La Competencia Internacional de Ballet de Miami (MIBC) Regresa en su Sexta Edición
La Competencia Internacional de Ballet de Miami (MIBC) Regresa en su Sexta Edición
Los maestros Vladimir Issaev y Yanis Pikieris, Directores Artísticos Fundadores de MIBC, anuncian el regreso de la Competencia Internacional de Ballet de Miami (MIBC) al Julius Littman Performing Arts Theater que se llevará a cabo del 25 al 29 de enero del 2023. El evento contará con unos cien participantes en edades comprendidas entre los 9 a los 24 años, provenientes de México, Puerto Rico, Perú, Panamá, Ucrania, Colombia, El Salvador, Japón, y los Estados Unidos.
La Competencia Internacional de Ballet de Miami (MIBC) Regresa en su Sexta Edición
La misión de la Competencia Internacional de Ballet de Miami (MIBC) es la de proporcionar un ambiente único y positivo donde los participantes muestren lo mejor de sus habilidades dancísticas mientras crean contactos y obtienen nuevas oportunidades para continuar desarrollando sus carreras y/o entrenamiento profesional. Como de costumbre desde su fundación, los directores artísticos dividen el evento en tres categorías: Individual, Pas de Deux y Ensemble (Coreografías Grupales). El Jurado estará integrado por un grupo de reconocidos maestros y directores internacionales de ballet, entre ellos Rubén Martín Cintas del American Ballet Theater, Ivy Chung de Asia Ballet Academy, Jennifer Kronenberg directora de Dimensions Dance Theatre of Miami, Elisabetta Hertel de Florencia en Italia (donde se celebrara el próximo Open en Marzo) Kenichi Soki, de Soki Ballet in Tokio, Victoria Schneider del Harid Conservatory, Miao Zong, del Ballet Opera du Rhin en Francia, Gentry George, profesor de New World School of the Arts y representando Dance Theatre of Harlem, y Ettiene Diaz, maestro de ballet en el Rock School for Dance Education. Además de evaluar arduamente a los bailarines, algunos de ellos serán quienes dicten las clases magistrales durante el programa, una característica única de este evento, en comparación con otras competencias de ballet en Estados Unidos.
La Competencia Internacional de Ballet de Miami (MIBC) Regresa en su Sexta Edición
Otros invitados incluyen a la incomparable Mary Carmen Catoya y Roberto Forleo y Philip Broomhead quienes vendrán a ofrecer becas a los participantes para asistir a los programas de Florida Ballet y Orlando Ballet respectivamente. Para culminar, se llevará a cabo La Celebración Internacional de Ballet de Miami en la que estrellas invitadas del Houston Ballet, como lo son Karina González y Connor Walsh competirán el escenario con los bailarines ganadores y algunos seleccionados para una noche de celebración de la danza. El evento se estima que comenzará a las 3:30 de la tarde el domingo 29 de enero.
La Competencia Internacional de Ballet de Miami (MIBC) Regresa en su Sexta Edición
Gracias al apoyo de la Ciudad de North Miami Beach, todas las rondas de la competencia, incluyendo la Celebración, estarán abiertas al público de manera gratuita.
El Julius Littman Theater está ubicado en el 17011 NE 19th Avenida, North Miami Beach, Florida 33162. El estacionamiento es gratis para todo el público. Este programa está patrocinado por la Ciudad de North Miami Beach, la División de Arte y Cultura del Departamento de Estado del Estado de Florida y el Departamento de Asuntos Culturales del Condado Miami Dade. Para obtener más información, visite nuestro sitio web en www.miamiibc.org o síganos en Instagram y Facebook @miamiibc.
Magdalena Dabrowski Department of Modern and Contemporary Art, The Metropolitan Museum of Art
The remarkable career of Henri Matisse, one of the most influential artists of the twentieth century, whose stylistic innovations (along with those of Pablo Picasso) fundamentally altered the course of modern art and affected the art of several generations of younger painters, spanned almost six and a half decades. His vast oeuvre encompassed painting, drawing, sculpture, graphic arts (as diverse as etchings, linocuts, lithographs, and aquatints), paper cutouts, and book illustration. His varied subjects comprised landscape, still life, portraiture, domestic and studio interiors, and particularly focused on the female figure.
Initially trained as a lawyer, Matisse developed an interest in art only at age twenty-one. In 1891, he moved to Paris to study art and followed the traditional nineteenth-century academic path, first at the Académie Julian (winter 1891–92, under the conservative William-Adolphe Bouguereau), and then at the École des Beaux-Arts (1892, under the Symbolist painter Gustave Moreau). Matisse’s early work, which he began exhibiting in 1895, was informed by the dry academic manner, particularly evident in his drawing. Discovering manifold artistic movements that coexisted or succeeded one another on the dynamic Parisian artistic scene, such as Neoclassicism, Realism, Impressionism, and Neo-Impressionism, he began to experiment with a diversity of styles, employing new kinds of brushwork, light, and composition to create his own pictorial language.
In its palette and technique, Matisse’s early work showed the influence of an older generation of his compatriots: Édouard Manet (1832–1883) and Paul Cézanne (1839–1906). In the summer of 1904, while visiting his artist friend Paul Signac at Saint-Tropez, a small fishing village in Provence, Matisse discovered the bright light of southern France, which contributed to a change to a much brighter palette. He also was exposed, through Signac and Henri-Edmond Cross, living in nearby Lavandou, to a pointillist technique of small color dots (points) in complementary colors, perfected in the 1880s by Georges Seurat (1859–1891). As a result, Matisse produced his Neo-Impressionist masterpiece Luxe, calme et volupté (1904; Centre Georges Pompidou, Paris), so titled after a poem by Charles Baudelaire, and exhibited at the Salon des Indépendants in Paris (spring 1905) to great acclaim. The next summer, in Collioure, a seaport also on the Mediterranean coast, where he vacationed in the company of André Derain (1880–1954), Matisse created brilliantly colored canvases structured by color applied in a variety of brushwork, ranging from thick impasto to flat areas of pure pigment, sometimes accompanied by a sinuous, arabesque-like line. Paintings such as Woman with a Hat (San Francisco Museum of Modern Art), when exhibited at the 1905 Salon d’Automne in Paris, gave rise to the the first of the avant-garde movements (fall 1905–7), named “Fauvism” (from the French word fauve or “wild beast”) by a contemporary art critic, referring to its use of arbitrary combinations of bright colors and energetic brushwork to structure the composition. During his brief Fauvist period, Matisse produced a significant number of remarkable canvases, such as the portrait of Madame Matisse, called The Green Line (1905; Statens Museum for Kunst, Copenhagen); Bonheur de vivre (1905–6; Barnes Collection, Merion, Pa.); Marguerite Reading (ca. 1906; Museum of Modern Art, New York); two versions of the Young Sailor (1906), the second of which is in the Metropolitan Museum (1999.363.41); Blue Nude: Memory of Biskra (1907; Baltimore Museum of Art); and two versions of Le Luxe (1907), among others.
Subsequently, Matisse’s career can be divided into several periods that changed stylistically, but his underlying aim always remained the same: to discover the “essential character of things” and to produce an art of “balance, purity, and serenity,” as he himself put it in his “Notes of a Painter” in 1908. The years 1908–13 were focused on art and decoration, producing several large canvases such as Reclining Odalisque (1908; 1999.363.44); two important mural-size commissions, Dance and Music (1909–10), for the Moscow house of his Russian patron Sergei I. Shchukin; a trio of large studio interiors, exemplified by The Red Studio (1911; MoMA, New York); and a group of spectacularly colored Moroccan pictures. These were followed by four years (1913–17) of experimentation and discourse with the Cubism of Pablo Picasso and Juan Gris. The resulting compositions were much more austere, almost geometrically structured and at times close to abstraction, as shown in the View of Notre-Dame (1914; MoMA, New York), TheYellow Curtain (1915; private collection), The Piano Lesson (1916; MoMA, New York), Bathers by a River (1916; Art Institute, Chicago), and a group of portraits in which a seated figure or the sitter’s head is positioned against a thinly brushed, neutral background. Yet he also created meticulously drawn portraits such as the famous Plumed Hat (1919; MoMA, New York).
In the autumn of 1917, Matisse traveled to Nice in the south of France, and eventually settled there for the rest of his life. The years 1917–30 are known as his early Nice period, when his principal subject remained the female figure or an odalisque dressed in oriental costume or in various stages of undress, depicted as standing, seated, or reclining in a luxurious, exotic interior of Matisse’s own creation. These paintings are suffused with southern light, bright colors, and a profusion of decorative patterns. They emanate a hothouse atmosphere suggestive of a harem.
In 1929, Matisse temporarily stopped painting easel pictures. He then traveled to America to sit on the jury of the 29th Carnegie International and, in 1930, spent some time in Tahiti and New York as well as Baltimore, Maryland and Merion, Pennsylvania. Dr. Albert Barnes, an important collector of modern art and owner of the largest Matisse holdings in America, commissioned the artist to paint a large mural for the two-story picture gallery of his mansion in Merion. Matisse chose the subject of the dance, a theme that had preoccupied him since his early Fauve masterpiece Bonheur de vivre. The mural (in two versions due to an error in dimensions) was installed in May 1933, and remains in place at the Barnes Foundation (Merion, Pa.). The composition highlighted the simplicity of female figures in exuberant motion against an abstract, almost geometric background. In preparation for the mural, Matisse began using a new technique—that of building up the composition from cutout shapes of previously colored paper. From 1940 onward, the paper cutouts became Matisse’s favored exploratory medium and, until the end of his life, the dominant medium of expression.
Another medium that Matisse explored and experimented with throughout his lifetime was drawing. As the most direct expression of the artist’s thoughts, drawing often helped Matisse to work out compositional and stylistic problems or new ideas. During the mid-1930s, he created distinctive series of pen-and-ink drawings on the subject of the artist and his model, while in the early 1940s he conceived his famous sequences of Thèmes et Variations, sensitively drawn spare works in elegant, unshaded line, describing simplified forms of female figures or still lifes. In the late 1940s and early ’50s, his drawings become bolder, the contour line thicker, the forms even more simplified and devoid of detail. The latest large drawings of acrobats (1951–52), executed with a thick brush placed at the end of a long stick, are made up of contour only. They are contemporaneous with a cutout series of Blue Nudes (2002.456.58), and the two mediums seem to represent two different approaches to form and space. The relationship between figure-ground becomes ambiguous and space complements the intended form. The form appears almost sculptural.
Sculpture was another medium pursued by Matisse since his early years, and although independent in expression, it was frequently used to find a solution to pictorial problems or became an inspiration to painting. More than half of Matisse’s sculptures were completed between 1900 and 1910; he also frequently worked in series, manipulating the form and simplifying it over the years. Among his best-known works belong the series of four Back reliefs (1903–31), the series of five Jeannette heads (1910–16), and the Large Seated Nude (1925–29).
Matisse’s creativity extended into the area of graphic arts and book illustration, the latter begun when he was already in his sixties, with the illustrations to Stéphane Mallarmé’s Poésies (1932), and culminated with the cutout compositions (1943–44) for his book Jazz (published in 1947). But the crowning achievement of Matisse’s career was the commission for the Chapel of the Rosary in Vence (1948–51), for which he created all the wall decorations, Stations of the Cross, furniture, stained-glass windows, even the vestments and altarcloths. The beauty and simplicity of this project constituted Matisse’s spiritual Gesamtkunstwerk and attested to his creative genius.
Citation
Dabrowski, Magdalena. “Henri Matisse (1869–1954).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/mati/hd_mati.htm (October 2004)
Magdalena Dabrowski Department of Modern and Contemporary Art, The Metropolitan Museum of Art
The pictorial language of geometric abstraction, based on the use of simple geometric forms placed in nonillusionistic space and combined into nonobjective compositions, evolved as the logical conclusion of the Cubist destruction and reformulation of the established conventions of form and space. Initiated by Pablo Picasso and Georges Braque in 1907–8, Cubism subverted the traditional depiction relying upon the imitation of forms of the surrounding visual world in the illusionistic—post-Renaissance—perspectival space. The Analytic Cubist phase, which reached its peak in mid-1910, made available to artists the planarity of overlapping frontal surfaces held together by a linear grid. The next phase—Synthetic Cubism, 1912–14—introduced the flatly painted synthesized shapes, abstract space, and “constructional” elements of the composition. These three aspects became the fundamental characteristics of abstract geometric art. The freedom of experimentation with different materials and spatial relationships between various compositional parts, which evolved from the Cubist practice of collage and papiers collés (1912), also emphasized the flatness of the picture surface—as the carrier of applied elements—as well as the physical “reality” of the explored forms and materials. Geometric abstraction, through the Cubist process of purifying art of the vestiges of visual reality, focused on the inherent two-dimensional features of painting.
This process of evolving a purely pictorial reality built of elemental geometric forms assumed different stylistic expressions in various European countries and in Russia. In Holland, the main creator and the most important proponent of geometric abstract language was Piet Mondrian (1872–1944). Along with other members of the De Stijl group—Theo van Doesburg (1883–1931), Bart van der Leck (1876–1958), and Vilmos Huszár (1884–1960)—Mondrian’s work was intended to convey “absolute reality,” construed as the world of pure geometric forms underlying all existence and related according to the vertical-horizontal principle of straight lines and pure spectral colors. Mondrian’s geometric style, which he termed “Neoplasticism,” developed between 1915 and 1920. In that year, he published his manifesto “Le Néoplasticisme” and for the next two-and-a-half decades continued to work in his characteristic geometric style, expunged of all references to the real world, and posited on the geometric division of the canvas through black vertical and horizontal lines of varied thickness, complemented by blocks of primary colors, particularly blue, red, and yellow. Similar compositional principles underlie the work of the De Stijl artists, who applied them with slight formal modifications to achieve their independent, personal expression.
In Russia, the language of geometric abstraction first appeared in 1915 in the work of the avant-garde artist Kazimir Malevich (1879–1935) (Museum of Modern Art, New York), in the style he termed Suprematism. Creating nonobjective compositions of elemental forms floating in white unstructured space, Malevich strove to achieve “the absolute,” the higher spiritual reality that he called the “fourth dimension.” Simultaneously, his compatriot Vladimir Tatlin (1885–1953) originated a new geometric abstract idiom in an innovative three-dimensional form, which he first dubbed “painterly reliefs” and subsequently “counter-reliefs” (1915–17). These were assemblages of randomly found industrial materials whose geometric form was dictated by their inherent properties, such as wood, metal, or glass. That principle, which Tatlin called “the culture of materials,” spurred the rise of the Russian avant-garde movement Constructivism (1918–21), which explored geometric form in two and three dimensions. The main practitioners of Constructivism included Liubov Popova (1889–1924), Aleksandr Rodchenko (1891–1956) (Museum of Modern Art, New York), Varvara Stepanova (1894–1958), and El Lissitzky (1890–1941). It was Lissitzky who became the transmitter of Constructivism to Germany, where its principles were later embodied in the teachings of the Bauhaus. Founded by the architect Walter Gropius in Weimar in 1919, it became during the 1920s (and until its dismantling by the Nazis in 1933) the vital proponent of geometric abstraction and experimental modern architecture. As a teaching institution, the Bauhaus encompassed different disciplines: painting, graphic arts, stage design, theater, and architecture. The art faculty was recruited from among the most distinguished painters of the time: Vasily Kandinsky, Paul Klee, Johannes Itten, Oskar Schlemmer, László Moholy-Nagy, Josef Albers, all of whom were devoted to the ideal of the purity of geometric form as the most appropriate expression of the modernist canon.
In France, during the 1920s, geometric abstraction manifested itself as the underlying principle of the Art Deco style, which propagated broad use of geometric form for ornamental purposes in the decorative and applied arts as well as in architecture. In the 1930s, Paris became the center of a geometric abstraction that arose out of its Synthetic Cubist sources and focused around the group Cercle et Carré (1930), and later Abstraction-Création (1932). With the outbreak of World War II, the focus of geometric abstraction shifted to New York, where the tradition was continued by the American Abstract Artists group (formed in 1937), including Burgoyne Diller and Ilya Bolotowsky. With the arrival of the Europeans Josef Albers (1933) and Piet Mondrian (1940), and such major events as the exhibition Cubism and Abstract Art (1936), organized by the Museum of Modern Art, and the creation of the Museum of Non-Objective Art (1939, now the Guggenheim), the geometric tradition acquired a new resonance, but it was essentially past its creative phase. Its influences, however, reached younger generations of artists, most directly affecting the Minimalist art of the 1960s, which used pure geometric form, stripped to its austere essentials, as the primary language of expression. Artists such as Donald Judd, Dan Flavin, and Dorothea Rockburne studied the geometric tradition and transformed it into their own artistic vocabulary.
Citation
Dabrowski, Magdalena. “Geometric Abstraction.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/geab/hd_geab.htm (October 2004)
“Micropterus salmoides hideaway”
archival ink photographic print (edition of 5)
12 x 16 in. / 30.48 x 40.46 cm
@ 2020
Artists in Residence in the Everglades (AIRIE) Announces 2023 AIRIE Fellows
Everglades Artists in Residence
Artists in Residence in the Everglades (AIRIE), the South Florida-based non-profit organization that empowers artists to think critically about their relationship to the environment, announces its 2023 AIRIE Fellows.
The 2023 AIRIE Fellows areAtéha Bailly,Germane Barnes, Pierce Eldridge & Ashleigh Musk, Diana Eusebio, T. Eliott Mansa, Sydney Maubert, Gal Nissim, Alejandro Rodriguez, Monica Sorelle, and Khari Turner.
AIRIE believes artists have a unique ability to deepen the connection between communities and the natural world. Over the course of the 2022 and 2023 seasons, AIRIE artists are responding to the prompt “How can we make the outdoors a space of belonging?” during their one-month stay in Everglades National Park.
“AIRIE fellows are engaging audiences traditionally left out of environmental and climate change conversations, yet disproportionately impacted by these same forces. We are excited to welcome our 2023 cohort of multidisciplinary artists who will continue this important work,” said Evette Alexander, AIRIE’s Executive Director.
AIRIE received more than 220 applications for its 2023 residency program, and finalists were selected by a National Advisory Committee of established artists, scholars, and community leaders. AIRIE works together with artists to curate an immersive residency experience through excursions and engagements with scientists, park rangers, indigenous groups, historians, and community leaders to provide an in-depth look at this biologically and culturally significant ecosystem, as well as the myriad challenges it faces.
The 2023 fellow bios and headshots are available in the press kit here. Artists’ bios are also available below.
About AIRIE
Artists in Residence in Everglades (AIRIE) is a 501(c)(3) not-for-profit that empowers artists to think creatively and critically about our relationship to the environment with a mission of revealing new paths forward. AIRIE’s immersive residency program provides artists the opportunity to live, research and create inside Everglades National Park, a UNESCO world heritage site currently listed as in danger of disappearing forever.
Through our programs, AIRIE brings art, environment, and racial justice together for a more sustainable and inclusive future. Since 2001, AIRIE has supported the careers of over 190 artists, writers, musicians, curators, and other creatives through full immersion in the park.
To stay updated on events and exhibitions, or to sign up for our newsletter, visit airie.org. We invite you to connect with AIRIE on Instagram at @airieverglades.
About the 2023 AIRIE Fellows
Atéha Bailly
Atéha “Jojo Sounds” Bailly is a singer-songwriter, multi-instrumentalist, and producer based in Somerville, MA. He is a Master of Divinity candidate at Harvard Divinity School where he studies music’s role in religious and racial identity formation and the ethics of artistic persona. Inspired by his multiethnic and multi-religious family background, his music blends musical traditions from across the black diaspora to explore life in the interstices of cultures, places, and identities. He is currently working on a collection of songs that consider the relationship between waterways and ideas of migration, home, and homeland. He has also released several projects under the name Jo Atto and was awarded the Kaspar T. Locher Creative Scholarship for his 2016 release Things I See. He is an alumnus of the Boston Children’s Chorus, a member of the Boston-based vocal ensemble Voices 21C, and the bassist for Realized Nation, a music collective that collaborates with Boston nonprofits.
Germane Barnes
Barnes’ award-winning research and design practice investigates the connection between architecture and identity, examining architecture’s social and political agency through historical research and design speculation. Mining architecture’s social and political agency, he examines how the built environment influences black domesticity. Born in Chicago, IL Germane Barnes received a Bachelor of Science in Architecture from the University of Illinois at Urbana-Champaign and a Master of Architecture from Woodbury University where he was awarded the Thesis Prize for his project Symbiotic Territories: Architectural Investigations of Race, Identity, and Community. Currently, he is an Assistant Professor and the Director of The Community Housing & Identity Lab (CHIL) at the University of Miami School of Architecture, a testing ground for the physical and theoretical investigations of architecture’s social and political resiliency. His work has been featured in international institutions most notably, The Museum of Modern Art NY, San Francisco MoMA, LACMA, Chicago Architecture Biennial, MAS Context, The Graham Foundation, The New York Times, Architect Magazine, DesignMIAMI/ Art Basel, Metropolis Magazine, Domus, Wallpaper* Magazine and The National Museum of African American History where he was identified as one of the future designers on the rise.
Pierce Eldridge
Pierce Eldridge is a curator, dramaturg, and writer based in London, originally from Meanjin. They have been involved in projects for Camden Art Centre, El Warcha, Studio Scilicet, Studio Wayne McGregor, Victoria & Albert Museum, Darwin Festival, Supercell Festival, Bleach Festival, NextDoor ARI, Modern Times, Worms Magazine, MAP Magazine, Fortified Journal, Gillian Jason Gallery, Antiuniversity Now, Pop Up North Queensland Festival. They are a Distinction graduate of MA Curating Contemporary Art from the Royal College of Art London.
Diana Eusebio
Diana Eusebio is a Peruvian-Dominican multidisciplinary artist based in Miami, Florida. In a practice that spans wearable garments, textiles, and photography, Eusebio researches Black and Latinx diasporic stories and Pre-Columbian textile traditions. Her pieces employ color as a means to honor indigenous natural dyeing techniques and recontextualize our reciprocal connection to the natural world. By combining ancestral and modern processes such as natural dyeing and digital textile printing, her work catalogs a powerful record of contemporary Afro-Latinx and Indigenous history. Eusebio was the recipient of the 2022 Green Family Foundation Award. Institutional exhibitions include the Museum of Modern Art in New York, The Hall of Nations in Washington D.C., and the Rubell Museum in Miami. Studio residencies include Anderson Ranch Art Center in Aspen, CO; Oolite Arts’ in Miami, FL; Deering Estate in Miami, FL; and Red Hook Labs in New York, NY. Eusebio holds a BFA in Fiber from the Maryland Institute College of Art.
T. Eliott Mansa
T Eliott Mansa b. 1977 lives and works in Miami, Fl. Mansa received a BFA from the University of Florida (2000) and an MFA from CUNY-Hunter College (2018). Recent exhibition venues include African American Museum of the Arts in Deland, FL, Miami Museum of Contemporary Art of the African Diaspora. Mansa has received the 2019 Creator Award from Oolite Arts, a Green Space Initiative Grant, a Young Arts Emergency Microgrant, and a Miami Independent
Artist Stipend Grant. He has attended residencies at Oolite Arts in Miami Beach, and Artpace in San Antonio. His work is in the permanent collection of the African American Museum of the Arts in Deland, FL.
Sydney Maubert
Sydney Rose Maubert is a Miami architect, artist, and professor. She holds post-professional and professional degrees in architecture from Yale (2022) and the University of Miami (2020), with double minors in writing and art. She has received several awards including the Yale Moulton Andros Award (2022), the University of Miami Alpha Rho Chi Award (2020). She is the founder of Sydney R. Maubert LLC., her art and mural practice. Her scholarly research interests are architecture, geography, and cultural production in the Caribbean and American South. The work is largely shaped by black studies, gender studies, decolonial studies, history, and cultural geography. Currently, Sydney Rose is the predoctoral fellow at Cornell’s Strauch Fellowship, where she will be teaching and producing research (Fall 2022- ongoing). Her research explores racial-sexual perception in the built environment.
Ashleigh Musk
Ashleigh Musk (she/her) is a dancer, choreographer, dramaturg, and community arts facilitator based on unceded Arrernte Country (Mparntwe/Alice Springs) in the Northern Territory (Australia). Her work explores alternate futures to spark conversations around our co-existence with the more-than-human world and our responsibilities in the ecological crisis we have created. Often using industrial materials which are activated in experimental ways, complex relationships are revealed through the handling of these junk-like objects with radical care and tenderness.
Gal Nissim
Gal Nissim is an Israel-born, New York-based, interdisciplinary artist and researcher who investigates human-animal interactions. Nissim’s work has been exhibited at the New Museum, Tel Aviv Museum of Art, Time Square, Pioneer Works, Central Park, New York Hall of Science, Artport Tel Aviv in Public Space, Science Gallery Detroit, GStreamer Conference (Berlin), among others. Nissim has participated in residencies and fellowships with, Artport, New Museum, Science Sandbox, LMCC Creative Engagement, Culture & Animals Foundation, NYFA, Google’s Experimental Storytelling, and the Weizmann Institute of Science for outstanding young researchers. She received her Master’s from NYU’s ITP. Nissim studied at Bezalel Academy of Art while earning her BSc, summa cum laude, in biology and cognitive science from the Hebrew University, Jerusalem. Nissim teaches at Columbia University at GSAAP, and NYU’s Environmental Studies, Animal Studies, and ITP, Tisch. Currently, she is an Innovator in Residence at Rutgers University.
Alejandro Rodriguez
Alejandro Rodriguez is a Miami-based writer, director, and founding Artistic Director of The Peace Studio’s Artist as Catalyst Program. His writing has been featured in collaborations with musicians, choreographers, and filmmakers all over the globe. His first full-length show, Sorry, enjoyed two sold-out runs at the LaGuardia Performing Arts Center (LPAC) in New York, and his earlier work, Now is the Time, was produced three times in NYC including at the Joyce in Chelsea. He has been the recipient of residencies through the Miami Light Project, SPACE at Ryder Farm, Makehouse, and the Center for Innovation in the Arts at Juilliard, as well as grants from the Queens Council of the Arts, CUNY Dance Initiative, and the Miami-Dade County Department of Cultural Affairs. He’s lectured at multiple colleges, is on faculty at The Performing Arts Project, and has carried an adjunct professorship in the CUNY school system. His newest creation, In My Body, a collaboration with the Canadian street dance company, Bboyizm, is currently on tour across Canada and was the recipient of four Dora Awards in 2022 including Outstanding Production. Directing credits include Letters from Cuba and Anna in the Tropics for The Acting Company, Wilder & Wilder for PlayMakers Repertory Company, and many more. He began his career as an actor and performed in theaters across the US such as the Kennedy Center, Lincoln Center, the Guthrie Theater, and the Humana Festival, as well as on television. Formerly, he served as the Associate Artistic Director for PlayMakers, and as Deputy Executive Director for Arts Ignite (formerly ASTEP,) a global nonprofit that delivers art education to over 3000 children annually on four continents. A graduate of Juilliard where he was awarded the Michel St. Denis Prize for outstanding achievement.
Monica Sorelle
Monica Sorelle is a Haitian-American filmmaker and artist born & based in Miami. Her work explores alienation and displacement and preserves cultural traditions within Miami & the Caribbean with a focus on the African & Latin diasporas that reside there. Her photo and video work has been shown in group exhibitions at Oolite Arts and the University of Maryland and supported by Pérez Art Museum Miami’s Caribbean Cultural Institute Artist Fellowship. She has produced and worked as a department head on films for Film Independent, A24, HBO & PBS. Her work has won awards at Berlinale, BlackStar, and Miami Film Festival and has been exhibited at Sundance, New Orleans Film Festival, and Criterion Channel. Monica is a member of Third Horizon, a creative collective dedicated to developing, producing, exhibiting, and distributing work that gives voice to stories of the Caribbean, its diaspora, and other marginalized & underrepresented spaces in the Global South. Currently, Monica is completing post-production on her feature film directorial debut Mountains as an Oolite Arts’ Cinematic Arts resident.
Khari Turner
Khari Turner (born in 1991) is an emerging artist from Milwaukee, Wisconsin. Khari is currently living in Brooklyn, NY after finishing his residency in Stockholm, Sweden with CFHILL gallery. His early inspiration was his grandfather that worked as a draftsman drawing small images that Khari would recreate at an early age. Growing up in Milwaukee, his landscape consisted of vast nature and dense cityscapes fighting amongst a city well known for its continued segregation. This created a relationship with Black people, water, and his environment that plays a major role in his work now. He currently takes water directly from different bodies of water including the Pacific and Atlantic oceans, his hometown’s Lake Michigan, and Milwaukee River water. He incorporates them in the work either mixing the water with paint or pouring directly on the surface of the work. His aims are to eventually start work directly related to water health, environmental conservation, and bringing art to low-income neighborhoods.
Visu Contemporary to Exhibit New Paintings by Raúl Cerrillo
The Artist’s First Solo Exhibition in Miami
Jan 21-Feb 25, 2023 — Opening Sat, Jan 21 – 6-8 PM
Visu Contemporary is pleased to announce Raúl Cerrillo’s Inner and Outer Worlds: Finding Balance as the next exhibition in the gallery at 2160 Park Avenue and 22nd Street, Miami Beach.
This is the artist’s first one-person exhibition in Miami and will includes over 25 new paintings, full of energetic use of color, texture and narratives with various combinations of oil, enamel, spray paint and collage- creating what Cerrillo describes as, “a perfect balance between the conceptual subject and the plastic and chromatic expression.”
In this show you will find paintings clearly influenced in expressionism and the CoBrA movement that break from the traditional rules of composition, figuration and abstraction.
Cerrillo has always been interested in the challenge of finding his center. His paintings bridge the two worlds we live in: the inner spiritual, and the outside aesthetic and artificial (ying yang). In these recent works viewers can see paintings depicting astronauts in yoga poses which evoke the idea of balance — as well as other paintings impregnated with a sense of personal and recurrent iconography.
Raul Cerrillo (Mexico City B.1977) is a multidisciplinary artist primarily known for his large-scale thick energetic paintings. He is focused on finding and creating new paradigms for understanding the mystery of our past mother ancestral cultures with the future of our contemporary technological era. His work transits from a neo-baroque figuration to a visceral and immediate neo-expressionist abstraction with the consistency of distinctive simple archetypal symbols creating a subjective narrative for the spectator. He conceives his work with vast layers of paint and meaning, as his way of understanding the conformation of individuality and life itself through layers and layers of experience as a consequence Raul´s body of work reveals a tremendous amount of evolution in practically all aspects of his craft: style, medium, composition and subject matter.
Cerrillo trained at the National School of Art “La Esmeralda” (where Frida Kahlo and Diego Rivera taught) in Mexico City. He has had individual shows in most of the major cities in Mexico and his work has been part of collective exhibitions in Austin, Dusseldorf, Hamburg, Barcelona, Milan, Paris, Venice and London. His paintings have been awarded numerous grants and awards, as well as honorable mentions. In 2018 he received the Mexican National Award for Painting “Alfredo Salce”.
Visu Contemporary is an artist first gallery where emphasis is placed on quality and presentation. VISU Contemporary’s mission is to contribute to the art history canon by presenting provocative and inclusive exhibitions, projects, installations, collaborations and performances with the goal of making each exhibition a must-see, while inspiring curiosity and intrigue from every visitor.
#Visu Contemporary
Raúl Cerrillo, Inner and Outer Worlds: Finding Balance
The Tijuana Cultural Center, CECUT, an organism from the Ministry of Culture of Mexico, invite the international artistic community to participate in the public contest with artworks or projects that use the pictorial as a starting point to explore other poetics, new issues and drifts that allow the build-up of different aesthetic models. The call´s objective consists of not being repetitive inside the creative tradition, trusting only in the figurative representation as the do-over of the plastic formalist components. The goal is to pursue the pictorial sense inside the disruptive as an image that expresses transformation and invites to implementation of hybrid strategies that stimulate a two-directional dialogue with the spectator. The Triennial accepts the pictorial, recognizing its metamorphic, recursive, controversial, experimental, resurgent, unsolved, (in)tense, and ultra-dialectical nature. The pictorial can be expressed as a visual, tactile, auditory, static, or dynamic manifestation to build with certainty or uncertainty, with regular or vague, offering distinct perceptive opportunities and awake other insights, encouraging to speculate to not conforming and never to become an unmovable postulate. It also considers the significance of disassociating from rules that standardized contests since this action limits the creative potential. In this manner, The Triennial seeks to liberate the art from the restraints of formats, space, and supports, allowing the opportunity to think in the interdisciplinary and multidisciplinary to a new creative independence. In the spirit of liberation, democracy becomes a necessary referee to determine how to imbue the process of selection and award of the contest’s entries with certainty and trust. For that reason, the first step is to have the participation of a curatorship foreign to our context, avowed for its critical and ethical soundness that will select the entries that will become the Triennial exhibition without bias. As a second step, to determine with fairness the first-place award and honorable mentions through a three-part voting system (curator, participants, and popular vote) in which the sum of two or more coincident votes will allow to establish the awards; all of this under the scrutiny and legality of a certified public notary.
Guidelines
Participants
1.- All artists over the age of 18 of any nationality can apply to this call. (The only people excluded from participating will be the government officials, professional service providers of the Secretariat of Culture, and officials disqualified by law) 2.- Only one pictorial proposal will be accepted per individual and/or collective. 3.- Submitted artworks must be finished or be an in situ art-installation project, which must be thoroughly described in the application format. 4.- Submitted artworks must have been elaborated during 2021–2023 and, if it’s an in situ art installation, these must be able to be completed, at least, five days before the exhibition’s opening day. 5.- Submitted artworks must be original creations and should not have participated in any previous contest or exhibition, nor participate in any other contest at the same time. Infringe upon this guideline Violating this rule is penalized with an automatic disqualification. 6.- There are no restrictions in formats or dimensions. The only limit is to be able to complete the artwork, as it is proposed, in the given space.
Procedure for the submission
This call will remain open from the day of its publication in the official digital channels of the Secretariat of Culture (cultura.gob.mx/convocatorias), and CECUT (trienal.cecut. gob.mx/en/calling/), until April 28th, 2023. Applicants must send an email to the following address: [email protected], up until April 28th, 2023 with the following documentation in a single PDF file titled as: Trienal de Tijuana – Artist’ full name
1.- Personal data (full name, artist name, email, address, and telephone with zip codes and local area codes). 2.- Copy of an official current ID. 3.- Title of the artwork or project. 4.- Characteristics of the artwork: technique, materials, size (in centimeters), weight (in kilograms), and year of elaboration; technical need for its installation and, if it’s an in situ art-installation project, the specific description of the technical needs for its installation and estimated time to produce it. If it’s a polyptych, attach the final disposition of the pieces and, if necessary, an instruction manual to its proper installation. 5.- Statement of the artwork (maximum 4,000 characters). 6.- Individual curriculum summary (maximum 6,000 characters). If it’s a collective project, the concept or trajectory as a group and a curriculum summary of each member must be presented. 7.- Three to five images of the artwork that clearly shows the shape, volume, and dimensions. If possible, one of the images must be taken showing the final position of the artwork and using the same material needed for its installation. 8.- In the case of a proposal for an in situ art-installation project, sketches with the final measures and a work schedule must be included. 9.- Production appraisal* of the artwork or project in USD to cover the transit insurance.
*The production appraisal is the approximate value of the artwork, or the cost invested to produce it. It will always be less than the retail appraisal and it allows to acquire a less expensive transit insurance.
Procedure for selecting the finalists
1.- Starting from the publication of this call, the Curatorial Committee will be formed, and its members will be announced at the right time. 2.- In response to the global demand for gender equality in the art world, this Curatorial Committee will choose, at least, 50% of female artists, with special emphasis on the diversity of gender identities. 3.- The selected artworks will reflect the current state and innovation of the pictorial, as well as the technical and thematic diversity. 4.- The selected artworks will be published on the official website of the Triennial, on October 20th, 2023. 5.- The Committee reserves the right to exclude any artwork that does not faithfully correspond to the images sent or that does not have the proper documentation attached and/or in the requested format. Any author who submits two or more artworks will be automatically disqualified. 6.- If the selected artworks or project is conceived to be exhibited outside of CECUT facilities, as urban art projects —either art-installation or in situ works—usually are, CECUT will inquire and process the permits needed to the proper government instances, who will decide the acceptance or rejection. If the permit is not granted, CECUT will notify the participant to search for other options. 7.- Because it’s exposed to the environment, all urban art projects will be exposed to the natural damage done by atmospheric phenomena and climate, as well as ossible vandalism. CECUT is not responsible for this kind of contingencies and the participant accept such things can happen the moment it sends its proposal.
Shipment
1-. Selected artworks must be properly physically sent from 9:00 to 14:00 hours, in business days between November 6th, 2023 and March 1st, 2024, to CECUT’s address: Paseo de los Heroes 9350, Zona Urbana Rio Tijuana, Tijuana, Baja California, Mexico, 22010 (zip code). 2.- The artworks must be sent properly packed in a wooden box or crate that fulfills phytosanitary international regulations, completely immobilized and isolated to prevent damages, with its lid screwed on to allow that the same package is used to return the artwork when the exhibition is over. 3.- The author must cover the shipping costs of its artwork, and it must purchase transit insurance, which should be acquired using the production appraisal as the base value. 4.- In the case of artworks that require specific electronic components (such as adapters, cables, batteries, etcetera) the participant must include them in the shipping, as well as a replacement if the component has an expiration date. 5.- If the packing does not comply with the stipulated safety features or it arrives damaged because it does not follow the instructions above this paragraph, the Tijuana Triennial organization will not be responsible for its restoration and keeps its right to exclude them and have them returned to the author, at his or her expense. 6.- Once received and reviewed for good status, CECUT will insure each artwork from its arrival until its return to the author at the end of the exhibition.
In situ art-installation projects
1.- CECUT will be responsible for the installation of all artworks, except the in situ art-installation projects, whose value resides in the manual labor and the care of the author. The artist is responsible for the installation of this kind of project and he or she must come to CECUT —during business hours and days— to complete it, at least five days before opening day. 2.- Artists must solicit the dates they will require to work on their piece inside the facilities, which will be reviewed by the Tijuana Triennial organization in order to accommodate them. The stipulated time frame to complete the artwork cannot be exceeded, except a major emergency occurs. 3.- The artist must cover the cost of his or her travel and lodging and should comply with the safety measures and technical possibilities of CECUT.
Return
1.- The selected artworks will be returned once the exhibition is finished. CECUT is responsible for the return of the artworks, and they will be shipped back using the same container/packing used by the author and through a shipping company designated by CECUT. 2.- An exception will be made to urban art, in situ art-installation projects, murals or any piece that, given its ephemeral nature, does not require to be returned. 3.- The winning artworks will become part of the CECUT collection and part of the organization’s patrimony
Award selection process
In a spirit of democracy, criticism, and reasoning, the organization establishes that the process to choose the selected artworks that will form the exhibition will be in the hands of the chief curator, invited for that purpose; and the process to choose the winning artwork and two honorary mentions will be based on a triple vote:
Curatorial vote
A second curator will be invited exclusively for this stage, and he or she will select the artworks that fulfill the spirit of the event and he or she considers had merits to be acknowledged with the prizes.
Participant vote
Each selected artist or collective will have one vote to select an artwork, refraining from voting for themselves, according to an agreement of procedure, confidentiality, and ethics that will be signed in due course.
Popular vote
The public may vote electronically on the official website of the Triennial. If at least two of these three votes coincide, the artwork that had more votes in these coincidences will be declared the winner, and in descending order the two honorary mentions will be awarded. These decisions will be backed, always, by a certified public notary. If there is no coincidence in the votes or in case of an eventuality disrupts the process, the organization will meet again, under the scrutiny of the public notary, and will decide on publicly and with a sustained reasoning, the controversy, seeking to be as transparent as possible at all times
Awards
To encourage participation and recognize the work of artists, the organization —in accordance with the unappealing ruling of the jury and with the ethical confirmation of the designated notary— will deliver the following incentives through a bank transfer in Mexican pesos or the equivalent to another currency:
First place:
$ 1,000,000.00 (one million pesos) (MXN).
Two honorable mentions:
$ 250,00.00 (two-hundred and fifty-thousand pesos) (MXN), each.
Winners must have a bank account in their name in which the payment will be made, submit their documentation for registration in the Accounting and Budget System (SICOP) and the Federal Integrated Financial Management System (SIAFF). Payment will be deposited in the account once the corresponding procedures are completed.
Opening day and award ceremony
The opening day will be on July 26th, 2024 in the facilities of CECUT. The award ceremony will be on August 23rd, 2024, at 18:00 hours in the facilities of CECUT. The selected artworks will be exhibited from opening day until February 2025, at they cannot be removed from the exhibition, unless CECUT gives a precise and justified decision. Note: CECUT is not responsible for any damage that the artworks suffer because of the quality of the material used in its production; however, it will try to repair the damage, to the extent of its abilities and possibilities, in accordance with the author.
Use of personal information
By participating in this call, the author gives authorization to the Tijuana Triennial organization to reproduce the images of its artwork and the information of its curriculum vitae on the platforms they deem appropriate.
Observations
The rules and guidelines of this contest are accepted by the applicants at the time of sending their application to this call. Any circumstance not foreseen in this call will be resolved by the organization, together with the Award Jury, as the case may be.
For more information, please contact: [email protected] Phone: +52 664 687 9652
INTERVIEW WITH FRANCISCO CERON/THE SOUL OF THE CITY
By Dr. Milagros Bello/art critic/curator*.
Francisco Cerón proposes a contemporary figurative work of urban references. His work intertextually recomposes the icons of the cities he visits in a mixture of American pop culture, pre-Columbian art, and Colombian figurative art. In a compendium between the classical and the contemporary, his work projects neo-cubist decompositions, in his way of fracturing and recomposing the symbolic figures of the city, but also draws on snapshot images, creating new figurative patterns that emblematize the urban and today's society dominated by consumerism and commercial icons.
Cerón was born in the city of Pasto, Colombia in 1968. He studied at the Escuela de Bellas Artes Antonio María Valencia in the city of Santiago de Cali, Colombia and in 1993, he obtained a degree in Graphic Design. That same year he founded in Cali his graphic design company, "Objetivo Grafico". In 2000 he moved to the United States and settled in Miami, Florida, where he began to experiment with art media. In 2007 he studied Marketing and Business at the University of Miami. In 2008, she decided to launch herself as a professional visual artist and found in Pop Art an ideal space for her creations thanks to the graphic nature of her work. This same year he exhibits in galleries and events and presents his first solo exhibition at Unilatina International College in Davie County. At the same time Francisco Cerón continues with his design and marketing company. He obtained a specialization in Neuro Marketing at the University of Barcelona, Spain and received his PhD from the University of California in subconscious studies and clinical hypnosis. He has participated in important international art fairs and museums such as Palm Beach Art Fair, Art Wynwood, AQUA Art Fair, in Florida; Beijing Art Expo and Shanghai Art Fair in China; Art Monaco in Monaco; World Tour Exhibition in London, UK; International Art Fair, Dubai; Museo de Arte de Monterrey, Casa Grau, Colombia. Francisco Cerón's work captures the "soul of cities" through the antithetical use of visual media. He currently lives in Cali, Colombia.
Milagros Bello: In your beginnings, how were your first artistic experiences? How did it reveal to you that you are an artist?
Francisco Cerón: From a very early age I stood out for my drawings compared to my preschool classmates and later in school they were already more complex and elaborate drawings, I think that since that time I had already decided what I wanted to be. While preschool children made simple drawings of trees and houses, mine were panoramic views of cities with helicopters in the foreground, spaceships, balloons, airplanes, and other details.
My story goes back to my childhood, I was born with a shorter Achilles tendon in my left foot and for that reason I underwent several surgeries as a child. Of course, this prevented me from walking for a long period of time, but during this time I could only sit and the best thing my family could do for me was to give me pencils, crayons and paper and that changed everything. I know I was sitting there all the time, but my thoughts and my creativity were never there, they transcended with each drawing, traveling outside those four walls, visiting unimaginable worlds, creating at my own pace, and perfecting day by day my strokes and my skills as an artist.
I am curious by nature and that led me from painting to explore the third dimension of sculptures and from there to the fascinating assembly of installations. I believe that the artist should not stay on a single plane.
Francisco Ceron Roma
MB: How were the beginnings of your artistic career?
FC: When I was trying to find the career that best suited my tastes, I stumbled upon graphic design at the Conservatory of Fine Arts in Cali. This place was a total cultural center, we had ballet, performing arts, plastic arts, music, and graphic design, but the best thing is that all careers had to do with each other and in that environment of art, culture and bohemia I connected with visual art. Those who know me tell me that I never grew up and that I am still that child drawing at ease, lost in his own world and in his own time, creating and inventing without stopping. I am passionate about art and creativity. My spirit needs to be creating and inventing, sharing my vision to others. It's what I came into this world to do. My values, my thoughts and my attitude are in each of my works, always positive, vibrant and full of life and color. I believe that the artist puts his energy into his work and this work comes to life and that is the reason why each work has its own feeling.
Francisco Ceron Puerto Resistencia
MB: Who are the main artists you identify with in art? Why? Explain
FC: My impact references go back to the avant-garde of the 20th century, the century where I was formed. Although previously, Van Gogh visually resonated with me in his raw and frontal use of colors and impasto. But Picasso was one of the great references for me. I connected with him because of his visual acuity and his ability to create stages, always innovating without limitations or measures. For me he was an artist who broke the rules, an artist unafraid to create and determined to believe in himself without caring about anyone or anything. Cubism broke with the notion of composition, and that is a radical reference in my work. The freedom with which Picasso recomposes a face or a still life fascinates me. His radical geometrism was an artistic guideline for me. Then other models of rupture of the sixties also had an impact on me. Andy Warhol with his graphic handling of figures, his viral printing techniques and his use of contrasting flat colors. I was impressed by his daring to create anti-themes, such as the Campbell can, or the chromatic Marilyn that stopped being real, to become a referential illusion of an old photograph found by Warhol in a newspaper; Roy Lichtenstein amazed me with his use of comics and showed me new ways of expression; Keith Haring with his graphic simplicity, made me reflect on how repetitive and interactive lines can evoke powerful visual worlds. With Takashi Murakami I understood how the legacy of American Pop took shape in the new avant- garde expressions of Japan. These creators opened new doors allowing me to make profound reflections on the methods of art.
Francisco Ceron Pasto
MB: You have gone through different stages in your artistic career, from illustration, painting, sculpture, photography, installation, creating different creative optics. Now you are creating a stage that is more in the field of digital art. Tell us about this digital work.
FC: I think this stage came at the right time to make the most of it. After having traveled to different places I could not pass up the opportunity to show the world my vision of each city I visited. So, one day I decided to do something with the thousands of photographs I had saved, willing to compress them all and form a single image that would reflect the spirit of each city.
The “soul of the city” as you call it.
At first it seemed an impossible task without going through the classic collage, but little by little the structure was revealed that would allow me to reconstruct each city in the manner of a visual puzzle in which I inserted fragments of different photos taken in the city I was visiting. It was a process in time. I would decide where I was going to go, and when I arrived in the city I would start to walk through it without a specific plan, discovering corners, streets, people, events, shop windows, banners, water, bridges; everything that appeared selectively before my eyes. It was a visual journey of free discovery; I visited the typical tourist sites, I retraced them, but I also went into unexpected places, I saw new angles. The process in each city was an artistic experience but it was also an existential experience. It meant connecting not only with the material appearances but also with the essence of the places visited. If you will, it was the photographer's eye, cropping, framing, capturing, but it was also the intuitive search to find unseen angles, which guided me to concentrate on the overall vision that defined that city.
Francisco Ceron 911
MB:This digital series about the soul of cities, which you call "City Icons", you work with intertextual images, combining the iconic of the city with unexpected discoveries. Tell us more about your method that goes beyond the simple collage.
FC: In my "City Icons" work, I visit each city and extract from it its essence in photographs, its color, its flavor, its music, its people, its means of transportation, its architecture, fauna, nature and details that go unnoticed by its inhabitants such as manhole covers, traffic signs, graphics, advertising signs, phrases written on walls, among many other things that make up the graphic life of that city and of course the most touristy and visited places. I then review all the photographs and begin to create an unpublished image of that city. Hundreds of digital photographs are compressed between silhouettes, shapes, details, backgrounds, colors and textures to achieve the construction of a visible and recognizable city in its essence, full of details that the viewer recognizes and reconnects with, a city that tells its story graphically, in colors and shapes but at the same time is neither unitary nor homogeneous. The process was to select from the thousands of shots, those that could fit into the visual “puzzle” wanted to achieve. Using different digital techniques, I was recomposing, assembling, structuring, fragments creating a new visual whole. This is an ongoing process, which will generate new directions. I still feel that I am rediscovering this technique, and I know that there is still a lot to create and to share.
Francisco Ceron City Hall
MB: Which are the cities that have moved you the most. Tell us about a striking experience related to your creation.
FC: Undoubtedly it was one of the last creations, “Puerto Resistencia”made in Cali, Colombia. Cali is my beloved city, Cali is rooted in my heart, and this work, which represents many mixed feelings, was transcendental because of its social and historical importance in the city. “Puerto Resistencia”artistically transcribes an event that should never be repeated. Between April and July 2021 there was a social and political outbreak in Colombia which I was able to experience firsthand in the city of Cali. I saw all the atmosphere of war, the confrontations, the unrest that was generated. The city was burned. At the site of Puerto Rellena, now called Puerto Resistencia, a sculpture of between 13- and 15-meters high was erected, a sculpture in the form of a forearm and hand, based on the Holocaust memorial in Miami and representing the hand of Kay Kimi Krachi, Mayan god of battle. In the hand a banner bearing the word “Resist ‘ as the symbol of resistance of many people, and in homage to all the blood that flowed in Cali. Puerto Resistencia was one of the sites of greatest concentration of demonstrators. For some it is the representation of the horror of death, war, disillusionment, lies, loss, hypocrisy, poverty, abuse, power and all the low human feelings that can be carried in critical historical and social moments such as this one; for others, it is the representation of struggle, hope, change and resistance. Two currents of strong emotions that accompanied that moment. Between the pain of loss of life and despair, and at the same time the feeling of hope and achievement. In my work, I based myself on the photograph of the monument, and added in the background, human faces and scenes that symbolize the spirit of man in the face of his vicissitudes. In this work I capture the moment of the event, the social and human essence of what was experienced. As an artist, this work represents another type of visual inquiry, capture the essence of a city in combustion and crisis.
Francisco Ceron Medellin
MB: You have developed utilitarian objects in which you have included images of your works. Tell us about it.
FC: I call this art object project “Canvas in Motion” because, following the guidelines of Andy Warhol, Keith Haring, and Takashi Murakami, I have created an imprint of my work on travel objects such as bags and suitcases. These are imprinted with the image of my cities, and “travel“ along with the travelers to their various destinations. These suitcases were bought by normal people, to travel, to move around. These suitcases appear spontaneously in airports, streets, hotels, houses and cities, as moving canvases projected in the different environments, transforming the landscape, and surprising passers-by who discover the signs of the cities, projected in unexpected ways. “Canvas in Motion” aims to expand art to places outside of galleries and museums.
Francisco Ceron MIA
MB:What are your plans for the future?
FC: At the moment, I continue to create new proposals for the “City Icons” series. I’m still in the process of re-inventing images. I’m also continuing to delve into new technological media. For the near future I am continuing my travels to iconic cities around the world and also expanding to the Middle East and Asian countries. But I’m taking another approach, creating a focus on ecology. I am interested in emphasizing the environment and climate change, now undeniable. My work should become a voice of awareness of our current situation.
*** Curator Dr. Milagros Bello holds a PhD in Sociology with a doctoral thesis in Sociology of Art from the Sorbonne University (Paris VII-Jussieu), and a master’s in art history, from the Sorbonne University (Universite de Paris I) both in Paris, France. She obtained a B.A. in Psychology, specializing in Clinical Psychology, from the Universidad Central de Venezuela, and followed master’s courses in Family and Individual Counseling in her home country, Venezuela. Dr. Bello is an art critic member of the International Association of Art Critics (AICA), and a member of the National Federation of Psychologists of Venezuela. She is an independent curator and currently directs MIA Curatorial Projects (former
Curator's Voice Art Projects founded in 2010 in Wynwood Art District, Miami). From 2010 to the present, Dr. Bello has curated numerous exhibitions of contemporary art nationally and internationally. Notably, in April-November 2022, as part of the 59th Venice Biennale, she curated the exhibition “Americanos. Current Imaginaries”, which was on display until November 2022 at the European Cultural Center in Venice, Italy. On June 30, 2022 she gave a lecture on the same topic at Personal Structures/Reflection, at the European Cultural Center, in Venice, Italy. She is a lecturer at museums and art institutes; art writer for local and international art magazines, and former editor-in-chief of the art magazine Arte Al Dia International. For fourteen years, from 2000 to 2014, she has taught as a professor of art in various theoretical areas of specialization, such as Critical Theories, Art History, History of Modern and Contemporary Photography, Sociology, graduate and undergraduate levels at US universities, Florida International University (FIU), Florida Atlantic University (FAU), Miami International University (The Art Institute/Miami), and Istituto Marangoni/Miami. She is currently the director and chief curator of MIA Curatorial Projects in Miami. Dr. Bello is a mentor and motivational coach for artists. @milagrosbellobcurator @curatorsvoice E: [email protected]
“If you wanna talk about influence, man, then you’ve got to realize that influence is not influence. It’s simply someone’s idea going through my new mind.”
– Jean-Michel Basquiat
Jean-Michel Basquiat (b. 1960, New York – d. 1988, New York) is widely considered to be one of the most important artists of the late twentieth century. As a young adult, Basquiat experimented with street art and became well known by the moniker SAMO in the downtown art scene in New York City. In 1981, he was included in a groundbreaking exhibition at MoMA’s PS1 outpost in Long Island City, titled “New York/New Wave.” Throughout his brief and glamorous career, the artist explored issues of black identity in America, colonization and consumerism.
Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement.
Wikipedia Born: December 22, 1960, Brooklyn, New York, NY Died: August 12, 1988, Great Jones Street, New York, NY Periods: Contemporary art, Neo-expressionism, Primitivism Buried: November 3, 1988, The Green-Wood Cemetery, New York, NY Siblings: Lisane Basquiat, Jeanine Basquiat, Max Basquiat Parents: Matilda Andrades, Gerard Basquiat On view: UCCA Center for Contemporary Art
Jean-Michel Basquiat (b. 1960, New York – d. 1988, New York) is widely considered to be one of the most important artists of the late twentieth century. As a young adult, Basquiat experimented with street art and became well known by the moniker SAMO in the downtown art scene in New York City. In 1981, he was included in a groundbreaking exhibition at MoMA’s PS1 outpost in Long Island City, titled “New York/New Wave.” Throughout his brief and glamorous career, the artist explored issues of black identity in America, colonization and consumerism.
Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement.
Jean-Michel Basquiat’s contributions to the history of art and his explorations of multifaceted cultural phenomena––including music, the Black experience, pop culture, Black American sports figures, literature, and other sources––will be showcased through immersive environments providing unique insight into the late artist’s creative life and his singular voice that propelled a social and cultural narrative that continues to this day.
Organized and curated by the family of Jean-Michel Basquiat, this exhibition of over 200 never-before-seen and rarely shown paintings, drawings, multimedia presentations, ephemera, and artifacts tell the story of Jean-Michel from an intimate perspective, intertwining his artistic endeavors with his personal life, influences, and the times in which he lived.
Jean-Michel Basquiat’s contributions to the history of art and his explorations of multifaceted cultural phenomena––including music, the Black experience, pop culture, Black American sports figures, literature, and other sources––will be showcased through immersive environments providing unique insight into the late artist’s creative life and his singular voice that propelled a social and cultural narrative that continues to this day.
Organized and curated by the family of Jean-Michel Basquiat, this exhibition of over 200 never-before-seen and rarely shown paintings, drawings, multimedia presentations, ephemera, and artifacts tell the story of Jean-Michel from an intimate perspective, intertwining his artistic endeavors with his personal life, influences, and the times in which he lived.
Jean-Michel Basquiat was a Neo-Expressionist painter in the 1980s. He is best known for his primitive style and his collaboration with pop artist Andy Warhol.
Who Was Jean-Michel Basquiat?
Jean-Michel Basquiat first attracted attention for his graffiti under the name “SAMO” in New York City. He sold sweatshirts and postcards featuring his artwork on the streets before his painting career took off. He collaborated with Andy Warhol in the mid-1980s, which resulted in a show of their work. Basquiat died on August 12, 1988, in New York City.
Early Life
Basquiat was born in Brooklyn, New York, on December 22, 1960. With a Haitian-American father and a Puerto Rican mother, Basquiat’s diverse cultural heritage was one of his many sources of inspiration.
He left home as a teenager to live in Lower Manhattan, playing in a noise band, painting, and supporting himself with odd jobs. In the late 1970s, he and Al Diaz became known for their graffiti, a series of cryptic statements, such as “Playing Art with Daddy’s Money” and “9 to 5 Clone,” tagged SAMO. In 1980, after a group of artists from the punk and graffiti underground held the “Times Square Show,” Basquiat’s paintings began to attract attention from the art world.
A self-taught artist, Basquiat began drawing at an early age on sheets of paper his father, an accountant, brought home from the office. As he delved deeper into his creative side, his mother strongly encouraged him to pursue his artistic talents.
Basquiat first attracted attention for his graffiti in New York City in the late 1970s, under the name “SAMO.” Working with a close friend, he tagged subway trains and Manhattan buildings with cryptic aphorisms.
In 1977 Basquiat quit high school a year before he was slated to graduate. To make ends meet, he sold sweatshirts and postcards featuring his artwork on the streets of his native New York.
In the 1981 article “The Radiant Child,” which helped catapult Basquiat to fame, critic Rene Ricard wrote, “We are no longer collecting art we are buying individuals. This is no piece by Samo. This is a piece of Samo.” This statement captures the market-driven ethos of the 1980s art boom that coincided with polarizing views played out in government and media, known as the culture wars. In this context, Basquiat was keenly aware of the racism frequently embedded in his reception, whether it took the form of positive or negative stereotypes. In his work, he integrated critique of an art world that both celebrated and tokenized him. Basquiat saw his own status in this small circle of collectors, dealers, and writers connected to an American history rife with exclusion, invisibility, and paternalism, and he often used his work to directly call out these injustices and hypocrisies.
Before his tragic death in 1988 at the age of twenty-seven, Basquiat expressed seemingly boundless creative energy, producing approximately a thousand paintings and two thousand drawings. Over the decades, the study of Basquiat’s paintings and drawings has offered textured insights of the 1980s and, importantly, continued reflections on Black experience against an American and global backdrop of the white supremacist legacy of slavery and colonialism. At the same time, Basquiat’s work celebrates histories of Black art, music, and poetry, as well as religious and everyday traditions of Black life.
Crown Motif
In his earlier works, Basquiat was known for using a crown motif, which was his way of celebrating Black people as majestic royalty or deeming them as saints.
Describing the crown itself in further detail, artist Francesco Clemente posited: “Jean-Michel’s crown has three peaks, for his three royal lineages: the poet, the musician, the great boxing champion. Jean measured his skill against all he deemed strong, without prejudice as to their taste or age.”
Paintings
Three years of struggle gave way to fame in 1980 when Basquiat’s work was featured in a group show. His work and style received critical acclaim for the fusion of words, symbols, stick figures, and animals. Soon, his paintings came to be adored by an art-loving public that had no problem paying as much as $50,000 for a Basquiat original.
His rise coincided with the emergence of a new art movement, Neo-Expressionism, ushering in a wave of new, young and experimental artists that included Julian Schnabel and Susan Rothenberg.
Many of Basquiat’s works have been likened to the improvisational and expansive compositions of jazz. Often themes accumulate through multiple references on the surface, emerging as patterns out of gestural brushstrokes, symbols, inventories, lists, and diagrams. Most images in Basquiat’s works have double and triple meanings, some of which the artist discussed and others that he left undefined, remaining open to viewers’ interpretations. Basquiat sought and enjoyed unlikely collisions of imagery and words, massive influxes of information and stimuli that recreated the experience of being in a world by turns exciting, inspiring, oppressive, and toxic.
Basquiat (1996)
Basquiat is a 1996 biopic/drama film directed by Julian Schnabel based on the life of American postmodernist/neo expressionist artist Jean-Michel Basquiat. Basquiat, born in Brooklyn, used his graffiti roots as a foundation to create collage-style paintings on canvas. Jeffrey Wright portrays Basquiat, and David Bowie plays Basquiat’s friend and mentor Andy Warhol. Additional cast members include Gary Oldman as a thinly-disguised Schnabel, Michael Wincott as the poet and art critic Rene Ricard; Dennis Hopper as Bruno Bischofberger; Parker Posey as gallery owner Mary Boone; and Claire Forlani, Courtney Love, Tatum O’Neal and Benicio del Toro in supporting roles as “composite characters”.
Jean-Michel Basquiat Documentary on Youtube
The Radiant Child
Director: Tamra Davis
2010
1 hr 33 min
A thoughtful portrait of a renowned artist, this documentary shines the spotlight on New York City painter Jean-Michel Basquiat. Featuring extensive interviews conducted by Basquiat’s friend, filmmaker Tamra Davis, the production reveals how he dealt with being a black artist in a predominantly white field. The film also explores Basquiat’s rise in the art world, which led to a close relationship with Andy Warhol, and looks at how the young painter coped with acclaim, scrutiny and fame.
23 Things You Didn’t Know About Jean-Michel Basquiat
Basquiat had an affair with Madonna and the two eventually dated.
Basquiat produced a rap record with Fab Five Freddy and Rammellzee called “Beat Bop.”
At the age of 6 he was already a Junior Member at his favorite museum, the Brooklyn Museum. His mother often took him to art museums in Manhattan when he was still young and encouraged his artistic talent.
At 17, he left his home in Brooklyn for good to live in Lower Manhattan.
He survived in Lower Manhattan by couch surfing, panhandling, drinking wine with winos, and eating 15-cent bags of Cheese Doodles.
He was hit by a car as a child and suffered a broken arm and internal injuries that could have killed him.
After the car accident, his mother gave him a copy of the medical book Gray’s Anatomy, which later inspired the name of his band, Gray, and remained a major reference for a lot of his artwork.
He played the clarinet and other instruments in Gray, despite not knowing how.
The TIME art critic Robert Hughes said about Basquiat that he was the “Eddie Murphy of the art world,” and that what people like about him was his “young, loud… invincibly dumb” persona. He also said of Basquiat’s close friend Keith Haring that he was nothing but a “disco decorator”.
At 21, Jean-Michel was the youngest artist ever to show at Documenta in Kassel, Germany.
Both the Museum of Modern Art and the Whitney Museum of American Art rejected Basquiat’s work.
In the early ’80s, he didn’t have a bank account. He kept his money around his loft on Crosby Street—under rugs, in books, and under the couch.
He threw a pie at his high school principal and never graduated.
By the age of eleven, Jean-Michel Basquiat spoke three languages : English, French and Spanish. His mother was Puerto Rican and father Haitian and both spoke to him in their native tongue.
Dean & Deluca was his favorite food store.
He was in Blondie’s music video for the song “Rapture.”
Debbie Harry (from Blondie) and her boyfriend Chris Stein bought Jean-Michel’s first painting for $200.
Before the world knew him as Basquiat, he wrote graffiti under the moniker “Samo” (same old sh*t) with his friend Al Diaz.
At seventeen years old, he left his parents’ home in Brooklyn to live in Lower Manhattan. He managed to survive by crashing at friends’ places temporarily, or living in the streets with winos and druggies. He supported himself by selling t-shirts and homemade postcards.
He lived in Larry Gagosian’s home for a year. He worked in a basement type space. His paintings were exhibited in the West Hollywood Gagosian gallery in Los Angeles. He was in a relationship with Madonna at the time, and she lived with them for a couple of months.
When he was a kid, he was hit by a car causing very serious internal injuries. To distract him while he was at the hospital, his mother gave him a medical book, Gray’s Anatomy, which later inspired the name of his band Gray. More importantly, this book was a major reference in his artistic work as his style was defined by the symbols and imagery of the anatomical language.
He started out as a graffiti artist and used the nickname “Samo” (which stands for Same Old Sh*t) with friend and collaborator Al Diaz. He would strategically place his art near galleries and museums and where artists hung out in order to make a name for himself. In 1978, the magazine Village Voice congratulated him for getting noticed this way.
He had a noise rock band named Gray. He also produced a hip hop record called “Beat Bop” featuring K-Rob and Rammellzee. Basquiat designed the cover of the single, which appealed to both art and record collectors.
Art Palm Beach 2023 PALM BEACH COUNTY CONVENTION CENTER 650 Okeechobee Blvd, West Palm Beach, FL 33401 January 25 – 29, 2023
West Palm Beach, Fla. (Jan 3, 2022) – Art Palm Beach, now under new ownership and directed by the producers of the prestigious LA Art Show, is thrilled to announce the inclusion of immersive experiences focused on the climate crisis and the impact humans are having on our planet. For the first time, DIVERSEartPB will launch in Palm Beach, a sister to the LA Art Show signature curatorial project DIVERSEartLA. Renowned Curator Marisa Caichiolo who is behind DIVERSEartLA, is leading DIVERSEartPB. “Humans are changing the earth’s natural systems in rapid and unprecedented ways. This has propelled our planet into a new geologic era: the Anthropocene,” said Caichiolo. “Contextualizing through immersive experiences and installations, we can all work together on solutions.” For its debut, DIVERSEartPB will be supporting Florida based non-profit arts organizations and museums and is pleased to present a special exhibition by internationally renowned multi-media artist Marcos Lutyens. In his installation, Lutyens takes the viewer on a hypnotic journey addressing the current drought in California and the rest of the world. DIVERSEartPB is also proud to introduce a collaboration between artist Guillermo Anselmo Vezzosi and scientist Dr. Eric Larour from NASA’s Jet Propulsion Lab. The immersive experience and art exhibit in rising sea levels will also include a sculpture by Vezzosi, bringing new life to discarded waste. Art Palm Beach will be held January 25th to 29th, 2023 at the Palm Beach County Convention Center. There will be more than 80 prestigious contemporary, emerging and modern art galleries. Art Palm Beach will donate 15% of all ticket proceeds to St. Jude Children’s Research Hospital. For more information about the show please visit www.ArtPalmBeachShow.com.
Event Details Art Palm Beach is internationally renowned as the premiere mid-winter contemporary art fair in The Palm Beaches along Florida’s coastline by both art critics and enthusiasts. The fair taps into the booming market of Palm Beach, one of the world’s most culturally sophisticated and affluent cities, during the peak winter season.
Featuring some of the most prestigious contemporary, emerging and modern art galleries, the show will provide a new entrée for collectors to explore and acquire the best of a broad selection of global contemporary and modern art in the vibrant cultural hub of South Florida. Geared to benefit from the current real estate boom, proximity to Miami and wealth of the Tri-County Area, Art Palm Beach 2023 will focus on presenting international modern and contemporary galleries featuring work by notable emerging artists as well as top names from the contemporary, modern, classical modern, post-war and pop eras.
A portion of all ticket sales supports the lifesaving mission of St. Jude Children’s Research Hospital.® Families never receive a bill from St. Jude for treatment, travel, housing or food – because all a family should worry about is helping their child live. By purchasing a ticket and attending the show, you are supporting the lifesaving mission of St. Jude where its purpose is clear: Finding cures. Saving children.®
OPENING NIGHT PREMIERE Wednesday, January 25, 2023 6pm – 10pm Opening Night Ticket + Art Party, $150 VIP Gold Card, By Invitation Only
SHOW HOURS/TICKETS General Admission, One Day Ticket $30 Thursday, January 26, 2023 12pm – 7pm
Friday, January 27, 2023 12pm – 7pm
Saturday, January 28, 2023 11am – 7pm (Early entry, VIP Gold Card, By Invitation Only and Opening Night Ticket) 12pm – 7pm (General Admission)
Sunday, January 29, 2023 11am – 6pm (Early entry, VIP Gold Card, By Invitation Only and Opening Night Ticket) 12pm – 6pm (General Admission)
We look forward to seeing you at Art Palm Beach 2023!
Opening Night Premiere
About the Show
Art Palm Beach is internationally renowned as the premiere mid-winter contemporary art fair in The Palm Beaches along Florida’s coastline by both art critics and enthusiasts. Before its acquisition by the Palm Beach Show Group, which also owns the LA Art Show, the fair was previously organized by IFAE founders Lee Ann & David Lester, the original founders of both Art Miami and Art Asia Hong Kong. It is Palm Beach County’s longest running fair dedicated to contemporary, emerging, and modern master works of art of the 20th and 21st centuries.
Building on the LA Art Show’s reputation, expertise, success and growth, Art Palm Beach will be held January 25 to 29, 2023 at the Palm Beach County Convention Center. Featuring some of the most prestigious contemporary, emerging and modern art galleries, the fair will provide an exceptional forum for gallery presentation in front of the affluent demographic of collectors in the vibrant cultural hub of South Florida.
About Palm Beach
Palm Beach, founded by Henry Flagler, has been the winter home of America’s elite industrialists and Wall Street icons since the early 20th century. Over 24% of the world’s wealthiest families reside in South Florida from January through April. In addition to offering galleries access to America’s wealthiest towns during the winter, Palm Beach is the crown jewel of cultural life in Florida. It boasts the highest percentage of arts and cultural institutions per capita of any town in America. The average age is 44 years and residents spend four and a half times the national average on art and cultural events. Palm Beach’s Worth Avenue is world renowned for international luxury brands attracting buyers from the Miami-Palm Beach metro area of 4.5 million residents.
Every corner of this county boasts world-class art, music, theater, and cultural events equal to many major cities. Now home to many of New York’s leading top blue-chip galleries and international auction houses, Palm Beach has become Florida’s collector “must-see” gallery district during the winter season.
El valor de la palabra poética en la saga, Eduardo Planchart Licea, curador y crítico de arte
El valor de la palabra poética en la saga
Por Eduardo Planchart Licea, curador y crítico de arte
Snorri creó un género literarios llamado saga, inspirado por la tradición oral para narrar en épicas escritas las aventuras de estos pioneros de la navegación.
Snorri creó un género literarios llamado saga, inspirado por la tradición oral para narrar en épicas escritas las aventuras de estos pioneros de la navegación, entre ellas se encuentra la saga de “Egil Skallagrinsson”, es una de las obras maestras de la literatura islandesa medieval.
Escrita entre en el siglo XII, narra la vida del vikingo y poeta Egil. En ella devela la esencia del espíritu y peculiaridades de su épico y el alto valor que le daban a la palabra poética, algunas de estas creaciones islandesas crearon ficciones como es el ciclo arturiano.
Los personajes de las sagas, palabra que se podría traducir como contar o narrar, creen y dan la vida por ella, pues representa la verdad como verdad obligante, en donde lo dicho y afirmado dirige y determina la conducta.
Es el poder de la palabra como verdad, también se encuentra en otras culturas donde tiene un valor primordial, y también brotan en un contexto bélico con carácter épico como se narra en el Mahabharata en la cruenta guerra entre primos: Los Pandavas y Kuravas, y en ese contexto se crean uno de los textos más espirituales de la humanidad como es el Bagavad Gita, conocida como ética de la acción desinteresada.
Y esto no es casual, investigadores de la talla de Georges Dumezil crearon la hipótesis de que los indoeuropeos y que tanto los Hindúes como los nórdicos y germanos tiene una cultura ancestral común, y para demostrar escribió el maravilloso trabajo publicado en tres tomos Mito y Epopeya para sustentar estas ideas, que han logrado aceptación en el medio académico.
Los personajes de la saga creen en la palabra, como un realidad ética y real, en la saga de Egil S., la hipocresía, la mentira no tienen lugar, aunque en su panteón de dioses Loki representa la viveza, la triquiñuela por eso es engañosa, hipócrita y en ocasiones ingenioso para hacer sus maldades, por eso era despreciado hasta cierta forma en esta religión germánica, su acto más ruin fue planear el asesinato de Balder, deidad que representaba la paz, la armonía en este panteón, por tanto no existe una deidad que represente estos valores éticos entre los nórdicos y germanos.
La palabra poética en la saga se encuentra tramada con la verdad, y cualquier sacrificio es válido para convertirla en una realidad, en uno de los poemas de esta saga Egil afirma:
“Odin el guerrero/ habituado al combate,/ me concedió un arte./ Perfecto y sin tacha,/ que obliga al enemigo/ a descubrir sus tretas,/ tal es la fuerza de la poesía”.
Entre estos hombres rudos y sensibles, que vivieron entre el mar, el frío, glaciales y erupciones volcánicas, situaciones demasiado contrastantes por eso no es de extrañar que en su civilización nacieron metáforas poéticas que sorprenden por su belleza, como: el zumo del pecho, el néctar de Odin para referirse a la poesía; destructor de mástil, enemigo helador para las tormentas; cisne del mar, corcel de las ondas, hoja lanceolada que flota, para hacer referencia a sus ágiles y bellos barcos que lograron incluso llegar al nuevo continente antes que Colón pero no lograron esas nuevas tierras que se convirtieron en leyendas, bajo el mando de Leif Erikson, hijos de Eric el rojo en el siglo X.
Lo genial de la saga de Egil es que en ella estamos, ante un claro sentido de lo poético, en su verbo no hay dudas, ni titubeos. La poesía arrastra consigo la vida y la verdad, no encontramos en ella la sombra de la mentira, ella muestra el rostro del corazón y la realidad.
Es la poesía como sentido al existir, por tanto posee un sentido existencialista y sacro, que se muestra rotundamente en Egil S. ante el dolor que lo domina por la muerte de su Hijo:
“La lengua se resiste/ alzarse en mi boca,/no pudo levantar/ la balanza del verso;/ en el néctar de Odin,/ no es fácil que surja/ de su hogar en mi pecho.”
Sólo logra calmar su angustia y dolor a medida que compone el poema, como narra Snorri Sturlusson: “Cuando terminó Egil Skallgrimnsson el poema, lo recitó ante Agerd y Thorgerd y la familia: se levantó entonces de la cama y se sentó en el escaño de honor, y la quietud volvió a su corazón; llamó este poema “Pérdida irreparable de los hijos”.
Más tarde mandó el padre hacer un funeral para su hijo según las antiguas costumbres en un ágil bote poso su cuerpo, lo incendio y lo lanzó a la mar para que esta lo abrazara. Y cuando volvió a su casa lo despidió con obsequios a sus mejores amigos.
Se está ante la poesía no solo como verdad sino como catarsis, este sentido se encuentra asociado a como Odin obtuvo el néctar de las runas, la magia, y el poder de las palabras, episodio que es descripto en las profecías del Voluspa en las Eddas, así como el Valhalla palacio donde vive Odin con más aguerridos guerreros muertos en batallas y llevado a ese sacro lugar por las Valquirias, por eso morir valientemente era considerada un honor en esta visión del mundo descrita también por Snorri S.
El dios de la profecía obtuvo estos dones al sacrificar uno de sus ojos a la fuente de Mimir, sacrificándose a sí mismo para que las runas llegaron a él tras nueve días, número asociado simbólicamente a la gestación: “ Yo se que colgué del árbol batido por los vientos/ nueve noches enteras,/ herido de venablo y sacrificado./ Yo a mismo a mí mismo.
No me dieron pan, ni hidromiel,/ aceche debajo de mí./ Hice subir las runas, lo hice llamándolas por mi dolor,/ y entonces caí del árbol.”
El poder del verbo profético fue obtenido por el sacrificio de sí, por esto este don es capaz de exorcizar el dolor del ser. Difícilmente se encontrará un ejemplo más rotundo del aprecio a la palabra poética, que el episodio en que Egil Skallagrimsson salvó su vida gracias a un poema.
Debido a una tormenta se vio obligado a llegar a las costas de los dominios de uno de sus peores enemigos, el rey Eirik, y se le dio el don antes de ser ejecutado de hacer un drapa, osea un poema de veinte estrofas que tituló: El Rescate de la Cabeza, y su enemigo quedo tan satisfecho del poema que le perdonó la vida, en que otro contexto literario se podrá encontrar un testimonio más elocuente y conmovedor del amor a la palabra poética, tras oírlo su enemigo dijo: “Está vez Egil te regalo tu cabeza, pues la pusiste a mi merced y no quiero cometer un crimen en ti, tras oír el drapa.
A lo que él poeta y destructor de mástiles respondió:
“No me incomoda/ que aunque yo sea feo/ me regale el rey/ el yelmo de apoyo de mi cuerpo (Cabeza)…
Bibliografía:
Sturlusson, Snorri. Saga de Egil Skallagrimson. Editora Nacional. España. 1993.
Sturlusson, Snorri. Textos mitológicos de las Eddas. Ediciones Nacional. España. 1982