“SOÑEMOS JUNTOS. El camino hacia un futuro mejor” Por el PAPA FRANCISCO
Erwin Pérez
Sale a la venta, publicado por la Editorial Simon and Schuster, uno de los libros más importantes y necesarios del año: “SOÑEMOS JUNTOS. El camino hacia un futuro mejor” Por el PAPA FRANCISCO El Sumo Pontífice en su forma más personal, profunda y apasionada. Disponible en librerías y plataformas digitales desde el 1 de diciembre [Información ampliada, debajo de la fotografía]
_ En este libro el Papa explica por qué debemos, y cómo podemos, hacer que el mundo sea más seguro, más justo y más saludable. El texto es el fruto de muchos intercambios entre el Papa y su biógrafo, el periodista británico Austen Ivereigh, en las semanas posteriores al inicio del problema del coronavirus. __ En “Soñemos juntos” el Papa Francisco ofrece comentarios sobre temas cruciales, incluida la desigualdad de riqueza, el papel de la mujer en la sociedad y la iglesia, la crisis ambiental, la inmigración, el aumento de la polarización, el populismo y el fundamentalismo, y las relaciones raciales a la luz de las protestas por la muerte de George Floyd. __ A tiempo para la temporada navideña, este libro sirve como un recordatorio de la misión cristiana de servir a los pobres: durante las crisis, el Papa Francisco nos anima a tender la mano a los necesitados. De esa manera, no solo aliviará el sufrimiento de los demás, sino que también encontrará una nueva vida para usted y la sociedad. Contact: Erwin Pérez, publicista y periodista. [email protected] 786-277-8497
In my performance, I cherish the transformation of myself and the viewers into becoming the Cubeman, from which we look at life from a different perspective: mirror on mirrors where we can reflect themselves ad infinitum.
Photo: Victor Guido
I love the idea to free people held hostage by an unvarying routine.
I love the idea to break the monotonous routine of people and make their day in the best way with my performance.
The idea is that everyone comes together, regardless of their age, their gender, their race, their color, their religion. At that moment, we can transcend the barriers among us.
I love the idea that a performance awakens our senses and opens the doors to our imagination.
Primera Trienal Internacional de Performance Deformes
9 de noviembre hasta abril de 2021
Información en www.performancedeformes.cl
Tras una exitosa historia previa de casi dos décadas, Deformes se convierte en trienal. La primera versión se desarrollará bajo el contexto de crisis sanitaria mundial que instó a sumar al programa actividades en forma remota.
De forma inédita la Trienal Deformes se desarrollará durante seis meses, desde noviembre del 2020 hasta abril del 2021, con actividades tan diversas como talleres, conferencias, laboratorios y por supuesto performance en formato on line y presencial.
La primera parte de este proyecto se desarrollará a través de la red, entre el 9 y el 13 de noviembre con la participación de artistas de Irlanda, Irak, Irán, Cuba, Noruega, Alemania, El Salvador, Argentina, Holanda ,Francia, Italia, Costa Rica, Uruguay, Suiza, Suecia, Brasil, Dinamarca, España, Canadá, Portugal, Corea del Sur, Togo, Myanmar, Hong Kong, Nepal, Bangladesh, India y Chile.
De esta forma, en una primera etapa se realizará un encuentro en virtual para el cual se ha invitado a 60 artistas de 4 continentes a accionar en una transmisión en vivo, poniendo énfasis en cómo el contexto de pandemia y reclusión ha provocado cambios en el lenguaje de la performance.
A través de sus intervenciones, los creadores reflexionarán sobre el estado y el lugar del cuerpo en la virtualidad. Deformes online incluirá también charlas a cargo de los teóricos Miguel Ángel López (Perú), Víctor Vich Flores (Perú), Irina Garbatzky (Argentina), Alina Peña ( México) y Juan Pablo Sutherland (Chile) y Mildred Durán (Colombia). También se llevará a cabo el Laboratorio de Performance “En busca del Yo” facilitado por el antropólogo social y artista mexicano Gustavo Álvarez.
Posterior a este primer ciclo, se sumarán mensualmente nuevas actividades de similares características para concluir con una muestra presencial en Santiago (14 al 16 de enero) y Talca (18 al 22 de enero).
Historia
La primera versión de Deformes se llevó a cabo el año 2000 en Santiago reuniendo a creadores nacionales en torno a la performance, en un momento en que en Chile no había otros espacios dedicados a la disciplina.
La segunda versión, curada por Francisco Copello y Gonzalo Rabanal, se realizó en salas y espacios públicos de la ciudad, además de incorporar a artistas internacionales vinculados a las artes visuales, el teatro, la danza, la música, la antropología y las artes electrónicas.
A partir del 2006 el evento mutó a Bienal Internacional de Performance Deformes al alero de la Universidad Austral de Chile en Valdivia, con apoyo del Museo de Arte Contemporáneo MAC de Santiago. Tras seis versiones que combinaban acciones en vivo con actividades de formación, Deformes se convirtió en trienal a partir de este año, en la idea de poder contar con más apoyos e involucrar a mayor número de participantes.
Aparecer y desaparecer
Existen muchos ejemplos en el continente de prácticas donde el uso del cuerpo de manera performática genera una resonancia al momento de realizar protestas o denuncias políticas; sin ir más lejos, las Madres de la Plaza de Mayo en Argentina, o la Agrupación de Familiares de Detenidos Desaparecidos en Chile.
En Mil Mesetas, Deleuze y Guattari describen como máquina de guerra las relaciones de poder en las organizaciones sociales a partir de sus primeras formaciones en los pueblos nómades en contraste con las primeras formas del aparato de Estado. Así, la máquina de guerra “parece ser irreductible al aparato de Estado, está fuera de su soberanía y es previa a sus leyes”. Esta lectura delinea un estado de la práctica de la performance en Latinoamérica rebelde y subversiva que la ubica en las fronteras entre las artes visuales y la manifestación social.
En este contexto, sumado a la pandemia mundial, la primera Trienal Internacional de Performance Deformes ha invitado a los creadores a pensar en la performance desde tres ejes temáticos: Cuerpo, disolución y desaparición: el cuerpo en pantalla como residuo; La digitalización del cuerpo: acción, palabra y ritualidad; La virtualidad del cuerpo: aparecer y desaparecer en tiempos de guerra.
Todas la programación puede ser encontrada en la web www.performancedeformes.cl
Las acciones en vivo serán transmitidas a través del canal de Youtube de la Trienal.
Para asistir a las conferencias y laboratorios es necesario inscribirse en los siguientes enlaces:
Conferencias “Escenarios de batalla en el espacio público” y “Los cuerpos anormales como campo en disputa”
Laboratorio “En busca del yo”
Artistas internacionales
Alastair MacLennan-Irlanda, Alejandra Glez-Cuba, Alexia Miranda-El Salvador, Andrez Olmos-Bolivia, Ana Vela-Ecuador,Andrea Cárdenas-Argentina, Anastasia Yeremeyeva-Rusia, Barbara Le Beguec Friedman-Francia, Boris Nieslony-Alemania, Camillat Camillat-Brasil, Carmen Lafran-Alemania, Christine Brault-Canadá, Chumphunut Phuttha-Tailandia, Chumpon Apisuk-Tailandia, Cinthia Vargas-Ecuador, Daniela Giebel-Bolivia, Dani d’Emilia-Portugal, Emilio Santisteban-Perú, Evamaria Schaller-Alemania, Leafa Wilson-Nueva Zelanda, Juan Angel Italiano-Uruguay, Javier Sobrino-Argentina, Jessica van Deursen-Holanda, José Roberto Sechi – Brasil, Khaing Su-Myanmar, Kiyo Gutierrez-México,Olga Kozmanidze- Alemania/Rusia, Manuela Maroli-Italia, Marcela Cadenas-Colombia, Markus Goessi-Suiza, Marton Robinson-Costa Rica, Mauritz Tistelo-Suecia, Mohammed Abd Alwasi-Irak, Mongkol Plienbangchang-Tailandia,Moon Jaeseon-Corea del Sur, Nenad Bogdanovic-Serbia-ex-Yugoslavia, Nina Claire-Noruega, Peter Baren-Holanda, Ras Sankara Agbok-Togo, Razieh Goudarzi-Irán, Smitha Cariappa-India, Sanjoy Chakraborty-Bangladesh, Saurganga Darshandhari-Nepal, Sophie Dupont-Dinamarca, Sophie Scheifele and Olivier Schlund -Francia, Takumi Hashimoto-Japón, Yeuk To-Hong Kong, Yvette Teeuwen-Holanda, Uma Banerjee-India, Vaida Tamos eviciute-Lituania, Abel Azcona.
Artistas nacionales
Carmen Berenguer, Hernán Parada Gonzalez, Brisa MP en colaboración con Manckacen, Estela Morales, Mar Marianne, Paz Jara, Ginés Olivares, Carolina Jerez Berenguer, Carolina Hernández, Gonzalo Rabanal.
La Primera Trienal Internacional de Performance Deformes se realiza gracias al financiamiento de los Fondos de Cultura FONDART, convocatoria nacional 2020 y cuenta con el apoyo de Galpón Tinajas, Centro Cultural Ruda y Centro Cultural Candelaria en difusión
Immerse yourself in the mind and process of Sol LeWitt
Sol LeWitt
Sol LeWitt’s larger-than-life wall drawings are acclaimed around the world. He influenced an entire generation of artists as a founder of Conceptual and Minimal art. And now, thanks to a new app, art lovers can get an unprecedented inside look at his life and work.
Sol LeWitt
“The idea was that we all wanted to re-invent art; we thought that art had come to a dead end, that it was the end of something, the end of modern art. All the people that were involved wanted to do something that started from ground zero.”
– Sol Lewitt
Sol LeWitt
And reinvent he did. Today, LeWitt is known as a leading figure of Minimalism and one of the key founders of Conceptual art, which focuses on the idea and process of art rather than just the final product. He also went on to find international acclaim for his highly geometrical works—particularly his larger-than-life wall drawings, which come with an intricate set of instructions that need to be followed precisely. As a result, the wall drawing installations are unique to each location. Through these installations, he was striving to turn art into a more collaborative process.
“The idea becomes a machine that makes the art,” LeWitt famously said. Today, a new idea in the form of a multimedia app is bringing his art, story, and creative process to life for the next generation of art lovers.
In a time when museums and educators are urgently seeking out ways to make art accessible to visitors and students, the Sol LeWitt App is a groundbreaking example of what’s possible when art meets technology. Stemming from a collaboration between the Sol LeWitt Estate and Microsoft, the app weaves together rich storytelling and never-before-seen footage so people can see LeWitt’s process come to life, virtually tour his studio, and magically unlock a trove of information by using AI to scan his wall drawings.
The Sol LeWitt App was authored and curated by Lindsay Aveilhé, a New York-based curator and LeWitt-specialist with a particular interest in emerging technology in arts education. She’s the editor of the catalogue raisonné Sol LeWitt Wall Drawings and co-editor of Sol LeWitt Writings and Selected Interviews. She believes that this new app captures the spirit of his legacy, given that he was a proponent of making art available to everyone.
Sol LeWitt
“His decision to use assistants [to install his wall drawings] was out of necessity but also a very political gesture for him,” says Aveilhé, adding that LeWitt was passionate about advocating for the rights and fair payment of artists and art workers long before it was a hot topic on social media (and long before there was even social media). “He believed anyone can be an artist, and that he and those who assisted him would become collaborators in making the art… and, in that way, the art becomes more democratic.”
“If you want to be able to disseminate knowledge as widely as possible, then tech is the way to do it.”
– Lindsay Aveilhé
Sol LeWitt
It’s fitting, then, that the app gives anyone—whether at home, at school, or at a museum—the ability to dive deep into LeWitt’s art on a large scale. It explains some of the more complex concepts he explored, like seriality or geometric and isometric shapes, while offering a sense of personal connection and understanding. “We’re able to use technology to explain how and why he created a work, which is really cool,” says Aveilhé. “And the studio tour is really special,” she adds, “I haven’t seen anything quite like it. To have so much unique documentation of Sol’s own voice, to have video, and a studio tour—it’s super in-depth and personal.”
The more you dive into LeWitt’s art, the more it seems timeless—like his ideas and influence are all around us, living on and evolving in the hands of new artists and designers today. And that’s because they are. It’s almost as though LeWitt could sense his future legacy before his passing in 2007, when he said: “If anyone asks, tell them my best work is yet to come.”
Microsoft & The Sol LeWitt Estate would like to thank the following institutions for their support with promotional content: MASS MoCA, The Met, Christie’s, Museum of Contemporary Art Chicago, Paula Cooper Gallery, Artifex, Stedelijk Museum, Amsterdam, Bonnefanten Museum, Architekturzentrum Wien, Le Case d’Arte, ARTASLINK, Yale University Art Gallery, Kunsthalle Bern, SFMOMA, Guggenheim, MOMA, and the Morgan Library.
Ahead of the 49th edition of Art Basel: browse this year’s artists from Beuys and Basquiat to boundary-breaking emerging talent in the latest volume of our Online Catalog.
View the app to see what your favorite artists and galleries are up to this year, or browse the participants in Art Basel’s Statements, Edition, Unlimited, and Parcours sections.
Bookmark your must-see pieces, then take them on-the-go with the Art Basel app, which is available for iOS and Android.
Press Release Art Basel announces new Online Viewing Rooms concept, with two freestanding, thematic editions taking place in September and October
Featuring no more than 100 galleries in each edition and running over the course of four days, this new format will give Art Basel galleries the opportunity to present tightly curated exhibitions drawn from their programs, showing six works simultaneously. Live from September 23 to September 26, “OVR:2020” will be dedicated to works made this year, while “OVR:20c”, live from October 28 to October 31, will exclusively feature works created in the 20th century.
Both iterations will be open to proposals from all galleries that have been accepted to an Art Basel fair from 2018 onwards. Applications will be reviewed by newly formed Selection Committees that consist of prominent gallerists. The September “OVR:2020” Selection Committee comprises Sadie Coles, Massimo De Carlo, Mills Morán, Prateek Raja, Lisa Spellman and Jasmin Tsou while the Selection Committee for October “OVR:20c” comprises Emi Eu, David Fleiss, Thiago Gomide, Steven Henry, Lucy Mitchell-Innes and Mary Sabbatino.
In addition to ongoing platform software development, these new Online Viewing Rooms will introduce a new live-chat feature allowing visitors to directly engage with galleries. For the first time, Art Basel will charge for participation in the Online Viewing Rooms platform – a flat fee of CHF 5,000 for either of the upcoming two editions within the novel format.
Marc Spiegler, Global Director, Art Basel said: ‘While the art market still faces difficult times, we feel it is pivotal for us to continue exploring different ways of supporting galleries and engaging with our audiences. The highly-focused September and October editions of the Online Viewing Rooms provide our galleries with new opportunities in this highly dynamic moment.’
In December, regardless of whether Art Basel can proceed with the show in Miami Beach, another Online Viewing Rooms event will be taking place with details to follow in the early fall.
The Online Viewing Rooms will be available via the Art Basel website under artbasel.com/ovr and the Art Basel App. More details on participating galleries and their presentations will become available in the coming weeks.
Sarah Lunnie is a dramaturg who works, primarily, on new plays.
Recent projects include Heidi Schreck’s What The Constitution Means to Me (Broadway, New York Theatre Workshop, Clubbed Thumb), Anne Washburn’s Shipwreck (Woolly Mammoth, Public Theater), and Bess Wohl’s Grand Horizons (2ST at The Hayes). As a company member with The Mad Ones, she collaborated on the creation of Mrs. Murray’s Menagerie (Ars Nova); Miles for Mary (Playwrights Horizons, Bushwick Starr); The Essential Straight & Narrow (New Ohio), and Samuel & Alasdair: A Personal History of the Robot War (New Ohio, the Brick). She also maintains a long-running collaboration with the playwright Lucas Hnath, and dramaturged the Broadway productions of his plays Hillary & Clinton and A Doll’s House, Part 2; The Thin Place (Playwrights Horizons); and the Humana Festival premieres of The Christians, nightnight and Death Tax. Other work includes dramaturgy for the Humana Festival premieres of Mona Mansour’s The Hour of Feeling, Charles L. Mee/SITI Company’s Under Construction, and Jeff Augustin’s Where The Mountain Meets The Sea, featuring original music by The Bengsons.
Sarah recently directed workshops of David Adjmi’s The Blind King (Sundance Theatre Lab) and Mashuq Mushtaq Deen’s The Empty Place (New Dramatists), and produced Ngozi Anyanwu’s Good Grief and Lucy Thurber’s Transfers for Audible. She makes audio plays for very small audiences with Telephonic Literary Union.
She was previously an Associate Artistic Director of the Jungle Theater in Minneapolis, where she collaborated with Artistic Director Sarah Rasmussen and her staff on artistic planning and new work development. Before that, she was the Literary Director at Playwrights Horizons, where she managed the theater’s script submissions and scouted new work, consulted on season programming and new play commissions, and co-produced the theater’s new-play labs and audience education programs. Before that, she was the Literary Manager at Actors Theatre of Louisville, where she curated and developed new work for the Humana Festival of New American Plays. She is the co-editor, with Amy Wegener, of several volumes of Humana Festival play anthologies.
Sarah has worked as a dramaturg at Actors Theatre of Louisville, Ars Nova, the Bushwick Starr, Clubbed Thumb, Denver Center Theatre Company, the Kennedy Center for the Performing Arts, The Lark, Ma-Yi Theater Company, Montana Repertory Theatre, New Dramatists, New York City Ballet, New York Theatre Workshop, the O’Neill National Playwrights Conference, the Baltic Playwrights Conference (Estonia), Playwrights Horizons, Second Stage, SPACE on Ryder Farm, the WildWind Performance Lab at Texas Tech, Woolly Mammoth Theatre Company, and on Broadway. She is a company member with The Mad Ones. She teaches in the Department of Dramatic Writing at NYU’s Tisch School of the Arts and is a graduate of Boston College, where she studied theater and creative writing.
She lives with her family in Brooklyn.
Photo by Marielle Solan, courtesy of New York Theatre Workshop.
This fall, Sarah is co-creating Human Resources with Telephonic Literary Union for Woolly Mammoth Theatre Company, and dramaturging the radio play adaptation of Anne Washburn’s Shipwreck at the Public Theater.
Last season, Sarah dramaturged productions of Lucas Hnath’s The Thin Place (Playwrights Horizons), Bess Wohl’s Grand Horizons (2ST at the Hayes), Anne Washburn’s Shipwreck (Woolly Mammoth), Eric John Meyer’s The Antelope Party (Dutch Kills), and Jeff Augustin’s Where the Mountain Meets the Sea (Humana Festival), featuring original music by the Bengsons. (The latter two are still awaiting their openings, COVID.) She also directed a series of workshops of Mashuq Mushtaq Deen’s The Empty Place at New Dramatists and David Adjmi’s The Blind King at the Sundance Theatre Lab, produced Ngozi Anyanwu’s Good Grief and Lucy Thurber’s Transfers for Audible, and provided dramaturgical support at the fall intensive of the New York Choreographic Institute at New York City Ballet.
THE TRIP was founded in 2012 by Joshua Brody and Tom Dugdale. We have worked site-specifically on many occasions, in locations ranging from a parking garage (Fool for Love) to a former military barracks (THE TRIP’s Macbeth, All The Rooms of the House) to one of San Diego’s hottest tattoo shops (Three Plays in a Tattoo Shop), where an audience member was (willingly!) tattooed as part of the performance. La Jolla Playhouse supported two major site-specific works by the company—a backyard barbecue staging of Our Town and Chekhov’s Three Sisters on a tennis court. These were cornerstone productions of La Jolla Playhouse’s Without Walls Festival. The Trip’s Orpheus & Eurydice, a multi-platform adaptation of the myth through online content, live performance, and film, was nominated for Best New Play by the San Diego Critics Circle. In 2018, THE TRIP created This might be the end at Theaterlab in New York.
JOSHUA KAHAN BRODY
Thank you for visiting. I am a freelance theater director, educator, and performer. I’m a co-founder of THE TRIP, and am currently based in New York City. I am a dual citizen of the United States and United Kingdom and the recipient of a 2015 Princess Grace Award. I have a BA from Yale University and an MFA from the University of California – San Diego. I live in Brooklyn with my wife, Sarah, and our dog Carla.
Actors Theatre of Louisville performs WHERE THE MOUNTAIN MEETS THE SEA, written by Jeff Augustin, directed by Joshua Kahan Brody and music by The Bengsons. Nathan Hinton, Allan K. Washington, and the Bengsons star in this production included in The Humana Festival of New American Plays 2020.
JOSHUA KAHAN BRODY’s work
Tom Dugdale
Tom Dugdale is an artist working primarily in theatrical space and situation, employing approaches that balance experimental and community-engaged practices. His work explores formal disruption, site-specificity, the absurdly mundane, and intersections of theatre with science and medicine. Tom is invested in the idea of art as an articulation of resilience and human potential. He was a founder of THE TRIP, a performance group in San Diego that reconsidered canonical works, and he received the Princess Grace Award in Theatre. He is Assistant Professor of Theatre at The Ohio State University in Columbus, Ohio.
Daniel Gerhartz began his art education at the American Academy of Art in Chicago where he studied in the classical tradition and immersed himself in applications of technique and design. Daniel’s direct approach to working with the figure and landscape allowed him to see and attempt to capture the infinite nuances of light, color, and form. Daniel has taught workshops for over 25 years and is excited to share his knowledge with many artists from around the world.
What You’ll Learn: -Learn valuable tips as Daniel works with the model outdoors amidst changing light conditions and has to make critical decisions as to continue or begin a new work to make the most of the moment. -Daniel thoroughly explains how to read the values on your subject for tonal accuracy within your paintings to create the most convincing illusion of light and form. -Daniel’s accessible and easy to understand approach in building solid form and capturing light can be easily implemented into your painting style, bringing your paintings even greater strength. -You will see how every brushstroke is applied and gain a knowledge as to why it was applied. -and much more…
Video Length: 01:29:04
Streaming access
PRICE: $65.00
What You’ll Learn
Learn valuable tips as Daniel works with the model outdoors amidst changing light conditions and has to make critical decisions as to continue or begin a new work to make the most of the moment.
Daniel thoroughly explains how to read the values on your subject for tonal accuracy within your paintings to create the most convincing illusion of light and form.
Daniel’s accessible and easy to understand approach in building solid form and capturing light can be easily implemented into your painting style, bringing your paintings even greater strength.
You will see how every brushstroke is applied and gain a knowledge as to why it was applied.
Your creativity will come alive as you experience Daniel’s enthusiasm as he shares his excitement that draws him to the essence of the subject.
Daniel will teach you how to see edges accurately and shares His concepts that help you create the most variety in your edge work, bringing visual power to your paintings.
In this painting, Daniel specifically explains how to look for warm and cool tones while maintaining value simplicity to achieve the greatest form and luminosity in your subjects.
While Dan demonstrates these principles in portrait painting, these same techniques apply to any other subject matter or medium as well, including landscape and still life painting.
Full Video Length: 01:29:04
Dan Gerhartz paint teacher
About Dan Gerhartz
Daniel Gerhartz was born in Wisconsin in 1965 where he now lives with his wife Jennifer and their five children. His interest in art piqued at an early age when a teenage friend suggested they spend one dreary afternoon drawing. It was at that moment that he discovered his life work. Daniel began his art education at the American Academy of Art in Chicago where he studied in the classical tradition and immersed himself in applications of technique and design. After a brief stint in commercial art, he began pursuing fine art; visiting museums to study master works and painting alongside contemporary master artists. Daniel found his passion in painting from life. This direct approach to working with the figure and landscape allowed him to see and attempt to capture the infinite nuances of light, color, and form. This continues to drive his enthusiasm today. Since then he has been featured in solo and group shows across the country and has won numerous awards at prominent national invitational exhibitions and his work has been collected both nationally and internationally.
His subjects evoke a timelessness and idealism, yet for the most part Dan has drawn upon his home and community, including family and friends, for subject matter.
In addition to painting, Daniel has taught workshops for over 25 years and is excited to share his knowledge with many artists from around the world.
Daniel Gerhartz has established himself as an important American painter among the leading talents of our time. About his work Dan has said, “ My goal is to effectively record the richness of our human experience, the contrasts between life and death, the dance and dirge, the beautiful and common, joy and sorrow, hope and despair, while in the end, offering a message that points the viewer to an eternal hope”. In addition Dan states, “ As I paint my subjects from life and have the privilege of studying the awe inspiring breadth and depth of the beauty of the created world, it is humbling to ponder the greatness of our Creator.”
