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Eugenio Ampudia

This artist in Valladolid is one of the most prominent names in the Spanish panorama of modern art. Ampudia is also one of the Spanish artists more centered on the use of new technologies as an artistic development, always with an active connection with the viewers. Since 1994, is a regular participant of the issues ARCO, best crystal singing bowls whose 2008 edition gained the Critics Award, and several of his works already are part of many museums and the most exclusive collections in Spain. He is a painter, sculptor, multimedia artist as well as display curator, Ampudia studied at the School of Arts and Crafts in Zaragoza. Stripped from all things superfluous, his practice, made across numerous media, concerns the beholder about ideas silently pervading the everyday life. Ampudia’s works have been seen at the Singapore and Caracas biennials (2006), and ended up on display at Kunstverein, Copenhagen and LABoral, Gijon (2007); Artium of Vitoria, Museo Pablo Serrano of sacred sounds crystal singing bowls Zaragoza, and Project Room in Cologne (2006); and the Museo Nacional Centro de Arte Reina Sofía, Madrid (2004), Fundación Pilar y Joan Miró, Palma de Mallorca (1994), and the like. He usually try to basics. Deconstruct a lot when he raises his artistic research and think ‘Temps’ is a clear example of the issues that concerns him. This is to reflect pure sound crystal bowls on something you might pass before the eyes of the beholder, a way to pass time passes and does not remain ever, even when concrete at a given time, the next fades. Most of his strategies have to do with the moving image, as with ‘Temps’. It is a mechanical installation, with an interior full of chains that are coupled to an engine and produce that effect on the letters. The truth is he’s good and does not care multidisciplinary format exclusively especially working facilities, videos and urban actions. He likes to audit all the circumstances that come together around art, from the art market to the cultural industry and the role of the viewer or the artist. In short, stake the points of view to better understand what art tries to explain to others and from what position it is. He took that much time working with the moving image; he noticed a change in its assessment, which coincides with the millennium. Video art emerged in the 60s and there have been milestones as the works of Paul McCarthy or Nam June Paik. However, from 2000 it became the most obvious part of artistic performance. Recent http://www.crystal-singing-bowls.com/ trends have much to do with what they need at this time collectors, museums and institutions that strive to catch up and update their collections with moving image. Moreover, this success has also given impetus to the ‘performances’ and actions that were previously only recorded in the videos and now jump into the street independently. The artists are survivors sacred sounds and they are accustomed to working under adverse circumstances. Ampudia particularly cannot complain. He purchased a presence in the international market and it allows me to work without problems in the practical sense and keep telling people he needs to tell.

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.