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Showing posts with label americas Society. Show all posts
Showing posts with label americas Society. Show all posts

CONCIERTOS ÚNICOS TE ESPERAN EN AMERICAS SOCIETY

Posted by LATINO EVENTS Y TESPIS MAGAZINE on Wednesday, February 17, 2016 , under , , , , , , , , , , , , , | comments (0)






Además de su sala de exposiciones y su programación de conservatorios y paneles literarios, económicos y políticos, la Americas Society tiene una programación musical de primera que les espera en su sede de la Avenida Park con la Calle 68 de Manhattan. En esta temporada ya hemos disfrutado de los conciertos de la pianista Vanessa Pérez y de la cantautora Magos Herrera acompañada del guitarrista Javier Limón. 
Los salones de la antigua mansión le dan un toque único de intimidad a estos conciertos que abarcan todas las manifestaciones musicales de nuestro continente americano.  Les invito a celebrar nuestra cultura musical, asistiendo a los próximos eventos. 

 Estos son los próximos conciertos:

 - Brasil Guitar Duo: Leo Brouwer el 19 de Febrero.
- Momenta Quartet: Julián Carrillo el 23 de Febrero.
- La Calle de los Pianistas II: Karin Lechner y Natasha Binder en concierto el 16 de Marzo. (Foto)
- Modernismo Rumbero con el quinteto de aire City of Tomorrow el 28 de Marzo.


 Para más información visita > ascoa.

BOUNDLESS REALITY IS MAGICAL, BOUNDLESS BEAUTY.

Posted by LATINO EVENTS Y TESPIS MAGAZINE on Thursday, January 14, 2016 , under , , , , , , , , , , , , , , , | comments (0)





Boundless Realities, the soon the be closed exhibit at the Americas Society is a real treat. Following on the steps of german explorer Alexander von Humboldt, many explorers pour into the vastness of the American continent from the 1830's to the 1880's and traveled from México to the Caribbean, from Venezuela to Brasil and Perú.

These explorers documented what they saw around them, from people to rivers, its flora and fauna. Many of these paintings and drawings depict accurately what the saw but also, being europeans of their generation, colored reality to mold it to europeans sensibilities.

Nonetheless, the result is outstanding!. These are some of the first and only representations left of what we call América today. One can not but feel the sheer excitement of Auguste Morisot, a frenchman who traversed the lands of the Orinoco basin, trying to articulate and capture what he was seeing. Sunsets, rivers, people, animals and costumes never seen before by European eyes. 

Morisot called it 'magical atmospheres' and 'fleeting and marvelous spectacles.'
I felt the same when I visited the exhibition a few days ago. I was mesmerized by the delicate lines, the simple yet marvelous colored rendition of the beauty hitting Morisot's eyes. You will feel it too, I assure you. 

One can also feel the frustration of Morisot upon realizing how imposible the task was of capturing everything about him!. One can feel his blood rushing trough his veins, his hands holding a pencil in ernest, in the darkness, by a campfire, scratching lines on a piece of paper, capturing that magical moment or the other, or the other, before his memory abandoned him.

Countless Reality gives us countless beauty. Is magical. Don't miss it.
The exhibit is drawn from the Patricia Phelps de Cisneros Collection (Colección Cisneros) and is only open until January 23 at the Americas Society Gallery and at The Leubsdorf Gallery, Hunter College.
For more information, visit Ascoa. 
All pictures by Alex Guerrero, 2016.

Xul Solar and Jorge Luis Borges: The Art of Friendship in NYC

Posted by LATINO EVENTS Y TESPIS MAGAZINE on Sunday, April 28, 2013 , under , , , , , , , , , , | comments (0)




La muestra Xul Solar and Jorge Luis Borges: The Art of Friendship examina la influencia mutua entre estos dos artistas argentinos y busca explorar cómo una amistad tal puede afectar el discurso tanto público como cultural e intelectual . La muestra está abierta hasta el 20 de Julio en la Galería de Americas Society.


This will be the first solo exhibition in New York dedicated to painter, writer, and occultist Xul Solar, born Oscar Agustín Alejandro Schulz Solari (1887-1963). The show will offer an in-depth examination of the public and private aspects of Solar's long friendship and vigorous exchange of ideas with famed writer and fellow Argentine Jorge Luis Borges. The central concept of the exhibition will explore how a friendship—a private, intimate affair—can affect public cultural and intellectual discourse. Solar and Borges' influences on each other led to groundbreaking artistic work produced by them individually and collaboratively. The exhibition will feature a selection of Xul Solar's exquisite early paintings as well as collaborative publications, translations, objects, and artistic interventions in books by the two friends. Public programs will include cross-disciplinary events and a panel discussion featuring Maria Kodama, Sergio Baur, Patricia Artundo, and Silvia Molloy, as well as poetry readings by Lila Zemborain and Cecilia Vicuña. Americas Society will also produce a fully illustrated publication to accompany the exhibition.
Solar and Borges met in 1924 after both had independently traveled throughout Europe where they spent a decade after World War I, and returned to Buenos Aires just when a literary and artistic avant-garde movement was beginning to take hold. They were part of the circle of writers and artists associated with the avant-garde magazine Martin Fierro, which was active until 1927. The martinfierristas were part of the Argentine generation whose artistic and political efforts were focused on defining and exploring their national identity through cosmopolitan means. They embraced a universal identity linked to Europe, but also sought to establish a uniquely Argentine national identity grounded in the rural mythology of the gauchos, the iconic Argentine cattlemen. These concepts are central to Borges' early work. Solar's paintings include a number of nationalist symbols dating back to pre-Hispanic times as well as words from two languages he invented to be Argentine, yet universal. Another major theme in Solar’s work is spiritualism and fantasy. He developed a method of painting with watercolors and crayons which he used to create colorful and fantastical works that blended metaphysical ideas about the invisible world with his interests in constructing a national identity and reinventing language.
* Xul Solar and Jorge Luis Borges: The Art of Friendship > Abril 18 - Julio 20 > Americas Society Gallery > ASG.

ARTE: PRUSSIAN BLUE at THE AMERICAS SOCIETY

Posted by LATINO EVENTS Y TESPIS MAGAZINE on Friday, February 22, 2013 , under , , , , , , , , , | comments (0)





Yishai Jusidman (b. Mexico City, 1963) finds in his new series, Prussian Blue, an alternative way to address the meeting of collective memory and aesthetics in order to deal with major concerns of both contemporary memorials and history-based artistic deliverances, as well as with some often overlooked sources that contemporary paintings may exploit. Responding to an ethical imperative inspired by the works of Primo Levi and Claude Lanzmann as a means to focus on issues of representation, memory, and trauma, Jusidman aims to render a truth that asserts his artistic investigation on the complexity of our contemporary visual experience: through a place where the materiality of the medium and the perception of the image collate in the meaning of the picture.
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 The source for the fourteen paintings in the Prussian Blue series are photographs showing the architecture of gas chambers at various concentration camps used during World War II. Some were taken soon after the end of the war and others are more recent images of the camps now turned into public memorials. For the development of his pictures, Jusidman used exclusively three coloring materials that overlap the process of painting and the functioning method of the genocidal gas chambers. The first color is the same Prussian blue pigment (ferro cyanide) that unintentionally appeared on the walls of the gas chambers as a by-product of the Zyklon B gas. The artist not only replicates these colored stains in their actual materiality, but also marks his pictures’ settings as a whole in Prussian Blue. The second material is a silicon dioxide powder used for the pellets that delivered the gas to the sealed chambers, with which Jusidman creates the suggestion of a vaporous curtain by introducing it into his painting medium. As a third substance, he selected paints conventionally used for rendering skin tones (i.e. flesh tone, flesh tint, blush, etc.) to refer to the millions murdered within the architecture depicted in his work.

* Prussian Blue – Memory After Representation: Yishai Jusidman > Ends March 23 > Americas Society Gallery in NYC > JUSIDMAN.
* Photo: Haus Der Kunst, 2011; from the series Prussian Blue. Image courtesy of the artist.
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La Brecha Digital en América Latina

Posted by LATINO EVENTS Y TESPIS MAGAZINE on Sunday, July 26, 2009 , under , , , , , | comments (0)



Christopher Sabatini, de The Americas Society en Nueva York, conversa en CNN sobre la brecha digital en el Continente. Sólo 48 % de latinoamericanos tienen acceso al internet (75% en USA). La falta de competencia en el area de la telefonía y el internet hacen muy costoso este acceso. Sabatini menciona las iniciativas de Uruguay y Brasil para convertise en "paises conectados".



THE AMERICAS SOCIETY

Posted by LATINO EVENTS Y TESPIS MAGAZINE on Wednesday, January 21, 2009 , under , , , | comments (0)



This great NY institution always has an array of programs, from music to lectures to exhibits, highlighting every corner and culture of the Americas. This time around, it brings Us a closer look a the Mapuche Culture still located in parts of what is today Chile and Argentina. The Mapuche population in Argentina has grown to around two hundred and fifty thousand. In the Chilean population census of 1992, carried out by the National Institute of Statistics, approximately one million people surveyed declared themselves to be Mapuche. They are the only South American native nation that was never conquered by Spain. In fact, on the 6th January 1641 the Mapuche nation and the Spanish Empire concluded and signed the treaty of Killin, in which the Spanish Crown recognised the territorial autonomy of the Mapuche nation. From this date, for more than two centuries, the Bío-Bío river was respected as a natural frontier and the lands to the south of this boundary as territory of the Mapuche nation in full exercise of its right to self-determination. For more on The Mapuche Nation. To learn more on the exhibit please visit www.americas-society.org