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This sort of farandole, which is not the silly exaltation of happiness, but a dizzying transport, knotted together in one fixed point. Head down, creeping-vine limbs, feet that have become stumps, stubborn one-legged people, tomb-visit, wind-breaker silhouettes, clay which hardens, this crowd ceaselessly questioning its movement. I like to think that what it tells us in this way is that we do not cease to live or meditate in the unpredictable disorder of the world; that our place, this place from which we emit our words and organize our gestures, is irreplaceable, but that it makes sense only when it is engaged with all the possible alternatives.

And so, it is good to spend a long time with one of these people, one of these giants which so forcefully exceeds his uniform, measured dimension, in order to reach an understanding of their throng. Giants, because they condense within them something infinite.

Not in the way Bonsais do, these unfortunate trees forced to be small, but like Elves who know that their real world is that of the unapproachable and unlimited. These bodies which pant for air are pointing us the way to dizzying heights. He nevertheless remains profoundly linked to Latin American culture. Even within the immense diversity of this culture, Argentina is a special case. Never the seat of a great Indian civilisation, and neglected by Spain, it only became a Spanish vice-royalty as late as Less than fifty years later it achieved independence from the Spanish royal government.

At the beginning of the 20th century there was an immense influx of European immigrants, the majority Italian. Most arrived in the very short period between and Not surprisingly in these circumstances, Argentinean culture never felt nostalgia for the great Pre-Columbian empires the Spanish conquistadors displaced - something that has been such a powerful factor in the modern artistic development of both Mexico and Peru. Nor was it ethnically mixed, with powerful indigenous elements, as was and is the case in Brazil.

The hero figure in Argentina was not the proud Inca or Aztec, but the free-spirited Gaucho or cowboy roaming the immense Argentinean grasslands. It is a gaucho who is the hero of the national epic, the poem Martin Fierro, published in two parts, in and This poem gave its name to the avant-garde review of the same title, which first appeared in and served as a rallying point for the first generation of Argentinean Modernists.

This generation was, however, urban, not rural, and its main impulses came from Europe, not from the Argentinean hinterland. In the visual arts the figurehead of this generation was the painter Emilio Pettoruti Pettoruti travelled to Italy on a scholarship awarded by the government of the state of Buenos Aires, and fell in with the group of Italian futurists who gathered round the magazine named Lacerba. Finally he went to Paris and met the great Spanish painter Juan Gris. Gris had a decisive influence over him.

Pettoruti returned to his native country as a committed Cubist. Xul Solar was also affected by Cubism, but his work, which is always on a small scale, shows many other influences as well. He travelled widely in Europe between and , and seems to have had some knowledge of the Berlin Dada of the immediately post-war period, and in particular of the drawings of George Grosz. His drawings, like those of Grosz, often make use of lettering and graphic signs.

Another influence seems to have been the work of Paul Klee. Another ancestor, speaking in a more general sense, is a slightly younger Argentinean artist, Antonio Berni Berni is now chiefly remembered for the work he produced at the end of his career, from the s onwards - two great narrative cycles that combine painting with collage, in which the artist expressed his feelings about the social condition of his country. He reached this point by a somewhat circuitous route.

Berni studied in Paris for five years on a government scholarship, leaving Argentina in and returning in After he returned to Buenos Aires, he was in contact with the Mexican Muralists, working with Siqueiros on a mural in a private house when the latter visited Buenos Aires in What he shares with Berni is an interest in narrative, and a capacity for social observation. In addition, he is fascinated, just as Berni was, by certain typically Argentinean myths, particularly the myth of the tango.

In art, too, this is something that can save us. In France, humour is sarcastic, sometimes cynical. People will say of someone that he's "as useless as an ashtray on a motor-scooter The first of these speaks of the claustrophobic nature of the modern urban environment. The other two paintings, which form a pair, have no buildings, but consist simply, in each case, of a vast crowd of scurrying flgures, covering the whole surface of the canvas.

Some of these figures are nude, but their companions contrive to ignore this, so completely intent are they on the urgency of their own errands. These crowd scenes are reminiscent of what one finds in the Berlin drawings of George Grosz, but the mood is substantially less harsh. When I went with my father and uncles to a foot-ball match, to a reception or on a hunting-party, they all wore very handsome hats, most of all my father, who was a real amateur of headgear The hats are celebrated in another, much earlier, work included in this show, Surtout les Chapeaux This is a combination of painting and sculpture, with cut-out shapes clinging to a rectangular, white-painted pillar.

The present exhibition showcases a number of bronze sculptures, made at the very beginning of the s. The others tackle subjects not generally thought of as suitable for sculpture — for example Secondary Residence La Maison Secondaire lightly satirises the French cult of the holiday home, with the house itself, its puffed up mistress and the tree in her garden all assembled on a little platform. The mood is kindly, but the observation of bourgeois pretentiousness is deliciously acute.

These are interesting for a number of different reasons. These paintings, which date from the high point of the Pop era, do nevertheless have an undoubted resemblance to the work made by the Hairy Who, a group of semi-Pop painters working in Chicago, who held their first collective exhibition in Sacando la Lengua is especially close to some paintings of heads made by one of the most prominent members of the group, Jim Nutt b.

However, it is also significant because it signals the fascination felt by a large number of important artists of the post-World War II period with child art and Outsider art. An especially amusing aspect of El Fumador is the figure's checked shirt, which looks like a direct transcription of one of Klee's more abstract compositions. Indeed Gardel himself thought of tango as a kind of nationality in its own right. He was in fact born in France as Charles Gardes, and was brought to Argen- tina by his mother when he was just over two years old. When he was on a tour of Spain in , a reporter asked him what was his true nationality.

Corrientes was the street in Buenos Aires where all the tango bars were located. In the two paintings called Retrado con Codigo , which show a figure — Gardel — from behind, with a free brushstroke above him, he seems to suggest that there is a close analogy between dancing the tango and the act of painting. As the lyric of one famous tango — not as it happens by Gardel — puts it: He is keenly aware of the way in which the supposedly experimental avant-garde has in fact been transformed into a kind of academy, and he is determined not to be caught in this trap.

At the same time, he remains keenly aware of what the original Modernists achieved, and is not afraid to incorporate some of their discoveries in his own work. However since you have also been creating Plexiglas boxes. Does the creation of these spatial objects mean that a flat surface no longer interests you very much? My purpose is to define a certain image that contains its own impact. Sometimes inserting it into space seems necessary to me in order to express its complete poetry. Do you still see a future for painting, meaning for an individual initiative of artists in general and you in particular.

The end, alone, seems important to me, to the extent that, the legible mechanism of sensibility proves effective or not. To me, its reality does not need to be questioned. This is a huge question that you are asking me by implication here: Society can buy up all the phenomena, cultural or otherwise —even the most hostile to the system which governs it —and to digest them in the sense that they profit in this way.

I do not think, personally, that works lose their meaning in this way.

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Each thing is a product of society: If the answer is no, why not? If the answer is yes, why and in what way? Without making a big thing of my individuality, I do not feel very well equipped to work in a team. I believe only that my work does not place me in a position to do that. The aggressiveness has not disappeared, but the requisite bitterness seems to me to have been changed into mockery and sarcasm.

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You know, my work is not exactly an exercise in style on aggressiveness. It is possible that my works five or six years ago were more directly, more spectacularly aggressive. I was starting to paint and, certainly at that time, I was influenced by this artist.


Things happened very quickly. After a period when I was especially attached to the intrinsic structure of expression rather than to expression itself, starting in I was using photographic transfer — on which I did some things — in order to try to define a mode of expression which corresponded, it seemed to me, to a distance distance: I have never completely had the heart of an old warrior.

May 68 undoubtedly was very important, not only for France, moreover; and the shock-waves are still being felt even today. But these are all questions which do not really support my answers as a painter. It is, I think, the only possible answer, given the place which is granted to us. There certainly is infinitely more to say. Is this difference the effect of the technique being applied or have you something different in mind with your graphics and your paintings?

It is true that the technique of engraving implies a specific graphic image which may appear different from that of paintings.

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Julio Pantoga sic Ribeiro http: As to the collections, without being a collector. I would say that I accumulate things with which I enjoy sharing my life. It all began very early, when I inherited a stamp collection from my grandfather, but I very quickly understood that it was taking a lot of energy to continue with it, and more important, it bored me greatly.

At the start of the fifties, I left on a trip to study in Europe, and with the earnings from the sale of the stamps, I began to buy — in Madrid — engravings. This same collection was later to be enriched with contemporary European and Latin-American engravings. These engravings today make up part of the basic collection of the Centro de Arte Contemporaneo de Cordoba. Later I developed a passion for Pre-Columbian. When did you discover Pre-Columbian art?

When I returned from Europe, I discovered in myself a pressing desire to know America. In May , After I bought a car and specially adapted it, I started out on the road, deciding that my final destination must be Mexico. Out of Tiahuanaco in Bolivia, I was finding on my route the vestiges of different cultures which are scattered about the continent. I think that these months were the most intense ones in my life: On one road in Peru, near the coast, children sold me pieces of painted cotton which came from the funerary fardos of Chancay. Later, traveling through Ecuador, other children sold me, for a few bits of change, stylized figurines which came from Valdivia.

I arrived in Mexico with a small load which I had to divest myself of shortly thereafter. But later on, with the same passion, I continued my research, adapting it to my finances, which were not really encouraging at the time.

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I got used to traveling with my treasures: In a collection, how do you deal with preferences, how are priorities established? For the ceramics, that I own, I give first place to representations of people or animals. For me, this is the first condition. Of all the ceramics, my preference is certainly for those of the Nazca culture. Here I find a very good example of the refinement of society. They were done with the greatest technical perfection. The designs, the shapes and the colors are wonderful.

In any case, it is very difficult for me to establish a hierarchy. Each culture, in its diversity, has different interests. And I have the same relationship with ceramics as with the El Magdalena urns, the Mochicas of the first period, or the erotics of the Mochica III period.

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    Taken By The Highest Bidder (Harlequin Presents) () Jane Porter - mcmillanbiw

    More Spanish examples for this word. Se nos ha tentado muchas veces a hacer un segundo vino. Claro que si los dulces la tientan demasiado puede ponerse gorda. Por tanto, al pagar los diezmos, no tentaban a Dios. Me pongo colorada y me tiento de la risa. A Macri lo tienta la idea, su idea. Pero como de costumbre, se tienta a la suerte. Buscan tentar candidatos locales y mostrar la otra cara del peronismo. Me tienta la posibilidad de equivocarme y pasarme de rosca.