Las mariposas son miopes (Spanish Edition)

Who are the inhabitants in this archipelago? What kind of art are they producing? What are their cultural references, themes and perspectives? What are their formalistic explorations or aesthetics? MediaNoche, our gallery, is devoted to new media — digital art in all of its manifestations. Unique among the galleries of New York, it offers exhibition space and residencies to artists working in new media. For more information go to: General introduction about each artist in Mallorca, Spain.

Joan Miro Foundation — 6 min. Palm Beach Post Art Critic. Closing Remarks — NYC — 2 min. In his work he address ideas related to oral history tradition, ritual, mythology, cultural identity, archeology of memory, and political trans-nationalization. In this exhibition he incorporates the re-appropriation of cultural artifacts of Ponce and Spanish Harlem to his installations as a way of accessing the past and re-interpreting its presence.

He is currently working at his studio in New York City. Utilizo los elementos figurativos sin preocuparme tanto de su significado literal. He had his first formal training in the arts in his native town and later moved to San Juan where he graduated from the School of Visual Arts. At present, Carlos paintings, drawings and photo montages works are mainly bases on current events. His works are inspired by the emotion generated in him by everything and anything that surround him.

His themes include intimate feelings as well as universal fears as war, hunger, violence and how humanity struggle to live a fulfilling life despite its situations and environment. It is considered to be a form of expressionism, where his use of intense color with a rhythmical brushstroke places him among the most prominent young artists of the island. Cesar Santalo was born in Baltimore , Maryland in At the age of seven he moved to Miami , FL.

From a very young age, Cesar has shown to be passionate about art and its creation. By the age of sixteen, he had won many prestigious national art awards and scholarships; including regional and national winner of the Scholastic Art Awards. He later received the Art Innovations National Winner at the college level. The artist, like the writer, has the obligation to be of use; his painting must be a book that teaches; it must serve to better the human condition; it must castigate evil and exalt virtue.

Puerto Rican culture is part of my art. These are my roots. And my roots are always present in my art. Though circumstances and their expression in both art and literature have changed immensely since the days of Puerto Rican painter Francisco Oller , his concepts as well as his art continue to be revered by artists of his nation to this day. Artists and intellectuals of the 19th and early 20th century had to grapple with the effects of colonialism, extreme poverty, strict rules of censorship and the lack of training centers and museums to develop and exhibit their work.

Not until were conditions favorable for such an undertaking. Nevertheless, the underlying philosophy of Francisco Oller remains pertinent to this day: Puerto Rico remains a colony- of the United States rather than Spain; there is still poverty; and censorship still serves as a means of controlling critical expression. And, indeed, Puerto Rico remains a colony whose highest ruling official is the Governor, and whose population is split between becoming an independent country or joining the United States as its 51st state. They survived and became carriers not only of their own religious, social and artistic beliefs, but of aboriginal cultural elements due to interchanges between the two most oppressed groups of the social pyramid.

The politics of African slavery also set the groundwork of all American continental history until the end of the 19th century by which time the European practicioners who had imported slaves by the millions, decided that slavery was no longer a pofitable system. This was started by England and eventually swept the American continent. The last Latin American colony to insist on continuing slavery was Brazil — the largest of Latin American countries — which was conquered by the Portuguese, ruled by the emperor of Portugal, and finally by his son who set himself up as emperor in the New World until he was displaced by the abolition of slavery in , which brought an end to the imperial colonial status of Brazil.

It should not be imagined, however, that the abolition of slavery as an economic structure that had penetrated the entire Western World, aided and abetted by national rulers in Africa, was slowly abolished by anti-slavery forces. European peasants were forcibally moved to the cities in great numbers, as the writings of Charles Dickens, and many other authors, testify. In Haiti and the Caribbean, and in many areas of Latin America, however, agricultural production continued well into the 20th century, but it was structured to function as wage labor.

Pertinent to our history as well is the factor of developments in Haiti and the Spanish-speaking Caribbean nations. Too complex to be summarized here, an insightful view of the strong African presence throughout the Americas — economically, socially, and culturally — can be found in the book, Dictionary of Afro-Latin American Civilization, published in by a professor of Latin American civilizations and linguistics. The imbedded aspects of African languages, religious beliefs, and customs, from the days of slavery to this day, present an astonishing revelation and explain more about modern artists of the Caribbean for the purposes of this paper and the Americas as a whole, than many volumes on the subject.

His father now deceased , from whom he inherited his name, was present in the Massacre of Ponce during which supporters of Puerto Rican independence scheduled a peaceful demonstration for that independence and for the release from jail of Pedro Albizu Campos, an ardent fighter against U.

Thus our artist, Ballester, has been immersed in the history of Puerto Rico since childhood and, when grown, found it necessary to visit Haiti and also exhibit his work there. He considers himself an Afro-Catholic and invokes spirituality from both sources through the titles and visual content of his works of art.

After Haiti the earliest nation to eliminate slavery on the American continent came Mexico, which decided on this course after its revolution against Spain. By , the new free Haiti was established and ruled by former African slaves — setting a pattern and model of liberation for the rest of the Americas. If the first contingent brought ideas of independence to the island, the second expropriated the dominant status from the old landowners.

Since , poverty in the colony had already sent thousands of working class immigrants to the U. Those who were black or dark-skinned suffered racial as well as economic and ethnic discrimination. Migration increased to , in The census might record close to one million. They can, however, move freely between Puerto Rico and the United States which has immense consequences artistically, culturally and economically. Many Puerto Ricans are bilingual and a great many artists have studied in U.

Many artists from the Island move back and forth between their country and the U. The working class Puerto Ricans live in the area known as Spanish Harlem. As we have seen, the name is not a coincidence. Since Puerto Ricans, like other peoples in the Caribbean, reflect a great intermixture with African peoples of the New World, it is natural that they should feel close to the U. Du Bois, had established not only a political structure in New York, but a powerful and inspirational artistic structure in visual arts, literature, and music.

Many historians feel that African-American music blues, jazz, etc became the primary original music of the United States replacing a complete dependency on European sources. In additon, white North American musicians like George Gershwin, drew on African American music to create an original fusion that reconstitured the classical music of the United States. It is also well-known that African American music became very popular in France in the early 20th century, opening the doors to all of Europe.

Finally, African American musicians of the United States absorbed the rhythms and instruments of Cuba which were also based on strong African sources, and completed the transferences and transnationalisms to which we have been referring. By the late 20th century, not only Puerto Ricans, but large migrations of Cubans and Haitians as well as Dominicans, brought the artistic presences of the Caribbean to the eastern United States.

By the time of this reading, the presence of the visual art forms of all these nations is well known in the United States through numberless exhibitions. Wandering around the exhibition and its premises, I was struck by an amazing homage to a young Puerto Rican artist who was being honored by a sizeable group of people who had just cut a ribbon to open his exhibition to the public. I no longer recall the work presented since Puerto Rico celebrated these events regularly, and I attended many.

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But I do recall his youthfulness, his friendliness, and his seriousness. In the s, attending New York regularly as a Board member of the College Art Association, I never failed to visit both Harlem and Spanish Harlem, in addition to the more traditional art museums. I quickly learned the nomenclature of Spanish Harlem artists of all varieties: Both were organized in as cultural outposts for the Puerto Rican community. Located in Spanish Harlem and boasting outdoor exhibitions, classes for the community, and cultural activities of all sorts, the collaboration between Island and migrant artists is unique.

The main themes of Puerto Rican art can be seen as well in works by Taller artists. Political themes remain cogent to the present. Some works detail abuses of the Island itself and the destructiveness of U. Another political expression turned into an art form was the invasion of the Statue of Liberty in the New York Bay by artists who hung a Puerto Rican flag around the sculptured head. Alienation, loneliness, the split and fractured identity, and the search to recover a whole vision of self and existence are the themes of some works, while self-portraits portray interior states of mind.

Trained in the traditions of realism and surrealism, interested in abstract expressionism and conceptual art, Ballester slowly transformed his art into organic abstraction in which figurative and landscape elements play a role in dynamic and powerful works on a monumental scale. That an active social consciousness is at work is evident:. I use symbolic imagery and organic abstractions to depict the themes of struggle, vulnerability and volition.

Intense colors, layers of paint, thick impasto, scratched and blended surfaces create depth, movement and dramatic contrasts which translate the experience of living within the urban landscape of human existence and interchange. At the same time that he reaches outward to U. Ballester keeps himself firmly anchored in Puerto Rican culture and spiritual beliefs. James, the Moor Killer. Ballester conceives his work in terms of monumental images that push at the borders of his piece, large or small, like that of a frustrated muralist. Many of his paintings are fragments of much bigger ideas that seem not to be exhausted when he finishes creating one.

In the process of growth, he changes and overpaints what is no longer compatible with the total composition. He employs the ancient and difficult technique of encaustic — hot wax painting that comes down to us from ancient Greece, that vanished during the medieval and Renaissance periods in favor of tempera and oil paint.

Revived in the 18th century, and again in the 20th, its effects, its visual and physical properties, and its range of textural and color possibilities, make it highly suitable for contemporary styles not adequately served by traditional oil painting or the new synthetics. Molten colors are applied with bristle brushes and palette knives; the surface can be opaque or transparent, can be textured in many ways, or can be lightly polished with a cloth to bring out a dull, satiny sheen.

If kept warm, free-flowing manipulations may be carried out. When I apply the mix on the linen surface I am drawn in by its matted mystic magnificence. Sensuality is the final aspect to consider in the work of Ballester. It is implicit in his choice of painting techniques and explicit in the work itself. Luminous shadows, convoluted fleshy forms that turn in on themselves like body parts, rotundities, sweeping gestural shapes and stroked surfaces, cavities and bony structures, breast-like forms, warm earth colors and patches like seas and skies, areas bathed in light and shadow, are characteristic.

Its origins may lie with pulpy plants, or with fragments of a human body.

Desde que viajo en RENFE (Spanish Edition)

It either case, they are anchored to the earth below, and the sky above. The artist may be expounding Catholic or animistic spirituality, or both — like varied instruments in his symphony. To imaginatively record rites he has personally observed in his homeland, Ballester returns to the representational mode for the figures, who emerge arrayed in spectacular vestments. A most important element of this portfolio was its experimental character.

Fernando Salicrup, having worked for many years with computer-generated digital printmaking, was in a position to assist the artists with this new technique for the portfolio. In the course of discussion, various techniques employed in Europe, the Americas and Asia, were detailed. Examples such as the combinations of graphics with photography, with video, with the use of layering digital collage , with the digital manipulation of the photographs themselves, with the combination of digitals with traditional graphics like mezzotint, with printing on canvas, on aluminum, on Plexiglas, and on acetate, with the registration of movement, with the use of large scale images beyond the possibilities of traditional graphics, etc.

Accompanied by poetry written by his wife, Maria Boncher, which follows below in first person for the artist himself, Ballester produced a double work of art reflecting his experiences in Paris for a period of about two years. In short, a scene where Paris meets the Caribbean. A maze of photographic segments and violent linear evocations push at the boundaries of the work but are held down by the architecture and by fresh earth below in which rests a straw basket — a memory, perhaps, of Haiti.

Red and blue circles seem to be either traffic signs, or computer signs when one has trangressed the rules. The poetry diptych positions a photograph of a young woman in a black coat and umbrella his wife against a muted image of Parisian architecture. The poem itself is superimposed over the image. The tremendous importance of this visit by Ballester to the former artistic capital of the Western world until it was replaced after World War II by New York 12 is that he not only had the opportunity to review the artistic palaces of Paris — where one can review the great masters of European art over the centuries — but that he also had an opportunity to meet living master artists of Latin America — many of whom had made their homes in France during the 20th century.

Visiting or living in France and other parts of Europe such as Italy or Germany was de rigueur for many Latin American, as well as North American artists even when they returned to their native countries after the experience and training.

Puerto Rico and the American Dream

A number, however, remained in Paris or other cultural centers — though frequently visiting their native countries for reinvigoration and for exhibition. As a Latin American himself, he could now identify with the entire continent, and thus with the entire world of artistic production during the 20th century which, in the New Millennium, is becoming truly transnational for the first time in the field of artistic production.

In fact, there is not a single nation in the Americas, from Canada to Uruguay and Argentina that does not have an African-descent population, particularly on their Eastern shores. As a result, the islands of the Atlantic Ocean not only boast such populations, but maintain a myriad of cultural manifestations of distinctly African derivation. Thus we have the creation of caste systems in the colonial period which have been recorded in many paintings which meticulousely rendered images of the various intermixtures, known generally in Spanish and other languages as mestizaje mingling, mixing.

The other side of this pictorial culture and aesthetic is the strong maintenance throughout the Americas of cultural expressions derived, embellished, and constantly restructured by the repressed Africans and Native Americans. One of many people who have recorded and described these phenomena — which exist to the present and form the basis of hidden elements in contemporary aesthetics and practices — was Anita Brenner.

A North American born in Mexico in who spent many years of her life there, she wrote the book Idols Behind Altars: The Story of the Mexican Spirit, in Stated briefly, her main idea concerned the preservation of pre-Christian religious images and practices by concealing them behind the enforced altars of the conquerors. Thus they could continue to be worshipped and celebrated without endangering the lives of those who carried on the celebrations. These practices are carried on up to the present. At the same time these practices are invoked, they also represent a defiance of conquest, slavery, exploitation, racism, and misery through the military and economic intervention of super-national powers and persons.

In this document, Carmen T. Entrevista con El Correo. Puedo convencerme de que no siento nada. Pero no, no puedo. Llevo semanas preparando esta cita. Y mejor no decir nada de mi ropa interior. Cierro los ojos, me pesan. Me falta algo a lo que aferrarme cuando asalten las pesadillas. Unos brazos que me sostengan y mezan mi cuerpo hasta arrastrarme a la tierra de Oniria. Unos dedos que acaricien mi espalda y calmen los miedos. Y, lamento decirte, ya no me valen de cualquiera. Descansa en paz A golpe de click. De todos los colores. Ya no se escriben cartas de amor.

A la vera del mar. Tu imagen, mis letras DistintoYo Me concentro en el sonido del mar, con la vista fija en el horizonte. El sol acaricia mi piel, suave. La sigo con la mirada. Imagino una historia para ella. Finjo que no me gusta estar contigo. Cierro los ojos y lo intento, intento no pensar, dejar la mente en blanco. No puedo evitar hacer preguntas al aire, de esas que nadie va a responder porque nadie tiene la respuesta.

Abro los ojos y hago pastitas con la boca. Gimoteo un poco, no me quiero levantar, siempre me parece demasiado temprano. Miro el reloj para comprobar que no es tarde. Me cuesta salir de entre las m. Tu Imagen, Mis Letras. Imper Le veo alejarse poco a poco, paso a paso.

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Espero que recapacite y vuelva, que vea lo que pierde y decida que no quiere hacerlo. Sin dejar de acercarnos Dormirme en la curva de tu cuello. Aprenderme de memoria las constelaciones que forman tus lunares. Reconocer tus costillas y el roce de tu piel. Que me quemen tus besos.

You can not always lose

Que me den sed. Volverme adicta a tus caricias. Tener mono de tu aliento. Que me estorbe tu ropa.

1. Mist;
2. !
3. Il tesoro degli abissi. La scuola dei pirati. Vol. 8 (Italian Edition).
4. Born to FREAK: A Salty Primer for Irrepressible Humans;
5. Similar authors to follow.

Hay quien lo llama huir.