del INAH, en la Fototeca Nacional de México, particularmente con imágenes de mujeres detenidas en delegaciones de la Ciudad de México en los años 1930s-</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi2pv188bYuTuID63KRF5khYwimzcRDwhSwfV_CbEGIdNFczfp3UWg45xxO0Of6mxfHwSzqx77PBGlXt_pixNen-gCoLxEMQb07BB2GoiQGSIE2VF3pxP0x5Hp1wwTjPRJC8xCgAAsj3CDWIUw9oNEFoaVggLGWirXdhTk5GBCn7KCTGQssav0lb-iYRg=s3041" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="3041" height="318" src="https://blogger.googleusercontent.com/img/a/AVvXsEi2pv188bYuTuID63KRF5khYwimzcRDwhSwfV_CbEGIdNFczfp3UWg45xxO0Of6mxfHwSzqx77PBGlXt_pixNen-gCoLxEMQb07BB2GoiQGSIE2VF3pxP0x5Hp1wwTjPRJC8xCgAAsj3CDWIUw9oNEFoaVggLGWirXdhTk5GBCn7KCTGQssav0lb-iYRg=w645-h318" width="645" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">For instance, I've interpreted photographs taken by the Casasola brothers in different ways, in drawings-</div><div class="separator" style="clear: both;"><i>Por ejemplo, he interpretado fotografías de los Hermanos Casasola en distintas maneras, en dibujo-</i></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhd2rKG5TEJB8S8Stf436Ue_oDLwmaepENK7q4l3fuD0cEbk0FvIWFXS60tFSC4oyxqmMmN5BPlLD_lHmLkwEHLVVg4qCcHhn2PhVucXEGlQPnNyUS0MrGn70FRSIbI8pldH1g_Dwlbd9WVl6qNV3ZYmLoz-yhA92MQihw-3hxVirm9NHnGYRqHEu82MA=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1599" data-original-width="2000" height="467" src="https://blogger.googleusercontent.com/img/a/AVvXsEhd2rKG5TEJB8S8Stf436Ue_oDLwmaepENK7q4l3fuD0cEbk0FvIWFXS60tFSC4oyxqmMmN5BPlLD_lHmLkwEHLVVg4qCcHhn2PhVucXEGlQPnNyUS0MrGn70FRSIbI8pldH1g_Dwlbd9WVl6qNV3ZYmLoz-yhA92MQihw-3hxVirm9NHnGYRqHEu82MA=w584-h467" width="584" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Woman surrounded by three agents, c. 1933 / Mujer rodeada por tres agentes</i>, 2001</span></div><br /><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;">And transfer prints sewn upon and made into installations-</div><div class="separator" style="clear: both;"><i>E impresiones en transferencia con costura, armadas en instalaciones-</i></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEggYlJd4b8v3kwnP4mhgiqO4ywE4usFOeJ_o_gqPLESK20psYQgUzvxFL1yRd-f2P2SuMOhs9Wc6tTylG4diQcBWS5nnfeshlZHMHmYKzYqR2tt6f9ef1Umt0ztenaqLnuDmR60wUzkPD6mKEzxol67WM8Li6UhKpm6rp_2Y34dYrp0QHc6_W2hmFay4g=s2017" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2017" data-original-width="2000" height="607" src="https://blogger.googleusercontent.com/img/a/AVvXsEggYlJd4b8v3kwnP4mhgiqO4ywE4usFOeJ_o_gqPLESK20psYQgUzvxFL1yRd-f2P2SuMOhs9Wc6tTylG4diQcBWS5nnfeshlZHMHmYKzYqR2tt6f9ef1Umt0ztenaqLnuDmR60wUzkPD6mKEzxol67WM8Li6UhKpm6rp_2Y34dYrp0QHc6_W2hmFay4g=w601-h607" width="601" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Women before the Court / Mujeres frente al tribunal </i>2021</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjuI0ZfcdUQj3XxJKMbrM35tw1qyMnJWLmGM1tHg4po6wcm3ogH0IQLT-VKNfyc2NoM96OZFWQIr_NCoEoy5asjnBT0nQfcuNoLu3ZcX_WrXugIOku-4aSNm4bWmRWg-YjY2JPfpJuMewGPzMohlyblaJ3sXZl3wkIqSL-jaEvmxViKJ_VR5tPcButSMQ=s2063" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="2063" height="465" src="https://blogger.googleusercontent.com/img/a/AVvXsEjuI0ZfcdUQj3XxJKMbrM35tw1qyMnJWLmGM1tHg4po6wcm3ogH0IQLT-VKNfyc2NoM96OZFWQIr_NCoEoy5asjnBT0nQfcuNoLu3ZcX_WrXugIOku-4aSNm4bWmRWg-YjY2JPfpJuMewGPzMohlyblaJ3sXZl3wkIqSL-jaEvmxViKJ_VR5tPcButSMQ=w638-h465" width="638" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Detalle</span><i style="font-size: x-small;">, Women before the Court / Mujeres frente al tribunal </i><span style="font-size: x-small;">2021</span> </div><div class="separator" style="clear: both; text-align: center;"><br /></div></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">I’ve also used a lot of found material from flea markets, like this carnival scene--</div><div class="separator" style="clear: both; text-align: left;"><i>También he ocupado mucho material de mercados de pulga, como esta escena de carnaval-</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiY6BU96qwGnE0qsjVQGWSGMDUC_y76bwS4H3vWxpu-TV5k0ENY48oyMdtRjEDeTyo3Dl3_frN_FXUuP4uau4vRq7EOq_iE0Enie_-9H-58_TopegwLEpteC3DUEdh7sbpWbiMVswQyogZbfYXbBepvjQ6BAB4z5JR5BzdtSvhZDj7Hds1vH8xNuhcHCA=s2795" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1998" data-original-width="2795" height="396" src="https://blogger.googleusercontent.com/img/a/AVvXsEiY6BU96qwGnE0qsjVQGWSGMDUC_y76bwS4H3vWxpu-TV5k0ENY48oyMdtRjEDeTyo3Dl3_frN_FXUuP4uau4vRq7EOq_iE0Enie_-9H-58_TopegwLEpteC3DUEdh7sbpWbiMVswQyogZbfYXbBepvjQ6BAB4z5JR5BzdtSvhZDj7Hds1vH8xNuhcHCA=w553-h396" width="553" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">Found photograph, Veracruz carnival / Fotografía encontrada, carnaval en Veracruz</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Which I cropped and used for a large drawing. Here I should add that the fact that I live in Latin America has affected me and my work a lot, not only with the kind of source material I find, but for the experience of living a more complex reality than I would have found staying in the United States. Here, we must process the imposed view of reality that comes from the cultural domination of the Center, especially the US, and conciliate it with the very different reality of our daily lives.</div><div class="separator" style="clear: both; text-align: left;"><i>Escena que encuadré y ocupé para un dibujo grande. Aquí quisiera agregar que el hecho de vivir en América Latina me ha afectado bastante, en mi vida y mi obra, no solamente por el tipo de material fuente que pueda encontrar, pero también por la experiencia de vivir una realidad más compleja que la que habría encontrada si me hubiera quedado en Estados Unidos. Aquí tenemos que procesar la visión impuesta, por la dominación cultural del Centro, particularmente de Estados Unidos, y conciliarla con la muy distinta realidad que percibimos en nuestras vidas diarias.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgmRB2b7eHgTPLCmFzXxmxqr-yrOQhQ0pw4E5CsZt6I7keD83Ch2urrHlgqMj_tMIH9gxU1ZzDVWgxuLVcbNLBPXQKefcqVKxeF-Q_ghFe8U880Bx9DYoPDuc92MOftWd4NRXhETFfDeQF1LOuw7JaABwkDvbvBFjOD3D26AjiyGYvAszvlB8jux6q2TQ=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1031" data-original-width="2500" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEgmRB2b7eHgTPLCmFzXxmxqr-yrOQhQ0pw4E5CsZt6I7keD83Ch2urrHlgqMj_tMIH9gxU1ZzDVWgxuLVcbNLBPXQKefcqVKxeF-Q_ghFe8U880Bx9DYoPDuc92MOftWd4NRXhETFfDeQF1LOuw7JaABwkDvbvBFjOD3D26AjiyGYvAszvlB8jux6q2TQ=w651-h268" width="651" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i> Carnival</i> / </span><i style="font-size: x-small;">Carnaval </i><span style="font-size: x-small;">2001</span></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">But I also go back to my roots for some projects. In recent years I've done a lot of work with photographs my father took during my childhood, making drawings-</div><div class="separator" style="clear: both; text-align: left;"><i>También vuelvo a mis raíces para mis proyectos. En años recientes he trabajado mucho con fotografías que mi padre tomé en mi infancia, transformándolas en dibujos-</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj5JffwWL8He5_NPDPLv44hFmIZBJ2Pv0yC3Ht67XvMiLMPgHtxEkUluJp82bFKr5_rKYkyrCHcDEcOTNbiXKiHMyVkmMoOTEtYLBVrxf0RxNOpE6264Vua-GaKALByC1ihYGlHmH53l65VSy2ICQOQzoSpjcxCO2R5gUG30vt1s1JflqXLx5XKjiXqSA=s3300" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2159" data-original-width="3300" height="411" src="https://blogger.googleusercontent.com/img/a/AVvXsEj5JffwWL8He5_NPDPLv44hFmIZBJ2Pv0yC3Ht67XvMiLMPgHtxEkUluJp82bFKr5_rKYkyrCHcDEcOTNbiXKiHMyVkmMoOTEtYLBVrxf0RxNOpE6264Vua-GaKALByC1ihYGlHmH53l65VSy2ICQOQzoSpjcxCO2R5gUG30vt1s1JflqXLx5XKjiXqSA=w629-h411" width="629" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Farnam Street, c. 1956</i>, 2020</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">And in artist’s books. I was trying to recapture something of the mystery of infancy and the minds of children- their imaginaries-</div><div class="separator" style="clear: both; text-align: left;"><i>Y en libros de artistas. Estaba intentando recapturar algo del misterio de la infancia y las mentes de los infantes- sus imaginarios-</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiOq_ZlprRUZhEk3zXoKDytoAG22YkmeqKBHwNpp8f-SJfR6x5DwkoATC-UQx78GfR43s3eMk2v1845n0akPPHAQ-jU9Y89c_mu1GWt8BfVxuOpQRRM45Uzl-Yr44CK22p3U4GiGOwSeslgfCXoKqyi913a3grkZFIdPfeMktpS78DqyMIbvFIXIz0W6Q=s3000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1269" data-original-width="3000" height="265" src="https://blogger.googleusercontent.com/img/a/AVvXsEiOq_ZlprRUZhEk3zXoKDytoAG22YkmeqKBHwNpp8f-SJfR6x5DwkoATC-UQx78GfR43s3eMk2v1845n0akPPHAQ-jU9Y89c_mu1GWt8BfVxuOpQRRM45Uzl-Yr44CK22p3U4GiGOwSeslgfCXoKqyi913a3grkZFIdPfeMktpS78DqyMIbvFIXIz0W6Q=w629-h265" width="629" /></a></div><div class="separator" style="clear: both; text-align: center;"> <span style="font-size: xx-small;"><i>We girls at nightfall / Nosotras al anochecer</i> 2020 </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: left;">But as I delved into childhood dreams and dreads, I ended up including found images from the internet as well, and things got darker or more complicated-</div><div class="separator" style="clear: both; text-align: left;"><i>Pero al adentrarme en los sueños y pavores de la infancia, terminé incluyendo también imágenes del internet, y todo se volvió más oscuro y complicado-</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiDdcds2iuQkfp15cDleWvBwegFQGa2muoQ3WSo9LUisWkCBDk34CpNuMvXCViP6uyM8Tp1wC6Xj-6KMS9Mmh1pB_aqAm3mg3KFNXZQ5nvqoPGOTg6jfAB8UZzsxu50QXh2_QTapgrJHG8WaVJRx4gX_DnaT81aQ1ygvunONoWwTnFkUTkELkmQ3L011g=s1528" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1528" height="380" src="https://blogger.googleusercontent.com/img/a/AVvXsEiDdcds2iuQkfp15cDleWvBwegFQGa2muoQ3WSo9LUisWkCBDk34CpNuMvXCViP6uyM8Tp1wC6Xj-6KMS9Mmh1pB_aqAm3mg3KFNXZQ5nvqoPGOTg6jfAB8UZzsxu50QXh2_QTapgrJHG8WaVJRx4gX_DnaT81aQ1ygvunONoWwTnFkUTkELkmQ3L011g=w583-h380" width="583" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Bad rabbit</i> series /Serie <i>Conejos malditos</i> 2019</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: left;">I started working with government and university archives in the early 2000s, with this installation called “The Extremes of America”, in which I juxtaposed images of the original peoples of the very north and very south of the continents.</div><div class="separator" style="clear: both; text-align: left;"><i>Empecé a trabajar con archivos gubernamentales y universitarios en los 2000s tempranos, con esta instalación llamada "Los extremos de América", en el cual yuxtaponía imágenes de los pueblos originarios del extremo sur y norte de las Américas.</i></div></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjjg6-8aAWwmpgb6ecbOyHRoODafMu1SEjo3lN1VqTPLg-3iF8YN9wcZPCOhZh1V0nDSQkulPx6HDmb0bEF_Y0dRWhu8uHxWB5SjbAri6w3O6rwTOTj5IeJP21KH765LAvGc2p-sfaoOlobkrponSoQxNd5wdfSJHp8mOxIzUouLo6OLA11-cgO2UjQMw=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1127" data-original-width="1200" height="573" src="https://blogger.googleusercontent.com/img/a/AVvXsEjjg6-8aAWwmpgb6ecbOyHRoODafMu1SEjo3lN1VqTPLg-3iF8YN9wcZPCOhZh1V0nDSQkulPx6HDmb0bEF_Y0dRWhu8uHxWB5SjbAri6w3O6rwTOTj5IeJP21KH765LAvGc2p-sfaoOlobkrponSoQxNd5wdfSJHp8mOxIzUouLo6OLA11-cgO2UjQMw=w608-h573" width="608" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="font-size: xx-small;"><br /></span></i></div><span style="font-size: xx-small;"><i>The extremes of America / América en extremo</i>, 2006-8</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;">Later on I made a more extensive piece linking up the history of the migration of my own forbearers in the Great Plains with the history of Mexican presence and migrations, going down to Texas, the border during the Mexican Revolution, and Mexico itself, working with official archives in the US and Mexico. Here I realized the importance of photographers in the recording of history, because only where they happened to end up, did I find a specific visual record. </div><div style="text-align: left;"><i>Más adelante, hice una pieza más extensiva ligando la historia de migración de mis propios antepasados en la pradera central de Estados Unidos con la de la presencia mexicano y sus periplos, pasando a Texas, la frontera durante la Revolución Mexicana, y a México mismo, trabajando con archivos oficiales en Estados Unidos y México. Aquí es donde me dio cuenta de la gran importancia de fotógrafos en la documentación de la historia, porque solamente donde por casualidad llegó un fotógrafo, existe una registro visual notable.</i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhN0j-tvh9N9ExFjgDyjE8eFO-LQAHR9LiN3HtDu69yaxGKUHfg1qJTD8iHhZBRJbCG4Pmo9k2vAv3s2bh-n3JX3jL39xsZii_oY_5egyBuldRtnTH17Nbic8eMHKodmY1gIFFLLDwtfgPpeEW7LQBMM_iQkyJuW8bINxGNF9764-GHl1jYbYl-HmQpJA=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1390" data-original-width="2000" height="378" src="https://blogger.googleusercontent.com/img/a/AVvXsEhN0j-tvh9N9ExFjgDyjE8eFO-LQAHR9LiN3HtDu69yaxGKUHfg1qJTD8iHhZBRJbCG4Pmo9k2vAv3s2bh-n3JX3jL39xsZii_oY_5egyBuldRtnTH17Nbic8eMHKodmY1gIFFLLDwtfgPpeEW7LQBMM_iQkyJuW8bINxGNF9764-GHl1jYbYl-HmQpJA=w545-h378" width="545" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj7jl7e-jTDTJaDeI-roNAHskUDpUmKg9Bfcqd9WnDLxXpCmPixM4LF-Ip9qaiUBCWHwFHfOHNZb45pPpVlmOZZl_3O5gDmw_HMAOJvO4sgiHJ92FQrPc0tYaJKpWKqo_K8mWaQ2ZP9HOVvhFkKVWzuwwoydUuW06W-MEIY2c-_oL6NGPKMmHsPAnjjDA=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1383" data-original-width="2000" height="379" src="https://blogger.googleusercontent.com/img/a/AVvXsEj7jl7e-jTDTJaDeI-roNAHskUDpUmKg9Bfcqd9WnDLxXpCmPixM4LF-Ip9qaiUBCWHwFHfOHNZb45pPpVlmOZZl_3O5gDmw_HMAOJvO4sgiHJ92FQrPc0tYaJKpWKqo_K8mWaQ2ZP9HOVvhFkKVWzuwwoydUuW06W-MEIY2c-_oL6NGPKMmHsPAnjjDA=w549-h379" width="549" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiju5zj9937eIk_5wbvtG2NegiOTmDUn80uI3HoReOIZgmGq9yqB4R7gQ7bZ_LLBLRePwkygH4RVxq_xxzmm61YkxedFWXn51dVzLIok8q7NVsxrnAhS5zh0-LSNaf-71vFlF9FSLS1R7ghdD18sHUxnie0CW7Sn0OP0Lq1NnnuVNP3Xunnxodg6w4u0g=s1700" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1700" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEiju5zj9937eIk_5wbvtG2NegiOTmDUn80uI3HoReOIZgmGq9yqB4R7gQ7bZ_LLBLRePwkygH4RVxq_xxzmm61YkxedFWXn51dVzLIok8q7NVsxrnAhS5zh0-LSNaf-71vFlF9FSLS1R7ghdD18sHUxnie0CW7Sn0OP0Lq1NnnuVNP3Xunnxodg6w4u0g=w523-h300" width="523" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>When my blood was not yet my blood, </i>in exhibition /<i> Cuando mi sangre aún no era mi sangre,</i> en exposición, Museo Carrillo Gil 2016</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">I’ve also made work from movie stills, as in this scene of the protagonist being abandoned and forcing a kiss from his lover taken from the Kurosawa movie “Drunken Angel”.</div><div class="separator" style="clear: both; text-align: left;"><i>También he hecho obra de fotos fijas de películas, como en esta escena del protagonista siendo abandonado y robando un beso final de su amante, tomada de la película de Kurosawa "Ángel borracho".</i></div></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiJjdYR6avML0SVqunijX79ttKgk-kFotjvmHnU78aaJPmJaCngzMWNTERlIAeMfdtpdUVBQXGGBcmOQuEmi7JEm1js_GTYVMCZRUiYClLjr0HKdK8y-sduuQ6d6j4Tj8n8cXyPL0JkV2VdjN5BWnIk7lFdR7xZowcKZidnKNlYhWXt4KrSIHT-urxyvQ=s1036" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="318" data-original-width="1036" height="198" src="https://blogger.googleusercontent.com/img/a/AVvXsEiJjdYR6avML0SVqunijX79ttKgk-kFotjvmHnU78aaJPmJaCngzMWNTERlIAeMfdtpdUVBQXGGBcmOQuEmi7JEm1js_GTYVMCZRUiYClLjr0HKdK8y-sduuQ6d6j4Tj8n8cXyPL0JkV2VdjN5BWnIk7lFdR7xZowcKZidnKNlYhWXt4KrSIHT-urxyvQ=w646-h198" width="646" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhIPUAaTGV685-FsTLDq_dWhDFNNxR-zSopikbgbWU6uQm_zAypZ9TCxqp3hMUt6-9gi3q3tsfQ_bbxv_4cBYGM9TPH1wJZPn2fbJllhX4gGlGwx9FbaPKJRHs_TcBnpwJ0FmksEyt4FTupFZpBX0tmhVGz950h4dyoGd1P6Xe93Y5yqhPgj-sdZPSdbg=s3686" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1624" data-original-width="3686" height="280" src="https://blogger.googleusercontent.com/img/a/AVvXsEhIPUAaTGV685-FsTLDq_dWhDFNNxR-zSopikbgbWU6uQm_zAypZ9TCxqp3hMUt6-9gi3q3tsfQ_bbxv_4cBYGM9TPH1wJZPn2fbJllhX4gGlGwx9FbaPKJRHs_TcBnpwJ0FmksEyt4FTupFZpBX0tmhVGz950h4dyoGd1P6Xe93Y5yqhPgj-sdZPSdbg=w636-h280" width="636" /></a></div><div style="text-align: center;"><span style="font-size: xx-small;"><br /></span></div><i><span style="font-size: xx-small;">A Pillow Book, </span></i><span style="font-size: xx-small;">2001<br /></span><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Another artist’s book uses source material from many different cultures, it’s called “The Creature Walks Among Us” (the name of a movie I saw as a little girl) and explores the beautiful and the terrible in different societies. </div><div class="separator" style="clear: both; text-align: left;"><i>Otro libro de artista ocupa material de muchas culturas distintas, se llama "The Creature walks Among Us" y explora lo bello y lo terrible en distintas culturas.</i></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi4bI0f6FbJ-O2nMpUlN1wcXv06EfqmspxH6wUQNHuXqJ22hrgZzgjpC3QZm9YfQrMhpIMCw-4_ke0hE3IfsRogguslJHYn1_uNG2gZ2gjbfK-eUb2NTtKKPplglGEhCh9YLorY-dTVefpPLXnhFDOXT7pPHmtA1gL0K4tkJkiX9CXY0lpVvoGEUzr88Q=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="2000" height="424" src="https://blogger.googleusercontent.com/img/a/AVvXsEi4bI0f6FbJ-O2nMpUlN1wcXv06EfqmspxH6wUQNHuXqJ22hrgZzgjpC3QZm9YfQrMhpIMCw-4_ke0hE3IfsRogguslJHYn1_uNG2gZ2gjbfK-eUb2NTtKKPplglGEhCh9YLorY-dTVefpPLXnhFDOXT7pPHmtA1gL0K4tkJkiX9CXY0lpVvoGEUzr88Q=w585-h424" width="585" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><br /></div></div><div style="text-align: left;"><div>I also use images found on line to express personal experience metaphorically, as in this work called “Grief”, about the death of my sister and the process of grieving.</div><div><i>También, utilizo imágenes que encuentro en línea para expresar, metafóricamente, experiencia personal, como en esta obra, "Duelo", sobre la muerte de mi hermana y el proceso de duelo.</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUCu658T2vtXr92Mq_xEjFpzI-oj_r3MKIQP0ueL5ch-iusi9dXIOfNNgyKGJiFIx2Jk-JaebI7IWgFVpbN1jsiir4QYcQJUHz-llrZHEIxI4wy57QFlSChtaXSu-Zk-xi_69S54TK4Ixui-Zv1mJoa3eRoJgHllJ9RNm7R4dhS21AzAq5Tx79BdaNKQ=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="2500" height="202" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUCu658T2vtXr92Mq_xEjFpzI-oj_r3MKIQP0ueL5ch-iusi9dXIOfNNgyKGJiFIx2Jk-JaebI7IWgFVpbN1jsiir4QYcQJUHz-llrZHEIxI4wy57QFlSChtaXSu-Zk-xi_69S54TK4Ixui-Zv1mJoa3eRoJgHllJ9RNm7R4dhS21AzAq5Tx79BdaNKQ=w593-h202" width="593" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjFn26cqqNIyuxd-6Va4-Nt0vBat7IOOJTgbx-Bfe5amKDZ7wgRz0ECpjVVXPR0J-rMJpJ9Eal2-XHecY5DAVatze9UVwweRGa9WotUqytylSknA7M6vDsv8QBzigFxYOZY2REAOQNMnZLDHut_gttB3n0VKcyR5-GBXzlqH1UKl7TYutnu5OTYgHaVlw=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1602" data-original-width="2500" height="375" src="https://blogger.googleusercontent.com/img/a/AVvXsEjFn26cqqNIyuxd-6Va4-Nt0vBat7IOOJTgbx-Bfe5amKDZ7wgRz0ECpjVVXPR0J-rMJpJ9Eal2-XHecY5DAVatze9UVwweRGa9WotUqytylSknA7M6vDsv8QBzigFxYOZY2REAOQNMnZLDHut_gttB3n0VKcyR5-GBXzlqH1UKl7TYutnu5OTYgHaVlw=w584-h375" width="584" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Grief</i>, 2017</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;">And nowadays I’m working on drawings of asteroids, artefacts and relics, also based on photos.</div><div class="separator" style="clear: both; text-align: left;"><i>Y ahora estoy trabajando en dibujos de asteroides, artefactos y reliquias, también basadas en fotos.</i></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgh62GhN0FjNy-4kous3iE0MplFUCVt0ZFY9grVK7iHKaW727WrsHh9UK35X06J5bv3KbtAfLN1p_gzu6hx0nl0LJe4T0BJKIZMo7S3Y-TBetK0sx-Mb_wnOhxg63y4ti0asORCgt6ncmBYSI3We3lOrk4fyC5fYvM0tWzCRJ_LAOyt6UPPX5r3Go3Nsw=s2613" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2613" data-original-width="2500" height="556" src="https://blogger.googleusercontent.com/img/a/AVvXsEgh62GhN0FjNy-4kous3iE0MplFUCVt0ZFY9grVK7iHKaW727WrsHh9UK35X06J5bv3KbtAfLN1p_gzu6hx0nl0LJe4T0BJKIZMo7S3Y-TBetK0sx-Mb_wnOhxg63y4ti0asORCgt6ncmBYSI3We3lOrk4fyC5fYvM0tWzCRJ_LAOyt6UPPX5r3Go3Nsw=w532-h556" width="532" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">__________________________________</span></div></div></div></div></div></div></div></div></div><p></p><p><b>About the Prix Pictet: / <i>Sobre el Prix Pictet:</i></b></p><p>"The Prix Pictet aims to harness the power of photography – all genres of photography – to draw global attention to issues of sustainability, especially those concerning the environment.</p><p>Founded in 2008 by the Pictet Group, the Prix Pictet has become the world’s leading award for photography and sustainability. To date, there have been eight cycles of the award each of which has highlighted a particular facet of sustainability. The nine themes are Water, Earth, Growth, Power, Consumption, Disorder, Space, Hope and Fire."</p><p><i>El Prix Pictet busca aprovechar el poder de la fotografía -todos los géneros de fotografía - para atraer atención global a asuntos de sustentabilidad, particularmente en referencia al medio ambiente.</i></p><p><i>Fundada en 2008 por el Grupo Pictet, el Prix Pictet se ha vuelto el principal premio mundial en el campo de fotografía y sustentabilidad. Hasta ahora, han habido ocho ciclos del premio; cada uno ha enfatizado un aspecto particular de sustentabilidad. Los nueve temas son Agua, Tierra, Crecimiento, Poder, Consumo, Desorden, Espacio, Esperanza y Fuego.</i></p><div class="separator" style="clear: both; text-align: center;"><p style="text-align: left;">"Entry to the award is strictly by nomination. The network of nominators worldwide (currently numbering 300) have, over the course of the eight cycles, nominated 4,700 artists for the award. Taken together the nominated works present a powerful testament to the fragile state of our planet.</p><p style="text-align: left;">Since 2008 the eight cycles of the Prix Pictet have been shown in exhibitions in many major cities of the world with visitor numbers of over 550,000."</p><p style="text-align: left;"><i>Entrada al premio es estrictamente por nominación. La red de nominadores mundialmente (en este momento son más que 300) ha nominado, sobre el transcurso de ocho ciclos, 4,700 artistas para el premio. Tomadas juntas, las obras nominadas presentan un testamento poderoso al estado frágil del planeta.</i></p><p style="text-align: left;"><i>Desde 2008 los ocho ciclos del Prix Pictet han sido presentados en exposiciones en muchas ciudades significantes de mundo, con el número de visitas arriba de los 550,000.</i></p><p style="text-align: left;">Virtual tour of the present exhibit in the Victoria and Albert Museum / Tour virtual de la exposición actual en el museo Victoria y Albert: <a href="https://my.matterport.com/show/?m=77Yddda3d4d">https://my.matterport.com/show/?m=77Yddda3d4d</a></p><p style="text-align: left;">Portfolios de los finalistas del Prix Pictet 2021 / Portfolios of the 2021 Prix Pictet shortlisted artists- Joana Hadjithomas and Khalil Joreige, Lisa Oppenheim, Mak Remissa, Mark Ruwedel, Rinko Kawauchi, Sally Mann, Brent Stirton, Carla Rippey, Christian Marclay, Daisuke Yokota, David Uzochukwu y / and Fabrice Monteiro <a href="https://prixpictet.com/portfolios/">https://prixpictet.com/portfolios/</a></p><p style="text-align: left;">_________________________________________________________________________________</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgXfo4MRP8rTnDKJxwGAu9pbR-uJa5AK03Kn0UZWUpd8oMoQuzMvawvXzI9ksYS1BthNJNGaTx73RQ0o970Q4k9ua6MHCe81hr2fcnURtGNBMf_4H5UAi-yWej53QtXvmCzz1nKx-0NTsSBUTgcsurLUqccakqpcuhPIa5Nm-Px53n3lcuGj3Q52JG8Xw=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="602" data-original-width="1500" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgXfo4MRP8rTnDKJxwGAu9pbR-uJa5AK03Kn0UZWUpd8oMoQuzMvawvXzI9ksYS1BthNJNGaTx73RQ0o970Q4k9ua6MHCe81hr2fcnURtGNBMf_4H5UAi-yWej53QtXvmCzz1nKx-0NTsSBUTgcsurLUqccakqpcuhPIa5Nm-Px53n3lcuGj3Q52JG8Xw=w600-h240" width="600" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Fashion</i>, serie <i>Inmolación</i> / <i>Immolation</i> series 2019</span></div><p style="text-align: left;"><b>Artist's statement /<i> Comentario de la artista </i>Prix Pictet, Carla Rippey</b></p><div><p style="text-align: left;">I started collecting images and working from the resulting archives in the late 1970s; one of the subjects that emerged with time was that of vanishing points, another was fire: the act of burning registered in reiterated images clipped from newspapers, magazines and later on, downloaded from the internet.</p><p style="text-align: left;">When laser photocopies were commercialized in late 1980s, I discovered that the toner from the photocopies could be transferred with solvent and an etching press to Japanese papers and began to apply the practice to the making of artist’s books. Starting around 2010, with this technique I made a series of artist’s books with the fire images, a series called “Immolation”.</p><p style="text-align: left;"><i>Empecé a coleccionar imágenes y trabajar con los archivos resultantes en fines de los 1970; uno de los temas que surgió con el tiempo fue el de puntos de fuga, otro fue fuego: el de acto de quemar registrado en imágenes reiteradas recortadas de periódicos, revistas, y más adelante, bajadas del internet. </i></p><p style="text-align: left;"><i>Cuando la fotocopia láser se comercializó en fines de los 1980s, descubrí que el tóner de las fotocopias se podría transferir con solvente (thinner) y un tórculo de grabado a papeles japoneses y empecé a aplicar este proceso a la hechura de libros de artista. Alrededor de 2010 empecé a hacer una serie de libros con imágenes de fuego de mis archivos, una serie llamada "Inmolación".</i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEin2ojSwry7OoNf0sW-UXXHZ6Es6b8ZFzLcQj0Z53hP392-xmdnXH0MnOifo1t4PieEcGPGRXhtfcj4IzGnerKGre_UnTjgDNAMfqKDLRww-0_ok8cKRjqp4OleCSzYCcTBFk3BRjF2oNzxoHV4NDa5BCBDgunfmW6nzbzYuPywlySlPcniYGG3XHFlyQ=s3500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="590" data-original-width="3500" height="111" src="https://blogger.googleusercontent.com/img/a/AVvXsEin2ojSwry7OoNf0sW-UXXHZ6Es6b8ZFzLcQj0Z53hP392-xmdnXH0MnOifo1t4PieEcGPGRXhtfcj4IzGnerKGre_UnTjgDNAMfqKDLRww-0_ok8cKRjqp4OleCSzYCcTBFk3BRjF2oNzxoHV4NDa5BCBDgunfmW6nzbzYuPywlySlPcniYGG3XHFlyQ=w660-h111" width="660" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="font-size: x-small;">Inmolación / Immolation</i><span style="font-size: x-small;"> 2009</span></div><p style="text-align: left;">At first, I juxtaposed images of volcanoes and people set on fire (lynchings in Mexico), throwing fire (Palestinians) or setting themselves on fire in acts of desperation. Fire seemed like the ultimate manifestation of uncontrolled energy, energy gone bad, and besides, fire burns the eye: it has an enormous visual impact. The fiery acts of humans were an echo of the eruptions of volcanoes and the volcanoes, a metaphor for people out of control. A later artist’s book in the series, “The cloister”, juxtaposes a face cropped from an old postcard of a Japanese nun with a stereoscopic image of a lotus pond; this work is about contained or trapped fire, burning from within. The books are collaged or patchworked together, intervened with stitching and metal leaf; the rims of the books are scorched. In the work “Fire”, on the cover of a metal box, a hand holds a match to the crumpled mass of fire emerging from within. The title should really be "Pandora's Box".</p><p style="text-align: left;"><i>En un principio, yuxtaponía imágenes de volcanes y personas en llamas (linchamientos en México), tirando fuego (palestinos) or prendiéndose fuego en actos de desesperación. El fuego me parecía la última manifestación de energía descontrolada, energía maleada, y además, el fuego quema el ojo: tiene un impacto visual tremendo. Un libro de artista de los últimos de la serie, "El claustro" yuxtapone una cara recortada de una postal vieja de una monja japonesa, con una tarjeta estereoscópica de un estanque de lotos; esta obra se trata de fuego contenido o atrapado, quemando desde adentro. Los libros están armados con collage or parches, intervenidos con costura y hoja metálica; los bordes están quemados. En la obra </i><i>"Fuego", en la tapa de una caja de latón, una mano sostiene un cerillo del cual emerge una masa arrugada de fuego que emerge desde adentro de la caja. El título debe ser, más bien, "La caja de Pandora".</i></p><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjZXMTZwvwU1dKLNmZlWT7IY8jrkgO3BrSJW8Vlo5a-KlYu4ud5M6aV6roIbWUfMlL8q6rfaMWc3vhxpMs33GNzh7qcZux4r8eL4PMxLffyWTwc5DEC2CelNeZPS_WnudsVr5el67oOIsueWF6LXZKzVpybE8vdzhdpfMlamViZ0waTlItT72ZirPG-3w=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="903" data-original-width="1500" height="352" src="https://blogger.googleusercontent.com/img/a/AVvXsEjZXMTZwvwU1dKLNmZlWT7IY8jrkgO3BrSJW8Vlo5a-KlYu4ud5M6aV6roIbWUfMlL8q6rfaMWc3vhxpMs33GNzh7qcZux4r8eL4PMxLffyWTwc5DEC2CelNeZPS_WnudsVr5el67oOIsueWF6LXZKzVpybE8vdzhdpfMlamViZ0waTlItT72ZirPG-3w=w583-h352" width="583" /></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgYriqRnxF1mL09oAmE_EorL7Zdu87aIA7SRFd5ItlNgigh4t_wix5uGAFeRiwu7hvWvMeJJXHu_USuvO9pJJlvSj-2zK9rWZ1ToFMbM8fujuveOP4ZPHs8ELVcdKGjbgOCC4FflSGUoVnKhKAr5xUVtmTESeM9YCdawJRy63CNnavBOaU17AENFkrApA=s1500" style="margin-left: 1em; margin-right: 1em;"> <img border="0" data-original-height="767" data-original-width="1500" height="322" src="https://blogger.googleusercontent.com/img/a/AVvXsEgYriqRnxF1mL09oAmE_EorL7Zdu87aIA7SRFd5ItlNgigh4t_wix5uGAFeRiwu7hvWvMeJJXHu_USuvO9pJJlvSj-2zK9rWZ1ToFMbM8fujuveOP4ZPHs8ELVcdKGjbgOCC4FflSGUoVnKhKAr5xUVtmTESeM9YCdawJRy63CNnavBOaU17AENFkrApA=w628-h322" width="628" /></a></p><p style="text-align: center;"><span style="font-size: xx-small;"><i>The Cloister / El claustro</i> 2011</span></p><p style="text-align: justify;"><span style="text-align: left;">Growing out of my original interest in fire, I started working with the idea of “Women, Fire and Dangerous Things”. This is the title of the book by the linguist George Lakoff, who discusses therein an aboriginal tribe- the Dyirbal- in Australia whose language includes four genders, one of which is defined principally by women, fire and dangerous things. I was struck by the fact that the Dyirbal consider these three categories to be naturally related, and this inspired me to put together new archives working with images generated by the phrases “women, fire” or “dangerous objects” put into Google search. The results were surprising and sometimes shocking. “Women, fire” came up with a surfeit of situations related to the abuse of women. With the words “dangerous objects” I found a number of X Rays of unusual objects that people and animals had somehow managed to swallow; asteroids came up continually.</span></p><p style="text-align: left;"><i>Al seguir con mi interés original en el fuego, empecé a trabajar con la idea de "Mujeres, fuego y objetos peligrosos". Viene del título de un libro del linguïsta george Lakoff ("Women, Fire and Dangerous Things"), quien allí comenta una tribu indígena de Australia, -los Dyirbal- cuyo idioma incluye cuatro géneros, uno de los cuales se define principalmente por mujeres, fuego y cosas peligrosas. Me impresionó el hecho de que los Dyirbal consideran que estas tres categorías están relacionadas intrínsecamente, y me inspiró a crear nuevos archivos con las imágenes generadas por las frases "mujeres, fuego" u "objetos peligrosos" metidas en búsqueda de Google. Los resultados fueron sorprendentes y a veces, terribles. "Mujeres, fuego", arrojó un sinnúmero des situaciones involucrando el abuso de mujeres. Con las palabras "objetos peligrosos" encontré bastantes rayos X de objetos inusuales que personas y animales de alguna manera habían logrado tragar; asteroides también salían continuamente.</i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEikLe1j6llW-mMN87tPyX5-JEtL2g-Hg1xiawiNf2-jesrRgrIPbWlE4_ESn1FujpC66XVBh46l-XiLc5Rs8aVOtbIiDwIqA0PXtvE082d7KmJPtzCUvMTZP1--mOo5NyKEdh4kIM-14Jih33D1zNaEpGhNWittJPLf3nuQ7Lb-0xR_isGqpJgOdfeXAQ=s7678" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1518" data-original-width="7678" height="129" src="https://blogger.googleusercontent.com/img/a/AVvXsEikLe1j6llW-mMN87tPyX5-JEtL2g-Hg1xiawiNf2-jesrRgrIPbWlE4_ESn1FujpC66XVBh46l-XiLc5Rs8aVOtbIiDwIqA0PXtvE082d7KmJPtzCUvMTZP1--mOo5NyKEdh4kIM-14Jih33D1zNaEpGhNWittJPLf3nuQ7Lb-0xR_isGqpJgOdfeXAQ=w656-h129" width="656" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>No shelter / La intemperie </i>2010</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="text-align: left;">Out of this process came the artist’s book, “No Shelter”, whose narrative includes a woman arsonist, a burning house, a wedding tent set on fire for revenge, and a female Kurdish guerrilla fighter by her campfire. Another work, “Death by Fire” is based on a series of photographs of a Chinese woman, about to be evicted, who burns herself alive on her rooftop; I include them here in the series <i>Immolation</i>. The Australian tribe could have told me that my Google search, combining the factors of women, fire and dangerous things, would bring forth deadly images, and a world of pain.</span></div><div class="separator" style="clear: both; text-align: left;"><i>De este proceso salió el libro de artista "No shelter", cuya narrativa incluye una mujer incendiaria, una casa en llamas, la tienda de las mujeres de una boda paquistaní ardiendo por venganza y una guerrillera kurda junto a su fogata. Otro libro, "Muerte por fuego" se basa en una serie de fotografías documentando una china, a punto de ser desalojada, quien se prende fuego en su azotea. Los incluye aquí en la serie "Inmolación". La tribu australiana podría haberme dicho que mi búsqueda en Google, combinando los factores de mujeres, fuego y cosas peligrosas, habría arrojado imágenes mortales, y un mundo de dolor.</i></div><div class="separator" style="clear: both; text-align: left;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhDYaraXMSl7bJ9SYtxwXsDkCgWQia1GjhJrrS8dhZ2DT2hwKTcqFrkMgXAIxquyMdyoiMfJ-v-XG-1ITntIhlY5P4fehU44vjMa4-wKISIy8Q8_xetkgPvTEI_78djxospsTPe9vuSEANQujjAsARsNP7x9-GGvMb016n-amRVJTTFBNZvjoLvYENgjQ=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="774" data-original-width="1500" height="325" src="https://blogger.googleusercontent.com/img/a/AVvXsEhDYaraXMSl7bJ9SYtxwXsDkCgWQia1GjhJrrS8dhZ2DT2hwKTcqFrkMgXAIxquyMdyoiMfJ-v-XG-1ITntIhlY5P4fehU44vjMa4-wKISIy8Q8_xetkgPvTEI_78djxospsTPe9vuSEANQujjAsARsNP7x9-GGvMb016n-amRVJTTFBNZvjoLvYENgjQ=w630-h325" width="630" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Death by Fire / Muerte por fuego</i> (La cola del dragón) 2010</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Most of this work was done a few years ago and now we live in an age of continuous devastating fires, fires that threaten the planet, or at least, our existence on it. My small fires were prescient of an ever- expanding consuming wave. I hope that somehow with our work we can do more than bear witness; we must fight fire with fire.</span></div><div class="separator" style="clear: both; text-align: left;"><i>La mayor parte de este trabajo fue hecho hace años y ahora, vivimos en un mundo de incendios devastadores continuos, incendios que amenazan al planeta, o por lo menos a nuestra existencia en ello.</i></div><div class="separator" style="clear: both; text-align: left;"><i>Mis pequeños incendios fueron prescientes de una ola siempre expandiendo de fuego. Espero que de alguna manera, con nuestro trabajo, podamos hacer más que atestiguar; hay que combatir el fuego con fuego.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg1B4k8gk1xh7taKkomaR_Ted8F05f3KF987bl5-IeRCB19oqmvjQiVamGoSaEFluH7Cb5OZOXgIbzfT2CvdW0yOa1d7vR-zme8gMKDXVhSvUO0Ij8AytuEJvnYE7GpYD7Dlj8s84iBtx_x-DCP8Xpm9Z2sdorWQZLuANq3CFzd7LVMy62IfGVeSVMsDg=s706" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="227" data-original-width="706" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEg1B4k8gk1xh7taKkomaR_Ted8F05f3KF987bl5-IeRCB19oqmvjQiVamGoSaEFluH7Cb5OZOXgIbzfT2CvdW0yOa1d7vR-zme8gMKDXVhSvUO0Ij8AytuEJvnYE7GpYD7Dlj8s84iBtx_x-DCP8Xpm9Z2sdorWQZLuANq3CFzd7LVMy62IfGVeSVMsDg=w661-h213" width="661" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="font-size: x-small;">St. Elmo's Fire / Fuego de San Elmo</i><span style="font-size: x-small;"> 2009</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: left;"><br /></p></div></div><p></p>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-63773900941204967982021-12-05T20:41:00.003-08:002024-02-27T14:33:54.021-08:00The Figure in the Carpet /La figura en el tapiz (Wallpaper)<p> </p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: center;"> for English, scroll down--</p></blockquote></blockquote></blockquote></blockquote></blockquote><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhn-r4tFU4gVT1wIKpM-fXKmUZ3t8ASLm3N9-GWW8MbzRSlEvETBLHrBIwU3q6-2ik-Qfv043ZbNekM31II9VsZAx_nYapJPPXMxt4_Nvl-YUq5HGidCIjnSNF1Wm6GftqMmRFpDROpPg8Ls6r8p988V1iKoIjGMdVXRBFSzKdIyAUP_lrOHimQEzipwA=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="654" data-original-width="1000" height="427" src="https://blogger.googleusercontent.com/img/a/AVvXsEhn-r4tFU4gVT1wIKpM-fXKmUZ3t8ASLm3N9-GWW8MbzRSlEvETBLHrBIwU3q6-2ik-Qfv043ZbNekM31II9VsZAx_nYapJPPXMxt4_Nvl-YUq5HGidCIjnSNF1Wm6GftqMmRFpDROpPg8Ls6r8p988V1iKoIjGMdVXRBFSzKdIyAUP_lrOHimQEzipwA=w653-h427" width="653" /></a></p><p style="text-align: center;"><span style="font-size: xx-small;"><i>Farnam Street, 1959</i>, graphite/paper / grafito/papel 110 x 170 cm 2020</span></p><p><i>En 2013 me tocó ser la encargada de decidir qué rescatar de documentos </i><i>familiares</i><i> abarcando varias generaciones</i><i>, incluyendo los archivos de mi padre, fotógrafo por profesión y también por afición. En el proceso reviví mi infancia a través de un sinfín de fotografías, muchas de las cuales veía por primera vez. Me llamó la atención un constante en las escenas de interiores: el papel tapiz. Y así entendí el origen de parte de mi iconografía: las estampas de flores y plantas que prevalecen en la ropa de mis personajes, mientras los fondos de mis cuadros hacen eco de las interiores de mi niñez.</i></p><p>In 2013 I was given the chore of putting in order family documents from various generations, including those of my father, a photographer by profession and by creative compulsion. In the process I relived my childhood by means of an endless assortment of family photographs, many of which I was seeing for the first time. And I realized that wallpaper was a constant in the interior scenes, as it later became a constant in the iconography of my work: floral prints and plants dominate the clothing of my subjects, while the background of my images tend to echo the interiors of my childhood.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgv1UMeVC5rddWPdYFsX3Cb_ztWSAPGSC91N75Ji8-ieDjlB_r3X-hV6F7Jej50iUO5L2NNR-WldUwJDhvyiThPOts_VmnlXfTUMIJrV0hfcA5cz_DEPEKNZ_os3BZKaPzCdB-UIQ_PMj7ca7eZbtX0cNgEOX_iKwSKy-iQId7iCXpQcVik7qjifj7A9Q=s1574" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1574" height="335" src="https://blogger.googleusercontent.com/img/a/AVvXsEgv1UMeVC5rddWPdYFsX3Cb_ztWSAPGSC91N75Ji8-ieDjlB_r3X-hV6F7Jej50iUO5L2NNR-WldUwJDhvyiThPOts_VmnlXfTUMIJrV0hfcA5cz_DEPEKNZ_os3BZKaPzCdB-UIQ_PMj7ca7eZbtX0cNgEOX_iKwSKy-iQId7iCXpQcVik7qjifj7A9Q=w657-h335" width="657" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">Fotos familiares (James Rippey) principios de los 50, Kansas City (encuadres) / Family photos (James Rippey), early 1950's, Kansas City (cropped)</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiiexLjpXde9rSoHXOT56QN2MEUhJGjrysQvJd6_NEo3Ibqo9QLfrBDY2GGFnQCW85AxQetH_kTS2zJdvAwSxXV22CZxlgLuJwpzAq6c1N7n28S8EtSZ13WTRGsUr5h9smo4dsqwSkazvwmdE6GMo0RTB-jk5WdJtfQxMtw0WhgBD3Ej81kUFtzj63oOQ=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="800" height="357" src="https://blogger.googleusercontent.com/img/a/AVvXsEiiexLjpXde9rSoHXOT56QN2MEUhJGjrysQvJd6_NEo3Ibqo9QLfrBDY2GGFnQCW85AxQetH_kTS2zJdvAwSxXV22CZxlgLuJwpzAq6c1N7n28S8EtSZ13WTRGsUr5h9smo4dsqwSkazvwmdE6GMo0RTB-jk5WdJtfQxMtw0WhgBD3Ej81kUFtzj63oOQ=w529-h357" width="529" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">Susan and Carla Rippey napping, c. 1959, Omaha Nebraska / Susan y Carla Rippey tomando la siesta, c. 1959, Omaha, Nebraska (J. Rippey)</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><i>Entonces decidí retomar con más conciencia esas escenas de interiores, tratando de recrear el denso mundo de mis primeras impresiones e interpretaciones de las circunstancias visuales que me tocaban al nacer.</i></div><div class="separator" style="clear: both;"><i>Empecé a trabajar pensando en el cuento de Henry James llamado </i>The Figure in the Carpet<i>, que describe la búsqueda de una clave, un significado escondido en la obra de un escritor fallecido, que según el propio escritor sería elusivo hasta el momento de encontrarlo, momento en que quedaría manifiesto con extrema claridad el gigante e intrincado patrón que ligara todos los elementos de sus libros. En otro cuento, del cual he perdido la pista, encontré el relato de un niño balanceándose al borde de una alfombra; mientras la examina encantado, imaginando que contiene un mundo infinito, pierde el equilibro y es tragado por ese mundo. Esto a su vez me hace recordar el cuento de Conrad Aiken, </i>Silent Snow, Secret Snow<i>, en que un niño se fascina con las copas de nieve que empieza a ver arremolinándose frente a sus ojos, que con el transcurso del tiempo llegan a obliterar su mundo cotidiano. Al empezar el proyecto, busqué poder sugerir algo de estos misterios y las cruces entre lo real e imaginado en la obra que fuera a resultar del proceso.</i></div><div class="separator" style="clear: both;"><i><br /></i></div><div>So I decided to take up these interior scenes more consciously as subject matter, and try to recreate the dense world of my first impressions and interpretations of the visual circumstances I experienced from birth. I set to work thinking of the Henry James story, <i>The Figure in the Carpet</i>, which describes the search for a key to the elusive significance of the work of a dead writer, which once found would elucidate all of his work, making the whole fall into place as a dense and intricate interrelated pattern. And I remember another story, now lost, that I read long ago, about a small boy balancing himself on the edge of a carpet, imagining it to be a dense and writhing abyss- into which he suddenly really falls. And this story brings me to another, by Conrad Aiken, <i>Silent Snow, Secret Snow</i>, in which a boy begins to see patterns of snowflakes swirling before his eyes -which eventually consume his entire attention and existence. In my project, I was interested in exploring and trying to recreate some of these mysteries and crossings-over between the real and the imaged.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_JTukXiNeo_-ka0AsWMTDiHQlE-4Mrj9GXAvW2bHpHWf38oznyRXNtmjNdoXBzzLwcT5CWwxcBlk4VGkpH_VvE8AmOKz9nvKMUFlJqQ8obmUs7qt-Q-X6Om6vWgHijNn45cnP9HcwPn-K2ns5q7NZhxdEV11nIA7U47iVbJixRuz4HLf2062Ta9eGTA=s2407" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="2407" height="218" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_JTukXiNeo_-ka0AsWMTDiHQlE-4Mrj9GXAvW2bHpHWf38oznyRXNtmjNdoXBzzLwcT5CWwxcBlk4VGkpH_VvE8AmOKz9nvKMUFlJqQ8obmUs7qt-Q-X6Om6vWgHijNn45cnP9HcwPn-K2ns5q7NZhxdEV11nIA7U47iVbJixRuz4HLf2062Ta9eGTA=w661-h218" width="661" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">The three Rippey girls, Kansas City, 1953 - Encuadres</span><span style="font-size: x-small;"> y color virado, C. Rippey</span><span style="font-size: xx-small;"> / Las niñas Rippey, Kansas City, 1953 Crops and color tones, C. Rippey</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">Photographs J. Rippey / Fotos J. Rippey </span></div><br /><div style="text-align: center;"><div style="text-align: left;"><i>Me interesaba adentrarme en la reinvención de la cotidianidad por los muy jóvenes, en la posibilidad de sumergirse en esta reinvención hasta perderse, y a la vez esperaba explorer visualmente ese mundo turbio que a veces compete con lo que consideramos real. Con ese fin, trabajé de dos archivos relacionados con la experiencia infantil. Un archivo fue formado por las fotografías de mi padre, escenas de mi propia infancia, donde el hilo conductor no es tanto nosotras las niñas en sí, pero el mundo sugerido a nosotras partiendo de las paredes empapeladas con imágenes ambivalentes.</i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">I wanted to steep myself in the re-invention of the everyday by the very young, in the possibility of submerging myself in this re-invention to the point of losing myself, and so explore visually that cloudy world which sometimes competes with what we call real. To that end, I started working with two archives related to childhood experience. One is made up of the photographs by my father, scenes of my own infancy, where my interest is in not so much in us children ourselves, as in the world suggested to us by the walls papered with suggestive images.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6jk7t6Ujcbm3vJTXmWyMlsOGA5TacCAjWIBm10smibIDX3zTlKEflD1p7gRHlr7KEIW7Pkt9GlhY2_7g76Cwjjz7v_YdIAlUaBXcbw2gnIJODFkhzJwIxDNh-E5RDdYoQDlier64NXfIfRXjhqiCg8ZzGK6Ve2GIHUj8CLM4EsKTK2mj7FOhM9gusFg=s1848" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1848" height="212" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6jk7t6Ujcbm3vJTXmWyMlsOGA5TacCAjWIBm10smibIDX3zTlKEflD1p7gRHlr7KEIW7Pkt9GlhY2_7g76Cwjjz7v_YdIAlUaBXcbw2gnIJODFkhzJwIxDNh-E5RDdYoQDlier64NXfIfRXjhqiCg8ZzGK6Ve2GIHUj8CLM4EsKTK2mj7FOhM9gusFg=w650-h212" width="650" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">Imágenes vintage de tumblr, etc. / Vintage images from tumblr, etc.</span></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><i>El otro archivo da un paso más hacia el imaginario de niñas y niños: consistía en escenas construidas: escenas fantásticas que mezclan lo real (recámaras y niñas) con lo irreal (bosques y bestias). Se armó con imágenes encontradas en tumblr o fuentes vintage que forman un continuum con las fotografías de interiores de la infancia; evidencian lo imaginado por los niños. El mundo ensoñado aquí se manifiesta de forma más contundente.</i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">The other archive takes a step more toward a child's imagining: it consists in constructed images, fantastic images that merge the real (bedrooms and little girls) with the unreal (strange forests and beasts). It’s made up of images found in tumblr o vintage sources that form a continuum with the photographs of childhood rooms: what the children imagined is manifested. The world of dreams takes on here a visible form.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgvGP4JKwqR-tX3NTdoOsSs_PbvOwA6pxntqt3ziGC3Ff3JrZUuMAR9wdcPUWPZgdzGvt9F5y2CUPQWOwVGls9wAwD4FVP96cljkVvG7oI7yGHRhMlWYAKu8So433p5vB7kNOMUBVbrqQTQ3A9ESiL8nMazOHi_9LPowmOPt99hCJv1JRY-SgOk2QNniw=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="818" data-original-width="1000" height="522" src="https://blogger.googleusercontent.com/img/a/AVvXsEgvGP4JKwqR-tX3NTdoOsSs_PbvOwA6pxntqt3ziGC3Ff3JrZUuMAR9wdcPUWPZgdzGvt9F5y2CUPQWOwVGls9wAwD4FVP96cljkVvG7oI7yGHRhMlWYAKu8So433p5vB7kNOMUBVbrqQTQ3A9ESiL8nMazOHi_9LPowmOPt99hCJv1JRY-SgOk2QNniw=w637-h522" width="637" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>La camiseta / The undershirt</i> 106 x 147 cm 2018 </span></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEirEZdjhy3-AqumQXpYajyYzAxzqKa-VviGj34VV8mwB_EJ9HWclOQAenfJjhKnqe2J-Y2d2Jkm4R9dRP9S0Y8M8GZtNDNnuF0t-os8AedOx0-5JO8-Gulphu_b4hwetzzXn8bTjdSbunc590qSn-H0HtJruNmsT10UY-YLZFVXtVJ1mYNkyLbHZDihog=s1312" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1312" height="446" src="https://blogger.googleusercontent.com/img/a/AVvXsEirEZdjhy3-AqumQXpYajyYzAxzqKa-VviGj34VV8mwB_EJ9HWclOQAenfJjhKnqe2J-Y2d2Jkm4R9dRP9S0Y8M8GZtNDNnuF0t-os8AedOx0-5JO8-Gulphu_b4hwetzzXn8bTjdSbunc590qSn-H0HtJruNmsT10UY-YLZFVXtVJ1mYNkyLbHZDihog=w649-h446" width="649" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Hermanas / Sisters</i> 112 x 85 cm 2019 <i>Susu como pájaro / Susu disguised as a bird</i> 112 x 80 cm 2019</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: left;">Al trabajar, las imágenes empezaron a evolucionar. Las situaciones se volvieron más ambivalentes. La differencia entre los infantes y los animales se volvió menos obvia. La obra empezó a ser sobre la absorción de lo salvaje por lo doméstico o la subversión de lo doméstico por lo salvaje. Estas obras están agrupadas como <i>Criaturas salvajes.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">As I worked, the images began to evolve. The situations became more ambivalent. The difference between children and animals was less obvious. The work began to be about wildness being absorbed into domesticity and the subversion of domesticity by wildness. This later works are grouped as <i>Wild Things.</i></div><br /><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgdxROJMaBFaHoh54gZHRaQ1-ZLU08r_1DHKhDUo6g280FUICkt0Gbf4AUhruvjZeTPVeY3wUPG6b6aEw5z1nZCdJdvd2rJwbqyqP01w_QLeyBCCJ84DzmzoeRFsJxVM837WHZXjr1r-ud9lZ_PJz8QzI9oKL1Y7txFcbPdqCV7hXV3hbdYploxfszK7Q=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="1000" height="465" src="https://blogger.googleusercontent.com/img/a/AVvXsEgdxROJMaBFaHoh54gZHRaQ1-ZLU08r_1DHKhDUo6g280FUICkt0Gbf4AUhruvjZeTPVeY3wUPG6b6aEw5z1nZCdJdvd2rJwbqyqP01w_QLeyBCCJ84DzmzoeRFsJxVM837WHZXjr1r-ud9lZ_PJz8QzI9oKL1Y7txFcbPdqCV7hXV3hbdYploxfszK7Q=w590-h465" width="590" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>La ventana abierta /The Open Window</i> 114 x 142 cm 2020</span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj4cI9WwLrRCfSudUEMFwzVN6asVmlIN2zsbPlL9LJnHYCqjxhyDQik7ySmBf_cbQWM7E8pPQ5S87YJa87CPqh4aRBZ9IZOBKCX1RJWZVdQwiKSDZVGb4VY2DB0kuC8_Bgsasyh0nLgaJe7wl17om89kASVvrUa0UDIsv4B2eSn3ar0k7HdSSt1WkU25A=s898" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="800" height="461" src="https://blogger.googleusercontent.com/img/a/AVvXsEj4cI9WwLrRCfSudUEMFwzVN6asVmlIN2zsbPlL9LJnHYCqjxhyDQik7ySmBf_cbQWM7E8pPQ5S87YJa87CPqh4aRBZ9IZOBKCX1RJWZVdQwiKSDZVGb4VY2DB0kuC8_Bgsasyh0nLgaJe7wl17om89kASVvrUa0UDIsv4B2eSn3ar0k7HdSSt1WkU25A=w411-h461" width="411" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>La iluminada / Illuminated</i> 75 x 70 cm 2019</span></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEirfPmqW8SfHvy08Bh0y-hG1C04ikG5FfJ4ks56RpStnemhyu_X7A5VbGbqDBDIyI9eD9j5nIyfPrevHUqKJrfi5Vj_DkXgsPKQ6RstMRqzLSUnXRZu3nhn5asIbA2ZHoMSflY_7nvIUcgNwfCnVc2EhU-DZGkHTcivIdMhjwiawzwpYDoERRir-bgGqQ=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="924" data-original-width="1000" height="552" src="https://blogger.googleusercontent.com/img/a/AVvXsEirfPmqW8SfHvy08Bh0y-hG1C04ikG5FfJ4ks56RpStnemhyu_X7A5VbGbqDBDIyI9eD9j5nIyfPrevHUqKJrfi5Vj_DkXgsPKQ6RstMRqzLSUnXRZu3nhn5asIbA2ZHoMSflY_7nvIUcgNwfCnVc2EhU-DZGkHTcivIdMhjwiawzwpYDoERRir-bgGqQ=w597-h552" width="597" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhIHrlWd-7OQ2aEHS-wa-dpm98iiQILHBHgzItku0E5v0fEKOnZFftu5mpBHWpG-1HAoh-D0f-4_hwT5WhHU2HH9cxteeGNYCaBYggAUz7r3zU1tzVRNXJI2jwmqpMIC61bZolVGvtX8v5VpRC6pE9-7jyTU2h78h6D7gdXm3T_QI-SmnV6S74CLTuWAg=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="1000" height="261" src="https://blogger.googleusercontent.com/img/a/AVvXsEhIHrlWd-7OQ2aEHS-wa-dpm98iiQILHBHgzItku0E5v0fEKOnZFftu5mpBHWpG-1HAoh-D0f-4_hwT5WhHU2HH9cxteeGNYCaBYggAUz7r3zU1tzVRNXJI2jwmqpMIC61bZolVGvtX8v5VpRC6pE9-7jyTU2h78h6D7gdXm3T_QI-SmnV6S74CLTuWAg=w624-h261" width="624" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Nosotras al anochecer / We three at dusk</i> Libro de artista, transferencia/papel/costura, 23 x 367 cm 2019</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZapdsjVSM3PFhWIgn05VHm-C5maSFU4lkMgc2JRi8dpX0uyJ9iRRyOZtNSRLubtF-CnxnaZlwSPlCY4FGFn0mn4CPVCuR9E1xvdvG9lYHq7_CI_VX5hXahDziEc1WS3UDrQMewrsz2pVV/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="833" data-original-width="800" height="519" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZapdsjVSM3PFhWIgn05VHm-C5maSFU4lkMgc2JRi8dpX0uyJ9iRRyOZtNSRLubtF-CnxnaZlwSPlCY4FGFn0mn4CPVCuR9E1xvdvG9lYHq7_CI_VX5hXahDziEc1WS3UDrQMewrsz2pVV/w498-h519/Don%2527t+look+under+the+bed..ch.jpg" width="498" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Don't look under the bed, No mires debajo de la cama</i> 90 x 87 cm, 2019</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>Al yuxtaponer imágenes de niños y niñas, disfraces y animales, entré en un terrero que me no había propuesto explorar, pero que tenía sentido que fuera a emerger. Esto es, surgieron temas de lo terrible que somos los humanos para los animales: la piel de osos vuelta disfraz, animales matados y entregados al taxidermista para volverlos sitios para tomar la foto.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;">Putting together images of children and animals gave rise to a phenomenon I hadn't foreseen or planned on exploring, although it made sense that it should emerge. That is, themes came up of how disastrous we humans are for animals: their skins are made into disguises, they're killed and stuffed in order to provide sites for taking photographs.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi0opG5d0lizQqnxAoTF4vJXO2HdNYtDt-yXk-4-8hDFIqVUqJEbc4lNsueY1p3q9Ly_s_HmYnqkTwgsijCo36epkrnZVpRCb3tVdu2l6DnBotL86MSxuQrkBdB199ihlvHYPmQlbJnWAjbdrhMVQCJGJFbKwc8k6v6drxWeL2HIBGV-m_i9IBMvmoGpw=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="716" data-original-width="1000" height="443" src="https://blogger.googleusercontent.com/img/a/AVvXsEi0opG5d0lizQqnxAoTF4vJXO2HdNYtDt-yXk-4-8hDFIqVUqJEbc4lNsueY1p3q9Ly_s_HmYnqkTwgsijCo36epkrnZVpRCb3tVdu2l6DnBotL86MSxuQrkBdB199ihlvHYPmQlbJnWAjbdrhMVQCJGJFbKwc8k6v6drxWeL2HIBGV-m_i9IBMvmoGpw=w619-h443" width="619" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Bestiario / Bestiary </i>98 x 137 cm 2019</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><i>E inventamos todo tipo de situación utilizando sus pieles, sus imágenes y su poder totémico -para no entrar en los casos en que los infantes son presentados con criaturas siniestras con la idea de divertirlos.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">And we invent every sort of situation using their skins, their images and their totemic power -and I won't even go into the recurrent cases of children presented with sinister creatures that are supposed to amuse them.</div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjYnGiKY4G8JWGdYbCGZRG2avQAqMoYtA6jQOJtJS0UeyHkTBZM6nZljc9ddxrPmO60GXfvdBYAlpHcKx7hK59ir2pLBGPTNYOLPxAjVyj1XW8kq3rkLnj0qQ-3LCy3VQXQvHFuj-MetJOhxMr5qsTjKgW7WSaAglUWpjTNy1KN71Ppetj3-HG_H9ncIA=s1511" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1511" height="384" src="https://blogger.googleusercontent.com/img/a/AVvXsEjYnGiKY4G8JWGdYbCGZRG2avQAqMoYtA6jQOJtJS0UeyHkTBZM6nZljc9ddxrPmO60GXfvdBYAlpHcKx7hK59ir2pLBGPTNYOLPxAjVyj1XW8kq3rkLnj0qQ-3LCy3VQXQvHFuj-MetJOhxMr5qsTjKgW7WSaAglUWpjTNy1KN71Ppetj3-HG_H9ncIA=w580-h384" width="580" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhHWhvX1NhqBUz0dM7xE0c3DzJ4_ntgQs3BOKbF6jb9rJpr81p-cz2XI0Kd_t-H3GKtGTb91Z61uaiGf5vOzTN_-CT3IyVu5jopCwDmyM-wXCgziKLpZpwY-RIz2ySDTO60BU06rfW-3dMHhXav26zpYyBPfRw_McwO74gd4sYhNtqRYQiZwuPhqlus-A=s1528" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1528" height="381" src="https://blogger.googleusercontent.com/img/a/AVvXsEhHWhvX1NhqBUz0dM7xE0c3DzJ4_ntgQs3BOKbF6jb9rJpr81p-cz2XI0Kd_t-H3GKtGTb91Z61uaiGf5vOzTN_-CT3IyVu5jopCwDmyM-wXCgziKLpZpwY-RIz2ySDTO60BU06rfW-3dMHhXav26zpYyBPfRw_McwO74gd4sYhNtqRYQiZwuPhqlus-A=w584-h381" width="584" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;"><i>Conejos malditos y otras criaturas / Bad Rabbits and Other Creatures</i> 75 x 86 cm 2020</span></div><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div><div style="text-align: left;"><i> Así es que encontré que había caído en una madriguera de conejo, repleta de posibilidades complejas y oscuras. Nunca subestimes la imaginación de los infantes, y a dónde te puede llevar.</i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">So I found I had fallen into a rabbit hole of dark and complex possibilities. Never underestimate the imagination of children or where it might lead you.</div><span style="font-size: xx-small;"><br /></span></div></div><br /><span style="font-size: xx-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div style="text-align: center;"><br /></div><div style="text-align: left;"><br /></div></div><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><br /></div><div><br /></div></div></div><br /><p style="text-align: center;"><br /></p>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-32246833366028521852020-07-06T17:03:00.003-07:002020-07-21T13:38:51.645-07:00Pandemia/Pandemic<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;"><font face="arial" size="2"> --for English scroll down</font></div><div class="separator" style="clear: both; text-align: left;"><span style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div><div class="separator" style="clear: both; text-align: left;">
<span style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif;">Recientemente</span></span><span style="font-family: arial, helvetica, sans-serif;"> la curadora Natalia de la Rosa me invitó a participar en un proyecto en Instagram de la organización interdisciplinaria de arte Kadist, contestando unas preguntas ideadas por ella con texto e imágenes. Decidí trabajar con imágenes apropiadas (de otros artistas con crédito y algunas mías). Resulta que el concepto de Kadist es de poner pura imagen, entonces decidí publicar toda la serie de preguntas y respuestas en este blog. Ojo: Lo escribí en mayo, pensando en lectores fuera de México, entonces a veces doy explicaciones que sobran si eres de aquí. Mayo 2020 es muy distinto a julio 2020, pero sí representa lo que pensaba en mayo... Y aquí está:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE_2Mw-46-P5Q-TKudm0RdYS72htWM2LOjDRKTfKtY1JtKBrdL_WbN3APnyynixfNeY-r_I0mSQ-kmXsAOy8UjlHbfQwfUHbBeKCMk8ZQJVXRCSbMMJVl211uzcotwNybFZjX7WdIe-TwS/s1600/1.+Antes+-foto+anon+copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="1000" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE_2Mw-46-P5Q-TKudm0RdYS72htWM2LOjDRKTfKtY1JtKBrdL_WbN3APnyynixfNeY-r_I0mSQ-kmXsAOy8UjlHbfQwfUHbBeKCMk8ZQJVXRCSbMMJVl211uzcotwNybFZjX7WdIe-TwS/s640/1.+Antes+-foto+anon+copy.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><font face="arial" size="1"> --imagen encontrada/found image</font></div>
<br /></div>
<span><i><font face="">I was recently invited by the curator Natalia de la Rosa to answer some questions related to the Covid-19 pandemic, for an instagram project of the interdisciplinary arts organization Kadist. Natalia posed the questions and I answered them with text and images. I decided to work with appropriated images (by other artists, with credit, plus some of my own) that could illustrate some aspect of the pandemic. Kadist, it turns out is just using the images, so I decided to make a post out of the complete series of questions and answers. Note: I wrote this in May 2020, very different from July 2020, but this represents what I was thinking 2 months ago, addressing an international audience that might not know too much about Mexico. And here it is:</font></i></span><br />
<br /><span style="font-family: arial, helvetica, sans-serif;"><b>Natalia de la Rosa: ¿De qué forma has enfrentado la coyuntura dada a partir de la pandemia actual? ¿Cómo has adaptado o se han visto alteradas tus formas creativas?</b></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--Actualmente estoy en la revisión de mis archivos y el cumplimiento con proyectos becados, por ende estar confinada a mi casa y taller no es problema, aunque he tenido que aplazar proyectos de producción gráfica en talleres profesionales. La coyuntura afectó las actividades de una exposición, en el espacio alternativo “Biquini Wax”, de documentos de mi historia durante el periodo de Los Grupos, en los 70 y 80. Esto fue en el marco del proyecto “Despatriarcalizar los archivos”, cuyo objeto era una examinación crítica, por medio de archivos, de manifestaciones patriarcales en la cultura. Suspendimos la exposición y trasladamos la consideración teórica de la exposición en grupo a un espacio virtual. En otras épocas me habría afectado mucho más, en los momentos en que dependía de la venta de mi obra para mantener a mi familia, cuando trabajaba de forma colectiva en los 70, o cuando daba clases de gráfica y dirigía una escuela de arte. Es decir, la mayor parte de las mujeres artistas están en situaciones mucho más vulnerables, en que se trastorna la vida por esta coyuntura, y se ven mucho más afectadas. </span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_YX5N9WT-1Syjn4loUsv8HOz-hwGkUWy0J8EGm-a30ypo-jx44PXYE3ZsN3J-1lg38mKFGYy0iaNnDBifIjnsOpSy1meIslmAkeq7sLTnPLP7NrvpF3NHoY_7XRAYLPm15Q96y4NpOdnY/s1600/2.+Pandemia+-Roger+Ballen.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_YX5N9WT-1Syjn4loUsv8HOz-hwGkUWy0J8EGm-a30ypo-jx44PXYE3ZsN3J-1lg38mKFGYy0iaNnDBifIjnsOpSy1meIslmAkeq7sLTnPLP7NrvpF3NHoY_7XRAYLPm15Q96y4NpOdnY/s640/2.+Pandemia+-Roger+Ballen.jpg" width="640" /></a></div>
<span><div style="text-align: center;"><font face="arial" size="1"> -imagen Roger Ballen</font></div></span>
<div style="clear: both; text-align: left;"><span style="font-family: arial;"><i><b><br /></b></i></span></div><div style="clear: both; text-align: left;">
<span style="font-family: arial;"><i><b>Natalia de la Rosa: How have you dealt with current situation created by the pandemic? How have you adapted or seen altered your creative practices?</b></i></span></div>
<div style="clear: both; text-align: left;">
<span style="font-family: arial;"><i><br /></i></span></div>
<div style="clear: both; text-align: left;">
<span style="font-family: arial, helvetica, sans-serif;"><i> --I’ve been revising my archives and working on grant projects, so being confined to home and studio (same thing actually) isn’t so problematic, although I’ve had to delay some work in graphics studios.</i></span></div>
<span style="font-family: arial, helvetica, sans-serif;"><i>The pandemic did affect an exhibit, in the alternative space Biquini Wax, of my history during the Mexican Groups movement with documents from the seventies and eighties, part of the project "Despatriarcalizar los archivos", whose object is to critically examine through archives patriarchal forms of influence. We suspended the show and moved the theoretical consideration of the project (part of a related course) online. Part of the material in the show is on being shared online.</i></span><br />
<i><span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">In other moments of my life I would have been much more affected, say, when I depended on selling my work to support my family, or when I worked in a collective in the 70s, or when I was teaching graphics and running an art school. Which goes to say: most women artists are in situations similar to those just stated, and thus much more subject to having their lives turned upside down by the current situation.</span></i><br />
<i><span style="font-family: arial, helvetica, sans-serif;"><br /></span></i>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglaO-n1idrFMtcMZ83gi72JOTEHHsaFy4apLP24tlwAZfqZbFjYjpS1nzB-00d1zDc9uj_WisCx8P8UtL0ZKDjlVAw8kAhzNVMtZQlJJmyE8BNNOU2wgshhD9vKdg7rP2vhP7ZnHOCKvwV/s1600/6.+El+encierro+-jiri+kolar.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="1000" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglaO-n1idrFMtcMZ83gi72JOTEHHsaFy4apLP24tlwAZfqZbFjYjpS1nzB-00d1zDc9uj_WisCx8P8UtL0ZKDjlVAw8kAhzNVMtZQlJJmyE8BNNOU2wgshhD9vKdg7rP2vhP7ZnHOCKvwV/s400/6.+El+encierro+-jiri+kolar.jpg" width="400" /></a></div>
<span><div style="text-align: center;"><font face="arial" size="1"> --imagen Jiri Kölar</font></div></span><span style="font-family: arial, helvetica, sans-serif;"><b><div><span style="font-family: arial, helvetica, sans-serif;"><b><br /></b></span></div>Natalia de la Rosa: ¿Qué cambios crees que sean los más significativos en el campo artístico tras este proceso de veloz virtualización y paro de los espacios culturales? En tu caso, ¿has pensado en modificaciones concretas, ya sea de resistencia o en alguna otra estrategia, en comparación con procesos anteriores?</b></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--He visto numerosas iniciativas desde los museos, buscando fortalecer sus actividades virtuales por medio de actividades en línea. Pero la razón de ser de estos espacios es fundamentalmente en el uso y disfrute de los mismos, e imagino que también están dedicando tiempo a pensar la manera de su reapertura. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">Ha coincidido con esta coyuntura una reorganización gubernamental que puso en peligro el funcionamiento, y posiblemente la existencia, del Fondo Nacional de la Cultura, anteriormente un fideicomiso y ahora en proceso de integrarse de otra forma a la estructura institucional. Durante la contingencia ha habido una discusión en línea de un grupo de más de cien creadores buscando velar por la existencia del Fonca y sus importantes funciones de apoyo por medio de becas a los creadores, y por la independencia de las decisiones pertinentes a estos apoyos; hemos logrado un diálogo productivo con la institución. Es probable que se quede activo este grupo como medio de discusión y organización, y de un activismo significativo de parte de actores en la cultura. El grupo también comparte información relevante, por ejemplo este link: https://cuarentenacultural.org/ </span><span style="font-family: arial, helvetica, sans-serif;">que reune inciativas relacionadas a la pandemia de México y el mundo.</span><span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">Tengo que agregar que dada la gravedad de la situación, siento que no estoy haciendo suficiente, y estoy a la búsqueda de otras maneras de ser parte de la solución colectiva.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuSql3H-yQJnWGnzEu0Oir4gjTQOOnkKw2I8mN-H3kqt6C6UqYpLmou6_eKnRdVuEhy2WcjFuJtQ59ocu1N19lJCqi369yDex98P_1mvTrVrLGaHncPxAgrgwEuqKUZVEOSt3Do87jouhA/s1600/3.+Zoom-+gracias+Hogarth.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuSql3H-yQJnWGnzEu0Oir4gjTQOOnkKw2I8mN-H3kqt6C6UqYpLmou6_eKnRdVuEhy2WcjFuJtQ59ocu1N19lJCqi369yDex98P_1mvTrVrLGaHncPxAgrgwEuqKUZVEOSt3Do87jouhA/s640/3.+Zoom-+gracias+Hogarth.jpg" width="564" /></a></div>
<div style="text-align: center;">
<font size="1"> --imagen William Hogarth</font></div>
<span style="font-family: arial, helvetica, sans-serif;"><i><b><div><span style="font-family: arial, helvetica, sans-serif;"><i><b><br /></b></i></span></div>Natalia de la Rosa: What changes do you think are most significant in the art field during this process of rapid virtualization and the suspension of cultural spaces? In your case, have you thought of concrete modifications either of resistance or some other strategy, in comparison with previous processes?</b></i></span><br />
<i><span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--I’ve seen a lot of initiatives from museums, working to strengthen their virtual presence through activities online. But the fundamental contribution of these spaces is their on-site activity, so I imagine they are dedicating a lot of thought to their eventual process of re-opening. </span></i><br />
<i><span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">On another front, the pandemic crisis has coincided with, or precipitated, a governmental re-organization in Mexico, which initially caused widespread concern for the future of the National Arts Fund (Fonca), a major source of grants and other support systems for the arts community. I’m part of an online discussion group of over a hundred professionals in the arts concerned about this issue; we’ve established a dialogue with the government officials (both women) who are in charge of this institutional transition, looking for ways to work with them in this process. </span></i><br />
<span style="font-family: arial, helvetica, sans-serif;"><i>It’s probable that this group, one of several working on cultural concerns, will remain active as a means of discussion and significant organization on the part of actors in culture. The group also shares information, for example, this link https://cuarentenacultural.org/, which covers initiatives related to the pandemic in Mexico and other parts of the world.</i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><i>I must add that given the gravity of the situation created by the pandemic, I really don’t feel like I’m doing enough, and I’m casting about to find ways of doing more.</i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKHM5H9mgZYnnSjXTv-oPEbtV0gHCwN3-PL2pII99paCaO1FdJ-X02x5Xlh-k8nCYSd8MCqD8Vq568MhtAujgBR8gdJ2G8a5Wo3qfYmjiMZ65cS3hnx_Q3TYMHGcIYcQ7NTuALpUEvVhMi/s1600/5.+Demasiado+zoom+-Christian+Holstad.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="997" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKHM5H9mgZYnnSjXTv-oPEbtV0gHCwN3-PL2pII99paCaO1FdJ-X02x5Xlh-k8nCYSd8MCqD8Vq568MhtAujgBR8gdJ2G8a5Wo3qfYmjiMZ65cS3hnx_Q3TYMHGcIYcQ7NTuALpUEvVhMi/s640/5.+Demasiado+zoom+-Christian+Holstad.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<font face="arial" size="1"> --imagen</font><span style="text-align: left;"><font face="arial" size="1"> Christian Holstad</font></span></div>
<span style="font-family: arial, helvetica, sans-serif;"><b><div><span style="font-family: arial, helvetica, sans-serif;"><b><br /></b></span></div>Natalia de la Rosa: Autores como Achille Mbembe o Paul B. Preciado han fijado su atención en las afectaciones subjetivas antes y después de este momento de enfermedad colectiva, ¿de qué manera crees que el retorno a una política extrema de higienización y absoluto control somático afecte o trastoque nuestras propias corporalidades y los espacios que habitamos? ¿Qué modos alternativos de cuidados de lxs cuerpxs (sociales e individuales) y la vida podemos proponer?</b></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC0HEVVSkAok0YZADhHc5tiPq07DPSgg_BBpKuxx2gZhcCh1dI1AwedqBKwn3Sbtvz_Nb7dnsOVxpPtAPBKkyEVJSZKsyrpWbgzo_cCIvVpHMVsKU9K2YdNNd4PcnuFamkkpRXWDj9gTuG/s1600/7.+Sana+distancia+-Boris+Viskin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="449" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC0HEVVSkAok0YZADhHc5tiPq07DPSgg_BBpKuxx2gZhcCh1dI1AwedqBKwn3Sbtvz_Nb7dnsOVxpPtAPBKkyEVJSZKsyrpWbgzo_cCIvVpHMVsKU9K2YdNNd4PcnuFamkkpRXWDj9gTuG/s400/7.+Sana+distancia+-Boris+Viskin.jpg" width="326" /></a></div><div class="separator" style="clear: both; text-align: center;"><font face="arial" size="1"> --imagen Boris Viskin</font></div>
<div style="text-align: center;"><br /></div>
<span style="font-family: arial, helvetica, sans-serif;">--En contestar ésta y las demás preguntas la visión que tengo más presente es la de una agudización de la estratificación de la sociedad. En México ya existía un sector privilegiado con acceso y habilidades para comunicación virtual, que ya interactuaba en gran medida en este espacio, y que cuenta con los medios para implementar el aislamiento necesario para bajar el riesgo de contaminación y propagación de la enfermedad. Y también ya existía una población mucho más amplia cuya actividad económica implica estar en la vía pública, cuyas posibilidades y educación no incluyen más interacción con pantallas que la que sea posible desde celulares o viendo la televisión abierta, y con espacios propios demasiado reducidos como para permitir un aislamiento eficaz. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">La aplicación aquí de “una política extrema de higienización y absoluto control somático” tendría que ser muy azarosa, como en el país hay un acceso relativo a condiciones higiénicas en primer lugar y, además, existen disputas fuertes por el poder regionales (tanto desde los estados como desde los carteles). Aquí, quizás, si no exagero, se podría aplicar el concepto de Mbembe de necropolítica, en este caso, una aceptación implícita de la precariedad de grandes sectores de la población y entonces de su sacrifico y la aceptación –fatalista- de ellos mismos de su estado.* </span><br />
<span style="font-family: arial, helvetica, sans-serif;">En la esquina de mi calle (no es un barrio fino) he escuchado los siguientes comentarios: “pos si me llega, me llega...” “es un invento del gobierno, no existe” “ni modo, tengo que trabajar”. Si se fuera a intentar este tipo de política en México, podría verse como una versión de la distopía del libro “1984”, con un sector vigilado y controlado de la población y otro sector relativamente aislado de este primero, más caótica y sin la posibilidad de acatarse a las condiciones de la contingencia y además, sin aceptarlas.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">*El régimen presidencial actual llegó al poder con la promesa de cambiar este crónicamente precario estado de existencia, están, todavía, en eso.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4LsjpchLiAspjkN51dCeikisK28guo3twA-Ltep9l0bMwg8ujtmTCouF7I0GNvHqWNDyP0b9a9h9Uu_e4srVGjPMpfN34hDa5e1_B3O8xlcEwlhA5hINQLBLRLEfLlR03gMWaRPmIrKwh/s1600/8.+Pos+si+me+llega%252C+me+llega...Posada.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="621" data-original-width="800" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4LsjpchLiAspjkN51dCeikisK28guo3twA-Ltep9l0bMwg8ujtmTCouF7I0GNvHqWNDyP0b9a9h9Uu_e4srVGjPMpfN34hDa5e1_B3O8xlcEwlhA5hINQLBLRLEfLlR03gMWaRPmIrKwh/s640/8.+Pos+si+me+llega%252C+me+llega...Posada.jpg" width="640" /></a></div>
<div style="text-align: center;">
<font face="arial" size="1"> --imagen José Guadalupe Posada</font></div>
<span><i><font face=""><b><div><span><i><font face=""><b><br /></b></font></i></span></div>Natalia de la Rosa: Authors such as Achille Mbembe or Paul B. Preciado have fixed their attention on the subjective effects before and after this moment of collective illness; how do you think that resorting to an extreme imposition of hygiene and absolute control of corporal conditions might affect and/or disrupt our own corporality and the spaces we inhabit? What alternative modes of caring for our bodies and our lives (socially and individually) can we propose? </b></font></i></span><br />
<i><span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--While answering this question as well as the others, I have an image present of a sharp increase in social stratification, with disastrous consequences. In Mexico and the world we already had a privileged sector with access to and abilities in virtual communication, a sector that was already interacting extensively online, and that can also count on having the resources to implement the social isolation necessary to lower the risk of contamination and propagation of covid-19.</span></i><br />
<span style="font-family: arial, helvetica, sans-serif;"><i>And there was also already in existence a much larger sector of population for whom economic activity depends on being out in public, whose interaction with screens doesn’t include much more than that possible by means of cell phones and watching network television, and whose commuting and living conditions often don’t allow for efficient isolation and hygiene.</i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><i>The application here of “an extreme imposition of hygiene and absolute control of corporal conditions” would at best be woefully incomplete, partly for the aforementioned lack of adequate hygienic conditions, and aggravated by the fact that the country is also rife with regional power struggles (state governments, drug cartels, etc.), which would preclude a concerted joint action. So here, if I don’t exaggerate, one could apply the concept of Mbembe of necropolitics, in this case, an implicit acceptance of the precarious nature of existence for large sectors of the population and thus of its eventual sacrifice when under duress, with the fatalistic embrace of their own situation by those affected.*</i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><i>On my own street corner (not a fancy neighborhood) I’ve heard the following comments: --well, if I get it, I get it… --this corona business is all made up, it doesn’t really exist… --so what am I supposed to do? I have to work to eat… If there were an attempt to apply extreme sanitary measures in Mexico, we could end up with a version of the dystopian novel 1984, with one sector under vigilance and fairly compliant and another larger sector, relatively removed from the first, more chaotic and without the possibility of compliance, and besides, in an attitude of defiance and denial.</i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><i><br /></i></span>
<span style="font-family: arial, helvetica, sans-serif;"><i>*The present presidential regime came to power with the promise to end this chronically precarious state of existence; they still are working on it. </i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><i><br /></i></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAv8RxIZvCyub8TM1NUJF9crfSEy-AhlNh2mpwuB26A3pUymVwJbCCgFQepsrF0ecbiZbssgofehOHwdNkbiXsSIBZ2nPsw4l0PQjfCSL0VAO9RMlQACm3OB2T-79dpc2t32dRvRgZOUU4/s1600/9.+El+espacio+pu%25CC%2581blico+peligroso+Jiri+Kolar.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="900" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAv8RxIZvCyub8TM1NUJF9crfSEy-AhlNh2mpwuB26A3pUymVwJbCCgFQepsrF0ecbiZbssgofehOHwdNkbiXsSIBZ2nPsw4l0PQjfCSL0VAO9RMlQACm3OB2T-79dpc2t32dRvRgZOUU4/s640/9.+El+espacio+pu%25CC%2581blico+peligroso+Jiri+Kolar.jpg" width="640" /></a></div>
<span><div style="text-align: center;"><font face="arial" size="1"> --imagen Jiri Kölar</font></div></span><span style="font-family: arial, helvetica, sans-serif;"><div><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div><b>Natalia de la Rosa: ¿Qué otras formas de espacio público podemos construir o pensar ante un discurso que lo define como peligroso?</b></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--El espacio público virtual en sí no puede sustituir a los espacios públicos inaccesibles actualmente. Primero, porque el acceso a este espacio virtual, como ya comenté, no es factible para grandes sectores, y segundo, empieza a haber un elemento de hartazgo de lo virtual. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">El espacio virtual se puede fortalecer como un gran complemento a una vida más completa, pero la meta tiene que ser volver a integrarnos a la vida pública en físico. Lo que será interesante es ver hasta qué punto se puede lograr una presencia física espaciada de la población, para reducir el riesgo. Por medio de asistencia en torno al trabajo, alternando con trabajo desde la casa, con la alteración de espacios públicos para permitir más espacio personal, y en el mejor de los casos y más a largo plazo, una ampliación del transporte público para poder funcionar con menos aglomeración y una mayor inversión en programas de vivienda, se podría crear un futuro más vivible. Otro reto sería mejorar la calidad y los espacios de la educación pública. </span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdVayQFw8tbMIuzhor01-udJaBFdLuqgMl2wJwV-dhl0a1hYQ7SXVNWoSNEYwSBpXwRRIszkxpOOxJbXDonPJQ4N8LUbS_DAwW7utaQBnqVaOGYFjpX7_EqOMvUqrf-EN2z020oHmeZGw/s1600/12.+Re-inventar+el+espacio+pu%25CC%2581blico+-Berli%25CC%2581n+Art-Connect+.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="938" data-original-width="1000" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdVayQFw8tbMIuzhor01-udJaBFdLuqgMl2wJwV-dhl0a1hYQ7SXVNWoSNEYwSBpXwRRIszkxpOOxJbXDonPJQ4N8LUbS_DAwW7utaQBnqVaOGYFjpX7_EqOMvUqrf-EN2z020oHmeZGw/s640/12.+Re-inventar+el+espacio+pu%25CC%2581blico+-Berli%25CC%2581n+Art-Connect+.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<font face="arial" size="1"> --imagen Art Connect</font></div>
<span style="font-family: arial, helvetica, sans-serif;"><i><div><span style="font-family: arial, helvetica, sans-serif;"><i><br /></i></span></div><b>Natalia de la Rosa: What other forms of public space could we construct or imagine, when confronted with a discourse that defines that space as dangerous?</b></i></span><br />
<i><span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--A virtual public space in and of itself can’t substitute the actual public spaces currently inaccessible to us. To start with, large sectors of the population don’t have access to this virtual space, plus the fact that by constant exposure, we are on the way to getting an overload of online living.</span></i><br />
<span style="font-family: arial, helvetica, sans-serif;"><i>Virtual space can be a great complement to life, but the goal must be to get back into our usual exterior, spacious existence. When we go out again, it will be interesting to see to what extent we can (as we must) achieve physical distancing to protect each other. It could be through staggered shifts at work, alternating with home office, plus the adjusting of public venues to allow for more personal space. And if we were able to redesign public transport to be able to function with less agglomeration and invest more in public housing, we would be creating a more viable future. Another challenge is to improve the spaces and quality of public education. </i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><i><br /></i></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nw1LegkOfy-Y5MPHYd-Tkl_8DS1-_rsFfc3cQF-0NCsRbwOhyphenhyphenkgmHNnHhOmPSY-NCAh4zXjCQFM4tUWSgfhfGxYR_4ur7xqU6e2NP2JTiRXXsjCOMgujntaH6WVdUsIRGWEDfMVqOe3n/s1600/10.+Hartazgo+-S.Dali%25CC%2581.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1233" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-nw1LegkOfy-Y5MPHYd-Tkl_8DS1-_rsFfc3cQF-0NCsRbwOhyphenhyphenkgmHNnHhOmPSY-NCAh4zXjCQFM4tUWSgfhfGxYR_4ur7xqU6e2NP2JTiRXXsjCOMgujntaH6WVdUsIRGWEDfMVqOe3n/s640/10.+Hartazgo+-S.Dali%25CC%2581.jpg" width="466" /></a></div>
<div style="text-align: center;">
<font face="arial" size="1"> --imagen Salvador Dalí</font></div>
<span style="font-family: arial, helvetica, sans-serif;"><div><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div><b>Natalia de la Rosa: En un momento que llama a la individualización y aislamiento como un quiebre frente a formas de cohesión y movilización social (feminista, transfeminista, indígena, de defensa de la tierra, etc.), ¿cómo responde tu práctica o qué vínculos mantienes con una colectividad concreta? ¿Qué tipo de alianzas o redes pueden existir para contrarrestar este efecto?</b></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--Desde agosto 2019 estoy coordinando un blog de mujeres artistas en sus talleres: https://mujeresartistasenred.blogspot.com/, para fortalecer la presencia de mujeres en el arte y que sirva como referencia para otras artistas y investigadoras. Esta actividad virtual podría llegar a ser más consultada en el contexto de la tendencia virtual actual (de hecho ya está pasando, y en el último mes las visitas al blog de fuera de México son más numerosas que las nacionales), pero en una primer instancia, han bajado las contribuciones al blog - en la zozobra que sienten las mujeres al ajustarse a sus nuevas circunstancias, sus energías se van a otra parte. El blog sugirió en primer lugar como registro de una exposición de mujeres curada de forma colaborativa. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">Y estoy incluida (pero no soy de las muy activas) en una red de mujeres artistas de muchas edades, pero en su mayoría jóvenes. Ellas han estado muy activas en promover respuestas a la contingencia, cito: hay que “recurrir a visitas a museos online, performances online, cine, charlas virtuales, textos, entrevistas, obras de teatro online, talleres, actividades artísticas para niñas y niños, y una lista aún más amplia de distintas actividades culturales que depende de nuestro trabajo como creadores, realizadores y colaboradores”. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">Están promoviendo “acciones desde la economía social y solidaria como estrategias de supervivencia frente al Covid-19”, como (cito otra vez): “Consumo consciente, local y sostenible, trueque, bancos de tiempo y monedas alternativas, producción para el autoconsumo, compras colectivas vecinales, promoción de la producción de mercancías de primera necesidad, la creación de cooperativas de bienes y servicios y la promoción de una relación directa productor-consumidor, el aprovechamiento de la organización de asociaciones vecinales y de la economía popular y la creación de vínculos virtuales con instituciones, ONGs, iglesias, y universidades, etc.” También se preocupen por cuidarse entre si, compartir recursos y por la problemática de mujeres violentadas. </span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5T9G3Df_0TnK9YJrNYdFIUxALWPoJ1FlzyYz3re4G8s2e9ZlgNW8MhyphenhypheneJz39o3c4QREef0Sogja8A6fJNfXtjFkQozffs2GZloK86I9GkLDbyETZ_ZwnBuwG6Y8SnQgxeTXtlK0OG8U_/s1600/14.+Mujeres+vulnerables.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="377" data-original-width="760" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5T9G3Df_0TnK9YJrNYdFIUxALWPoJ1FlzyYz3re4G8s2e9ZlgNW8MhyphenhypheneJz39o3c4QREef0Sogja8A6fJNfXtjFkQozffs2GZloK86I9GkLDbyETZ_ZwnBuwG6Y8SnQgxeTXtlK0OG8U_/s640/14.+Mujeres+vulnerables.jpg" width="640" /></a></div>
<div style="text-align: center;"><font face="arial" size="1"> --imagen CR</font></div>
<span style="font-family: arial, helvetica, sans-serif;"><div><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>De hecho, las mujeres de este grupo fueron instrumentales en la muy exitosa acción de mujeres ausentándose de su trabajo el 9 de marzo, después de una marcha bastante combativa del Día de la Mujer, pero este logro se ha visto opacado por la repentina circunstancia de la confinación de la mayor parte de la población a sus casas por la contingencia.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlG0CUWRm_1sHiHisx7aUFt3AhSgmA8rq9TsApWIcP2DQOVdjOnDnGsTQslPg1xmMzq_W8N1EBmag-ACJE-hAyeRU-8nShQDVMr_JhwyPZG85zr2qmOaysZc9bcL5-AU_eizZFMVQM4QzR/s1600/11.+Pandemia+-Tracy+Templeton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="963" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlG0CUWRm_1sHiHisx7aUFt3AhSgmA8rq9TsApWIcP2DQOVdjOnDnGsTQslPg1xmMzq_W8N1EBmag-ACJE-hAyeRU-8nShQDVMr_JhwyPZG85zr2qmOaysZc9bcL5-AU_eizZFMVQM4QzR/s640/11.+Pandemia+-Tracy+Templeton.jpg" width="640" /></a></div>
<div style="text-align: center;">
<font face="arial" size="1"> --imagen Tracy Templeton</font></div>
<span style="font-family: arial, helvetica, sans-serif;"><div><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div><b><i>Natalia de la Rosa: At a time which calls for individualization and isolation, breaking with forms of cohesion and social mobilization (feminist, transfeminist, indigenous, defense of the earth, etc.), how does your practice, or the connections you maintain with the collective, respond? What kinds of alianzas or networks exist to counter arrest this effect?</i></b></span><i><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">Since last August I’ve been coordinating a blog of women artists in their studios: https://mujeresartistasenred.blogspot.com/, to fortify the presence of women in the arts and as a resource for other artists and researchers. This online activity is more liable be consulted in the context of the current virtual upswing (actually this is happening, we’ve a lot more visits since the crisis started, particularly from outside Mexico) but as people started staying home here, the contributions to the blog went down; I think the women who could have participated right then were thrown off-balance by the new circumstances of their lives and were using their energy to adjust. (They are now coming back!) We started the blog in order to register an important women’s show in Mexico, which was curated collaboratively; we wanted to continue with the collaborative effort beyond the immediate show. Once we have entries by all the original artists, we’ll start having each artist already included invite another.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">I’m also included (though I’m not among the very active members) in a group chat with a radical edge which includes women of several generations, but is geared more toward women in their thirties and forties. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">The group has been very active in creating and promoting responses to the pandemic, for instance, I quote from one entry: “We have to make use of and promote visits to museums online, performances online, cinema, virtual talks, texts, interviews, online theater, workshops, art activities for children, and an ample list of different cultural activities that depend on our work as creators and collaborators”.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">The group is also promoting actions rooted in social and economic solidarity as survival strategies before Covid-19, such as (and I quote again):</span><br />
<span style="font-family: arial, helvetica, sans-serif;">“Local, sustainable and conscious consumption, bartering, time banks and alternative monies, production for self-consumption, neighborhood collective purchases, promotion of the production of primary-need materials, the creation of goods and services and the promotion of a direct producer-consumer relationship, utilization of neighborhood and popular economy organizations, and the creation of virtual links with institutions, NGOs, churches and universities, etc.”</span><br />
<span style="font-family: arial, helvetica, sans-serif;">Another area of concern is that of working on ways to address violence against women, plus looking out for each other, and sharing tips and resources. </span></i><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ6dyAh-fdr6xp-IqzcXp0nolaO5wkmeeujSNYOI1Igo9yXO_-00fjv2hd7jbd37tPqwIJ0YCDMKTB6x3iMSIBS-yQGKRBr2vLBHtkyQ-l6Utw__xoSaZgHvpQAgK6OWeNawIQMf002Skt/s1600/13.+Repensar+la+realidad.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1232" data-original-width="1517" height="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ6dyAh-fdr6xp-IqzcXp0nolaO5wkmeeujSNYOI1Igo9yXO_-00fjv2hd7jbd37tPqwIJ0YCDMKTB6x3iMSIBS-yQGKRBr2vLBHtkyQ-l6Utw__xoSaZgHvpQAgK6OWeNawIQMf002Skt/s640/13.+Repensar+la+realidad.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span><font face="arial" size="1"> --imagen Juana Gómez</font></span></div>
<span style="font-family: arial, helvetica, sans-serif;"><div><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div><i>This group of women was very involved in the extremely successful action of the women’s work strike in Mexico the 9th of March, after a combative march on Women’s Day. Unfortunately the success of the strike has been somewhat eclipsed by the unexpected circumstance of everyone staying home from work…indefinitely. </i></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghxTQNdFU2jyAmcA6vDzgJDwpgiYwTeVGE2P-GnT0CdbGns3Gnt_SUqcZjkj4YQL5_dzVG9cmM26XA9si1rrUibjuU0zAogIr5-kX4fDCws4pTs7nDKWB-IbIzrN8pY4KYSIGFwnOqXHJ4/s1600/15.+Pandemia+-Rippey.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="963" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghxTQNdFU2jyAmcA6vDzgJDwpgiYwTeVGE2P-GnT0CdbGns3Gnt_SUqcZjkj4YQL5_dzVG9cmM26XA9si1rrUibjuU0zAogIr5-kX4fDCws4pTs7nDKWB-IbIzrN8pY4KYSIGFwnOqXHJ4/s640/15.+Pandemia+-Rippey.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><font size="1"> --image CR</font></span></div>
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;"><b>Natalia de la Rosa: La filósofa transfeminista y activista Sayak Valencia habla de un momento nuevo para las condiciones de la ficción política de la catástrofe, en relación a la tecnología (en términos de un nuevo dominio del algoritmo) ¿Cómo piensas o reflexionas en torno a este proceso, teniendo en cuenta otras formas de ficción, imaginación y creación de relatos</b>?</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--Mi proceso siempre se ha basado en la recolección de imágenes (y palabras) que me producen eco, y un trabajo a fondo con estos archivos. Un ensayo sobre TS Eliot que acabo de leer subraya la presencia en su obra de “las técnicas de collage y multivocalidad y su campo de referencia intercultural y globalizado”. Nunca había pensado en Eliot como un precursor, pero me identifico mucho con la forma de trabajar así descrita. Entonces, seguramente en la época actual encontraré ecos que se integrarán a mi obra, pero es un proceso; estoy atenta.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2hu0U_CvqzqYxWg39lCdoDttJ6ayNfPjF8hZ_YT-3liJV_KUuvyfOOCG9uimQrdsRKNTYmo9HV-fCGe93e6EXGx98O28bAZCY9E_ea0vpaZH-Y697-DK098DKMl0OqRVMIt51LmlAhbkd/s1600/17.+Estoy+atenta.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1076" data-original-width="796" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2hu0U_CvqzqYxWg39lCdoDttJ6ayNfPjF8hZ_YT-3liJV_KUuvyfOOCG9uimQrdsRKNTYmo9HV-fCGe93e6EXGx98O28bAZCY9E_ea0vpaZH-Y697-DK098DKMl0OqRVMIt51LmlAhbkd/s640/17.+Estoy+atenta.jpg" width="472" /></a></div>
<div style="text-align: center;"><font face="arial" size="1"> --imagen CR</font></div>
<span style="font-family: arial, helvetica, sans-serif;"><b><div><span style="font-family: arial, helvetica, sans-serif;"><b><br /></b></span></div><i>Natalia de la Rosa: The philosopher, transfeminist and activist Sayak Valencia speaks of a new moment for the conditions of the political fiction of catastrophe, in relation to technology (in terms of a new dominion of algorithm). How do you think or reflect on this process, bearing in mind other forms of fiction, imagination and the creation of stories?</i></b></span><i><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
</i><span style="font-family: arial, helvetica, sans-serif;"><i>My work has always been based on the collection of images (and words) that produce an echo in me, followed by an extensive examination and processing of these elements. An essay I just read about TS Eliot emphasizes the presence in his work of the techniques of collage and multivocality and his intercultural and globalized field of reference. I had never thought of Eliot as an influence on my work, but I identify thoroughly with the process described. Therefore, surely the profound experience of this period of history will influence my work, but I am waiting to find the echoes. Meanwhile, I try to be alert to the possibilit</i>ies.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPMNpeB_RoeY2TvEsAMd9u3SzLuyT-2z8P27aUbfdq8Q9FMMn0SRxUvnmT59U_tzQ2TbW9wKB658LJA3wu7XCexA-u-Kvc8nTXMAuY8vgsg6XTMIJrIekx7QnkZDSkoiMY7-i4Na2Dwdao/s1600/18.+entre+generaciones.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="1000" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPMNpeB_RoeY2TvEsAMd9u3SzLuyT-2z8P27aUbfdq8Q9FMMn0SRxUvnmT59U_tzQ2TbW9wKB658LJA3wu7XCexA-u-Kvc8nTXMAuY8vgsg6XTMIJrIekx7QnkZDSkoiMY7-i4Na2Dwdao/s640/18.+entre+generaciones.jpg" width="640" /></a></span></div>
<div style="text-align: center;">
<span><font face="arial" size="1"> --imagen Jean Cocteau</font></span></div>
<span style="font-family: arial, helvetica, sans-serif;"><b><div><span style="font-family: arial, helvetica, sans-serif;"><b><br /></b></span></div>Natalia de la Rosa: Al retomar de nueva cuenta a Sayak Valencia, ¿qué importancia tienen para ti las relaciones inter-generacionales, tomando en cuenta la propia genealogía de arte regional (artistas, teóricxs, críticxs, movimientos), en un momento donde existe una separación entre poblaciones más jóvenes, dado el contexto, con personas de edades mayores, los cuales podemos pensar como cuerpos en resistencia (testigos de luchas políticas del pasado)?</b></span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span><span style="font-family: arial, helvetica, sans-serif;">--Estas relaciones son fundamentales. En mis años 40 pasé mucho tiempo con un amigo en sus 70 (un intelectual comunista que en la cárcel había traducido toda la obra de Ezra Pound) y otro amigo en sus 80 (arquitecto y músico, nacido en una familia de judíos rusos en Harbin, Manchuria). Pero ahora yo misma me encuentro en el grupo testigo, de mayor edad; me ha sorprendido que, particularmente en el último año, los jóvenes nos buscado a mi y a otros veteranos de los años 70 y de “Los Grupos” para indagar en esta experiencia y rescatarla. En el proyecto que ya mencioné de Biquini Wax de “Despatriarcalizar el archivo” mi propio pensamiento sobre mi experiencia cambió, bajo la lupa de su examinación creativa de la misma. </span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">Durante mi larga presencia en la escuela “La Esmeralda”, siempre estaba en contacto con jóvenes, y con todas las edades que representan los profesores; creo que uno de los grandes atributos de las escuelas de arte es que crean una plataforma en que interactuamos personas en distintas etapas de la vida, de nuestras carreras y hasta de origen social. Esto, siendo que las escuelas gubernamentales casi gratuitas como La Esmeralda sirven a una población muy amplia, y en su mayor parte de un origen social no privilegiado. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">Hay que agregar que mi práctica en la gráfica se expandió mucho a partir de dar clases, por un reto estar a la altura de mis estudiantes, y por la interacción con ellos.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">Las mujeres tenemos una gran oportunidad de trabajo y convivencia intergeneracional a través de los grupos feministas y las prácticas colaborativas que los caracterizan. Han habido otras iniciativas que en la práctica se han vuelta bastante intergeneracional, como la de Obrera Centro (donde se compartían herramientas, opiniones, chismes y comidas) y posteriormente en la Escuela de la Paz, pero tenían una precariedad inherente por depender de un espacio físico en una ciudad de rentas altas. De hecho, desde los 70 han habido múltiples proyectos (de exposición y convivencia) de jóvenes en espacios precarios (predios en vías de venderse, por ejemplo), habría que ver cómo se reinventa este fenómeno a futuro, y hasta qué punto se dificulta. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">Hace años cruzó mi camino un poema medieval japonés, escrito, de hecho, durante una plaga, va asÍ: Si lo que es real, no me es real, ¿porque han de ser sueños, mis sueños? </span><br />
<span style="font-family: arial, helvetica, sans-serif;">Ahora que la realidad está en un estado inestable, mutante, a lo menos tenemos más posibilidad de concretar algunos sueños en la realidad que se está gestando…</span><br />
<div style="text-align: center;">
<span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN0lwSG4q4uLhkJxJX77sQ3Ig6ydIhMgLJUfqO8OT6TIzSGkVH5kQF1aRRCnzXtcEuidYX-WnR0nQpPLnjaYQsGg7t7HEvaqmTEdmv2LLCcYdebJLACBGk-turp7sKMf243e2aEXGc7-cd/s1600/19-20.+Porque%25CC%2581+han+de+ser+suen%25CC%2583os%252C+mis+suen%25CC%2583os%253F+-Juana+Go%25CC%2581mez.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1139" data-original-width="1204" height="604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN0lwSG4q4uLhkJxJX77sQ3Ig6ydIhMgLJUfqO8OT6TIzSGkVH5kQF1aRRCnzXtcEuidYX-WnR0nQpPLnjaYQsGg7t7HEvaqmTEdmv2LLCcYdebJLACBGk-turp7sKMf243e2aEXGc7-cd/s640/19-20.+Porque%25CC%2581+han+de+ser+suen%25CC%2583os%252C+mis+suen%25CC%2583os%253F+-Juana+Go%25CC%2581mez.jpg" width="640" /></a></div>
<div style="text-align: center;">
<font face="arial" size="1"> --imagen Juana Gómez</font></div>
<span><font face="arial"><b><div><span><font face="arial"><b><br /></b></font></span></div><i>Natalia de la Rosa: Returning to Sayak Valencia, what importance do intergenerational relationships have for you, taking into account the genealogy pertinent to regional art (artists, theoreticians, critics, movements), in a moment when a separation exists between younger populations, taken in context, and older people, whom we may consider as entities of resistance (witnesses of political struggles of the past).</i></b></font></span><i><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">These relationships are fundamental. In my early 40s, I spent a lot of time with a friend in his 70s (a die-hard Communist who translated all of Ezra Pound in prison) and a friend in his 80s (an architect and musician, born into a Russian-Jewish family in Harbin, Manchuria). But now that I am myself in the group of witnesses, the older folks, it's gratifying that a fair number of young artists and researchers have turned to me and other survivors of the 70s Grupos phenomenon in Mexico, particularly in the last year, to explore our experiences and to some extent, rescue and reinterpret them. In the example already mentioned, that of "Despatriaricalizar el archivo", my own thinking about my experience changed, under the lens of their creative examination of it.</span><br />
</i><div class="separator" style="clear: both; text-align: center;"><i><br /></i></div>
<i><span style="font-family: arial, helvetica, sans-serif;">During all the years I spent in the art school “La Esmeralda”, as a teacher and later directing the school, I was always around young people, as well as teachers of varying ages; I think that one of the great attributes of the government art schools (we have two in Mexico City) is that they create a platform in which we all interact, people of different ages, in different stages of our careers and also of varying social origins. This last is related to the fact that these schools are nearly free and provide a means of social mobility for many students. I must add that my own work in graphics improved a lot once I started working around my students; it was a challenge I appreciated.</span><br />
<span style="font-family: arial, helvetica, sans-serif;">As women we have a lot of opportunities to work and share time with different generations through feminist groups and the collaborative practices that characterize them. I’ve participated in other initiatives that in practice have been quite intergenerational and included men as well, like that of Obrera Centro (where tools, opinions, strategies and food was shared) and later in the temporary communal space Escuela de la Paz, but these projects had the precarious nature inherent to depending on physical space in a city of high rents.</span><br />
<span style="font-family: arial, helvetica, sans-serif;">In fact, since the 70s there have been multiple projects (of exhibit and studio space) managed by young artists in temporary spaces (often family properties in the process of being sold); it will be interesting to see how this sort of project fares in the future… </span><br />
<span style="font-family: arial, helvetica, sans-serif;">Years ago I stumbled upon a Japanese medieval poem, written in fact, during a plague, that goes like this: If what is real is not real to me, why must my dreams be dreams?</span><br />
<span style="font-family: arial, helvetica, sans-serif;">Now that reality is in a state of flux and mutation, an unreal state, perhaps we have a chance of bringing some of our dreams into the new reality that is being gestated...</span><br />
</i><div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqyEbttZenlTRzn1ezVfS9vgP1xeNVzPNQLDH2UfnMkpQz9zcSKmh_eocWlYY2SitYTeqp9Ay_Vls5qMHzPwgta9jL-8VA2sRIgJZDJe7z_bvzZIWVx5o-GzBICGxPmLOvCZt0ZZ4zWP9/s1600/21.+Porque+han+de+suen%25CC%2583os%252C+mis+suen%25CC%2583os%253F+-Eugenia+Vargas+P.jpg" style="margin-left: 1em; margin-right: 1em;"><font face="arial" size="1"><img border="0" data-original-height="1261" data-original-width="1110" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqyEbttZenlTRzn1ezVfS9vgP1xeNVzPNQLDH2UfnMkpQz9zcSKmh_eocWlYY2SitYTeqp9Ay_Vls5qMHzPwgta9jL-8VA2sRIgJZDJe7z_bvzZIWVx5o-GzBICGxPmLOvCZt0ZZ4zWP9/s640/21.+Porque+han+de+suen%25CC%2583os%252C+mis+suen%25CC%2583os%253F+-Eugenia+Vargas+P.jpg" width="562" /></font></a></div>
<div class="separator" style="clear: both; text-align: center;">
<font face="arial" size="1"> --imagen Eugenia Vargas-Pereira</font></div>
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-33676542178326377822019-05-11T09:48:00.002-07:002020-06-11T10:11:33.558-07:00Artist's books once again/Otra vez: Libros de artista<div style="text-align: center;">
<b>ARTIST'S BOOKS ONCE AGAIN / OTRA VEZ: LIBROS DE ARTISTA</b></div>
<div style="text-align: center;">
<br /></div>
Volví a meterme en el tema de libros de artista ahora en 2019 por participar en la feria de libros Codex en San Francisco.<br />
<i>In 2019 I participated in the Codex book fair in San Francisco, and so turned my attention to artist's books once more.</i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0KgYy76fn_2AlqqfQPsbBdGxHXiYQ2cNRRu3jJeO2EOrLR-46GlAOd2wfKNtg3bBQziCTWhnLGqREiphLZj7N2c0je50KLXDvbVWFj3Sw-syEwQJQXUmq0xg3A88lXPfHZuLQKoS5JloQ/s1600/Fashion+-serie+Inmolacio%25CC%2581n+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="1360" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0KgYy76fn_2AlqqfQPsbBdGxHXiYQ2cNRRu3jJeO2EOrLR-46GlAOd2wfKNtg3bBQziCTWhnLGqREiphLZj7N2c0je50KLXDvbVWFj3Sw-syEwQJQXUmq0xg3A88lXPfHZuLQKoS5JloQ/s640/Fashion+-serie+Inmolacio%25CC%2581n+2.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><i>Fashion</i> de la serie <i>Inmolación, II</i>, 2019 /<i> Fashion</i> from the series <i>Immolation, II</i>, 2019</span></div>
<div style="text-align: center;">
<br /></div>
Empecé la serie <i>Inmolación</i> hace diez años (el primer libro introduce este blog). Ya contaba desde hace años con un archivo de imágenes de volcanes, jóvenes con molotov, gente inmolándose: gravitaba hacia estas temas. Como en toda mi obra las imágenes se ordenan por una lógica formal (cómo se mueve el ojo de una escena a otra) y una lógica ilógica, es decir, por motivos que desconozco pero reconozco. Acá, la segunda versión del libro <i>Fashion</i> de esta serie.<br />
<i><br /></i>
<i>I started the series "Immolation" ten years ago (the first book introduces this blog). Due to some natural affinity with volcanoes, young men with molotovs and people burning themselves up, I had been forming an archive of fire images for years before. As in all my work the images begin to organize themselves by a kind of internal logic (for instance, according to how the eye moves from one scene to another), as well as by an illogical logic, that is, for motives I don't understand, but recognize. Here, the second version of the book "Fashion" from this series.</i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYDAiMHVpyzapAEP0SGCm54_jXU7-K9QB2vgFZTVNWf0MQ1CwPJ4Z2fwECY-snaFd_11t6F1GuZYQzGBmJFYKcHxGlyyClGRg-rr4RiOm3BpyFkDE5f8bi6_jE97Y7pmuK5puXSIqfxfU/s1600/Fashion+-serie+Inmolacio%25CC%2581n+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="527" height="604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYDAiMHVpyzapAEP0SGCm54_jXU7-K9QB2vgFZTVNWf0MQ1CwPJ4Z2fwECY-snaFd_11t6F1GuZYQzGBmJFYKcHxGlyyClGRg-rr4RiOm3BpyFkDE5f8bi6_jE97Y7pmuK5puXSIqfxfU/s640/Fashion+-serie+Inmolacio%25CC%2581n+3.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">detalle/"Fashion" 2o versión - detail "Fashion" 2o version</span></div>
<br />
<br />
En general estos libros se pueden considerar múltiples en editions abiertas. En la práctica cada uno representa bastante labor y puede ser o único o una de varias versiones.<br />
<br />
<i>In general these books can be considered multiples in open editions. In practice, each is labor-intensive and is either unique or one of several versions.</i><br />
<i><br /></i>
<br />
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tjgZ1s3mIuNSZsEBnEtZe62P7QUcOJ0xldB0knurh99KaV8NT-68KMP08i9JffBGF-QHJGiPewdPXBzAP3PxgPC-0fDiyQSlTVzeLUma3rJX9WSnwlzklWKLs4SKQ_KeQWDjtd6iqyrs/s1600/fire+archive.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1143" data-original-width="1225" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tjgZ1s3mIuNSZsEBnEtZe62P7QUcOJ0xldB0knurh99KaV8NT-68KMP08i9JffBGF-QHJGiPewdPXBzAP3PxgPC-0fDiyQSlTVzeLUma3rJX9WSnwlzklWKLs4SKQ_KeQWDjtd6iqyrs/s640/fire+archive.jpg" width="640" /></a></div>
<span style="font-size: xx-small;">fire archives / archives de fuego</span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div style="text-align: center;">
<i>- A DIFFERENT THEME</i>: OTRO TEMA -</div>
<div style="text-align: center;">
NUEVO LIBRO, Y NUEVA VERSIÓN DE UN LIBRO ANTERIOR, DEL PROYECTO DE MIGRACIÓN</div>
<div style="text-align: center;">
<i>A NEW BOOK, AND A NEW VERSION OF AN OLDER BOOK, FROM THE MIGRATION PROJECT</i></div>
<div style="text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieVp0-5xabiWvem8A2BuNEr4YH4VEffaHEv4VYPdn847LYFdraYSPfowW-v5660LjkwxoPAwKhDsTHYqbqGLAXHZu1AULHFaGbPeWGtku8ilgiHLfWrFxoqUUm2xBI2HFX2b-9tsBv1zpd/s1600/Cuando+mi+sangre+I+-detalle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="823" data-original-width="761" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieVp0-5xabiWvem8A2BuNEr4YH4VEffaHEv4VYPdn847LYFdraYSPfowW-v5660LjkwxoPAwKhDsTHYqbqGLAXHZu1AULHFaGbPeWGtku8ilgiHLfWrFxoqUUm2xBI2HFX2b-9tsBv1zpd/s640/Cuando+mi+sangre+I+-detalle.jpg" width="590" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">detalle de <i>Cuando mi sangre aún no era mi sangre...</i>/detail of <i>When my blood was not yet my blood...</i></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Entre los libros que llevé a Codex estaba éste cuyos elementos había juntado hace años cuando trabajaba en el proyecto <i>"Cuando mi sangre aún no era mi sangre..." Un periplo desde la Ciudad de Kansas hasta la Ciudad de México, 1880- 1920.</i> "Upward mobility" consiste en un collage de distintas fotografías de instancias de gente elevada en la Ciudad de México en principios de siglo: caballeros parados en sus sillas en las carreras de caballos, vedettes en una red, gimnastas, y la inauguración de la columna de la Independencia. (Principalmente de la colección Casasola de la Fototeca). Finalmente armé el libro para una exposición en el Museo de la Ciudad con el tema de la historia de la Ciudad de México, en 2017. </div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFk7RxLlWMN0E7iJXYdSIIA1-jD52SBxdBo7HTYydPpx-7J05hGxyKM3N5StV3UUWjMNCzIzAp9u6VLt5fRzAaDhWQi3YywKmI2KPIqCatOOqb9jhDQOXPt21nITp2D-MNv5xoyNf19owr/s1600/casasola.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="744" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFk7RxLlWMN0E7iJXYdSIIA1-jD52SBxdBo7HTYydPpx-7J05hGxyKM3N5StV3UUWjMNCzIzAp9u6VLt5fRzAaDhWQi3YywKmI2KPIqCatOOqb9jhDQOXPt21nITp2D-MNv5xoyNf19owr/s640/casasola.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYLCTiCumTgNqERGndIsgOVMF1AvV4FIoXEyR8eGNVz8jYxpPldm0To5732grLhKxtXLOhcnVLrjAXKI8IWskSqYgBSYe2O7m-wkbP6GSj2fU3OJ_8OHvcNXmib3ezVJxtSZbMFvDlxqDZ/s1600/35803+v.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1262" data-original-width="1600" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYLCTiCumTgNqERGndIsgOVMF1AvV4FIoXEyR8eGNVz8jYxpPldm0To5732grLhKxtXLOhcnVLrjAXKI8IWskSqYgBSYe2O7m-wkbP6GSj2fU3OJ_8OHvcNXmib3ezVJxtSZbMFvDlxqDZ/s640/35803+v.tif" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">fotografías utilizadas en "Upward Mobility"- photographs used in "Upward Mobility"</span></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<div style="text-align: justify;">
<i>Among the artist's books I took to Codex was one whose elements I put together when I was working in the project </i>"When my blood was not yet my blood": a journey from Kansas City to Mexico City, 1880 - 1920. <i>"Upward Mobility" consists of a collage of different photographs of people in elevated situations around the beginning of the 20th century in Mexico City: gentlemen at the racetracks standing on their chairs, chorus girls on a net, gymnasts, and the inauguration of the Independence Column. (Principally from the Mexican Fototeca's Casasola archives). Finally I put the book together for a show in the Museo de la Ciudad in Mexico City with the theme of the history of the city, in 2017.</i></div>
<div style="text-align: justify;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kyUSrPX2D3uS1nztvO70wLYJceTEzmNJP_rKoLVaMBRKFCKxZz8qsVUSBIhw8EQG9-y2mTchYuKpUvJBXDaENLNfTW-5CPEGYLW6X7cnzI4dAGmv3RaB_Al-R2arQjuNXLGuHTslES4e/s1600/Upward+mobility+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="314" data-original-width="725" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kyUSrPX2D3uS1nztvO70wLYJceTEzmNJP_rKoLVaMBRKFCKxZz8qsVUSBIhw8EQG9-y2mTchYuKpUvJBXDaENLNfTW-5CPEGYLW6X7cnzI4dAGmv3RaB_Al-R2arQjuNXLGuHTslES4e/s640/Upward+mobility+2.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: justify;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPn-UzOWlN1NzZsz5lVEEOsoyFMk6bQtd1ZkCbnldGT3CKl8PEX6aV4RlHmAw7sE3Swpz9WdPyvXL7967Zhyphenhyphen2FeQY4qQP_BDVIghgIVP-sXMwQJFGQEMkk-Fm8eH6UTaFB1EV32TzlFFt/s1600/Upward+mobility.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="513" data-original-width="1494" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPn-UzOWlN1NzZsz5lVEEOsoyFMk6bQtd1ZkCbnldGT3CKl8PEX6aV4RlHmAw7sE3Swpz9WdPyvXL7967Zhyphenhyphen2FeQY4qQP_BDVIghgIVP-sXMwQJFGQEMkk-Fm8eH6UTaFB1EV32TzlFFt/s640/Upward+mobility.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<span style="text-align: center;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="text-align: center;">Para Codex, también inventé una versión mucha más chica de un libro de artista de 2010, "El palacio", en que una imagen del Palacio de Bellas Artes en construcción, arrugada e intervenida con costura, sale de una cajita </span><span style="text-align: center;"> hecha de latón y forrada</span><span style="text-align: center;"> de papel, con la misma image en la tapa.</span></div>
<div style="text-align: justify;">
<span style="text-align: center;"><br /></span></div>
<div style="text-align: justify;">
<span style="text-align: center;"><i>For Codex I also made much smaller version of an artist's book from 2010, "The Palace", in which a crumpled and intervened with needlework image of the Palace of Fine Arts under construction is encased in a small papered tin box with the same image in miniature on the cover.</i></span></div>
<div style="text-align: justify;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQv29oCnYUeh2j6A6Mj3zFitNxGOf69ZFSfnRzXR4FoF77TMxiFuo78pnhx9TRo_K3CxUyTRjx75j9EntD7L-pZAGuZThhCidXYVHJ7jV9nKevJ0TuTcliYliXWE2mBneDBodimisNqLnX/s1600/El+palacio+versio%25CC%2581n+2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="961" data-original-width="1600" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQv29oCnYUeh2j6A6Mj3zFitNxGOf69ZFSfnRzXR4FoF77TMxiFuo78pnhx9TRo_K3CxUyTRjx75j9EntD7L-pZAGuZThhCidXYVHJ7jV9nKevJ0TuTcliYliXWE2mBneDBodimisNqLnX/s640/El+palacio+versio%25CC%2581n+2019.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
IN THE BEGINNING.../ EN EL PRINCIPIO...</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
Empecé a hacer collage en Xalapa cerca 1981, utilizando viejos números de Granma, envolturas de cigarillos y dulces, etc. No tuve respuesta en el medio para estos ejercicios (es decir, ni mercado ni entusiasmo) y los guardé hasta 2017-8, cuando se desarrolló un interés en el mundo del arte en coleccionar material vintage de los 70s y 80s. Al mismo tiempo experimentaba yo con con impresiones en transferencia utilizando thinner y el tórculo con revistas usadas con materia prima, con resultados no del todo exitosos. Y probé alterar las páginas de revistas con solvente, como manera de apropiar y subvertir su contenido.</div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0ODvMZXoWZYBiEaNxUy64oMCDSRsSNNTWLMLlqLDVMoquD8cN81yMOAbYOve1vBdjPVu4LCKWqJPR4JABmszrrfUjXiwVUjXeW1JxEjfOdZH9ir0FfFDkaK-G_LYjAhuVkf1csQYQcZVx/s1600/%25C2%25BFpienso+con+ma%25CC%2581s+ezfuerzo+o+me+ezfuerzo+por+no+pensar-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1341" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0ODvMZXoWZYBiEaNxUy64oMCDSRsSNNTWLMLlqLDVMoquD8cN81yMOAbYOve1vBdjPVu4LCKWqJPR4JABmszrrfUjXiwVUjXeW1JxEjfOdZH9ir0FfFDkaK-G_LYjAhuVkf1csQYQcZVx/s640/%25C2%25BFpienso+con+ma%25CC%2581s+ezfuerzo+o+me+ezfuerzo+por+no+pensar-2.jpg" width="476" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="font-size: x-small;">¿Pienso con más esfuerzo o me esfuerzo por no pensar? </i><span style="font-size: xx-small;">despintado de revista -</span><i style="font-size: x-small;">¿Should I think harder or try not to think?</i><span style="font-size: xx-small;"> magazine intervened with solvent</span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
Cuando se comercializó la fotocopia laser cerca de 1990, empezó mi producción seria de libros de artista: ya tenía una forma de mover una imagen de buena calidad a papeles interesantes o susceptibles de intervención y manejo (nepaleses y japoneses, papel de envoltura, etc). Fue aun un proceso muy laborioso, como cada imagen en su contexto original (libro, periódico, fotografía, etc.) se encuadraba con cinta o una ventana de papel, dejando solamente la parte a escanear visible, y había que calcular el tamaño proyectado de la impresión para poder negociar esto con el encargado de la máquina de escaneo. Claro, ahora en el siglo 21, se resuelve todo en Photoshop y usb. </div>
<div class="separator" style="clear: both; text-align: justify;">
Tras los años encuadraba, quemaba, cosía, intervenía con hoja metálica, y estresaba como se me ocurría estos papeles ya transferidos. En parte servía para diferenciar la imagen impresa de la foto original y en arte, la articulaba como una imagen trabajado artesanalmente, con características de palimpsesto, a diferencia de una impresión más tecnológica y limpia.</div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWNb-b-2nbFl0x2rgjn2ff-45W6t5R9e_LjMjSoRK98HkP59nZhtGPEy0injVCZjb49HBbUnbVjbWdg3TmomraMFKmkv_bI4CG5atRolZWVewDaxP24tuvxbmWRRxMtQlD3V_O-pLa4I4n/s1600/Cohete.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="831" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWNb-b-2nbFl0x2rgjn2ff-45W6t5R9e_LjMjSoRK98HkP59nZhtGPEy0injVCZjb49HBbUnbVjbWdg3TmomraMFKmkv_bI4CG5atRolZWVewDaxP24tuvxbmWRRxMtQlD3V_O-pLa4I4n/s640/Cohete.jpg" width="332" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;">Cohete, collage 1981 / Rocket, collage 1981</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<i>I started making collage in Xalapa around 1981, with old issues of the Cuban newspaper </i>Granma<i>, cigarette and candy wrappings, etc. I had no positive response to these exercises (no market, etc.) and keep them archived away until 2017-18, when the art world became interested in collecting vintage material from 70s and 80s artists. I also experimented with transfer prints using paint thinner and the printing press, with old magazines as raw material, with fairly uneven results. And I tried altering magazine pages with solvent, as a form of appropriating and subverting its context. </i></div>
<div class="separator" style="clear: both; text-align: justify;">
<i>When laser photocopies were commercialized around 1990, my production of artist's books began seriously: now I had a way to move a good quality image onto malleable or interesting papers (Nepalese, Japanese, wrapping paper or found items). This was still a very laborious process, as each image was framed with tape or cut paper in its original context (book, photograph, newspaper for example), leaving visible only the part to be scanned, plus the intended size of this fragment in the final photocopy needed to be calculated so as to negotiate the result with the person charged with running the scanner. Of course, now in the 21st century, all of this is solved on Photoshop and a usb. </i></div>
<div style="text-align: justify;">
<i>Through the years I would crop, burn, crumple, tear, sew upon, intervene with metallic papers and otherwise stress these transferred papers. partly to differentiate the printed image from the original photograph and partly to articulate it as an hand-worked image, with palimpsest characteristics, as opposed to a cleaner, more technological impression.<span style="text-align: center;"> </span></i></div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih0gi2rWu8NGq7mqCKy9EM-vN0KiL1wsMUU1knewJRwHV8XJvyRzXCNhahExb_vrdBFKojPdi1n8AsQ6lbiVMCBWWfs11yRjw6dlN1T4UOq78A_CyHdk3h5Fal-ubI3R-7dfchSQUeVMRn/s1600/2+juntos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="848" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih0gi2rWu8NGq7mqCKy9EM-vN0KiL1wsMUU1knewJRwHV8XJvyRzXCNhahExb_vrdBFKojPdi1n8AsQ6lbiVMCBWWfs11yRjw6dlN1T4UOq78A_CyHdk3h5Fal-ubI3R-7dfchSQUeVMRn/s640/2+juntos.jpg" width="640" /></a></div>
<span style="font-size: xx-small;">Lords of the Wood, 1995 / Una familia - A Family, 1995</span><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Hp8wYtU6jbZYSvCeyhxCN4uqacq-07wxYN_vlm0qVtc84Z2tDhfO7gTe_O87TPrxgGKl6RQHzx__UEjfI9doPWkmPetehhpcJb5n0Y9LUv_OrNJp7_mNIJULxJpeyeP6CSv5F8pVpPFJ/s1600/una+familia-+detalle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="897" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Hp8wYtU6jbZYSvCeyhxCN4uqacq-07wxYN_vlm0qVtc84Z2tDhfO7gTe_O87TPrxgGKl6RQHzx__UEjfI9doPWkmPetehhpcJb5n0Y9LUv_OrNJp7_mNIJULxJpeyeP6CSv5F8pVpPFJ/s640/una+familia-+detalle.jpg" width="640" /></a></div>
<span style="font-size: xx-small;">detalle, Una familia / detail, A Family</span></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: justify;">
<b><br /></b></div>
<div style="text-align: center;">
ESPEJO DEL ALMA / MIRROR OF THE SOUL</div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYdY3mz5IzDDsvDW4476UWzpOVRHzwCZ-CrgBgzJB2IBVdF5uY05Zpxn4v2Zm_uNuVRkgYDjOWta5e3x9jZfHRjPVqCUQBL7IM6PgtlwxOTmBjWjFhvJuCeDcjwTinFyga45EOXtEsvvDk/s1600/espejo+del+alma+texto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1402" data-original-width="1051" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYdY3mz5IzDDsvDW4476UWzpOVRHzwCZ-CrgBgzJB2IBVdF5uY05Zpxn4v2Zm_uNuVRkgYDjOWta5e3x9jZfHRjPVqCUQBL7IM6PgtlwxOTmBjWjFhvJuCeDcjwTinFyga45EOXtEsvvDk/s640/espejo+del+alma+texto.jpg" width="478" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;">Espejo del Alma, detalle / Mirror of the Soul, detail</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhALQ20PlYW_ZA3_H5y-ifo2xyRjF4dKUnm12oIwqmweL_33xcfSM3VjJm8SW49BzzZQPHFX480DKMkJczotmwBdgKBkzn9UpykRNGFuHX_gwX0Y_H9WWCLmhu9GSIW3i75OrIJ6z9okShG/s1600/Espejo+del+alma+1994-2016+2o+versio%25CC%2581n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="1600" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhALQ20PlYW_ZA3_H5y-ifo2xyRjF4dKUnm12oIwqmweL_33xcfSM3VjJm8SW49BzzZQPHFX480DKMkJczotmwBdgKBkzn9UpykRNGFuHX_gwX0Y_H9WWCLmhu9GSIW3i75OrIJ6z9okShG/s640/Espejo+del+alma+1994-2016+2o+versio%25CC%2581n.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;">Mirror of the Soul 2019 version / Espejo del Alma versión 2019</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: justify;">
En la ciudad de Xalapa, Veracruz en los años 80s, donde vivía y trabajaba enseñando gráfica, frecuentábamos (mis hijos, mi pareja y yo) varias papelerías que llevaban muchos años en operación y que tenían la costumbre de almacenar en la trastienda toda su mercancía vieja conservando, más o menos, sus precios originales. Aquí podría surtirme de cuadernos antiguos de caligrafía, esquemas italianas de los años 40, libros de contabilidad viejos y toda manera de artefactos de papel que eventualmente encontrarían su destino incorporados a mi obra. Años después en la Ciudad de México, sobre las hojas de un cuaderno viejo sacado de esta acumulación, organicé la serie de figuras sin cara que forman <i>Espejo del alma</i>, basado en en un fragmento de una cita del dramaturgo George Bernard Shaw encontrado en un periódico: "Bernard Shaw dijo una vez: Se emplean los espejos para verse la cara, se emplea el arte para verse el alma".</div>
<div class="separator" style="clear: both; text-align: justify;">
<i>In the city of Xalapa, Veracruz in the early 80s, where I lived and worked teaching graphics, we (my kids and my partner) frequented several stationery and school-supply stores that had been in operation for many years and whose custom was to shelve all the old merchandise at the back of the store with more or less the original prices. Here I could stock up on old calligraphy books, Italian illustrated charts from the forties, ledgers and all manner of stationery artifacts which eventually would find their way into my work. Years later in Mexico City, on the pages of old notebook from this hoard, I organized the series of faceless figures that make up </i>Mirror of the Soul<i>, based on a fragment of a quote from George Bernard Shaw found in a newspaper: "spirit. Bernard Shaw once said: Mirrors are used to see one's face and art, to see one's soul".</i></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZg-j-5NwDN1Fzcqj4AiFvjcFL1wly9b6a5Ev2H737PihgLT18b_j-za7j9HfgC0QCJpqaxG2yyUk4DRRE61ttSbyYM3hVTIw12HhxBfqRWzqGH0dG540HjXCaXipCBeBZFVM81akD4Bi/s1600/Espejo+del+alma.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="1500" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZg-j-5NwDN1Fzcqj4AiFvjcFL1wly9b6a5Ev2H737PihgLT18b_j-za7j9HfgC0QCJpqaxG2yyUk4DRRE61ttSbyYM3hVTIw12HhxBfqRWzqGH0dG540HjXCaXipCBeBZFVM81akD4Bi/s640/Espejo+del+alma.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">Mirror of the Soul, / Espejo de alma</span></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-28325256744497348122018-01-28T16:25:00.000-08:002018-02-11T19:22:17.942-08:00Cuatro años después...<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: right;">
<i>Scroll down for English...</i></div>
<div class="separator" style="clear: both; text-align: right;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSZGq711lIhrWZkrthjMcpG1YMiP8H3DRq1O2w4O78A_0kVRyuzaeW1hEQIV1n8smg81oRXdoSt1qsDZdqx88KbYCr0LxdZfs9E5boyZFumjwWjV7OPxRTyJw8rz2R-hLxI3btCiaEt_5Y/s1600/esmeralda+di%25CC%2581ptico.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1340" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSZGq711lIhrWZkrthjMcpG1YMiP8H3DRq1O2w4O78A_0kVRyuzaeW1hEQIV1n8smg81oRXdoSt1qsDZdqx88KbYCr0LxdZfs9E5boyZFumjwWjV7OPxRTyJw8rz2R-hLxI3btCiaEt_5Y/s640/esmeralda+di%25CC%2581ptico.jpg" width="640" /></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
De noviembre 2013 a noviembre 2017 fui directora de la Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda", una escuela de arte a nivel universitario del Instituto de Bellas Artes del gobierno mexicano. Fueron años muy productivos e interesantes, pero mi vida como artista visual se limitó mucho. Nunca tuve tiempo de actualizar mi blog y en general, y aunque sí pude organizarme para sacar dos exposiciones grandes: una individual en el Museo Mavi en Santiago de Chile -<i>Lo que se mueve en la memoria-</i> </div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveoFo1HjwkWzGMMkecOBWBvwUChJAk5AySRQKtI6Ktg04GZ93KhXzp2_w5xJ3uEYj_eZOAee0gLu4fUAmB4BGphomKFyW-yzCK47QTQHKbFM0DViZ7ClhcQ9xhOGxWbeNGyNRQvF8pP96/s1600/11817179_10152936629556817_1468039948292061918_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="900" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveoFo1HjwkWzGMMkecOBWBvwUChJAk5AySRQKtI6Ktg04GZ93KhXzp2_w5xJ3uEYj_eZOAee0gLu4fUAmB4BGphomKFyW-yzCK47QTQHKbFM0DViZ7ClhcQ9xhOGxWbeNGyNRQvF8pP96/s640/11817179_10152936629556817_1468039948292061918_n.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
y una retrospectiva en el Museo Carrillo Gil (y el Museo de Ciudad Juárez) -<i>Carla Rippey, Resguardo y resistencia, 1976 a 2016-</i> mi carrera como artista visual, en términos de producción nueva, estuvo prácticamente suspendida.</div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUDQK8mZz1olDLNF7L4ZD0NmTmbH69ig_EHsyyj-MvRhgL_XWY-INHYPLFjhORRVpNakLurDH6Yq94hiWrpu-9_b1wSdEhWjwRWuYCPlgz54jNJPJlCdveSdrUz4cx-FhLfJSXC6KNk1-/s1600/resguardo+y+resistencia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="720" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsUDQK8mZz1olDLNF7L4ZD0NmTmbH69ig_EHsyyj-MvRhgL_XWY-INHYPLFjhORRVpNakLurDH6Yq94hiWrpu-9_b1wSdEhWjwRWuYCPlgz54jNJPJlCdveSdrUz4cx-FhLfJSXC6KNk1-/s640/resguardo+y+resistencia.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGn_sPIXazOM9oybcFJnfA0gNYP7ydctQFNfm5oVsh8dqKTpmdv91WRozxL4FHIloVt8cK-QhQUoBo2E8JfRgMYF2h-QgYMFJ3bMBVUMLWLcxKi7vjepvs-4mwRzr9oF_8RI2nPTZpaS8/s1600/rippey+en+juarez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGn_sPIXazOM9oybcFJnfA0gNYP7ydctQFNfm5oVsh8dqKTpmdv91WRozxL4FHIloVt8cK-QhQUoBo2E8JfRgMYF2h-QgYMFJ3bMBVUMLWLcxKi7vjepvs-4mwRzr9oF_8RI2nPTZpaS8/s640/rippey+en+juarez.jpg" width="640" /></a></div>
<br />
Por ende, decidí no postularme para un segundo periodo en la escuela (aunque sigo participando como docente) para poder retomar mi producción.<br />
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<i>From November 2013 until November 2017, I worked as director of the National School of Painting, Sculpture and Printmaking, "La Esmeralda", a university-level art school of the National Institute of Fine Arts of the Mexican government. They were four very interesting and productive years, but my life as an artist was considerably limited. I never had time to update my blog, and although I was able to organize myself enough to have two big shows, one in Santiago de Chile -<b>That which moves in memory</b>, in the MAVI museum, and another, <b>-Carla Rippey, Resguardo y resistencia, 1976 - 2016</b> (the Spanish word "resguardo", means safekeeping, holding onto things), in the Carrillo Gil Museum in Mexico City (as well as in Ciudad Juárez, México), my career in terms of new production was practically on hold. So I decided not to be a candidate for a second term (although I am still a teacher at the school), in order to work more on new projects.</i></div>
<br />
Entre lo poco que sí pude hacer durante los años dedicados a la escuela, destaca para mí el libro-artista <i>Grief </i>que hice en memoriam a mi hermana, quien se murió en principios de 2013, sobre el proceso de duelo.<br />
Las imágenes fueron todas encontradas en la red (ese espacio virtual donde pasamos la mitad de cada día), menos la primera, que es una fotografía que tomé desde la ventana de su casa.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDP2Ig41CWaavLabb5qcPMbs1mJJchcblcGcBSpRCH89bWUCyVzbKOu46dj1I5NSAEZXKvn5HAMmoCJKHdJlfNGjtGsTpZbUaASmPYDxd8r0UZzKaOl4qzKqheUTWWS7CuhLF5v8l2Fekl/s1600/Grief+febr+2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="469" data-original-width="1600" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDP2Ig41CWaavLabb5qcPMbs1mJJchcblcGcBSpRCH89bWUCyVzbKOu46dj1I5NSAEZXKvn5HAMmoCJKHdJlfNGjtGsTpZbUaASmPYDxd8r0UZzKaOl4qzKqheUTWWS7CuhLF5v8l2Fekl/s640/Grief+febr+2017.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgovuOY_Shwaby7xafWyEDD3XwXbQ7X5T3DXhTgeXUolTVTiteCNIIAqxriElHOiNXTYTe-OTbsiGeytsRZboebITDnYfCfUwCgVG2xaMaxXWCcKYLjgjUFXyGsnBk0n2s99ZtCpfKLGXzN/s1600/Grief+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgovuOY_Shwaby7xafWyEDD3XwXbQ7X5T3DXhTgeXUolTVTiteCNIIAqxriElHOiNXTYTe-OTbsiGeytsRZboebITDnYfCfUwCgVG2xaMaxXWCcKYLjgjUFXyGsnBk0n2s99ZtCpfKLGXzN/s640/Grief+1.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQc0XN8d4WzesJavEJtzAnXva0WLvWHe5PO5E2xuC0IP3SP1E80GncBY53Ew5LbWOFQ1ZRdhk-ACEViJts0dhV5NVztcJEfmSM-HDZVR2M0okPEkrRROHGL_vBBpq9SByrELCmZKPkLLfB/s1600/Grief+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1026" data-original-width="1600" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQc0XN8d4WzesJavEJtzAnXva0WLvWHe5PO5E2xuC0IP3SP1E80GncBY53Ew5LbWOFQ1ZRdhk-ACEViJts0dhV5NVztcJEfmSM-HDZVR2M0okPEkrRROHGL_vBBpq9SByrELCmZKPkLLfB/s640/Grief+2.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijFimbt7qMcp-ZRui-B5nhNaU407cddiAz2iQjHOlbgC9JRSvz7ziJV3_WZASiLMcl-7CMqEmGEQpSv-TN3wUJrHO4iBGkuFbqdzLUB0XJSvil5_eHAcOpdjfAAzUEE0ZyQQIlmpfAdpgr/s1600/Grief+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="925" data-original-width="1600" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijFimbt7qMcp-ZRui-B5nhNaU407cddiAz2iQjHOlbgC9JRSvz7ziJV3_WZASiLMcl-7CMqEmGEQpSv-TN3wUJrHO4iBGkuFbqdzLUB0XJSvil5_eHAcOpdjfAAzUEE0ZyQQIlmpfAdpgr/s640/Grief+3.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-lJAHNhqVcEKDBDsCaX3kPv_I4K6a4VPRKvmmhRF_WojrabJ95pit5OSCRGtwpkvjj9pGvhoP5FzHxl7uStdpj-97dIw8frbP2Krc6nIRmk8y3igYCY9g3Lxqcs1wXbV2VYGAgV9hsTJ/s1600/grief+8+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1229" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-lJAHNhqVcEKDBDsCaX3kPv_I4K6a4VPRKvmmhRF_WojrabJ95pit5OSCRGtwpkvjj9pGvhoP5FzHxl7uStdpj-97dIw8frbP2Krc6nIRmk8y3igYCY9g3Lxqcs1wXbV2VYGAgV9hsTJ/s640/grief+8+ch.jpg" width="490" /></a></div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: justify;">
<i>Of the little work I was able to produce during the years dedicated to the school, the artist´s book, <b>Grief</b>, (about the process of grieving), made in memory of my sister, who died in the early days of 2013, stands out for me. </i><i style="text-align: center;">All the images in the book I found on line (the virtual place where we spend half our days), except the first, which is the view from a window of my sister's house.</i></div>
<div class="separator" style="clear: both; text-align: justify;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgz9oprjUPxBZOkBP_ZBdRKIL0ie1k1rfVIOmz7FjubAooBv_hjyglEHNBhCwbOdY4Hd97-G6-lH0M3QU1F5VhzOWuzVtlIQgX5_T0U5uAAwupzqn1avhs8UHsf6CqvJ8FciBZQoXIVUO/s1600/Grief.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1136" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgz9oprjUPxBZOkBP_ZBdRKIL0ie1k1rfVIOmz7FjubAooBv_hjyglEHNBhCwbOdY4Hd97-G6-lH0M3QU1F5VhzOWuzVtlIQgX5_T0U5uAAwupzqn1avhs8UHsf6CqvJ8FciBZQoXIVUO/s640/Grief.jpg" width="450" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;">otra versión/ <i>another version</i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<span style="font-size: xx-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
También en esos años me puse a trabajar con un archivo que hizo durante un mes que pasé en Camboya en 2012. Estuve dando una clase de gráfica a chavos de la Universidad Real donde un colectivo mexicano (Tequio) había regalado una prensa de grabado (después agregaron una de litografía). En las noches en el hotel, me ponía tomar fotos de la pantalla del televisor: había cable de Corea, China, La India, Australia, Tailandia, Vietnam, Japón y quién sabe que más. A veces pasaban películas gringas con subtítulos en chino, a veces películas chinas con subtítulos en inglés...me volví adicta de una telenovela coreana. A este archivo agregué fotos que tomé de los templos de Angkor Wat y de los frescos deteriorados del Palacio Real, además de escenas de la calle en Phomn Penh. </div>
<div class="separator" style="clear: both; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif60AJC0F99Fk0FM9Y3P3VXtbGuJMRVgfe89xYboFOf21t02QzYZIGw6MsJVS5PIXCMJq2VaXp9WUt9riRJBKoxcbs28yxNqx-CRqd737Xyxud8qSvBtEQ0mxmJCY9UKNBeiLJHwxa1jZ8/s1600/asian+tv.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif60AJC0F99Fk0FM9Y3P3VXtbGuJMRVgfe89xYboFOf21t02QzYZIGw6MsJVS5PIXCMJq2VaXp9WUt9riRJBKoxcbs28yxNqx-CRqd737Xyxud8qSvBtEQ0mxmJCY9UKNBeiLJHwxa1jZ8/s400/asian+tv.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">El televisor del hotel/<i>The hotel televisión</i></span></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLgdI9sT_BgUcYv_trmyCFUlC5rgyTte_jsEpP_Lb12Waao4jbvWdawA6T9klpI9u0KuEWNQhHBhzhPKeKSQlEK5c2sA73nZWL8gDEMssGPnzO-U3g1v3cytSzi9aHdl5LhU61CXYffM7_/s1600/bajo+relieve+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLgdI9sT_BgUcYv_trmyCFUlC5rgyTte_jsEpP_Lb12Waao4jbvWdawA6T9klpI9u0KuEWNQhHBhzhPKeKSQlEK5c2sA73nZWL8gDEMssGPnzO-U3g1v3cytSzi9aHdl5LhU61CXYffM7_/s400/bajo+relieve+1.JPG" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;">Bajorrelieve de Angkor Wat/</span><i style="font-size: x-small;">Bas reliefs at Angkor Wat</i></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Tq0FI90XRZQwFriADqm1sDaG3Q-pf7WYNlg7IKSetWHSR3zwqk4Oj9NZRm6J-YDFJLzQaJGv0h6Eah71nnOoQzhLxMIsZZh38OBAIFYVzs4ykzmtDMXTsNqE8lLmCYjEPKZ3eV5GFdAx/s1600/3.+street+image+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1000" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Tq0FI90XRZQwFriADqm1sDaG3Q-pf7WYNlg7IKSetWHSR3zwqk4Oj9NZRm6J-YDFJLzQaJGv0h6Eah71nnOoQzhLxMIsZZh38OBAIFYVzs4ykzmtDMXTsNqE8lLmCYjEPKZ3eV5GFdAx/s400/3.+street+image+3.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;">Una cortina de plástico en Phomn Penh /<i>A plastic curtain in Phomn Penh</i></span></div>
<div style="text-align: center;">
</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-size: xx-small;"><br /></span></div>
<div style="text-align: justify;">
Ya en México empecé a ordenar las imágenes y crear narrativas, según la lógica de las imágenes (tenían más que 200). Salieron, para empezar, cuatro libros de artista (así los veo, como libros, aunque se exponen planos, porque tienen cuadros sucesivos de imágenes). Inesperadamente, el tema era la lucha y la guerra, por ende, el título general,<i> Belicoso</i>. También inusual para mí: los colores predominantes resultaron ser rojo y azul, nada común en mi obra. Los títulos están en inglés.</div>
<div style="text-align: justify;">
<br /></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKQEMOX9d0n3ivM6ZvnRcFYsm7RReORhn7i-V2PTZMu3NoyROGQqd5HfpTTKeY3qLUNy79EIusCyhrVuCPjS0GVPNxOzoQAqOEbKlpOKRzg46ahako2MKics5ms0fVpPALKcPYKHZBSVH/s1600/de+la+serie+Belicoso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1341" data-original-width="1500" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKQEMOX9d0n3ivM6ZvnRcFYsm7RReORhn7i-V2PTZMu3NoyROGQqd5HfpTTKeY3qLUNy79EIusCyhrVuCPjS0GVPNxOzoQAqOEbKlpOKRzg46ahako2MKics5ms0fVpPALKcPYKHZBSVH/s640/de+la+serie+Belicoso.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Belicoso: tres de los primeros cuatro libros de artista / <i>Bellicose: three of the first four artist's books</i></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Xk2XO3RIpqr9eOt_XhDIeJBFoI5kVNOynsueD7aAHxNPXyvTd7NRqJRf-qUB7Dmiu3A5X0Ej6AOZ_Xhg4R1dq0Rn1J5l4KUW9tMv-JrwHtA4x9uvaBdRtB8_U0OZ9PXKvbudS6u8Xi-7/s1600/speaks+in+a+foreign+language.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1048" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Xk2XO3RIpqr9eOt_XhDIeJBFoI5kVNOynsueD7aAHxNPXyvTd7NRqJRf-qUB7Dmiu3A5X0Ej6AOZ_Xhg4R1dq0Rn1J5l4KUW9tMv-JrwHtA4x9uvaBdRtB8_U0OZ9PXKvbudS6u8Xi-7/s640/speaks+in+a+foreign+language.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i>"Speaks in foreign language"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF7f-edNUT3AFVX_t3XwHqFQJttmFUIH_Fsk1EGtK2kgZ0kklaX9Xkb_2rn76tbicwTyl4DPklzmk4z5XsyB4zEZrNGySx6fJmPKDCokgH6-ttHDRmNUDrTp9MhhT45RVQuYNf5bK6-w_I/s1600/speaks+in+a+foreign+language....jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="1600" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF7f-edNUT3AFVX_t3XwHqFQJttmFUIH_Fsk1EGtK2kgZ0kklaX9Xkb_2rn76tbicwTyl4DPklzmk4z5XsyB4zEZrNGySx6fJmPKDCokgH6-ttHDRmNUDrTp9MhhT45RVQuYNf5bK6-w_I/s640/speaks+in+a+foreign+language....jpg" width="640" /></a></div>
<div style="text-align: center;">
<i><span style="font-size: xx-small;">Una película de un cíclope, bajorrelieves de Angkor Wat y un galán camboyano / A cyclopes movie, bas reliefs from Angkor Wat and a Cambodian leading man </span> </i></div>
<div style="text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglyFb19CRKkjJR2PjDtOuZgPK4LFV44R85l8KFJGd8SCM8f60oetkS-mQDWMBWGeWbSZ06DI-ARi4bgwezcZA4K1Jw7qRdg19uHkofL53vhloL2wMhMcPXqS-eDkCjgW7kJDFFON5hpbID/s1600/all+I+wanted....jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglyFb19CRKkjJR2PjDtOuZgPK4LFV44R85l8KFJGd8SCM8f60oetkS-mQDWMBWGeWbSZ06DI-ARi4bgwezcZA4K1Jw7qRdg19uHkofL53vhloL2wMhMcPXqS-eDkCjgW7kJDFFON5hpbID/s640/all+I+wanted....jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i>"All I wanted him to do was take out the trash"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi856UkpNiG2fSDxZ2HGx6yLbwACO9Jgcp1ClZT9M72wTEaT2y_WvlORysfAs7ZEC1cmdEZ93ckPZzq1_uxFdYaT3Kb67KdV6lWG-55IbNLBYonO_gY8Qu-7kEjXr7RRLpkRK_jw-pMC_Ov/s1600/all+I+wanted+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="695" data-original-width="881" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi856UkpNiG2fSDxZ2HGx6yLbwACO9Jgcp1ClZT9M72wTEaT2y_WvlORysfAs7ZEC1cmdEZ93ckPZzq1_uxFdYaT3Kb67KdV6lWG-55IbNLBYonO_gY8Qu-7kEjXr7RRLpkRK_jw-pMC_Ov/s640/all+I+wanted+2.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;">Una película gringa de una invasión extraterrestre combinada con una escena de una telenovela de la India /<i>An American movie about an invasion of aliens combined with an Indian soap opera</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: justify;">
<i>During those years at school I started working with an archive I put together in the months I spent in Cambodia in 2012. I was there giving a graphics class to kids in the Royal University where a Mexican artists' collective had donated an etching press (they later donated a lithographic one as well). In the hotel at night, I started taking photos of the TV screen:there was cable from Korea, China, India, Australia, Thailand, Vietnam, Japan and who knows where else. Sometimes I saw American films with Chinese subtitles, sometimes Chinese films with English subtitles...I got addicted to a Korean soap opera. To this archive I added photos that I took in the temples of Angkor Wat and of the deteriorated frescos in the Royal Palace, as well as Phomn Penh street scenes.</i></div>
<div>
<div style="text-align: justify;">
<i>Back in Mexico I started to work with the images and create narratives, according to the logic of the images (I had more than 200). To start with four artist's books emerged (I see them as books although they are displayed flat, as they depend on successive blocks of images). Unexpectedly, the themes ran to war and fighting, thus the title: <b>Bellicose</b>. Also unusual for me was the color scheme, predominately blue and red, not at all common in my work. The titles are originally in English.</i></div>
</div>
<div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPNvYwyt0vpaD2hL0uBGW1sjz7kVzaSu2hw2_GKsWrJQbvdn4ih7_qoBvrIDF-r21cCAdzxY30KtR6-qZDzJEhj2rDJH7kc67bklsoN_PBg2cK1Z4x5AKMHbvERFDNonFTmNOcCwdJOKl/s1600/art+of+war+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="657" height="622" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBPNvYwyt0vpaD2hL0uBGW1sjz7kVzaSu2hw2_GKsWrJQbvdn4ih7_qoBvrIDF-r21cCAdzxY30KtR6-qZDzJEhj2rDJH7kc67bklsoN_PBg2cK1Z4x5AKMHbvERFDNonFTmNOcCwdJOKl/s640/art+of+war+3.jpg" width="640" /></a></div>
<div style="text-align: center;">
<i>The Art of War</i></div>
<div style="text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1KdAMXMpJ9XeOYDM6VdKvKv9Lz6kQyfbXRcuCppvE3JeMfR1GVsrA4Zh_N1JinJpxEj88FB87Q8-i08EScZQlIImfshnQaZKoChntTT9XQwf0Q1xs_t4YM_2s-JVOJb4C6uSjL9eFOsre/s1600/The+Art+of+War....jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1000" height="558" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1KdAMXMpJ9XeOYDM6VdKvKv9Lz6kQyfbXRcuCppvE3JeMfR1GVsrA4Zh_N1JinJpxEj88FB87Q8-i08EScZQlIImfshnQaZKoChntTT9XQwf0Q1xs_t4YM_2s-JVOJb4C6uSjL9eFOsre/s640/The+Art+of+War....jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: xx-small;">La cortina de plástica, imágenes de la televisión chia, frescos de la versión camboyana de la Ramayana/The plastic curtain, images from Chinese television, frescos from the Royal Palace of the Cambodian version of the Ramayana</span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-DTkxaN1cAYBqeqM8W6Qi1BebDJI8IpispGs0yx8L5Wud5j4E_D8rNPXvjfaPLBIN0HpVvCEYnIGgn4BZU-OHP9YTDLY3SbBNGVtrINb0UgVz7QeexQsx4zRdy48g0lzNhMWRD5wj8hxZ/s1600/art+of+war+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="693" height="598" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-DTkxaN1cAYBqeqM8W6Qi1BebDJI8IpispGs0yx8L5Wud5j4E_D8rNPXvjfaPLBIN0HpVvCEYnIGgn4BZU-OHP9YTDLY3SbBNGVtrINb0UgVz7QeexQsx4zRdy48g0lzNhMWRD5wj8hxZ/s640/art+of+war+4.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"> Única adición foránea al archivo: Esta imagen de luchadores de sumo es del fotógrafo italiano Felice Beato / <i>The only addition from outside to the archive: This image of sumo fighters is by the 19th century Italian photographer Felice Beato</i></span></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><i><br /></i></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYR9kY07nEfNXI-VpO4zdZJdkG0golq1gLIpxryBjyDFrhN9XsU6yLUrWqaxl8z4vBXCndLgHaDtZEDuVH1my75DefgcrlMh05CaW_2gEJUUSYoA5kNZBDkiXEpj4pQ-mEgbvdVtahmxSy/s1600/outisde+the+studio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYR9kY07nEfNXI-VpO4zdZJdkG0golq1gLIpxryBjyDFrhN9XsU6yLUrWqaxl8z4vBXCndLgHaDtZEDuVH1my75DefgcrlMh05CaW_2gEJUUSYoA5kNZBDkiXEpj4pQ-mEgbvdVtahmxSy/s640/outisde+the+studio.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Afuera del taller de grabado en la Universidad Real / Outside the Royal University graphics studio</span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><br /></span></div>
<div style="text-align: justify;">
Camboya aun en 2012 seguía en el proceso de recuperarse del genocidio de Pol Pot de los 70. Antes de la donación mexicana no había un taller de grabado en la universidad; el genocidio siguió siendo un tema recurrente para los alumnos, como afectó a las familias de todos.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Even in 2012 Cambodia had not yet recovered from the genocide of Pol Pot in the 70s. Before the Mexican donation there was no printmaking studio at the university; the genocide is still a major theme for the students, as everyone's family was affected.</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipal_bznRbDA28ezB48UxYREE5IIZ-E8ovxoYhQZCbfLWD2-5rXuNWgqTZShxwAzKrIos8jE6pmefrnLqd1NWohg6s_-8nZO196uPiDQvtootc3vGPpFNvLv0Skkwr6YSSpGi_1rWVtXJj/s1600/Camboya.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1338" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipal_bznRbDA28ezB48UxYREE5IIZ-E8ovxoYhQZCbfLWD2-5rXuNWgqTZShxwAzKrIos8jE6pmefrnLqd1NWohg6s_-8nZO196uPiDQvtootc3vGPpFNvLv0Skkwr6YSSpGi_1rWVtXJj/s640/Camboya.jpg" width="640" /></a></div>
<div style="text-align: center;">
<i style="font-size: x-small;">Los alumnos y Chan Vitarin, docente encargado del taller / The students, y Chan Vitarin, the teacher in charge of the studio</i></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><i><br /></i></span></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><i><br /></i></span></div>
C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-90545320050858426372012-05-04T21:35:00.000-07:002012-05-29T08:05:56.112-07:00The Creature Walks Among Us<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsQsTaFwzGmPr1L0yd44xhugIwQGZ3I8J49RMHhaV5pF8dB0TuVPWNFRq1RZy_4dPk3s0KATNPhOiFrYEiIerqNYvmxkcss76R_bpsPgtEI3F8_wTiVz0JebzcLAdRP7w2QW08wCI0bdF/s1600/El+abismo+ch+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="610" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsQsTaFwzGmPr1L0yd44xhugIwQGZ3I8J49RMHhaV5pF8dB0TuVPWNFRq1RZy_4dPk3s0KATNPhOiFrYEiIerqNYvmxkcss76R_bpsPgtEI3F8_wTiVz0JebzcLAdRP7w2QW08wCI0bdF/s640/El+abismo+ch+2.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
El Abismo/The Abyss - libro de artista/artist´s book 2012</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipi4Ye1daGoz13mHXoqbgWp2LeQY8E4qk5gu0CVTTqHOXTj9WRID2rcLUSO-B6_8IScMAUsq2Fbr2puUBgACmY1BLjCNmkUOlgRZKCi0Ay9pSAs3DiMx36nM3n6Si_MhqSeXnXKAM1TYED/s1600/1+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipi4Ye1daGoz13mHXoqbgWp2LeQY8E4qk5gu0CVTTqHOXTj9WRID2rcLUSO-B6_8IScMAUsq2Fbr2puUBgACmY1BLjCNmkUOlgRZKCi0Ay9pSAs3DiMx36nM3n6Si_MhqSeXnXKAM1TYED/s640/1+tcwau+ch.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
En la última entrada comenté el
recuerdo de una película de ciencia ficción de mi infancia, en la cual <i>cada vez que se dormía una joven, salía un
monstruo del mar y caminaba por la playa, creando caos.<o:p></o:p></i></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSVcBe8rAfcbgUI31xn4_EEnPsWhgk_vGo7eJcfeWOHm0WVK6FOtEvMxPepOf25ofkJihZCbZUbE7XcdBssICPwNPPIz8kQHTf6makNMSgnvDR5iQ8GDsWAC8glZoojoaaKGnRI75EffGd/s1600/creature+climbs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSVcBe8rAfcbgUI31xn4_EEnPsWhgk_vGo7eJcfeWOHm0WVK6FOtEvMxPepOf25ofkJihZCbZUbE7XcdBssICPwNPPIz8kQHTf6makNMSgnvDR5iQ8GDsWAC8glZoojoaaKGnRI75EffGd/s400/creature+climbs.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>In my last entry I mentioned a childhood memory
of a science-fiction movie in which</i> whenever
a young woman went to sleep, a monster came out of the sea and walked the
beach, wreaking havo<i>c</i><i>. <o:p></o:p></i></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHZeF_qMcnwihTMVZAUWI2EX8XQ4kBFYUSKDEN5Jbp0eNfAjfQWxHk_40spRVkwzLzgjhZAt__64YPF8zFciOOV2nyxcvdSVzGVG62IgB0uBWwzdouAswCoIVoZmThHdz6Mzs-W1Csp8mQ/s1600/1a+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHZeF_qMcnwihTMVZAUWI2EX8XQ4kBFYUSKDEN5Jbp0eNfAjfQWxHk_40spRVkwzLzgjhZAt__64YPF8zFciOOV2nyxcvdSVzGVG62IgB0uBWwzdouAswCoIVoZmThHdz6Mzs-W1Csp8mQ/s400/1a+tcwau+ch.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8-fOizYJ3bjTnXuVCYW0m9h3Di1h3qYDfCuEpmrXacfEGhNRD5SkigNZFwFfjmHuPIRxxSZ8bEGrYKNbvhJKUJHwk_u-q1bfRkTRMrZEo3ykKELcwJfuX0BU-7qahR4AFzMyJRrguAJZ/s1600/1b+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8-fOizYJ3bjTnXuVCYW0m9h3Di1h3qYDfCuEpmrXacfEGhNRD5SkigNZFwFfjmHuPIRxxSZ8bEGrYKNbvhJKUJHwk_u-q1bfRkTRMrZEo3ykKELcwJfuX0BU-7qahR4AFzMyJRrguAJZ/s400/1b+tcwau+ch.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXrfkytR_pdToVZEFqDNFy5Fg-1kzNdChK1CJIiKqxFN9Fgu67FF3AZkA4t5aQ3Jf1A2SvxlIH9B6qXvtOMr1cM08cuzx-196AjqZm3JN58htwtEmIOtuutd6ajrgTWMaTFgLg9RdJbpC1/s1600/1c+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXrfkytR_pdToVZEFqDNFy5Fg-1kzNdChK1CJIiKqxFN9Fgu67FF3AZkA4t5aQ3Jf1A2SvxlIH9B6qXvtOMr1cM08cuzx-196AjqZm3JN58htwtEmIOtuutd6ajrgTWMaTFgLg9RdJbpC1/s400/1c+tcwau+ch.jpg" width="400" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
Fue con este recuerdo que he
empezado el proyecto <i>Doppelgänger &
Cía</i>. La película citada la vi entre
los 5 y 7 años en el <i>Sun-Glo Theater </i>de
la cuidad de Holdrege, en la pradera de Nebraska. Tenía yo
dos formas de entrar a ver los filmes del lugar; la primera era juntar diez
tapas de cartones de la leche <i>Sun-Glo</i>,
que me daba derecho a una entrada gratis, y la segunda era simplemente juntarme con mi amiga Francine,
cuyo padre administraba el cine. Esta última opción era la más interesante,
porque mi amiga y yo podríamos asomarnos clandestinamente (desde las cortinas
de terciopelo) a las películas para adolescentes, a las cuales no me habrían
dejado entrar ni con 50 tapas de cartón de leche. La película que recuerdo ha
de haber sido de las prohibidas para menores de doce años…<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>With this memory I’ve starting working on my </i>Doppelgänger & Company<i> project. I must have seen the above-mentioned film when
I was between five and seven at the </i>Sun-Glo<i>
Theater in the prairie city of Holdrege, Nebraska. I had two different ways
to get into the movies; the first was to collect ten </i>Sun-Glo<i> milk-carton tops,
which I could exchange for a ticket, and the second was to just go visit my
friend Francine, whose father ran the movie house. This last option was the
most interesting, because my friend and I could watch clandestinely (hidden in the
velvet curtains) the movies for teenagers, which not even 50 milk carton tops
would have gotten me into. The film I remember must have been from that PG 13 variety.</i><o:p></o:p></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-SJLqGJZOfyT0tg5UDa6cW-TdIdGWQLinpJ-c4odWV6oO2nKLJ30NsBPZSf_RKVaQeo59WP6pzoTOA2fbuYhuoLV3EVBF8AlybR6ndEmYl_avY8ObwE-DoOTE8vfsON-SObGIdAWAObX1/s1600/2+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-SJLqGJZOfyT0tg5UDa6cW-TdIdGWQLinpJ-c4odWV6oO2nKLJ30NsBPZSf_RKVaQeo59WP6pzoTOA2fbuYhuoLV3EVBF8AlybR6ndEmYl_avY8ObwE-DoOTE8vfsON-SObGIdAWAObX1/s400/2+tcwau+ch.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5KfzoJcl2olqYg3rG1V68zlWZQgH7vY0e4MQfdPCXocQJGSFg5tyX27sLpEvDonAPm5cfgQk42-yI5DggHNYxB5jFPrF1vfmDr6ev_5fKSbbGCesvR-zome3dZYDSfQvp7XjMusDBgTBe/s1600/2a++tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5KfzoJcl2olqYg3rG1V68zlWZQgH7vY0e4MQfdPCXocQJGSFg5tyX27sLpEvDonAPm5cfgQk42-yI5DggHNYxB5jFPrF1vfmDr6ev_5fKSbbGCesvR-zome3dZYDSfQvp7XjMusDBgTBe/s400/2a++tcwau+ch.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">En búsqueda del monstruo perdido de mis
recuerdos he encontrado en línea tres películas, <i>The Creature of the Black Lagoon, The Revenge of the Creature</i>, and <i>The Creature Walks Among Us</i>. </span>(Es
decir, <i>La criatura de la Laguna Negra, La
venganza de la criatura</i>, y <i>La
criatura camina entre nosotros</i>.) Todas
son variantes del tema de una especie de hombre-pez, con aventuras
eróticas, o por lo menos románticas, entremezcladas con la temática de fondo.
Falta ver la película, pero es <i>The
Creature Walks Among Us</i> que se perfila como el origen de mis recuerdos.
Aunque –es importante decirlo- en el filme no existe esa dicotomía <i>–la mujer se duerme / la criatura se
despierta-</i> que tengo en la memoria. Podría ser un invento personal adecuado
a mis sentimientos medio bipolares. Sí hay una mujer que se desmaya, y sí sale
la criatura del mar y camina por la playa. Pero no necesariamente siempre al
mismo tiempo. En fin. Trabajando con
fotos fijas de la película, empecé a armar un abanico de imágenes que van desde
pura criatura hasta pura doncella. Se configuró una especie de continuum, un
mundo de posibilidades, digamos, de lo que podría pasar si la criatura estuviera
semidormida y la mujer semidespierta, etc. etc.
Incorporé reliquias de las culturas de Polinesia, imágenes de ritos de
iniciación de los Selk’nam de Patagonia, modelos de Slimane (el modista amante
de la androginia), el prototipo de una máscara de gas de la Primera Guerra
Mundial, una berlinesa de la 2o pos guerra burlándose de las autoridades
(gringas y alemanes), dos niños vestidos de <i>Halloween</i> cortesía de facebook, un par de <i>fin-de-siècle</i> mujeres abrazadas, Isabelle Adjani
cogiendo a un engendro, la Criatura y una robot de <i>Metropolis</i> siendo vestidos por sus asistentes, los integrantes -vestidas- de <i>Las yeguas del apocalipsis</i>- una
colectiva gay chilena, gente del <i>Bauhaus</i>
vestida de rascacielos, Marina Abramović
en sus inigualables performance, imágenes de los fotógrafos Nelson Morales (un
judás) y Alejandro Saldívar (luchadores), una niña acróbata y para rematar, mi
nieta Miranda corriendo (llena de alegría).</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHuA0s8FYm5YwPVLjgRjtbfLn_i4N-mhktxd6crFIzxGMZDIBQeK2sLYRgPaf8BDLGT9Fyk-TrC2VSCThFXXsQw8lv8N7Ki0QdtCkNrzovvbO01Dh7wPo_y1tAtiJK9gveHuv5ogbSMxRH/s1600/dichotomy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHuA0s8FYm5YwPVLjgRjtbfLn_i4N-mhktxd6crFIzxGMZDIBQeK2sLYRgPaf8BDLGT9Fyk-TrC2VSCThFXXsQw8lv8N7Ki0QdtCkNrzovvbO01Dh7wPo_y1tAtiJK9gveHuv5ogbSMxRH/s400/dichotomy.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>Looking for the lost
movie online I found three possibilities:
</i>The Creature of the Black Lagoon,
The Revenge of the Creature, and The
Creature Walks Among Us.<i> They are all three variations on the (obviously
marketable) theme of a fish-man, splattered with erotic or at least romantic
intervals which complement or complicate the basic theme. I still haven’t seen
the movie again, but </i>The Creature Walks Among Us<i> sounds like the origin of my
memories. Although –and it’s important to mention this- apparently in the real
film one doesn’t find that dichotomy </i>–the
woman goes to sleep / the monster wakes up- <i>central to my mental image. So
perhaps this was an invention product of my own bipolar sentiments. Yes, a
young woman faints (underwater) and yes, the monster comes out of the water and
walks around scaring people- but not necessarily at the same time. Anyway, with
the photo stills of the movie as a starting point, I began to put together a
group of images that range from pure monster to pure maiden. Once all the variations
on the theme come together, a sort of continuum, a world of hybridizations,
began to emerge. What happens if the monster is half asleep and the maiden half
awake? Into this vision I incorporated relics from Polynesian cultures, images
from the initiation rites of the Selk’nam people of Patagonia, models with the androgynous
Slimane designer’s look, a prototypical
gas mask from the First World War, a woman from postwar (WW2) Berlin mocking
the (German and American) military authorities, two siblings attired for Halloween, cortesy of Facebook, a couple of gauzy fin-de-siècle women
embracing, Isabelle Adjani in bed with a monstrosity, the members of </i>Mares of the Apocalypse<i>
(a gay Chilean performance group) in drag and those of the Bauhaus dressed
as skyscrapers, Marina Abramović in her unequaled performances, images from the
Mexican photographers Nelson Morales (a burning Judas) and Alejandro Saldívar
(wrestlers), a child acrobat and to top it off, my granddaughter Miranda racing
(joyously). </i><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<o:p></o:p></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjVRTsb3oxloTXRQgPp2brff-_3Stei3swsPD14-GXigNUIYGdkaodrjtuJDj-yUAWlqhTOvc1QGzw1kQHhQv-UvnrJ4tUZDbgP5qo1qZO4TaJaE0FLIQUjRrLxxlTekCOSvJgceBLvE1a/s1600/2b+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjVRTsb3oxloTXRQgPp2brff-_3Stei3swsPD14-GXigNUIYGdkaodrjtuJDj-yUAWlqhTOvc1QGzw1kQHhQv-UvnrJ4tUZDbgP5qo1qZO4TaJaE0FLIQUjRrLxxlTekCOSvJgceBLvE1a/s640/2b+tcwau+ch.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKDuNfwscTsLXvv3B2LmT4LaCLd2ngA3vRqT21K5yN7rQXa2_4TgD7AE-uNZZwVk3HVIb7WhR5h15Hrxk4lJlB-_KkVIusUhJbqYFou8l5PKT8SLcsMibik59NXPJu1vksqdqzSvaGbrj/s1600/3+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKDuNfwscTsLXvv3B2LmT4LaCLd2ngA3vRqT21K5yN7rQXa2_4TgD7AE-uNZZwVk3HVIb7WhR5h15Hrxk4lJlB-_KkVIusUhJbqYFou8l5PKT8SLcsMibik59NXPJu1vksqdqzSvaGbrj/s400/3+tcwau+ch.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYaNQVx6kFLh69u10FdgytEHTTcqMhUHHYGIBNOfCVG7450KAc1lkWZW5Xa6M2ObNgpHD9qr-omCUCVX8tERP60ddSLaNmwikfZIYTN831aPA_2Ym0KUbMwqXmCgtOvQCl4z3drh7ifgDY/s1600/3+tcwau+ch+crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYaNQVx6kFLh69u10FdgytEHTTcqMhUHHYGIBNOfCVG7450KAc1lkWZW5Xa6M2ObNgpHD9qr-omCUCVX8tERP60ddSLaNmwikfZIYTN831aPA_2Ym0KUbMwqXmCgtOvQCl4z3drh7ifgDY/s640/3+tcwau+ch+crop.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgci3u8rgjL6AfHQ_b5KxvudDhrV1v_-ypivtf5PKF8_Y7PWIOMu5c-R9c5iszDKC0-a9B5SpkykzLR5JXoa66sICdz8GaFldlxK1lxpY917opuG_PO0lpfnPaoBC53P3sByddPXqTPCxcV/s1600/3a+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgci3u8rgjL6AfHQ_b5KxvudDhrV1v_-ypivtf5PKF8_Y7PWIOMu5c-R9c5iszDKC0-a9B5SpkykzLR5JXoa66sICdz8GaFldlxK1lxpY917opuG_PO0lpfnPaoBC53P3sByddPXqTPCxcV/s400/3a+tcwau+ch.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXiHd0d_mYjK-jUZHU9YAWZBAjoIqXxahGeTXv8o34CHMYnJjTf5SM4N8sYMSY1VijSDjwrR2unUQdT6WiPPaYxmuh_XnbE7wgUToDRekd6C1KuN4QZuTijEnRLM-edNCWPyWQmlI-TTT/s1600/3b+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXiHd0d_mYjK-jUZHU9YAWZBAjoIqXxahGeTXv8o34CHMYnJjTf5SM4N8sYMSY1VijSDjwrR2unUQdT6WiPPaYxmuh_XnbE7wgUToDRekd6C1KuN4QZuTijEnRLM-edNCWPyWQmlI-TTT/s400/3b+tcwau+ch.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55sNBBHZRtM_6SoG3knCYYn1KtDn6iI5lBzdwGBRhaMxH-WG2wXf6ZaCJKBTprQlwX_l5M4qPa0dWt5ZftoBg-UWMuX-p8eX2FijgBlPn6wMKTGAKhumrEf_zXiDI0on3CV4HUTykF-A2/s1600/3b+tcwau+ch+crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55sNBBHZRtM_6SoG3knCYYn1KtDn6iI5lBzdwGBRhaMxH-WG2wXf6ZaCJKBTprQlwX_l5M4qPa0dWt5ZftoBg-UWMuX-p8eX2FijgBlPn6wMKTGAKhumrEf_zXiDI0on3CV4HUTykF-A2/s640/3b+tcwau+ch+crop.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYlRbjMAm4cIvq39X2A7cXiYU59UkXccSiXOKDSD5N3hzFJdTkF6qVRag16foQi2KfYROhd5C2OAhq9f5s5yJU01tfYWmWzur_pOCRPHW1LL8dJe8NKRQVNO9xki729izJeVR_NDXqSl77/s1600/3c+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYlRbjMAm4cIvq39X2A7cXiYU59UkXccSiXOKDSD5N3hzFJdTkF6qVRag16foQi2KfYROhd5C2OAhq9f5s5yJU01tfYWmWzur_pOCRPHW1LL8dJe8NKRQVNO9xki729izJeVR_NDXqSl77/s400/3c+tcwau+ch.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
Lo que ven aquí son estas imágenes incorporadas a un libro de artista en
cuatro partes. Cada imagen se relaciona con la que la antecede y la que le sigue. Mi idea era
realizarlas como una instalación de dibujos primero, pero decidí empezar por el
ejercicio de libro de <span style="font-family: inherit;">artista. <span style="line-height: 115%;">El libro involucra un buen de costura con hilo
blanco alrededor de la secuencia de imágenes</span></span><span style="font-family: Calibri, sans-serif; line-height: 115%;">. </span>Los dibujos vendrán después…<br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<div class="MsoNormal">
<i><span lang="EN-US">What you see here are
these images incorporated into an artist’s book in four parts. Each image is
related formally to the image on either side of it. My idea was to create an
installation of drawings, but I ended up trying them out as an artist’s
book first. The book involved a lot of sewing with white thread around transfers
of the sequence of images. The drawing will come later…</span><span lang="EN-US"><o:p></o:p></span></i></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0xJXuxIVzAtwHHpceVhChN4lzn9xKxvdhcs5auHCjojZzVQc9f73cG191iewvhWx34yF29EiUBFpPOI77Ul6btSCneJzP8nz50atkuSHBtkZshDVQpaJy8_IeaiH6-nVOdJ6SANlYeejL/s1600/4a+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0xJXuxIVzAtwHHpceVhChN4lzn9xKxvdhcs5auHCjojZzVQc9f73cG191iewvhWx34yF29EiUBFpPOI77Ul6btSCneJzP8nz50atkuSHBtkZshDVQpaJy8_IeaiH6-nVOdJ6SANlYeejL/s640/4a+tcwau+ch.jpg" width="571" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQu8XsjPt3kahH-1_Ih5rTHk914UiA7n_-YOzfrEEK3fsh83vFe1f986JQ686p7SFVI7M0JPSdGM9-cOc11IoZ6Rrb9cUgKjFNCRE_zfEb0KdjjbDLpQdIcukOrf0ACDSTn9VP36IIVXzV/s1600/4b+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQu8XsjPt3kahH-1_Ih5rTHk914UiA7n_-YOzfrEEK3fsh83vFe1f986JQ686p7SFVI7M0JPSdGM9-cOc11IoZ6Rrb9cUgKjFNCRE_zfEb0KdjjbDLpQdIcukOrf0ACDSTn9VP36IIVXzV/s640/4b+tcwau+ch.jpg" width="640" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxkJxlh-3Zn7wqcFL3Xr5oXNUV2DaPVqjA95NDQBkQiIMfCHHYmPZ6DfUUNrgjYEqSe_VVbyU1vvNY7mhSZfmudFCDIQ3L8wu1Qx1KJRHc8mheCAo5peR4fwlG2oQcmETU6H0iepolUNx/s1600/4d+tcwau+ch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxkJxlh-3Zn7wqcFL3Xr5oXNUV2DaPVqjA95NDQBkQiIMfCHHYmPZ6DfUUNrgjYEqSe_VVbyU1vvNY7mhSZfmudFCDIQ3L8wu1Qx1KJRHc8mheCAo5peR4fwlG2oQcmETU6H0iepolUNx/s400/4d+tcwau+ch.jpg" width="400" /></a></div>
<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/AVvXsEhAFTurDqIXhJJ-5Ivu_-fub8ODlcgFYq41wTO9eezVnkYDcwnHlRKi7gO2BB8a3KH0uNlwSjgIwOK2FscM6eK-BU7zNHMtVHWUOLCzxFrDkr3QOKQBI_IWc6jwoXb6F9p9pD-no-S873Xv/s1600/1+tcwau+crop+ch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAFTurDqIXhJJ-5Ivu_-fub8ODlcgFYq41wTO9eezVnkYDcwnHlRKi7gO2BB8a3KH0uNlwSjgIwOK2FscM6eK-BU7zNHMtVHWUOLCzxFrDkr3QOKQBI_IWc6jwoXb6F9p9pD-no-S873Xv/s400/1+tcwau+crop+ch.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the last image and the first/la última imagen y la primera</td></tr>
</tbody></table>
<br />
<br />C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com1tag:blogger.com,1999:blog-1918551101172524357.post-24332864023192731352012-01-28T19:31:00.000-08:002023-01-09T14:18:32.232-08:002012: New Projects / Nuevos proyectos<div style="text-align: center;"><i style="font-size: x-small;"><br class="Apple-interchange-newline" />Daño/Damage </i><span style="font-size: x-small;">Grabado en relieve y acrílico con costura/Relief print and plexiglass print with metallic thread and gold leaf 2011</span> </div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsIFvl6ec0eBIyVEu3xagfgiXqjOzAhFRy6VZXD-mPeT4SMiisTWze2CxS9UjMht_j0r2ek4XvWV7exWqg2tIhUJb6pMdMO-VJk6rc2aSQGEaD8asY1duYPTY3Yc8s7koNEmgM_Kpl2tt5/s1600/La+salida+del+paraiso+chica.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5702896546639748066" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsIFvl6ec0eBIyVEu3xagfgiXqjOzAhFRy6VZXD-mPeT4SMiisTWze2CxS9UjMht_j0r2ek4XvWV7exWqg2tIhUJb6pMdMO-VJk6rc2aSQGEaD8asY1duYPTY3Yc8s7koNEmgM_Kpl2tt5/s400/La+salida+del+paraiso+chica.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 389px;" /></a><span>
I know blog entries are supposed to be frequent and short, whileas mine are occasional and long. I figure a few interested people will read the long part, the rest may look at the pictures. </span></span><div><span>
</span></div><div><span> Sé que la idea del blog es entradas cortas y frecuentes, mientras las mías son ocasionales y largas. Imagino que los más clavados leerán los textos; a los demás ofrezco las imágenes.</span></div><div><span><br /></span></div><div><div style="text-align: center;">
</div><div style="text-align: justify;"><span style="font-size: x-small; text-align: center;"> </span></div></div><div><div style="text-align: center;"><span style="font-size: x-small;"> Elemento from the polyptych </span><i style="font-size: x-small;">Culture Shock</i><span style="font-size: x-small;">/Elemento del políptico </span><i style="font-size: x-small;">Culture Shock</i><span style="font-size: x-small;">, grabado en relieve/relief print 2009</span> </div><div><div><div style="text-align: center;"><span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikCGXcrHICVL5-XibAWT85Qq9gtnVzmuMctLcssmv__bA_h22VtrefxSXsKNMUZNTM4ZzDcmFZFEmACKU3aNrUCuqrCJs9XjJ3A0Lj73yhHhkwZWlUdKt-s2-by6dl7crs8S4w7vKy5MXS/s400/Culture-Shock-III%252C+altura+400.jpg" /> </span></div><div><p class="MsoNormal" style="text-align: center;"><span style="font-size: 14pt; line-height: 115%;"> <i>El dibujo es una línea que interviene el vacío</i><o:p></o:p></span></p><p class="MsoNormal" style="text-align: left;"><span style="line-height: 115%;">Lo que sigue es una descripción de mis proyectos actuales.</span></p> <p class="MsoNormal" style="text-align: justify;"><span style="line-height: 115%;">Tanto en el dibujo como en distintas manifestaciones de gráfica impresa, en el transcurso de mi carrera he pasado por épocas de mayor experimentación y cambio alternadas con otras en que consolido una producción empleando las prácticas resultantes de la experimentación previa.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="line-height: 115%;">En el caso de la gráfica, en la última década ha predominado la veta de experimentación. Prácticamente abandoné la producción de placas cuya salida sería ediciones de grabado a favor de la gráfica de salidas múltiples, por ejemplo, placas combinadas con elementos de transferencia, costura, y fondos variados para que cada impresión sea distinta. <o:p></o:p></span></p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal"><span style="line-height: 115%;">Al mismo tiempo, empleando otra vez el recurso de la transferencia, retomé la producción de libros de artista, la cual había emprendida extensamente por primer vez a mediados de los 90. También incursioné en la producción de extensos polípticos gráficos, otra vez empleando la transferencia y montajes que privilegian la imagen desbordada sobre la presencia del marco.<o:p></o:p></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: x-small; line-height: 18px;"><i>Lluvia/Rain</i></span><span style="font-size: x-small; line-height: 18px;"> Grabado en relieve con transferencia/Relief print with transfer, 2011</span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRy7OLAkPq-9EVmausecMyroHr9Jo4A7spnYvlukxg_mPyvBJZyP5abzAcg6lKaiZhuRucRCKRsdkJxRNOM3cqif8T3Kd7guVYjI3rD8PPAHVDU0UMm3BTle8cjr8ULosfmSSLm11Ie8XM/s400/Lluvia+ch.jpg" style="text-align: left;" /></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: x-small; line-height: 11px;"><i>Culture Shock </i>/ 7 connecting relief prints, /7 grabados en relieve interconectados, </span><span style="font-size: x-small; line-height: 18px;">2009</span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDM-CgKBdIPNFoVy828iyhHec2E_QTTARrUuZvCaHCHWwdR8yT6FxFWciq3YzzrqGFVR90mlnEu_55Tnwxz0p1Q1Juw1-1jTbdXmMB_5uJppz8_z29iUd9-RNo7SYwkR8l2CQf5yfi9wdL/s400/Culture-Shock%252C-entero.jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="text-align: center;"><span style="line-height: 115%;"></span></p><p align="center" class="MsoNormal"><span style="line-height: 115%;"><b><span lang="EN-US">What is a drawing?<i> Lines intervening emptiness <o:p></o:p></i></span></b></span></p><span><span style="line-height: 115%;"> </span><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">The following is a description of the drawing projects on which I’m currently working.<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span><span lang="EN-US">In drawing as well as in other manifestations of graphics, in the course of my career I alternate between experimental periods and periods in which I consolidate the resulting pr</span><span style="line-height: 115%;">actices and apply them to my production.</span></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">In the case of printed graphics, in the last decade the tendency towards experimentation has predominated. I have practically abandoned the production of printing plates whose end result is an edition of prints, in favor of work with multiple end results, for example, varying the combination of plates, using a wide variety of backgrounds (found material, Nepalese and Japanese papers, etc.) and combining all this with transfer, interventions involving sewing with metallic threads, folding, burning, dying and other procedures that enrich the resulting work through stress. <o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">At the same time, employing once again the recourse of transfer prints, I starting working extensively in the production of artist’s books (which I had first explored in the early nineties) and with the possibilities of graphic polyptychs, concentrating on images that overflow the usual boundaries of paper and frame.<o:p></o:p></span></p><p class="MsoNormal" style="text-align: justify;"><span lang="EN-US"></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US" style="font-size: x-small;"><i>Tourism/Turismo</i> Polyptych of vintage </span><span style="font-size: x-small; text-align: justify;"></span><span style="font-size: x-small;">prints a</span><span lang="EN-US" style="font-size: x-small;">nd frames/Políptico de impresiones y marcos vintage</span><span style="font-size: x-small;"> </span><span style="font-size: x-small; text-align: justify;">2009</span> </p><p></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyPwxuCoq_Kh8UjGQEuR253D5TYa51zJy8g18kt0Inln_hibP4G78IaFhju5lJwmIVB8Pp1hlV5NA5G1xg_IdnyWC8K4BWqfYc13QgIT9u6uwOVQw7yc9O0TvWx_tEqfVv0J3dQm5t4yWC/s400/turismo-armado.jpg" style="font-size: medium; line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small; line-height: 11px;">Constelaciones/Constellations </i><span style="font-size: x-small; line-height: 11px;">Libro de artista/Artist´s book, 2010</span> </p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE6XTW2td6MB-SaSOTOw8invRWuworCFVPzZO2kCuZOKI1ScGFb6Cs8oobioJ6uOUAaACul6ogMDc6MoSTYOHP4OcIMPwKmo-cjqd8seNE6WEAN6xqZR0TKydMoJYfnyLpZigW0DMGnp3j/s400/constelaciones-abierto-2-ch.jpg" style="line-height: 115%;" /><span style="line-height: 115%;"></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPNikUQiedUPBuLNXapxJ7k9dTKv1UwnDst9LpLDJ0BCp4XMZOd5qxOqa6SiYFdBqxaow06V0KVooSgPKDcQoQdytwUTjOvWnqHXRMfIQQO9BZiV3hJxlgaj-QMOhj9vxt38jWGTyPgcLu/s400/Constelaciones+1.jpg" /> </span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><b>II.</b></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"></span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"><span style="line-height: 115%;">Estos cambios en prácticas de producción se relacionaron con cambios en la estructuración del significado de mi obra. Desde 1998, cuando elaboraré una exposición de arte objeto con tintes gráficos (<i>Todas las cosas de a nada</i>) en el Museo Universitario del Chopo, empezó a predominar en mi obra gráfica elementos como el palimpsesto, la narrativa, la yuxtaposición, la desconstrucción y reconstrucción de imágenes y un mayor interés en indagar en la historia y manifestaciones de la cultura.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small;">Del finito al infinito/From the Finite to the Infinite </i><span style="font-size: x-small;">Transferencia con marco de hierro/Transfe</span><span style="font-size: x-small;">r prints with iron frames, 1998</span> <img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMArBOa1E0hqw2dlZik4j0YEpBN5ibGlud0XDoTfrCGCpfF_UmY5dOTdaQt_Hc9TCQobdUEK-YWBv6mr7WWG71s_97t6V8o9m5z8HVEstoCc93bcfmSLyHABYSnqXpF88XtvXjqdZzoMJj/s400/del-finito-al-infinito-.jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><span style="line-height: 115%;"></span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"><span style="line-height: 115%;"><span style="line-height: 115%;">Al mismo tiempo seguía con la producción de dibujos, pero en menor grado que en otras épocas, y aquí se iba manifestando un cambio temático: en la última década, en mis dibujos hay menos ambientes íntimos cargados, con personajes (femeninos) solitarios y más situaciones que involucran la interacción de varios personajes. La mayor parte de esta obra forma parte de mis indagaciones en el campo del disfraz y la idea de proyectarse a uno mismo por medio de <i>lo</i> <i>otro</i>.</span></span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"><span style="line-height: 115%;"><span style="line-height: 115%;">Pero al dibujar me quedé situada dentro de una manera de trabajar que había consolidado a mediados de los 80: la creación de un ambiente saturado, basado en un collage o recorte fotográfico.</span><span style="line-height: 115%;"> </span><span style="line-height: 115%;">De lo que entiendo, esta forma de trabajar cae adentro de lo que Hal Foster denomina </span><i style="line-height: 115%;">photomontage refunctioning of an image</i><span style="line-height: 115%;"> (fotomontaje re funcionando de una imagen) o lo que Oliver Debroise consideraba, hablando de esta práctica en mi obra, una perversión o transgresión del sentido de las fotografías en que me basaba. En fin, todo se relacionaba con el campo de la apropiación.</span></span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small; line-height: 11px;">Fiesta de Disfraz/Costume Party</i><span style="font-size: x-small; line-height: 11px;"> Grafito/papel Graphite/paper 2009</span> <img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4Iue1TR9E1azjqLFgpyNeaYZKll8o2qZ_mp1Yu_mPBg2ASNp2lPKbM4rGFfKRDiO1HRJOxXPMZaNYPyAOa3-_LjOUxyG8wPNLX4oP9dBiFHmfTXPM7BRlN69MPrHJ8HWjwDP2xvrFFMT/s400/Fiesta-de-disfraces.jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><span style="line-height: 115%;"><span style="line-height: 115%;"><b>II.</b></span></span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"><span style="line-height: 115%;"><span style="line-height: 115%;"> <o:p></o:p></span></span></span></p><p style="line-height: 115%;"></p><p style="line-height: 115%;"></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">These changes in production practices were related to changes in the structuring of meaning of my work. Since 1998, when I put together a show of object art (involving a lot of graphics and called <i>Everything from the Void</i>, a quote from the Catechism) in the university museum <i>El Chopo</i> in Mexico City, in my graphic work, elements like palimpsest, narrative, juxtaposition, deconstruction and reconstruction of images, and a greater interest in history and cultural manifestations began to predominate.<o:p></o:p></span></p><p class="MsoNormal" style="text-align: center;"></p><p class="MsoNormal"><span><span style="line-height: 11px;"><i>
</i></span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span style="font-size: x-small; line-height: 11px;"><i>Horizonte/Horizon, Paisajes/Landscapes </i> Installation View,/Vista de instalación, Museo del Chopo, 1998</span></p><p></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyOsn4MI5rGcanvETAyDWjDsMv-k3g3scoOliJhAO9RnEgmiCSZXR4DKzOu0lXvDqVmGbWAqmG3qgjDr1Vd9WSnYF2w6B766Ma4E57MYuUITkqbvpnO7zbqY6HMFLouoc4A00yJxVYF59E/s400/2.+Vista-de-Instalaci%25C3%25B3n-Chopo.jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span style="line-height: 115%;"> </span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span style="font-size: x-small;"><span><i>Canción para la Emperatriz/Song for the Empress</i> </span></span><span style="font-size: x-small;"></span><span style="font-size: x-small; line-height: 11px;">Marco vintage con partitura hecha a</span><span style="font-size: x-small;"> </span><span style="font-size: x-small; line-height: 11px;">mano/Vintage frame with </span><span style="font-size: x-small;"><span>handscored music, 1998</span></span> </p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span style="line-height: 115%;"></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF684zG-Hb0Q_yZynaN9mgfG0AR3ODDDF2fh9tvA0neAo6bdLsiaUM-dhI4VJkze1dAXi0kMhkRYGXz-XhyphenhyphenKX320-fD8nXHV3cg9u86O97Eeugk1rDzzOKkevay1fkPRPBjlZ33hz2Xs8g/s400/7a.canci%25C3%25B3n-para-la-emperatriz-wu-zitain.jpg" style="line-height: 115%;" /></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">At the same time, I kept up the production of drawings, although to a lesser extent than in other periods, and in this area a thematic change was also registered: in the last decade, in my drawing there are far fewer charged intimate atmospheres with solitary (female) figures and far more situations involving the interaction of various personages. Most of this work forms part of my informal investigation in the field of disguise and costume and the idea of projecting oneself by means of otherness: assuming or working through an alternative identity.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small;">Boogeyman</i><span style="font-size: x-small;"> Grafito/papel/Graphite/paper 2009</span> </p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3f9_H7obnWmI9nYh9UC-owGwv7Oz41H88XPVxGGFnSlvSZxbxH5Yd5ae_kTySenQ3I91L4O_emEF3tOb1Deh6EtzJsoMCm8cOCfZlvBENh1Fvv8pPSLMUvuQFN5rucSImfZYA38P86TgU/s400/m%25C3%25A1scara-desplazada-provisional.jpg" style="line-height: 115%;" /></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">Meanwhile, when I drew in the same decade, I stayed situated within a way of working which I had consolidated in the 80’s: the creation of a saturated atmosphere based on a photographic collage or a cropped photograph. As I understand it, my methods fall within what Hal Foster denominates <i>photomontage refunctioning of an image</i> or what the French-Mexican critic Olivier Debroise, referring to this practice in my work, considered a perversion or transgression of the original meaning of the photographs in which I base my drawings. A last consideration: the work referred to falls within the boundaries of the strategy of <i>appropriation</i>.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small;">Carnaval, Carnival </i><span style="font-size: x-small;">Graphite/paper/Grafito/papel, 2001</span> </p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjERGHjB7jvxPL4cE3vp8jQUg5f1rcmwwNejgdyQMEOLwcENNABG7SspkaZK6Bke7zs7kwzdqt1kK9ET886JUDVd7m7QvoVuYgqbJYVtENPR2PTFn3dZ2rjQ7aLpz88UwgQ41WnyGA79mZn/s400/Carnaval+-FK+small+II..jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><b>III.</b></span></p><p style="line-height: 115%;"></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"></p><p class="MsoNormal" style="line-height: 115%;"><span style="line-height: 115%;">Hace unos años, leyendo la introducción de Emma Dexter a esa biblia de la generación emergente, <i>Vitamina D</i>, encontré el siguiente comentario: <o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span style="line-height: 115%;">“Mientras la pintura obscura su soporte por completo, creando la ilusión que éste no existe en absoluto, el dibujo disfruta una relación muy distinta con su fondo. El fondo blanco, según el historiador del arte Norman Bryson, funciona como una reserva, un espacio en blanco del cual la imagen emerge, ese espacio siendo perceptualmente presente pero conceptualmente ausente. <i>La reserva, entonces, funciona como un mecanismo para mantener a raya el deseo de estructura obvia, composición, una totalidad, las fuerzas a las cuales está sujeta una pintura.</i> Al moverse el lápiz por el papel, su sendero es local y confinado; liberado de la necesidad de considerar la totalidad, puede responder inmediatamente a “donde esté la mano ahora, <i>in praesentia</i>”. <o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span style="line-height: 115%;">Me di cuenta que mis dibujos se acercan en muchos sentidos más a su descripción de la pintura que del dibujo: se crea una totalidad estructurada, contenedor de lo propio, excluyendo lo de afuera. Hago uso del dibujo libre, con lápiz o borrador, pero para agredir o intervenir el dibujo “hecho”, ya que se haya creado esta estructura.<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span style="line-height: 115%;"> Pero hubo un momento en mi obra, principios de los 80, en que tomaba otra ruta, en que sí existía <i>ese espacio en blanco del cual la imagen emerge.<o:p></o:p></i></span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"></p><p class="MsoNormal" style="line-height: 115%;"><span><span style="line-height: 115%;">Ocasionalmente retomaba esa ruta, como en estos dibujos de mediados de los 90--</span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small; line-height: 11px;">El heraldo negro/The Black Herald</i><span style="font-size: x-small; line-height: 11px;"> Grafito/papel - Graphite/paper 1997</span> <img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGShqpVD5xk7LAcz_CnG9SPWDQfU99m6Gr6QfwLDbWpmAorsMvsvVSAxBBP0uJnxVI78UAGK7pfK3kSJspAzM43xdThYIS_mhW1aT1gOZGv8F04QOp-LU6s55MRuS96pOrB_618Cofsq6U/s400/El+heraldo+negro.jpg" style="line-height: 115%;" /><span style="line-height: 115%; text-align: justify;"></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"></p><p class="MsoNormal" style="text-align: justify;"><span style="line-height: 115%;">Y la verdad es que siempre me había quedado con el gusano de explorar más a fondo esta forma de trabajar, aunque mi práctica consolidada es otra.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span style="line-height: 115%;"><b>III.</b></span></p><p style="line-height: 115%;"></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">Several years ago, reading the introduction of Emma Dexter to the bible of emerging artists, Vitamin D, I found the following commentary:<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">“While painting completely obscures its ground, creating the illusion that this ground is not there at all, drawing enjoys a very different relationship p to its background. The white background, according to art historian Norman Bryson, acts as a reserve, a blank space, from which the image emerges, this blank space becoming “perceptually present but conceptually absent”.<i> The reserve therefore functions as a device to keep at bay the desire for obvious structure, composition and totality, the forces that painting is subject to. </i>As a pencil moves about the paper, its path is local and confined, free from the need to consider its totality. It can respond immediately to <i>where the hand is now, in praesentia”<o:p></o:p></i></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">It seems to me that my drawings just described are closer in nature to the above description of painting than of that of drawing: a structured totality is created, container of its own elements, excluding that which lies outside. I only make use of “free” drawing -gestural markings with pencil or eraser- to attack or intervene the drawing, once this formal structure is completed.<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"><o:p> </o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">There was, however, a period of my work, in the beginning of the 80’s, when I took another route, in which there did exist that <i>blank space from which the image emerges</i>.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"></span></p><p class="MsoNormal" style="line-height: 115%;"><span lang="EN-US">Occasionally I took up this path again, as in this drawing from the mid 90’s:<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small;">Mapeo del pensamiento infantil/Mapping of infant thought patterns</i><span style="font-size: x-small;"> graphite and prismacolor -papel grafito/prismacolor/papel 1996</span> <span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFoyFcUgPZLJLuBcMKliDYMCtGOK8pUFo8npJGfX3ptuYl_Aup8ocIPXvMmwD3hfBxfp866JeT4VW2gctbY2uT9BWK560lTJHqtwF85gDsk4hXuPCJA625oZaE7S-kKFvPF5SmwS5b9i5U/s400/bebes+japoneses+III+chv.jpg" style="line-height: 115%;" /></span></p><p style="line-height: 115%;"></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">And the truth is that I have always had the urge to explore that way of working further, although my consolidated strategy has been something quite different.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><b>IV.</b></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"></span></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"><span style="line-height: 115%;">Relaciono lo anterior con una práctica de dibujo que he atestiguado con mis hijos y mis nietos: a cierta edad emprendían con regularidad sendas batallas con efectos de sonido, todo esto ligado al dibujo en tándem de tanques, aviones y soldados, bombas explotando en el aire y sangre salpicando—una especie de <i>action painting</i> guerrera infantil. <o:p></o:p></span></span></p><span lang="EN-US"><span style="line-height: 115%;"> </span><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span style="line-height: 115%;">Aparte de esto, uno de mis hijos tenía la costumbre de disculparse con las letras que borraba por imperfectas (mostrando más compasión en la paz que en la guerra). Y recientemente, al secuestrar mi nieto segundo mi computadora, me ha compartido la página web de <i>Pencilmation</i>, donde se desarrolla una relación conflictiva entre la figura dibujada y el lápiz que lo dibuja y agrede a la vez, como un dios personal y vindicativo.<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span style="line-height: 115%;">En suma, como ya hice con mi producción gráfica, me gustaría emprender un periodo de experimentación en el dibujo, retomando la idea de proceso, del fondo como una reserva de la cual la imagen emerge, de una dialéctica entre el lápiz (o pluma) y lo que emerja de él, y manteniendo a raya el impulso de <i>estructurar todo</i>, en pos de explorar, por este medio, una serie de conceptos que a continuación señalo.<o:p></o:p></span></p><p class="MsoNormal" style="text-align: center;"><i style="font-size: x-small; line-height: 11px;">El vacío/The Void</i><span style="font-size: x-small; line-height: 11px;"> Grafito/papel - Graphite/paper 1983</span> </p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbhTVRdvPMVF_qv0l2jkLOIDvfvHy4-7L9e-DtqqqbgSRPRLzqVZjzKDHguyR9JCeUY9TfPJ5Ne4VQM5LuA3Jdpi4EkIo-K2gN_RtwPGes10pRX5BPKyxNfKftpRb4RHUcUrmjAOCcWq5/s400/el+vac%25C3%25ADo+1983+22+x+38+cm+ch.jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small;">Viaje a las pirámides/Trip to the Pyramids</i><span style="font-size: x-small;"> grafito/paper -Graphite/paper 1983</span> </p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj97qiC7DhDWkP76_FICHO77_Ylq5MQf0MPnY5Mf3h_5NQJN5FWEKVaUG4ZeoG6vbcWN66ixUgoezK4xNTjOxDJEeESoGJ1TruRhn_pVxvPc9gw9-mtPWcdKyv6vKloYTaMkRDXh5D1a8oc/s400/viaje+a+las+pir%25C3%25A1mides.jpg" /> </span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><b><span>IV.</span></b></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">I connect this alternative way of drawing with a practice that I have witnessed in my (male) children and grandchildren: at a certain age they engage in fierce colored-pencil or felt-tipped-pen battles with sound effects, coupled with drawing in tandem tanks, planes, soldiers, bombs exploding in the air and blood splashing—a sort of action painting for infant warriors.<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">In addition to this and in a different vein, one of my sons had the custom of apologizing to letters that he had to erase for their imperfections (showing more compassion in peace than in war). And recently, in one of those routine occasions in which my second grandson kidnapped my computer, he introduced me to the site <i>Pencilmation</i>, where a conflictive relationship is developed between the drawn figure and the pencil which alternatively draws and attacks it, like a personal and vindictive god.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><i style="font-size: x-small;">Noche en blanco/White Night </i><span style="font-size: x-small;">Grafito/paper - Graphite/paper 1993</span> </span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Fy38x1QbT-iOmHVgOYB94s5sMS9ev3kEtx5CMFBXLS0PYCBbXjnEwobGl52xUDkJdlph6kLL0rq4n2tGwlqJFpIKiEUe0E65jmecbOp0ytwkvgaxH3RtBDFSlnoG_hRNhqH7eqhxDBpC/s400/noche+en+blanco+ch.jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"></span></p><p align="center" class="MsoNormal" style="line-height: 115%;"><span lang="EN-US"><b><span style="line-height: 115%;">Doppelgänger & Cía<o:p></o:p></span></b></span></p><span lang="EN-US"><span style="line-height: 115%;"> </span><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span style="line-height: 115%;">Desde hace tiempo he tenido interés en fenómenos relacionado con la idea del otro yo, el clon, gemelos siameses, la sincronicidad, y el desdoblamiento. Los dibujos siguientes están relacionados con esta temática: el primero, <i>Las siamesas</i>, basada en una foto <i>soft porn</i> de de segunda década del siglo veinte, representa, para mí, el intento de una mujer de separarse en dos, o de dos mujeres de volverse una. El dibujo que sigue revela, aparentemente, una relación lésbica, pero en realidad consiste en el desplazamiento de la imagen de una mujer fotografiada en secuencia, de una fotografía a otra, es decir, es la misma mujer representada dos veces.<o:p></o:p></span></p><div style="text-align: center;"><span style="line-height: 18px;"><span><i>El sueño de la razón/The Sleep of Reason</i></span> </span><span style="font-size: x-small; line-height: 11px;">graphite and prismacolor -papel grafito/prismacolor/papel, 1997</span> </div><p class="MsoNormal" style="line-height: 115%; text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3s7REMlngKpCfZEToO3p07BkkZO3TPWc5Y_9HeQ4m7L2jkk2KczBWIKIZU9Dy2aFQ27vtpexATiRsnC-Reeu3yMHRMe9iUZQapaQSC1xB0yTIBGmDWbtF1_sfXSmgqjiMsxKiNqQ6_SX3/s400/El-sue%25C3%25B1o-de-la-raz%25C3%25B3n.jpg" style="line-height: 115%;" /></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"></p><p class="MsoNormal" style="line-height: 115%;"><span style="line-height: 115%;">Existe mucho material relacionado a esas temáticas, desde manifestaciones científicas del comportamiento de quarks (una vez separados, si uno cambio de compartimiento, el otro manifiesta un cambio relacionado instantáneamente, sin importar a qué distancia esté) hasta recuerdos de películas de científica ficción de mi infancia, como la siguiente en que:<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%;"><i><span style="line-height: 115%;">--Cada vez que se duerme una mujer joven, sale un monstruo del mar y camina por la playa, creando caos.<o:p></o:p></span></i></p> <p class="MsoNormal" style="line-height: 115%;"><span style="line-height: 115%;">He dedicado tiempo a buscar la película original en internet sin encontrar una que corresponde a mi recuerdo—posiblemente fue <i>The Creature from the Black Lagoon</i> o más bien su secuela, <i>The Creature Walks Among Us</i>, aunque la situación específica que recuerdo, parece más bien producto de mi imaginación.<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="line-height: 115%;">Otras referencias:<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%;"><span><span style="line-height: 115%;">--En el libro de Iulian Konstantinovich Shchutskii <span class="apple-style-span"><i>Researches on the I Ching</i><b>, </b>Konstantinovich (quién luego murió en el Gulag de Stalin) cita al sinólogo Joseph Needham cuando explica el fenómeno de pensamiento correlativo característico de la cultura china. </span></span><span class="apple-style-span"><span lang="EN-US" style="line-height: 115%;">Dice Needham:<o:p></o:p></span></span></span></p> <p class="MsoNormal" style="line-height: 115%;"><span class="apple-style-span"><i><span lang="EN-US" style="line-height: 115%;">In coordinative thinking, conceptions are not subsumed under one another,, but placed side by side in a pattern, and things influence one another not by acts of mechanical causation but by a kind of inductance…symbolic correlations or correspondences all form part of one colossal pattern. Things behave in particular ways not necessarily because of prior actions or impulsions of other things, but because their position in the ever-moving cyclical universe is such that they are endowed with intrinsic natures which make that behavior inevitable for them. If they do not behave in these particular ways they could lose their relational positions in the whole (which made them what they are) and turn into something other than themselves…they react upon one another not so much by mechanical impulsion o causation as by a kind of mysterious resonance.<o:p></o:p></span></i></span></p><div style="text-align: center;"><span class="apple-style-span" style="line-height: 18px;"><i><span lang="EN-US"><span><span>Las Siameses/The Siamese</span> </span></span></i></span><span style="font-size: x-small; line-height: 11px;">graphite and prismacolor -papel grafito/prismacolor/papel, 1999</span> </div><p class="MsoNormal" style="text-align: center;"><span class="apple-style-span"><span style="line-height: 115%;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5wsDbTcxcmdb3411fOvaY1803AuABlPgOcKEUyVUc_R4R0G6LaGoAzvGunFmiiP_CmgYA7ndZZnvHxfX36CnTkh2rvyhEWoRyS7ZpE4Z_7EH7i7ufSSm_EchP-nur2RZ3SjujX7ugzSB/s400/Las+siamesas+%25282%2529.jpg" /></span> </span></p><p class="MsoNormal" style="line-height: 115%;"><span class="apple-style-span"></span></p><p align="center" class="MsoNormal" style="line-height: 115%; text-align: center;"><span class="apple-style-span"><b><span lang="EN-US">Doppelganger & Company <o:p></o:p></span></b></span></p><span class="apple-style-span"><span style="line-height: 115%;"> </span><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">For a long time I’ve been interested in phenomena related to the idea of an alter ego, clone, Siamese or conjoined twins, synchronicity, and what in Spanish is called <i>desdoblamiento</i>: a splitting apart, or unfolding into two, of the self. The following drawings are related with these themes: the first, <i>The Siamese Twins</i>, based on a soft porn photograph from the second decade of the twentieth century, represents, for me, the intent of one women to separate herself into two, or of two women to merge into one. The drawing which follows revels, apparently, a lesbian relationship, but in reality was created with the displacement of the image of a woman photographed in sequence, from one photograph to another, that is, the image consists of one woman drawn twice.<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">There is a lot of material available relaed to the theme I’ve laid out, from cientific manifestations of the behavior of quarks (once a pair is separated, if one changes its conduct, the other manifests a corresponding change instantly, no matter what distance might be between them), to memories of Sci-Fi movies from my infancy, la the following (which I have never been able to find again) in which:<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><i><span lang="EN-US">--Every time a young woman falls into a trance a creature rises out of the sea and walks along the beach, creating havoc.<o:p></o:p></span></i></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">Other references: <o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">-In the book Researches on the I Ching by Iulian Konstantinovich Shchutskii (who incidentally died in the Gulag) Konstantinovich cites the sinologist Joseph Needham’s explanation of the phenomenon of correlative thinking characteristic of Chinese culture: <o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><i><span lang="EN-US">In coordinative thinking, conceptions are not subsumed under one another,, but places side by side in a pattern, and things influence one another not by acts of mechanical causation but by a kind of inductance…symbolic correlations or correspondences all form part of one colossal pattern. Things behave in particular ways not necessarily because of prior actions or impulsions of other things, but because their position in the ever-moving cyclical universe is such that they are endowed with intrinsic natures which make that behavior inevitable for them. If they do not behave in these particular ways they could lose their relational positions in the whole (which made them what they are) and turn into something other than themselves…they react upon one another not so much by mechanical impulsion o causation as by a kind of mysterious resonance.<o:p></o:p></span></i></p><div style="text-align: center;"><i style="line-height: 18px;"><span lang="EN-US">L</span></i><i style="line-height: 18px;"><span lang="EN-US">a persistencia de la memoria/The Persistence of memory </span></i><span style="font-size: x-small; line-height: 11px;">graphite and prismacolor -papel grafito/prismacolor/papel, 1987</span> </div><p class="MsoNormal" style="text-align: center;"><span><span style="line-height: 115%;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0kARtPmvVgFbSV-scCwan81PgRiOub7DRJCL1lh65sl1uwyboVElj1Phg2alAhJ6iLgXCkuR_cF9RUtWPG_6zvtrGhUOHGMgoq0LVSHH412E32l3-FrxjWz31z7i-bO3FN3LraAhWT2de/s400/La+persistencia+de+la+memoria+ch.jpg" /></span> </span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><b><span>Más...</span></b></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span class="apple-style-span"><span lang="EN-US" style="line-height: 115%;">También: <o:p></o:p></span></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span><span class="apple-style-span"><i><span style="line-height: 115%;">-En septiembre de 2006 fue reportado en la revista<u> Nature</u> que Shahar Arzy y colegas del Hospital Universitario, Ginebra, Suiza, inesperadamente habían reproducido un efecto fuertemente reminiscente del doppelgänger fenómeno por medio de las estimulación electromagnética del cerebro de una paciente. Aplicaron estimulación eléctrica focal a la junción temporoparietal izquierda de la paciente mientras se mantenía plana en una cama. La paciente sintió de inmediato la presencia de otra persona en su “espacio extra personal”. Aparte de la epilepsia, para la cual la paciente estaba siendo tratada, estaba psicológicamente en forma. (De la Wikipedia, </span></i></span><i><span style="line-height: 115%;">comentarios sobre doppelgänger)<o:p></o:p></span></i></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: center;"><i><span style="line-height: 115%;">Y<span class="apple-style-span"><o:p></o:p></span></span></i></p> <p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt; text-align: left;"><span face="Calibri, sans-serif">-de las anotaciones relacionadas con estas líneas en <i>The Wasteland</i> de TS Eliot, <o:p></o:p></span></p> <p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt; text-align: left;"><span face="Calibri, sans-serif"><o:p> </o:p></span></p> <div align="center" style="line-height: 115%;"> <table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable"> <tbody><tr> <td style="padding: 0cm; width: 251.3pt;" width="335">
</td><td style="border: none; mso-cell-special: placeholder; padding: 0cm;" width="28"><p class="MsoNormal"></p></td></tr><tr><td style="padding: 0cm; width: 251.3pt;" width="335"><p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">Who is the third who walks always beside you?<o:p></o:p></span></i></p> </td> <td style="padding: 0cm; width: 21pt;" valign="top" width="28"> <p align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;"><a name="359"><i><span lang="EN-US"> </span></i></a><i><span lang="EN-US"><o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">When I count, there are only you and I together<o:p></o:p></span></i></p> </td> <td style="border: none; mso-cell-special: placeholder; padding: 0cm;" width="28"><p class="MsoNormal"> </p></td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">But when I look ahead up the white road<o:p></o:p></span></i></p> </td> <td style="padding: 0cm; width: 21pt;" valign="top" width="28"> <p align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;"><a name="361"><i><span lang="EN-US"> </span></i></a><i><span lang="EN-US"><o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">There is always another one walking beside you<o:p></o:p></span></i></p> </td> <td style="padding: 0cm; width: 21pt;" valign="top" width="28"> <p align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;"><a name="362"><i><span lang="EN-US"> </span></i></a><i><span lang="EN-US"><o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">Gliding wrapt in a brown mantle, hooded<o:p></o:p></span></i></p> </td> <td style="padding: 0cm; width: 21pt;" valign="top" width="28"> <p align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;"><a name="363"><i><span lang="EN-US"> </span></i></a><i><span lang="EN-US"><o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">I do not know whether a man or a woman<o:p></o:p></span></i></p> </td> <td style="padding: 0cm; width: 21pt;" valign="top" width="28"> <p align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;"><a name="364"><i><span lang="EN-US"> </span></i></a><i><span lang="EN-US"><o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">—But who is that on the other side of you?<o:p></o:p></span></i></p> </td> <td style="padding: 0cm; width: 21pt;" width="28"></td> </tr> </tbody></table> </div> <p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt;"><span face="Calibri, sans-serif" lang="EN-US"><o:p> </o:p></span></p> <p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt;"><span lang="EN-US">Anotación:<o:p></o:p></span></p> <p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt; text-align: justify;"><span><a href="http://www.bartleby.com/201/1.html#360"><i><span face="Calibri, sans-serif" lang="EN-US" style="text-decoration: none;">360</span></i></a><i><span face=""Calibri","sans-serif"" lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">. The following lines were stimulated by the account of one of the Antarctic expeditions (I forget which, but I think one of Shackleton's): it was related that the party of explorers, at the extremity of their strength, had the constant delusion that there was one more member than could actually be counted. <o:p></o:p></span></i></span></p> <p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt; text-align: justify;"><span class="apple-style-span"><span face=""Calibri","sans-serif"" style="mso-bidi-font-weight: bold;">-Otro cuento leído y ya no ubicado, en que<i> un gemelo se nutre de forma parasítica de su hermano débil, y mientras el fuerte se vuelve grande y bello, el débil se vuelve una sombre, apenas visto de reojo, que acompaña a su hermano como fantasma.</i></span></span></p><p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt; text-align: justify;"><span class="apple-style-span"><span face=""Calibri","sans-serif"" style="mso-bidi-font-weight: bold;"><i> Con estas ideas ya estoy armado secuencias de imágenes, después verán el resultado.<o:p></o:p></i></span></span></p><p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt; text-align: center;"><span><i><b>More...</b></i></span></p><p style="line-height: 18pt; margin-bottom: 6pt; margin-left: 0cm; margin-right: 0cm; margin-top: 4.8pt; margin: 4.8pt 0cm 6pt; text-align: center;"></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">Also:<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">--From the notes related to these lines in T.S. Eliot’s <u>The Wasteland:<o:p></o:p></u></span></p> <div align="center" style="line-height: 115%;"> <table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable"> <tbody><tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">Who is the third who walks always beside you?<o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">When I count, there are only you and I together<o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">But when I look ahead up the white road<o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">There is always another one walking beside you<o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">Gliding wrapt in a brown mantle, hooded<o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">I do not know whether a man or a woman<o:p></o:p></span></i></p> </td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"></td> </tr> <tr> <td style="padding: 0cm; width: 251.3pt;" width="335"> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US">—But who is that on the other side of you?<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><i><span lang="EN-US"><o:p> </o:p></span></i></p> </td> </tr> </tbody></table> </div> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span><a href="http://www.bartleby.com/201/1.html#360"><i><span lang="EN-US" style="text-decoration: none;">360</span></i></a><i><span lang="EN-US">. The following lines were stimulated by the account of one of the Antarctic expeditions (I forget which, but I think one of Shackleton's): it was related that the party of explorers, at the extremity of their strength, had the constant delusion that there was one more member than could actually be counted. <o:p></o:p></span></i></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US">Plus:<o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 115%; text-align: justify;"><i><span lang="EN-US">--Another story once read and now lost, about a twin who nourishes himself parasitically through his weaker brother, and while the stronger grows large and beautiful, the other becomes a sort of shadow, scuttling alongside his sibling like a ghost.<o:p></o:p></span></i></p><p class="MsoNormal" style="line-height: 115%; text-align: justify;"><span lang="EN-US"><span>With these ideas I have begun to put together sequences of images-- the results will be seen here-- but later.</span></span></p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><i style="font-size: x-small;">Rizoma/Rizome</i><span style="font-size: x-small;"> Grafito/papel - Graphite/paper 2000</span> </p><p class="MsoNormal" style="line-height: 115%; text-align: center;"><span lang="EN-US"><span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRKgxNC-rYXjFFSlwLNIosNOmGrj0k1slaP4lD6eoOD6o3fV3I5EAGHrbB9zCVd2t3a5IXQ8RvvafGIdE6l-X6zcEtUep-A5UfYqv2t_CmspeHgxLDDJD0GaoclDhzEUmFDLe1zoThkKn1/s400/Rizoma+ch.jpg" /> </span></span></p><p style="font-size: 12pt; line-height: 115%;"></p><p style="font-size: 12pt; line-height: 115%;"></p></span><p style="font-size: 12pt; line-height: 115%;"></p><p style="font-size: 12pt; line-height: 115%;"></p></span><p style="font-size: 12pt; line-height: 115%;"></p><p style="font-size: 12pt; line-height: 115%;"></p></span><p style="font-size: 12pt; line-height: 115%;"></p><p style="font-size: 12pt; line-height: 115%;"></p><p style="font-size: 12pt; line-height: 115%;"></p></span><p></p><p></p></div></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-42088206646442885352011-04-26T10:51:00.001-07:002021-06-25T10:02:21.362-07:00libros de artista MÁS / MORE artist´s books<div style="text-align: center;">
</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQrPkCeGNWMgI6NkBHtFndUDlXBFBK97m7FB6KpIRK8yIE2eVryP6Ze-Cb1pyVqMYCM0YVMlqk-fJCuCzsHROp6XWkRXOAhg_8ZhzeH-2XR9dBdjSmm1nhjMszIfKRXtICJ-6ttyjwwf7g/s1600/de+lo+corto+1ch.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604555571444780658" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQrPkCeGNWMgI6NkBHtFndUDlXBFBK97m7FB6KpIRK8yIE2eVryP6Ze-Cb1pyVqMYCM0YVMlqk-fJCuCzsHROp6XWkRXOAhg_8ZhzeH-2XR9dBdjSmm1nhjMszIfKRXtICJ-6ttyjwwf7g/s400/de+lo+corto+1ch.jpg" style="cursor: pointer; display: block; height: 173px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>
<div style="text-align: center;"><b><span style="font-size: 14pt; line-height: 21px;">Llamas</span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="line-height: 18px;">Los libros que forman mi participación en la exposición de libros de artista, junio a agosto en la Biblioteca Lerdo de Tejada en la ciudad de México, tiene su génesis en dos proyectos que me ocupan desde hace un par de años: <i>Elsewhere/Otherness</i> y <i>Mujeres, fuego y objetos peligrosos</i>. Los lectores de ese blog ya están familiarizados con ellos… pero recalco un poco de qué se tratan:</span></div><div class="MsoNormal" style="text-align: justify;"><span style="line-height: 18px;"></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="line-height: 18px;">El primer proyecto (<i>Elsewhere/Otherness</i>) tiene que ver con mi tendencia incontrolable de expresarme por medio de la otredad, manifestada particularmente con una fascinación con la estética de Asia. El segundo nació con mis archivos de personas en llamas y volcanes, que colecciono desde hace años, que trabajé en la serie <i>Inmolación,</i> y amplié los conceptos de <i>Inmolación</i> con el hallazgo del dato del idioma de una tribu de aborígenes de Australia que maneja varios géneros, uno de ellos caracterizado por la inclusión de <i>mujeres, fuego y objetos peligrosos</i>. Apropié la frase, que abarca varios asuntos cercanos a mi iconografía, y desarrollé una exposición trabajando con material (imágenes) bajado del internet como resultado de meter en “búsqueda” las palabras “mujer, fuego” y “objetos peligrosos”. La mayor parte de la exposición, como la obra en estos libros de artista, está basada en la técnica de transferencia o <i>transfer</i>: la manipulación de una imagen previa con photoshop, fotocopia, y su traslado con solvente a un papel nuevo.</span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="line-height: 18px;">Me sobró algo de material de proyecto: la cara de una mujer hindú que prendió fuego a su marido, unas casas en llamas, la tienda de mujeres de una boda paquistaní, en llamas por un asunto de honor de hombres asociados con las atrapadas adentro, y la imagen de una kurda guerrillera con su metralleta, frente a una fogata (esta última es la única vez que se me unieron en una imagen lo representado por cada una de las tres palabras: una mujer, fuego y un objeto peligroso). Juntas, las imágenes forman una secuencia que habla de la pérdida de lugar- el abandono forzoso de lo seguro por lo incierto. Así salió el libro <i>De la intemperie.</i></span></div><div class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="line-height: 18px;"><i><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0H6rZ_wqf4aftOiwwFXKaAI-k45IEjDzQAnDOSToOZ7TKgLOBO3WHXhFgWNfJB9wGJ8H_o7lp1hSnIqq1bqZWcb4tRBIL8lxxtiwyZkgXh62X-Id1ydlmMnt1QrxXYdu8Oe6eazTjE-b/s400/de-lo-transitorio--cropped.jpg" /></i></span></div><div class="MsoNormal" style="text-align: center;"><b><span lang="EN-US" style="line-height: 18px;">FLAMES</span></b></div><div class="MsoNormal" style="text-align: justify;"><span style="line-height: 18px;"><o:p>The books with which I participate in the exhibit of artist’s books,</o:p></span><span class="Apple-style-span" style="line-height: 18px;"> inaugurated in June of this year</span><span class="Apple-style-span" style="line-height: 18px;"> in The <i>Lerdo de Tejada </i>Library in Mexico City, have their origin in two projects with which I’ve been working for a couple of years now, <i>Elsewhere/Otherness</i> and <i>Women, Fire, and Dangerous Objects</i>. These projects are already familiar to readers of this blog, but for anyone new, I’d like to go over a bit what they are all about—</span></div><div class="MsoNormal"><span style="line-height: 18px;"></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="line-height: 18px;">The first project, (<i>Elsewhere/Otherness</i>) has to do with my uncontrollable tendency to express myself by means of otherness- something I am not- manifested particularly in a fascination with the esthetics of Asia. </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="line-height: 18px;"></span><span class="Apple-style-span" style="line-height: 18px;">The second had its origin in my archives of people in flames and volcanoes, which I have been collecting for some time and developed into the series <i>Immolation</i>, and was amplified to its present form with my discovery that in the language of a tribe of Aboriginal people in Australia, one of their various genders is characterized by the inclusion of <i>women, fire and dangerous objects</i>. I appropriated the phrase, which covers several matters central to my own iconography, and put together a show working with material downloaded from the internet as a result of putting into <i>search</i> the words “women, fire” or “dangerous objects”. Most of that show (as well as the artist’s books pictured here) was elaborated using the technique of transfer: the manipulation of a given image with photoshop and photocopies, and its transfer to a new surface (usually paper) by means of solvent.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="line-height: 18px;">I had some material left over from the project: the face of a Hindu woman who had set fire to her husband, a few houses in flames, the women’s tent in a Pakistan wedding, set afire to settle a matter of honor of men associated with the women within, and the image of a Kurdish female guerrilla fighter before a campfire (this last is the only image I found that united in the same scene that represented by the three key words: a woman, a fire and a dangerous object). Together the images form a sequence that addresses the loss of place of origin- the forced abandonment of the certain for the uncertain. The result is the work <i>That which is transitory.</i></span></div><div class="MsoNormal" style="text-align: center;"><span lang="EN-US" style="line-height: 18px;"><i><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV0K8W3W5VmqZIpC-MCdlWBtsghOXwBE29d8l3GOpBDQBKqMAH630qCkacgG0-bS9Oss37RiafmDmtesWtJuLVpGOl8-ZNjtWxK2shBo4zIrgrbPFjEx6sUsi_Dx6xxpcP9Jl7hA9wxtbf/s400/de+lo+transitorio.crop+guerrillera.jpg" /></i></span></div><div class="MsoNormal" style="text-align: center;"><span lang="EN-US" style="line-height: 18px;"><i><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhay_Y-te5SSIFlvhDjlv_fIX0VOVfmKRxyntR7uRR5UE0V0tvOwTdZntz6iUkkg4i8VCQC0-fBgr7bx2ocsCe7jA-O2e5d5oybMWl3U2fZwSBseZ9VS4ITJ_YKvQRyAHKtowV_KpXdWs9Z/s400/de+lo+transitorio.crop+3.jpg" /></i></span><span class="Apple-style-span" style="line-height: 18px;"><i><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmsY-fircX6Za09x7VohZ-X_IoRMtxcM778PLSar5ZbS-vrYIiCpuLmZYtLBw40L4SyJtNek06-BMfw0Fq8vO1cedXlXivC3kgLdrinsR-hduCugB_JwmNm3GSdnNA0752KH-EcdOhYeu/s400/de-lo-transitorio+2.jpg" /></i></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="line-height: 18px;">Otro caso de pérdida de lugar es narrado en el libro <i>La cola del dragón</i>. Las imágenes documentan el autoinmolación de una mujer china en su azotea, después de recibir la noticia de su inminente desalojo.</span></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_dWjzi5bJaBK6MYnxuGKPbXGREtG9r_au34ZBzRpf9S3SOLfFYRDrdy54kmlz2D9xZsT4q7QRjQXaL49fxY4GAreZIvH1XaY_okrvRNDxEZt964k2NrcPwDploWx2AJ4L9WDWEhYBhr_/s1600/la+cola+del+dr+detalle.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><span class="Apple-style-span"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604548779713395842" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_dWjzi5bJaBK6MYnxuGKPbXGREtG9r_au34ZBzRpf9S3SOLfFYRDrdy54kmlz2D9xZsT4q7QRjQXaL49fxY4GAreZIvH1XaY_okrvRNDxEZt964k2NrcPwDploWx2AJ4L9WDWEhYBhr_/s400/la+cola+del+dr+detalle.jpg" style="cursor: pointer; display: block; height: 237px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></a></div><span class="Apple-style-span">
</span>
<div><span class="Apple-style-span" style="line-height: 18px;">Another case of loss of place of origin is narrated in the artist’s book <i>The Tail of the Dragon. </i>The images document the auto immolation of a Chinese woman on her rooftop, after having received an eviction notice.</span></div><div><span class="Apple-style-span">
</span></div><span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Qt8ENssHBDxJY1jo8vwJ1JiJGpJb_SxRI6lL-bD4wtVMkkqrCxlDZWDGV4zHmXxTmbA7FYhsLfpkvwT4bEDZbwBj3bY_NSTtI8JVM4djfAKMXxbSgBnnYisxZR2EK2Kez81TzL2LYFol/s1600/la+cola+del+dragon+II+ch.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604548652814858722" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Qt8ENssHBDxJY1jo8vwJ1JiJGpJb_SxRI6lL-bD4wtVMkkqrCxlDZWDGV4zHmXxTmbA7FYhsLfpkvwT4bEDZbwBj3bY_NSTtI8JVM4djfAKMXxbSgBnnYisxZR2EK2Kez81TzL2LYFol/s400/la+cola+del+dragon+II+ch.jpg" style="cursor: pointer; display: block; height: 245px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhazMnPbQXLGlC5SinM3F99zfA2AaLjYB20tmrS7KExPunH3jKPVOEy7H_vq6HbPd6fyxcQq2tgJDD6SIx77UA1u1cKV-AxXuWkzYIM71yUd26rlUceyf6drQrGjtZqT1e99GOds1hpmyY/s1600/La-cola-del-drag%25C3%25B3n-anverso.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604547275822484162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhazMnPbQXLGlC5SinM3F99zfA2AaLjYB20tmrS7KExPunH3jKPVOEy7H_vq6HbPd6fyxcQq2tgJDD6SIx77UA1u1cKV-AxXuWkzYIM71yUd26rlUceyf6drQrGjtZqT1e99GOds1hpmyY/s400/La-cola-del-drag%25C3%25B3n-anverso.jpg" style="cursor: pointer; display: block; height: 206px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmmuwShsuho1wnGxQf_0E1_cokqzrrc14ihTyszxxssecQkRH9cF4I9t4tI1OD9-LzGHpQcnUGhjyQZh-abmsXMvdgU2UN3EHXhh6-xeDCW06exk7nThBg_ZQoiEUl3XwCBYLbszQd0Mk/s1600/la+cola+del+dragon+III+ch.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604547161735646098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmmuwShsuho1wnGxQf_0E1_cokqzrrc14ihTyszxxssecQkRH9cF4I9t4tI1OD9-LzGHpQcnUGhjyQZh-abmsXMvdgU2UN3EHXhh6-xeDCW06exk7nThBg_ZQoiEUl3XwCBYLbszQd0Mk/s400/la+cola+del+dragon+III+ch.jpg" style="cursor: pointer; display: block; height: 187px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wTGWuuQ1PWhMwoLqUrbhK3nKa4PbD3iQmYkDwAI_uK9kkbPiKugPhIGz_9QnrhSLGwE15HHN5CulVG_kE_XzQBp9etbCxm4wExHQng8E241wu_SC8_wRtJaXjMBc4WHQGiF66JUiDf9F/s1600/La-cola-del-drag%25C3%25B3n.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604547009472293538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wTGWuuQ1PWhMwoLqUrbhK3nKa4PbD3iQmYkDwAI_uK9kkbPiKugPhIGz_9QnrhSLGwE15HHN5CulVG_kE_XzQBp9etbCxm4wExHQng8E241wu_SC8_wRtJaXjMBc4WHQGiF66JUiDf9F/s400/La-cola-del-drag%25C3%25B3n.jpg" style="cursor: pointer; display: block; height: 183px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></span>
<div style="text-align: center;"><span class="Apple-style-span">
</span></div><div><div style="text-align: center;"><span class="Apple-style-span" style="line-height: 18px;">
</span></div><div style="text-align: center;"><span class="Apple-style-span">
</span></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-vPCrF8YwvFaeqfOa42W7CMMuyTuY4PPvo2NVVjwpnTb2K22e_N8lVNpwWCKPAoET_q4t8x_4kxY3wNMRW0i3riqPuuXwR4gJNRFjEspZCvDI1Aa1LOWrzJUtDcY_A2KHT20Dra2aAgRh/s1600/monja.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><span class="Apple-style-span"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604546194512190482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-vPCrF8YwvFaeqfOa42W7CMMuyTuY4PPvo2NVVjwpnTb2K22e_N8lVNpwWCKPAoET_q4t8x_4kxY3wNMRW0i3riqPuuXwR4gJNRFjEspZCvDI1Aa1LOWrzJUtDcY_A2KHT20Dra2aAgRh/s400/monja.jpg" style="cursor: pointer; display: block; height: 375px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></a></div><div style="text-align: center;"><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimDVFrJ2eNWrzcU_-m-anpzo4UgCyGcbe0ZFhYXBhN-eCMROp3VvdilsvxWN7NfC2MdvM22UC2r8MITtSZLEvVnHa_1l5jvPE7cPeG2WYPolldCSZUPNPtxvr6Xq1PsNKaY83qg9IHh7cZ/s400/claustro+pelos.jpg" /></span></div><div style="text-align: center;"><span class="Apple-style-span">
</span></div><div style="text-align: justify;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">El libro </span><span class="Apple-style-span" style="line-height: 18px;"><i>El claustro</i></span><span class="Apple-style-span" style="line-height: 18px;"> está relacionado con el proyecto </span><span class="Apple-style-span" style="line-height: 18px;"><i>Elsewhere/Otherness</i></span><span class="Apple-style-span" style="line-height: 18px;">. Trabajando con una postal de una monja japonesa fotografiada por el italiano Felice Beato, fotógrafo viajero en el Japón decimonónico, y una tarjeta estereoscópica antigua donde se repite una escena de lotos flotando, construí un encierro.</span><span class="Apple-style-span" style="line-height: 18px;"> </span><span class="Apple-style-span" style="line-height: 18px;">Las llamas están</span><span class="Apple-style-span" style="line-height: 18px;"> </span><span class="Apple-style-span" style="line-height: 18px;">contenidas esta vez: atrás de la imagen transparentada de lotos se esconde otra, de un incendio. Los hilos de la costura sirven para sugerir</span><span class="Apple-style-span" style="line-height: 18px;"> </span><span class="Apple-style-span" style="line-height: 18px;">la reclusión forzosa de una monja, además de su pelo escondido, que sale, como sangre debajo de una puerta, de los confines de su encierro.</span></span></div><div style="text-align: center;"><div style="text-align: justify;"><span class="Apple-style-span" style="line-height: 18px;">
</span></div><div><span class="Apple-style-span" style="line-height: 18px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBMDp7WM1lEnjGIggxL4iG5a8lgidvTBxHZiZbQlHF18bcLQu0v23ZStq1TKMWP3FIrr77s0MzM6RsIamvY6Zr2CXU3AM9SpF0xG3rTcm0qhzjoeJKqQ7XG40vhBNAx-1MwhOGFKfa55gg/s400/El-claustro-II.jpg" /></span></div><div><span class="Apple-style-span" style="line-height: 18px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPvgXRWseWey0V2rjYdGwO2-GKnW2s3fsmUls73MTnzc_8yyiDiu5c2IimJZSX0LPt9hCDWvlJ9NtmObyFXgzkDQTfwZgYXMNqwRsGAqZaGEmc71KJN7ptZD0QO9TbOJp0rlKUQJSq0gCS/s400/El+claustro+anverso.jpg" /></span></div></div><div><div style="text-align: center;"><div class="MsoNormal"></div><div style="text-align: center;"><div class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="line-height: 18px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin3woMqc4reOrwe87QZHbokucrMeXS1jQ-fw5A903gLdVlFhYI3TubEQ2jXJ6A0fPZTBj-z-w54FFN0ZGr1vqCzGur_Vkn33tgFDSStSmT-AomKhN_SWs9taNbyONKVuVrFg5MAnxGMHGf/s400/El+claustro+extendido+anverso.jpg" /></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="line-height: 18px;">The book <i>The Convent</i> is related to the project </span><span class="Apple-style-span" style="line-height: 18px;"><i>Elsewhere/Otherness</i></span><span class="Apple-style-span" style="line-height: 18px;">. Working with a postcard of a Japanese nun, photographed by the Italian Felice Beato, a photographer who travelled extensively in 19</span><span class="Apple-style-span" style="line-height: 18px;"><sup>th</sup></span><span class="Apple-style-span" style="line-height: 18px;"> century Japan, and with an antique stereoscopic card containing the repeated image of a scene of floating lotus, I constructed an enclosure. The flames are contained this time: behind the transparented image of floating lotus I have hidden another, of a fire. The threads of stitching across the nun’s image suggest her forced reclusion, and also her hidden hair which flows out, like blood under a door, </span><span class="Apple-style-span" style="line-height: 18px;"></span><span class="Apple-style-span" style="line-height: 18px;">from the confines of her enclosure.</span></span></span></div><div class="MsoNormal"><span class="Apple-style-span" style="line-height: 18px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrGQjRWls0IYNR6WoP_DiHCmNCMQ6tY2sDvjToVhfJi28yxvpPGb91A4zEsu15vjphlpYZ5DpTfWhEPsDXRFrvNfgwJq8VDhqAgJ_alIUkVsM96d5sKu6aCycyOtuvRtXrddea5sSBZ9uN/s400/El-claustro-extendido.jpg" /></span></div></div><div style="line-height: normal; text-align: center;"><div class="MsoNormal"><span class="Apple-style-span" style="line-height: 18px;"></span></div></div></div><div style="text-align: center;"><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCLLmJ2pKqcvNfOnNi19uCm1iChZZMAQyY-YgV3EN_mxg7RmTcEPpnMb-EWS4gKK27IkqlDHiqt2L2XR0gkFp9xKioropuL_p0ALDFMTSDNwlyC1NwVK-XxSKeHkpk2f_ZDbNapFGP1UkF/s1600/El+claustro+II+recort.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><span class="Apple-style-span"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604546053646099122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCLLmJ2pKqcvNfOnNi19uCm1iChZZMAQyY-YgV3EN_mxg7RmTcEPpnMb-EWS4gKK27IkqlDHiqt2L2XR0gkFp9xKioropuL_p0ALDFMTSDNwlyC1NwVK-XxSKeHkpk2f_ZDbNapFGP1UkF/s400/El+claustro+II+recort.jpg" style="cursor: pointer; display: block; height: 248px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></a></div></div></div><span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFpTFV7ZSOYavX4KX5CvVXQjxWmyoWmdFKZ3ZUhc5BSR17Cl5HTVxvimsgU8phqFZmYBmvSg4pJwhIXpivviK2nLF1NEQTPo1BqOzW_Vx3Slm5QKbugc8_2Cl1v1X6mE080AOCWF_VdCm/s1600/El+claustro+doble.+ch.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5604545917132102914" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFpTFV7ZSOYavX4KX5CvVXQjxWmyoWmdFKZ3ZUhc5BSR17Cl5HTVxvimsgU8phqFZmYBmvSg4pJwhIXpivviK2nLF1NEQTPo1BqOzW_Vx3Slm5QKbugc8_2Cl1v1X6mE080AOCWF_VdCm/s400/El+claustro+doble.+ch.jpg" style="cursor: pointer; display: block; height: 393px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></span>
<div style="text-align: center;">Además de la mía la exposición incluye obra de Magali Lara, Pilar Bordes, Martha Hellion, Patricia Lagarde, Nunik Sauret, y la que nos coordinó todo, Berenice Torres.</div><div style="text-align: center;">
</div><div style="text-align: center;">Besides my own work the show includes pieces by Magali Lara, Pilar Bordes, Martha Hellion, Patricia Lagarde, Nunik Sauret, and Berenice Torres, who coordinated the exhibit as well.</div>
</div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com3tag:blogger.com,1999:blog-1918551101172524357.post-27949945343250024392010-06-05T15:50:00.000-07:002010-09-29T11:29:06.374-07:00más mujeres, más fuego, y más objetos peligrosos/More women, more fire and more dangerous objects<div style="text-align: center;"><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivtv9DvueCPTrKDIpHHqEIBApJCynl0W89-e5J1d9OutHoH_mZSgiQj720mqy8oku5c_k3ebjcwEieKIUmSvz4bRBQPKAeK8-34W0wBcpz9zdcRSiqVEd9A_E8Y4e6HV2PpgNBDAFSG0Jn/s1600/fuego+g.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 389px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivtv9DvueCPTrKDIpHHqEIBApJCynl0W89-e5J1d9OutHoH_mZSgiQj720mqy8oku5c_k3ebjcwEieKIUmSvz4bRBQPKAeK8-34W0wBcpz9zdcRSiqVEd9A_E8Y4e6HV2PpgNBDAFSG0Jn/s400/fuego+g.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5498288966894086674" /></a></div><div style="text-align: center;"><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">Fuego</span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">, transferencia cosida, caja de latón con transferencia/</span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">Fire</span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">, sewn transfer print, tin box with transfer print, 2010</span></span></div><span class="Apple-style-span" style="color:#C0C0C0;"><div style="text-align: center;"><br /></div></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpXRICujwaAzkONAyE-E5zo8WcexzvvF7pU7sO9twpba7JI76FOxHbjJCqQFrw9xmtCzZll0S8MVYVmwWd9PLKsEkAKzg0ydF4QKPgAXSGdlErktLtXd_DxkmrhizoG0C0ZlNTuYi1oyP/s1600/tr%C3%ADptico+web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 138px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpXRICujwaAzkONAyE-E5zo8WcexzvvF7pU7sO9twpba7JI76FOxHbjJCqQFrw9xmtCzZll0S8MVYVmwWd9PLKsEkAKzg0ydF4QKPgAXSGdlErktLtXd_DxkmrhizoG0C0ZlNTuYi1oyP/s400/tr%C3%ADptico+web.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5479747366715260658" /></a><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Aquí sigue el relato del proyecto actual; el texto pertinente a esta entrada está en la entrada anterior.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">More about my current project ; the essay that contextualizes these images can be found in the last blog entry.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;"><i>fire,flesh,stone, steel</i>, en la Gloria, 2010</span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHtFhrruIWUYLJWKMbXMdbHXnhnL8uxG5FhY-6GRD5HSB6eXJDsIgniim0TvFA0c5lWGPxM-Pj0Pm132RZNNITxUB9G5y9qNjqsRgFAt-Fg_QY6WpkiwTMd9onyD0lB26GyOHq5WCle02v/s400/fire,flesh,steel,stone.jpg" /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">de la serie </span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">Mujeres, fuego y objetos peligrosos, </span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">I y II del díptico</span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;"> Carne y piedra/</span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">from the series, </span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">Women, Fire and Dangerous Objects</span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">, I and II from the triptych </span><i><span class="Apple-style-span" style="font-size:x-small;">Flesh and Stone</span></i></span><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">, grafito/papel 2010</span></span></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5CPEwx3APiJUQ7uhM-8zY358MM28r6Lpcugqg2tlE7fzqyPBGyT37Xg6r8FdGSHW32e300MN0BpQh4a8_8vWQ9nMFNkXyX3ZpPgBg0Zh2UZXYRtiay0bqvoTKvDjiNvQtB6UlhAy7sLs0/s400/Flesh-and-Stone-I+ch.jpg" /></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivzwJ3Dk-aK3prXYETU3QgStsJAfBUoFo_sia51F8aRnc3Y_WzC2ejLpiZ21QlQuicaBPlgnnT1UKulClEIYmBvp2_S-ijFQllmmyzgrl0hffGMjl34j1gjN4nR2EjBG_CLMYrLKaoOor2/s400/Flesh-and-stone-II+ch.jpg" /></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">de la serie </span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">Mujeres, fuego y objetos peligrosos, </span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">I a III del tríptico</span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;"> Fuego, carne, y acero/</span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">from the series, </span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">Women, Fire and Dangerous Objects</span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">,</span></span></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;"> I to III from the triptych </span></span><i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">Fire, Flesh and Steel</span></span></i><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;">, grafito/papel 2010</span></span></span></span></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9htAWcvAN1Jt4o9wGaZnZ8ct1h2EfSXtsGYtKhMgPD7gA7BwtAJASsjihyXmG1_Hio152-rAnXfb07Yny1n0N5OeUWMz8RHjlBPTvqq2ItwR50L3AZWz0D0dcRhUg1KDZ4q9sgYBfZROf/s1600/fire+flesh+and+steel+I+w.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 398px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9htAWcvAN1Jt4o9wGaZnZ8ct1h2EfSXtsGYtKhMgPD7gA7BwtAJASsjihyXmG1_Hio152-rAnXfb07Yny1n0N5OeUWMz8RHjlBPTvqq2ItwR50L3AZWz0D0dcRhUg1KDZ4q9sgYBfZROf/s400/fire+flesh+and+steel+I+w.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5479747360242193810" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwjx4c8x_AdXaMeCwbBVmG3L7EabTdOWkyZ06eCY-hokVZhufBSb7tJ66zpD0ZRrXbnKRWL9MpDFNOX_ZrX8L7ZMngPUEW_dNzRVQ4qlf__rMsQZqK2Wv5AhlGeA7frSz3-nzfPN0RPnfw/s1600/fire+flesh+and+steel+II+w.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 398px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwjx4c8x_AdXaMeCwbBVmG3L7EabTdOWkyZ06eCY-hokVZhufBSb7tJ66zpD0ZRrXbnKRWL9MpDFNOX_ZrX8L7ZMngPUEW_dNzRVQ4qlf__rMsQZqK2Wv5AhlGeA7frSz3-nzfPN0RPnfw/s400/fire+flesh+and+steel+II+w.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5479747355492589426" /></a><span class="Apple-style-span" style="font-size:x-small;"><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color: rgb(192, 192, 192); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9106E92PIJWoYZKSNNHBcNpxGp-sofgSJ5x9Vv0hm0S89-0qMqifVuYwSuWty2lNWkkXSbCvW66KAJKHfOxY0jp9yeIVLVXAdcrTBb5AxppRzpc3fCsVax4IcOxLsW_6k5t0XeCcdH3xv/s400/fire+flesh+and+steel+III+w.jpg" /></span></div></span><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">A continuación encuentran un políptico de 8, transferencia en papel japonés con costura, que forman </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Choose your weapon: Un catálogo de objetos peligrosos.</span></i></div><div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="color:#C0C0C0;">Following you'll find an eight part poliptych, transfer prints on Japanese paper (kozo), entitled </span></span><span class="Apple-style-span" style="color:#C0C0C0;">Choose your weapon: A Catalog of Dangerous Objects</span></i></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yWM74m5OvBQKCSOwBl9jowGV7lezANyfaUeLK9KcvnJOf5k8sW_6zJSt8cQoxD5YEJoX2_ZElRUymSbKNWJWwrQ_zTy8BEiMOBT6FHKB4R-JWS9QjyS-k_TOkHGqCPkPgJkzKHQss3mr/s1600/choose-your-weapon-1+ch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 287px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yWM74m5OvBQKCSOwBl9jowGV7lezANyfaUeLK9KcvnJOf5k8sW_6zJSt8cQoxD5YEJoX2_ZElRUymSbKNWJWwrQ_zTy8BEiMOBT6FHKB4R-JWS9QjyS-k_TOkHGqCPkPgJkzKHQss3mr/s400/choose-your-weapon-1+ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5479428844920013058" /><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span"></span></span></a><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yWM74m5OvBQKCSOwBl9jowGV7lezANyfaUeLK9KcvnJOf5k8sW_6zJSt8cQoxD5YEJoX2_ZElRUymSbKNWJWwrQ_zTy8BEiMOBT6FHKB4R-JWS9QjyS-k_TOkHGqCPkPgJkzKHQss3mr/s1600/choose-your-weapon-1+ch.jpg"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; "></span></span></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yWM74m5OvBQKCSOwBl9jowGV7lezANyfaUeLK9KcvnJOf5k8sW_6zJSt8cQoxD5YEJoX2_ZElRUymSbKNWJWwrQ_zTy8BEiMOBT6FHKB4R-JWS9QjyS-k_TOkHGqCPkPgJkzKHQss3mr/s1600/choose-your-weapon-1+ch.jpg"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH_kHhFej6dRKrKLeGsurDxw_i8kOBdlc_LEe46nu6tGUnZlOH_HOBJmzPpZKwF3mdTMphywfylZqpk6hXmIxuSzWe4cEWR5x6nRZcz3g38AJp5i7pmdEBvso0rpmCiI3k4F-dvOwB8lvI/s400/choose-your-weapon-2+ch.jpg" /></span></a></div><div style="text-align: center;"><span class="Apple-style-span"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBLRaqdg6WzQQJD4MZ0RSO5iok0fBQ_nQfZkAJhIo0sL5lb2Ri9F-wMBSxqm6K9qblNLbaBfesjiUKeCeWy_mNZ_YpSZJ5yrcbvg7DX-aUIUPk0Y7F5kGDYT1IgPm7VVgcJfHJGZc7dsCn/s400/choose-your-weapon-3+ch.jpg" /></span></span></div><div style="text-align: center;"><span class="Apple-style-span"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRNfiRpTx2UZoLA3s4MrlxW60nFSRQsAYSRUBqHIAu61Fx5i5DbTrlkEUqH9FNnnMVn1__QxXb_0c9bB3SQdWNz1T266K_UwEn7a-H1A_9KTciGJuSa_oTIpvzRl4Ki9CzfLDou_HQRE6S/s400/choose-your-weapon-4+ch.jpg" /></span></span></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYLLLtCKs1VCoqkMSNy-xTP4_uoR9ohv2rnTpFkOspECkHYFK52627VWu2Btifh6DmXQlYVco227VLgIpYW7sDugLvNn47DlI0FbmhwTedSEs5niEoSOQK7IUwYpsdE9ZoFGlMvjdIpfy2/s1600/choose-your-weapon-5+ch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 291px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYLLLtCKs1VCoqkMSNy-xTP4_uoR9ohv2rnTpFkOspECkHYFK52627VWu2Btifh6DmXQlYVco227VLgIpYW7sDugLvNn47DlI0FbmhwTedSEs5niEoSOQK7IUwYpsdE9ZoFGlMvjdIpfy2/s400/choose-your-weapon-5+ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5479428511318224578" /></a></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCkJ3OJoRddrdGTurm-nq4VVw76wZDY4KJqJwP7nHljYMmjLaZ6i_8zgE46h0a3f9ezR0A0-M3YsWzVVbNlusaS1miLFNVLT2Twpsu3B6uaEjpDtulpcH81SamiJ4B3acPNxsoHWlltLPS/s1600/choose-your-weapon-6+ch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 289px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCkJ3OJoRddrdGTurm-nq4VVw76wZDY4KJqJwP7nHljYMmjLaZ6i_8zgE46h0a3f9ezR0A0-M3YsWzVVbNlusaS1miLFNVLT2Twpsu3B6uaEjpDtulpcH81SamiJ4B3acPNxsoHWlltLPS/s400/choose-your-weapon-6+ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5479428407527937058" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh0XQOfw4Y-1GlJ3B8BodXGEjmmHJmQc6UWg0L0Bv-zlnbYvqOcOgSaTw7qybI9aiC8mS5gh05q64RylWafJe3FZY9z5L203RfFGfSRTvawjVpTgOZt3bmpvfWJBc6LbjeTstY6MBMjBSd/s1600/choose-your-weapon-7+ch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 291px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh0XQOfw4Y-1GlJ3B8BodXGEjmmHJmQc6UWg0L0Bv-zlnbYvqOcOgSaTw7qybI9aiC8mS5gh05q64RylWafJe3FZY9z5L203RfFGfSRTvawjVpTgOZt3bmpvfWJBc6LbjeTstY6MBMjBSd/s400/choose-your-weapon-7+ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5479428251009818530" /></a><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiABOCjA82iQCeO3LAu9gTnId-Td0gYzpAi-XDn9-akpjUVljvbt3EPoEEp-njxXq4M9Hh_Uh9EomygkM8LT2-f3WXOjqJdrARWze7f-xKdlY1IKELG1xGCOdZdcUifS46s8bCFkqrzRPdo/s400/choose-your-weapon-8+ch.jpg" /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Esta obra resultó muy difícil de fotografíar, los hilos son metálicos, color plata. Como comento en el ensayo abajo, todas las imágenes se encontraron buscando en la red bajo </span><i><span class="Apple-style-span" style="color:#C0C0C0;">objetos peligrosos</span></i><span class="Apple-style-span" style="color:#C0C0C0;"> o poniendo el nombre de un tipo de objeto, por ejemplo, </span><i><span class="Apple-style-span" style="color:#C0C0C0;">instrumentos quirígicos</span></i><span class="Apple-style-span" style="color:#C0C0C0;"> o </span><i><span class="Apple-style-span" style="color:#C0C0C0;">garras</span></i><span class="Apple-style-span" style="color:#C0C0C0;">. La información resultante se trabajó en Photoshop y se ordenó.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">This work proved very difficult to photograph, the threads are metallic (silver color). As I comment in the essay below, all the images were found searching in the web, under </span><i><span class="Apple-style-span" style="color:#C0C0C0;">dangerous objects</span></i><span class="Apple-style-span" style="color:#C0C0C0;"> or with specific words such as </span><i><span class="Apple-style-span" style="color:#C0C0C0;">surgical instruments</span></i><span class="Apple-style-span" style="color:#C0C0C0;"> or </span><i><span class="Apple-style-span" style="color:#C0C0C0;">claws</span></i><span class="Apple-style-span" style="color:#C0C0C0;">. The resulting material</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">was </span><span class="Apple-style-span" style="color:#C0C0C0;">then transf</span><span class="Apple-style-span" style="color:#C0C0C0;">ormed in Photoshop and </span><span class="Apple-style-span" style="color:#C0C0C0;">given an o</span><span class="Apple-style-span" style="color:#C0C0C0;">rder.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOvVaRSa2c8jY5PffQHARCzokBtwGobziLJ5X6nay7eMACWIxUtrka2NWF0XuPBLKPFyV6o2-cpt4BnuraW1I2pppQ7Rb9xzb3m3HPLmgPkCl2zmf6YPA3Jro4wAruTU6Fz-U5HxZoMOLX/s400/mujeres-pensando-en-meteoritos+ch.jpg" /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"></span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WqvC3viKyM1OvaFJGV2gQRQuHtozAHlJuGmt237LJuI01qaGN7-jj9A3UlWfFmXqSLRVc9aT4uiizfV1ewfdSP019bzP1-EKyk0n9nS7wHUGns_bItMTSyQlEgDckIs0eRUebh7kmee1/s400/muejres+pensando+en-+detalle+.jpg" /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Elementos de la pieza </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Mujeres pensando en meteoritos</span></i><span class="Apple-style-span" style="color:#C0C0C0;">, Transferencia en papel japonés</span><span class="Apple-style-span" style="color: rgb(192, 192, 192); "> con costura</span><span class="Apple-style-span" style="color:#C0C0C0;"> sobre latas vintage de latón, 2010/ Elements of the piece </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Women Thinking of Meteorites, </span></i><span class="Apple-style-span" style="color:#C0C0C0;">Transfer on Japanese paper with metallic thread, on vintage tin boxes, 2010</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Aquí la pieza está como se presentó en el Iago, Oaxaca en septiembre de 2010/The piece is presented as seen in the Graphics Arts Institute of Oaxaca, September 2010</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgagvjsogx5hgkjfN-hw-RVAWIZSj7aOR4ViPP9Oz0IJ86KsMYfDIADutouDoFcLvRj2h_4kL0rYFCMiC_6iKysuEtwKCMo-7htu60wZyPyy_-7HSUiLSDSrbYJ9rJJhSTvHTRbAenM_GI2/s400/disturbios+I+w.jpg" /></span></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com1tag:blogger.com,1999:blog-1918551101172524357.post-42127810219161735112010-04-28T10:13:00.000-07:002010-06-04T09:22:08.105-07:00Mujeres, fuego y objetos peligrosos, la secuela / Women, fire and dangerous objects, the Sequel<div style="TEXT-ALIGN: center"><br /></div><div style="TEXT-ALIGN: center"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">serie Inmolación, III- Fashion/Immolation series, III, Fashion</span></span></i></div><div style="TEXT-ALIGN: center"><i><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="color:#c0c0c0;"></span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="COLOR: rgb(0,0,0)"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguK1zVHDgDhgXntW83LF_EtNUYEkLuoFI54AaAwk4edtAWLeUXRziNMwozuBKn7H5M0taqGkgm1BcKoB6wCkx5I0swhm4kGMHiaBkNU5iOpsQ4NMKfFJ-FC6YIhn2N-RGM3ZsciBicc5bq/s400/Inmolaci%C3%B3n-III--fashion-detalle-2.jpg" /></span></span></div><div style="TEXT-ALIGN: justify"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">¿Cómo es posible que pasaron más que 5 meses sin actualizar el blog?</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Un asunto muy complejo seguramente porque ¡no puede ser desorganización ni flojera! De hecho, podría ser algo de lo anterior, pero también pasa que al empezar el blog, subía mucho material de años anteriores.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Luego como entré en un periodo de mucha actividad productiva, subí ya solamente lo nuevo. Pero luego pasé unos meses preparando lo nuevo sin tenerlo cuajado, y sin ganas de recurrir a completar la relación de obra anterior.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Bueno, quedan cosas de antes que debo de subir en algún momento, pero ahora ya estoy en condiciones de seguir con lo actual, empezando con el texto (y algunas de las imágenes) para la exposición que inauguro el 6 de junio en </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">La Gloria</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">, el café/galería tan cerca del corazón de nosotros los chilangos.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Y aunque empiece repitiendo algo de lo ya dicho en este blog, ténganme paciencia, luego habrá datos nuevos.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Ahí les va:</span></span></div><div style="TEXT-ALIGN: center"><p class="MsoNormal"></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">So how is it possible that I went more than 5 months without updating the blog?</span></span></i><span style="font-size:+0;"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></i></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">A very complicated matter; surely, it couldn’t possibly be laziness or disorganization! </span></span></i><span style="font-size:+0;"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"></span></span></i></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Well, actually there was an element of the just mentioned involved, but it’s also true that when I started this blog, I spent a lot of time putting up texts and images from previous years. Then I entered into a period of much more productivity and only added the new stuff.</span></span></i><span style="font-size:+0;"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></i></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">But another period arrived, after November, in which I was working on new material without having it jelled, and without feeling motivated to fill in by continuing with the relation of previous work.</span></span></i><span style="font-size:+0;"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></i></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Actually there is work from the past that I should at some point add to the blog, but right now I´ve managed to put together more new work,</span></span></i><span style="font-size:+0;"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></i></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">starting with the text (and some of the images) for the show to be inaugurated June 6</span></span></i><sup><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">th</span></span></i></sup><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> in La Gloria, the café/gallery so dear to the heart of us chilangos (ie, residents of Mexico City). </span></span></i><span style="font-size:+0;"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"></span></span></i></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">And although the text starts off repeating some of what you already know from the blog, be patient, new information will appear. To wit:</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"><?xml:namespace prefix = o /><o:p></o:p></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><span class="Apple-style-span" style="LINE-HEIGHT: 18px"><i><span class="Apple-style-span" style="FONT-STYLE: normal"><i><span class="Apple-style-span" style="LINE-HEIGHT: normal; FONT-STYLE: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">serie Inmolación, III- Fashion/Immolation series, II</span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">I</span></span></i></span></i></span></i></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWCSIdJ8ffkPu7QvFBn55BnGWQM4IvGcXKAxjy_i0kgdmmDEcMSQyHUocKDkMfocHtSKzA2eJmhdRJgCr40TWIl4xdzVypwhuX3uGL6sTEbHkBh02HQ5JKcY2uJECoQECijXos9xTSWli-/s400/Inmolaci%C3%B3n+III-+fashion+dividida.jpg" /></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span lang="EN-US"><o:p><span class="Apple-style-span" style="color:#c0c0c0;"></span><span class="Apple-style-span" style="LINE-HEIGHT: 18px"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Hace poco leí que en la lengua -ya en vías de extinción- de un grupo aborigen de Australia, uno de sus varios géneros consiste de </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">mujeres, fuego y objetos peligrosos</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Me llamó la atención porque lo integrado a este género coincide con temática que he explorado en mi producción: las mujeres son un constante en mis imágenes, y aunque lo más común es que se vean vulneradas, en contadas ocasiones han aparecido blandiendo objetos peligrosos- notablemente una mujer-niña semidesnuda con látigo y botas que dibujé a los cinco años, y otra mujer en traje de baño disparando al </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Guernica</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> que</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">hice a los treinta, para la consternación de ciertos amantes de Picasso.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Y llevo muchos años coleccionando imágenes de volcanes y de inmolaciones (siendo éstas o auto infligidas o por linchamientos), además de escenas que involucran a personas con fuego (jóvenes palestinos con bombas molotov, por ejemplo).</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Fue justo cuando me enteré del idioma en cuestión que empezaba a utilizar este material coleccionado para crear unos libros de artista.</span></span></span></o:p></span></p><p></p></div><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="LINE-HEIGHT: normal"><i><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">serie Inmolación, III- Fashion/Immolation series, III, Fashion-detalle-detail</span><span class="Apple-style-span" style="COLOR: rgb(0,0,0); FONT-STYLE: normal"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVDbBwA5tcQ_poqY76g44dxlq0sjzd_ObZe5TAb9yB9TGGVJoDySIXBYqcX3BypulWIdwQKBaS4bZ-LNLEzrN7nWXSb9SM3tuJKY_ls2ceYoFJkF9h-ZoMpkf0LSEhNcl293ZEX8VEeclf/s400/Inmolaci%C3%B3n-III--fashion-b.jpg" /></span></span></span></i></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:medium;"></span></span></span></p><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><p class="MsoNormal" style="TEXT-ALIGN: justify"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Not long ago I came across the fact that in an almost extinct Australian aboriginal language, one of its various genders consists of women, fire, and dangerous objects. This interested me because the elements of this gender coincide with themes that I’ve explored in my own work. Women are a constant in my images, and although usually they are depicted in a vulnerable state, in a few instances they have appeared brandishing dangerous objects, notably a half-naked girl with a whip and boots that I drew when I was five, and a woman in a fifties bathing suit shooting at Guernica -to the consternation of certain lovers of Picasso- made when I was thirty. And for many years I have been collecting images of volcanoes and immolations (these</span><span class="Apple-style-span" style="COLOR: rgb(0,0,0); FONT-STYLE: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> either self inflicted or the product of lynching), as well as scenes involving people and fire (young Palestinians throwing Molotov cocktails, for instance). About the time I became aware of the language in question I had just started to make artists’ books from some of this fiery material.</span></span></i></span></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="COLOR: rgb(0,0,0); FONT-STYLE: normal"></span></span></span></i></span></p><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"><p class="MsoNormal" style="TEXT-ALIGN: center"><span class="Apple-style-span" style="LINE-HEIGHT: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">s</span><span class="Apple-style-span" style="font-size:x-small;">erie Inmolación, III- Fashion/Immolation series, III, Fashion-detalle-detail</span></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGQOoMGrxlIb7pykqZHQrcJSwCmbh2h7mIzQEZ-tQ14z7xmwsEWFLyMD9yKD3HmR1zFenqk-aXlcuNodu_4kZb9f4ivwlRkCpOAwtwr7dSSioEh92KKdq30oEbqL4gRI5CsJCGes13QPto/s400/Inmolaci%C3%B3n-III--fashion-detalle.jpg" /></span></span></p></span></span></i></span><p></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Entonces se me ocurrió que sería pertinente trabajar con las implicaciones de agrupar estas tres palabras potentes</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">y hacer una investigación más sistemática de </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">mujeres, fuego y objetos peligrosos</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Siempre trabajo con imágenes de archivo, generalmente con archivos de mi propia invención, pero esta vez decidí utilizar ese gran archivo que es la red y empecé a meter en </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">google search: images</span></span></i><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">las palabras </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">women fire</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> o </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">dangerous objects</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Emergió un material muyinteresante e inesperado.</span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="COLOR: rgb(0,0,0); LINE-HEIGHT: normal"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;"><i>serie Inmolación, II/Immolation series, II-detalle-detail</i></span></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="COLOR: rgb(0,0,0)"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="COLOR: rgb(0,0,0); FONT-STYLE: normal"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUPO_9L9QeXGOJN4XRpmB0VrRTJ2XpYaqoJ-AYzgltSDjUjVNOT2BzXK9T6itIEffIf9IIRFG2BTFRCTA9cN_EOBcjf37RGfWEsGGE46kRkx0n_pGQD7otIxIrsNzcRnwHtJpAxgrQQDb4/s400/Inmolaci%C3%B3n-II-d.jpg" /></span></span></span></i></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">So it occurred to me that it could be pertinent to work with the implications of grouping these three potent words: women, fire and dangerous objects, and to investigate them in a more systematic way. I almost always work with images from archives, usually archives of my own invention, but this time I decided to utilize that great archive, the World Wide Web, and started to put into -Google search: images- the words women fire or dangerous objects. A very interesting and somewhat unexpected material emerged.</span></span></i></p></span></span><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><i><span class="Apple-style-span" style="LINE-HEIGHT: normal; FONT-STYLE: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">serie Inmolación, II- Fashion/Immolation series, II</span></span></i></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwg36-7OesfLsn2aQq1-B-X_EbuXKs-qVWYw69dNpdcwEkXntovglKmJAckQZaLr7-_I6ec2A5d8uvs5g2VgzqQY9iSUESJB0ldsSQgIqNLWWdE6jqhLxfHMiAa6afZAyLwQZIOJ6evceL/s400/Inmolaci%C3%B3n-II-b.jpg" /></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Bajo </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">dangerous objects </span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">encontré referencias a meteoritos, por ejemplo, y una serie de imágenes en rayos equis documentando los objetos peligrosos e insólitos hallados tanto en cuerpos humanos como animales. Entre los casos de mujeres, destaca el de una joven china que padecía de dolor crónico, en cuyo cuerpo se encontraron más de 20 agujas que al parecer sus abuelos le clavaron en su infancia, deseosos de su muerte para abrir el paso al futuro nacimiento de un nieto varón.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">También empecé a pedir a amigos y parientes sugerencias sobre posibles objetos peligrosos y buscar imágenes de lo sugerido en internet.</span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span class="Apple-style-span" style="LINE-HEIGHT: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">serie Inmolación, II/Immolation series, II-detalle-detail</span></span></i></span></p></span></span><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifEpzrU4rl3xhtw8JoS2rZOqlGPH1TfvlRvVmgqBrEiekdK370x-WGp0Fa28NLbhKoCoqI4Xe-aEGtsKlvxoINW_xgFBvMOUo9NeLnr71Mu7hK50zyALf5Hd3daXuGX_idy-izr39ePNnx/s400/Inmolaci%C3%B3n-II-detalle.jpg" /></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">U</span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">nder dangerous objects I encountered many references to meteorites, for instance, and a series of X-ray images documenting the dangerous and unusual objects found in bodies, both of humans and animals. Among the cases involving women, that of a young Chinese suffering from chronic pain stands out. In her body over 20 needles were found, apparently inserted into her as an infant by her grandparents, in an attempt to provoke her death and clear the path for the birth of a future male grandson. I also started to ask friends and relations for suggestions of possible dangerous objects and to follow up their suggestions with more internet image searches.</span></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">No intentes esto en casa/Don't try this at home</span></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><i><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="FONT-STYLE: normal;font-size:16;" ><i><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZKsvCFWnPc_EK2EucUnyQLMuhrw-m6iKQeeJ76t37Lz4GglzOuUqmUEeKK5oygeA7UCyPi7Xk3SnY_e-Hcaqd2khNcOC2oTuRias41BSOWUrILDtIkNaNDH08LxfJV1T6mjc5GwGr3TOO/s400/don't-try-this-at-home....jpg" /></span></i></span></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">En cuanto a mujeres y fuego, encontré evidencia tras evidencia de una práctica en la India de aprovechar las fogatas abiertas de las cocinas tradicionales para quemar a las nueras o esposas indeseables (para luego buscar una dote mejor).</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Entre los que se inmolan, de los cuales tengo en mi colección tanto hombres como mujeres, había casos sonados de monjes que se quemaban por razones políticas, pero lo que más me sorprendió fueron aquellos que recurrieron a esta drástica medida después de que les fuese negado el permiso para abrir un negocio o por enfrentar un desalojo.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">En las pláticas resultantes a la pregunta “¿y qué estás preparando?” y mi subsecuente respuesta, salieron otras posibilidades, como la auto combustión, de la cual por coincidencia acabo de encontrar un caso en el libro </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Bleak House </span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">de Charles Dickens, que estoy escuchando (sí, audio) como parte de mis estrategias para no aburrirme mientras trabajo.</span><o:p></o:p></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">Centinela/Sentinel</span></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg__tIiVwtYprPEQmnZnmzbhOsB0Pk_NyEYNKpSthRqKqLOw4Kdxj7Z2vpqKbbizfykjfHn5JxnFLn1CLdXSX-Oj1UIbOHuSE54BLMAr9s92iGzwhr_oIby748mH7D4mR7FlpaoRYs1xvl9/s400/Centinela-b.jpg" /></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:medium;"></span></span></span></p><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><p class="MsoNormal" style="TEXT-ALIGN: justify"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">As for women and fire, I found one story after another of a practice in India in which the traditional open kitchen fires are employed to burn unwanted daughter-in-laws or wives (with a replacement and her dowry in mind). Among those who burn themselves up, of whom I find both men and women in my collection, there are famous cases of monks who ignite themselves for political reasons, but what I find most surprising, in terms of motives, are those who recur to this drastic measure after being denied a permit to open a shop, or when faced with eviction. In the talks that regularly take place after being asked, “So what are you working on right now?” and my subsequent reply, other possibilities have emerged, such as auto combustion, of which I just happened find a case, by coincidence, in Bleak House by Charles Dickens, a novel I have been listening to (yes, free audio books!) as I work as one of my strategies to avoid boredom.</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><o:p></o:p></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span class="Apple-style-span" style="LINE-HEIGHT: normal"><i><span class="Apple-style-span" style="LINE-HEIGHT: 18px; FONT-STYLE: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">Centinela/Sentinel-detalle-detail</span></span></i></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq0nSv1NHwWYsIBcbVhyNu2t5OI_-Zpx3AS_AFS6ssWDzwM24dk8bEvrICeBleB84b1QLJRhV3lRNBKo57A2zNZtK7cyCcPP_olIHv8Ka1mTS1ehgGmZIF0N2ESxuR_UWycQ_TljBhKUF9/s400/Centinela-copy-v-detalle.jpg" /></span></i></span></p><p class="MsoNormal"><span lang="EN-US"><o:p><span class="Apple-style-span" style="color:#c0c0c0;"></span></o:p></span></p></span></span><p></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Hasta ahora iba trabajando con información muy limitada en cuanto a la fuente del concepto de </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">mujeres, fuego y objetos peligrosos</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">. Pero luego recibí en mi blog, donde había platicado algo de mi proyecto, un comentario sobre el lingüista George Lakoff , que publicó en los años ochenta un libro titulado </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Women, Fire and Dangerous Things</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">, al parecer relacionado con ese idioma aborigen.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Busqué el libro (en la red por supuesto) y encontré en su prefacio (cortesía de Amazon) que efectivamente se trataba del mismo idioma, que se llama el </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Dyirbal</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">. Según otro sitio, al hablar en este idioma, cada nombre se precede con uno de cuatro clasificadores: </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Bayi, Balan, Balam, </span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">o</span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> Bala</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Balan</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> incluye mujeres y fuego y además, cierto tipo de armas como lanzas, el sol y las estrellas, animales insólitos como el </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">platypus</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">, ciertos insectos como los alacranes y las luciérnagas, algunas serpientes, perros, casi todas las aves y el agua. Analizado por R.M.W. Dixon, las categorías se pueden simplificar así: </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Bayi </span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">se aplica a hombres y a la mayor parte de los animales, </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Balan</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> a mujeres, agua, fuego y pelea, </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Balam </span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">a la comida que no sea carne y </span></span><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Bala, </span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">a todo lo no incluido en otras clases.</span><o:p></o:p></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="LINE-HEIGHT: normal"><i><span class="Apple-style-span" style="LINE-HEIGHT: 18px; FONT-STYLE: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">Centinela/Sentinel-detalle-detail</span></span></i></span></i></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwinfv8pp069dwEXdgnfpg6BgwS12RqBV3c45EdUnuCMUzmAg_evzXX5NNx5GkNQT0mWbrqjLnovF3TeGz__XiznJbPONznkJLATjs0XZJCTWEGX1KrhcUJTxkxxG3wB1048TV2vJgg-3W/s400/Centinela-copy-v-b.jpg" /></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:medium;"></span></span></span></p><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><p class="MsoNormal" style="TEXT-ALIGN: justify"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Up to this point I had been working with limited information about the source of the concept women, fire, and dangerous objects. Then I received a commentary in my blog, where I had commented something about my project, to the effect that in the eighties, the linguist George Lakoff had published a book called Women, Fire and Dangerous Things which was probably related to the same aboriginal language. I looked for the book (in the web of course) and discovered from its preface (courtesy of Amazon) that it indeed had to do with that language, called Dyirbal. According to another site, when one speaks in Dyirbal, all nouns are preceded by one of four classifiers: Bayi, Balan, Balam, and Bala. Balan includes women and fire, and also some kinds of weapons such as spears, the sun and the stars, unusual animals like the platypus, some insects including scorpions and fireflies, certain snakes, dogs, most birds, and water. As analizado by R.M.W. Dixon, the categories can be simplified as follows: Bayi applies to men and most animals, Balan to women, water, fire and fighting, Balam to food which is not flesh, and Bala to everything not included in the other categories.</span></span></i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><i><span class="Apple-style-span" style="FONT-STYLE: normal"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">No intentes esto en casa/Don't try this at home</span></span></i></span></i></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><i><span class="Apple-style-span" style="FONT-STYLE: normal"><i><span class="Apple-style-span" style="font-size:x-small;"><span class="Apple-style-span" style="color:#c0c0c0;">e</span></span></i></span><span class="Apple-style-span" style="color:#c0c0c0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeeRyMkgmc1n-12Fytwi59ZvcZUK4nOExiJtBxBHJLJ6x43d0htUFCV9l1UhCtyUizqkkhHFTkKgMnQ8cxMrfosx2N-66FnIZyO27_ntHY5esDGJvPDPQs99n1nkDsWCHqW4S_XYim-Xfh/s400/don't-try-this-at-home...v-detalle.jpg" /></span></i></span></p></span></span><p></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Los lingüistas se han fijado en el Dyirbal para el estudio de categorías, especialmente categorías culturales.</span></span><span style="font-size:+0;"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">A mí me interesan sus categorías por lo que puedan sugerir y las imágenes que pueda inventar a partir de ellas. Pretendo hacer con las imágenes y conceptos encontrados lo que suelo hacer con el material que trabajo: alterar, combinar y re contextualizar, en el intento de crear imágenes que ofrezcan algo que las palabras no abarcan.<o:p></o:p></span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: justify"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="color:#c0c0c0;"></span></span></span></p><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"><p class="MsoNormal" style="TEXT-ALIGN: justify"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">Linguists have found Dyirbal very useful for the study of categories specifically related to culture. As for me, I find the language’s categories interesting for all they may suggest and for the images I can invent building on what I find in such suggestion. I intend to do with the resulting images and concepts what I always do with the material I work with: alter, combine, recontextualize, in an attempt to create images that offer something that words cannot convey</span></span></i></span><span lang="EN-US"><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:small;">.</span></span></span></p><p class="MsoNormal" style="TEXT-ALIGN: center"><span lang="EN-US"><i><span class="Apple-style-span" style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size:x-small;">obra en proceso/work in progess</span></span></i></span></p></span></span><p class="MsoNormal" style="TEXT-ALIGN: center"><span style="LINE-HEIGHT: 115%"><span class="Apple-style-span" style="font-size:medium;"></span><o:p><span class="Apple-style-span" style="LINE-HEIGHT: normal"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCngzm2D7v6-nMaxSWV9B43xi7oE4YGxeOGOsDbExloEwxy1fwQ8W5_i8pMB4nfnJeuCYwJ2s3CB1SRPnXu2Dr3sXFvQnvlHp01cNqkyip0CR6qb0n0LeOyEDwruKY_B70UobhTqyV0o7Z/s400/elemento-mujer-b.jpg" /></span></o:p></span></p><p class="MsoNormal"><span style="LINE-HEIGHT: 115%;font-size:12;" ><o:p></o:p></span></p>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com2tag:blogger.com,1999:blog-1918551101172524357.post-47919261706802151362009-11-04T07:59:00.000-08:002010-04-28T20:30:25.314-07:00Women, Fire, and Dangerous Objects/Mujeres, fuego y objetos peligrosos<div style="text-align: center;"><br /></div><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY4A1bT-Duv3GXR4cwHmZQ0YiOGPI5gABGpbqniWqW1C1kCE7Uimc8NrRlCLRhUjdMv0ojnz5pE9ognYvAzIDb_kqUgeNJQOtHr_z1T5ilsQBTOAcmTthYK4NlmyMljizMrB3JIq55Nwp3/s1600-h/Inmolaci%C3%B3n+mujer.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 215px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY4A1bT-Duv3GXR4cwHmZQ0YiOGPI5gABGpbqniWqW1C1kCE7Uimc8NrRlCLRhUjdMv0ojnz5pE9ognYvAzIDb_kqUgeNJQOtHr_z1T5ilsQBTOAcmTthYK4NlmyMljizMrB3JIq55Nwp3/s400/Inmolaci%C3%B3n+mujer.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5403049502094517362" /></a></div><div style="text-align: justify;"><span class="Apple-style-span" style=" color: rgb(192, 192, 192); "><span class="Apple-style-span" style="font-size: small;">I recently read that in the languaje of a certain Aboriginal group in Australia there are about 22 genders (as opposed to English which has none and Spanish which just distinguishes between male and female). One of these gender groups is comprised of </span><span style="FONT-STYLE: italic"><span class="Apple-style-span" style="font-size: small;">women, fire and dangerous objects</span></span><span class="Apple-style-span" style="font-size: small;">. Of course I immediately decided this would be a great title for a body of work, and now I've started on it.</span></span></div><span style="color:#c0c0c0;"></span><br /><div align="justify"><span style="color:#c0c0c0;"><span style="font-size:85%;">Recientemente leí que en el lenguaje de cierto grupo aboriginal de Australia, hay como 22 géneros distintos (comparados con el inglés que no tiene géneros yel español que no más maneja masculino y feminino). Uno de estos géneros está compuesto por<span style="FONT-STYLE: italic"> mujeres, fuego y objetos peligrosos</span>. Por supuesto decidí de inmediato que esto sería un título fantástico para un conjunto de trabajos, y ya estoy en eso.</span><br /></span></div><div align="justify"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></div><div align="justify"><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Esto y los que siguen, vistas del libro de artista "Inmolación", 2009- This and those that follow, views of the artist's book "Immolation"</span></em> <img id="BLOGGER_PHOTO_ID_5400290021917134402" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 363px; CURSOR: pointer; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioScJIjAaXwyD40gHku4QtlVC3oSqgOW6I4__wrZOWyKYOEm_B6teedEj2qSeMqzpSOt0yEG3Us3jNEDQngaM6PEfHy4XG0bpn1BIUONBEzceW4wDNUiZdNnm3JVwu27sH_jyOnj2SbFVe/s400/inmolaci%C3%B3n-cerrado+ch.jpg" border="0" /><br /></span><span style="font-size:85%;color:#c0c0c0;">Around the same time I was asked to contribute a few artists' books to an congress on graphics and the printed word in Oaxaca, Mexico, called <span style="FONT-STYLE: italic">Libre Tiraje</span>. So my first incursions in the <span style="FONT-STYLE: italic">gender</span> of women, fire and dangerous objects will see the light of day in Oaxaca.<br /><br />Al mismo tiempo me habían pedido libros de artista para exponer en un primer encuentro de gráfica y escritura en Oaxaca, llamada<span style="FONT-STYLE: italic"> Libre Tiraje</span>. Entonces las primeras incursiones en esta vena se verán la luz de día en Oaxaca.<br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7d_QAH4igA7U8hyphenhyphenk5hdkwqsBNm6C9Llt_gTKYuus39Q1HMx9RelbHXlG2TtTQ98swyWS9VeknRtk9X-F3Ad2ANPHfWlE9Cf17fEXBAD7b2q81u2Ctclfoxd25SquUwLps7OXpeVkvj-p/s1600-h/inmolacion+semi+abierto.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5400292062162426050" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: pointer; HEIGHT: 256px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7d_QAH4igA7U8hyphenhyphenk5hdkwqsBNm6C9Llt_gTKYuus39Q1HMx9RelbHXlG2TtTQ98swyWS9VeknRtk9X-F3Ad2ANPHfWlE9Cf17fEXBAD7b2q81u2Ctclfoxd25SquUwLps7OXpeVkvj-p/s400/inmolacion+semi+abierto.jpg" border="0" /></span> </a><p align="justify"></p><p><span style="font-size:85%;color:#c0c0c0;">I have a small collection of newspaper clippings of volcanoes and people set on fire, either by themselves (in a couple of cases because they couldn't get permits to operate their businesses, curiously enough) or by lynch mobs. There are as well as few Palestine youths trying to set other things on fire. Actually these clippings have spent a long time lost in my papers but recently came to light once again, and I complemented them with a few images from the web. After a little photoshopping I made up a sequence in transfer on Japanese paper which is my first foray into the fire subject matter (though I worked a lot with volcanoes about 20 years ago, when I was travelling often through the Mexican landscape).<br /><br />Tengo una pequeña colección de recortes de periódicos de volcanos y de gente en llamas, o auto inmolada (en un par de los casos representados porque no conseguiron permisos para operar sus negocios, curiosamente) o linchada. También hay varios chavos palestinos tratando de encendiar otras cosas. La verdad es que estos recortes estuvieron perdidos entre mis papeles durante mucho tiempo pero reciéntemente salieron a la luz otra vez, y los he complementado con unas imágenes de la red. Después de una sesíon en Photoshop pude hacer una secuencia en transferencia sobre papel japonés que es la primera salida de obra con lo relacionado con fuego (aunque hace 20 años trabajé mucho con imágenes de volcanos, en una época en que viajaba mucho en el campo mexicano.)</span></p><p><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5400297704408591362" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: pointer; HEIGHT: 334px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXnj0W9mAveGSvTFFEfkYI2A5V0GlMjhM9shWnhxvwmpTfKTXdJW_3qntBSbU7sgGXdWRSvU3F-6QSAgN67-ameKvT5zSk5wZQ7_Nj6hD9bwrAseQ1lracKjRFcWOnViOC8sXdTpqXU7pT/s400/inmolaci%C3%B3n-vista-para-exponer-2+ch.jpg" border="0" /></span></p><div align="justify"><span style="font-size:85%;color:#c0c0c0;">I had a hard time working on this piece because the images ended up affecting me, people in flames are disturbing subject matter (which is of course why they interested me in the first place).</span></div><br /><div align="justify"><span style="font-size:85%;color:#c0c0c0;">Me costó trabajo hacer esta pieza porque las imágenes me llegaron demasiado. Gente en llamas termina por ser una temática perturbante (y por supuesto por eso me interesó en primer lugar).</span></div><span style="font-size:85%;"><span style="font-size:100%;"></span><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5400352772725291330" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 114px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiwwilJqjDytP6zrEUaMww_eKyUPGdOwtj3Bk9S6_q3_Zj7s1i-9LtkOtwIZCajU_wn6nO6IgcPeXlty6cS1QTQFDKun4p0i1p3T_26TX7aKb_MvHK6I77lDrJ9IM779eyPJzmbM-HA9W8/s400/Inmolaci%C3%B3n--vista-para-exponer+ch.jpg" border="0" /></span></span><span style="font-size:85%;"><span style="color:#c0c0c0;">The piece is called<em> Immolation</em>. -- La pieza se llama <em>Inmolación.</em></span></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKn67sbmZgYdnE2p1L9NO_ZAWUfIrgaRw_taqCugZuB3YhsEmhE457N-GGGwqWOC-fMH6Q0QIVjcfWQFM_h-OH3iUFKLU8cIbN9J-vfGWCggj8DjTbo-v_HM3hoetIf6cHFzoKL-X-Fq14/s1600-h/Inmolaci%C3%83%C2%B3n-completa+ch.jpg"><span style="font-size:85%;color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5400290214872053858" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: pointer; HEIGHT: 69px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKn67sbmZgYdnE2p1L9NO_ZAWUfIrgaRw_taqCugZuB3YhsEmhE457N-GGGwqWOC-fMH6Q0QIVjcfWQFM_h-OH3iUFKLU8cIbN9J-vfGWCggj8DjTbo-v_HM3hoetIf6cHFzoKL-X-Fq14/s400/Inmolaci%C3%B3n-completa+ch.jpg" border="0" /></span></a><span class="Apple-style-span" style="font-size:small;"><div style="text-align: justify;"><br /></div></span><span class="Apple-style-span" style=" color: rgb(192, 192, 192); "><div style="text-align: justify;"><span class="Apple-style-span" style="font-size: small; ">I did another volcano piece at the same time, with an image based on a daguerrotype that the critic Olivier Debroise gave to me long ago -because the face was scratched in a way that made him think of my interventions in drawings.</span></div></span><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5400358211188655874" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 249px; CURSOR: hand; HEIGHT: 269px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjclnNAarCSYb_dVZA7kixZdtrveLNS8W3MLLkw4W5Mv7b0Y9-jGnZza8eVcOp7Q-feN7w1J3lqC5tA45YIKN9D4pD8qAdopF7rTGueeV7us5falRIou9ebF-F159XByUif7AlDKM08KgvJ/s400/fumarola-cerrada+ni%C3%B1a.jpg" border="0" /></span><p align="justify"><span style="color:#c0c0c0;"><span style="font-size:85%;">Hice otra obra relacionada con volcanos al mismo tiempo, con una imagen basada en una daguerrotipia que me regaló el crítico OLiver Debroise hace mucho tiempo -poque la cara estaba rayada en una forma que lo hizo pensar en mis intervenciones en dibujo.</span><br /></span></p><p align="center"><span style="color:#c0c0c0;"><span style="font-size:78%;"><em>Fumarola/cerrado/closed/2009<img id="BLOGGER_PHOTO_ID_5400358040926015138" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 204px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqf4UYyOaqMta_WtAUwJr2d3e6-uYMOnVai_v2rIJoqrZdrcF72-ND4S6FO6-nchTS3JP3LoztS7RxvmJJoM3bKZAnaauHQWNRdya3HHzxnfWlWfRmt6-pNbi2Zqb4leC-bYXAamEzicFG/s400/fumarola-cerrada.jpg" border="0" /></em></span><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2KBnJzdaiaojBSDz88-4YPBAogdAzgMgZTN4jK4KlNsMzhcAnSnjE_MtHgf7VeZwM0R5DpaVKUHYQliqS8rPxvdjrb6gdR0rjZRej9qBQHjwi1Qy7sYWn1n3ApUmXlU6dZ3zIeFEelvJb/s400/ni%C3%B1a+nube+2.jpg" /></span></p><p align="center" style="text-align: justify;"><span style="color:#c0c0c0;"><span class="Apple-style-span" style="font-size: small;">Quise establecer una continuidad entre la sustancia negra saliendo de su boca (aparentemente) y la que salía del volcán en otra antigua foto mexicana.</span></span></p><p align="justify"><span style="color:#c0c0c0;"><span style="font-size:85%;">What I wanted to do was to create a continuity between the black substance (apparently) coming out of the girl's mouth and that emerging from the mouth of the volcano in another old Mexican photograph.</span><br /></span></p><p align="center"><span style="font-size:78%;color:#c0c0c0;"><em>Fumarola/abierto/open<img id="BLOGGER_PHOTO_ID_5400358362528514626" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 147px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi23QfHmXNJMu5z2yEu8UZJk7Y74nm99X5kBgMp9lGPLrNdE052z8QUziQzPVFaHsHRGJhN05Snmdt0AN6o7CYgjfDUirE03iuFswUiGfCs6UOozXLj9E-5eQ2jOwzWcXn9d5wj_18YqdVz/s400/fumarola-abierto-2+ch.jpg" border="0" /></em></span></p><p><span style="font-size:85%;color:#c0c0c0;">El libro se llama <em>Fumarola</em>. </span></p><p><span style="font-size:85%;color:#c0c0c0;">The name of the book in Spanish comes from the plumes of steam that the volcano throws off. This doesn't seem to work as a title in English, maybe something like <em>Vapor</em> would...or perhaps something a little more sinister. <em>Black Words</em>?</span></p><p><span style="font-size:85%;color:#c0c0c0;">Meanwhile I keep digging up old copies of old prints and making collages of them with the new (manga) prints. </span></p><p style="text-align: center;"><span><span class="Apple-style-span" style="color:#C0C0C0;"><i><span class="Apple-style-span" style="font-size: x-small;">lotos y mujer reclinándose/lotus and woman reclining 2009</span></i></span></span></p><p align="center" style="text-align: center;"><span style="font-size:85%;"><span style="color:#c0c0c0;"><span style="font-size:78%;"><em><span class="Apple-style-span" style="font-style: normal; "><em><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-style: normal; font-size:16px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhf88aAR3F_HnSoPENgD0aFJ0EHCIDnrT_qRCJGvAJ6lEKEbeKQzbcJwN7y5AuajDSNby1A3kkA4xvej3kLEzl-OLI9puf79CwECivO-J8ZaHbBuvBPU3e_p0UubmOjxPOezyAlCjmlrf3/s400/lotos-y-mujer-reclin%C3%A1ndose.jpg" /></span></em></span></em></span></span></span></p><p align="center" style="text-align: center;"><span><span><span><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size: x-small;">serie-flores-del-mal--velo-roto/series Fleur du mal-the torn veil 2010</span></span></span></span></span></p><p align="center" style="text-align: center;"><span style="font-size:85%;"><span style="color:#c0c0c0;"><span style="font-size:78%;"><em><span class="Apple-style-span" style="font-style: normal; "><em><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-style: normal; font-size:16px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJnHqR64BvH37DL5Yq4YldPVNbCTAmbSUCmwn3BYfkbrN4s832QBedFQFgs02IxY8m8QUShNjYMrQ3MUsw-QKoMLIFCx5_JHa2dCxVwfyY1D3eoaYSyntigekskCJQnYG2RX2QQ2QRFq6m/s400/serie-flores-del-mal--velo-roto-marzo-2010.jpg" /></span></em></span></em></span></span></span></p><p align="center" style="text-align: center;"><span class="Apple-style-span" style=" color: rgb(192, 192, 192); "><span class="Apple-style-span" style="font-size: small;">Mientras tanto sigo sacando copias de viejos grabados para hacer collage con los nuevos (manga) grabados.</span></span></p><p align="center"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style="font-size:x-small;"><i><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcVwc1BAnM51IRVpFOWGZ645X0jkSySaJ0EB3TLMWC-G2YE2nzSMYTkfx9H_mgpoozTUTcpDInNpHJD7_Khf92FJFKs8uMPbHia-oJ4I9qx7TWSEa2pdUdH_73DqYPUjK87M85g1Vd0Va/s400/serie-flores-del-mal--velo-roto-detalle.jpg" /></i></span></span></p><p><span style="font-size:85%;color:#c0c0c0;">Sometimes I try to make a collage similiar to a previous one, but somehow they always turn out differently...</span></p><p><span style="font-size:85%;color:#c0c0c0;">A veces quisiera hacer una versión parecida a otra previa, pero siempre me salen distintas...</span></p><p align="center" style="text-align: center;"><span style="font-size:85%;"><span style="color:#c0c0c0;"><span style="font-size:78%;"><em>Susana and the elders, second version/Susana y los viejos, segunda versión</em></span></span></span></p><p align="center" style="text-align: center;"><span style="font-size:85%;"><span style="color:#c0c0c0;"><span style="font-size:78%;"><em><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-style: normal; font-size:16px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHgd_KbSZTerTycNLMlgbGbSsIcADQMnzKZwPTTGFrXEHfGmXqTBsjMk9anVULIQWu1tGzD3ThOZntPPcx4q8ozXt0Lf3zLekQWLwNpr1PNNR50DjPrWnFDblQauneQrojoBDM_XlkYsJy/s400/da%C3%B1o+versi%C3%B3n+2+fondos.jpg" /></span></em></span></span></span></p>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com4tag:blogger.com,1999:blog-1918551101172524357.post-82450696100022199912009-09-16T10:50:00.000-07:002009-09-18T20:47:05.924-07:00unas observaciones/a few observations<div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><span class="Apple-style-span" style=""><span class="Apple-style-span" style="color:#000000;"><br /></span></span></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKPN4J0mfwyl0sk2xhSCL9UL_0Pd0GyiluwoRJaOSQlItJEo8J4jODCru0KkO0PeXFwqboSWrIEiy1rUkviC4gdagFw19CoKNCGecxYPEx93Y2f9-ted2PUQ_WbHOpeOLeOcRnd5OY7_XS/s1600-h/Culture-Shock-IV,+altura+400.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 393px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKPN4J0mfwyl0sk2xhSCL9UL_0Pd0GyiluwoRJaOSQlItJEo8J4jODCru0KkO0PeXFwqboSWrIEiy1rUkviC4gdagFw19CoKNCGecxYPEx93Y2f9-ted2PUQ_WbHOpeOLeOcRnd5OY7_XS/s400/Culture-Shock-IV,+altura+400.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382167427979115842" /></a><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfNp1U7ApxEsCUpN0b9JhkNV6tEDMdlwI3qsdpc5ANG2uY26E6mWA8TWtjH0ztgT20WtsHraCr0iIgoxMdPWtxEg2cXELmdk7XZWGALrLQ0vS1VpFEJFQIFGra7IyIAd_FEBhyphenhyphenKfsagFki/s200/Culture-Shock-V,+altura+400.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 196px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382165024721559410" /><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyuq_nwFy_1WAkBsq67xKrq5IKRdbQdcqLwqXv7M0f74QVsXCpzC0ezoZp5aoaJgiMYgKWftgVK8vSrETq2_-AwEnSgDBQzDDRVhih2gbBRboUvEkVlA7e_YtPzrlrFDZMN9dRWrCH8SJ5/s200/culture-shock-VII..jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 200px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382164681230826514" /><div style="text-align: center;"><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp9hR2oBGQuaFPSdJQ3woURVnCQOvcUXbjOpuFLFvWuQU_49ewRwgAq_niFWSU1TWT-jqgq2ZwXlqp_mxjLJh0u__LGQwkAn6jAI8UWeL3gsawIUdNT2cMbkN8VnNUOXSydISNbpxgUsQw/s200/culture-shock-VI+altura+400.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 198px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382164837760231698" /></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2sVCVsskWNuc5BUPJvt7-u3MuiG8V6wpXZj0E77FOCPnHNXR4mstnnYpp2sIyk4g1TJ0qVRDIM2_TZUGfU8L_iTleFrYk5fgNiN6mZNL1rdRxdySmG3g9PRcGd3mgfpk8G_0Pq6O9AOCy/s200/culture-shock-I+y+VIII+altura+400.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382166384960212018" style="float: left; margin-top: 0px; margin-right: 10px; margin-bottom: 10px; margin-left: 0px; cursor: pointer; width: 199px; height: 200px; " /></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYlLt3zhemP2Co0gIWAqnNoBy3AEywlDIaV-Hjl6QLb3DQbxQDqW30IsUOHZ4_z2KrSxCEQG09uybi9pViGumC5-Q7TmOATCeDmYhCES271owKnDKCrpblB341GHCl2GKMd-2KwEkDwWsF/s200/Culture-Shock-III,+altura+400.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 197px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382164021542360498" /></div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl3MIchpYqX48nGc8Nf9I5sMpXmKnvyg4TSZZ83lPGBNDpJOlPRN3WI_xXnPPOKA-N-eJ4SkWTXT0_qnessh7MdIPfP1uVt1OPCpO7xvSaKlWDc-Kw4_4NKeyAKd7E488pglCFPDVcEK4t/s200/culture-shock-II,+altura+400.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382167143444577186" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 200px; height: 198px; " /></div></div><div><div style="text-align: justify;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><div style="text-align: center;"><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">My idea with this entry is to complete the gallery of images included in the exposition </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Elsewhere.</span></i></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Above is a more complete (or more legible) version of the series </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Culture Shock</span></i><span class="Apple-style-span" style="color:#C0C0C0;">.</span></div></div><div><div><div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">This series (each one 80 x 80 cm) can go on infinitely as each one connects to the next.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Here a sequence of twelve (from the Arróniz show) can be seen.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Mi idea con esta entrada al blog es de completar la galería de imágenes de la exposición </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Elsewhere</span></i><span class="Apple-style-span" style="color:#C0C0C0;">. Arriba encuentran a la serie </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Culture Shock</span></i><span class="Apple-style-span" style="color:#C0C0C0;">, más completa (o más legible). Esta serie puede seguirse infinitamente como cada cuadro se conecta con el que sigue. Aquí ven una serie de doce cuadros de la exposición en la galería Arróniz.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRh7HV2ot0XOlddN52GGlOjfYlfO7PXQQ-7BLlC4QuNPJTld59z5X6CLTFnH4SSymnT3X9vrItu9zfHmtcnxRmvHNKd5Pyvjwmg6AzmgVFv4jnLc4YbyKsTqkoZMNkPPsvsg6GOa1Az8Sg/s400/culture-shock,-galer%C3%ADa-arroniz.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382169548225513698" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 115px; " /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Using these prints (which are cut from a material used for the soles of shoes, similiar to linoleum), I began to invent variations, intervening the printed plate with collage of smaller prints, or transfers, sewing, and/or the application of gold or silver leaf or metallic pigments. Below you see one of these works, which I called </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Susana and the Elders</span></i><span class="Apple-style-span" style="color:#C0C0C0;">.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">De estos grabados (en suela para zapatos, que es como linóleo) empecé a inventar variaciones, interviniendo el grabado impreso con collage de grabados más chicos o de transferencia, costura, y/o la aplicación de hoja de oro o plata o pigmentos en polvo metálico. Abajo ven una de estas obras, a la cual puse </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Susana y los viejos</span></i><span class="Apple-style-span" style="color:#C0C0C0;">.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#0000EE;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></span></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1AAcYx-Ca564HGkTWluZvaCMIBK5vfDhcBqBPoFrpgGxdmG7HRlqXaFFcLBAROSFMpAJBmMBOdL_HmvTPX8vPzxfGXEt0TIz0Nss1_R5CPZdRX9Vj6ItjSgDUoE-cmm0GXXqT2UfTd0e/s1600-h/Susana-y-los-viejos-ch.jpg" style="text-decoration: none;"><img style="text-align: left;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 400px; height: 397px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1AAcYx-Ca564HGkTWluZvaCMIBK5vfDhcBqBPoFrpgGxdmG7HRlqXaFFcLBAROSFMpAJBmMBOdL_HmvTPX8vPzxfGXEt0TIz0Nss1_R5CPZdRX9Vj6ItjSgDUoE-cmm0GXXqT2UfTd0e/s400/Susana-y-los-viejos-ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382130686062478306" /></a></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip0INTHNKLLUD2ZBqD4LRoa6k6ONFPuNHtu5xlMPGBGgkb600R8gOk3jH1jNrU_JsSiUOyckU58c5V0E8k6HyWK_KkAQUFhFftIV1zDT4SC7L90SN65a54RWfLVGGpzbqixAMM-FO0Bogb/s1600-h/Susana+y+los+viejos+dtl+ch.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 307px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip0INTHNKLLUD2ZBqD4LRoa6k6ONFPuNHtu5xlMPGBGgkb600R8gOk3jH1jNrU_JsSiUOyckU58c5V0E8k6HyWK_KkAQUFhFftIV1zDT4SC7L90SN65a54RWfLVGGpzbqixAMM-FO0Bogb/s320/Susana+y+los+viejos+dtl+ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382130585174068386" /></a><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></span></div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><div><span class="Apple-style-span" style="color:#C0C0C0;">plus a couple of details....</span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><span class="Apple-style-span" style="color:#C0C0C0;"><br /><br /></span><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /><br /></span><span class="Apple-style-span" style="color:#C0C0C0;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiibIMHnJk_BmuqUJcsGHCAnZDs3w34mET86RIaB6oxUWuySEdOgjJYZSC7gqEmcW73IwgQXiuXNJ7hFlaRxg6xE8vXRsyU7i3Jhg0tgE9VTX9tqHC4xFV-7yECsO3BjAc80SBEO-reRzzX/s1600-h/sue%C3%B1o-paralelo-detalle-ch.jpg"></a></span><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJcsyQZbikAatTt7TG2X4qgSE0xBomd50zzfttayXQV_fRCNo5aKkguaiaWAg_R-EcLiLkR3PgLQiBxdjzBXOaYExAVYhvcts_BPsjg74SN5kaKBsKGgQxfR8YHf433MOxvWtEqLk74Tlh/s320/Susana-y-los-viejos-dtl-3.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 302px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382130354134177378" /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><br /></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: right;"><span class="Apple-style-span" style="color:#C0C0C0;">y unos detalles.....</span></div><div style="text-align: right;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiibIMHnJk_BmuqUJcsGHCAnZDs3w34mET86RIaB6oxUWuySEdOgjJYZSC7gqEmcW73IwgQXiuXNJ7hFlaRxg6xE8vXRsyU7i3Jhg0tgE9VTX9tqHC4xFV-7yECsO3BjAc80SBEO-reRzzX/s1600-h/sue%C3%B1o-paralelo-detalle-ch.jpg" style="text-decoration: none;"></a><br /><br /></span><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: left;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color: rgb(192, 192, 192); ">Below is another such work; this one is made up of two impressions on almost transparent Nepalese paper, with one sheet turned over on top of the other and sewn into place.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Two transfer prints (the same geisha, reversed) also sewn on, complete the image. </span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Abajo está otro ejemplo, hecho de dos impresiones en papel nepalés casi transparente, una hoja volteada y cosida sobre la otra. Se completa con dos imágenes de geishas (la misma volteada realmente).</span></div><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF7HaXpcKs-2t6xnAYiGh54pVElbGYI9W16l6GCq4JBD175eECdlGUNxmQ0MKZeDKK3H_gwV5N1z4zIkxwPYix1ySiQ2bMvHFekxnuiO-46FoQEmxhCPxx7O9-5vF2KoO94yvaCZP6zsFG/s400/sue%C3%B1o-paralelo-ch.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 398px; height: 400px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382129263086973666" /></div><div><span class="Apple-style-span" style="color:#C0C0C0;">It's called </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Parallel Planets. </span></i></div><div><span class="Apple-style-span" style="color:#C0C0C0;">Se llama </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Planetas paralelas.</span></i></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiibIMHnJk_BmuqUJcsGHCAnZDs3w34mET86RIaB6oxUWuySEdOgjJYZSC7gqEmcW73IwgQXiuXNJ7hFlaRxg6xE8vXRsyU7i3Jhg0tgE9VTX9tqHC4xFV-7yECsO3BjAc80SBEO-reRzzX/s400/sue%C3%B1o-paralelo-detalle-ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382129376834269698" style="text-align: left; display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 400px; height: 386px; " /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">The image below, printed from a smaller (50 x 50 cm) woodcut, has a drypoint print incorporated into it and is sprinkled with silver pigment. The girl is Xie Kitchin, one of Charles Dodgeson (Lewis Carroll)'s models, dressed up as a Chinese. </span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">La imagen abajo, impresa de una xilografía más chica (50 x 50 cm) tiene incorporada un grabado en punta seca y está rociada con pigmento plateado. La niña es Xie Kitchin, una de las modelos de Charles Dodgeson (Lewis Carroll), vestida de chinita. </span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKHe7y8aXZQhxA03qlc_2JbJCwzqOJ19PGJnmHw2rtB09TjNIqv7LFGGzyQwr8MbAPlHYfqPjQki0dGFvlulP8AN5qGieUyqR9kELnNH7iL8tJ7mYe6MgsxKTxOkNj1-QY6MdWbTkiFwY4/s400/4.+Xie-Kitchin-plateada.jpg" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 395px; height: 400px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382129105934546162" /></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Below you see a ceramic plate printed with one of the plates from </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Culture Shock</span></i><span class="Apple-style-span" style="color:#C0C0C0;">. The damp clay is printed using the plate, then rolled up and later covered with pigment which is eventually sandpapered off, leaving the pigment only in the lower parts of the relief. </span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Abajo ven un platón en cerámica, impreso de una de las placas de </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Culture Shock</span></i><span class="Apple-style-span" style="color:#C0C0C0;">. El barro húmedo se imprime con la placa y se moldea, para luego ser cubierto con pigmento que eventualmente se rebaja con lija, dejando el pigmento en la parte más baja del relieve. </span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrLNVijyM7v39i5kJr87Z08QfGfM-v_RMLHWAccLBt3Ox2SWToVu_6U7u9rDQmH4DnBOJYskjUB269ZykUthUgd7drKbl72kZLYdxLE51yQaPkZKn4ww_4pQ7zBnnRUa2hyphenhyphenYGalHBok1SM/s1600-h/plat%C3%B3n-de-la-serie-culture-shock.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 394px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrLNVijyM7v39i5kJr87Z08QfGfM-v_RMLHWAccLBt3Ox2SWToVu_6U7u9rDQmH4DnBOJYskjUB269ZykUthUgd7drKbl72kZLYdxLE51yQaPkZKn4ww_4pQ7zBnnRUa2hyphenhyphenYGalHBok1SM/s400/plat%C3%B3n-de-la-serie-culture-shock.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382128798429874530" /></a><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilO8zdRoc2oDkKxKf45MBUIBCPwxuU4xWxpNClSzKO6cZbElF6V8U4zVTort8WQCBMYG13T44YKEon1MKFLJ3KTMKjJmy6ZYx5xkxtzgXPGcTS1E6-zTQB8Nn160ow4tCK1XL6addwGLHA/s1600-h/cuatro-maneras-de-enfrentar-el-vac%C3%ADo.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 281px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilO8zdRoc2oDkKxKf45MBUIBCPwxuU4xWxpNClSzKO6cZbElF6V8U4zVTort8WQCBMYG13T44YKEon1MKFLJ3KTMKjJmy6ZYx5xkxtzgXPGcTS1E6-zTQB8Nn160ow4tCK1XL6addwGLHA/s400/cuatro-maneras-de-enfrentar-el-vac%C3%ADo.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382128536007804530" /></a><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPPfTT9VNst7YKtt8qa_0PDX0ZVq42fVMdQXBgigdDPIy3Lz8fG4oL1kZ2w2pVvFUTL1wVq7exmt35G71Y82-hATTN1Ka2tw-6Zvuz4ybDdy8GOLNKEkjBYEjjyjVos-VSTJkegxbn065/s1600-h/cuatro-maneras-de-enfrentar-el-vac%C3%ADo-dtl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 131px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPPfTT9VNst7YKtt8qa_0PDX0ZVq42fVMdQXBgigdDPIy3Lz8fG4oL1kZ2w2pVvFUTL1wVq7exmt35G71Y82-hATTN1Ka2tw-6Zvuz4ybDdy8GOLNKEkjBYEjjyjVos-VSTJkegxbn065/s400/cuatro-maneras-de-enfrentar-el-vac%C3%ADo-dtl.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382127698997220050" /></a><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Above are two details of the composition below, which is assembled from the same woodcut print in different positions, with four small drypoint prints incorporated. It's called, </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Four ways of confronting the void.</span></i></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Arriba se encuentran dos detalles de la composición abajo, compuesta de un grabado en madera en cuaro posiciones distintas, con cuatro grabados en punta seca incorporados. Se llama: </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Cuatro forms de enfrentar el vacío.</span></i></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYkKPMLobJNpJtz-zZV0wNgsqcb5EIPnLhzWo9KyrCopiAXhOXWIztcZjDtm929xsvcPRMPQYpoEKndyq5OVo26wA_ZRLrR6-PyxQae5f5DpWbKfsYyTvG4NXgLmjqWFS_lfuYRMlkJqN/s1600-h/7.-cuatro-maneras-de-enfrentar-el-vac%C3%ADo-ch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 97px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYkKPMLobJNpJtz-zZV0wNgsqcb5EIPnLhzWo9KyrCopiAXhOXWIztcZjDtm929xsvcPRMPQYpoEKndyq5OVo26wA_ZRLrR6-PyxQae5f5DpWbKfsYyTvG4NXgLmjqWFS_lfuYRMlkJqN/s400/7.-cuatro-maneras-de-enfrentar-el-vac%C3%ADo-ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382125773811468018" /></a><span class="Apple-style-span" style="color:#C0C0C0;"><div style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); "><span class="Apple-style-span" style="color:#C0C0C0;">Another linoleum print (60 x 55 cm) was used together with three small drypoint prints (actually two prints, with one right-side-up and also up-side-down) on Japanese paper to make the version below, </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Children among Lotus</span></i><span class="Apple-style-span" style="color:#C0C0C0;">.</span></span></div></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Other grabado en linoleo, (60 x 55 cm), se ocupó junto con tres pequeños grabados en punta seca (bueno, dos, con uno impreso dos veces y puesto derecho y al revés) en papel japonés para hacer la versión abajo, </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Niños entre lotos</span></i><span class="Apple-style-span" style="color:#C0C0C0;">.</span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipk6Z6ybBdetPg4HI2gyMxDbVMVasFnP2roCBXTqyGS-GtgB4D3t51NRRY3PWNNTSU2azL4PXNPpQ28pDFDhGuYsaDrUJvEij_hOBgoQvqI5dD3_QWJYSGXqZ8bPMzA9SEDRCwu2FAtrWk/s1600-h/1.-ni%C3%B1os-con-lotos-ch.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 358px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipk6Z6ybBdetPg4HI2gyMxDbVMVasFnP2roCBXTqyGS-GtgB4D3t51NRRY3PWNNTSU2azL4PXNPpQ28pDFDhGuYsaDrUJvEij_hOBgoQvqI5dD3_QWJYSGXqZ8bPMzA9SEDRCwu2FAtrWk/s400/1.-ni%C3%B1os-con-lotos-ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382125672483429602" /></a><span class="Apple-style-span" style="color:#C0C0C0;"><div style="text-align: center;"><br /></div></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">And with the same plate, now upright instead of sideways, the following version was made, with three drypoint prints printed on pages from a Japanese stenography book. It's called, </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Gaki, a Warrior, and Carnivorous plants</span></i><span class="Apple-style-span" style="color:#C0C0C0;">. The gaki are hungry ghosts, the medieval Japanese' explanation for the disappearance of organic waste. </span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">Y con la misma placa, ahora derecho en vez de de lado, la versión siguiente se hizo, con tres grabados en punta seca impresas en hojas de un libro japonés de estenografía. Se llama, Gaki, guerrero y plantas carnívoras. Los gaki, fantasmas hambrientos, son la explicación de los japoneses medievales de la desaparición de los restos orgánicos.</span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC5KEXBiPAJXhwxT19w9FmjVvgTjSm-fLjKdqSptZ6Fj6BcW2P1bU4KsYV3bT84nGvoAyM31Xw1Eq-yZj_9r-RZOKtysNczhldECAmMtiCFprJhZq-Eo3cr5pKw80CWPxWEd6cXSt_aP_v/s400/2.-Gaki,-guerrero,-y-plantas-carn%C3%ADvoros-ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382124565244267762" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 347px; height: 400px; " /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">A detail/Un detalle:</span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjST0nV-UyJ6IIksfxA5EAnKidYmy7GeRiX6lk3LhqvbTVh0GtRRrNKJhafovqYFfvMxMpWgRdWRAjq4Mn9AhS4jQkkegIiF0MDUsAMeX795t9p6RqEaV9eoNl74dd2_RI7_0IlHm99dWqw/s1600-h/gaki-guerreo-dtl.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 398px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjST0nV-UyJ6IIksfxA5EAnKidYmy7GeRiX6lk3LhqvbTVh0GtRRrNKJhafovqYFfvMxMpWgRdWRAjq4Mn9AhS4jQkkegIiF0MDUsAMeX795t9p6RqEaV9eoNl74dd2_RI7_0IlHm99dWqw/s400/gaki-guerreo-dtl.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382125569166223666" /></a><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">The Golden Flower: the diptych below. / La flor dorada: el díptico abajo. </span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWcTfOgi-Nq8OZ5eYnK1NVbYxscYKACHmbWYhJZL0aQSvnc9cL_GsO4CsMF7X8tmmroOPEUJnztCxNO7Zl2EnB0MnhxJHzQ5mPRBZvpklQgo6V-MFWfgiR1h5O5Lpi_FUIZHvauNp1APn4/s1600-h/Flor-dorada-2-ch.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWcTfOgi-Nq8OZ5eYnK1NVbYxscYKACHmbWYhJZL0aQSvnc9cL_GsO4CsMF7X8tmmroOPEUJnztCxNO7Zl2EnB0MnhxJHzQ5mPRBZvpklQgo6V-MFWfgiR1h5O5Lpi_FUIZHvauNp1APn4/s320/Flor-dorada-2-ch.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382125094116639810" /></a><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ZMtV8LfhAZI7i-Vv1RkstQzruzJQv-d1MFlkcljlVvtrcle6UgrGWszXBbeuhL99zOQa9E6Zfax5codCEdhQjlnIJ700Z-FnwnkYSCFBrYEjh33_uUKaSXLLQ9pxkV9usS2-lp8QWrXl/s320/Flor-dorada-1-ch.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 319px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5382124990123814530" /><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3KcJFBYAJbUIzDCRT_f-oH_LrKXeZVVQ6gHiXBP9E4nP0idcK8veZrviru0m2KepxDfKTNFyTCkoUQtNc5ocrvKP4zOu2qyT-QET0rV26m9nni70OwQRGOEdpHc68kO_mDXIPsqlFohu3/s1600-h/Flor-dorada-2-ch.jpg"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></a><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;">And finally, a detail from another version shown complete in the previous entry: </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Love among samurais.</span></i></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><i><br /></i></span></div><div style="text-align: center;"><span class="Apple-style-span" style="text-decoration: none; "><span class="Apple-style-span" style="color:#C0C0C0;">Y para terminar, un detalle de otra version que se vio completa en la previa entrada: </span><i><span class="Apple-style-span" style="color:#C0C0C0;">Amor entre samurai.</span></i></span></div><div style="text-align: center;"><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7PHIzdWQk_4NxpRO6nte1fcZCN_dFZTF6TLDNlNEIdrJZdz0cTV9-2bYXNlg7xz6MHoF6NDwx-lCWIElAM-xqOO2etVfpgFURREESwsTy1VcNxs97hhBgH6KpVsSqZSdUhg6TyTXFfJwK/s400/2.-amor-entre-samurias-dtl.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5382186968593944594" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 391px; height: 400px; " /></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></div><div style="text-align: center;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; "><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span></span></div><div><span class="Apple-style-span" style="color:#C0C0C0;"><br /></span><div style="text-align: center;"><br /></div></div></div></div></div></div></div></div></div></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com2tag:blogger.com,1999:blog-1918551101172524357.post-86352538081233264552009-07-12T07:48:00.000-07:002009-07-13T06:54:25.239-07:00Elsewhere (Otherness)<div style="text-align: left;"><span class="Apple-style-span" style="color: rgb(192, 192, 192); "><span class="Apple-style-span" style="font-size:small;">De julio hasta septiembre esta exposición se encuentra en la galería Arroniz Arte Contemporáneo en la ciudad de México. (Plaza Río de Janeiro 53 pb, Colonia Roma, www.arroniz-arte.com) Abajo encuentran el texto que la acompaña. </span></span><span class="Apple-style-span" style="font-size:small;"><br /></span></div><div><div><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></div><div><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:small;">From July to September, this exhibit can be seen in the gallery, Arróniz Arte Contemporáneo in Mexico City. (The address is, Plaza Río de Janeiro 53 pb, Colonia Roma, www.arroniz-arte.com) Below you'll find the text that accompanies the show.</span></span></span></div><div><span class="Apple-style-span" style="color: rgb(192, 192, 192); font-style: italic;"><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-style: normal; "><div><span class="Apple-style-span" style="font-style: italic; line-height: 18px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192); "><span class="Apple-style-span" style="font-size:small;"> For the English version, scroll down</span></span></span></div></span></span></div><div><span class="Apple-style-span" style="font-style: italic; line-height: 18px; "><span class="Apple-style-span" style="font-size:small;"> </span></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidid6JRBLqra_v4M-Mx00PZRKHDeKartUZP5cK5i_msX2qCDfopsCqKvUYfxksoBLN3Cgy5S3ksCSUwdh3d5bZfcHT-fsA2XYq_5GCdeV8_NyDFidcFGlLed0C_8rajsf9ieeAvXDIaKJo/s1600-h/vista-de-cajas-como-contendoras-de-si-mismas.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 380px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidid6JRBLqra_v4M-Mx00PZRKHDeKartUZP5cK5i_msX2qCDfopsCqKvUYfxksoBLN3Cgy5S3ksCSUwdh3d5bZfcHT-fsA2XYq_5GCdeV8_NyDFidcFGlLed0C_8rajsf9ieeAvXDIaKJo/s400/vista-de-cajas-como-contendoras-de-si-mismas.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357593189466838114" /></a><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><br /></span></span><div style="text-align: center;"><span class="Apple-style-span" style="font-style: italic; line-height: 18px; "><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Otredad, disfraz, y exotismo</span></span></span></span></div><div> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px; "><span class="Apple-style-span" style="font-size:small;">Desde hace tiempo he tenido la idea de encararme con mi tendencia, marcada y algo misteriosa, de ocuparme de temas de otras culturas, orientales en particular. Puede ser por una afinidad con</span></span><span class="Apple-style-span" style="font-size:small;"><br /></span></p><p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> su estética: por ejemplo, esa fuerte predilección por el diseño elaborado- </span></span><i style="mso-bidi-font-style: normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">pattern- </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">y la estilización y dramatismo de muchas manifestaciones culturales asiáticas, particularmente el </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">ukiyo-e</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> japonés y su herencia en </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">manga</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Igual que a generaciones de niñas y niños, desde las inglesas “chinas” decimonónicas retratadas por Charles Dodgeson hasta los retratos anónimos de mi colección- chicos en kimonos en foto estudios de México y Texas- reiteradas veces me nace el impulso de disfrazarme de otro, de explorar iconografía ajena a la de mi herencia personal.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style="line-height: normal; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5S9XbAaqrxxJ_U75LjnQpICIeENZxnQZQ21IQsBw6i4RlpV9QwSb_sxuewdU0TPVr_kI7-eGFAv_DQT0lWJp78Q8cijqW9rcBCGjUo1YYEcJcB9YKLNnVntWkOzJro_bmldcwJgYK9yx/s400/10.-primus-cerrado.jpg" /></span></span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Un artista se expresa, se proyecta, y por ende se revela por medio de su obra. ¿Qué implica, entonces, expresarse por medio de lo que no es propio?</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">¿Revelarse por medio de un disfraz? Conocedores de psicología dirían que invertir en una imagen apartada del ser es una</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></p><p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> característica narcisista, y agregarían que el narcisismo es un desorden propio de los artistas. Como sea me siento más yo, al parecer, si me proyecto por medio de la otredad. O a lo mejor lo</span></span></span></p><p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> que soy se estira si se sumerge en lo foráneo. O llevo tantos años de ser extranjera que me siento más yo siendo otra, la anomalía.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Debo aclarar que mi uso de elementos culturales </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">de otra parte</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> es un uso del aficionado o del turista y no el de un estudioso.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">La iconografía no implica para mí lo que podría implicar para personas de las culturas involucradas; mis construcciones son inventos, quizás metáforas, una especie de pastiche de elementos que llegan a tener, que </span></span><u><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">deben</span></span></u><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> asumir, un significado distinto de lo que conllevan en su contexto cultural original. Pero la existencia de ese significado original les puede dar a la imagen creada más niveles de lectura.</span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="line-height: normal; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirTkCWPzV5jMkDiWoAukWGTowliBXAikYmttN_0PZzr8eqc4iU_jCQA26BgbFh9661YDICibHzk3yJh6k9qzNPdpeON93U_lMfxthwJPZcM9tF6_kpT5ocABwHkacpOQea2P8rIVExhZ69/s400/12.-primus-abierto-(2).jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357590093879114546" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 396px; height: 400px; " /></span></span></p><p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(192, 192, 192); font-style: italic; font-weight: bold; line-height: 18px; "><span class="Apple-style-span" style="font-size:small;">Disfraz, otredad, y exotismo</span></span><span class="Apple-style-span" style="font-size:small;"><br /></span></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">The title above demands some explanation. </span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">It starts off in English, although the exhibit it describes takes place in a Spanish-speaking country, partly because the show is about cross cultural events, and partly because to say </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">elsewhere</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> in Spanish, one needs three words, while as the word is short and sweet in English. </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Otredad</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> and otherness are the same thing; </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">disfraz</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> means disguise or costume and even dress-up. </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Exotismo</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> is of course, exoticism (chinoiserie falls into this category).</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">From some time now I have had the idea that it would be interesting to confront my marked and rather mysterious tendency to work with subject matter from other cultures, particular the Oriental. </span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">An explanation of this trait would have to include my personal affinity with the esthetics of these far-off places: for example, my predilection for all types of pattern and interest in the stylization and dramatic quality of many Asiatic cultural manifestations, particularly the </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">ukiyo-e</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> of Japan and its heritage apparent in present day </span></span><i style="mso-bidi-font-style: normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">manga</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">. As a further explanation, I evoke the generations of children, from the nineteenth-century English girls photographed by Charles Dodgeson in Chinese costume to the anonymous portraits of my own collection (kids in kimonos immortalized in Mexican and Texan photography studios) who have had the urge to project themselves through an assumed identity.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">I share that urge, a compulsion to disguise myself as the </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">other, </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">and to explore</span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">iconography foreign to my own cultural heritage.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;">caja Primus de al serie </span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;">Cajas como contenedoras de si mismas</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;">/ Primus box from the series </span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;">Boxes as containers of themselves</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;"> 2009</span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1U-wfPH5IspO-mSRG_qWW3ezJUhhCWwtXTvI_-ew-GAL4suKOuaHQJ4JVt6iidxNMPZSi3T7DDNBBpqpquQJ-K5srqsbxKsOZeVscGAMfK2gdFGlrlZ-Wmyf7O_elxAe3g7zEcAI54uHL/s400/12.-primus-abierto.jpg" /><br /></span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Artists express and project themselves and therefore reveal themselves through their work. What does it imply, therefore, to express oneself in a guise not native to the self expressed, to reveal oneself by means of a disguise? Those knowledgeable in psychology say that investing in an image separated from the self is a narcissistic characteristic, and could add that narcissism is a disorder common to artists. That said, I feel more myself, apparently, if I project myself by means of otherness. Or perhaps, my identity is stretched if it’s imbued in foreignness. Or I’ve been a foreigner (American in Mexico) so long that I feel more myself, being the other- the anomaly.</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">I have to make clear that I use cultural elements from “elsewhere” as an amateur or tourist and not as a student of cultures. The iconography doesn’t imply for me all that it would imply for the natives of these borrowed cultures; my constructions are inventions, perhaps metaphors, a sort of pastiche of elements that come to have, which must assume, a significance distinct from that which they carry in context of</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">their own culture. But the existence of that original, implicit meaning can give the created image another layer of resonance.</span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="line-height: normal; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aiLP1xn2A3CXrceAsqXt3QCILMhTfnzWf2t-XpUmwGsTTDK4yz780GDO2U7xP0f-z0rHEVTrID_P9P2h_HtrT0itwV7JQjWggMd_2mzhUf9OyMum82ukd_lEo_rWhP2uD_dR_nREDmMA/s400/primus-hoja-.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357593818833683330" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 279px; height: 400px; " /></span></span></p><p class="MsoNormal" style="text-align:justify"></p><p class="MsoNormal" align="center" style="text-align:center"><span class="Apple-style-span" style="font-weight: bold; line-height: 18px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">La figura en el tapiz</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Durante años anduve buscando un cuento de Henry James llamado </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">The Figure in the Carpet.</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> Como yo lo recordaba, se trataba de un niño jugando en la borde de un tapete oriental, imaginado que éste tenía profundidad y dimensión real, cuando repentinamente cae adentro del tapete y desaparece.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Encontré el cuento en la red hace un mes, pero la historia es otra. Quién sabe de dónde saqué mi versión imaginaria.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">El cuento narra el intento de un joven crítico literario y un amigo, también crítico, de descifrar el motivo, el asunto esencial, que recorre toda la obra de un distinguido novelista. </span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">A este “asunto” le llaman </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">la figura en el tapete</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Y el amigo lo descubre, pero su descubrimiento se pierde con la muerte del novelista y del descubridor. Pero me quedo con la frase de </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">la figura en el tapete</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">, o como prefiero traducirla, yendo del piso a la pared, </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">en el tapiz</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">. Lo interesante en seguir la trayectoria de cualquier escritor o artista, o hasta podría decir de cualquier persona, es esa búsqueda de la figura –o figuras- en su tapiz. </span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"></span></span></span></p><p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;"> </span></span><span class="Apple-style-span" style=" ;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;"> detalle, </span></span><span class="Apple-style-span" style="font-style: italic; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;">La Figura en el Tapiz</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;">, grafito/papel/detail, </span></span><span class="Apple-style-span" style="font-style: italic; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;">The Figure in the Carpet,</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:x-small;"> graphite/paper, 2009</span></span></span></span></p><p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><o:p><span class="Apple-style-span" style="line-height: normal; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-HIFIU0o8z0d-Ydig_pN4WNSJ4hMgbKqOtzr7QsYn9QC5J92Lyj64kqr9eCUgLYrzsEKc4IY3ZWuRG5tCVC9oor5GzU2dZh5rOkZpf2WbCLgXjc4fLMwSwv6ivGL3poPDEfhLkGTqmVQS/s400/detalle-figura-tapiz.jpg" /></span></span></span></o:p></span></p><p class="MsoNormal" align="center" style="text-align:center"><b style="mso-bidi-font-weight: normal"><span style="line-height: 115%; "><o:p><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> The Figure in the Carpet</span></span></o:p></span></b></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">For years I have been looking for a story by Henry James called “The Figure in the Carpet”. As I recalled the narrative, it was about a little boy playing on the edge of an Oriental carpet, imagining that it had real depth and dimension, like a secret jungle, into which, suddenly, he actually falls and thus disappears. I found the story through the internet about a month ago, but the story was not at all what I remembered. It turned out to be the narratiion of the efforts of a young literary critic and a friend of his, also a critic, to decipher the hidden meaning, the essence or uniting thread woven into the body of work of a distinguished novelist.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">This essence they called </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">the</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span><i style="mso-bidi-font-style: normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">figure in the carpet. </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">And finally the friend does discover it, but the discovery is lost with his inopportune death in conjunction with that of the novelist.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">But the phrase </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">the figure in the carpet</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> continues to fascinate me. An essential motivating force when delving into the trajectory of any artist or writer, or any person, for that matter, is the possibility of discerning something about the figure in their carpet.</span></span></span></p><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><div style="text-align: center;"><span class="Apple-style-span" style="font-size:small;"><br /></span></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcJEwT1pjiAsqczRYLsAFndgJ5B_DKCScspn1BZcoqiSZeD7hKxSeUOXtDDIDFAkNKH11VpHi2j_-sLisHkas8tr3pCHFLBx4i-wbdGpUV-ILwuzO_im5XyAR_3td47BEaRNUWtka-vrMu/s400/La-figura-en-el-tapiz.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357597365637137986" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 202px; height: 400px; " /></span><p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="line-height: 18px; "><span style="mso-tab-count:1"><span class="Apple-style-span" style=""><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span></span><span style="mso-tab-count:2"><span class="Apple-style-span" style=""><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style=" line-height: normal; "><span class="Apple-style-span" style=" line-height: 55px; "><span class="Apple-style-span" style=""><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="line-height: 55px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style="font-weight: bold; line-height: 21px; "><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Disfraz</span></span></span></span></span></span></span></span></span></span></span><span class="Apple-style-span" style="font-size:small;"><br /></span><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px; "><span class="Apple-style-span" style="font-style: italic; "><span class="Apple-style-span" style="font-size:x-small;">Fiesta de disfraces</span></span><span class="Apple-style-span" style="font-style: italic; "><span class="Apple-style-span" style="font-size:x-small;">, México, c.1965</span></span><span class="Apple-style-span" style="font-size:x-small;">, grafito/papel/ </span><span class="Apple-style-span" style="font-style: italic; "><span class="Apple-style-span" style="font-size:x-small;">Costume Party, Mexico City, c.1965</span></span><span class="Apple-style-span" style="font-size:x-small;">, graphite/papel, 2009</span></span><span class="Apple-style-span" style="font-size:small;"><br /></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style=" line-height: 18px;"></span></span></span></p><p class="MsoNormal" align="center" style="text-align:center"></p><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZHZ5m1jtBJAm8KCVoAPACejsJ1EpZgN7pVDaoy0O_pIjG6R1SUdmDOdscRoAj5DvQx3AO-9-0tNsCNXY14xLKGNQVc9_ff2VeUkqph5OPLO0oNYFpc5YWHCm3puVFWkh-zrGSpuzIPtfz/s400/Fiesta-de-disfraces.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357616275238882802" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 277px; " /></span><p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">El traje de luces y la toga del juez me parecen de los disfraces más formidables.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">En mis archivos (imágenes recogidas) casi todos los hombres llevan algún vestimento especial: de luchador, domador de leones, samurái. En América Latina descubrí la gran tradición de fotografiar en estudio a niños vestidos de duendes, Peter Pan, conejos, chinos, japoneses, charros y chinas poblanas. Pero las imágenes que más me interesan ahora son aquellas en que, en vez de estar posando para una cámara, los niños disfrazados están en una dinámica social: se crea una dialéctica o un desfasaje entre la </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">persona</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> asumida y la personalidad que se escurre por las grietas en el disfraz.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">En general encuentro esta situación en fotografías familiares (viejas y abandonadas en los mercados de pulgas) tomadas en eventos caracterizados por la exigencia de un disfraz.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><o:p></o:p></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Máscara desplazada</span></span><span class="Apple-style-span" style="font-size:x-small;">, garfito/papel/ </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Desplaced Mask</span></span><span class="Apple-style-span" style="font-size:x-small;">, graphite/papel, 2009</span></span></p><p></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="line-height: 14px;"></span></span></span></p><span class="Apple-style-span" style=""><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8urwa5ck7IBobL0UXsFNeZ6qz-k_S7uNjVKNXlCvNaw4jZGMZz26Th4Z-bDa0MM4mWyoXdn0agKrxW_qBSp4rBSnnmjt0yNilpe-wg9EGZDKJbIFtRcN_oLyXc5bsBX9NMv9J2X6BDDYc/s400/m%C3%A1scara-desplazada-provisional.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357603940297136274" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 398px; " /></span><p class="MsoNormal" style="text-align: center;"><span style=" line-height:115%"><o:p><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style=" font-weight: bold; line-height: 21px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Disguise, Costume, and Dressing Up</span></span></span></o:p></span></p> <p class="MsoNormal"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">A bullfighter’s attire and the robe of a judge seem to me extraordinary disguises. In my archives (found and collected images) almost all the men are in some sort of special dress: wrestlers, lion trainers, samurais.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">In Latin America I have discovered the marvelous tradition (though now a bit outmoded) of periodically photographing children in professional studios, dressed as elves, bunnies, geishas, c</span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">harros</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> (Mexican cowboys) as well as other folkloric alternatives. But the images that most interest me are those where instead of posing for the camera, the children are photographed in a social event, interacting: a dialectic is created between the personae assumed and the original personality of the child which seeps through the cracks in the disguise. In general I find these situations in old family photographs (relocated to flea markets) taken in events characterized by obligatory dressing-up. </span></span></span></p><p class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7fYutNoy8BNxTwPm3IMIYdoHXYF0NKGHwiSq0r4pD7Drq_arzVVigQMkHrrzeFh8R4J4itWxLQOs4cHdn9m67-XFve9vgTwXN9Yt2XjT3yDurzR-SNbwZWyyZLbcsuAX6RzDsZMECNDJV/s400/Culture-Shock,-entero.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357609256794598194" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 50px; " /></span></p><p class="MsoNormal" align="center" style="text-align:center"><b style="mso-bidi-font-weight: normal"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Culture Shock</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Quizás siguiendo con la idea de dinámicas y confrontaciones, empecé a traducir páginas de </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">manga </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">a grabados en relieve, en los cuales cada grabado se conectaba con el grabado siguiente. En cierto momento empecé a cambiar el motivo: el elemento japonés fue reemplazado por una estilización de una de las telas que fabricaba Rusia a fines del siglo 19 y principios del 20, para los mercados de Asia Central. Estas telas en sí combinan dos culturas: suelen tomar un diseño de origen europeo y volverlo más rudo—más colorido y menos sutil--, para acomodarse a los gustos de los nómadas</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">asiáticos.</span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px;"><span class="Apple-style-span" style="font-size:x-small;">elementos de</span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;"> Culture Shock</span></span><span class="Apple-style-span" style="font-size:x-small;">, grabado en relieve/elements of </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Culture Shock</span></span><span class="Apple-style-span" style="font-size:x-small;">, relief prints, 2009</span></span></p><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqxcX4toiLOn7CanVZz6OyUSDD50N1waXdSkmkFbMob8D8SWe7s9faSWsTGa2NzxcbZxvcbyyaHxDJxwxCb3z5ZAD8QO24Cm4f4HqHrcC8BXfNkRQZV_NcZ_bVgDmBIZq6uGg57FhFJAFx/s400/culture-shock-I-y-VIII.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357610697112492114" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 398px; height: 400px; " /><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Xwq2irL_D2drr0HBHVNThLsePS2WEPZf3OxuxnDNcRAcSjVRkPymlHwbyGAwrYfTbfA9z51sKph2za-wkFl3Nk9Vty_slmeP5IK2KPUtenuL49mjPVKmD_TpMXHBHt0hcmwOMcSmEikK/s400/Culture-Shock-V.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357609738205580722" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 394px; " /></span><p class="MsoNormal" style="text-align: center;"><span style="line-height: 115%; "><o:p><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style="font-weight: bold; line-height: 21px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Culture Shock</span></span></span></o:p></span></p> <span lang="EN-US" style="line-height: 115%; "><div style="text-align: justify;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style=" ;font-size:13px;">Working with the idea of a dynamic involving cultural confrontation, I started translating pages of manga into relief prints cut out of sheets of material for shoe soles (similar to linoleum). The design of each print connected to the next print. At a certain point I changed the pattern: the Japanese element began to give way to a stylization of fabric manufactured by the Russians in the late nineteenth and early twentieth century for sale in the Central Asian markets. These fabrics themselves represent the combination of two cultures:</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style=" ;font-size:13px;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style=" ;font-size:13px;">generally a floral pattern of European origin is taken and made more extravagant: brighter colors, bolder design, to accommodate the taste of the nomadic Asian market. There are seven prints in all, but as each connects to the next, they can form an indefinite file of repeating images.</span></span><br /></div></span></div><div><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px;"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></div><div><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Sushi heroico</span></span><span class="Apple-style-span" style="font-size:x-small;">, grabado en relieve con transferencia/</span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Heroic Sushi</span></span><span class="Apple-style-span" style="font-size:x-small;">, relief print with transfer, 2008</span></span></div><div><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"></span></span></div><div><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span><span class="Apple-style-span" style="font-size:small;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFEMH0ZNZyDW2KIp-kFlUqiml7sg6NMJjZreUhqRjphlWzjeC-tfUjzg7fFYMrkHfA1RKsclbTzUUL2aOJf_kuzBtCPscggSGbzu-Wc1CeafA3FzorjkkmFSHQmm9gx49eWva4hVAsTTzP/s400/1.Sushi-herioco-completo.jpg" /></span></span><p class="MsoNormal" align="center" style="text-align:center"><b style="mso-bidi-font-weight: normal"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Sushi heroico y El jardín de las delicias</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">El mundo de </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Culture Shock </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">fue diseñado para dividirse en submundos. De allí, con la ayuda de esa tecnología tan cómoda que es la fotocopia en transferencia, los submundos se podrían poblar. Los primeros territorios colonializados fueron tomados por sushis voladores y chinas revolucionarias en paracaídas.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Aquí hubo una combinación bárbara -- típica de las confusiones occidentales -- de elementos culturales que no deben compartir un escenario.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Desde </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">El jardín de las delicias</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> nos sonríen unas muchachas </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">vintage -</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">que ya pasaron 4 ó 5 décadas en carteles anunciando hilos y tabacos- entre hojas flotando recogidas de catálogos de papel tapiz. Están acompañados por un samurái y una muchacha (adúltera) encinta rescatada de una suerte terrible en las páginas de</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><i style="mso-bidi-font-style: normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">ukiyo-e</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">. En las letras se posan dos figuras (más bien, una figura desdoblada) tomadas del Bosco.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Sueño una versión con serpientes y escaleras.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Un elemento del </span></span><i style="mso-bidi-font-style: normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Culture Shock</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">se independizó como </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Amor entre samuráis</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">.</span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">El jardín de las delicias,</span></span><span class="Apple-style-span" style="font-size:x-small;"> grabado en relieve con transferencia/</span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">The Garden of Earthly Delights</span></span><span class="Apple-style-span" style="font-size:x-small;">, relief print with transfer, 2009</span></span></p></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><span class="Apple-style-span" style="font-size:small;"> </span><span class="Apple-style-span" style="font-size:small;"></span></span></div><div><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><span class="Apple-style-span" style="font-size:small;"><br /></span><div style="text-align: center;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style=" ;font-size:16px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1baeSmJKid9TgZPBuMN81JMLwpl50gJx1NNwrfRTmdrap5Z01CkdIFavCXBmx-pT_uQ9PE-kGNnESZ8WNWpLcs_SBXTcNrwTEgSO-EtLviy5mTUdaVeEUh4c3fdF2ppIimoom6Vq6yiSl/s400/El-jard%C3%ADn-de-las-delicias-I.jpg" /><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vw1DgEcAoFTWwB0IHTx-LwrrvOECxD1h9K1H6WCfkWZYo5TA_essCHDGxBWif4MeCKvWIjZVJAcnRulyQtTGcnqnIdS-3gneZjs8ywx0jdD4xWgFJRl5yNjw0_I4_0NykLfTmgFuC19I/s400/El-jard%C3%ADn-de-las-delicias-II.jpg" /><span class="Apple-style-span" style=" ;font-size:13px;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbDezWIAh4VzdPJSpHewQ73ARjB54_IWCYWgvLsSutBuXRKmUx3WjuMgu2xHTXMVq4aTCzLCQ6qUX_AryvnaSsENQbVx3ZsyjzW6DM4w5AYKIhYNeTImv_Lq5qlM3SrfpopBp4dkLSE8l1/s400/El-jard%C3%ADn-de-las-delicias-III.jpg" /></span><span class="Apple-style-span" style=" ;font-size:13px;"></span></span></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:small;"></span></div><div style="text-align: center;"><p class="MsoNormal" align="center" style="text-align:center"><b style="mso-bidi-font-weight: normal"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Heroic Sushi and Love between Samurais</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">The world of </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Culture Shock</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> was designed to be divided into sub-worlds. And there, with that accommodating technology known as transfer of photocopies, the sub-worlds could be populated. The first territories to be colonized were invaded by flying pieces of sushi and revolutionary Chinese women in parachutes. Here exists a barbarous combination- typical of Occidental confusions, of cultural elements which have no reason to share the same stage.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">From </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">The Garden of Earthly Delights </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">vintage young ladies smile at us (after having spend 3 or 4 decades in posters announcing sewing thread or tobacco) surrounded by floating leaves gathered up from wallpaper samples. They are accompanied by a threatening samurai and a young pregnant woman (adulterer) saved from a terrible fate in the pages of </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">ukiyo-e</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">. On the uppermost letters are poised, ready to leap, two figures (or one figure doubled) taken from Hieronymus Bosch. </span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">I’m dreaming about a new sub-world with snakes and ladders. Another element of </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Culture Shock</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> has found its independence as </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Love among Samurais.</span></span><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></i></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px; "><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Amor entre samurais</span></span><span class="Apple-style-span" style="font-size:x-small;">,</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px; "><span class="Apple-style-span" style="font-size:x-small;"> grabado en relieve con transferencia y costura/</span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Love among samurais</span></span><span class="Apple-style-span" style="font-size:x-small;">, relief print with transfer and sewing, 2009</span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); font-style: italic; line-height: 18px;"><span class="Apple-style-span" style="font-size:small;"> </span><span class="Apple-style-span" style="font-size:small;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQhFi0LXZBw4HpZhHTwWEiW9UMw3ewlV9KRVQ2a5F__XJoqGh4txGZJdlADyuPH_rJswenmpkePeixHiQVgekoqtiveIlVPTTtSFj7qcvDcOvA5exRiO829e00v6-p2tYiZt3Fgt5niFYm/s400/2.-amor-entre-samurias.jpg" /><br /></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); font-style: italic; line-height: 18px;"><span class="Apple-style-span" style="font-size:x-small;">El punto quieto,</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px; "><span class="Apple-style-span" style="font-size:x-small;"> xilografía con punta seca/</span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">The Still Point</span></span><span class="Apple-style-span" style="font-size:x-small;">, woodcut with drypoint, 2009</span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); font-style: italic; line-height: 18px;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); font-style: normal; line-height: normal; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicCRfe9MuCsO74yDcdsnqMXpDw5twsdLRoRaraPuzYOfkSnieW5mmX7tN6hO41mJF9cFaHgB0HdPNLU2tOGZ8sq9Qv8Az2MFBCxC0uVoH7jnRMbS3j50vAG4tFHhdDPjpZyg-2KCzODXjH/s400/3.-El-punto-quieto.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357611118992315090" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 395px; " /></span></span></p></div><div style="text-align: center;"><span class="Apple-style-span" style="font-weight: bold; line-height: 18px; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Remix con microcosmos</span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></div></span></div><div> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Trabajando con tres grabados en relieve más chicos, me puse a inventar variaciones utilizando una serie de grabados en punta seca que me han acompañado muchos años y sufrido muchas transformaciones (aparecen, por ejemplo, en 1998 como transferencias en 15 metros de hoja de pianola). Incluyen a una de las muchachas de Dodgeson (Lewis Carroll) vestida de china, unas geishas de espalda, Mifune (actor predilecto de Kurosawa) en la selva, plantas carnívoras, gaki (los gaki, fantasmas con bocas chicas y estómagos enormes, que eran la explicación de los japoneses medievales de la desaparición de restos orgánicos), y niños japoneses tomados de un anuncio de foto estudio antiguo.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Desde hace mucho he tenido la idea que una placa de grabado no debe terminar como parte de una sola imagen fija- prefiero que sean elementos combinables con una gama de posibles salidas.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUll3SrT8uQtyTPP7xasTk_k7xYgObga9ctc56_Jvsw8dhw4arr6hKN23tOtjDHy6J_iG0ZNv7MAbOrEfrCZGRug-H8B-9j5evC_U9LJRUU1nG4wdZsK6coLUqZ7rvdP63rSZkI8D1zSNl/s400/4.-La-gritona-cilindro-II.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357612468287375650" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 400px; " /></span><p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Otro elemento del remix fue utilizar las placas en relieve para imprimirse en barro y crear versiones en cerámica de los grabados.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">Si te dijera...</span></span><span class="Apple-style-span" style="font-size:x-small;">, xilografía con punta seca y costura/</span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:x-small;">If I were to tell you...</span></span><span class="Apple-style-span" style="font-size:x-small;">, woodcut with drypoint and embroidery, 2009</span></span></p> <span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTjzEdOUpm3ZWGYkxSMfflt6TkjE0dPymd80zLc1_TY1LFdM2MGN32zvqM291bP65HO40_8M9IGsXlMQ9wNES5fU_VyYyNH8XgAzXeF4x4I9P3-KSzetjsOBYLMMYP9II9_Romido7mcx1/s400/6.-si-te-dijera....jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357611835999791122" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 387px; height: 400px; " /></span><p class="MsoNormal" align="center" style="text-align: center;"><b style="mso-bidi-font-weight: normal"><span lang="EN-US" style="line-height:115%;mso-ansi-language: EN-US"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Remix with Micro Cosmos</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" align="center" style="text-align: justify;"><b style="mso-bidi-font-weight: normal"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-weight: normal; line-height: 21px; "><span class="Apple-style-span" style="font-size:small;">Working with three smaller relief prints, I set myself to invent variations incorporating a series of very small dry point prints which have now accompanied me for many years and suffered many transformations (they appear, for example in 1998 as transfer prints in 15 yards of player piano scroll).</span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="font-size:small;"> </span></span><span class="Apple-style-span" style="font-size:small;">The images transcribed in them include one of Dodgeson’s (Lewis Carroll’s) Chinese-costumed young ladies, some geishas with their backs turned, Mifune (the favorite actor of Kurosawa) peering through bamboos, carnivorous plants, gaki (ghosts with enormous stomachs and very small mouths- the Medieval Japanese’s explanation for the disappearance of organic waste), and Japanese babies taken from an antique collage advertising a photography studio. For some time now I have had the idea that a printmaking plate shouldn’t be confined to forming part of just one image, but regarded as a flexible element, susceptible to incorporation into a range of graphic possibilities.</span></span></span></span></b></p><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcHKxiGnbGDotKhfNAgSHEWr-oOeBGsv42BnIm1iOWmkDeEbuVk3Hj7M499qcgSTeXpYB6Mjl_N18uY3R6TtzY2mE-MxZJMc8aI8NAMG1c4hhMZq9Jgm2kKwes1Rh433CUnAiAklzriSpQ/s400/turismo-3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357612841777333074" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 283px; " /></span><p class="MsoNormal" align="center" style="text-align: center;"><b style="mso-bidi-font-weight: normal"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Turismo</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Turismo</span></span></span></i><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> es una especie de arreglo en collage (políptico o instalación, como quieran) compuesto de fragmentos de carteles chinos vintage, papel tapiz y marcos antiguos.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Tiene la intención de crear un ambiente en que la suma de las partes no da más que una sugerencia de lo que podría ser, realmente, la escena o lugar retratado. Se ve con esa visión fragmentada y poco informada típica de los que </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">no son de aquí</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">.</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAbSsAz2OoSbF8nqxo1LesurXinJJsNdDj5vbMyRQqgNIT0_XwMVfiivHbRrPTSfbU_iJHX1xqaqWArYud-WP5QqZhi4SSH8EDUopxSIyTHttf-kaKwZuNRsP1lnjQul390r1o1VGKEzRX/s400/turismo-armado.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357613294748784162" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 295px; " /></span><span class="Apple-style-span" style="font-size:small;"> </span><p class="MsoNormal" align="center" style="text-align:center"><b style="mso-bidi-font-weight: normal"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Tourism</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" align="center" style="text-align: justify;"><b style="mso-bidi-font-weight: normal"><span style="line-height: 115%; "><span class="Apple-style-span" style=""><span class="Apple-style-span" style="font-weight: normal; line-height: normal; "><i style="mso-bidi-font-style: normal"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Tourism</span></span></span></i><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> is a sort of collage (polyptych or installation, as you wish) made up of fragments of vintage Chinese posters, wallpaper samples, and antique picture frames. The idea was to create an atmosphere in which the sum of the parts gives no more than a suggestion of the actual nature of the scene or place portrayed. It’s viewed with the fragmented and incomprehensive gaze of the tourist.</span></span></span></span></span></span></b></p><span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidWLUG7aa_sAwthyDM5Iy1yVhwkkQqf8arnXKQnhjGeigcJnl-thc-CaBNoKSk8rJUV7olj3rcUwcebwu1p0UCjotpqfSOt_XPCV9QEcFGOFHe9i6bxO3UF1-qDi4sEv5Iq2ac0yHQiYLJ/s400/gadol-composite.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357613781623094082" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 92px; " /></span><p class="MsoNormal" align="center" style="text-align:center"><b style="mso-bidi-font-weight: normal"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Cajas contendedoras de sí mismas</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Estas cajas son reliquias</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">en sí mismas y también contenedores de reliquias. </span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Todas fueron encontradas en la Lagunilla, igual que los marcos de </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Turismo.</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> Fotografiando la caja y manejando su imagen en transferencia (donde agregué algunos elementos de los carteles vintage y papeles tapiz de </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Turismo</span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">), se crea un interior compuesto del exterior. En este caso el elemento de otredad no es otra cultura pero más bien otra época: el pasado.</span></span></span></p> <span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh20IGr6jHZXCZV4TMm7HzenbZKXhFBHiJRM6vOh21A5wK5vd68eqSnmCBELzd10wp8VLhZFBwUx0A-EKnvYl8GWaT23ub7RhySEF6KqZJFXpkmD-1Qm46fsBSwGbDPQvch6Ig17GW2_bbb/s400/compuesto-fotos.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357619742530433202" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 400px; height: 143px; " /></span><p class="MsoNormal" align="center" style="text-align:center"><span style="line-height: 115%; "><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span><span class="Apple-style-span" style="font-weight: bold; "><span class="Apple-style-span" style="font-size:small;">Through a glass darkly</span></span></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Desconozco la traducción exacta al español de esta frase bíblica. La quiero aplicar a las fotografías que tomé de dos fotocopias asomándose desde áreas despejadas de plata en dos espejos viejos y maltratados.</span></span><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Según los elementos colocados para reflejarse en los espejos, cambiaba la imagen.</span></span></span></p> <span class="Apple-style-span" style="color: rgb(0, 0, 238); "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj207AUo5H-2MRCVn5aYYEJafsa6czyyuQ_cZ12FZEOqopu95oDeW0TSCUeguBK6Gq8xqCTF7svBX9Hkik6n6lwohf2K7dxBXAMxe8p0Q1HS9vTTlLcVoLRdQ5q9WassE2nIZO0Fj4M9K5U/s400/Through-a-Glass-darkly-II.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5357620342739098338" style="display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; text-align: center; cursor: pointer; width: 348px; height: 400px; " /></span><p class="MsoNormal" align="center" style="text-align:center"><b style="mso-bidi-font-weight: normal"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Through a Glass Darkly</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></b></p> <p class="MsoNormal" style="text-align:justify"><span lang="EN-US" style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">This Biblical phase is a new and second title for a series I once called “The Floating World”, the courtesan sector of old Japanese cities which the </span></span><i style="mso-bidi-font-style:normal"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">ukiyo-e </span></span></i><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">prints portrayed. Both titles apply to a series of photographs I took of the two halves of a photocopy showing through the places in an old mirror where the silver coating had worn off. By changing the elements reflected in the mirror, I could change the nature of the photographic image. The photocopy came from a fragmented image of a lady in her toilette registered by the Italian photographer Felice Beato in 19</span></span><sup><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">th</span></span></sup><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> century Japan. </span></span><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="color: rgb(192, 192, 192); line-height: 18px;"><span class="Apple-style-span" style="font-size:small;">This completes my catalogue of mutating images.</span></span></p><p></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">Así se completa mi catálogo de imágenes mutantes. </span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><span style="mso-spacerun:yes"><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;">--Carla Rippey, ciudad de México, mayo de 2009</span></span><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></span></span></p><p></p> <p class="MsoNormal" style="text-align:justify"><span style="line-height: 115%; "><o:p><span class="Apple-style-span" style="color: rgb(192, 192, 192);"><span class="Apple-style-span" style="font-size:small;"> </span></span></o:p></span></p><p></p><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style=" line-height: 18px;font-size:13px;"><br /></span></p><p></p><p></p></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com2tag:blogger.com,1999:blog-1918551101172524357.post-24625150811102888332009-04-18T14:24:00.000-07:002009-04-22T18:56:18.213-07:00Mujeres enjuiciadas/Women on trial<p align="left"></p><span style="color:#c0c0c0;">Recientemente el Fondo de Cultura Económica publicó <em>El Libro Rojo, Continuación</em>, una compilación de escritos e imágenes ilustrando crímenes históricos en la ciudad de México. A mí me tocó inventar la imagen para la historia <em>Dos crímenes, dos víctimas, los casos de Alicia Olvera y Nidia Camargo</em>, narrada por Elisa Speckman Guerra. La primera mató a su esposo., la segunda a su amante, y a pesar de ser obviamente culpables, eventualmente fueron liberadas las dos. Pueden leer la historia completa en el libro….</span><br /><br /><span style="font-size:78%;color:#c0c0c0;"><em>La imagen que hice para el libro. Combina una fotografía de una presa en la corte con un detalle de un grabado japonés (de la colección Carrillo Gil) matando a su amante/The image I made for the book. It combines a photograph of a woma prisioner in court with a detail from a Japanese print of a woman killing her lover<br /></em></span><span style="font-size:78%;color:#c0c0c0;"><em><img id="BLOGGER_PHOTO_ID_5326149228646590834" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 343px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9ZlWuXrRdVicoQWvL06HyFng8DVVT2zl6b5vXMcdAy3jGcgVl7CsVCjMd-SSZXt96ZenRa1kqPSotoFV1HrceuPtxvsPin3hAaMw038URTBONSWlOkzF1dvKVB5-5lpg5cpG5vIVGcjn4/s400/Procura-reflexionar-lo-que-puede-suceder....jpg" border="0" /></em></span><br /><span style="color:#c0c0c0;"><br /><div align="left"><span style="color:#c0c0c0;"><span style="font-family:verdana;">Recently the <em>Fondo de Cultura Económica</em>, a Mexican publishing house, brought out <em>The Red Book, Continuation</em>, a compilation of essays and images illustrating famous crimes in Mexico City. My task was to invent the image for the essay <em>Two Crimes, Two Victims, the cases of Alicia Olvera and Nidia Camargo</em>, narrated by Elisa Speakman Guerra. The first woman killed her husband, and the second, her lover. In spite of being obviously guilty, they were both eventually liberated. The whole story can be read in the book…<br /></span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMdagSzZtPynYClYlf6Beqme1ZMGsAQIMB8z__nt1ZtaJqq6O6VEBezoAie0vnIsjCQMg8COo-p6X_SrQlmAbUXEHBFuUw2aF4927fI8IFmmSKakhnXnNNsL_WZWDZprOtC-KBwtK1SNzi/s1600-h/mujer-matando-a-su-amante.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5326149436589661842" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 333px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMdagSzZtPynYClYlf6Beqme1ZMGsAQIMB8z__nt1ZtaJqq6O6VEBezoAie0vnIsjCQMg8COo-p6X_SrQlmAbUXEHBFuUw2aF4927fI8IFmmSKakhnXnNNsL_WZWDZprOtC-KBwtK1SNzi/s400/mujer-matando-a-su-amante.jpg" border="0" /></span></a><span style="color:#c0c0c0;"><br />Me agradó la historia que me fue asignada porque tiene relevancia con un encargo anterior: hace algunos años fui una de las personas activas en la cultura a quienes se les pidió escoger una fotografía de las archivadas en la Fototeca para luego comentarla, para un número de la revista Alquimia del Sistema Nacional de Fototecas. </span><span style="color:#c0c0c0;"><br /></span></div></span><span style="color:#c0c0c0;">Aquí tienen una versión revisada de ese ensayo: </span><br /><span style="color:#c0c0c0;"><br /></span><span style="font-family:verdana;color:#c0c0c0;">I was happy with the events I was assigned because they were relevant to a previous task: a few years ago I was one of the people active in cultural matters who were asked to choose a photograph from the vast collection of the Mexican national archives, in order to write about the image for the magazine <em>Alquimia</em> published by the institution responsible for the archives.</span><br /><br /><br /><div align="center"><br /><span style="font-family:verdana;color:#c0c0c0;">Following is a revised version of that text:</span></div><br /><br /><div align="center"></div><br /><br /><div align="center"><span style="font-family:Verdana;color:#c0c0c0;"></span></div><br /><br /><div align="right"><span style="font-size:78%;"><em><span style="color:#c0c0c0;">Esta es la fotografía que escogí, del fondo Casasola, "Mujer en juicio", ca. 1920/This is the photograph I chose to comment: Casasola Collection, "Woman on trial", c. 1920<img id="BLOGGER_PHOTO_ID_5326149601201893826" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 283px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG-rEi7NiG1Ks6FGKTz5Ef7L724YSmeScwPFWiJkpo6WNiELWziWLGUsSKOQRPCx0AedKH3IEDtvjMot8oa5A8zk_tSnFMXCSx860eXASJgrgDVyJj1py4k37RNaAiafGI3scuqAxswfDj/s400/mujer-en-juicio.jpg" border="0" /><br /></span></em></span></div><br /><br /><p align="center"><span style="color:#c0c0c0;"><span style="font-size:130%;">La mujer frente al tribunal<br /></span><br />A lo mejor peco de una sensibilidad exagerada al reaccionar a la situación de esta mujer, escogida entre varias en situaciones similares, todas enfrentándose a una sociedad acusadora. Me impacta particularmente la conformación del tribunal, porque todas las fotos que vi están fechadas en una época en que el aparato de la justicia era aún un mundo masculino, sin juezas ni abogadas. Este hecho enfatiza la situación solitaria de la presa, me doy cuenta que lo que me impacta de la escena no es solamente su condición de mujer, pero también su aura de belleza, como si hubiera una contradicción intrínseca entre belleza y culpabilidad.</span></p><span style="color:#c0c0c0;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh82-7xq3XVKEfsEf-7xxrrXI-ggvZZgYyg_XNrmKWz1BDd2X0PdiGt7nmii58Yz6Gnj7sqpD1rKtwhuZ1axgJaW6A4I3ju02ksSiCoEgrpqOYsSMcAMPAKc2Os2BqlX_YqyPEm_nK0RjoG/s1600-h/mujer-en-juicio-detalle.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5326149758302993298" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 385px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh82-7xq3XVKEfsEf-7xxrrXI-ggvZZgYyg_XNrmKWz1BDd2X0PdiGt7nmii58Yz6Gnj7sqpD1rKtwhuZ1axgJaW6A4I3ju02ksSiCoEgrpqOYsSMcAMPAKc2Os2BqlX_YqyPEm_nK0RjoG/s400/mujer-en-juicio-detalle.jpg" border="0" /></span></a><br /><br /><p align="right"><br /><span style="color:#c0c0c0;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span></p><br /><br /><div align="right"><br /><br /><br /><br /><br /><br /><br /><span style="font-family:verdana;"><span style="color:#c0c0c0;"><span style="font-size:130%;">The Woman before the Court<br /></span><br /></span></span></div><span style="font-family:verdana;"><span style="color:#c0c0c0;">I probably am guilty of an exaggerated sensibility in my reaction to the woman in this photograph, chosen from among several other photographs of women in similar situations, each and every one confronting an accusing society. I find the conformation of the court particularly noteworthy, as all the photographs I examined of this nature are from a period of time (the first half of the 20th century) in which the apparatus of justice was a male domain, without female judges or attorneys. This emphasizes the solitary situation of the prisoner, and I realize that what strikes me about the scene is not simply the fact that she is female and alone, but also her aura of beauty, as if there were an intrinsic contradiction between loveliness and guilt.</span></span><br /><br /><br /><div align="center"><br /><em><span style="font-size:78%;color:#c0c0c0;">La pintura de Gérome, un poco recortada/Gérome's painting, slightly cropped (1861)</span></em></div><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5326149904410095442" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 176px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYc8T2Lib2pOy9vj29X_482U2-nLrJRxUiLq8VCyjYPXqVVAR9FRctYiGpsWbhmDHcNc7JaLcGrrK0tMafTVKZARy8x-Wd61VYDoNZ3XRJaqZo5eX06dt22ff9l5lrY54PKHQpdbv3VyAT/s400/800px-Fryne_przed_areopagiem-v.jpg" border="0" /><br /></span><br /><div align="justify"><span style="color:#c0c0c0;">La fotografía mexicana me remite a la interpretación del pintor francés Jean-Léon Gérome de “Friné frente al tribunal”, una obra a su vez presentada en el Salón de 1861 de París, y de tal manera exponiéndose a jueces no menos severos que los encargados de procesos criminales. En cuanto a Friné, ni tenemos que imaginar su aspecto físico-- nos fue conservado por el escultor griego Praxíteles. Resulta que la afamada cortesana (amante del escultor), que disfrutaba de esa curiosa licencia de cultivarse y pensar tolerada en las mujeres así designadas (como las del “mundo flotante” japonés, o las mujeres de la antigua corte de esa nación, albergue de la autora de la primera novela del mundo) fue un día acusada (porque hasta la licencia tiene sus límites cuando uno se mete con los dioses) de impiedad, llevada a juicio, y condenada a muerte. En el momento culminante del juicio su defensor, el orador Hipereides (supuestamente otro amante suyo), imaginamos que con un gran gesto dramático, le quitó su capa, dejando al descubierto su exquisita desnudez…al ver el espectáculo, los jurados no pudieran más que dejarla en libertad. </span></div><br /><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5326154356715208290" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 96px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNNC73StImxQdF2yV8458AYrQVr0VPsOR8LIYVup4W972iIIbZEbKCNJAAB1hDxrRyp0AnA8DAz2UO5xzpTG2LjNwj9ns-ZZZ6fEQZz0wMkcBcCryu1RuH0j9uS33sgGJeL7eT1soqY755/s400/800px-Fryne_przed_areopagiem-2.jpg" border="0" /><br /></span><br /><div align="justify"><span style="font-family:verdana;color:#c0c0c0;">This Mexican photograph brings to my mind the interpretation of the French painter Jean-Léon Gérome of “Phryné devant l'Areopage”, a work presented in the 1861 Paris Salon, and thus subjected to judges no less severe than those of a criminal court. As for Phryne, we needn’t try to imagine her actual physical aspect- it has been conserved for us by the Greek sculptor Praxiteles. It seems that this renowned courtesan (his lover), who enjoyed that curious license to cultivate herself and her thoughts tolerated in women so designated (like those of the “Floating World” of medieval Japan, or the women of the ancient court of that nation, abode of the -female- author of the world’s first novel) was one day accused (as even such license has its limits when one trifles with the gods) of impiety, taken to court, and condemned to death. In the culminating moment of the trial, her defender, the orator Hypereides (supposedly also her lover), with what we imagine must have been a grand gesture, tore off her cape, revealing her in her exquisite nakedness…witnessing this sight, the judges could do nothing less than set her free.</span></div><br /><br /><p align="center"><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Una cabeza de Friné como Afrodite por Praxíteles, ca.340 BC/ A head of Phryne as Aphrodite by Praxiteles, c.340 BC</span></em><img id="BLOGGER_PHOTO_ID_5326150236233360786" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 393px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga8rf7QPQqrIcLPCqOsgip9idtB3vsosNZYF6d5SQ0avpLT0YqPRzI6kuo73UwmaXz1fDxlWnfQLZFqispkGt9cfWKOfzLanHkdt9OFuFhXfZpoJm5r-xcGuTcEeH8FwHpbKRldumel9rT/s400/Frin%C3%A9.jpg" border="0" /></span></p><br /><span style="color:#c0c0c0;">Algunos vieron el cuadro de Gérome como una excusa para el voyerismo barato; otros calificaron el gesto de pudor como digno de una maestra de escuela. Resulta que la actitud de la retratada (a quien vemos cubriéndose la cara, más nada más, con su brazo, y así con los brazos levantados haciendo resaltar el cuerpo expuesto) en esa ambivalencia entre revelar y exponer, encontró tal eco entre los franceses que desató toda una moda de imitarle el gesto en las “cartes de visites” tan populares en la época.</span><br /><br /><span style="color:#c0c0c0;"></span><br /><p><span style="color:#c0c0c0;"><span style="font-size:78%;"><em>Una tarjeta de visita francesa de la época, con influencia de la pintura de Gérome/A French visiting card from the period,influenced by Gérome's painting</em></span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRQEPwU8OfL5f6v0lxrlaCC1BvNLfjLnnUWcMjcN-RnH_gJhfsds_hAWEoBe1BceyStlqJxOJ37YL34hCNyecThtWvTS0H12WiwkB8O5hHgyLdabmT4Yc-CALA2ouj6lhJDnZG2AkcXYZ/s1600-h/carte-de-visite-1.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5326150080108015458" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 233px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRQEPwU8OfL5f6v0lxrlaCC1BvNLfjLnnUWcMjcN-RnH_gJhfsds_hAWEoBe1BceyStlqJxOJ37YL34hCNyecThtWvTS0H12WiwkB8O5hHgyLdabmT4Yc-CALA2ouj6lhJDnZG2AkcXYZ/s400/carte-de-visite-1.jpg" border="0" /></span></a></p><br /><br /><p><span style="color:#c0c0c0;"><br /></span></p><br /><p><br /><span style="font-family:verdana;color:#c0c0c0;">Some saw in the painting of Gérome an excuse for cheap voyeurism; others qualified the courtesan’s gesture of modesty as befitting a schoolmistress. It seems that the attitude portrayed (we see her covering her face, and only her face, with her arm, and her upraised arms serve to underline the exposure of the rest of her body) in quite an ambivalence of revealing or concealing, found such an echo among the French that it unleashed a fad of imitating the gesture in the “carte de visites” popular at the time.</span><br /><br /><br /><br /><br /><br /><br /></p><br /><p></p><p><span style="color:#c0c0c0;">Las mexicanas fotografiadas en las fotos de archivo del Fondo Casasola demuestran un impulso parecido en quererse esconder. Todas las enjuiciadas tienen la cara y/o el pelo cubiertos, con velos, sombreros, el rebozo, o hasta con las manos. Una parte del encubrimiento es típica de la época, pero otra parte importante es atributa de la vergüenza. La desnudez de las retratadas consiste en su vulnerabilidad ante una sociedad que las enjuicia. Por bien o por desgracia, la belleza, que en otras situaciones sociales podría ser escudo o arma, no sirve de escapatoria; no hay clausula legal para ello. Pero hay algo imperativo en sí en el estado de la belleza, desde el cuento de García Márquez en que las mujeres del pueblo declaran que alguien tan triste y tan bello tiene que llamarse Esteban, hasta el obrero muerto de Álvarez Bravo, que nos hace rebelar frente a su desaparición, quizás más por su belleza que por su condición humana. Hay un imperativo que se maneja a nivel frívolo en las mujeres de los anuncios del Palacio de Hierro, que exigen ser perdonadas (o permitidas todo) por ser bellas. Actualmente vemos operar el mismo instinto en el caso de la secuestradora francesa Florence Cassens, defendida por el mandatorio francés como se fuera víctima, no verdugo. Y <em>¿Cómo es posible</em>, se preguntan sus vecinos, pregunta registrada por los reporteros, <em>que alguien tan bella sea un criminal? </em></span><br /><br /></p><br /><p align="center"><em><span style="font-size:78%;color:#c0c0c0;">Imagen del fondo Casasola, ca. 1935/Image from the Casasola Collection, c. 1935<br /><img id="BLOGGER_PHOTO_ID_5326150888679806130" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 381px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0q6NN79XvmXWxL19LNpzVWVaIisZoBxkGo3PPA-278YhxGzD1NDSvOhiSPY62dl1pRDZtxGU5dP5emKXBG28HuungnERG5_L64JN8w0vVR_feFEF8LnYwRjDLTKErG-oG2QhI5qZ2Pibh/s400/mujer-detenida.jpg" border="0" /></span></em></p><br /><span style="font-family:verdana;"><span style="color:#c0c0c0;">The Mexican women I found in the perusal of the photographic archives in the Casasola Collection demonstrate a similar impulse in the desire to hide themselves. All the females accused have their face or hair covered with veils, hats, a shawl, or even with their hands. To a certain extent this tendency to cover themselves up is characteristic of the period, but the rest can be attributed to shame. The nakedness of those depicted consists in their vulnerability before a society which judges them. For better or for worse, it seems that beauty, which in other situations could serve as a weapon or a shield, cannot get them off: there is no legal clause for it. But nevertheless there is something imperative in the simple fact of beauty-- we see it in the story of García Marquez when the women of a fishing village declare that someone so beautiful and so sad must be called Esteban, and in the murdered striker photographed by Álvarez Bravo, whose death dismays us, as much for his beauty as for his simple humanity. There is an imperative bandied about on a frivolous level in the women of certain department store ads who demand to be pardoned for (or permitted) everything because they are beautiful. Recently we have seen the same instinct working in Mexico in the case of the Frenchwoman Florence Cassens imprisoned for kidnapping, defended by the French president as if she were the victim, not the abusing party. <em>And how is it possible</em>, her neighbors ask themselves, a question registered by reporters, <em>that someone so beautiful could be a criminal?</em></span></span><br /><br /><br /><p align="right"><em><span style="color:#c0c0c0;"><span style="font-size:78%;">Fotografía de Robert Demachy con infuencia de Gérome, detalle/Photograph by Robert Demachy influencied by Gérome, detail</span><br /></span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2X8fwDC0c1rHmAcUg4QsnlgY8SN3Rl9M67J5uS9QB0gyEuUjiVZLPrH868pNSYpzUv7s7w1lbujHNHTDETTitOGqwtvmvqEJhh8nEnu3YSX7ClU7r7Lk_pn-E12TSSk4Y2be4Xa5kQ3rA/s1600-h/Robert-Demachy-desnudo.jpg"><em><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5326150370731020386" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 272px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2X8fwDC0c1rHmAcUg4QsnlgY8SN3Rl9M67J5uS9QB0gyEuUjiVZLPrH868pNSYpzUv7s7w1lbujHNHTDETTitOGqwtvmvqEJhh8nEnu3YSX7ClU7r7Lk_pn-E12TSSk4Y2be4Xa5kQ3rA/s400/Robert-Demachy-desnudo.jpg" border="0" /></span></em></a><span style="color:#c0c0c0;"><br /><br /><br /></span></p><br /><p align="left"><br /><span style="color:#c0c0c0;">Muy aparte de lo injusto de reaccionar de forma distinta ante un ser normal y uno con esa dote, y también aparte de la larga y pertinente discusión de la naturaleza de los crímenes y supuestos crímenes perpetuados por mujeres, la mujer frente al tribunal, como una santa frente a la Inquisición, sigue con el extraño poder de convencernos de su inocencia, o verla por lo menos perdonable, no más por el gozo que experimentamos en contemplarla.<br /></span><br /><br /><br /><br /><br /><span style="color:#c0c0c0;"></span><br /><br /><span style="color:#c0c0c0;"></span><br /><br /><span style="color:#c0c0c0;"></span><br /><br /><span style="font-size:78%;"><span style="color:#c0c0c0;">Un dibujo mío basada en la fotografía de Demachy/A drawing I did based on Demachy's photograph</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_0FVE3wIf0QrGNLKbbLagTPqG7B1k4p4BQToDlK-iQAU2_DRS8FEOoUGtorlxybWx91WSMrU6RMPzF7gzi3sOChzLvLCyCXEYgePcXqjy9FS-mNatqIJuFQPU-EeQWEdiAlzE7tBaZbc7/s1600-h/mujer-volcan.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5326161780813053570" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 294px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_0FVE3wIf0QrGNLKbbLagTPqG7B1k4p4BQToDlK-iQAU2_DRS8FEOoUGtorlxybWx91WSMrU6RMPzF7gzi3sOChzLvLCyCXEYgePcXqjy9FS-mNatqIJuFQPU-EeQWEdiAlzE7tBaZbc7/s400/mujer-volcan.jpg" border="0" /></span></a><br /><br /><br /></span></p><span style="font-size:78%;"><div align="right"><br /><br /></div><div align="right"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfylphTWz-U1cnRBEaUlMuqdBRrBO1Ku0fQTDBLmgsZmSMJEhSuMs_E5Eh7beoEODlSsMmxtu2mw-NmJQYhkmIiS4w-kWpC9uuF0nSgJA2GI1Fjj_KR6J0xsEg9ziGxdbYd1A_eogVF6ND/s1600-h/mujer-volcan.jpg"><span style="color:#c0c0c0;"></span></a></div><div align="right"><br /><br /><br /></div><div align="right"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfylphTWz-U1cnRBEaUlMuqdBRrBO1Ku0fQTDBLmgsZmSMJEhSuMs_E5Eh7beoEODlSsMmxtu2mw-NmJQYhkmIiS4w-kWpC9uuF0nSgJA2GI1Fjj_KR6J0xsEg9ziGxdbYd1A_eogVF6ND/s1600-h/mujer-volcan.jpg"><span style="color:#c0c0c0;"></span></a></div><div align="left"><br /><span style="color:#c0c0c0;"><span style="font-family:verdana;">Apart from the obvious injustice of reacting differently to a normal person and someone with this blessing, and also apart from the long and pertinent discussion of the nature of the crimes and supposed crimes perpetrated by women, the woman before the court, like a saint before the Inquisition, retains the strange power of moving to us to believe in her innocence, or at least to want to see her as a victim of circumstance and thus worthy of pardon. It is a power rooted in the pleasure we experience as we behold her.</span> </span></div><span style="color:#c0c0c0;"><br /></span><br /><br /><p></p><span style="color:#c0c0c0;"><p align="center"><br /><em><span style="font-size:78%;">El Paricutín, grafito/papel, 1991-2/The Paricutin, graphite/paper, 1991-2</span></em><br /></p></span><img id="BLOGGER_PHOTO_ID_5326150709707955154" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 206px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe78iw5Tsn3UpUjOt1MT3DkZwM8_fQiWKcWfYeDBRDUMjyNFmLOLtg9QmIUGgBGfWAIZrEa7OTxqklo6nby4aWfMu7vlGUkE4ByGBmOy1ZtD91p2LnLDyvXIA-eX4zkLfmmVvRZLYpnwoH/s400/E-Paricut%C3%ADn.jpg" border="0" /><br /><p><span style="color:#c0c0c0;"></span></p><p align="justify"><span style="color:#c0c0c0;">La serie de dibujos (encontrarán 2 en la entrada anterior) <em>Mujeres Detenidas</em> es una reacción mía más detenida al fenómenon comentado aquí. Fue al examinar las fotografías para escribir este ensayo que me nació la idea de hacer los dibujos, y todos están basados en el fondo Casasola. Lo único malo es que eso de "una reaccion detenida" va en serio-- he tardado años ya y me faltan unos 12 imágenes por dibujar. Aquí está el tercero:<br /></span></p></span><br /><p><span style="color:#c0c0c0;"></span></p><p align="center"><span style="font-size:78%;color:#c0c0c0;"><em>Mujer detenida, México, años 30, 2001/Woman detained, Mexico City, 1930's, 2001<img id="BLOGGER_PHOTO_ID_5326441703058025730" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 313px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdORdb4pqsQ5aMJFeeSRHSKdWjeLizBbISy2cP5JUblnA_StJ0AkrAZqx7-eTrcgqfZyhmkTImifcP5x42tZsXD8Qi0TiwVonF1fIRmyipmEQlWynDzMHscg2FLyIwFDi0rHsbCJUOapG7/s400/Detenida,-dubujo-I-small.jpg" border="0" /><br /></em></span></p><em></em><p align="center"><span style="font-size:78%;color:#c0c0c0;"><em></em></span></p><p align="justify"><span style="color:#c0c0c0;">The series of drawings (2 are reproduced in my last entry) "Women under Arrest" is a more detained reaction on my part to the phenomenon discussed above. It was on examining the photographs I saw in order to write this essay that it occured to me to make the drawings, and they are all based on images from the Casasola colelction. But unfortunately I exaggerate this business of detaining myself--I've been working on the series for years and still have 12 to go...Above you see the third.</span></p>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com1tag:blogger.com,1999:blog-1918551101172524357.post-28482736168306427142009-01-19T18:56:00.000-08:002009-01-21T20:14:01.911-08:00Lo que promete el año/What the year promises<span style="font-size:78%;"><span style="color:#c0c0c0;"><em>el palacio/the palace-artist´s book/libro de artista, 2008</em> <img id="BLOGGER_PHOTO_ID_5293207743481713090" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 366px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7yUZoDxVSpWT3oyayxjL32rK-aLRgRmbuNiP2x0G5SZZzpiHof0EmyQpoHAYP1SLQTgJGVFpl5ESIksCZnO55NvSJYXQqQRXadYd1yBZhvrydZDnnH_tjPfhw-sUvucoPYHqbSA2VQSUZ/s400/el-palacio-1.jpg" border="0" /></span></span><br /><div><div><div><div><div><div align="justify"><div><span style="color:#c0c0c0;">Where have I been? The last blog entries have consisted of material from a show I put together this last year, which tried to portray something of my personal history of migration, related to the experiences of my great-grandparents in the 19th century prairie, and connect this up with the events dealing with Mexicans in the US, on the Border, and in central Mexico, in around the same period. This was a strange experience, as it was not quite a documentary show, because I intervened the photographs I chose, and also not quite a truely personal show, as I restrained myself a lot, working on the photos, so that the show would be more about the history they tell than about myself. Also, I got to respect the photographers quite a lot and wanted them to tell the story themselves.</span></div><br /><img id="BLOGGER_PHOTO_ID_5293207866958748242" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 338px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguEdEG0GuaE4iwtL9Lp53fyQom9oQO3vfDC8vU5yO9RPrhoczUnW2PQNVWN6g3dQtdn3NboDc6dLjwUBqj8INX4-GF_Vfk6o38tQEHp2YTbr2k5zPqXSwXibhG2MHmfe3kI8iPQjZ8pjQ0/s400/el-palacio-2.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5293965180690414738" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 340px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Cy2xGX3Y6Wx5FrimdfSJCorn8bp8xEIuZr__nhVKLc_fMZdR-LeBuKdIx3W5-tIkFOgZwB2-WTol6yDTSVGDdR_30Rse6Yf8ozpXJy0lK9Zg4vLuYvI61wgd-7iNGVx9_l9iwGDvgLGY/s400/el-palacio-3.jpg" border="0" /><br /><div align="justify"><em><span style="color:#c0c0c0;">¿Dónde he estado? Mis entradas de blog de los últimos meses tuvieron que ver con una exposición que armé el año pasado, con la intención de mostrar algo de mi historia personal de migración, relacionada con las experiencias de mis tatarabuelos en la pradera americana decimonónica, y conectar eso con los eventos que concernieron los mexicanos del mismo periodo, en EU, en la frontera, y en México central. </span></em></div><br /><div align="justify"><em><span style="color:#c0c0c0;"><br /></div></span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyNFEY2mokRUyIW7FBDO2KJ4km57WRw47ZF_zbersUW7kwSA-5S56ZNxM1ov9HEIwAxFXho_ZcSuuTLwDcZxmJYfteNXXX70kc2SRoZp3ziiGcvdmSbcsf2YjFIWrtSVCTX0xNVDWh5YwB/s1600-h/el-palacio-3-det.jpg"><img id="BLOGGER_PHOTO_ID_5293960779901234162" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 374px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyNFEY2mokRUyIW7FBDO2KJ4km57WRw47ZF_zbersUW7kwSA-5S56ZNxM1ov9HEIwAxFXho_ZcSuuTLwDcZxmJYfteNXXX70kc2SRoZp3ziiGcvdmSbcsf2YjFIWrtSVCTX0xNVDWh5YwB/s400/el-palacio-3-det.jpg" border="0" /></a><br /><em><span style="color:#c0c0c0;">Hacerla fue una experiencia extraña, como el resultado no fue precisamente una obra documental, porque intervine las fotografías que escogí, ni tampoco una expresión personal, porque me controlé mucho al hacer la intervención, tratando de respetar la naturaleza de las fotos y la información que contenían. También en el proceso llegué a respetar mucho los fotógrafos responsables de las imágenes, y quise permitir que contaran su historia, sin intervenir demasiado. </span></em><br /><br /><div><br /></div><br /><div></div><br /><div></div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmI_PuKxIczSsgmN2Mzx6Vu6338xANbmMNimwsA-yr1xD_RpxGTo1CRi7vMMN-KnhlSlNEGVrbn-fkwvQV_pzGRGpcbPNWVPQKQXPyWNq90IXXjlZsoZ6EQGyNOKVlFhAGB5JoGE4QDGL/s1600-h/el-palacio-3-det2.jpg"><span style="color:#c0c0c0;"></span></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmI_PuKxIczSsgmN2Mzx6Vu6338xANbmMNimwsA-yr1xD_RpxGTo1CRi7vMMN-KnhlSlNEGVrbn-fkwvQV_pzGRGpcbPNWVPQKQXPyWNq90IXXjlZsoZ6EQGyNOKVlFhAGB5JoGE4QDGL/s1600-h/el-palacio-3-det2.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5293208220245914194" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 397px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmI_PuKxIczSsgmN2Mzx6Vu6338xANbmMNimwsA-yr1xD_RpxGTo1CRi7vMMN-KnhlSlNEGVrbn-fkwvQV_pzGRGpcbPNWVPQKQXPyWNq90IXXjlZsoZ6EQGyNOKVlFhAGB5JoGE4QDGL/s400/el-palacio-3-det2.jpg" border="0" /></span></a><span style="color:#c0c0c0;">Possibly the work falls into the category of personal revision of public archives, a relatively new field in contemporary art. This show will be moving around the next year or so, as a contribution to events orgainized around the Centennial of the Mexican Revolution, the Revolution being one of the recurrent themes in the show's photographs.</span><br /><div align="right"><em><span style="color:#c0c0c0;">Posiblemente la pieza cae dentro de la categoría de revisión personal de archivos públicos, un campo relativamente nuevo en el arte contemporáneo.<br />Esta exposición estará viajando durante uno o dos años, como una contribución a los eventos organizados alrededor del Centenario de la Revolución Mexicana, esta revolución siempre una de las temáticas recurrentes en ella.<br /></span></div></div></em><div><br /></div><div align="left"><span style="color:#c0c0c0;">ANYWAY---<em>EN FIN</em><br /></span></div><div><br /><br /></div><div><span style="color:#c0c0c0;">I had a fair amount of material left over from the migration project; some of it wound up as a couple of artist's books. </span></div><div><br /></div><div><em><span style="color:#c0c0c0;">Me quedó un buen de material del proyecto de migración; parte de ello fue incorporado en unos libros de artista.</span></em></div><div><br /><br /></div><div><em><span style="font-size:78%;color:#c0c0c0;">Lazos/ties that bind-artist's book/libro de artista,2009 <div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpefR5V_E5EB7L_F0hvLy9YwDwRxk2C55WHFXIBQerwNG4w-2mOxuo2hwNnrHPFaaz3lbX_9f-WMg6FJP7JMv7Bl4F97XJkgBshYFTOvilX8IIxcgXouNg1A05FV7oMCZiWGduKxKnJ6p_/s1600-h/lazos-portada.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5293944353978177314" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 400px; CURSOR: hand; HEIGHT: 345px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpefR5V_E5EB7L_F0hvLy9YwDwRxk2C55WHFXIBQerwNG4w-2mOxuo2hwNnrHPFaaz3lbX_9f-WMg6FJP7JMv7Bl4F97XJkgBshYFTOvilX8IIxcgXouNg1A05FV7oMCZiWGduKxKnJ6p_/s400/lazos-portada.jpg" border="0" /></span></a></div><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpefR5V_E5EB7L_F0hvLy9YwDwRxk2C55WHFXIBQerwNG4w-2mOxuo2hwNnrHPFaaz3lbX_9f-WMg6FJP7JMv7Bl4F97XJkgBshYFTOvilX8IIxcgXouNg1A05FV7oMCZiWGduKxKnJ6p_/s1600-h/lazos-portada.jpg"><span style="color:#c0c0c0;"></span></a> </div></span></em></div><div><br /><br /><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpefR5V_E5EB7L_F0hvLy9YwDwRxk2C55WHFXIBQerwNG4w-2mOxuo2hwNnrHPFaaz3lbX_9f-WMg6FJP7JMv7Bl4F97XJkgBshYFTOvilX8IIxcgXouNg1A05FV7oMCZiWGduKxKnJ6p_/s1600-h/lazos-portada.jpg"><span style="color:#c0c0c0;"></span></a></div><div><br /><br /><br /></div><div><br /><span style="color:#c0c0c0;">I am back to the personal.<br /><br /></span></div><div><br /><br /></div><div><span style="color:#c0c0c0;"><em>Ya regresé a lo personal…<br /></em><br /></span></div><div><br /><br /><br /></div><div><span style="color:#c0c0c0;"><br /><br /><br /></span></div><div><span style="color:#c0c0c0;">You can see the difference. I'm not worrying about the legibility of the original image, although its (historical?) weight and significance are pertinent to the reading of the resulting work.<br /><br /></span><span style="color:#c0c0c0;"><em>Se nota la diferencia. Ya no me estoy preocupando tanto por la legibilidad de la imagen original, aunque su peso (¿histórico?) y significado son pertinentes para la lectura de la obra resultante.<br /></em><br /><img id="BLOGGER_PHOTO_ID_5293943754978809762" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 278px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCteifQKQFydwhGsYBUTVpm2O1VNvUaEESQwnk6TFhqZ8q9zk0N6Nxww8VhO96zwJaDWWwAKj8EVdJMSPUCxyeeieM_paqZCnIkaY3OGYR4N-Gyrt1H-A81nHSh27Kcw68p4uKQz2ui9DW/s400/lazos-abierto-2.jpg" border="0" /><br /></div><div></span><span style="color:#c0c0c0;">I just start taking the piece where it wants to go, using the same tecnical procedures as in the migration show: transfer and sewing-- but I stopped focussing only on the original image.</span><br /><br /><br /></div><div align="center"><span style="color:#c0c0c0;"></span></div><div align="center"><em><span style="color:#c0c0c0;">Nomás, empiezo a dejar que la pieza vaya por donde se quiere ir, utilizando los mismos recursos técnicos empleados en la muestra original: transferencia y costura—pero dejé de enfocarme solamente en la imagen original. </span></em></div><div align="center"><em><span style="color:#c0c0c0;"></span></em> </div><div align="center"><em><span style="color:#c0c0c0;"></span></em> </div><em></em><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvL1c_j-g0SYzGyCCEi_NGLyE2XBO2jw9HMHl0RopBb4wYJ1iVpgENGzX2ecr0TQW6He55-Vzj37n4yiyUPL87PNeIQX2FxvJolONBLgwx0eQoMNl9sNp8RkFFYyxHjs17Q0YJHFT9Tv5/s1600-h/lazos-contraportada.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5293944590587535026" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 306px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvL1c_j-g0SYzGyCCEi_NGLyE2XBO2jw9HMHl0RopBb4wYJ1iVpgENGzX2ecr0TQW6He55-Vzj37n4yiyUPL87PNeIQX2FxvJolONBLgwx0eQoMNl9sNp8RkFFYyxHjs17Q0YJHFT9Tv5/s400/lazos-contraportada.jpg" border="0" /></span></a><br /><br /><br /></div><div align="right"><br /><span style="color:#c0c0c0;"><br /></span><span style="color:#c0c0c0;">I really learned a lot from the process of putting together the show--but this,</span></div><div><br /></div><div align="right"><span style="color:#c0c0c0;">this makes the whole business a lot more fun.<br /><br /></span><span style="color:#c0c0c0;">It goes beyond the document and into my own territory. </span></div><div><br /></div><div align="center"><br /><br /><span style="color:#c0c0c0;"></span> </div><div align="center"><span style="color:#c0c0c0;"></span> </div><div align="center"><span style="color:#c0c0c0;">Aprendí bastante del proceso de armar esta exposición- pero, trabajar así, libremente, es francamente, más divertido. Va más allá del documento, hacia mi propio territorio.</span></div><div><br /></div><img id="BLOGGER_PHOTO_ID_5293944781995660178" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 382px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEial_ikM1heo4I7zCo3SAG_riy_YrKIVVZ-dg8pBBC_R4Y-ihDVHRqf8jiXB8H3vZBfajpt9rizzUwrcc-Vjvop8nmDcWvnkdckfjd7eeFro_7zHASsCq7rTGQDHV_jsDWKDRgvwnQbhOhu/s400/lazos-detalle.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5293944926522145842" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 378px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0AxixJhPBCKPMiuM0BtZJtK0F6bQbJIpJpB-XY0qdiBfNgSrflaa_xkQOPUDRgbwBB_oKSWLuv1hSNdz1m7DsS6idn8AjJbBF62RuYC47j2plMgBIlA2NVFeXTFvDFx42mwvfIBiR_D9w/s400/lazos-detalle-2.jpg" border="0" /><br /><br /><div align="center"><span style="color:#c0c0c0;">Other projects for 2009: FINISH finally I hope, the series of drawings I started in 2001, based on photographs of the Casasola brothers, of women detained (for what sort of crimes? anyway, maybe the worst moment of their lives) in Mexican police stations, in the 1930's.</span><br /><br /><br /><em><span style="font-size:78%;color:#c0c0c0;">Mujer detenida, c.1935/Woman arrested, c. 1935-2008<img id="BLOGGER_PHOTO_ID_5293946316597517858" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 285px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTzl-b3yabevkdg5hoGRqvtNH2hb-ZrfcWhI_dOGdGgY_6y8xkIDNM_eOy1uZTP_UiKkM-dXk_oR9zC4hJsLyBR2v0CHIadbSlUVU1xSebC9jV4GOaYSQWNNZsHG8eO7VTQ5xAz56JsopT/s400/detenida+3.jpg" border="0" /></span></em></div><br /><br /><div><span style="color:#c0c0c0;">Otros proyectos para 2009: TERMINAR espero, el conjunto de dibujos que empecé en 2001, basada en fotografías de los hermanos Casasola de mujeres detenidas (¿por qué tipo de crímen? en fin, probablemente el peor momento de sus vidas...) en las delegaciones de DF.</span></div><br /><br /><div align="center"><em><span style="font-size:78%;color:#c0c0c0;">Woman surrounded by interrogating officers/Mujer rodeada por oficiales, c. 1935, 2008<img id="BLOGGER_PHOTO_ID_5293957636848377442" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 321px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSA2L985y95O7aRaAG1v5p7H25kc6kdRSC2CckdSLHreVSGcMd5z4n0yyp3XmF4reCeY49LyuT9jawwfzKzCbyxp5HEVhwyvTsByXzytPPkUx8raLMQ62D434_VNiToSbc_ZPshm4Cze2b/s400/detenida-rodeada+ch.jpg" border="0" /></span></em></div></div></div><br /><br /><p><span style="color:#c0c0c0;">Then I have a show planned for julio, called ELSEWHERE, that elsewhere being a displacement in time or place, but a device totally typical of my work.</span></p><p><span style="color:#c0c0c0;">You'll be hearing more about this...</span></p><p><em><span style="font-size:78%;color:#c0c0c0;">Heroic Sushi/Sushi heróico, dyptich/díptico-grabado en relieve con transferencia/relief print with transfer, 2008<img id="BLOGGER_PHOTO_ID_5293945722083323794" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 384px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7w2W_omGrtLb2uREI3QczSOM1ygO_-emJGswdXe8iv1OfAhx-lYbqbCjQtBZ0gsY-y1lpnkmsx5jK2rH8J-7_h64qwBRDN5D246hBX1le3SDxqnilXDRL1PF2ATe1r8_jriSG4yYXqAId/s400/sushi-her%C3%B3ico-2.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5293945979832828050" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 395px; CURSOR: hand; HEIGHT: 400px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNDJXo4PXszugtYs2BnX3aEdXYdj065BQyTaDcTPtMK9SIR2105WBkbTRxMfHrKMu-u_Dimwo5h9pW1g2ThMkYAshXEhX15MC0U94l4NwVsfJj4Ir70XDlMcTWW5WI-5HS3LXqwm9M561t/s400/sushi-her%C3%B3ico-3.jpg" border="0" /></span></em></p><br /><p><span style="color:#c0c0c0;">Y luego tengo una expo planeada para julio llamada ELSEWHERE (En otra parte), ese "elsewhere" siendo un desfasaje en tiempo o en el espacio, un recurso totalmente típico de mi obra. De esto escucharán más....</span></p></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com1tag:blogger.com,1999:blog-1918551101172524357.post-62202900260624207732008-11-12T10:10:00.002-08:002012-04-18T16:05:38.474-07:00"When my blood was not yet my blood..."<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRGYBwSUex9giTcPebDwhjF0wPvp3jXoNkfvg4a7-IvkQpuuf5DYMnIUzktvDT73ptc_7fFGOW584Pv6BfaMyd_3PqaIaECFT8CN2hSplz0PMygqXFq5qv8fhSdDMmLf15SkW7-HZBuc3U/s1600-h/long-pix.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5267838070349307442" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 114px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRGYBwSUex9giTcPebDwhjF0wPvp3jXoNkfvg4a7-IvkQpuuf5DYMnIUzktvDT73ptc_7fFGOW584Pv6BfaMyd_3PqaIaECFT8CN2hSplz0PMygqXFq5qv8fhSdDMmLf15SkW7-HZBuc3U/s400/long-pix.jpg" border="0" /></span></a><span style="color:#cccccc;"> A journey from Kansas City to Mexico City, 1880-1920<br /><br /></span><div align="justify"><span style="color:#cccccc;">About two years ago I decided to do a project- a polyptych of images—related to migration issues. “We all come from somewhere else” I reasoned, “It’s an indisputable fact. Migration isn’t an invention of Mexicans on the US border—after all, the earth has been populated by thousands of years of human migration.” And that’s what I wanted to emphasize—the universal, or rather, global, character of human migration. </span></div><br /><div align="center"><em><span style="font-size:78%;color:#cccccc;">original photograph, Butcher Collection, Nebraska State Historical Society</span></em></div><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5269312833588349298" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 304px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI8MOWGfc2hXTN_g6eMl2Dxn0FXhC9jP3M-UDlc_wxXfwbvv_bMYRWXFyA7_vi9rfhRiUwd_0MGUKWzgLtzcpdZsK5hthvGzaDAJKzqDULhx94v2dRz0WmeF-nGdFqZbWPCg1OWewrbhDW/s400/10917v.jpg" border="0" /><br />Another undeniable fact is that the assimilation of new waves of immigrants in any territory is a difficult process, rife with conflict. We are daily witnesses of the treatment received by Latin Americans when they arrive in the United States, my own native country. But those who receive them badly also descend from immigrants: territoriality trumps memory.</span></div><div align="center"></div><div align="center"><span style="color:#cccccc;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dGlvMo4JsYUikQH5FLzyHNtNGo7DpawB7sMiJnM4wvIr9n8BwdgJEd48KiB2NS5y4QZlVzO8oBM2ktKh5ALxRfaU2nD4TJoA63GkjBj5PeawQ2YdXtAlrAgtGLnx_2-BsdMFFhf87W-d/s1600-h/water-tower.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5269313071839363346" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 128px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dGlvMo4JsYUikQH5FLzyHNtNGo7DpawB7sMiJnM4wvIr9n8BwdgJEd48KiB2NS5y4QZlVzO8oBM2ktKh5ALxRfaU2nD4TJoA63GkjBj5PeawQ2YdXtAlrAgtGLnx_2-BsdMFFhf87W-d/s400/water-tower.jpg" border="0" /></span></a></div><div align="center"><span style="color:#cccccc;"></span></div><div align="right"><br /><span style="color:#cccccc;">So I wanted to try to recover something of that memory. I decided to develop a project involving my own personal or family history of migration, as well as that of my adopted country, Mexico. I wanted to create a bridge between Kansas City, where I was born, and Mexico City, where I have made my life.</span></div><div align="right"><span style="color:#cccccc;">From then on, the project was defined by the results of my research of possible sources of images. I found three important collections of photographs relevant to my idea: the Solomon D. Butcher Photograph Collection (Nebraska State Historical Society), the Robert Runyon Collection (Center for American History, University of Texas at Austin), as well as several of the collections of the Photography Center (“Fototeca”) of the National Institute of History and Archeology of Mexico. These were supplemented by photographs from my own and other lesser collections.</span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><br /><span style="color:#cccccc;"><br /></span><br /><div align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA4AWh16KIdP9p7Drjdlt9lwGaES97A4pKeDpXXIsqOQ9e1fagwjg3jb8xxOWo5V3uuBVWY9cpK8qiTrSj4mgEDwVVvjj5ZBynjDPMfYh35k9HFEqYsG0yfCwo6IG3cuuOwl4e7LhgCw_h/s1600-h/blue-woman.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5269312967756598402" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 194px; CURSOR: hand; HEIGHT: 400px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA4AWh16KIdP9p7Drjdlt9lwGaES97A4pKeDpXXIsqOQ9e1fagwjg3jb8xxOWo5V3uuBVWY9cpK8qiTrSj4mgEDwVVvjj5ZBynjDPMfYh35k9HFEqYsG0yfCwo6IG3cuuOwl4e7LhgCw_h/s400/blue-woman.jpg" border="0" /></span></a><span style="color:#cccccc;"><br /><br />Meanwhile I had defined a historical period to work with: from 1880, when Nebraska Territory was opened to settlement (and my great-grandparents began to establish themselves in the area), until 1920, when the Mexican migration began to consolidate itself. During this period as well the Mexican Revolution took place.</span></div><span style="color:#cccccc;"><br /><br /></span><br /><span style="color:#cccccc;">I also defined the way I would work with the material: first I made a selection of photographs with the idea of establishing a narrative. I often cropped the images when it seemed pertinent in order to emphasize certain elements, except when this alteration was not permitted in the conditions established by certain collections.</span><br /><span style="color:#cccccc;"><br /><br /></span><br /><span style="color:#cccccc;"><br /></span><br /><div align="justify"><span style="color:#cccccc;">The work was then transferred onto Japanese paper and mounted on a rag backing. The backing permitted me to sew on the images, threading them together almost literally. This unifying device is probably an inheritance from the quilting practiced by my grandmothers.</span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5269313180573190498" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 271px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK6NIJ2X7qiwqA0uAJl8-vmzXR02CmPanKUwKM2vBUMtQ1sl9bk7nV7dI0mggNAjP22hmqIjpUE_r6lmtmP3kz8hR_S-YeprzkoETGHkRwSYziVehqOppbtreExPZvdG4XR8X9JxAmsvT_/s400/butcher-dog.jpg" border="0" /><br />The recourse of putting together many images, varying the color, can also be seen as a reference to patchwork quilts. Throughout this process I dealt continually with the tension between a desire to respect the integrity and documental value of the photographs and the need to create a coherent whole that might go beyond that, or express something more personal.</span></div><span style="color:#cccccc;"><br /><img id="BLOGGER_PHOTO_ID_5269313363931303234" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 261px; CURSOR: hand; HEIGHT: 256px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4xQAiYBz7aOW_s-1phVBNrxpOqAyahVMQN9hNxtrX2bZruo1_Af1kce1Y7YUHqui-QqeF7xX3Y3NXYThsVgQ3khccQGi67uKia6-yS3Hmj0a_rqo30IfpuQC5aa2NrZ7DBLf-UdQ-TF2w/s400/butcher-dog.detail.jpg" border="0" /> <p align="justify"><br /><span style="color:#cccccc;">The images start off with details of the difficult life led by the early settlers who arrived from farther East or Europe. And the background for the settlers’ even being there was, of course, the drastic and tragic reduction of the original population of the prairie, decimated en previous decades by the armed struggle in defense of their territories, by their exposure to Western diseases, and by their forcible removal to reservations.<br />From these images the exhibit proceeds to document the Mexicans already in movement in the region, from Kansas and Nebraska down to the region near the frontier, particularly in Texas, where the Mexican presence included the population already in the area since the time when it was part of Mexican national territory, as well as those recently arrived, seeking refuge from the ravaging effects of the Revolution in northern Mexico.</span><br /><span style="color:#cccccc;"></span><br /></p><span style="color:#cccccc;"></span><img id="BLOGGER_PHOTO_ID_5269317707499254994" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 313px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisXctqzJyfooiJhYx-_bl4d0eVKlwJTMSLDdPVeiVRZIPYLd5qIVWxMIKw8qiS5tP2ZB338ytnGqKLzwkDVkxzw9HAfZIp154jH14Mb9Eb9U6g-t_9m49GVuHWfRp44Tv9gurPbO6nS_z6/s400/juarez-bombardeado-2.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5269317801455311426" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 298px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO8zO0lOH22yrQp0t5bBcX5SEqmsosRYoKLDfBi6Lgc3rfRgLx-v8LjmJ17gt46pWVPzmSwxd_UOCPHxL4DPPRgb2yIcw_uzOw4aNo-0jmmQmYmSZG7swQd_6QfszVS7MwLG3NM1-xu7bt/s400/railroad-car.jpg" border="0" /><br /><span style="color:#cccccc;">The work documents, though very partially, the destruction caused by that war, refugees, transients looking for work, American troops on the Border, agricultural fields, established families posing in photo studios in Texas, and the improvised camps where the migrants lived in Kansas.</span><br /><span style="color:#cccccc;"></span><br /><div align="justify"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5269313967432315586" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 343px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXstKW0vZi2Bp53BhGQdaUCTxGTC5kxCOvncOalLu3SpATcHh74aNRDVRIBQxRNf2fX4-BIYI65BX_fBBuOvK0E9yUT87z-XR8ehoGupItPiLmX2ghEfA5QTkJ1plFTsPE6j88MeHrysZi/s400/mapa-palacio-II.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5269317081362896146" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 341px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO4kM9e0lXnVHcarC0rwadlwOEWYIiVSUNQn4xQVspS2pgqI-als5dW41lV5wwoOa20gJaCKnnhTFQCIgWgrs7knSGls3arnesV36xAhSsWaSYPFnnYE5RCUtevvXZXDO0DQTKo6M2Gt1J/s400/red-II-dt.jpg" border="0" /> Further south, the show deals with the situation around the turn of the century in Mexico City and the surrounding area: the great metropolis and its contradictions, the war, protests and demonstrations, as well as the life and living conditions of those who stayed behind-- the same conditions which impelled others to undertake the long journey toward the north.</span></div><div align="justify"><span style="color:#cccccc;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjIT76-zAyJum8ow8RkDDxZtiHBQd7S1lINYN3K-N6BxpynZFrQdtlZ_838F70vEcJUcJFH9ou9piM3Iqu8X2sofXQkSrvRHcxdO_kQWAmf8e-SJTZFqB4wSaUuPpmkVZjLGHaedex2Ag0/s1600-h/celebrating.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5269314089788145714" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 351px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjIT76-zAyJum8ow8RkDDxZtiHBQd7S1lINYN3K-N6BxpynZFrQdtlZ_838F70vEcJUcJFH9ou9piM3Iqu8X2sofXQkSrvRHcxdO_kQWAmf8e-SJTZFqB4wSaUuPpmkVZjLGHaedex2Ag0/s400/celebrating.jpg" border="0" /></span></a><img id="BLOGGER_PHOTO_ID_5269313831303423634" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 388px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYJSeIr5rxl49L7n-zW5kRaBIGVsGMvXXQQxAeNqVFrQmZPBJTayN8knJw7KMzzlJg34DJdh3toHGJpx8xd8T4BHWhGXCz_58psaGC9dCt4kdAyKMUYdxDB6s7BjD-pL-VDaV3fJ2mFk-d/s400/billares.II.jpg" border="0" /></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;"></span></div><div align="justify"><span style="color:#cccccc;">It’s a history of blood in many senses,</span></div><div align="justify"><span style="color:#cccccc;">from the blood of the Native Americans, the blood and sweat of the refugees and the new settlers on the prairie, and of course, the blood which was shed in armed struggles throughout the region. Our own blood comes from that which flowed in the veins of the protagonists of these events.</span></div><div align="justify"><span style="color:#cccccc;"></span></div><img id="BLOGGER_PHOTO_ID_5269313275057620994" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 284px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKCFNN_rrJxXJvhiIEuIH6BkMQJSVoIJ_UZQiiJC3kQho9DqX54eGGBr0hhwiumJHde2ssShvvpgiVJFIuxHjkJvFAQDwHBUd5QuOEWkkl9gTsjfK-H1uocTeQQDpZyYO8Xw_lbCU0smwv/s400/im%C3%A1gen-II-invitaci%C3%B3n.jpg" border="0" /><br /><span style="color:#cccccc;">In the process of putting together this exhibition I looked at hundreds of photographs. What had been a vague idea in my head became a procession of specific images. And each image exists thanks to the sustained effort of a few photographers, insistently registering the world around them: Solomon Butcher, Robert Runyon, and the Casasola brothers in Mexico, among many others. Finally, only through the diligent task shouldered by the institutions that compiled, conserved, and digitized those photographs could their legacy reach us. This project is dedicated to all the people portrayed in it, and to those who helped preserve their images.<br /><br />Carla Rippey Mexico City, May 2008<br /><br /><img id="BLOGGER_PHOTO_ID_5269314317550066162" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; HEIGHT: 111px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPjZ3DCOHMZHo3mujvqGWqBcTlp1vtqP-lQQn9jKS2-Fik4vtVXp2rTr6jNx1IurkGVfyDHM_LNStoJGbkcOuncvFUHAkVFL2Yzf2B7c7tMOyaGGGM53rzTjZWiSeMt3qFhAIwOa-qcFBi/s400/bed.jpg" border="0" /> </span><span style="font-size:85%;color:#cccccc;"><em>The title of this exhibit cites a text by the Mexican poet Xavier Villaurrutia</em></span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizyCqQN0u8uNioVKYkbD_UFmljqIxRBlEb0PHWx4K1HF3HJCygFYiP2z517UMEcyypY_Jsfbm_qEUopG7bhEc59F4AcJySpJw4Wbb92h0QUhyphenhyphenM_wpSrpeSqL6cjTAeXQ0U-z9wj8lavZiZ/s1600-h/bed.jpg"></a></span>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com1tag:blogger.com,1999:blog-1918551101172524357.post-70406933521285848272008-10-19T17:22:00.000-07:002008-10-19T20:34:18.298-07:00"Cuando mi sangre aún no era mi sangre.../When my blood was not yet my blood..."<div align="center"><em><span style="font-size:130%;">-- <span style="color:#cccccc;">Un periplo desde la ciudad de Kansas hasta la ciudad de México, 1880-1920<img id="BLOGGER_PHOTO_ID_5259057299118494146" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinVeMuDOqdopvtXtQeZbQUPnbvfRUrh1_LYujgTNMUD20NYoezlAVIGwKNruNOj0hLwFdxIZ0PUAGzY11SJwQrvnEtA2XhO9gqkRP-3lslQpH0-S4gNuGs04l8E23JdnRlPmmw3EFK7Sah/s400/butcher-snow-3.jpg" border="0" /></span></span></em> <span style="color:#cccccc;">Hace dos años decidí hacer un proyecto—un políptico de imágenes- sobre migración. “Todos venimos de otra parte,” razonaba, “es un hecho innegable. La migración no es un invento de los mexicanos en la frontera norte- es más, la tierra se ha poblado por medio de milenios de migración humana.” Y eso es lo que quise subrayar--- el carácter universal, o más bien global de la migración humana. </span></div><div align="center"> </div><div align="center"><span style="color:#cccccc;"></span></div><div align="center"><span style="color:#cccccc;"></span></div><span style="color:#cccccc;"></span><div align="center"><span style="color:#cccccc;"></span></div><div align="right"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259057121007660818" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGTcx_me-gmcWWHRB2Jfau9j1nQd_t-U0HuYwHlOrjaYsNVUmWhLZ54SCpelexw2IKUZb_dK2Xe3E8irKk_EJfoRX4ahDgcTs4qlDvu-pi06m7Gag85DLVBsqVtOBqMOkaGd9LGiXRJB28/s400/butcher-snow-2.jpg" border="0" /></span><span style="color:#cccccc;">Otro hecho innegable es que la asimilación de nuevas olas de inmigrantes en cualquier territorio es un proceso difícil, lleno de conflictos. Somos testigos todos los días del trato indigno que reciben los latinoamericanos cuando emigran hacia mi país de origen, Estados Unidos. Pero los que los maltratan también descienden de inmigrantes: territorialidad mata memoria.</span></div><div align="right"><span style="color:#cccccc;">Así, quise recobrar un poco de esa memoria. Decidí hacer algo que tuviera que ver con mi historia personal o familiar de migración, y también con la historia de mi país adoptivo. Quería crear un puente entre la cuidad de Kansas, donde nací, y la ciudad de México, donde he hecho mi vida.<br /></div></span><p align="right"></p><p align="right"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fqQcpHigVkpGBSLN2VUs1XUS1K8PP64mW73gnqaogigtdOqo-ZFUfhvNUqlruF4nl2TJMa4kq-Z3HUvx3i2FWPjwdV0yXxruQRnRII_7K1LgyR7cvZSsNHkXMDveNvdFYdmkOKAYrnWf/s1600-h/butcher-snow-1.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259056963272861122" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fqQcpHigVkpGBSLN2VUs1XUS1K8PP64mW73gnqaogigtdOqo-ZFUfhvNUqlruF4nl2TJMa4kq-Z3HUvx3i2FWPjwdV0yXxruQRnRII_7K1LgyR7cvZSsNHkXMDveNvdFYdmkOKAYrnWf/s400/butcher-snow-1.jpg" border="0" /></span></a></p><p align="left"><span style="color:#cccccc;">De allí en adelante, el proyecto fue definido por los resultados de mi investigación de posibles fuentes de imágenes. Encontré tres grandes archivos fotográficos que me parecían relevantes: la colección de Solomon D. Butcher de la Nebraska State Historical Society, la de Robert Runyon de la Universidad de Texas en Austin, y las múltiples colecciones de la Fototeca Nacional de México. Estas fueron suplementadas por fotografías de otras colecciones más chicas, incluyendo la mía.<br />Me quedó definida una época a tratar: desde 1880, cuando el territorio de Nebraska fue abierto a colonización (y mis tatarabuelos empezaron a fincarse ahí) y 1920, cuando la migración mexicana empezó a consolidarse en la región. </span></p><p align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fqQcpHigVkpGBSLN2VUs1XUS1K8PP64mW73gnqaogigtdOqo-ZFUfhvNUqlruF4nl2TJMa4kq-Z3HUvx3i2FWPjwdV0yXxruQRnRII_7K1LgyR7cvZSsNHkXMDveNvdFYdmkOKAYrnWf/s1600-h/butcher-snow-1.jpg"><span style="color:#cccccc;"></span></a></p><p align="center"><span style="color:#cccccc;">En medio de este periodo transcurrió la Revolución Mexicana.</span></p><p align="center"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259060861497684242" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy8dkfLUlMQr-0MEAHwHSuGDRY4CS0IYdutvl8fAn3TWu6g9BHieHMYui14Utk1T1LggH93MfHiOeJ6J0fbSXTvjCWwimRkdCzjc1fNufPEPCQwhyv5e9Fp8_xHIKj_67Bd46yWmf4YTsX/s400/fusilamiento.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5259058283301031090" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7BJh1LrTePHtak__x2giZHW0vQzkVo_L_ar1lhRG1_ZI-90C_4l88qgscbX20OJD0aDf_FM4zNksI0l3kkwr6pSCMv98vzlgt6urebOzwJNCzIffTyS6ojZv551bHwCnDvAsNp0tzViRu/s400/pelea-norte.jpg" border="0" />También definí el tratamiento que daría al material: hice una selección de fotografías con la idea de establecer una narrativa. Recorté las imágenes cuando me parecía pertinente para enfatizar ciertos elementos, excepto cuando las condiciones de uso de cierta colección restringían la alteración de sus fotografías. El resultado fue transferido a papel japonés y montado en otro papel más grueso. Sobre este soporte, intenté unificar las imágenes con un hilo de dibujo, literalmente un hilo cosido, quizá una herencia de las colchas o “quilts” de mis abuelas. La forma de juntar muchas imágenes, variando el color, también hace referencia los parches o “patchwork” de las colchas.</span></p><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259057901481782018" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvGteSrLtG1OhfIm9-NRMv8r0NTGHV-TPRSyf6OQnmzY0Hm4P2rx5q95zX6V1k0QJP3bEzfaaZNB3ScEETECOsQ6hSXBeJbag_tcYAMMMogHyFuK9i3AMGFDYf_i4hatXNkZKXThoZbs4i/s400/tank.jpg" border="0" /></span><br /><div align="center"><span style="color:#cccccc;"></span></div><div align="center"><span style="color:#cccccc;">Estuve siempre en el filo entre el intento de respetar la naturaleza documental de las fotografías y la necesidad de crear una coherencia expresiva para mí misma.<br />Las imágenes empiezan con detalles de la vida difícil de los pioneros llegados del Este de Estados Unidos y de Europa. El trasfondo de esta situación sería, por supuesto, la drástica y trágica reducción de la población original de la pradera, diezmada en décadas previas por el fallido conflicto armado en defensa de sus territorios, su contagio por enfermedades europeas y su traslado forzoso a reservaciones. </span></div><span style="color:#cccccc;"><br /></span><div align="center"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259057765896416562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyRttRCm9CgwVuWZBZ1S8cvBSQxO_Tw3TapO5N3_53Twz87yxyOhD_ozyP59pKHC_bzcJM2Hszj9pQ9B-UOv824ekMINwGybWMRyCL_nhrZTVxI5alWTykxWIGi6FrlN1t7uqBvlC8FM3A/s400/refugiados.jpg" border="0" /> Sigo con imágenes que documentan a los mexicanos ya en movimiento por la región, desde Kansas y Nebraska hasta la región de la frontera, particularmente en Texas. Ahí estaba la población mexicana, presente desde la época en que Texas formaba parte del territorio nacional, además de los recién llegados, arrojados por los estragos de la Revolución Mexicana, refugiados y transeúntes en busca de empleo. Se documenta, aunque muy parcialmente, la destrucción causada por el conflicto, barricadas en Monterrey, las tropas americanas en la frontera, los campos agrícolas, las familias posadas en foto estudios en Texas, y los campamentos de tiendas de campaña donde los migrantes intentaban vivir en Kansas. </span></div><div align="center"><span style="color:#cccccc;"></span></div><div align="left"><span style="color:#cccccc;"></span></div><div align="left"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiszkHi2QMne9HWCgp7sSOYsDKgrh5bCA_sZq98qz_q5Gc4AA8MrsZoCYErg0g9Yy1DfNKJXqHAdhJg0sUerlS1ZQEELKPccHelGW7-9jpW3pqfl-AnFnfm4EpbLtUE6Y_wCONoQceU6d8q/s1600-h/buzo.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259058074206607890" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiszkHi2QMne9HWCgp7sSOYsDKgrh5bCA_sZq98qz_q5Gc4AA8MrsZoCYErg0g9Yy1DfNKJXqHAdhJg0sUerlS1ZQEELKPccHelGW7-9jpW3pqfl-AnFnfm4EpbLtUE6Y_wCONoQceU6d8q/s400/buzo.jpg" border="0" /></span></a><span style="color:#cccccc;">Más al sur, documento algo de la realidad a principios de siglo en la ciudad de México y sus alrededores: la gran metrópolis y sus contradicciones, el conflicto armado, las manifestaciones, y en general, las condiciones de vida de los que se quedaron, mismas condiciones que indujeron a algunos a emprender ellargo viaje hacia el norte.</span><br /></div><div align="left"><span style="color:#cccccc;">Es una historia de sangre en muchos sentidos, desde la sangre de los indígenas desplazados, la sangre y sudor de los refugiados y de los nuevos pobladores de la pradera, más la sangre de los conflictos armados. </span></div><div align="left"><span style="color:#cccccc;"></span></div><div align="center"><span style="color:#cccccc;">Nuestra sangre viene de la sangre que corría en las venas de los protagonistas de esta historia.</span></div><div align="center"><span style="color:#cccccc;"></span></div><div align="left"><span style="color:#cccccc;"></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtuJA-UFYt3iAmNHdUbycIRqBPnUgTi_As6206NrbnrsceBbGtJXLoURAYzGGXbQqBmuYt47vzhqXredLf-5V5KJEWfOKswVJxTF9m5cHxZcaOjQEtbYhW2uy-WCa-FvZyzRLlbbBW9Y5K/s1600-h/seamstress-I.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259059077578101554" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtuJA-UFYt3iAmNHdUbycIRqBPnUgTi_As6206NrbnrsceBbGtJXLoURAYzGGXbQqBmuYt47vzhqXredLf-5V5KJEWfOKswVJxTF9m5cHxZcaOjQEtbYhW2uy-WCa-FvZyzRLlbbBW9Y5K/s400/seamstress-I.jpg" border="0" /></span></a><br /><span style="color:#cccccc;"></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihmMEv0tc4Mo0hddswnmKVcs7LUfg1cI-W3d5WR9qMy5hmlZC-AqqBEPqCyatEVJNG3UroQiXtT8fAC2LsllkbMkdTeovok0iqN5cDn4Tv7FNEYCVDEaz2oZxT5to9zBbkKklbkWS4NKvC/s1600-h/examen-corazon.jpg"></a><br /><div align="left"><span style="color:#cccccc;">En el proceso de armarla vi cientos de fotografías. Lo que había sido una idea vaga en mi cabeza se volvió una procesión de imágenes precisas.</span></div><br /><div align="left"><span style="color:#cccccc;"></span></div><p align="left"><span style="color:#cccccc;">Cada imagen existe gracias al esfuerzo de un fotógrafo, constante en el campo de acción, registrando insistente el mundo que lo rodeaba:<br /></span></p><div align="left"><span style="color:#cccccc;"></span></div><p align="left"><span style="color:#cccccc;"><br /></span></p><span style="color:#cccccc;"></span><br /><br /><span style="color:#cccccc;"></span><br /><br /><span style="color:#cccccc;"></span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgru0b0anlI8et92zwdhpw6ghGCpIkp3GS_E_nEOH_18_9bgnJ3rDpOjIPOpip4UBqyduuCfHhHMGNi94i5wpFXtrDkYVPP16OTKuj9KzfT3HcI2qL1DaW9W9x-qq39IrvH9LFY-mzKXVAm/s1600-h/seamstress-II.jpg"><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259059225893111954" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgru0b0anlI8et92zwdhpw6ghGCpIkp3GS_E_nEOH_18_9bgnJ3rDpOjIPOpip4UBqyduuCfHhHMGNi94i5wpFXtrDkYVPP16OTKuj9KzfT3HcI2qL1DaW9W9x-qq39IrvH9LFY-mzKXVAm/s400/seamstress-II.jpg" border="0" /></span></a><br /><br /><span style="color:#cccccc;"></span><br /><div align="right"><span style="color:#cccccc;">Solomon Butcher, Robert Runyon, los hermanos Casasola y Huge Brehme, entre muchos otros. Y su gran legado ha podido llegar hasta nosotros por la tarea enorme asumida por las instituciones de recopilación, conservación y digitalización de sus fotografías. </span></div><div align="right"><span style="color:#cccccc;">Dedico este proyecto a las personas retratadas y a todos los que ayudaron a que sus visajes hayan llegado hasta nosotros. </span></div><br /><div align="right"><span style="color:#cccccc;"><br /></span></div><div align="left"><span style="color:#cccccc;"></span></div><div align="left"><span style="color:#cccccc;"></span></div><div align="left"><span style="color:#cccccc;">Carla Rippey Ciudad de México, mayo de 2008 </span></div><br /><div align="center"><em><span style="color:#cccccc;"><img id="BLOGGER_PHOTO_ID_5259058842870803602" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik0IIdbmlSHLAjsDYFJVj3LYMI46JhlHF_IXoTQcZBZQRCAQa6l4ywPDUCeZcMEhyX27HgStfvhgJv3EF8Vrx9RSjQkpbG2BKBlk7wEexmMVamhceX4T6-G7t-6AN1GLCIKU1qJXlU249R/s400/chap-con-magueyes.jpg" border="0" /><span style="font-size:85%;">El título de este texto cita a Xavier Villaurrutia</span></span></em></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com2tag:blogger.com,1999:blog-1918551101172524357.post-82881931030143136182008-08-29T20:00:00.000-07:002008-11-16T18:51:07.872-08:00Volcanes y pirámides/Pyramids and volcanoes<span style="color:#c0c0c0;"><em><span style="font-size:78%;">Prudencia/Prudence, 1991, díptico-diptych, 52 x 170 c/u<img id="BLOGGER_PHOTO_ID_5240141503473655922" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKAWmDEN6wzvLgib8wDpxQZh56bmM-8j6HSxARjFK2u6eT5VA4Ew2mR0iNuDG9nQ6G5c5iURubuBIZ-9t3maHZ_hqvN_BTi7pG6wyQnvjqPbhaYlyMSAkGAynkIiIvDRWstd-bmfSA14KP/s400/Prudencia-I.jpg" border="0" /></span></em><img id="BLOGGER_PHOTO_ID_5240141373096686146" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhQQAX3k1Iou_PkEbZDcKm9s1gncKFR4zqf3kMEWlGe03jn35NhT1kaWgF-dqL7Ef09mEEb7uYIULM7YAe374rTSFGmyXA2jWF2fa1rV1eRTPfD8u6BmohtftnInvYkFwem7khr1bDoRlX/s400/Prudencia-II.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5240141239994681330" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnVNYlpUaoHMmQbXpAPhppYfPaMyM4WPbyqnVIm36wMi1i_zk7la52zH6gM3GDCeQ0Rm_k2cEvENPcYiDMs6zJ7ByuOoI309OQtPGwK7bjU6h96NUmqDzYSz23-WiIexR3qP6pOLZYO_Fr/s400/Prudencia-III.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5240141135410673906" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8m-IC_K5qL3IouT8rajvQGExxK2QlbGl17vWTw_sSCZU4L9oDTIT9MlTdgtdwBD2z3KdvVs3ZJblJpQi3Qm4lJGDJLJHr_p5-sxsJfIuRJKl9-ywN1LWW5phsFqV4QSt_d_CYdGbmkt_/s400/Prudencia-IV.jpg" border="0" />Hay formatos que me gustan, muy largos por ejemplo, que se traducen mal al blog. Por ende el dibujo que ven aquí, que debe de verse como una sola tira larga, se ve más bien como cuatro entidades. En fin, se llama <em>Prudencia</em>, por la estatua neoclásica junto a la cual fui retratada (y después me dibujé) en Xalapa, Veracruz, principios de los 90. De allí pasamos a típis en llamas (de una película, creo), barcos en el Nilo, Sadat frente a una pirámide, y luego un volcán mexicano que tiene grabado abajo "Prudencia". Siendo esto una ironía por supuesto, como la prudencia no es una característica mía, ni la es de los volcanes.<br /><br /></span><p><span style="color:#c0c0c0;">There are formats that I like, very long ones, for instance, that translate badly to a blog. So the drawing above, which should be seen as one long stretch, has been divided into 4 separate entities. Anyway, it's called Prudence, for the neoclassical statue next to which I was photographed (basis for my self-portrait) in Xalapa, Veracruz, in the beginning of the 1980's. From there the drawing moves through scenes of teepees in flames (from a movie, I believe), boats on the Nile, Sadat before a pyramid, and finally a Mexican volcano which has engraved below it the legend <em>Prudence. </em>The title is ironic, of course, as prudence has never characterized either me or volcanoes. </span></p><p><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Prudence/Prudencia, detail-detalle<br /></span></em><img id="BLOGGER_PHOTO_ID_5241250797189811122" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW-tHP11fYNtuksZkUy-1Dq5CKp2PHIMCeCDOHBlcXrWGhORKYxxqh14EcFfiUZO4pOQoWUnBrFMeQhmrECTPXz_agdW5EB-pZCfiUXJSfIiNp1LA5AIoMcUCH-vGk7BWcRjC7zKqhy-jv/s400/detalle-prudencia.jpg" border="0" /><br />En este dibujo se juntan (algo facilitado por su extensión inusual) una pirámide con un volcán, dos elementos recurrentes en cierta etapa (la de Xalapa) de mi producción. Creo que fue el momento en que más me saturaba del paisaje mexicano (donde es común que se asoman tanto volcanes como pirámides, tan parecidos en forma que se confunden en mi subconsciencia). También me gustaba incluir estatuas icónicas en mi obra, como ven abajo:</span></p><p><span style="color:#c0c0c0;">In this drawing a pyramid is juxtaposed with a volcano (an act facilitated by the length of the piece)-- these are two recurrent elements in a certain stage (that of Xalapa) of my production. I think that was the point at which I was most exposed to Mexican landscape (where both pyramides and volcanoes can loom on the horizon, so similiar in form that I unconciously confuse them). I was also fond of including iconic statues in my work, as seen below:</span></p><p><em><span style="font-size:78%;color:#c0c0c0;">The Sphinx/La esfinge, 110 x 110 cm 1991<img id="BLOGGER_PHOTO_ID_5240324711916445906" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXo1O8r3N2olLlY_v662_4eibwGvpwxnkQChk00GZ8qyLcVpdinhoYxclNfwexhP69q4ulWAzBYVDIpfpfFVPXfld8bX2BoZVdVsS0Et12sQkB3zl-e-uicJvlW4VlVsLWLxGfqf5-PSqi/s400/La-esfinge-1991.jpg" border="0" /></span></em></p><p><span style="color:#c0c0c0;">En los dos dibujos hay una especie de recorrido (¿histórico-cultural?) atestiguado por un personaje femenino, a la vez parte de y observadora de la escena...la mujer vidente en esta escena es Jane Morris, modelo (y amante) de Dante Gabriel Rossetti.</span></p><p><span style="color:#c0c0c0;">In both drawings a (historical-cultural?) distance is covered, witnessed by a female character, who is at the same time part of the scene and an observer of it...the seer in this scene is Jane Morris, model for, and lover of, Dante Gabriel Rossetti.</span></p><p><em><span style="font-size:78%;color:#c0c0c0;">The Sphinx/El esfinge, detail-detalle<img id="BLOGGER_PHOTO_ID_5241222947971236002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxTi58GcXou9BsXCZEoy9wSuHJvzR4OouZqDoToJ-z_3MNmxYtgbDuw5seqhchJjoqc3guRI29aq_yXBAtAdqKt6Ux1nAJ_mAhRf_DfIk3tr_LPnx02blwzV3s5ncucn8nLAOanvDeU2Rk/s400/la-esfinge-detalle.jpg" border="0" /></span></em></p><div><span style="color:#c0c0c0;"><br /></span></div><p><span style="color:#c0c0c0;">Y además de estatuas, recurría a mujeres posadas tipo <em>tableau vivant,</em> como en este tríptico<em>,</em> en conjunto con escenas del volcán <em>Paricutín.</em> De hecho el <em>Paricutín</em> fue de mis primeras referencias a México, como leí en la primaria del niño que vio cómo salía el humo de una fisura en su milpa.</span></p><p><span style="color:#c0c0c0;">As well as statues, I made use of women posed as <em>tableaux vivants,</em> as in this triptych<em>,</em> together with scenes from the volcano <em>Paricutín</em>. Actually the <em>Paricutín</em> was one of my first grade-school references to Mexico; I remember reading about the little boy with a donkey who found a thread of vapor coming out of a fissure in his cornfield.</span></p><p><span style="color:#c0c0c0;"><em><span style="font-size:78%;">El Paricutín, detalle/detail, 1991</span></em><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfxi32z2Cfrnv9qA1U5KacoHbFti5nZsnEulfkc2_fWBM2EcA9XMdxHR3bl_teOasd-OMshxUIPFCGA-_agkgoGjQdBwMTJ4z7-mtq0Xa4AoKrUETfrhyp_nyeRcQJM754i9QTHV6mnk9i/s1600-h/paricutín-detalle.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5240142686837143330" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfxi32z2Cfrnv9qA1U5KacoHbFti5nZsnEulfkc2_fWBM2EcA9XMdxHR3bl_teOasd-OMshxUIPFCGA-_agkgoGjQdBwMTJ4z7-mtq0Xa4AoKrUETfrhyp_nyeRcQJM754i9QTHV6mnk9i/s400/paricut%C3%ADn-detalle.jpg" border="0" /></span></a><span style="color:#c0c0c0;"> No creo que todo este dramático recorrido histórico haya estado de moda en los 80 cuando me puse a dibujarlo, aunque recuerdo esos años como una época más grandilocuente que la actual. Podrían ser más bien referencias decimonónicas. Pero finalmente, estas atmósferas fueron un asunto mío- al parecer me sentía abrumada por la historia o por mi historia personal...en fin, muy balcón, el asunto.</span></p><div><span style="color:#c0c0c0;">I don´t remember all these dramatic historical references being particularly fashionable in the 80s, when I drew them- although I remember it being a more grandilocuent period than the present one. They seem to refer more to the nineteenth century. Anyway these particular atmospheres were basically something peculiar to myself- I guess I felt overwhelmed by history, or by my personal history... for better or for worse, the personal became public in my work.<br /><br />Encontré a las mujeres retratadas aquí en 1) una colección de tarjetas de visita de la Francia decimonónica; 2) un libro viejo de anatomía para artistas; una colección de imágenes eróticas victorianas (eran aficionados de las niñas, se nota).<br /><br />I found the women portrayed here in 1) a collection of nineteenth century French calling cards; 2) an old anatomy book for artists; and 3) a collection of Victorian erotica (they liked little girls, it seems...).<br /><br /><em><span style="font-size:78%;">El Paricutín, tríptico,/triptych, 1991-1992</div></span></em></span><em><span style="font-size:78%;"><p><span style="color:#c0c0c0;"></span></span></em></p><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5240142538550386866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhzsZvQXdaRG7oTJvrDttCRUgMgdxguV0u4xtJvPftmwWzhvG0kOYpFz-G2gDSRZiAZ5l4cgicA58NiheyDK9x-eKzAhy8athXGwTNfIcl7IwEri8MfZEbKBcGCxkyagAMfspWXlRubQyR/s400/paricut%C3%ADn.jpg" border="0" /> Estaba ligando lo de "las mujeres y su intimidad" (mi tema por excelencia) y mi versión del paisaje socio-histórico-cultural en que me encontraba.<br /></span><p><span style="color:#c0c0c0;">I was linking together my old theme of "women in their intimacy" with my version of the social/cultural/historical landscape in which I found myself.<br /><em><span style="font-size:78%;"></span></em></span></p><p><span style="color:#c0c0c0;"><br /></span></p><p><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Trip to the Pyramids/Viaje a las pirámides, 1985<img id="BLOGGER_PHOTO_ID_5240142405411425346" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitX6Q7sNYB5wDVJwuamfzcdO2x-2HFD-h52uNJaiYqy82pshcv6ehH4sKg4g-XzSiJgG1RxMI8_B6Q0gzy5EnMUzA0jSg9Lg6xZJKAIwHeBIPsKzVp6G16H1AYpqg-30PJY5vxQU3-KGyp/s400/viaje-a-las-pir%C3%A1mides.gif" border="0" /></span></em><br />La mujer en quien basé esta imagen fue retratada en su boudoir por el fotógrafo húngaro radicado en París (años treinta), Brassai. El fondo viene de una revista de la 2o Guerra Mundial, en el norte de África. </span></p><p><span style="color:#c0c0c0;">The woman I based this drawing on was photographed in her boudoir by the Parisian-based Hungarian photographer, Brassai. The background comes from a magazine about World War II.</span></p><p><em><span style="font-size:78%;color:#c0c0c0;">From the series, Slaves of Sleep/de la serie, Esclavos del sueño, 1993</span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGB_9BlAnw1XcVeCm-dJLdojkBmgeHhwcmrf9Mo30wFv7p41rRZVenAp4me2XWYS48ahYEFRt57fhECf8NQBRDwu_xyurX4OpJAjhmTQetArvgyu9p763V6W_PBL6STf4fSjzvG5JgmRl/s1600-h/esclavos-del-sueño,-pirà mides.gif"><em><span style="font-size:78%;color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5240142895072969282" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGB_9BlAnw1XcVeCm-dJLdojkBmgeHhwcmrf9Mo30wFv7p41rRZVenAp4me2XWYS48ahYEFRt57fhECf8NQBRDwu_xyurX4OpJAjhmTQetArvgyu9p763V6W_PBL6STf4fSjzvG5JgmRl/s400/esclavos-del-sue%C3%B1o,-pir%C3%A0mides.gif" border="0" /></span></em></a><span style="color:#c0c0c0;"><br /><br /><br />Aquí ven un variante sobre el tema, parte de la serie <em>Esclavos del sueño</em>.<br /><br />Here you see a variation on the theme, from the series <em>Slaves of Sleep</em>.<em> </em>(Somehow it sounds more melodramatic in English).<br /></span></p><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="color:#c0c0c0;">En el dibujo abajo no aparece ni pirámide ni volcán, pero el triángulo hecho por el helicóptero con los camellos los sugieren...este es un dibujo muy grande (también dividido para acomodarse al formato blog). Las imágenes salieron de una foto periodística del "Desert Storm" y una fotografía del siglo 19.<br /><br />In the drawing below neither pyramids nor volcanoes appear, although the triangle formed by the helicopter and the camels could suggest them...this is a very large work (also divided here in order to accomodate to the blog). The images came from a newspaper photograph of the "Desert Storm" campaign and a nineteenth-century photo.<br /><br /><em><span style="font-size:78%;">Landscape with Vulture/Paisaje con buitre, 222 x 152 cm, 1993</span></em><br /><img id="BLOGGER_PHOTO_ID_5240141785073143858" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQzA2qUqz5-oct_be7t85ses5VAFIBFjFTLcbsEcF0Ad3Vh1wnBciDXX2RK8oFdWGbmiowMs_bkShZmxt3KIWvFBQkZyQhyphenhyphenC9uJRns8wn06Tt68HYazrbo9DzHXlxhyphenhyphenVggAIEBCFMzR9zV/s400/paisaje-con-buitre-222-x-152-cm-1993-I.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5240141668593593714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtf6BtOJe6Aro0FoDJ7N2DfNL4UbhHp5NxkceW7r0nlDExW3NZjRSRVc3eoKgjWF2K3xz5CYTuZm2G6B_X6C-1iHrgq398RvdR0FGiWt-LcAV4uajO2qPfDmON6evPaE0_EGp-qZ8NNhiW/s400/paisaje-con-buitre-222-x-152-cm-1993-II.jpg" border="0" /><br /></span><div><span style="color:#c0c0c0;">El siguiente dibujo, en papel kraft con lápiz blanco y grafito, comenta la visita de la emperatriz Carlota a Yucatán. De ahí escribí a Europa "Lo más extraño de todo es que yo me encuentro aquí". He de haber sentido algo parecido, desarraigada de Nebraska, hallándome en Veracruz... </span></div><br /><div><span style="color:#c0c0c0;"></span></div><div><span style="color:#c0c0c0;">The following drawing, in kraft paper with graphite and white pencil, comments the visit of the Empress Carlota to theYucatán peninsula. From that site she wrote back to Europe, "What is strangest of all is that I should even be here". I must have felt something similiar, transplanted from Nebraska to Veracruz.<br /><br /><em><span style="font-size:78%;">The Empress Carlota in Yucatán/La Emperatriz Carlota en Yucatán,135 x 103 cm, 1985</span></em></span></div><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5240142097873232082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZfpoiq1q8jd2R_ZqB6GZHlXWSbQDxJW0dnaMn2zEmjEJH2iASGTf-t47RVRNpcHSoqlBbQswL1NVyB_EIQpgavNuUBfMZMVh_btkJ7H35nJa8cEqZHrw4TF_7pckggCODZFqiXyYEf7A6/s400/la-emperatriz-carlota-en-yucat%C3%A1n.jpg" border="0" /><br />Hasta hice un cuadro de hombres en las pirámides, unos chavos de los años treinta o cuarenta, congelados frente al pirámide del sol de Teotihuacán. Ahora en fines de la primera década del segundo milenio, paso por la curiosa experiencia de observar, ¿con nostalgia? mi propia nostalgia de hace 15 a 25 años...<br />I even did a piece with men in the pyramids, some kids from the thirties or forties, frozen before the Sun Pyramid at Teotihuacán. Now, in the end of the first decade of the second millenium, I'm going through the strange experience of observing, nostalgically?, my own nostalgia of 15 to 25 years ago.<br /><br /></span><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Sunday at the Pryamids/Domingo en Teotihuácan, 1992<br /></span></em><img id="BLOGGER_PHOTO_ID_5240141957358541074" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW9m_ViyDjH8f-hQh-6PWknaQ2gw7gxS_YSXM8q9Jo4AcxzWT7XWM3i0aKDgUbWkPYNsPWZwDxmtjQk2BNE9qY_wxruLft1H9NUYpCeWoyspV-wjY1-6FJCeTBf8wD_NT6V6U_OMAwXWOx/s400/guys-pir%C3%A1mides.jpg" border="0" /><br /><br /></span>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-92177790414428290282008-06-15T08:12:00.000-07:002008-06-18T12:55:24.745-07:00Todas las demás cosas de la nada/Everything else from the Void<span style="color:#ffffcc;">Estoy sacando estas imágenes de una carpeta en mi escritorio (virtual) que dice: <em>blog abril</em>. Obviamente me distraje con otras cosas, pero por fin voy a completar el recuento de mi exposición de arte objeto de 1998 (hace diez años...).<br /><br />I have an abandoned folder on my (virtual) desktop entitled: <em>April blog</em>. Obviously I got distracted, because just now I am getting around to opening it and completing the account of the exhibit of object art I did back in 1998 (ten years ago...)<br /><br /></span><div align="center"><span style="color:#ffffcc;"><strong>El ocaso del imperio-<em>Abdullah es y siempre ha sido una empresa totalmente británica/</em>The Decline of Empires<em>-Abdullah is and always has been an entirely British firm</em></strong><br /></span></div><div><span style="color:#ffffcc;"><br /></span></div><div align="center"><span style="color:#ffffcc;"><em><span style="font-size:78%;">detalle/detail, 1998<img id="BLOGGER_PHOTO_ID_5212148316531147554" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh28il5UutVUBziKq7GTPCVWNrwHWJfmqjbcmSHgRwJNG_xNTFYRXfAXh2uevM6OiYvBDpduIk_dmgPyP155AAwBIbKEkXq_tYbMNAneNw2Vq1WPx6isLQ8lrPyqEmWNV34A1X5LuGMP3m7/s400/abdullah-detalle-2.jpg" border="0" /></span></em> Mi acceso al pasado exótico fue por mucho tiempo el mercado de la Lagunilla ( he perdido un poco la costumbre, y por ende ya no me lleno tanto de chacharas. Me he de estar modernizando).<br />Ahí encontré en fines de los 90 una cajetilla de cigarros vendida muchos años antes, suponemos que en Egipto, con la siguiente leyenda: "<em>Abdullah" es y siempre ha sido una marca totalmente británica.</em> Aunque tienen fama de irónicos, los Brits aparentemente no vieron la ironía que percibía yo en esta asertación. Pero me dio el título de otro elemento de la serie sobre <em>El ocaso del imperio.</em><br /></span></div><div><br /><span style="color:#ffffcc;"><em><span style="font-size:78%;">Abdullah is and always has been an entirely British firm/Abdullah es y siempre ha sido una empresa enteramente británica, detalle, 1998</span></em> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3vCvZILz6ziZaH5fTtRjymm8VKD6RU_bZSlU4WU5bow_2jpyUNq9pEbTNAxhCRevEbqL7NvkEt5wJ_79zOB4ahhIvhhmgHzc3JMusG3CDKQt6SH5V9Y02rNnoW7KSd5MhMSCTP23rA1-/s1600-h/abdullah-detalle.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212148166425274994" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3vCvZILz6ziZaH5fTtRjymm8VKD6RU_bZSlU4WU5bow_2jpyUNq9pEbTNAxhCRevEbqL7NvkEt5wJ_79zOB4ahhIvhhmgHzc3JMusG3CDKQt6SH5V9Y02rNnoW7KSd5MhMSCTP23rA1-/s400/abdullah-detalle.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /><br />My access to the exotic past was, for quite a long time, the Mexico City flea market called <em>La Lagunilla</em>. (I now have largely lost the habit of going here and hence my rate of accumulation of knick-knacks has slowed considerably. I must be getting more modern).<br /><br />But I found there in the late 90s a small cigarette box sold (we assume) many years before in Eygpt with the following sentence on it: <em>"Abdullah" is and always has been an entirely British firm. </em>Although the Brits are famous for their sense of irony, they apparently didn't see any in this statement (but I of course did!) And the phrase gave me the title of another element of the series <em>The Decline of Empires</em>.<br /><br /><br /></span></div><div><span style="color:#ffffcc;">La cajetilla fue perforada con un abrelatas y en las ventanillas resultantes coloqué dos imágenes en fotocopia. La primera fue de una fotografía antigua (tomada por un británico por cierto) de una procesión de camellos y la segunda de los huesos de un camello. En fin, algo que ver con la presencia de los isleños en el territorio desiértico.<br /><em><span style="font-size:78%;">otro detalle/another detail</span></em> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw51KxRIg8ycS4QCDX00GED4CIl5yqNo-nQq0vMYknvWs0DxWF5_Qgg5WxzwaSvmnVameHa0QIXuEdiqaZ558gKlB1E06A3sN9EdGAxT1VQbnPM-aV96eg41JE7wRj_Zg7Zg2nEI-5pZcZ/s1600-h/El-ocaso-del-imperio-Abdullah-detalle.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212147920225923666" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw51KxRIg8ycS4QCDX00GED4CIl5yqNo-nQq0vMYknvWs0DxWF5_Qgg5WxzwaSvmnVameHa0QIXuEdiqaZ558gKlB1E06A3sN9EdGAxT1VQbnPM-aV96eg41JE7wRj_Zg7Zg2nEI-5pZcZ/s400/El-ocaso-del-imperio-Abdullah-detalle.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /><br /><br />I perforated the little box with a can opener and in the resulting openings I placed two photocopied images. The first was from an old photograph (taken by somebody British, by the way) of a procession of camels and the second is of a camel's bones. Anyway, it was a commentary on the presence of these isalnd people in a foreign desert.<br /><br />Se presenta en un marco viejo (mi <em>concepto</em> del momento), sobre una tabla forrada con papel de envoltura viejo. </span></div><div><span style="color:#ffffcc;"><br /></span></div><p align="justify"><span style="color:#ffffcc;">The work is presented in an old picture frame (my <em>concept</em> of the moment), on a wooden slab covered with old wrapping paper. </span></p><div><span style="color:#ffffcc;"><br /><br /></span></div><p><span style="color:#ffffcc;">Y así lucía (y todavía luce así). ---And this is how it looked (how it still looks in fact.)<br /></span></p><p><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212156503918820210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWwEQT5DOPeBO3rk2CeQEQFDZdeSQeZdEa-82o4ZQPE1FieUsjQrE8apSghXmuziYmC2lXIt1Ym0BAi0LfALBdaZx1ozdXc-V6nIGh74jq0SAAcTCkvEa1gbJWWGMgbaQHtSKhl87oJrVI/s400/El-ocaso-del-imperio-Abdullah.jpg" border="0" /></span></p><div><br /><span style="color:#ffffcc;">También empezó con un marco viejo<strong> "El origin del universo".</strong> Esta es mi contribución al imaginario del "Big Bang" y fue construída de fieltro, la funda de un cuaderno antiguo, y tul, todo quemado en medio. (Eso de quemarlo fue probablemente un proceso emocionante aunque ya no lo recuerdo).<br /><br /><strong>"The Origin of the Universe"</strong> also started off with an old picture frame. It's my contribution to the visualizations of the "Big Bang" and was made out of felt, the cover of an old notebook, and tulle, all of which were burned in the middle. (The burn process should have been exciting in a pyromanic way but I no longer remember it).<br /><br /></span></div><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212147466022268338" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGcK5isI8QAIPwxT6pXFmEj6Z3FrwWLBRxiUGFfhq0eTx5-C6P8_Tp7MBdFENKrBbTt3zv7M74x-0Y-2X6xTlBppVCjPVUE2z0EmLv7HZUKeMKd5WTztFIKu3LwKutzK58HF3MAZbEdFlQ/s400/el-origin-del-universo.jpg" border="0" /><br /></span><div align="center"><span style="color:#ffffcc;">Seguí con un par de obras hechas de esquemas escolares viejas, sacadas de una papelería de Xalapa.<br />I went on to make a couple of pieces out of old school charts, which I got (very cheaply) in a Xalapa stationary store.<br /><br /><em><span style="font-size:78%;">Tratado de mutilaciones/Treatise on Mutilations, detalle-detail, 1998 </div></span></em></span><img id="BLOGGER_PHOTO_ID_5212882254438243842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmg9dAiMihfCEFyz5y6ZScBQjvPb8nf2lOPfABEOMP4HaG4uta0N_-9iJ3pLdHFdg2KcugFSCcIY38FpHy8YvnNFUOVKfMf0JlYAFS-w_Wn_IS-fipkf_DnjuDgpk5qAHK1QV1ImyLKAzz/s400/tratado-multilaciones-I.jpg" border="0" /><em><span style="font-size:78%;"><span style="color:#ffffcc;"><br /></span><p align="justify"></span></em></p><span style="color:#ffffcc;">Estas papelerías (ya en extinción como bodegas de mercancía vieja) estaba llenas de cosas de los años 20, 30, 40 etc. que vendía en barato. De allí salieron muchas esquemas italianas escolares, bellamente impresas, que fueron adaptadas como obras de arte (por mi y por Adolfo Patiño).<br /><br />These stationary stores (which have since ceased to function as warehouses of old merchandise)were full of leftover stuff from the 20s, 30s, and 40s etc. A lot of old Italian school charts, beautifully printed, were rescued from there and made into artwork (by myself and Adolfo Patiño).<br /><br /></span><div align="center"><span style="color:#ffffcc;">Así es que una esquema sobre <em>-la mejor forma de podar</em>- se volvió <strong>"Tratado de mutilaciones",</strong> reorganizada a mi manera.</span></div><div align="center"><br /><span style="color:#ffffcc;">Which is how a chart on - <em>the best way to prune-</em> became<br />a <strong>"Treatise on Mutilations"</strong> -reorganized to my liking.<br /><br />Así se ve completo.<br />Here it is, complete.<br /><br /><br /></span><em><span style="font-size:78%;"><span style="color:#ffffcc;">Tratado de mutilaciones/Treatise on Mutilations, 1998<img id="BLOGGER_PHOTO_ID_5213294146961642098" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtivQrVG3AjDfUiKFZkhqbgRrRFHCdPbl0fYWGNVrxQJ-PETMbunYbpiC_QZNP3VI7mCv30atah1GWc5-hqJsCmFd6YtzM3J_6YvMXCE5dKmfjOnkFyWM0AdaFx1CgMrUKrQr5nEZlehtk/s400/tratado-mutilaciones-II.jpg" border="0" /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFLYZTnU13otjulEe2wLsqOsYSDYlQIg8h5eJhZlyJM0qFvOVtQfZZZTafWGhqGmFE_WbxfylG6yvk_3d6ADcG6588DKZJ6C2jr96uLbT6Jo6Bs89F5lj5LhCEixnOxNDuYekkSL49uZhq/s1600-h/tratado-mutilaciones-II.jpg"></a><span style="color:#ffffcc;"> <img id="BLOGGER_PHOTO_ID_5213294297269336338" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYSlw09LL_0uuLCbbXm2vcQdNkUTxBF5nfukVoFOQktG5UaTFXgQsSgHGQTO22RoG7IvaoIFSY4pq6H3v_Pu1Cg8N7l_yKgtZ1aIbkoimBUtPChoXpvR4kK7VOI9g8LRFDMvauCk7570uP/s400/tratado-mutilaciones-III.jpg" border="0" /></span></span></em><span style="color:#ffffcc;"><br /></span></div><br /><div align="center"><span style="color:#ffffcc;"><strong>Holocausto y Civilización-- Civilization and Holocaust</strong> </span></div><br /><div align="center"><span style="color:#ffffcc;"><br /></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FSmaXpEIqfLmRN_m5T4GKmJ6gaSKU_aTPUwDfPyp7hwR5tNKFCV-rIaKgV1xztWD3-pSsRKJnbnQ_gyMbvmw1hcfbfkbzZfVx74RryxUEDhDbwr7aYU531JLHWraW4VY8QkbQdVBn69R/s1600-h/civilizaci%C3%B3n.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212139596761068018" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FSmaXpEIqfLmRN_m5T4GKmJ6gaSKU_aTPUwDfPyp7hwR5tNKFCV-rIaKgV1xztWD3-pSsRKJnbnQ_gyMbvmw1hcfbfkbzZfVx74RryxUEDhDbwr7aYU531JLHWraW4VY8QkbQdVBn69R/s400/civilizaci%C3%B3n.jpg" border="0" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-5kFvK_8VXGgfG0Dzgdw0nrf5clIMVEQ4WZMErwqQ9z4pDB1ZYgAtXHi11xAeDbd10ZlI63IeaXOvKaMlvX4_cUEd2U7-4E5TC99xcUpC_XhYigCRrn5YSlsttVd8p9r40xF8ZPb33wwQ/s1600-h/columna+holocausto.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5213287157125107522" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-5kFvK_8VXGgfG0Dzgdw0nrf5clIMVEQ4WZMErwqQ9z4pDB1ZYgAtXHi11xAeDbd10ZlI63IeaXOvKaMlvX4_cUEd2U7-4E5TC99xcUpC_XhYigCRrn5YSlsttVd8p9r40xF8ZPb33wwQ/s400/columna+holocausto.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br />Estas columnas empezaron como vigas viejas. La de la izquierda tiene encrustada el lomo de un libro (creo que era de Shakespeare pero a lo mejor es invento: le quité el título para que fuera más genérico).<br /></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;">These columns started off as old beams. The one on the left has the spine of a book encrusted in it (I think it was from Shakespeare but I might be inventing that: I erased the title so as to present something more generic).<br />La de la derecha se llama <strong>"Holocausto"--</strong> el hueco está rodeado por un marco de plomo con una estrella de David (Lagunillazo); el interior del hueco está quemado y tiene pegada hoja de plata.<br />Las bases fueron hechos por un amigo que tiene una fábrica, son de fierro soldado (y muy pesadas).<br /><br />The one on the right is called <strong>"Holocaust"</strong> --the hole is surrounded by a picture frame with a star of David (a Lagunilla find of course); the interior es burned and has silver leaf on it. The bases were made for me in the factory of a friend, they're made of welded steel (and extremely heavy). </span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><br /><br /><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUb0kdVNq4ISLVvYq11d4q4oKJSq8kx1LmGKM8FsOYbFFXl0D0CLMtLvEi9Qmx1sMzqp_OsHvWKKbmZNCET9Jjoh680Xgu3VgYB9vXLbf5EpcmeZXcxoqjaas6F1uykfVPTEAIcmqVMYaP/s1600-h/holocausto.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5213310011554571154" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUb0kdVNq4ISLVvYq11d4q4oKJSq8kx1LmGKM8FsOYbFFXl0D0CLMtLvEi9Qmx1sMzqp_OsHvWKKbmZNCET9Jjoh680Xgu3VgYB9vXLbf5EpcmeZXcxoqjaas6F1uykfVPTEAIcmqVMYaP/s320/holocausto.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"><br /></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><br /><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;"></span></div><div align="justify"><span style="color:#ffffcc;">La verdad es que una base tiene metida una piedra porque hubo una equivocación en las medidas, y tuve que remediar... algo que es central al acto creativo: es una forma de remediar errores. Cuando no podemos solucionar las cosas como "se debe", hay que inventar. Tipico de los creativos: somos malos para hacer las cosas de forma "normal", y así nos vemos obligados a inventar maneras para proceder. </span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwORZWQDz8zKO7ws7LIa00C_644ci4udOILlpAJW2-bXEtrL6mhzO2E5QikBieLyhIbXOSpLJK4QPoi3qiDvyEZsV8HIDPV9gnTaXqn7Z91VlSHL8KVZLnXjqiDZVC7WO_VLZlMObqD39M/s1600-h/civilizacion-detalle.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5213292190118804130" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwORZWQDz8zKO7ws7LIa00C_644ci4udOILlpAJW2-bXEtrL6mhzO2E5QikBieLyhIbXOSpLJK4QPoi3qiDvyEZsV8HIDPV9gnTaXqn7Z91VlSHL8KVZLnXjqiDZVC7WO_VLZlMObqD39M/s320/civilizacion-detalle.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></span><p align="justify"></p><br /><p align="justify"><span style="color:#ffffcc;"></span></p><br /><p align="justify"><span style="color:#ffffcc;"></span></p><br /><p align="justify"><span style="color:#ffffcc;"></span></p><br /><p align="justify"><span style="color:#ffffcc;"></span></p><br /><p align="justify"><span style="color:#ffffcc;"></span></p><br /><div align="justify"><span style="color:#ffffcc;"><br /></span></div><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;"></span></p><br /><p><span style="color:#ffffcc;">The truth is that one base has a stone wedged into it because a mistake was made during welding in the measurements, and I had to improvise a solution...something quite central to the creative act: it can be a way of making up for shortcomings. When we can't solve things the "normal" way, we invent. Typical of creative people-- we are not good at doing things in the obvious manner and are thus obliged to invent ways of proceeding. </span></p><br /><div align="justify"><span style="color:#ffffcc;"></span></div><div align="center"><strong><span style="color:#ffffcc;"></span></strong></div><br /><div align="center"><span style="color:#ffffcc;"><strong>Libro rodeado por su contenido-A book surrounded by its content</strong>.<br /></span></div><br /><p><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212132913890272946" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUjzPqkI7A040gIzkpWWu1H_c-wVAGQPBfpwdgH9d1RX8jOu8F6299UTJyiGU6Vo89qWIP91h4j1o8MspV1QOQO1XoFNBlAg3ny9z8CX02HJjRaloXsP9gY2_PYtkp690zPc9UL5bZvy4M/s400/Libro-rodeado-por-su-contentido-chico.jpg" border="0" /> </span></p><br /><p><span style="color:#ffffcc;">Tenía curiosidad para ver el aspecto espacial de un libro: el área ocupado por sus páginas extendidas. Aunque finalmente, no más pude ver la mitad, como la otra mitad está por el otro lado. Pero todo el libro está pegado, línea por línea, alrededor de la portada. Extrañamente, fue divertido pegarlo, ¿será de bajo estres, como macramé? El libro también es de la Lagunilla y es un tratado sobre cómo admiminstrar un abad: pesando las ventajas del amor contra las del terror (ganó el amor). Y en francés........<br /><br />I was curious to see the spacial aspect of a book: the area occupied by its extended pages. Although I actually ended up seeing only half the pages, as the other half is printed on the side face down. But the whole book is glued, line by line, in a spiral around the cover. Strangely it was fun to glue it, could it be a non-stressful activity like macrame? The book is also from the Lagunilla and is a treatise on the best way to govern an abbey: weighing the advantages of love against those of terror (love won). All in French...<br /><em><span style="font-size:78%;"></span></em></span></p><br /><p align="center"><span style="color:#ffffcc;"><em><span style="font-size:78%;">Libro rodeado por su contenido/Book surrounded by its content, detalle-detail, 1998</span></em> <img id="BLOGGER_PHOTO_ID_5212879354833588178" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrvZTJbITKlYnm0pu6aNqMAQ5idflC08WamJEuNRFSAtVgvJMu-mceze2onHueMe_qOtpILeT6ygthCfu5UGdgT93egtLea_Tw_odlOEffrk7cx6P3-oGqm4kWdvTu1vCD8Z4Wu7Xc7io2/s400/libro-rodeado-detalle.jpg" border="0" /></span></p><span style="color:#ffffcc;">Esta obra se expone actualmente (verano del 2008) en el gabinete de gráfica del museo Carrillo Gil, si se animan a pasar a verla.<br /><br /><br /></span><p align="center"><span style="color:#ffffcc;">This piece is currently (summer 2008) on display in the graphics cabinet at the Carrillo Gil museum, if anyone wants to go see it.<br /></span></p><br /><p align="center"><span style="color:#ffffcc;">Hemos aquí otra pieza también basada en páginas de texto, pero ahora en japonés. Se llama<br /><strong>"Los ancestros". </strong></span></p><strong><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5213060792967330482" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Dx4ua8e6jgUq3j2EEHWIxZHeZ8Z6zgDhn5yjn2IM8iq03l2BG8Wr5joifHli93q-GHFOPM1WoYg_Tg5etSUK3UTZ2yPj2o3yEozZCGTovsT-V1g4egh9FspowmUNhZUKa1yftyDnRdoR/s320/el-ancestro.jpg" border="0" /><br /><br /></span><p></strong></p><br /><p><span style="color:#ffffcc;">Here we have another piece based on pages of text, but this time in Japanese. It's called,<br /></span><strong><span style="color:#ffffcc;">"The Ancestors"<br /><br /></span></strong><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy0NQf3X5VhVJ6woxEuP5RecK8AO5ITUZmsvystS4ipCgcySP-pLgk-retu7V9I_L_5HKQQ_yz4WqV9ZMDjEe1NsIow5MCrBvFmFQ5lPylZegDt9az5spJob-T8WYD8DqnVBeM3XitRtN_/s1600-h/el-ancestro-II.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212129887395712370" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy0NQf3X5VhVJ6woxEuP5RecK8AO5ITUZmsvystS4ipCgcySP-pLgk-retu7V9I_L_5HKQQ_yz4WqV9ZMDjEe1NsIow5MCrBvFmFQ5lPylZegDt9az5spJob-T8WYD8DqnVBeM3XitRtN_/s400/el-ancestro-II.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /><br />Los ancestros, los que han de estar allí aunque no los veamos. En fin, hay que reservarles su lugar.<br /><br /><br /><br />Those ancestors who must be out there somewhere although we can't see them. Anyway, it's good to reserve a place for them.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_XY5Vg5FNRx5myWamibPA71XbOcMzHFmgKmW837HFV-Sc50glKY3tVBCXP1Y1514okCYRia5fQMb7SclEAlK9PKDxCh_gMjldT7AQ39fszQNEYQ_K0_8gKv7MgHzfyxf334P2krr3d-7S/s1600-h/image-egipto.jpg"></a><br /><br /></p><br /><p><span style="color:#ffffcc;"></span></p><p><span style="color:#ffffcc;"></span> </p><p><span style="color:#ffffcc;"><br /></span> </p><p align="center"><span style="color:#ffffcc;"><strong>El orden admirable de las partes/The Admirable Order of the Parts</strong><br /></span></p><br /><p align="center"><span style="color:#ffffcc;">Recurrí a un libro de fotografías del siglo 19 para la pieza abajo. La foto fue tomada por Felice Beato, un italiano que recurrió Japón documentando la isla y la gente. Hay una fotografía de un niño crucificado (dice que es un joven pero se ve muy niño), se supone que lo mataron porque mató al hijo de su amo. Ocupé la imagen junto con unas líneas del catecismo otra vez: "El órden admirable de las partes.<br /><br />I made use of a book of 19th century photographs by the Italian Felice Beato for the piece below.He travelled through Japan documenting its people, landscapes and customs. Here we see a photograph of a crucified child (the book says "a young man" but he looks <em>awfully</em> young), supposedly he was crucified for killing his master's son. I used the image together with a few lines from the Catechism once agian: "The Admirable Order of the Parts".<br /><br /></span><em><span style="font-size:78%;"><span style="color:#ffffcc;">El orden admirable de las partes/The Admirable Order of the Parts, 1998<img id="BLOGGER_PHOTO_ID_5212129505028939586" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSI71ERe-bTWqJEruiKJvnF6mPG3dT-hL3tBccOFOzb3YhCzHdYfJkkW92Op375kUAa_s5MTEuQY-59nsMr7P6NGssgsJvD28jU1WdDJ3CWzpV1ijXEgkkZVTsko0P7GtJJSzEMOaH0C4e/s400/el-orden-natural-de+ch.jpg" border="0" /></span></p></span></em><span style="color:#ffffcc;"><br /></span><p><br /><em><span style="font-size:78%;color:#ffffcc;">Detalle, detail<br /></span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqbjfWgI4FNrxAl3RqfDilpq87tWvzKVl6YIL6-yrtH7mxo9kim-O7OQKPSeyI00Xori4ru3UsHwLWWBVF0m1YoKLm56sFFlJrBUO_nY0hzTETfirble9A68iPuoT1hxSGBt2vVIwnlzUt/s1600-h/P5140001.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212129112345590242" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqbjfWgI4FNrxAl3RqfDilpq87tWvzKVl6YIL6-yrtH7mxo9kim-O7OQKPSeyI00Xori4ru3UsHwLWWBVF0m1YoKLm56sFFlJrBUO_nY0hzTETfirble9A68iPuoT1hxSGBt2vVIwnlzUt/s400/P5140001.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br />Tiene como subtítulo lo que viene en la pagina del catecismo: "el infame suplicio de la cruz".<br />La página es original del catecismo y la imagen en foto es una transferencia.<br /><br />The page presented is an original from the Catechism and the image is a transfer print.<br />It has as a subtitle the caption on the Catechism page: "the infamous torture of the cross".<br /><br /><br />(¡Estas son obras con poca salida comercial!) </span></p><br /><p><span style="color:#ffffcc;">(This sort of work doesn't have much commercial outlet!)<br /><br /><br /><br /><br /><strong></strong></span></p><br /><p><span style="color:#ffffcc;"><br /></span></p><p><span style="color:#ffffcc;"></span> </p><p><span style="color:#ffffcc;"><br /></span> </p><div align="center"><span style="color:#ffffcc;"><strong>Qué hacer con espejo rayado: -- W</strong><strong>hat to do with scratched glass:</strong></span></div><strong><br /><div align="left"><span style="color:#ffffcc;"><span style="font-size:78%;">detalle, detail</span><br /></span></strong></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-or0oZGxq2poey8sl-69L6No2CVknlA_UA2UKoCE7c_l3b3rnw9au1Sqqoj5QRrJZb9omEQ2aj43B3xJE9fiJakm6YpCNAtbBX-LcIKf6H6R1OiystygmERSErBd_5zYADza5VKsxr5e/s1600-h/mimesis-detalle.jpg"><strong><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212127909967829442" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-or0oZGxq2poey8sl-69L6No2CVknlA_UA2UKoCE7c_l3b3rnw9au1Sqqoj5QRrJZb9omEQ2aj43B3xJE9fiJakm6YpCNAtbBX-LcIKf6H6R1OiystygmERSErBd_5zYADza5VKsxr5e/s400/mimesis-detalle.jpg" border="0" /></span></strong></a><span style="color:#ffffcc;"><strong><br /></strong><br />Aquí ven un detalle de un díptico que empezó con el hallazgo de un lagarto muerto en mi jardín (ya ni lagartos muertos hay, los tres gatos los han llevado a la extinción).<br /><br /><br />Here you see a detail from a dyptich which sarted off with the discovery of a dead lizard in my garden (now there are no lizards left, dead or alive, the three cats have annihilated them).<br /><br /><br /></span><div align="left"><span style="color:#ffffcc;">Eran dos lagartos, la verdad,practicamente una colección. En fin, la pieza corresponde a la idea decimonómica del gabinete de historia natural.</span></div><br /><p align="left"><span style="color:#ffffcc;"><br /></span></p><br /><p align="justify"><span style="color:#ffffcc;">Actually there were two lizards, almost a collection. Anyway, the piece corresponds to the nineteeth century idea of a Natural History Cabinet.<br /><br />También incluye la imagen de un dragón Komodor acariciado por un niño (de un viejo libro sobre animales).</span></p><br /><div align="justify"><span style="color:#ffffcc;">It also includes an image of a Komodor dragon being petted by a child (from an old English book about animals). </span></div><br /><div align="center"><br /><span style="color:#ffffcc;"><em><span style="font-size:78%;">Mímesis/Mimicry, 1998<img id="BLOGGER_PHOTO_ID_5213279152038096034" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoDbhvdtdpbxw85EPo4ZDvelfxpg4AK3oHIJQter_Dpna5P8BIDNNSQ9a82yZZwN51hhEzA76JMzRnauVmfvYriPGB-tNbQ4SbkHRAj7mbArCaqMOfrajbOO_wJZ85BaGv_Gzy58U4jZdx/s400/mimesis-I.jpg" border="0" /></span></em> <img id="BLOGGER_PHOTO_ID_5213279353115448978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK8zOTZ3FmHqd2UmhsRUXE-TXx5UyH3J6AY56aETrO1jINxVBhehHOxZ16Qfla_cLZ1ksBZiXnvNBQfbx4mGojvI7ZkywtkXOb3t5NTPezssGJIkxvTwpE-3mjCQUAcgHtetlHi9r4DBOx/s400/mimesis-II.jpg" border="0" /><br />Se llama, <strong>"Mimesis".</strong> /It's called <strong>"Mimicry".</strong><br /></span></div><br /><div align="center"><span style="color:#ffffcc;">Aquí la ven completa. /Here you can see the whole work.<br /><br />Tengo mis épocas de trabajar con retiples. De adolescente hice un dibujo (tipo dibujo de libro infantil) de una joven como yo tomando té con unas enormes víboras (aparece en otra parte de este blog).<br /><br />I have periods in which I work a lot with reptile images. As a teenage I did a drawing (children's book type of drawing) of a young woman like myself drinking tea with some enormous snakes. (it appears in another part of this blog).<br /></span></div><br /><div align="center"><span style="color:#ffffcc;"><em><span style="font-size:78%;">tu típico dragón komodo/your typical Komodo dragon</span></em> </span></div><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5213251814341081618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1rlCEwB_GjtAnKbuhoT7QW722NhlrJ_FPXhRyGsfE7yht013ygSOFVicdX2otCKc35HWk2ZLoYKEoL4WY4creJ0M85L5fN6cPAlalgtDsSOEZ11xTMHtPmeBkr7V-tVlfCy0n8fJcUuFy/s400/komodo_doc_face_close_duane_small.jpg" border="0" /><br />Y apareció esta misma imagen del niño con el dragón en díptico en dibujo llamado "Lagartona" de 1987.<br />And the same image of the child with the dragon in a dyptich appears in the drawing called "Lizard Lady" in 1987.<br /><br /><strong>"Lagartona ",</strong> (un dibujo muy grande) tenía que ver con los cuestionamientos que tenemos las muejres acerca de nuestros propios cuerpos, como nos vemos, como nos ven los demás. El título salió del comentario de una amiga (tenía ella unos 30 años en ese momento) que de repente se sintió la más vieja del antro --"¡es que me he vuelto una lagartona!<br /><br />Otra referencia es por supuesto, es al estand típico de la feria mexicana con una mujer lagarta-- "y porqué te volviste lagarta?"-- "¡Por desobedecer a mis padres!"<br /><br /><br /></span><p align="center"><span style="color:#ffffcc;"><em><span style="font-size:78%;">Lagartona/Lizard Lady, 1987 </span></em><br /></span></p><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212940145593303698" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-Qo4-V7X6Wi51XUSiOQRcmLesRuZAvNSy1oPP6TXD2cTVroIP1mmsi5E_Pef3sdauXyZyhFxwd2LJnwXGDxGloJxBuEv5T8kmj56QvmqSp3ZsjOQtEKJbrmmv8mvxyt2DuNc4GJGxCn0/s400/lagartona+I+ch.jpg" border="0" /><img id="BLOGGER_PHOTO_ID_5212940670642312834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKBNlw2XTHfkZL5J-haBgXuGOrFUOGNSmSKXz5cmWKS7ViQ_dNH6P6mhDvKEayzAcIQFTo9tcxMq68GalVqjDhRSbICqdu845Y0qX00YGr3YWK7vCyk4O5Axtl7Xd9QmsikY7d-IY54h1/s400/lagartona+II+ch.jpg" border="0" /> "Lizard Lady", (a very large drawing) had to do with the self-doubts we woman have about our own bodies and how they affect our relationship with the world. The title came from a commentary by a friend of mine (she was about 30 at the time) who suddenly felt like the oldest female in the clubs-- "I mean I've become the lizard lady!"<br /><br />Another obvious reference is to the typical Mexican side-show stand with a woman lizard-- "And why were you made into a lizard?" -- "For disobeying my parents!"<br /><br />La imagen de la parte de abajo del díptico viene de una fotografía del afamado fotógrafo francés de los burdeles de Nueva Orleans, Bellocq.<br /><br /><br /></span><div align="justify"><span style="color:#ffffcc;">The image from the bottom part of the dyptich comes from a photo by the famous French photographer Bellocq, who worked in the brothels of New Orleans.</span></div><br /><br /><br /><div align="right"><span style="color:#ffffcc;"><em><span style="font-size:78%;">detalle-detail</span></em><br /></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKnxnrB2TlIvIFJnFFCk8C_K1X9p82_EIWzuyD7GKj8n_2eqVBCfmiveiEoczO3fQncEgo6RzxJ-pISdocqMOGqx80SMlFudQS_ry7nVhoskJ1X8bRr1DE4ZvkXD-qEjoHx1b1BbDwQVIx/s1600-h/f17.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5212127167674192754" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKnxnrB2TlIvIFJnFFCk8C_K1X9p82_EIWzuyD7GKj8n_2eqVBCfmiveiEoczO3fQncEgo6RzxJ-pISdocqMOGqx80SMlFudQS_ry7nVhoskJ1X8bRr1DE4ZvkXD-qEjoHx1b1BbDwQVIx/s400/f17.jpg" border="0" /></span></a><br /><div align="right"><span style="color:#ffffcc;"><br /><br />La pieza<strong> "Del finito al infinito"</strong> ya apareció en el blog pero hace mucho tiempo, y solamente los muy curiosos que pican "entradas antiguas" lo ven ahora.</span></div><br /><p align="right"><span style="color:#ffffcc;">Pero se expuso por primera vez en la exposición que estamos recurriendo.</span></p><br /><br /><div align="right"><span style="color:#ffffcc;">The piece <strong>"From the Finite to the Infinite"</strong> first appeared in this blog some time ago, but only the very curious who click on "entradas antiguas" see it nowadays.</span></div><br /><div align="right"><span style="color:#ffffcc;">Nevertheless it was first exhibited in the show under analysis in this entry.</span></div><br /><br /><br /><div align="justify"><span style="color:#ffffcc;">La imagen arriba fue rescatada de una caja de fotografías de la familia de las hermanas de mi papá. Son tías que conocí por primera vez hace unos 15 años, cuando estaban desmantelando la casa de su mama recién fallecida. Representa la entrada de un barco al mar por primera vez.</span></div><br /><br /><div align="justify"><span style="color:#ffffcc;">Todas estas puntas de fuga llevaban años acumulándose en mis archivos cuando finalmente decidí hacer una obra con ellas. Me llamaba la atención de que el punto de fuga puede ocurrir en cualquier lugar y siempre representa lo mismo-- el recorrido de donde estás, hasta el horizonte. Para mi fue una especie de pieza típica de media-vida (<em>mid-life piece</em>, pues, ¡suena mejor en inglés!). Sabía donde estaba, y me preguntaba hasta dónde iba a llegar (todavía no se sabe la respuesta, pero demasiadas personas cercanas a mi-- en edad y en términos afectivos-- ya han desaparecido del horizonte. El más reciente fue Oliver Debroise...)</span></div><br /><br /><div align="justify"><span style="color:#ffffcc;">The image above was rescued from a box of photographs from the family of my fathers' sisters. These are aunts whom I met for the first time around fifteen years ago, when they were clearing out their recently deceased mother's house. It depicts the launching of a ship. All of these vanishing points were accumulating in my files for years until I finally decided to do a piece with them. I found it interesting that a vanishing point can occur anywhere and always indicates the same thing: the path from where you are, to your horizon. For me it was a sort of <em>mid-life piece.</em></span></div><br /><div align="justify"><span style="color:#ffffcc;">I knew where I was and I wondered where I would end up. (I still don't know the answer, altough too many people close to me, both in age and in affections, have since disappeared from the horizon. The most recent was Olivier Debroise...)</span></div><br /><br /><p align="center"><span style="color:#ffffcc;"><em><span style="font-size:78%;">Del finito al infinito/From the finite to the infinite, 1998</span></em><img id="BLOGGER_PHOTO_ID_5212126868673304290" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxnubSnvLFZJNEW5Wbk_FEXKDLdxUzfasyC7KDn0Mq6AqZ-qpy57oCQfhayR-oQOJCfcHZA00DpOJon1oG1ZvgZ1Q1E2zGX6K7mfoyHiSvmUxFey5KLpGu1gUWCzncy4OPOiPbu3V_yU2Z/s400/del+finito+al+infinito+FK+chico.jpg" border="0" /><br />Una obra de transferencias montadas en marcos de hierro, cortesía del mismo amigo de la fábrica. Son 49 pero podrian ser miles.<br /></span></p><br /><p align="center"><span style="color:#ffffcc;">A work made up of transfers mounted in iron frames, provied by the same friend with a factory. There are 49 but they could be thousands. </span></p><br /><p align="center"><span style="color:#ffffcc;">Unas últimas obras de la exposición: máscaras con dejo medieval. Una fue hecha de espinas, y otra de un marco de La Lagunilla. La modelo es la mamá de mis nietos, Soledad.<br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVuBV0Qkf-fp6WY5ym2j1J17ADOLoShGOiQpiDqCPVrgME0oMBdz5D52tgp-rtGv__WON5nFiuYwSLHxv_WWyCyxUkOCmCjCopakC49mQ9h2mDLNUZ6exJzutdcP3eqfC0nKJz5dt4pOHi/s1600-h/m%C3%A1scara-espinas.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5213046640502856530" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVuBV0Qkf-fp6WY5ym2j1J17ADOLoShGOiQpiDqCPVrgME0oMBdz5D52tgp-rtGv__WON5nFiuYwSLHxv_WWyCyxUkOCmCjCopakC49mQ9h2mDLNUZ6exJzutdcP3eqfC0nKJz5dt4pOHi/s320/m%C3%A1scara-espinas.jpg" border="0" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglg26zVSdDDfgDNyYtfsd7KkUQ9HOVUjHYpO6A7R_RY0MWFBUvI9ltkY5kMUGT4V63jfQR18Bh2bW3YPHiQxQplNmieCdYKN_O5QCmVFJxfoGaquveSom4N7DvRQ65al7MK1sj9qrrIXoz/s1600-h/m%C3%A1scara-esp.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5213047102996626754" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglg26zVSdDDfgDNyYtfsd7KkUQ9HOVUjHYpO6A7R_RY0MWFBUvI9ltkY5kMUGT4V63jfQR18Bh2bW3YPHiQxQplNmieCdYKN_O5QCmVFJxfoGaquveSom4N7DvRQ65al7MK1sj9qrrIXoz/s320/m%C3%A1scara-esp.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />One of the last works in the show, two masks with a medieval air. One was made of rose thorns, and the other from an embossed lead frame found in the "Lagunilla". The model is the mother of my grandchildren, Soledad. </span></p><br /><div align="justify"><br /><p align="center"><em><span style="font-size:78%;color:#ffffcc;">Másacara de la Sagrada Trinidad/Mask of the Holy Trinity, 1998<img id="BLOGGER_PHOTO_ID_5213222452058548690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4A_c2NCufYZ8Adtcff1bVNYP4cVJh30qK2P9Ww96LNhl3REOI5CLjhE_N-wTF9gviFAhqmop_EBPqjPal2jR3GqS-rr_uUI9u249kCCOA6CeKBEFotXgJN4P2LWivWpwvx5g09xSq_5iG/s400/m%C3%A1scara-trinidad.jpg" border="0" /></span></em></p><span style="color:#ffffcc;">Y una última máscara: hecha de una hoja de papel pegada a latón, representando la Sagrada Trinidad. Había pensado despegar la hoja del latón pero no pude, entonces decidí hacer un objeto con el latón incluído. En esta exposición traté temáticas religiosas en varias ocasiones. No fue exactamente mi intención de agredir a lo religioso. Fue más bien una actitud de examinar objetos del pasado con su significado original, e interactuar de alguna manera con sus implicaciones en ese contexto, viéndolo como artefacto histórico más que un ícono vigente.</span></div><br /><br /><div align="justify"><span style="color:#ffffcc;">And one last mask: made with a sheet of paper glued to tin, depicting the Holy Trinity. I had planned on separating the paper from the tin but it was impossible, so I decided to do an object including the tin. In this exhibit I worked with religous themes in several instances. It wasn't exactly my intention to challenge religion. My atittude was more that of trying to examine objects from the past considering their original significance, and to interact somehow with the implications in that context, seeing them as historical artefacts more than current icons.</span></div><br /><br /><p><em><span style="font-size:78%;color:#ffffcc;"></span></em></p>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com2tag:blogger.com,1999:blog-1918551101172524357.post-31442055943042398712008-03-22T09:40:00.001-07:002008-03-22T17:30:34.348-07:00Todas las cosas de la nada/Everything from the Void<span style="color:#ffffcc;"><em><span style="font-size:78%;">Caja para relíquias/Boxes for relics, 1998 <img id="BLOGGER_PHOTO_ID_5180638451773818722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCfnN8GIKblY1s7eDuBRpzwpiGIKvZ49xJIRZ9I_ovsLsInHle6A3YeDD1KsXdamaTKPN0ok_n52OTNNTCF5T-vSL9cs-GqYO9zY_mKj7aFKFjcs7PWDDGDxvZL8a4UzaYZlBQOw8qRrSJ/s400/Cajas-para-rel%C3%ADquias.jpg" border="0" /></span></em> The work in this entry comes from a show I did in 1998 (in Mexico City's <em>Museo Universitario del Chopo</em>) of object art- something I had been wanting to do for some time ( it's more entertaining than drawing). Gustavo Prado and Adolfo Patiño (Mexican artists and curators) helped me with this show, working in the assembling of the pieces and the exhibition design, more or less under my direction. The phrase <em>Everything from the void</em> comes from a book of Catholic catechism that I picked up in the famous Mexico City flea market, "La Lagunilla".<br /><br /><em><span style="font-size:78%;">detalle del libro con la frase "todas las cosas de la nada"/detail of the book with the phrase Everything from the void", principios del siglo 20-early 20th century</span></em> <img id="BLOGGER_PHOTO_ID_5180607652563338770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH4OIc2udCSUlQ-XTKGM_FN_60qqzYPAj4Cm_Xp7P2kRXK7KIQxTHx74XNCth7A_8MN-N7Kxd_sbhFkenpUVLqrxJDMEZx80uCDBhQUDNL4EywLqR-2aTBOFh3-bHm31B7SN3MorUKpx7z/s400/todas-las-cosas....jpg" border="0" /><br />La obra en esta entrada viene de una exposición que hice en el Museo Universitario del Chopo (Ciudad de México) en 1998. Llevaba años queriendo hacer una exposición de arte-objeto (que es mucho más divertido que dibujar) y colaboraron conmigo (más o menos bajo mis instrucciones) en la hechura de la obra y museografía, Gustavo Prado y Adolfo Patiño. La frase <em>Todas las cosas de la nada,</em> el título de la exposición,<em> </em>viene de un catecismo católico que encontré en la Lagunilla.<br /></span><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><br /><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">Vista parcial de la exposición/View of part of the show, 1998<br /></span></div></span></em><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180608756369933874" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzPoT5_Xo0ojaIPfb-i_FwOvh_M0dtYYG8V-d97yy4LebImz9wneNbHgX5r3GPSbwen48mJ8Bv3FaDGZ44QkkXA4bUkKe7Nle9fRmZuXiw8J-IDsipMo86sb3bJr-u5I8ldYo-B-RUjcXp/s400/vista-expo-chopo.jpg" border="0" /><br /></span><div><span style="color:#ffffcc;">The idea of the show was to make a sort of remix (once again, the collage concept!) of a lot of material I had been gathering together, mainly old things, many with historical or ritual implications. The image above depicts an installation made up of a collection of old slateboards from a Mexican country school, to which I added pieces of slate in rock form to make a series of small landscapes, like mountain lakes. They were presented on tables made of sideboards from a truck. The large work is an old beam with slate inserted, called <em>Horizon</em>. The background contains old German miitary maps.</span></div><br /><div><span style="color:#ffffcc;">The show was held in a building which was designed by Eiffel and therefore had the type of steel structure typical of his buildings, and which had formerly been a museum of natural history. This fit right in with the idea of my exhibit.</span></div><div><br /><div><span style="color:#ffffcc;"><em><span style="font-size:78%;">Detalle de los paisajes de pizarra/detail of the slate landscapes, 1998 </span></em><img id="BLOGGER_PHOTO_ID_5180627972053616370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgquvOvNpYpk30RGFdZ8FBj8Pmp04YV6vHF919X33RNae1PGnuKjj4FRbfEseMM4P7db9CJpL3V_A6kbWmELAvc0GKi6IM6YUGr7TX3Thxe65qrfIbj5MT4vOF6ny6uvcj9MnbPGHLJOqZY/s400/detalle-paisajes.jpg" border="0" /><br />La idea de la exposición era de hacer una especie de remix (una vez más, ¡el concepto collage!) de un buen de material- cosas viejas pues- que había estando coleccionando, muchas con referencias a la historia o asuntos rituales. La imagen arriba muestra una instalación que consiste en una colección de pizarrones de una escuela rural del estado de Puebla, a la cual agregué pedazos de pizarra para crear una serie de pequeños paisajes, o isletas. Se presentaron en mesas hechas de las puertas traseras (deshechadas) de un camión. La pieza grande es una viga vieja con pizarra insertada, para hacer un horizonte.<br />Como los de ustedes que conocen a México saben, el sitio, el Museo del Chopo, fue diseñado por Eiffel y tiene su estructura característica de acero, y antes fue un museo de historia natural, algo muy afín a mi proyecto.</span></div></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg2ZaS4KbTduJrb-ZDGqI1cVxZKUAgZAODoaIP4nwZP3KTag9jvhll-SP4sv0Bh63PI9Brau41NBu7D-D8UB1GQgBSJsFQuKRDGkTer2VMFrCd4p4HFqHgAzNpBXmbEju1pqK833O6HVLC/s1600-h/detalle-paisajes.jpg"></a></div><br /><br /><div><span style="color:#ffffcc;"><em><span style="font-size:78%;">Objecto encontrado, principios siglo 20/Found object, early 2oth century</span></em> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXou4R9ACAcmJpq4kvQDunEHHFGBffxsrfi9vruZ85v0qqjJALmcqzpXYQoIkJF5VhD7A2MGTPvTMsUN-o4CJpwFJTkRpUHfFXicjtoFKwZrvfpJLnI4GNdLjEuAhCGmCWKBZ6g0VWRs-I/s1600-h/pizarr%C3%B3n-inscrito.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180628173917079298" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXou4R9ACAcmJpq4kvQDunEHHFGBffxsrfi9vruZ85v0qqjJALmcqzpXYQoIkJF5VhD7A2MGTPvTMsUN-o4CJpwFJTkRpUHfFXicjtoFKwZrvfpJLnI4GNdLjEuAhCGmCWKBZ6g0VWRs-I/s400/pizarr%C3%B3n-inscrito.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></span></div><div><span style="color:#ffffcc;">This is one of the slateboards (one I didn't put in the show), in the category of "found art" which documents an ardous effort on the part of some small child to avoid boredom in school. </span></div></div><br /><div><span style="color:#ffffcc;">Getting the slateboards in the first place involved a lengthy negociation with the flea market people who had had access to (or raided?) the abandoned schoolhouse.</span></div><br /><br /><div><span style="color:#ffffcc;">Este es uno de los pizarrones (que no expuse) in la categoría de "arte encontrado" que documenta el intento árduo de algún niñito o niñita para evitar el aburrimiento en la escuela.<br />Conseguir los pizarrones en primer lugar involucró una negociación compleja con los marchantes con acceso (¿legítimo o no?) a la escuela abandonada.</span></div><br /><br /><br /><div><br /><br /><em><span style="font-size:78%;color:#ffffcc;"></span></em></div><br /><div><em><span style="font-size:78%;color:#ffffcc;"></span></em></div><br /><div><em><span style="font-size:78%;color:#ffffcc;"></span></em></div><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">Vista parcial, mesas para geógrafos/Parcial view, tables for geographers, 1998 </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihabe0g6TPk5PvFfu1ZMch6DoRnMHVLJ_j3SjH9cEX2kIpNxXX527oYtLsUXmLgZcOBEZS-Zm63oS9cAzlh7rKY90e1zjvVwnnHCl-ziGIBYomtdvlQRQY8lzdntrlbvp468ug2JMYwaIo/s1600-h/vista-mesas-ge%C3%B3grafos.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180612591775729218" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihabe0g6TPk5PvFfu1ZMch6DoRnMHVLJ_j3SjH9cEX2kIpNxXX527oYtLsUXmLgZcOBEZS-Zm63oS9cAzlh7rKY90e1zjvVwnnHCl-ziGIBYomtdvlQRQY8lzdntrlbvp468ug2JMYwaIo/s400/vista-mesas-ge%C3%B3grafos.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></span></span></em></div><div><span style="color:#ffffcc;">Also in the show were a set of tables designed to confuse geographers. <span style="color:#ffffcc;">They were made from cut-up old maps, part of the glorious loot available for pennies in the</span> stationary stores of Xalapa, Veracruz, around 1980.</span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;">También formaban parte de la expo<br />estas mesas diseñadas para despistar geógrafos, que fueron hechos de mapas viejos recortados, parte del botín glorioso disponible por unos centavos en las papelerías de Xalapa, Veracruz, cerca 1980.<br /></span></div><em><span style="font-size:78%;"><br /><div><span style="color:#ffffcc;"></span></span></em></div><br /><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;">Much of the show was made up of constructions in old picture frames. The one below (which includes a hand-written partiture without notes) was dedicated to an empress (Wu Zitian (625-705 AD) who had a large stone tablet placed on top of a hill near Qianling, China, with the belief that after her death the people would fill it with praise of her accomplishments. Today, however, it's called, the "Tablet with no Inscription"...</span></div><br /><div><span style="color:#ffffcc;"><em><span style="font-size:78%;">Canción para la Emperatriz Wu Zitian/Song for the Empress Wu Zitian, 1998</span></em><br /></span></div><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180616336987211458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp3SY768eT0KTTNQKzRgwMArmnRCYpmxUIlRrvT0wuw8nlLx8oNIkZZKeJJAXN7ZBOxT0iLNady3ob7MwfZh8bjVg83DTN0Mw5ukrpZ0mpYXtRX-Qj6KFHsuaWbEaTChszcnBBAjgTBrQs/s400/emperatriz.jpg" border="0" /><br /></span><div><span style="color:#ffffcc;">Mucha de la exposición consistía en construcciones hechas a partir de marcos viejos. La obra que se ve aquí (que incluye una partitura escrita a mano sin notas) fue dedicada a la emperatriz Wu Zitian (625-705 AD), quien mandó poner una tableta grande de piedra encima de una colina en Qianling, China, con la convicción que después de su muerte el pueblo iba a llenarla con alabanzas a sus logros. Hoy en día, empero, se llama la “Tableta sin inscripción”…</span></div><br /><em><span style="font-size:78%;color:#ffffcc;">"Quales son.../Who are.., 1998</span></em></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2MWaO6ht3QhIO9Rm-Mp3WLX9o_YtVDqKhbG_dYCbzurg8qpWxuj34iwLG-zJoPWbAE_CUvm_GrKO8ktS9o1AtitoOEvreGbK0_XBj8HUDHUfE587u5DbalQwLzLIgbFA5JZ8D_iZQkW5G/s1600-h/%C2%BFquales-son...jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180637987917350738" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2MWaO6ht3QhIO9Rm-Mp3WLX9o_YtVDqKhbG_dYCbzurg8qpWxuj34iwLG-zJoPWbAE_CUvm_GrKO8ktS9o1AtitoOEvreGbK0_XBj8HUDHUfE587u5DbalQwLzLIgbFA5JZ8D_iZQkW5G/s400/%C2%BFquales-son...jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></div></span><div><br /></div><div><span style="color:#ffffcc;">This is a detail from another work in an old picture frame, </span></div><div><span style="color:#ffffcc;">which consisted of a transfer onto Japanese paper of a drawing I had done of one of Pavlova's dancers, framed with a lot of diaphanous scraps of paper. The title comes again from a line in the Catechism: "Who are God's most perfect creatures? ...Men and angels...." </span></div><div><br /><br /></div><div><span style="color:#ffffcc;">Este es un detalle de otra obra realizada en un marco antiguo, que consistía en una transferencia a papel japonés de un dibujo que había hecho yo de una bailarina de Pavlova, enmarcada con un buen de pedazos diáfanos de paper. El título viene una vez más de una línea del Catecismo: "Quales son las criaturas más perfectas? ...los hombres y los ángeles."<br /><br /><br /></span></div><div><br /><br /><br /></div><div><span style="color:#ffffcc;"></span></div><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">Biblioteca/Library, 1998</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWnQ9uZ3nmJ5Au9vle3cVPkQCUkNK5vdG3CMAMkaaPLgCH3GZCKWQX5xetpJ8ZFdFD1OPQ_jlp6S5hAdupV22Z64-kKfQB66tvDsQa-BGXJiq1G2OSj_fTrR3I3fq-E_pTwUQ-snaURdvF/s1600-h/biblioteca.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180614464381470322" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWnQ9uZ3nmJ5Au9vle3cVPkQCUkNK5vdG3CMAMkaaPLgCH3GZCKWQX5xetpJ8ZFdFD1OPQ_jlp6S5hAdupV22Z64-kKfQB66tvDsQa-BGXJiq1G2OSj_fTrR3I3fq-E_pTwUQ-snaURdvF/s400/biblioteca.jpg" border="0" /></span></a></span></em></div><div><br /><br /><br /></div><div><span style="color:#ffffcc;"><br /></span></div><div><br /><br /></div><div><span style="color:#ffffcc;">Besides "Horizon" the exhibit included several other works made out of old beams (we were fortunate to find a lumberyard with a good supply of them)</span></div><div><br /></div><div><span style="color:#ffffcc;">We made slits in them and I filled them up with a good selection of esoteric texts. The piece is around nine feet tall, and the base is made of welded iron.<br /></span></div><div><br /></div><div><span style="color:#ffffcc;">Aparte del "Horizonte" la exposición incluía various obras más hechas de vigas viejas (tuvimos la fortuna de encontrar una maderería bien surtida del producto).</span></div><div><br /></div><div><span style="color:#ffffcc;">Les hicimos huecos y éstos los llenaba yo con una buena selección de libros esotéricos. </span></div><div><span style="color:#ffffcc;">La pieza tiene unos tres metros y la base es de fierro soldado.<br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTN0AYIJW8AIhzdxXSMtTVEdfEhXVJ50dw1SsmhguTzucZ1mrawiibnES_VxMJBp95biGl_I8XcUJgjgCSYnQdLyjDG-JCAKQhQhHFb0So5yGcaF0IjAkn1RRYW9dJtRu09HC6yWHw_xO9/s1600-h/%C2%BFquales-son...jpg"></a><br /><br /><br /><span style="color:#ffffcc;"><em><span style="font-size:78%;">Un detalle de la biblioteca/A detail from the Library, 1998<span style="color:#999999;"></div></span><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180616186663356082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRG1o60EVvtZ0OQrX8oH92GQmn4Xr6RZMcnMDmqf4cpCGX4Z7qnz0bjOgRbPdRETdGbRn-H9KcxPBn7DLgCO24hH3lbVY_irzine2P5y-2dDwjCDm92AFbEB76QQxhGWcsDeG7qBdo8OF/s400/biblioteca-detalle.jpg" border="0" /></span></span></em></span><span style="color:#ffffcc;"> Several of the works in old picture frames were organized into a series called, "The Decline of the Empire". The one seen below is made out of old German wrapping paper (from the Xalapa stores), a postcard of the now destroyed Pennyslvania Station, and two frames. </span></div><div><span style="color:#ffffcc;"></span> </div><div><span style="color:#ffffcc;">Varias de las obras en marcos antiguos se organizaron en una serie llamada "El ocaso del imperio". La que se ve a continuación está hecha de papel de envoltura alemán antiguo (de las papelerías de Xalapa), una postal de la ya desaparecida estación de trenes, y dos marcos. </span></div><div><span style="color:#ffffcc;"><br /></span></div><div><em><span style="font-size:78%;color:#ffffcc;">El ocaso del imperio-Pennsylvania Station/The Decline of the Empire'- Pennsylvania Station, 1998</span></em></div><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180637184758466354" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwnqX9IVqkfPEnuKBaEFUuhSXeZ9Zo4qYG2lQgxdj2XrdBgfV4yQdEUmQ5dqFwcStyEWIrYslHuOmmOzVGuNvfR4sA6d2G3ufEwgMw0FD9hLelK7ULPnPR4_ivUz7E5Ow53zc69XQHXkgY/s400/El-ocaso-del-imperio-small.jpg" border="0" /><br /></span><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">Detalle, Pennsylvania Station/Detail, Pennsylvania Station, 1998<br /></span></div></span></em><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180637047319512866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI_-44ppqhP5pJbMH1tUw3sUfAzFnyWgi3Q9FZT_7lKz4VOfxBoc00tH9YnCd7nlibltR97HuwNHHd_yg22Se7w2AFhIHPEy-WWhCN7N9zXsT1rayGceRc0iN34DQAiv0YJVETRtHE4OY_/s400/pennsylvania-station.jpg" border="0" /><br />The following works are also from "The Decline of the Empire", and show another aspect of my "Orientalist" work. The first contains the image of a samurai and elements of a cartoon from the 2nd World War of soldiers (I thought they were Japanese but a Chinese friend says they are Chinese). The second has a transfer of a Japanese battle flag made on old fabric. The original flag was ripped and so is the copy I made. Behind it is an image of a woman from a Japanese magazine. And the small picture between the other two is a line of postage stamps (all men's faces) called "Heroes".</span></div><div><span style="color:#ffffcc;"></span> </div><div><div><span style="color:#ffffcc;">Las obras que siguen también son de "El ocaso del imperio", y muestran otra faceta de mi obra "Orientalista". La primera consiste en la imagen de un samurai y elementos de un cartón de la 2o Guerra Mundial de soldados (pensaba que eran japoneses pero una amiga china me dice que son chinos). La segunda obra tiene una transferencia de una batalla japonesa impresa en manta vieja. La bandera original estaba rota y también rompí mi copia. Atrás está la imagen de una japonesa sacada de una revista. Y el cuadro chico ente los otros dos es una línea de timbres postales (todas cara de hombres) llamado "Héroes".</span></div><div><span style="color:#ffffcc;"><br /></span> </div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"><span style="color:#ffffcc;"></span></a></div><div><span style="color:#ffffcc;"><em><span style="font-size:78%;">De "El ocaso del imperio": El ejercito del emperador, Héroes, y El imperio de los sentidos"/from "The Decline of the Empire": The Emperor's Army, Heroes, and The Empire of the Senses, 1998</span></em> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBYboA0bdL_2ajkQD-hAnRFVcOl471sjRQQRA3F1kJ78Jy-5tSXz1DJsWRGXFAe88RjToyuKH5eL1ovWEn4KL3dpoadhpZkyuBA_TiAkAvlPCWSCqEI_0wXpxedB9Gt9qnG_p-epAmLlU/s1600-h/el-ejercito-del-emperador.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180614017704871506" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBYboA0bdL_2ajkQD-hAnRFVcOl471sjRQQRA3F1kJ78Jy-5tSXz1DJsWRGXFAe88RjToyuKH5eL1ovWEn4KL3dpoadhpZkyuBA_TiAkAvlPCWSCqEI_0wXpxedB9Gt9qnG_p-epAmLlU/s320/el-ejercito-del-emperador.jpg" border="0" /></span></a><span style="color:#ffffcc;"> </span></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180614172323694178" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s320/el-imperio-de-los-sentidos-completo.jpg" border="0" /></span></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"></a></div><div><span style="color:#ffffcc;"><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"><span style="color:#ffffcc;"></span></a></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"><span style="color:#ffffcc;"></span></a></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"><span style="color:#ffffcc;"></span></a></div><div><span style="color:#ffffcc;"><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"><span style="color:#ffffcc;"></span></a></div><div><span style="color:#ffffcc;"><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"><span style="color:#ffffcc;"></span></a></div><div><span style="color:#ffffcc;"><br /><br /></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"><br /><br /><br /></span></div><div><span style="color:#ffffcc;"><br /><br /><br /><br /><br /><br /></span></div><div><span style="color:#ffffcc;"><br /></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;">This isn't all, but it's enough for now......</span></div><br /><div><span style="color:#ffffcc;"></span></div><div><div><span style="color:#ffffcc;"><em><span style="font-size:78%;">Detalle, El imperio de los sentidos/Detalle, The Empire of the senses, 1998</span></em><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAymTJpdEGi9rAn3iHj95G8W2jSUbLMGSPOVTg3kcH55JJWkxuPNlrnGiNj8u3WPXRJ_tT86R_vCX9N4OOwP7fR78d_qAHEFNXx_1bjqLXuEXnq2_lb83w1E2t_LQ8eB6gH1jruHSS0S2/s1600-h/El-imperio-de-los-sentidos.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5180616495901001426" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAymTJpdEGi9rAn3iHj95G8W2jSUbLMGSPOVTg3kcH55JJWkxuPNlrnGiNj8u3WPXRJ_tT86R_vCX9N4OOwP7fR78d_qAHEFNXx_1bjqLXuEXnq2_lb83w1E2t_LQ8eB6gH1jruHSS0S2/s400/El-imperio-de-los-sentidos.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;">No es todo, pero es suficiente para ahora....<br /></span></div><br /><br /><br /><div><span style="color:#999999;"></span></div><br /><br /><br /><div><span style="color:#999999;"><br /><br /><br /><br /><br /><br /></span></div><br /><br /><br /><div><span style="color:#999999;"></span></div><br /><br /><br /><div><span style="color:#999999;"><br /><br /><br /><br /><br /><br /></span></div><br /><br /><br /><div><span style="color:#999999;"></span></div><br /><br /><br /><div><span style="color:#999999;"></span></div><br /><br /><br /><div><span style="color:#999999;"></span></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlWjDv9EFuCIpn3KjMH_ByxRPU6jKbnnLY4bq0CUREl6Kf9DsAcBEtVNnBwbVzA0crPUhMsF6fdo8Ke_DCX4bSdWGCl2dMUhVDX6JYEjyc4c09MXgTmpE-fEOBTub15a4u_f5KePQqPOU/s1600-h/el-imperio-de-los-sentidos-completo.jpg"></a></div></div></div></div></div></div></div></div></div></div></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com3tag:blogger.com,1999:blog-1918551101172524357.post-12046049606536521172008-02-05T11:03:00.000-08:002008-02-08T23:18:14.622-08:00Remix<span style="color:#ffffcc;"><em><span style="font-size:78%;">de la serie, Variaciones/microcosmos/from the series Microcosmos/Variations, c. 1998</span></em> <img id="BLOGGER_PHOTO_ID_5163890854444334946" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfTf6RcrqKossPsIwRK6Ir4EDFSk3l743WKjqQ2m4_A75fbsM0_hEG7nOJ2QoWT2yYax-PbU12J3yjygM7hOJW_nuAXRmgoOxUxbmbxJp67q1RrSooLVwshmVBTiclPucq4A2Fzln_L6Kp/s400/microcosmos+manga+small.jpg" border="0" /> In the best DJ tradition, my Oriental obsession combined with transfers and a few prints from the "Microcosmos series" churned out the following piezas (among others). This is work from the late nineties. The idea was to make pieces including old frames, some background collage item, and the print with transfer. Sort of a rescue mission of historical items. This one was the first image I made combining Manga and the drypoint prints (the frame didn't photograph well and thus is not included). </span><div><div><div><div><div><div><div><div><br /><div><span style="color:#ffffcc;"><em>En la mejor tradición de los DJ, la obsesión oriental combinada con transfer y algunos grabados de la serie "Microcosmos" resultó en las siguientes piezas (entre otras). Es trabajo de fines de los noventa. La idea era hacer piezas incluyendo viejos marcos, transferencia, y algun asunto tipo collage como fondo. Fue una especie de misión de rescate de material perdido en el pasado. Esta fue la primera imagen en que combiné Manga y grabados en punta seca de la serie "Microcosmos" (el marco fue poco fotogénico y por eso no se ve).</em> </span></div><br /><div><span style="color:#ffffcc;"></span></div><div><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">de la serie Variaciones/microcosmos/from the series, Microcosmos/Variations, 1998<br /></span><div><em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe6GClCgvQShRu9Dg38osMaJjxUtvTMnVq2IadhloZFMueHt4ExaFXmZwU-YAv36OGbv2jRAuQO8AzoJUo8kc_V6MQSK2VvSj9Rn57pQ5qK9KuhcYRKnUOkpVTLCi19yaldmjoP-jJRDsu/s1600-h/microcosmos,+spirit+path+small.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5163582591756598898" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe6GClCgvQShRu9Dg38osMaJjxUtvTMnVq2IadhloZFMueHt4ExaFXmZwU-YAv36OGbv2jRAuQO8AzoJUo8kc_V6MQSK2VvSj9Rn57pQ5qK9KuhcYRKnUOkpVTLCi19yaldmjoP-jJRDsu/s400/microcosmos,+spirit+path+small.jpg" border="0" /></span></a></em></div></div><br /><div></span></em><span style="color:#ffffcc;">"The garden of forking paths is an incomplete image of the universe, but not a false one…(there exists) an infinite series of moments, in an expanding and vertiginous net of times, divergent, convergent, and parallel." -- JL Borges</span></div><br /><div><span style="color:#ffffcc;"></span></div><div><em><span style="color:#ffffcc;">"El jardín de senderos que se bifurcan es una imagen incompleta, pero no falsa, del universo...(son) infinitas series de tiempos, en una red creciente y vertiginosa de tiempos divergentes, convergentes, y paralelos." -JL Borges<br /></span></em><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe6GClCgvQShRu9Dg38osMaJjxUtvTMnVq2IadhloZFMueHt4ExaFXmZwU-YAv36OGbv2jRAuQO8AzoJUo8kc_V6MQSK2VvSj9Rn57pQ5qK9KuhcYRKnUOkpVTLCi19yaldmjoP-jJRDsu/s1600-h/microcosmos,+spirit+path+small.jpg"></a></div><br /><div><div><span style="color:#ffffcc;">The images here are of a Chinese spirit path-- constructed, in ancient times, to guide otherworldly creatures to the tombs of dignitaries, and in the drypoint image, "gaki" -- invisible beings with huge bellies and tiny mouths that medieval Japanese imagined were responsible for the disappearance of organic waste.</span></div><div><span style="color:#ffffcc;"></span></div><em><span style="color:#ffffcc;">Las imágenes aquí son de un camino para los espíritus-- construido, en tiempos antiguos, para guiar a las criaturas del más allá hacia las tumbas de dignatarios, y la imagen en punta seca, "gaki"-- seres invisibles con barrigas enormes y pequeñas bocas que los japoneses medievales imaginaron que fueron responsables de la desaparición de todos los restos orgánicos.</span></em></div><br /></div><em><div><em><span style="font-size:78%;color:#ffffcc;">de la serie, Microcosmos/variaciones/ from the series, Microcosmos/Variations, 1998 (detalle/detail)<img id="BLOGGER_PHOTO_ID_5163589858841263746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRD8btVtx-clQYuC2bQAU4Wa5lue6NYBCuz5WnwQhqQmNlJi0iitwzuFVN4y2E3BnaYN6vuR49VxhAh26GHl4SRlgoy_5Ym9ehFTsrVtD0fdVsLMNtfH3ZxbmnspEGoLHhRcZHC0Gfz0eo/s400/microcosmos,+spirit+path+crop.jpg" border="0" /></span></em></div><br /><div></em><span style="color:#ffffcc;">"Eyes that do not see, a heart that feels no pain. --Mexican saying used to justify all sorts of lies.</span></div></div></div></div><br /><p><em><span style="color:#ffffcc;">"Ojos que no ven, corazón que no siente" -dicho mexicano utilizado para justificar todo tipo de mentira.</span></em></p><p><span style="color:#ffffcc;"><em><span style="font-size:78%;">de la serie, Microcosmos/variaciones/ from the series Microcosmos/Variations, 1998</span></em> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXIEpbirPx07a1DM9butm1cO5ssDkH8GYgwvpAbryHnaMIwYdCphx1AIGtP-j-htc4joSY08r-uAbOE7RpaGDQYqe7RxYnoSIQGS6i-mYK5xPC61meG9dodeKDW4bDjSlNYE6RmVE3s8t0/s1600-h/microcosmos,+boticelli.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5163707437865959170" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXIEpbirPx07a1DM9butm1cO5ssDkH8GYgwvpAbryHnaMIwYdCphx1AIGtP-j-htc4joSY08r-uAbOE7RpaGDQYqe7RxYnoSIQGS6i-mYK5xPC61meG9dodeKDW4bDjSlNYE6RmVE3s8t0/s400/microcosmos,+boticelli.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></span></p><br /><div><span style="color:#ffffcc;">My next victim is one of Botticelli’s ladies, her eyes hidden by the heads of two geishas with their backs turned, photographed by another Italian, Beato, in nineteenth century Japan. </span></div><br /><p><span style="color:#ffffcc;"><em>He aquí mi próxima víctima, una dama de Botticelli, sus ojos escondidos por las cabezas de dos geishas de espalda, fotografíadas por otro italiano, Beato, en el Japón decimonónico</em>.<br /></span></p><em><span style="font-size:78%;"></span></em><br /><br /><br /><br /><div><span style="color:#ffffcc;"><br /></span></div><br /><br /><div><span style="color:#ffffcc;"><br /></span></div><br /><br /><div><em><span style="font-size:78%;color:#ffffcc;"></span></em></div><br /><br /><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">de la serie, Microcosmos/variaciones/ from the serie, Microcosmos/Variations, 1998 <img id="BLOGGER_PHOTO_ID_5163599002826636978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTsCSGn-6psh7eQb_g1AfIX9-yFRv2z8VZYLbJCk42qqprWoPz9tBP9h3ll5-EXgOCyUp4_scxtT8_xWq7b5XPh6gmJUTqhUIaUIXyKZxoHaSp0hWoVAseZwyhQoDFZKdQZBA8TA0JpQ06/s400/microcosmos,+boticelli,+crop.jpg" border="0" /></span></div><br /></span></em><span style="color:#ffffcc;"><span style="font-size:130%;">Japanese warriors, Japanese lotus /</span><em><span style="font-size:130%;">Guerreros japoneses, lotos japoneses</span></em><br /><br /></span><span style="font-size:78%;"><span style="color:#ffffcc;">de la serie, Microcosmos/variaciones/ from the series Microcosmos/Variations, 1998</span></div><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5163700080586981058" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik4BRdhNKrDalMR925Bv8MrDvYUoIvbcY73T5GqhT3YrXuOOUDFh4QNviuRiH9qBo_FkDM43zMALaI8jx_ZRUEwaBTeWkvWmf2MwAXnUdCOmmwSHg6xN88U9T-tXH2kzYZgmRyPyJE7Lcd/s400/microcosmos+guerreros+japoneses+crop.jpg" border="0" /></span></span><span style="color:#ffffcc;"><br /></span><div><span style="color:#ffffcc;">I guess I saw some correspondence between the bows and sticks and the stems...</span></div><br /><div><span style="color:#ffffcc;"><em>Supongo que vi alguna correspondencia entre los arcos y palos y los tallos...</em><br /></span></div><br /><br /><div><span style="font-size:78%;"><em><span style="color:#ffffcc;">de la serie, Microcosmos/variaciones/ from the series Microcosmos/Variations, 1998</span></em></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpQQt6jDdkPnxRol_xFaX6l0Eg3A0I8z46Z0n_rnJdnooBzhFkIrmHvPczuUbwAI8oLesObCqa-1GcOwNal86ShzepMjm5_iAz-HjfDf30yx_wUdg5pYa4qC4wD9piJM4cnGm-3hq9D_73/s1600-h/microcosmos+guerreros+japoneses+small.jpg"><em><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5163709452205621010" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpQQt6jDdkPnxRol_xFaX6l0Eg3A0I8z46Z0n_rnJdnooBzhFkIrmHvPczuUbwAI8oLesObCqa-1GcOwNal86ShzepMjm5_iAz-HjfDf30yx_wUdg5pYa4qC4wD9piJM4cnGm-3hq9D_73/s400/microcosmos+guerreros+japoneses+small.jpg" border="0" /></span></em></a><span style="color:#ffffcc;"><br /><br /><br /><br /><br /></span><div><span style="font-size:130%;color:#ffffcc;">I am in a war with time. It swallows things up and I try to pull them back. (CR, being dramatic)</span></div><br /><br /><br /><div></span><span style="font-size:78%;"><span style="font-size:130%;"><span style="color:#ffffcc;"><em>Estoy en una guerra con el tiempo. Se traga a todo, y todo lo quiero jalar hacia mi, otra vez. (CR, en modo dramático- ¿o cursi?)</em><br /><br /></span></span></div></div><br /><br /><br /><div><span style="color:#ffffcc;"></span></span><span style="font-size:130%;"></span></div><br /><br /><br /><div><span style="font-size:130%;color:#ffffcc;"></span></div><br /><br /><br /><div><span style="font-size:130%;color:#ffffcc;"></span></div><br /><div><span style="font-size:130%;"><span style="color:#ffffcc;">Background material/<em>Algo de antecedentes</em></span></span></div><br /><br /><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">Lotus photographed by Felice Beato and hand-colored, detail/ lotos fotografiados por Felice Beato y coloreados a mando, detalle, Tokyo, c. 1860<img id="BLOGGER_PHOTO_ID_5163713648388669218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVjbSNuxaT_VKIyGkAYr5uyj47qwHUhrHyaZaqSNO5-GnG5cS9yupQtF6JJNWNngbFoXOqUugAxhZpqEL_S2fqeKUHEIIMdsyNCv42Px73yVY8v8DmL1DMu6bGBZH_tq5_pqAybndhBRsn/s400/lotos+beato.jpg" border="0" /><br />My version, incorporated into the previous image and the image that follows/ mi version, incorporada a la imagen previa y la siguiente, 1993<img id="BLOGGER_PHOTO_ID_5163893702007652210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOviqt0N9NhhkgIvSYnfOk0OcBywHONKtfdpvHSDSF81HkzaQ3kJkSbozp_-4YfeFcg68L5rrL0sGdzr3N5DM3YJVw3yJ9OXhivf64X3XyrtGO8s32JA8gqEHnkvfCPZOzFam-V_Fk8z96/s400/microcosmos++plantas+small.jpg" border="0" /></span></div></div><br /><div><div></span></em><span style="color:#ffffcc;">My usual method of working in this dubious but popular mode called "appropriation" (taking liberties with other people's images) is to crop a detail of the original image and reinterpret it, as I did with the lotus photographed by Felice Beato in the mid-nineteeth century.<br /><br /></span><div><em><span style="color:#ffffcc;">Mi método usual, trabajando en este modo popular de dudosa reputación llamado"apropriación"</span></em><span style="color:#ffffcc;"><em>(propasándome con imágenes de otras personas) es de escoger un detalle de la imagen original y reinterpretarlo, como hice con los lotos fotografiados por Felice Beato en el Japón de mediados del siglo 19.<br /></em><br /></span><span style="color:#ffffcc;"><em><span style="font-size:78%;">de la serie, Microcosmos/variaciones, detalle/ from the series Microcosmos/Variations, detail, 1998<img id="BLOGGER_PHOTO_ID_5163702082041741042" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcVo2MntdbdRB_JUAN8Y8h4M06MzRXs8qbFO6iy2svzgt9tA4q08507o-s2qCG00B8O4pDTPu-jrVoq8lxIKTbVv3IjHCrg3KthxXjYbaZHlaeCyR3Kz4xGAHaW-9lebs-TrmuBPkFa9EW/s400/microcosmos,+gente+y+plantas+crop.jpg" border="0" /></span></em><br />This image incorporates the lotus with an image of people on their balcony, or terrace, in Mexico City, during the Twenties.</span></div><br /><br /><div><em><span style="color:#ffffcc;">Esta imagen incorpora a los lotos con una escena de gente en su balcón o terraza en la ciudad de México, años viente.</span></em></div><br /><br /><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">de la serie, Microcosmos/variaciones/ from the series, Microcosmos,/Variations</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT-3UNYU67mKfAbLm2xV73rQQbZXySd3vEuQwsiF35EyWJGc_HLRFh9koxaBpZsZe6L4sfxzqIFFklosJn-3e4AtfFAcORtXilv0Bn1SIgDxVmXFBQsLt4adSYGUfrdyyfcMkvhR-nHvcb/s1600-h/microcosmos,+gente+y+plantas+small.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5163716504541921074" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT-3UNYU67mKfAbLm2xV73rQQbZXySd3vEuQwsiF35EyWJGc_HLRFh9koxaBpZsZe6L4sfxzqIFFklosJn-3e4AtfFAcORtXilv0Bn1SIgDxVmXFBQsLt4adSYGUfrdyyfcMkvhR-nHvcb/s400/microcosmos,+gente+y+plantas+small.jpg" border="0" /></span></a><span style="color:#ffffcc;">, 1998<br /></span></span></em></div><br /><div><span style="color:#ffffcc;">"And I must borrow every changing shape/ to find expression...dance, dance, like a dancing bear, cry like a parrot, chatter like an ape/ Let us take the air, in a tobacco trance" TS Eliot</span></div><br /><div><span style="color:#ffffcc;">(written when he was freaked out by a gentile old lady who wondered why they weren't real friends)</span></div><br /><div><span style="color:#ffffcc;">Anyway, I often think of these words.</span></div><br /><div><em><span style="color:#ffffcc;">"Y he de asumir cada forma cambiante /para hallar salida...bailar, bailar, como oso bailarín, gritar como loro, como mono charlotear / tomemos el aire, en trance de tabaco"</span></em></div><br /><div><em><span style="color:#ffffcc;">(escrito por un TS Eliot super desconcertado por una gentil dama anciana quién se preguntaba porqué no se habian hecho amigos)</span></em></div><br /><div><em><span style="color:#ffffcc;"></span></em></div><div><em><span style="color:#ffffcc;">En fin, pienso a menudo en estas palabras.</span></em></div><br /><br /><div><span style="font-size:78%;color:#ffffcc;">Imagen de la serie Microcosmos, impreso en un rollo de pianola/Image from the series, Mircocosmos, printed on a player piano roll, 1998</span><em><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5163721396509671234" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipzUX02yUWel9TAXQZaTlSZzsY0O_UfPhDMnz8sGouNkfYzR3iJ3xl_8QQ3p66LtNvVGsUz9_NVLfK8AyTxq3WX1oU3TC60MTYBWX7VWPj5_0GHvQe4yPYY_mNft2MfXyJRabr5Hd_ZiGB/s400/microcosmos,+pianola.jpg" border="0" /></span></em></div><br /><span style="color:#ffffcc;"><em><span style="font-size:78%;">Bridge of the Little Moons, photograph by Felice Beato, c. 1860/Puente de las lunitas, fotografía de Felice Beato,Tokyo, c.1860<br /></span></em><img id="BLOGGER_PHOTO_ID_5163925742463680386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_Qws5-vp45WAfZJyMOWmwOZf-j7I_SupvLnsFzeXvqcviLaRyVnaf38FgVLQMpt4YBbQv2DM_gSRTZii0fnNSm3D1N7ZL-Ry5xWLLoM05IcSvs1_mo2J_CdNzHE9HHFXfn0fe6_pFW5H/s400/foto+completa+lotos.jpg" border="0" /><br /><br /><br /><br /></span><div><br /></div><br /><br /><br /><br /><br /><br /><p><em><span style="color:#ffffcc;"></span></em></p></div></div></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-72084148211212904662007-12-27T09:41:00.000-08:002007-12-28T05:43:03.195-08:00"A Pillow Book"/Manga<em><span style="font-size:78%;color:#c0c0c0;">plato desgrafiado, serie manga/incised plate, Manga series, 1999</span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnApg0Di6R_c4mCKF0Y0qr6iAM5D0LxKPuum3NEv0dkojCeqGjvZIp5xio1SS7tczAqbSO64UC6PtA2oD9mp6Z-wNoBJDefAgnxx-JV8pwO0k5O2Yf3uc8eRnDKKN6IC-Q-LBAiDXmX59/s1600-h/plato+redondo+japon%C3%A9s+(cer%C3%A1mica)+ch.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148847536437845490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnApg0Di6R_c4mCKF0Y0qr6iAM5D0LxKPuum3NEv0dkojCeqGjvZIp5xio1SS7tczAqbSO64UC6PtA2oD9mp6Z-wNoBJDefAgnxx-JV8pwO0k5O2Yf3uc8eRnDKKN6IC-Q-LBAiDXmX59/s400/plato+redondo+japon%C3%A9s+(cer%C3%A1mica)+ch.jpg" border="0" /></span></a><span style="color:#c0c0c0;"> </span><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><span style="color:#c0c0c0;">Continuando con eso de "Chinoiserie/Orientalismos"/Continuing the discussion of "Chinoiserie/Orientalismos": for English, scroll down...<br /></span></div><div><span style="color:#c0c0c0;"><em><span style="font-size:78%;">fragment of the first version of "A Pillow Book"/fragmento de la primera versión de "A Pillow Book</span></em>", <em><span style="font-size:78%;">2001</span></em><img id="BLOGGER_PHOTO_ID_5148709990110190658" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-7xLEQM0eUxYGDLKevKmxfxer_B6ABQ5YeiL0ganZMZOVJsgsi2nxO9OQuQFW0SSaPjspdt2BPuuuG-R5u8NJneqO909wCiO8sOqEna0Y19Es-yRhyphenhyphenoYt6gRDToN7g2NT2eW9OloGU8p/s400/A+Pillow+Book+versi%C3%B3n.jpg" border="0" /></span><span style="color:#c0c0c0;"><span style="font-size:130%;">“A Pillow Book”<br /></span><br />De esta obra hay dos versiones, la primera más chica, la segunda más amplia. Empecé a trabajar en el proyecto en principios de esta década, “tratando de ser moderna”, yo creo. (Mi capacidad de salir de lo decimonónico siempre es cuestionable). La obra: se trata de una serie de cojines hechos de tela con transferencia y costura. La primera versión es de 150 x 100 cm, y la segunda, montada en triplay forrado de tela roja, es de 25 elementos de aprox. 30 x 40 c/u.<br /></span></div><br /><div><span style="color:#c0c0c0;"><em><span style="font-size:78%;">_____________________________________fragmento de la versión II/fragment of version II "A Pillow Book", 2005<img id="BLOGGER_PHOTO_ID_5148710587110644834" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB5UD8iCdSjSo5iNPj1RtjLTb2H5yrqbafUY3-4A8a8FVvLyL3atsODjWNz2jIQ4a-2SGugH-4ztKJBDT8Zu8HDAOSJSkMt1iVzQhFLINLKF1AAQRHOafiA4AlQAvvZOFD_W7JR0KcZXPi/s400/pillowbook+dont+look+at+me+chico.jpg" border="0" /><br /></span></em>Este proyecto se me ocurrió al estar viendo (durante alguna noche ¡larga y solitaria!) una película del realizador japonés, Akira Kurosawa, “Ángel Borracho”, con subtítulos en inglés. Lo dramático de las imágenes junto con el discurso impreso me hizo recordar a ese género extraordinario, la fotonovela mexicana, y decidí hacer mi propia versión, imitación fotonovela con un fragmento de la película. En la escena que escogí, el héroe, un pandillero joven muriéndose de tuberculosis, trata de sacar un beso de su novia, quien está a punto de abandonarlo por su rival (quien no está enfermo). Es el beso de la muerte: piensa ella que se quedará infectada. </span></div><br /><div><span style="color:#c0c0c0;">Mi hijo Andrés me conectó la videocasetera (sí, fue antes cuando se usaba eso de videocaseteras) a la computadora, y con estas imágenes sacadas de la impresora hice las fotocopias que sirvieron para hacer la transferencia. La costura es una especie de dibujo que interviene la imagen fotográfica, y la elaboración de los cojines tipo almohadas, además de dar una forma cercana al encuadre de la fotonovela, me da la excusa para hacer la referencia a la película de Peter Greenaway en el título. </span></div><div><span style="color:#c0c0c0;"></span></div><div><span style="color:#c0c0c0;"></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOTHOQFehO9sSTTPEH1cK4b4qeMWlf-SACOMn8zTspeUdbLrWof-qEiGh-bEKHhz5_tWT3ozJYco_CZL6BkFztpYal9jqRcamo6ep78oEivE1t9-6erAWS0IiTmHW85elxf7tcicGdlBh0/s1600-h/pillowbook+well+its+goodbye+chico.jpg"></a><em><span style="font-size:78%;color:#c0c0c0;">fragmentos de la versión II, fragments from version II, "A Pillow Book", 2005<br /></span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOTHOQFehO9sSTTPEH1cK4b4qeMWlf-SACOMn8zTspeUdbLrWof-qEiGh-bEKHhz5_tWT3ozJYco_CZL6BkFztpYal9jqRcamo6ep78oEivE1t9-6erAWS0IiTmHW85elxf7tcicGdlBh0/s1600-h/pillowbook+well+its+goodbye+chico.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148801034826931602" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOTHOQFehO9sSTTPEH1cK4b4qeMWlf-SACOMn8zTspeUdbLrWof-qEiGh-bEKHhz5_tWT3ozJYco_CZL6BkFztpYal9jqRcamo6ep78oEivE1t9-6erAWS0IiTmHW85elxf7tcicGdlBh0/s320/pillowbook+well+its+goodbye+chico.jpg" border="0" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZvTRqURHN9nw0f0Bd3q2t6wyLBmzLXhUm9cAMHJfe-uXdkoqUcZQiUDyg4P0tmuzLLx53DBJ784FfhlZERjGbz_i__My3i0iGw4hrgwsHt8aKzjSojwOXA4Y_1kNyfEL1w_b7wbiKdWg/s1600-h/pillowbook+yes+chico.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148801185150786978" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZvTRqURHN9nw0f0Bd3q2t6wyLBmzLXhUm9cAMHJfe-uXdkoqUcZQiUDyg4P0tmuzLLx53DBJ784FfhlZERjGbz_i__My3i0iGw4hrgwsHt8aKzjSojwOXA4Y_1kNyfEL1w_b7wbiKdWg/s320/pillowbook+yes+chico.jpg" border="0" /></span></a><span style="color:#c0c0c0;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><div><br /><br /><br /><br /><br /></div><br /><div><span style="color:#c0c0c0;">Y va bien eso de las almohadas, porque es una escena de recámara.<br />También me interesó esta obra de Kurosawa en particular porque está ambientada en el Japón de las posguerra, un Japón tratando de asimilar la cultura de sus vencedores.</span></div></div><div><span style="color:#c0c0c0;"><br /></span></div><div><span style="color:#c0c0c0;"><em><span style="font-size:78%;">fragmento de la versión II, fragment of version II, "A Pillow Book", 2005</span></em><img id="BLOGGER_PHOTO_ID_5148710342297508946" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLKoVbP31-nAVM-KNyQ5iwX0CZoCiSD1y9aXynkzVN8XMuOLezY_SUYOMuNuDJTR4tu8VmXY_Xw0v26geJ0CvOMOT2G0rqWInniibx9X73DkmeoKzb48rhvNwctJjjlzaniQ5ZzHfPl4QJ/s400/pillowbook+bad+timing+chico.jpg" border="0" />Escogí la escena por su intimidad y dramatismo, dos cualidades que siempre me atraen. Las dramas de recamara son mi debilidad…</span></div><div><span style="color:#c0c0c0;"><br /><br /></span></div><div><span style="color:#c0c0c0;"><span style="font-size:130%;">_______________Piezas Manga</span> ________________________________</span></div><div><span style="color:#c0c0c0;"><br /></span></div><div><em><span style="font-size:78%;color:#c0c0c0;">panorama, obra manga/work from the series "manga", 2006-7</span></em></div><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148711759636716738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz4pTp8kw6dgtDCuJz69sGbfHHKTN8cUU1TnLPK2mk7XQrtOf9FAnYueNiZG2rdEPu6pIz-spOKe_KM9jgZMq434-jZ4eMyjgTPzm0D-CIFyzt8sSpuQDdQeZpYS-yl8i7kYTVb5Su7YEw/s400/ceramics-and-prints-based-on-Japanese-comix.gif" border="0" />La caricatura existía en la sociedad japonesa como una forma de ukiyo-e, recortable para armar libritos, tarjetas, o estampas. Y la narrativa o trabajo secuencial era elemento implícito de los rollos tradicionales. Pero el comic moderno japonés (manga) me interesa por la forma en que absorbe la influencia occidental mientras sigue trabajando con los elementos estilísticos de la gráfica japonesa de antes. Lo que más me llama la atención es, una vez más, el manejo del dramatismo en el dibujo. </span></div><div><span style="color:#c0c0c0;"><br /></span></div><div><em><span style="font-size:78%;color:#c0c0c0;">plato "La gritona"/plate, "The screamer", 2007</span></em></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKtlwmBgH84Ra-rxzcT8HApWcFk7NY5ZVD945nMuMgunSncv0dL_loj2JzO2FpeXqUJZXcQ1J4L_HtKfFlZ8U61_CatGqMoX3zH5BuEhxFZnGhlTEcsQnI95Xo_hXGiX3ZlHO6i6K-QcU/s1600-h/grtiona+chica.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148712464011353346" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKtlwmBgH84Ra-rxzcT8HApWcFk7NY5ZVD945nMuMgunSncv0dL_loj2JzO2FpeXqUJZXcQ1J4L_HtKfFlZ8U61_CatGqMoX3zH5BuEhxFZnGhlTEcsQnI95Xo_hXGiX3ZlHO6i6K-QcU/s400/grtiona+chica.jpg" border="0" /></span></a></div><div><span style="color:#c0c0c0;"><br /><br /></span></div><div><span style="color:#c0c0c0;">Ya había trabajado con grafismos de varias culturas con la idea de llevar algo que es por naturaleza bidimensional a una manifestación más tridimensional, es decir, de objeto. Entre otros medios lo había probado con cerámica, que es lo que me propuse con las imágenes basadas en manga. </span></div><div><span style="color:#c0c0c0;"><br /><br /><br /><br /><br /><br /></span></div><div><span style="color:#c0c0c0;"></span></div><div><span style="color:#c0c0c0;"><br /></span></div><div><span style="color:#c0c0c0;"></span></div><div><br /><span style="color:#c0c0c0;">Traduje varios fragmentos de comic japonés en placas de xilografía.<br />Al imprimir la placa en tablas de barro, todos los elementos se vuelven tridimensionales. El barro impreso se puede recortar y enrollar o meter en un molde para hacer un plato, etc. Otra alternativa es de desgrafiar directamente el barro, dibujando en su superficie. (En general trabajo con cerámica de alta temperatura o porcelana).<br />Mi idea era de hacer dípticos o polípticos combinando la misma placa de xilografía impresa en barro y en papel. Pero al hacer la impresión en papel de la xilografía ocupado para el barro, sentí la necesidad de contextualizarlo más, darle más niveles de lectura. Entonces empecé a combinar los grabados de la serie “Microcosmos” con las imágenes basadas en manga. </span></div><div><br /><em><span style="font-size:78%;color:#c0c0c0;">"Voom", 2007</span></em></div><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148712605745274130" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYbJkBgQPuJSDGARvwcGWd7ofpP9Awc2i0NGTOIdwnZSZySBtKYp0TI233IKNeCfVCCuFjIgaV2-xXvUJ3W2DQ-UN7o9zDKcgnX-EE2cO6tXpehx5OnF49psACnubnPfBGH6zd622ZMnFk/s400/manga+espaldas+ch.jpg" border="0" /><br />Esta obra es reciente, de hace dos o tres años para acá, y espero desarrollar mucho más este proyecto.</span></div><div><span style="color:#c0c0c0;">¿De qué voy a hablar en la próxima sesión? Quién sabe, es un nuevo año..... </span><div></div><div><div><div><span style="color:#c0c0c0;"></span></div><div><span style="color:#c0c0c0;"><br /></span></div><div><span style="color:#c0c0c0;">__________________________________________________________________</span></div><div><span style="color:#660000;">¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ENGLISH VERSION!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!</span></div><div><br /><span style="color:#c0c0c0;"><span style="font-size:130%;">"A Pillow Book</span> "</span></div><div><span style="color:#c0c0c0;"></span></div><div><em><span style="font-size:78%;color:#c0c0c0;">fragment from version II/fragmento de la versión II, "A Pillow Book", 2005</span></em></div><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148711566363188402" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeXc7CaVt7cMo8eQ2DS6bLxKZRalD3PWZgaG_nhY3zIh8RwsNFXd-PwxcX-tlMD5HCuq-rLXp3hAFbgliQ5SFxXOASM8TiLscy-MeR-ModPcbHXwgoTXzXMGMLG7JBaxJnUNsyAKtG9O6l/s400/thanks+for+everything+chico.jpg" border="0" /><br /></span><div><span style="color:#c0c0c0;">There are two versions of this work, the first one is smaller both in size and number of elements, and the second, much more extensive. I started working on this project in the beginning of the present decade, “trying to be more modern” I think. I tend to get stuck in the nineteenth century, but here I made it up to about 1950. Anyway, both versions consist of a series of cushions or pillows made up of fabric with images in transfer intervened by sewing. The first version is about 5 by 3 feet, and the second has 25 elements, mounted on plywood covered with red cloth, each pillow being approximately 12 by 16 inches.</span></div><br /><div><em><span style="font-size:78%;color:#c0c0c0;">fragment of version II/fragmento de la versión II, "A Pillow Book"</span></em></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5a5JAd7CRH788PJBKs-uw6InAurLf4QCYmzSyM_bkF6Dj69V3oAZsxe0Cre1Zlypf_3OEPMdfPiqZaDlQNpCxUF13L3-FDm4bO3U80chOlNiR_CNfWQH0L4Fcvymc5dZy8GNhn6bJ-qgm/s1600-h/pillowbook+struggle+chico.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148710746024434802" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5a5JAd7CRH788PJBKs-uw6InAurLf4QCYmzSyM_bkF6Dj69V3oAZsxe0Cre1Zlypf_3OEPMdfPiqZaDlQNpCxUF13L3-FDm4bO3U80chOlNiR_CNfWQH0L4Fcvymc5dZy8GNhn6bJ-qgm/s320/pillowbook+struggle+chico.jpg" border="0" /></span></a><span style="color:#c0c0c0;">This project occurred to me while watching (some long lonely night!) a movie by the Japanese director Akira Kurosawa, with subtitles in English: “ Drunken Angel”. The dramatic nature of the images together with the printed dialogue reminded me of that extraordinary genre, the Mexican photo-novel, and I decided to make my own version, imitation photo-novel, with a fragment of the movie. In the scene I chose, the hero, a young gangster dying of tuberculosis, tries to get a kiss out of his girlfriend who is about to abandon him for his rival (who isn’t sick). The kiss of death: she thinks it will infect her.<br /></span><div><br /><em><span style="font-size:78%;"><span style="color:#c0c0c0;">fragment of version II/fragmento de la versión II, "A Pillow Book", 2005</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO6iOu8IHl3d6xRex0k6EHaby2GKI70v5o7noUMoRuNkhDiQ3MJPJdgszbBsqs8rV6gvv6deu6qNF2NwrSUMO3KuNIn2xQqjlN6j3tnsnWe3OMTdOgLMwqnwzvB7JqrfbR50yLzNxk_aEF/s1600-h/pillowbook+struggle+II+chico.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148711076736916610" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO6iOu8IHl3d6xRex0k6EHaby2GKI70v5o7noUMoRuNkhDiQ3MJPJdgszbBsqs8rV6gvv6deu6qNF2NwrSUMO3KuNIn2xQqjlN6j3tnsnWe3OMTdOgLMwqnwzvB7JqrfbR50yLzNxk_aEF/s320/pillowbook+struggle+II+chico.jpg" border="0" /></span></a></span></em></div><br /><div><span style="color:#c0c0c0;">My son Andrés helped me connect the VCR (yes, it was back in the VCR days) to the computer in order to get a series of stills from the video, and with these computer print-outs I made the photocopies used in the transfer prints. The sewing works as a way of drawing on/intervening the photographic image, and making the work in the form of pillows creates a format similar to that of the photo-novels, as well as giving me an excuse to make a reference to the movie of Peter Greenaway (The Pillow Book) in my title. And the pillow business is appropriate thematically, since the scene is set in a bedroom.<br /><br />I was also interested in the work of Kurosawa because it takes Japan after their defeat in World War II, a Japan trying to assimilate the customs of their victors. I chose the scene for its intimacy and dramatic nature, two qualities which always attract me. I tend to get sucked into these bedroom dramas….</span></div><br /><div><span style="color:#c0c0c0;">__________________________________________________________________</span></div><br /><div><span style="color:#c0c0c0;"></span></div><br /><div><span style="color:#c0c0c0;"><span style="font-size:130%;">Manga Pieces</span> </span></div><br /><div><span style="color:#c0c0c0;"></span></div><div><em><span style="font-size:78%;color:#c0c0c0;">detail, print from the series "Manga"/detalle, grabado de la serie "Manga", 2007</span></em></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqtCUCbJK5qL4XaL2aKKu9hvdBs6C-iMaYY9tT52CB_4VuzOnPUJ0r25zCtE6240cBJgeSE1wrQCDQC4rQxvTESa_MDWrJECzA3SnCft_gOl4PSEbU7BTUwo3F3398dZIugboAgNRmoQVu/s1600-h/manga+plateada.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148844860673220066" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqtCUCbJK5qL4XaL2aKKu9hvdBs6C-iMaYY9tT52CB_4VuzOnPUJ0r25zCtE6240cBJgeSE1wrQCDQC4rQxvTESa_MDWrJECzA3SnCft_gOl4PSEbU7BTUwo3F3398dZIugboAgNRmoQVu/s400/manga+plateada.jpg" border="0" /></span></a><span style="color:#c0c0c0;"> </span><span style="color:#c0c0c0;">Caricature existed in traditional Japan in the form of ukiyo-e, printed pages that could be cut up to make booklets, cards, or stamps. And in Japanese scrolls narrative or sequential scenes were implicit. </span><div><span style="color:#c0c0c0;">But I find the modern Japanese comic (manga) interesting for the way in which it assimilates Western influences without abandoning the Japanese graphic tradition. What most attracts my attention, as usual, is the inherent dramatic quality of the images. </span></div><div><span style="color:#c0c0c0;"></span></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOtPbEo3aWSgatshKyIWYjM50dKKsnJx5AgaQAUDWOcF6FfTcX-Ua1SweI7_dofdWyxPn5VmdBEqilTzCnvWpKzwEUGSZ-yhbjsAuQ5eeBTG2t6Ua8QobH6JqWsnQAxfqmnTIPCmJwLXOW/s1600-h/florero+manga+oxido+grande+ch.jpg"><span style="color:#c0c0c0;"></span></a></div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOtPbEo3aWSgatshKyIWYjM50dKKsnJx5AgaQAUDWOcF6FfTcX-Ua1SweI7_dofdWyxPn5VmdBEqilTzCnvWpKzwEUGSZ-yhbjsAuQ5eeBTG2t6Ua8QobH6JqWsnQAxfqmnTIPCmJwLXOW/s1600-h/florero+manga+oxido+grande+ch.jpg"></a></div><div><span style="color:#c0c0c0;">I have already worked with graphic material from other cultures with the idea of taking a two-dimensional image and translating it into a three-dimensional state, into some sort of object. Ceramics was one of the media I have used, and the one I chose to apply to this project. </span></div></div></div></div></div></div></div></div></div><div><div><span style="color:#c0c0c0;">I translated various fragments of Japanese comics into woodcuts. When the woodcut is printed onto slabs of clay all the elements of the image become three-dimensional. The printed clay can be cut and rolled or accommodated in a mold to form a plate, etc. (Generally I work with stoneware or porcelain).</span></div><div><span style="color:#c0c0c0;"></span></div><div><span style="color:#c0c0c0;"><em><span style="font-size:78%;">cilindro, serie Manga/cilinder, Manga series, 2007</span></em><br /></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOtPbEo3aWSgatshKyIWYjM50dKKsnJx5AgaQAUDWOcF6FfTcX-Ua1SweI7_dofdWyxPn5VmdBEqilTzCnvWpKzwEUGSZ-yhbjsAuQ5eeBTG2t6Ua8QobH6JqWsnQAxfqmnTIPCmJwLXOW/s1600-h/florero+manga+oxido+grande+ch.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148711957205212370" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOtPbEo3aWSgatshKyIWYjM50dKKsnJx5AgaQAUDWOcF6FfTcX-Ua1SweI7_dofdWyxPn5VmdBEqilTzCnvWpKzwEUGSZ-yhbjsAuQ5eeBTG2t6Ua8QobH6JqWsnQAxfqmnTIPCmJwLXOW/s320/florero+manga+oxido+grande+ch.jpg" border="0" /></span></a></div></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOtPbEo3aWSgatshKyIWYjM50dKKsnJx5AgaQAUDWOcF6FfTcX-Ua1SweI7_dofdWyxPn5VmdBEqilTzCnvWpKzwEUGSZ-yhbjsAuQ5eeBTG2t6Ua8QobH6JqWsnQAxfqmnTIPCmJwLXOW/s1600-h/florero+manga+oxido+grande+ch.jpg"><span style="color:#c0c0c0;"></span></a></div><div><br /><em><span style="font-size:78%;color:#c0c0c0;">______________________________________incised stoneware/cerámica desgrafiada,1999<br /></span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiUEifYaZ6UI1XaEEzZjmeUvi_DU-QfarvBYqAvhswzaAVxMHICZldlKS6ElMpjdEUnor7sNUywJUk9i54nK1YpkgwR09hRyDsgZMBrRKzYUVHYWRC_bcnqKNZ_lX_ATiln72cVwUPUoFq/s1600-h/florero+perdido+ch.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148712966522527026" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiUEifYaZ6UI1XaEEzZjmeUvi_DU-QfarvBYqAvhswzaAVxMHICZldlKS6ElMpjdEUnor7sNUywJUk9i54nK1YpkgwR09hRyDsgZMBrRKzYUVHYWRC_bcnqKNZ_lX_ATiln72cVwUPUoFq/s400/florero+perdido+ch.jpg" border="0" /></span></a><span style="color:#c0c0c0;"><br /></span></div><div><span style="color:#c0c0c0;"><br /></span></div><div><span style="color:#c0c0c0;"></span></div><div><span style="color:#c0c0c0;">Mi idea was to make diptychs or triptychs combining the same woodcut printed in clay and printed on Japanese paper. But when I made the print on paper, I felt that the image needed some other element in order to create a more complex context and thus the possibility of more levels of perception of the finished work. So I decided to incorporate the small drypoint prints of the Microcosmos series into the finished manga prints. </span></div><div><span style="color:#c0c0c0;"><br /></span></div><div><br /><div><br /><br /><br /><br /><br /><br /><div><span style="color:#c0c0c0;">This work is recent (I started it several years ago) and is part of an on-going project.</span></div><div><span style="color:#c0c0c0;"></span></div><div><span style="color:#c0c0c0;">As for the subject matter of my next blog session.........who knows, it's a whole new year!</span></div><div><span style="color:#c0c0c0;"></span></div><span style="color:#c0c0c0;"><em><span style="font-size:78%;">detail, stoneware plate, detalle, plato de cerámica, 1999</span></em><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHWNmc07CRJ-yTw3k3fgymPjx5g_GgCcEkaWCJclNoifhCRPH69ke55nAE8ki2YMT5aD3Y1e4h_O6fxX4b8fVrDyYzYIqhlE61IN4hZ5ObNY6LS7BqoWq6mVh2Ua4oqwjAHrL28SiT2kkm/s1600-h/plato+redondo+japon%C3%A9s+(cer%C3%A1mica)+crop.jpg"><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5148713318709845330" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHWNmc07CRJ-yTw3k3fgymPjx5g_GgCcEkaWCJclNoifhCRPH69ke55nAE8ki2YMT5aD3Y1e4h_O6fxX4b8fVrDyYzYIqhlE61IN4hZ5ObNY6LS7BqoWq6mVh2Ua4oqwjAHrL28SiT2kkm/s400/plato+redondo+japon%C3%A9s+(cer%C3%A1mica)+crop.jpg" border="0" /></span></a><span style="color:#c0c0c0;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><div></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLxXcuaJvR79myEaEPZnKT4HwJrkesIZptnCDvE40qPhEm0tuMRXZuCKIHFUmHWZDNKXhQ-5ZlRWEMu700lmKoWyhLUDfmZYBD30u73Z1Mqf5sBGWWSJOd9Yrcj0CG4nngwk03H202_E25/s1600-h/plato+redondo+japon%C3%A9s+(cer%C3%A1mica)+ch.jpg"></a></div></div></div></div></div></div></div></div></div></div></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com2tag:blogger.com,1999:blog-1918551101172524357.post-18993567894701480652007-12-07T18:19:00.000-08:002008-01-04T15:37:38.533-08:00Chinoiserie, Japonesadas<em><span style="font-size:78%;color:#ffffcc;">Dos versiones de un mundo/Two Versions of a world, 1988<br /></span></em><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141422535980209794" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXwA29DUigh_VhJmK_Gc2rho8v-1G6_EHtewPbbnsy3Vivh9noKMtyocG5_AzA8lgkr1b-IuQ2yP08r-JVp13QLeT52vdOhjElIUo58orvoPqJfFs0gVDOXfl_LtxRWNIUd20_mYemwYjN/s400/dos+versiones+de+un+mundo+chico.jpg" border="0" /><br /></span><div><div><div><div><span style="color:#ffffcc;">En las próximas entradas al blog quiero hablar de la veta oriental tan recurrente en mi obra. <em>For the English versión, scroll down. </em><br /></span></div><br /><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">Japón, 1915/1950/Japan, 1915/1950,1988<br /></span></div></span></em><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141422755023541906" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPYYl2GKKGerF80s-vx65Jp0-O1a2ofMnTZMI0wtKd1ZQDraZWl_VscBEk22lmkxVByI4bQ-AoKkgNHayY62oKZaZ4poD4juNCEdY5QfDfBdAeRNkb6wj6i444UsVqgFl0EoX84omZew5M/s400/Jap%C3%B3n+1915-1950+chico.jpg" border="0" /><br />NARRATIVAS JAPONESAS<br /><br />¿Por qué japonesas? Me es un recurso recurrente, y a ciencia cierta no sé la razón. Pero puedo especular.<br />--es un ejercicio en otredad. Hay una mayor ambigüedad en las imágenes porque no manejo todas sus implicaciones culturales. Entonces puede haber niveles de lectura que ni sospecho. O que sospecho, pero no conozco. Y hay, para mí, una atracción inherente en lo desconocido, sobre todo si es visualmente seductor.<br />--el dramatismo de la cultura japonesa me es muy afán.</span></div><br /><div><em><span style="font-size:78%;"><span style="color:#ffffcc;">de la serie, Microcosmos/from the series Microcosmos, 199</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnCS2C5nQzOn8vOfI6ZXDVuIVr9Shh-dYD0i8j6iNj6SolneW0ZTUjrFpAuJRUHAwzwBMWTxEIe0MuBUxtYp_8PBXVm9FLrv1VNBdJmzn9ywNnJBHgFvtkY73t7qE0fKxvmr1pvF4n0YL/s1600-h/+microcosmos+adultera+chico.jpg"><em><span style="font-size:78%;color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141423523822687922" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnCS2C5nQzOn8vOfI6ZXDVuIVr9Shh-dYD0i8j6iNj6SolneW0ZTUjrFpAuJRUHAwzwBMWTxEIe0MuBUxtYp_8PBXVm9FLrv1VNBdJmzn9ywNnJBHgFvtkY73t7qE0fKxvmr1pvF4n0YL/s400/+microcosmos+adultera+chico.jpg" border="0" /></span></em></a><span style="color:#ffffcc;">3<br /></span></span></em><br /><br /><p><span style="color:#ffffcc;">--siempre me han interesado los puntos de intersección de culturas (por ejemplo, mi trabajo con el encuentro de los indígenas americanos con los europeos, y mis primeras imágenes de mestizas y mulatas.) El trasfondo siendo, quizás, mi propia condición de estar entre dos culturas.<br />--cada uno de estos proyectos se puede ver desde la perspectiva de la intersección de culturas.<br />--todo este trabajo consiste en la reelaboración de productos culturales ya existentes (apropiación e intervención). En este proceso, y al estar contextualizados dentro de mi obra, el original se tuerce para que lleve, además del trasfondo de su contexto original, un significado propio de su nueva situación. </span></p><p><span style="color:#ffffcc;">Me parece particularmente interesante practicar esta transgresión con material japonés, como los japoneses mismos son los maestros de mimetizar elementos de otras culturas y hacerlos suyos. Y por otro lado, en asuntos pertinentes a autoridad y género, mis valores son radicalmente distintos a lo tradicionalmente japonés. En ciertas imágenes, mi intervención cuestiona el contexto original, subrayando o cambiando su sentido.<br /><em><span style="font-size:78%;"></span></em></span></p><p><em><span style="font-size:78%;"><span style="color:#ffffcc;">de la serie, Floating World/from the series, Floating World</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8qvpf2JNf6FNqg0VNa50bGN-zhLaB_yWRoB3MvUMbzoAuFxwV3A3bKXi7uSFiTrXqCMYrDTAm5Y5UTl3RIFwYEiwx00oCA0twqFHWgWjw-uhzmDEHDflomYfBVnMqEFbg2SbvDVsSvh0K/s1600-h/floating+world+I+chico.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141423047081318050" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8qvpf2JNf6FNqg0VNa50bGN-zhLaB_yWRoB3MvUMbzoAuFxwV3A3bKXi7uSFiTrXqCMYrDTAm5Y5UTl3RIFwYEiwx00oCA0twqFHWgWjw-uhzmDEHDflomYfBVnMqEFbg2SbvDVsSvh0K/s400/floating+world+I+chico.jpg" border="0" /></span></a><span style="color:#ffffcc;"> , 1998</span></span></em></p><p><span style="color:#ffffcc;">¿Por qué narrativas? Narrativa en el sentido de mover en el espacio y tiempo, de crear algún tipo de dinámica. O llevar una secuencia. Narrativas que a veces son historias, pero definitivamente historias fragmentadas, y en algunos casos, re armables en otra secuencia en otro momento. Unos rompecabezas, que digamos…</span></p><p><span style="color:#ffffcc;">Las imagenes que aparecen aquí son de distintas etapas de mi carrera. Hay varias de los ochenta, principalmente dibujos.<br />El primer dibujo en aparecer, “Dos versiones de un mundo” es un pequeño tríptico que hace referencia a las distintas maneras de percibir una misma realidad. La segunda está basada en dos fotografías de mujeres japonesas, con 35 años de diferencia. Antes y después de la Segunda Guerra Mundial, pues. </span></p><div><span style="color:#ffffcc;"><br /></span></div><p><span style="color:#ffffcc;">El dibujo “El sonido del viento” (este es una obra bastante grande) combina una imagen decimonónica, europea, con otra tomada por un italiano, Beato, de un samurái en el Japón del silgo 19. El díptico “La persistencia de la memoria” (título originado por Dalí, por cierto) combina una imagen basada en la fotografía de una geisha en principios del siglo 20 con otra de una prostituta de Nueva Orleans fotografiado por el francés Bellocq (la película Pretty Baby lo volvió famoso). El primer dibujo tiene que ver con la disolución de una relación, y la segunda, con la mágica continuidad entre mujeres de una cultura y otra.<br /></span></p><p><em><span style="font-size:78%;color:#ffffcc;">de la serie "Floating World"/from the series "Floating World", 1993<br /></span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9N6z6ozyJvEvUkpUk3YR1GZhV_ygKS5VwNpW23abhZfHs8PWq4YwdkOQkKF9R9v0HoKCXOEe8hlnRU5x1EiZrdRlURVB5YZ7SDnmpISezzHg3oDguZwy5vhCI-eCW66WQQ8g6-8sdUkZ_/s1600-h/microcosmos+geishas+espaldas+chico.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141443439586039618" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9N6z6ozyJvEvUkpUk3YR1GZhV_ygKS5VwNpW23abhZfHs8PWq4YwdkOQkKF9R9v0HoKCXOEe8hlnRU5x1EiZrdRlURVB5YZ7SDnmpISezzHg3oDguZwy5vhCI-eCW66WQQ8g6-8sdUkZ_/s320/microcosmos+geishas+espaldas+chico.jpg" border="0" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghROJf1216Wz51wS8_uMGk3r-stVo12CpbwQtC0P8hIMp4A7tIArUMKv0gmIDP9Y5RFWq5vZyJcz4DGoSgsQSOLAozcuI03YvLwWqNXv6tCQ_6mHdqUdovfXByzoEIE0cj0Pn0eQjWOo24/s1600-h/microcosmos+geishas+espaldas+deslavadas+chico.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141443211952772914" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghROJf1216Wz51wS8_uMGk3r-stVo12CpbwQtC0P8hIMp4A7tIArUMKv0gmIDP9Y5RFWq5vZyJcz4DGoSgsQSOLAozcuI03YvLwWqNXv6tCQ_6mHdqUdovfXByzoEIE0cj0Pn0eQjWOo24/s320/microcosmos+geishas+espaldas+deslavadas+chico.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br /></span></p><div><span style="color:#ffffcc;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></span></div><p><span style="color:#ffffcc;"></span></p><div><span style="color:#ffffcc;"><br /><br /><br /><br /></span></div><p><span style="color:#ffffcc;"></span></p><p><span style="color:#ffffcc;">La imagen de la serie “Floating World” es de una de varias fotografías que tomé de una obra mía. La obra consistía en un espejo viejo intervenido con una fotocopia del ya mencionado Beato de una geisha. Al poner telas diferentes en frente del espejo, la imagen reflejada y fotografiada cambiaba, “flotaba”. El mundo flotante es una referencia al mundo de las cortesanas en el Japón antiguo, que se llamaba así.<br /><br />La primera imagen (un grabado chico en punta seca) de la serie “Microcosmos” es de una película japonesa, representa el principio del castigo de una mujer adúltera (eventualmente la matan, el procedimiento usual, aparentemente). Las gieshas de espaldas son de la misma serie "Microcosmos", pero están basadas en una fotografía de Beato. Y las mujeres acostadas con sus guardianes también. De un extenso collage de fotografías de bebés japoneses, el anuncio de un fotógrafo de bebés en principio del siglo XX en Japón, salieron otras imágenes de "Microcosmos".<br />Hay mucho más, esperen…luego viene “A Pillow Book”. </span></p><p><span style="color:#ffffcc;">_______________________________________________________________________</span></p><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141650122002257890" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUpQRJtF2PbnmQ_ftyWConJOiExIdjW3aXcoJgLFSQQaC6zTLnd-7ImmvEtq9kirvIkRze_IYOPnjlZy9ln2rIUh1Yc5pzpcrdLC-D5JLxrX_0wYHocVoGspdwOHcMT0O7DXgZ1Yp2WSBC/s400/el+sonido+del+viento+crop.jpg" border="0" /></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="font-size:78%;"><span style="font-size:100%;"><span style="color:#ffffcc;"><span style="font-size:130%;">In the next few blog entries I want to talk about the recurrent Oriental vein in my work. To wit:<br /><em>JAPONESE NARRATIVES</em></span><br /><br /></span></span><em><p><span style="font-size:78%;color:#ffffcc;"><em>El sonido del viento (si lo real no me es real, ¿porqué han de ser sueños, mis sueños?/The sound of the wind (If what is real is not real to me, why should my dreams be dreams?, 1990<img id="BLOGGER_PHOTO_ID_5141425078600849106" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK0CrnvDr2FlZK5a9GiKPb70skoJyGNd_1N3RKHUaKSjRun5Nc4paP04hT057VCmEDmIU4gM9Emo9U3UTN22Fn8ht-sgWo487SFark7rW7c_m87AdR3BGnct57Z1knKd_Ay1uWQHocoO7r/s400/el+sonido+del+viento+chico.jpg" border="0" /></em></span></p></em></span><br /><span style="color:#ffffcc;">¿Why Japanese? I tend to drift into Oriental imagery, although I’m not entirely sure why. I can, however, speculate…<br />--it’s an exercise in otherness. There is more ambiguity in the images because I’m not familiar with all the cultural implications. So there can be different readings of the work, readings I’m not even aware of when making it. Or that I suspect, but can’t confirm. And for me, there is an inherent attraction in the unknown, especially if it’s visually seductive.<br />--the dramatic nature of Japanese images is something I can relate to.<br /></span><div><br /><div><em><span style="font-size:78%;color:#ffffcc;">The persistence of memory/La persistencia de la memoria,1987</span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP6FUhhJSYG0MEep5ccKRiEJSAwrvVhyphenhyphen387ECJxwkw02zCRkXeM-8dlVuhzstwTjvg7t6ODUP8IJkKPfj2nizwiivb2ssmlN2RigQkJw71zYycCLWyGa61V9pbey2NiHeTOa8d48XzAtKI/s1600-h/la+persistencia+de+la+memoria+II+ch.jpg"></a><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141427230379464418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT8mhq7NzpxAjkpUFLSj-i6vaYCdese4BMikd0ZWY_ZhuFy6fI3KohbJhNH6aOZTEzGa7BVaQFhgnwEUim93hXNaKEyfRQhPHRf-AsagRbaxP1ATUBMTYmb4WsF3cDJoIaVZbuYWQkwbDP/s400/la+persistencia+de+la+memoria+chico.jpg" border="0" />--I’ve always been interested in the points of intersection between cultures. For example, my work with the historical encounter of the Native American and European cultures, and my early images of mixed race and “mestiza” women. I work with these themes, I imagine, because of my own situation of being between (or within) two cultures.</span></div><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht6CNFCC1G-GRZU-O3d3G8q_5zb-zMN_naVB55eB4aAQfM0gqDWxX-N8eOyfUf3sZPxk4UuUASCGP1Sd_RZI7kI41EgU5FBmS5zXlOKj8uvq3AFc6OYCwyS9xvL1oZ8zkxWaw3-5fYN_y_/s1600-h/la+persistencia+de+la+memoria+square.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141624395148154818" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht6CNFCC1G-GRZU-O3d3G8q_5zb-zMN_naVB55eB4aAQfM0gqDWxX-N8eOyfUf3sZPxk4UuUASCGP1Sd_RZI7kI41EgU5FBmS5zXlOKj8uvq3AFc6OYCwyS9xvL1oZ8zkxWaw3-5fYN_y_/s400/la+persistencia+de+la+memoria+square.jpg" border="0" /></span></a><span style="color:#ffffcc;"><br />--each of my projects involving Oriental themes can thus be seen from the perspective of the intersection of cultures.<br />--All the work involves the re elaboration of cultural products already in existence, (appropriation and intervention).<br /><br /><br /></span><div><span style="color:#ffffcc;">--Why narratives? These are narrative in the sense of movement in space and time, the creation of some kind of dynamic, or of a sequence. Narratives which sometimes are stories or histories, but definitely fragmented ones,, at times susceptible to being put together in a different way or in a different sequence, in another moment. Puzzles, perhaps. The images that appear here are from different stages in my career. There are several from the eighties, principally drawings.<br />The first drawing that appears, “Two Versions of One World”, is a small triptych, which refers to the distinct manners possible of perceiving the same reality. </span></div><br /><div><span style="color:#ffffcc;">The second is based on two photographs of Japanese women, with 35 years of distance. Before and after World War Two, that is.</span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz39QB6iErmVGseb8fiR9eWg2XDnH8zvH6_W2toF2NdJzhcjopLoSDdmqUQ7Qwcw4C-yHbIFoJhOFCsT_-F65uWY7WdzjwNSWZrEIB7MTvF4qIX-SqcnbKAYLg1S0C3TEnnZipwVMxjd4h/s1600-h/la+persistencia+de+la+memoria+square+bird.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141651831399241714" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz39QB6iErmVGseb8fiR9eWg2XDnH8zvH6_W2toF2NdJzhcjopLoSDdmqUQ7Qwcw4C-yHbIFoJhOFCsT_-F65uWY7WdzjwNSWZrEIB7MTvF4qIX-SqcnbKAYLg1S0C3TEnnZipwVMxjd4h/s400/la+persistencia+de+la+memoria+square+bird.jpg" border="0" /></span></a><span style="color:#ffffcc;"> The drawing, “The Sound of the Wind” (this is quite a large work) combines a nineteenth- century European image with another, of a samurai, taken by an Italian photographer in nineteenth –century Japan. The diptych “The Persistence of Memory “(a title borrowed from Dali, of course) combines an image based on a photograph of a geisha en in the early twentieth century with the portrait of a prostitute in new Orleans from the same historic period, taken by the French photographer Bellocq, (the movie Pretty Baby made him famous may years later). </span><div></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;">The first drawing has to do with the dissolution of a relationship, and the second, with the mysterious bond between women from one culture and another. </span></div><div><span style="color:#ffffcc;"><br /></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zi54Aiqcjo958xroqzXJqRrF-MvmmfF1Wi9xtxbqBPMN2MSKmnNTVbePlBbctgEJAcM0kciXVcxEEXw4BDlUECvB1eYO_NH5-cQKl1t1ntLnflGRrDnakP_lIonPWw-Q85so31eQz6zx/s1600-h/microcosmos+serie+ni%C3%B1os+I+chico.jpg"><div><span style="color:#ffffcc;"></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zi54Aiqcjo958xroqzXJqRrF-MvmmfF1Wi9xtxbqBPMN2MSKmnNTVbePlBbctgEJAcM0kciXVcxEEXw4BDlUECvB1eYO_NH5-cQKl1t1ntLnflGRrDnakP_lIonPWw-Q85so31eQz6zx/s1600-h/microcosmos+serie+ni%C3%B1os+I+chico.jpg"></div><div><span style="color:#ffffcc;"></span></a></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;">The first image from the series “The Floating World” is one of several photographs that I took of one of my works. The piece consisted of an old mirror with the photocopy of a geisha (by Beato) behind the glass where the silver coating had fallen off. I placed different materials in front of the work and as the reflections changed, so did the photographed image. “The floating world” is a reference to the world of courtesans in ancient Japan, which was thus designated. </span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><span style="color:#ffffcc;"></span></div><div><em><span style="font-size:78%;color:#ffffcc;">Bebés japonés de "Microcosmos"/Japanese babies from "microcosmos, 1993</span></em></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zi54Aiqcjo958xroqzXJqRrF-MvmmfF1Wi9xtxbqBPMN2MSKmnNTVbePlBbctgEJAcM0kciXVcxEEXw4BDlUECvB1eYO_NH5-cQKl1t1ntLnflGRrDnakP_lIonPWw-Q85so31eQz6zx/s1600-h/microcosmos+serie+ni%C3%B1os+I+chico.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141619636324390802" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zi54Aiqcjo958xroqzXJqRrF-MvmmfF1Wi9xtxbqBPMN2MSKmnNTVbePlBbctgEJAcM0kciXVcxEEXw4BDlUECvB1eYO_NH5-cQKl1t1ntLnflGRrDnakP_lIonPWw-Q85so31eQz6zx/s320/microcosmos+serie+ni%C3%B1os+I+chico.jpg" border="0" /></span></a></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghD8pDPOrwRzjf1ktUxk7wyEVBKHJvfo261rJPXxcUIluYbQSWe1LfNWBkAoubqUVCSP0FWj_rkmx_Z3MwmNBIm7TG4WdDhua6KxczMju2p2wO-KTmDgq-YnBMGTMA2lDdNJ-TYEnh5KZf/s1600-h/microcosmos+serie+ni%C3%B1os+II+chico.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141618914769885058" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghD8pDPOrwRzjf1ktUxk7wyEVBKHJvfo261rJPXxcUIluYbQSWe1LfNWBkAoubqUVCSP0FWj_rkmx_Z3MwmNBIm7TG4WdDhua6KxczMju2p2wO-KTmDgq-YnBMGTMA2lDdNJ-TYEnh5KZf/s320/microcosmos+serie+ni%C3%B1os+II+chico.jpg" border="0" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zi54Aiqcjo958xroqzXJqRrF-MvmmfF1Wi9xtxbqBPMN2MSKmnNTVbePlBbctgEJAcM0kciXVcxEEXw4BDlUECvB1eYO_NH5-cQKl1t1ntLnflGRrDnakP_lIonPWw-Q85so31eQz6zx/s1600-h/microcosmos+serie+ni%C3%B1os+I+chico.jpg"></div></a><div><br /><span style="color:#ffffcc;">The image (a small print in dry point) from the series “Microcosmos” is from a Japanese movie still that depicted the beginning of the punishment of an adulterous woman (eventually they killed her, the usual procedure, apparently.) The images of the backs of geishas are from photographs taken by Beato, and those of reclining women with their guardians as well.<br />From an extensive collage of Japanese babies, the window display of a Japanese baby photographer from the early twentieth century came more scenes from “Microcosmos.”</span></div><br /><div><span style="color:#ffffcc;">There is much more to come, starting with “A Pillow Book”.</span></div><br /><div><span style="color:#ffffcc;"><em><span style="font-size:78%;">Escenas de "Microcosmos"/Scenes from "Microcosmos", 1993</span></em><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyHHYlbsf5XqgHIPNl4ZukbudfL9QHITIMQ-fiJvDrgvzYiDWP6hUc8yef6pHxvsEpf0SYxqTjg2_qpigmpMGCXKeHYuyiHIHkIsmoo5Z5MOxLFy8S7xlpzZq8INem7nTjngBHiGn_SpW0/s1600-h/microcosmos+geisha+enferma++chico.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141445174752827218" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyHHYlbsf5XqgHIPNl4ZukbudfL9QHITIMQ-fiJvDrgvzYiDWP6hUc8yef6pHxvsEpf0SYxqTjg2_qpigmpMGCXKeHYuyiHIHkIsmoo5Z5MOxLFy8S7xlpzZq8INem7nTjngBHiGn_SpW0/s320/microcosmos+geisha+enferma++chico.jpg" border="0" /></span></a><span style="color:#ffffcc;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9JbC22fijrh4yTkvc9cf1yzax9pn-5bLwknAlGI0IcTDiaj76H7U_jmnuP5XANVgjkNNWd4yWM5wFDVy3A9aZmw1JuzGRbxvuBgCqc40nWvhU8ziXu1Stn_E259sLLRTbzLTlUcwc_Qj/s1600-h/microcosmos+geisha+acostada+chico.jpg"><span style="color:#ffffcc;"><img id="BLOGGER_PHOTO_ID_5141445376616290146" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9JbC22fijrh4yTkvc9cf1yzax9pn-5bLwknAlGI0IcTDiaj76H7U_jmnuP5XANVgjkNNWd4yWM5wFDVy3A9aZmw1JuzGRbxvuBgCqc40nWvhU8ziXu1Stn_E259sLLRTbzLTlUcwc_Qj/s320/microcosmos+geisha+acostada+chico.jpg" border="0" /></span></a></div></div></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com0tag:blogger.com,1999:blog-1918551101172524357.post-32232732286688644902007-11-12T07:10:00.000-08:002007-12-26T05:55:42.391-08:00"From the Edge...", last entry/"Desde la orilla...", última entrada<span style="color:#c0c0c0;"><em>Finally we are coming to the end of the </em>almost<em> endless essay "From the Edge, Both Real and Imaginary". Scroll down for the English version and the preceding chapters.</em><br /><br /></span><span style="color:#c0c0c0;">Por fin, el final del larguísmo ensayo, "Desde la orilla, real e imaginaria". Los capítulos previos se pueden encontrar más abajo. Las imágenes de esta entrada consisten en primero, dibujos y grabados de niñas, a petición de Angel de la Rueda, y fragmentos del políptico "America en Extremo".</span><br /><span style="color:#c0c0c0;"></span><br /><em><span style="font-size:78%;color:#c0c0c0;">"Mamá enojada con su pequeña hija"/"Mommy mad at her little girl", 1953 <img id="BLOGGER_PHOTO_ID_5131976271603162898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-Aouio_lWuMpdgZPXTIyecOCzTp1dK_6276PbvtPw7ipKI4C7Fctli-KHZNWBQeBzlzBrFQaHCLmbMI8YcvQ0qtC0MAjDMd-0SxN1QZNnZfe1c84g2ZLTexfnaQvg3QN0Zul1PV7kQ9x/s400/mmmy+mad+at+little+girl+small.jpg" border="0" /><br /></span></em><em><span style="font-size:78%;color:#c0c0c0;"><p></span></em></p> <span style="color:#c0c0c0;">Realmente no me gusta demasiado admitir que he enfrentado circunstancias para las cuales me he sentido poco preparada, que no he enfrentado bien, que me han abrumado, pero ya que lo pienso, sí me ha pasado, y recientemente.<br />La verdad, la década de los noventa no me fue fácil. En cuanto a mi carrera, es cuando me establecí bien, supongo. Incluso ahora me quedo atónita cuando recuerdo cómo trabajaba. Por ejemplo, cuando iba a exponer en el Museo de Arte Moderno, fui a ver la sala, y me asusté. Se veía enorme; me sentía de tamaño normal, pero mi obra se me hacía... infinitamente chica. Bueno, de tamaño, comparada con el lugar que tenía que llenar. No sé que es que impulsa a los hombres a hacer cuadros de tres por cinco metros, pero en mi obra un cuadro grande es de un metro por un metro. A lo mejor todo empieza por el hecho que los hombres tienden a tener sus talleres en otros lados, donde sus familias no los distraen, talleres que suponemos han de ser enormes y llenos de bocetos y cuadros en proceso y elementos de instalación y tarros medio vacíos de pintura y botellas vacías de vino y cajas de pizza deterioradas, etc. Siempre he tenido mis talleres en mi casa, así puedo trabajar mientras vigilo lo que está en el horno y volver a trabajar cuando los niños están dormidos (antes cuando mis niños no eran los hombres que ahora son.) Esto quiere decir que trabajo en mesas y en paredes no más altas que dos metros y pico. Además, por naturaleza me gusta trabajar dimensiones no muy grandes, es más íntimo.<br />Entonces para poder llenar aquel espacio me hice un calendario de lo que tenía que terminar y cuándo. Lo que más recuerdo es que decidí que no tendría tiempo para ir al cine en unos ocho meses. Pero sí llené las paredes, y después de eso las de varios museos más. </span><br /><br /><em><span style="font-size:78%;color:#c0c0c0;">"En suma, vista como una existencia que aparece en un alma, el mundo entero para cada quien es peculiar y privado a su alma en específico...FM Bradley citado por TS Eliot/"In brief, regarded as an existence which appears in a soul, the world for each is peculiar and private to that soul" FM Bradley quoted by TS Eliot, 1993 (I)</span></em><br /><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5131976525006233378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRE0Og_3RUbBvayrQLgqzPO9QtDd234aitVATJiIG3gbANLV2F0ziq8NSnvdi6tmyp2ATG9lmUs4OXpzTcvqPLFNe-tPiyoXRPJHAUDO6hJQYXil_z7U_s98oRi5MWyQbNtPVgTY2s3o8F/s400/en+suma,+vista...jpg" border="0" /><br />Al mismo tiempo (¿por no ir al cine?) mi vida social era cada vez más deficiente. Los círculos sociales del mundo del arte iban cambiando. En los ochenta, estuve bien dentro de ese circuito. Pero el mundo iba cambiando, y yo también, y poco a poco me encontraba más aislada. Volvía a rondarme el fantasma de ser la marginada. Y ya no tenía una pareja que me ayudara a integrarme. Es más, la mayor parte de la década no tuve pareja, y cuando la tuve, me complicaba más las cosas en vez de solucionármelas. Tenía unos amigos, buenos pero bastante ocupados, no exactamente un buen sistema de apoyo. Luego mis hijos se independizaron. Creo que fue en 1996 que empecé a vivir sola, prácticamente por primera vez en mi vida. Esto es sin contar seis meses en Boston en 1970, antes de meterme a una comuna de mujeres.<br />Mi hijo Andrés me regaló un gato cuando se fue. Todavía lo tengo, un siamés con mucho carácter y luego compré en Mercado Sonora una gata que nos resultó algo carente de carácter, pero que funge bien como mascota del siamés. (Andrés ya tenían cuatro gatos: Violencia, Crisis, Caos y Sismo. Quería regalarme más, pero me resistí.)</span><br /><p><span style="color:#c0c0c0;"><em><span style="font-size:78%;">"En suma..."/"In brief ...", (II)<img id="BLOGGER_PHOTO_ID_5131976842833813298" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivngCpWL7wcXg4rlWBz51MW5hc0CdWalY4iUwG28tzzUxDFWZVCfcxOngGvwQXLF2o270t6qRkagqt2uiA8ZY0IbYi4TrgR-SxREjbiefCDLwWiycn7WQI1pedend6TDBdH0ay2yuCvuXS/s400/en+suma,+vista.II..jpg" border="0" /></span></em> </span></p><br /><p><span style="color:#c0c0c0;">Y me pasó otra cosa. Desde 1994, empecé a tener anemia. Nadie (léase doctores) sabía por qué. Bueno, tenían sus teorías pero no me podían curar. Me había vuelto vegetariana pero volví a comer carne con la esperanza de sanarme. Y volví con una ex-pareja con la esperanza de alegrarme. Ninguna de las dos cosas tuvo el efecto deseado.<br /><br />En el dos mil hice una buena exposición (es decir, una que me satisfizo) en la galería de Arte Mexicano. Pensé, bueno, no tengo pareja, no tengo energía, pero estoy funcionando. Fui a sacar un certificado médico para tener seguro y el ginecólogo decidió que tenía un tumor en el útero. Estaba equivocado, pero sí tenía un quiste en un ovario. Luego me quiso operar y quitarme el ovario, ¿o eran los dos? y además el útero. “¿Pero por qué el útero?” le pregunté desconcertada. “¿Para que lo quieres?” me contestó.<br />Me hizo tomar una serie de exámenes caros y desagradables (como una tomografía.) Después de varios meses de estar especulando acerca de cuándo y cómo podría morir, fui a otro doctor. Este decidió tratar el quiste con hormonas (cosa que resultó) pero a pesar de la mejoría estaba yo cada vez más triste y sin energía. Fui a dar una plática a unos niños de preprimaria sobre que es ser “pintora” y la primera pregunta fue, “¿Por qué estás tan amarilla?” Y, mi cara estaba extrañamente hinchada. Así que no me sentía muy bonita que digamos. Además, estaba pasando por la menopausia. No nos gusta hablar de eso porque es como dejar caer el dato de que estamos al punto de dejar de ser “babes”, como dice una amiga, pero el hecho es que me estaba pasando y estaba sola. Pasaba días en el sofá sin ganas de hacer nada, y la idea de vivir treinta años más (suponiendo que llegara a tener ochenta) me llenaba de angustia, porque no se me ocurría nada que hacer con todo ese tiempo. Fue en ese entonces que una amiga, para un proyecto suyo, me hizo una entrevista en la cual cada vez que me preguntaba algo sobre la historia de mi vida, me echaba a llorar.<br /><br /></span><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Otra vuelta/Another whirl, 1985</span></em> <img id="BLOGGER_PHOTO_ID_5131980858628235122" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj29y09J9prqscCSkr-Q3z0Xx82wI2693QsGybs5nN1Qn0koUKGXlbjUg44kNcH3fLnQLejpoxbv8Up4GA-t-HskWTAqZjcZsgewZlXV99h_a4clXUVgs9tKbjs78XppzPUlfGF76P_6pZ0/s400/otra+vuelta+small.jpg" border="0" /><br />Finalmente me rendí y fui a un buen internista. Durante los años previos mi concepto de “doctor” había sido limitado a ginecólogos y doctores naturistas, para mi desgracia. Resulta que ya llevaba unos diez años de un hipotiroidismo cada vez más agudo. Se alenta el cuerpo, te engordas o te hinchas, te vuelves anémica, produce depresión...muy fácil de tratar, pero tardas un rato en normalizarte. Lo que me molesta es pensar cuán distinta podría haber sido esa década si no hubiera tenido este asunto bajando mi ánimo y robando mis energías.<br />De todos modos, aún con la bronca médica bajo control, la interacción del hipotiroidismo con la menopausia me había producido un bajón químico que era difícil de revertir. Seguía sintiéndome con una nube gris alrededor. O con un bloque de cemento encima. Seguía manejando mientras lloraba, y llorando mientras manejaba. Me recetaron un antidepresivo y no me pude parar de la cama. Se lo comenté al doctor y no me quitó el antidepresivo, pero me mandó vitaminas para viejitos. Lo dejé de tomar de todos modos. (Tomé las vitaminas). Ahora me he enterado de que dar antidepresivos es como inventar un cóctel personal para cada quien por prueba y error, con la posibilidad de no pueden dejar el tratamiento después. Entonces, a lo mejor no me perdí de mucho al evitarlos.<br />También me metí a un club muy acá con vapor y máquinas y personal trainers y lloraba en el yoga. La instructora estaba muy conmovida. Pensó que me había provocado una experiencia espiritual.</span><br /><span style="color:#c0c0c0;"><em><span style="font-size:78%;"></span></em></span><br /><span style="color:#c0c0c0;"><em><span style="font-size:78%;">El cumpleaños de Sylvia/Sylvia's birthday, 1983</span></em> <img id="BLOGGER_PHOTO_ID_5131978715439554386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm-3_3ntx1NXJiUzqypG71dEb5UZVkmZ14WC6XAbfYsZWdVn905o0F7XWV2AG7qTKTZDUCv_JuHd_Q-5L28x7wZShbipu3C5j6P_Ltrr72tFsd7E1dtHF-Pq_fE6vt75Y8avhAuc9uSubk/s400/cumplea%C3%B1os+de+Sylvia.jpg" border="0" /><br />Fui con una terapeuta y salía llorando más fuerte. Como Alicia, corría el riesgo de ahogarme en mis propias lágrimas.<br />No fui totalmente improductiva. Eché a andar varias cosas que luego me fueron de mucha ayuda. Una fue el aceptar dar una clase de gráfica alternativa en La Esmeralda, escuela de arte. Cuando empecé a dar clases ya había salido de mi bache, pero hoy en día encuentro el trabajo en la escuela una conexión orgánica y vital con el mundo que me hace mucho bien. Finalmente, ¿que podría ser más divertido que convivir con estudiantes de arte?<br />También empecé una nueva veta en mi producción, piezas que tienen menos que ver con “mujeres en su intimidad”, lo que solía ser mi tema predilecto, y más con la historia, historias personales, quizás, pero historia, al fin. Como que empecé a salir de mí misma, en cuanto a temática. Hice, por ejemplo, una instalación de imágenes trabajadas con transferencia y costura, basadas en fotografías de los pueblos indígenas de los extremos de América: Alaska, Canadá y Patagonia. Es una especie de narración de la época de su encuentro con los europeos, encuentro que resultó particularmente devastador en el sur. Me involucré mucho con las imágenes de esta gente al hacer el proyecto. Estaba tratando de reconstruir algo, de darles presencia y voz a pueblos marginados en su momento por su situación geográfica y su desventaja en cuanto a desarrollo, y finalmente, marginados también en el tiempo. </span><br /><span style="color:#c0c0c0;"><em><span style="font-size:78%;"></span></em></span><br /><span style="color:#c0c0c0;"><em><span style="font-size:78%;">El cumpleaños de Pati/Pati's birthday, 1983</span></em><br /><img id="BLOGGER_PHOTO_ID_5131979136346349410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDu0K6vxXlRCP5-VShUiYHOptsDhWwIRV5XR2z-EOPd83fDOVHeLp57kdxOassFA4qWOMriv4Dhz8969Xu6rODIIb9QAbiDaQT9OZfK1JO4ELxiRPPp7AqucFYUz9myKL0RTL-mJjqTaLI/s400/cumplea%C3%B1os+de+pati.jpg" border="0" /><br /></span><span style="color:#c0c0c0;">Paralelamente me encargaron, para el coloquio de artistas mexicanas y chicanas, una ponencia con el tema de “Sobrevivencia como artista.” En un principio me dio pánico, entre otras cosas porque no estaba tan convencida de que había sobrevivido o que sobreviviría. Pero resultó ser un vehículo para articularme, una forma de procesar lo que me estaba pasando.<br /><br />Y tuve suerte, me enamoré. Esto fue muy útil porque el enamoramiento produce muchas endorfinas, que contrarrestan la deficiencia química. Produces tu propia droga antidepresiva. Además, la suerte fue no tanto enamorarme (ya tenía un buen de experiencia con el fenómeno con resultados regulares), sino enamorarme con alguien con quien tenía la posibilidad de desarrollar una buena relación. ** No sé si podría ser receta médica, pero en mi caso, me encarriló otra vez. Así pude empezar a apreciar lo que nunca había perdido pero no estaba en condiciones de ver --vean, me estoy volviendo insoportablemente cursi, ya sé porque rehuía escribir todo esto. Pero efectivamente “fue triste mi historia, y su final feliz.” Sospecho que no tengo todo bajo control, pero ha vuelto mi optimismo incurable y la ilusión que yo sí puedo con todo...hasta con dos nacionalidades.<br /><br />--Carla Rippey<br /><br />*El buen gato Akira duró once años, hasta el verano pasado. Lo extrañamos.<br />**"Una buena relación" –cinco años más tarde, seguimos sin rendirnos.<br /><br /></span><em><span style="font-size:78%;color:#c0c0c0;">Un pastel para dos bastoneras/A Cake for two baton-twirlers, 1984</span></em><br /><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5131977860741062466" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7cqVazEfH7olhXEiyJvPaQqcEYeYZNQs6tA0XOc0CO2hCMDX1Uh03_-YBEH9V_7pzhXbFcirzVKI8OuqgxxXRgAuVEi52h5hjcSF3CdaJH6AVzFKzO8T3GRuJo5YiLF5mzslBlSSa-BYp/s400/pastel+para+dos+bastoneras.jpg" border="0" /> </span><span style="color:#c0c0c0;">__________________________________________________________</span><br /><br /><span style="color:#c0c0c0;">OK, you have arived at the English version! The images for this entry are drawn from drawings and prints of little girls (at the request of Angel de la Rueda) and fragments of the polyptych, "The Farthest Reaches of America".</span><br /><span style="color:#c0c0c0;"><em><span style="font-size:78%;"></span></em></span><br /><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Fragmento/"America en extremo"/Fragment,"The Farthest Reaches of America", 2001-5</span></em><br /><img id="BLOGGER_PHOTO_ID_5132007414411026466" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjczP0eFjz66aWg93ClNM1-fs2NNP6pVCgrmXYn3aU8f5Mss45Qx62416OBVHYe95cRtK_ytHdZ2GOr6G8dC_ovBdPmn8OZdg-EYDtUqVZ1VKqTgnukrk5AWa1GdUS12rrSuWNBZW_Mrppe/s400/Am%C3%A9rica+en+extremo-+the+murderer%27s+wife+small.jpg" border="0" /><br /></span><span style="color:#c0c0c0;">I really hate to admit that I’ve come up against situations that I’m not prepared to face, situations that I’ve handled badly, and that have overwhelmed me, but it has happened, and not so long ago.<br />The fact is that the nineties were difficult for me, although as far as my career is concerned, this was the period in which I really established myself as an artist. Now I’m amazed when I think back on how hard I worked. For example, when I was going to show in the Museum of Modern Art here in Mexico City, I went by to check out the museum spaces destined for my exhibit, and I was terrified. They looked enormous. I mean, I was of a normal size, but my work seemed…infinitely small, compared to the space I had to fill.<br />I don’t know what motivates men to make pictures nine by fifteen feet (for example), but in my production a big piece is three by three feet. Maybe it all starts with the fact that male artists tend to have their studios away from their homes, where their families can’t distract them, studios which we envision as huge and full of sketches and canvases being worked over and half-empty cans of paint and empty wine bottles and boxes of deteriorated pizzas, etc. On the other hand I have always had my studio in the house, so that as I work I can keep an eye on whatever is in the oven and go back to work when the kids are asleep (back when my children were boys, not the men they are today). This means that I work on tables and on walls no higher than around eight feet. Besides, I like working in smaller dimensions, it’s more intimate.<br /><br />Anyway, in order to fill that impossible museum space, I made myself a calendar of what I had to finish, and when. And I distinctly remember that I decided that I didn’t have time to go to the movies for eight months (I basically worked from 9 AM until midnight or later). But I did fill the museum halls and those of several other museums after that.</span> </p><p><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Fragmento,"América en extremo"/Fragment, "The Farthest Reaches of America, 2001-5<img id="BLOGGER_PHOTO_ID_5132006907604885522" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTx3k0y9aSUhtm58TMwLCo52lKZ87ZoVMjkWeAJPaimzLjkgCSjvQdSIcJfNTEGYJLle4-_Yx-XKBoH6rAz9dGeivJbyrqI3vfMsU7Ur0_yC-jHrCF9A9JaBUFoQMhDHtXDoRPz-l0GFJj/s400/Am%C3%A9rica+en+extremo-+familia+Selk%27nam+small.jpg" border="0" /></span></em></span></p><br /><p><span style="color:#c0c0c0;">At the same time (because I didn’t go to the movies?) my social life was increasing deficient. The circles in the art world were changing. In the eighties, I was quite integrated into the social circuit. But the world was moving and so was I, and little by little I found myself more isolated. The phantom of being the outsider was coming back to haunt me once again, and now I didn’t have a spouse to drag me to exhibits and parties, etc. I actually was alone most of the decade, and when I wasn’t, it made things worse instead of better. I did have friends, good but extremely busy friends, which was not exactly a support system. Then my kids grew up and moved away. I think it was in 1996 that I started to live totally by myself, for the first time in my life (except for six months in Boston in 1970, before I moved into a women’s commune).<br />My son Andrés gave me a cat when he left. I still have him*, a Siamese with a lot of character, and later I bought a female cat at a local market, who turned out to have not so much character, but she functioned well as a pet for the Siamese. (Andrés had four cats, whose names translate as Violence, Crisis, Chaos, and Earthquake. He wanted to give me more cats but I resisted.)<br /><br />Something else was happening to me. In 1994 I started becoming anemic. Nobody (that is, no doctor I consulted) knew why. They did have their theories but these led to no effective cure. I had been vegetarian for a while but I started eating meat again, thinking that might make me healthier. And I got back together with one of my exes, thinking that might make me happier. Neither plan had the desired effect.<br />In 2000 I put up a good show (good, meaning I liked it) in “Arte Mexicano”, Mexico City’s oldest gallery. Well, I thought, no energy, no spouse, but at least I’m functioning. </span><br /><br /><em><span style="font-size:78%;color:#c0c0c0;">Fragmento, América en extremo"/Fragment, "The Farthest Reaches of America", 2001-5<img id="BLOGGER_PHOTO_ID_5131984779933376418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSTSvllJLpoyl_8JW7jm3RMuXLFV9BqkZjZVh4P7AX0lYeDBI9zq3jAH9Ih6TAykWz2MA75mz8uF1A9hZx69Mp3gD1JbdA4ht0Lo_T7NYFWm_XtUPL1YpbveBez8t1kDIjegHFWaOrevjd/s400/Am%C3%A9rica+en+extremo,+detalle+(Selk%27nam)+small.jpg" border="0" /></span></em></p><div><div><div><br /><div><span style="color:#c0c0c0;">Then I went to get a medical certificate for insurance purposes and the gynecologist decided that I had a tumor in my uterus. He was wrong, but I did have a cyst in an ovary. So the doctor decided to operate and take out the ovary (or was it both ovaries?) and remove my uterus as well. “But why the uterus?” I asked, disconcerted. “What do you want it for?” He answered back.<br />I went through a series of expensive and very disagreeable examinations (like a cat scan, where they got confused and scanned the wrong part of me). After a few months of speculation as to how and when I might die, I changed doctors. The new doctor treated the cyst with hormones (it worked) but in spite of this advance I was progressively more listless and unhappy. I went to give a talk to some preschool kids about what it’s like to be an “artist” and the first question was, “Why are you so yellow?” And my face was like, puffy. So I didn’t feel exactly beautiful. Besides, I was going through menopause. We women hate talking about is because it lets out the fact that we’re about to stop being “babes”, as a friend of mine puts it, but the fact is, it was happening to me, and I was alone. I spent days on the sofa with no desire to do anything, and the idea that I might live thirty more years (supposedly, if I made it to eighty) horrified me, because I couldn’t imagine whatever in the world I would do with all that time. It was around then that a friend interviewed me for a project of hers, and every time she asked me a question about my life history, I started to cry.<br />Finally I gave in and went to see a good doctor of internal medicine. Up to then my idea of a “doctor” had been limited to gynecologists and naturopaths, unfortunately. And it turned out that I had been suffering from hypothyroidism for at least ten years, each year worse than the preceding. This condition slows down your system, making you retain liquids and thus get fatter or at least puffy, and it can cause anemia, as well as depression…it’s very easy to cure, but returning to normality takes a while.<br />What annoys me is to think how different those years could have been without this business robbing me of my energy and good spirits.</span></div><br /><div><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Fragmento, "America en extremo"/Fragment, "The Farthest Reaches of America", 2001-5</span></em> <img id="BLOGGER_PHOTO_ID_5131985497192914866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvXMVADAM3iCRj3UQXPHe7vkT0Smqz2MwA-VqN5n7WIUuxa43ZxdD-7R9dGpHccMYfyaWNLE9m6-_5_a8qAogbIj6UPVCH2uedv8tpFsuoPCZHAm_p1F6JcjFjP7H6jcyI-INrH-XHq-O2/s400/america+en+extremo,+closeup+small.jpg" border="0" /><br />Nevertheless, once the medical problem was under control, the interaction of the hypothyroidism with menopause had produced a chemical downward spiral that was difficult to reverse. I still felt like I was moving in a gray cloud, or trapped under a ton of cement. I kept on driving while I cried, and crying as I drove. I was prescribed an antidepressant which finished the job of destroying my energy. I told the doctor and he didn’t take me off it, he just added vitamins for the elderly to my prescription. I stopped taking it anyway (I did take the vitamins).<br />Since then I’ve learned that prescribing antidepressants is like inventing a personal cocktail by trial and error, with no guarantee that the treatment will work right away or be temporary. So maybe I didn’t miss much in avoiding the pills.<br />I also started going to a very posh club with a steam room and exercise machines and personal trainers, and I cried during yoga. The instructor found this very touching. She thought I was having a religious experience.</span></div><br /><div></div><div><span style="font-size:78%;color:#c0c0c0;"><em>Viajes a las pirámides, I/Trips to the Pyramids, I, 1985</em></span></div><img id="BLOGGER_PHOTO_ID_5131986600999509970" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUsGhluSuoszBHSfV4cT8nX77erwrl8btgTlxVpCTIbVlnAMIsLuMutZqSWxxulIveivJ45Emv3cSsrJoY7mQPMyfEx8hoOpCW1AyAG0ki_Dxi4fxn-7hORyjVx9SoZSr543PNAq6as4Cy/s400/viaje+a+las+pir%C3%A1mides+(grabado).jpg" border="0" /><br /><div><span style="color:#c0c0c0;">I went to a therapist and left crying harder. Like Alice, I was in danger of drowning in my own tears.<br />I wasn’t totally unproductive. I got going on several things that were to prove very useful for me. One was to accept an invitation to give an experimental printmaking class in a university art school. When I finally began to teach, I had already recovered my spirits, but the work provides me with an organic and vital connection with the world which has been very positive for me. Anyway, what could be more fun than hanging out with art students?<br /><br />I also started exploring a new vein in my own work, doing pieces that were less concerned with “women in their intimacy” (my old specialty) and more with history, personal history, probably, but history, nevertheless. Perhaps I was starting to grow beyond myself, thematically.<br />I made, for instance, an installation of images, sewing on transfers from photographs of the indigenous peoples of the extremes of America: Alaska, north Canada, and Patagonia. It was a sort of narration about the period of their encounter with the Europeans, an encounter which was particularly devastating for the groups from the southern hemisphere.<br />I got very involved with the images as I worked on the project. I was trying to reconstruct something, to restore in some measure the presence and voice of these people, excluded and endangered during their lifetime, and now fading from memory, isolated in the past.</span></div><br /><div><span style="color:#c0c0c0;"><em><span style="font-size:78%;">Viajes a las pirámides, II/Trips to the pyramids, II, 1985</span></em><br /></div></span><span style="color:#c0c0c0;"><img id="BLOGGER_PHOTO_ID_5131985879445004226" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5j5OTF0NacJJQxojmqmNeVD59alekjnQHGbjGK4rqdg0G3BD9yYtGcytgBXz0bihfzcdTgMJVPWKzSR3j-TyVsSbae30BD_SizBCK7vBCZcQVUwKJ54EipqRVpNQw4WJ33GVoH2v60kJ2/s400/viaje+a+las+pir%C3%A1mides+(grabado)+II+small.jpg" border="0" /><br />Around this time I was also asked to participate in a conference of Mexican and Chicana artists, with a paper entitled “Surviving as an Artist”. At first I was panic-stricken, partly because I wasn’t so sure that I had really survived or if I would continue to do so. But the essay turned out to be a vehicle for articulating myself, a way of processing all I had been going through.<br /><br />And I got lucky, I fell in love. This was very useful because falling in love produces lots of endorphins which counter arrest deficient body chemistry. You produce our own antidepressant drug. Anyway, the lucky part was not only to fall in love (which I’d already done a lot with mixed results) but also to do so with someone with whom I had a chance of building a decent relationship.**<br />I don’t know if this remedy could be prescribed to the public at large, but it certainly got me back on track. So that I could start appreciating all that I really hadn’t lost, but had lost the ability to perceive—wait, I’m about to get ridiculously maudlin; no wonder I hesitated before writing about all this “personal stuff”. Anyway, the story was sad, but not the ending.<br />I suspect I don’t have everything exactly under control, but my incurable optimism is back, along with the illusion that I can handle anything…even two nationalities.<br /><br />--Carla Rippey<br /><br />*Good old Akira the cat lasted out eleven years, until last summer; we miss him.<br />**"decent relationship" --five years later we are still hanging in there...</span></div><br /><div><em><span style="font-size:78%;color:#c0c0c0;">Akira y su mascota La Rata/Akira and his pet cat, The Rat, foto Dennis Callwood, 2001</span></em></div><img id="BLOGGER_PHOTO_ID_5132001526010863618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimW_gGPe7fUTyjZi6Nz6iZCg6KbZj0daOihY5N8mmf2duQIwGcO2cZbmnMWWgb2nJioaADFKoXQoSQXKZGMZ9wIs2W0bawsSJMUf-V2H5JujsFgx7KZ-y3m207ShkHeD4AZze-0Qab_8RM/s400/Akira+and+Rat+.jpg" border="0" /><br /><br /><br /><br /><div><span style="color:#c0c0c0;"></span></div></div></div>C. Rippeyhttp://www.blogger.com/profile/02343410169440394546noreply@blogger.com2