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Obra: En Casa/ En Kabul.
Autor: Tony Kushner.
Dirección: Carlos Gandolfo.
Labor: Diseño de Escenografía. (Junto a Carlos Gandolfo y Florencia Del Gener)
Diseño de Vestuario. (Junto a Florencia Del Gener).
Teatro: Complejo Teatral de Buenos Aires Teatro San Martín.
Sala Casacuberta
Temporada: 2004.
Fotos: Mariana Del Gener.
D843_005
08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
Etant donnés
Obra: En Casa/ En Kabul.
Autor: Tony Kushner.
Dirección: Carlos Gandolfo.
Labor: Diseño de Escenografía. (Junto a Carlos Gandolfo y Florencia Del Gener)
Diseño de Vestuario. (Junto a Florencia Del Gener).
Teatro: Complejo Teatral de Buenos Aires Teatro San Martín.
Sala Casacuberta
Temporada: 2004.
Fotos: Mariana Del Gener.
“La Espera”—the waiting.
You know, people think waiting is what happens before something else happens. But sometimes waiting is the thing itself. The train never arrives, the letter/postcard/message never comes, the rain keeps falling, and somehow your whole life gets built in the station.
Waiting inside a photograph that's waiting on a windowsill. A plant reaches upward toward a gray sky, as if it's heard some rumor about the sun. The window looks out over buildings that have seen thousands of people leave for work and return home wondering where the day went. His hands folded together. That's a universal language. Hands folded together say: "I'm staying here a while."
A chair. Not in a room, not in a photograph, but outside. Alone. Wet from the weather. Facing a road where cars come and go without introducing themselves. A black chair under a broad northern sky, sitting behind a rusted railing as though it's guarding a secret nobody asked for. Now that's the funny thing about chairs. They never move, but they're always expecting company. The chair on the windowsill and the chair by the roadside have never met, but they're engaged in the same profession. They are specialists in absence.
They hold a place open in the world. The plant waits for light. The road waits for travelers. The photograph waits for someone to recognize themselves in a stranger. The empty chair waits for a body. And the body, well, the body waits for a sign.
La espera.
People write songs about departures, but most of life is spent in the hallway before the door opens. The seed underground. The coffee cooling on the table. The phone that doesn't ring. The green light that stays red. The thought you almost remember.
Sometimes waiting happens indoors, beside a window. Sometimes it happens outdoors, under clouds. But it's the same weather.
A photograph remembers. A chair anticipates. Between memory and anticipation, that's where most of us live. Let’s spend some time there.
A Glitch "Flâneur à l'intérieur (identitatis) ~ Ètude III”
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
NFT Crypto Digital Art
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Today we celebrate volume or maybe just the space things take up when they refuse to be ignored.
Somewhere in Medellín, where the mountains hold the city like a secret, a man named Fernando Botero started stretching the world. Not pulling it apart, more like inflating it, the way a dream swells just before you wake up.
Botero, didn’t paint people the way they are. He painted them the way they feel when nobody’s looking. Big hands, wide faces, bodies that seem to carry more than just themselves. You look at one of his figures and you might think they’ve been eating too well, but stay a while, and you realize they’re holding history, humor, maybe even a little sorrow tucked into the folds.
He once said he wasn’t painting fat… he was painting volume. And volume, well, that’s a tricky thing. It’s not about size it’s about presence. Some folks walk into a room and disappear. Others fill it without saying a word. Botero painted the kind of silence that has weight to it.
You see it in his sculptures too, those bronze figures sitting out in the open air, like they’ve always been there, waiting for the world to catch up. They don’t rush. They don’t bend. Time moves around them, like a river splitting around a stone. There’s a kind of mischief in his work. A wink, maybe. Kings and generals, dancers and saints, all given the same generous proportions, like he’s reminding you that power and vulnerability wear the same coat, just stitched a little differently.
And if you listen close you might hear something. A low hum, maybe a distant accordion, maybe just the echo of footsteps on a cobbled street at dusk. That’s Botero’s world. Slower, fuller, a little surreal… but not so far from our own.
So next time you see one of those figures, round as a memory, steady as an old song, don’t laugh too quickly. Or do. He wouldn’t mind. Just don’t walk away too fast.
Some art doesn’t ask to be understood. It just asks you to stay long enough to feel its weight.
ink on paper
contact ibarraloana@gmail.com
Title: #156. Acrylic Painting... 24x24 inches, Acrylic on Canvas. Painting by Terry David Silvercloud (Butch).
A Glitch "Aetherea Submission (αιθέρια υποταγή) ~ Ètude IX”
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
NFT Crypto Digital Art
Marketplace on qurable.co : Buy, Shell & Explore Digital Assets
app.qurable.co/c-louis-montiel
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#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #nfts #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #nftart #glitchartscollective #glitcharts #nftartist #glitchartwork #glitchartisdead #glitchartists #nftcommunity #nft #glitchartist #pixelsortingart #nftartists #creativecodeart #glitchportrait
Son of Big Daddy Roth (site-specific sculpture)
152 x 92 x 80 inches
Polystyrene, polyurethane foam, sand, acrylic paint, wire, pompoms, glue and glitter flake, google eyes
On Thursday 30th June, dot-art ran it's first Introduction to Life Drawing day, led by Roy Munday in Liverpool City Centre. Life model Arthur posed for participants, who were taught the basic skills required, and given individual tuition and feedback.
As far as I know, we don't need a global pandemic like the one that occurred in 2020 to heed the call.
“Support Your Artist 2020.” That was a strange year. Streets went quiet. Curtains didn’t rise. The amplifiers stayed cold. Museums turned into locked boxes full of ghosts. You could hear a pin drop in places that used to shake the walls. Back then they said, “This is temporary.” They said, “When the pandemic’s over, things will come back.”
Well… things always come back different. Like a song you haven’t heard in years, you recognize it, but it’s sitting in another key now. But here’s the thing:
Supporting artists was never about the pandemic.
The pandemic just pulled the curtain back. Artists have always lived in the cracks. Between applause and rent. Between “exposure” and groceries. Folks love the song, love the painting, love the movie, but when the hat comes around, suddenly everyone’s looking at the floor.
People say, “Art is important.” They say, “Music saved my life.” They say, “I couldn’t get through that time without books, without films, without songs.” But importance doesn’t pay the electric bill. And gratitude doesn’t buy materials neither pays the rent. Artists don’t disappear when the crisis ends. They disappear when nobody’s watching.
That T-shirt says 2020, but it might as well say 1920. Or 1975. Or next year. Or now. Because the struggle isn’t seasonal. It’s structural. You don’t support artists because the world is falling apart, you support them because they help you understand the pieces. Painters paint whether the gallery is open or not. Songwriters write whether anyone’s listening or not. Poets keep tapping at the wall, even when the echo fades. And here’s the quiet truth: If you want art when times are hard, you have to support artists when times are normal. If you want songs during the storm, you can’t abandon the singers when the sky clears.
So this shirt? It’s not a relic. It’s a reminder. Support your artist, not because something went wrong in 2020, but because something goes wrong when we stop listening, seeing, reading.
contact ibarraloana@gmail.com
Sitting on the right Joan Hus. The author of the historical novel 'Ballet Russe' answering questions during an interview with members of a reading group.
Will algae farms be the farms of the future? Can washed-up jellyfish be repurposed to make a durable material? Are algae the solution for clean energy harvesting? Through performance and talks, we explored aquatic life in the framework of harvesting. Sound and visual artist Sabina Ahn, designer Charlotte van Alem and researcher Dr. Ben van den Broek contemplated these questions and more.
www.mediamatic.net/en/aquatic-harvesting
Photography by Anisa Xhomaqi
May my tongue cling to the roof of my mouth if I do not remember you.
Selfportrait in the studio.
instagram loanaibarra
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©2010 Atelier Visit. All rights reserved. www.ateliervisit.com
Santa Barbara Visual Artist, Mary Heebner, shares some of her time with Atelier Visit. Her interview was filmed in Los Angeles at Edward Cella Art+Architecture where she was opening her solo show. Exhibit is running through April 17, 2010 at Edward Cella Art+Architecture located at 6018 Wilshire Blvd. Los Angeles, CA 90036.
Title: #149. Acrylic Painting... 24x24 inches, Acrylic on Canvas. Painting by Terry David Silvercloud (Butch).
A Glitch “Unveiled Nuditate(γύμνια) ~ Ètude VII”
by ™℗®© Louis M o n t i e l
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“La caída. Scene from a bed.”
Leaves. Not the kind that crunch under your boots in autumn, but one particular leaf. A fig leaf. Medium in size. Big in meaning.
You ever wonder why in all those Renaissance paintings, Adam and Eve are walking around stark naked one minute, and the next they’re wearing nature’s original wardrobe malfunction? That little green fig leaf. Strategically placed. Tastefully awkward. Well, that fig leaf’s been covering up more than just the basics. It’s been hiding our shame, our secrets, and maybe even a little bit of truth.
Back in the Book of Genesis, Adam and Eve eat the fruit, not an apple, no, that’s just PR spin. Could’ve been a fig for all we know. They take a bite, and suddenly they realize they’re naked. Boom. Shame is born. They grab the nearest foliage, fig leaves and fashion themselves a couple of impromptu aprons. So the fig leaf became a symbol. Not just of modesty but of the moment human beings became self-conscious. A veil between innocence and experience.
Later on, artists in the 15th century they were painting naked gods and goddesses left and right. But some folks upstairs didn’t like all that skin. So what did they do? They slapped fig leaves on statues, painted them on frescoes. Even poor Michelangelo's David had to deal with a marble fig leaf cover-up. Must’ve been drafty in Florence.
In the end, the fig leaf is a cover-up in every sense. It’s what we use when the truth is just a little too much to bear. When honesty gets uncomfortable. When being human starts to feel like a problem that needs hiding. And here’s the kicker; sometimes the fig leaf tells you more than what it’s trying to hide. Like a lie that reveals a little too much about the liar.
So next time you see a fig leaf from bed, don’t just look at what it’s covering. Think about why it’s there. And what we’re all trying to hide. Keep your leaves clean, and your secrets cleaner.
//watercolor on cardboard, 26cm x 19cm
contact ibarraloana@gmail.com
Something a little different, something they don’t tell you in the big city or down at the bar. Talking to your inner child. You know, the little you that’s still hanging out, somewhere deep inside. But don’t you go thinking we’re gonna start having a therapy session here, no, we’re just gonna explore it the old fashioned way.
Now, let me ask you, remember when you were a kid? Couldn’t be more than, what, three, maybe four? Life was a whole different flavor back then, ‘ait? You didn’t worry about paying bills or making the rent, you just worried about getting the best seat at the table, or maybe the biggest slice of the birthday cake made by grandma’s hand. But the thing is, that little kid still lives in you. I guess. Somewhere deep inside, maybe a little dusty, maybe a little bruised, but they’re still there.
Some people, they call this part of you ‘your inner child.’ Seems a little funny, huh? We all got that kid still hanging around inside us, even if we don’t wanna admit it. But let me tell you, if you don’t talk to that kid once in a while, well, things can get mighty messy. Just like a song with too many chords, too much dissonance, not enough harmony.
So, let’s say you find yourself in a bad spot, stuck in a rut, or just feeling like you’re a long way from home. What do you do? You gotta find that little kid inside you, pull them up to the front seat, and have a chat. It’s not about fixing things, no no. It’s about listening. That little kid’s still got dreams, you know? They’ve still got hope in their pocket, and if you listen close, you might hear it. Might even remember what you were like before all the rules and the worries and the weariness of the world came along.
You see, this isn’t just about nostalgia or looking back. This is about connecting the dots between who you were and who you’re gonna be. And sometimes, the best way to make peace with where you’re going is to spend a little time with who you used to be. It’s like a song that started in the past but don’t stop playing in the present. It keeps going and maybe it even helps you find a way to keep moving forward.
You might be thinking —what does it mean, talking to your inner child? Well, I’ll tell you. It’s about giving yourself permission to feel a little wild again. To remember what it was like when you had nothing to lose. It’s about nurturing the parts of you that haven’t been tainted by the tough times, the hard knocks, and the ‘ought-to-be’ way of living. You gotta let that little kid out to play every now and then, ‘cause I’m sure they know a thing or two about living. And if you listen close enough, they might teach you something you forgot.
In Journey to Ixtlan, by Carlos Castañeda, Don Juan Matus talks about "stopping the world", a concept that encourages you to break free from the repetitive thought patterns and societal conditioning that obscure your true self. In a way, it’s about reclaiming a state of mind and being where you’re more in tune with the raw, unfiltered essence of existence, much like a child experiences the world before layers of judgment and "oughts" are layered on. Don Juan might not speak about the inner child in the language we’d use today, but his teachings align closely with the idea of returning to a more pure, unshaped state of being; a space where you are not bound by the limits of your adult self and can reconnect with a more authentic, spontaneous, and instinctive part of who you are. So, while not the exact term or concept as the modern psychology, it’s definitely in the spirit of what he teaches: to reconnect with your untainted, full potential. That’s the essence of reclaiming your "inner child" in the shamanic sense.
Next time you’re wandering around in the wilderness of your own mind, look for that little voice, maybe it’s humming a tune you used to sing, or maybe it’s telling you to take the long road home. Either way, don’t forget to stop and listen. The road’s a little smoother when you’re traveling with a friend. And sometimes that friend is you.
Well, Loana por Dios, that’s enough rambling.
ca. 1960s, France --- Charles Lapicque displays a painting and a variety of palettes in his studio. France, ca. 1960s. --- Image by © Paul Almasy/CORBIS
Anna Maria Janiszewska is a photographer, visual and installation artist best known for her analogue photographic work. Having grown up Poland and moving to Ireland in her early twenties she studied at the Institute of Art, Design & Technology in Dun Laoghaire and Ireland’s National College of Art and Design. Janiszewska is interested in using photographic tools and processes to rupture the reality of the everyday, skewing documentary and fiction in order to highlight alternative ways of seeing and experiencing. Over the years her photographic works have been exhibited in many places in Ireland and Poland.
Obra: En Casa/ En Kabul.
Autor: Tony Kushner.
Dirección: Carlos Gandolfo.
Labor: Diseño de Escenografía. (Junto a Carlos Gandolfo y Florencia Del Gener)
Diseño de Vestuario. (Junto a Florencia Del Gener).
Teatro: Complejo Teatral de Buenos Aires Teatro San Martín.
Sala Casacuberta
Temporada: 2004.
Fotos: Mariana Del Gener.
Le projet « Accident » s’inscrit dans une démarche visant à s’interroger sur le Moment Présent.
Notre vie se réalise dans le temps présent. Mais cette réalisation, n’est-elle pas plus souvent le fruit d’un « accident » ?
« Accident » est vu comme une mise en situation par le prisme d’un œil dysfonctionnant aléatoirement.