Favorite Quotes From Deborah Sampson

Marcelo Pombo Sebastian Gordín



film

My teacher said that no one could tell having seen a movie if I had not seen on the big screen of a cinema. Similarly, I think nobody can say he knows the work of Marcelo Pombo, if it was only through reproductions.
This is the karma of those live for centuries away from the main stages of Western art, to try to keep abreast of developments and trends that were taking place in Europe and then in the U.S., the only choice was to travel or study based on faded reproductions of both switch hand in hand, but could not be interpreted unequivocally missing face appearance.
time gave us revenge, and if, as imagined by the art critic Robert Hughes, now live in a world where there radicant more an art center, but many schools today, then our peripheral position of the past no longer it is both and this situation can be reversed.

A reproduction, a photograph or a picture from the Internet, we petty much information in relation to a painting. The speed of the strokes, overlapping layers, the order in which the images were appearing, the tool used to place the painting, the actual size of the work, become anecdotal and unnoticed aspects. There are only shapes, colors and a picture with some resemblance to the original. Second-hand image.
And if we speak of a Van Gogh on display in a hidden corner of Bulgaria, playing not only justified but is necessary, but an Argentine artist there is no excuse. The photograph of a work of Pombo has nothing to do with a painting Pombo. We well escape the delicacy of your bill, the patience with which distills each of its points in relief, with tiny concentric circles that surround each other, the impression of the work as a whole, despair and want to spend your fingers gently over to capture the dimension table also in touch, and nothing more and nothing less than his aura.

For all this, the images illustrating this note does not mean anything. The truth about them is in San Telmo Gallery Zavaleta Lab, in the sample The depth of the sea. Zavaleta Lab

Venezuela
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Until August 7

What Does A Thickening Of The Colon Wall Mean

The climax of the disaster or

The glamorous supermarket is ArteBa art that seems to last for fewer days each time because it gives the feeling that can never be covered in full. Nothing too surprising there this year, although it is increasingly seen works and technical experimentation. I must admit that something that surprised me is that while the number of stands of foreign galleries multiply, Argentine goes down, data is not very auspicious for the local art market.

As always there were works of all kinds, but the one that caught my attention was not the most spectacular, nor the most grandiloquent and probably the most expensive (something that no inquiries). Could only in a glass case and its author is Sebastian Gordín. What it was? A library, with its dozens of volumes and about to crumble. The little booklets made and painted one at a timber crashed into the ground represented in the work and the portrayed Gordín still at the exact moment of his fall.

The artist moved here the theory made famous by Henri Cartier Bresson in the field of photography, to that of "the sculpture? The goal?, When he preached the idea with his camera to capture the decisive moment, or as he called it, the "image à la sauvette" an image that seems so magical and unique chance had it not been trapped forever in your device.
The stability of a long inverted pyramid was investigated by the sculptors, but it is surprising to those who know of this technique is that the modules of the library can hold only one angle, that hardly makes contact base.

Although it seems to be only a visual work, which appeared in the stand Gordín Ruth Benzacar has an implied sound reaches the edge of the unbearable, because intuitively we get to see her hands over ears to shudder with the noise that will make the fall so the hundreds of booklets and all the shelves that held so far.
impossible not to wonder about what had happened in the instant before which we are witnessing, what or who caused the disaster.
So far the only certainty we have is that we are witnessing the exact point of fact, a second frozen in time in which we participate and we will keep with us always, and when someone asks us we can say, sure of their significance " I was there!".