خرید هاست خرید شارژ ایرانسل خرید vpn دانلود فیلم آپلود عکس وی پی ان

Los Torrenzos

Discover the boundaries between the roles of the public and those who place themselves on stage is the challenge facing the duo in Los Torreznos latest creation. The positions, which premiered at the headquarters best crystal singing bowls of the Cervantes World Theatre Day. The International Women’s Day, Maria Dueñas Cervantes gave the Lisbon conference on the role of women in society, from the plot of his work time between seams. She submitted the Chinese translation of this novel at the headquarters in Beijing in a ceremony in which he spoke with critic Zhi W. Romeo died on October; a writer who exuded enthusiasm for life and this is transmitted to all around him. The Cervantes in Paris organized a tribute in which his friends recalled, and in which his work was also presented posthumously, Night pure sound crystal bowls of the lovers. The IC of London and the New London Orchestra organized the first concert series of young Spanish musicians in the British capital, involving, among others, Samuel Espinosa violist and pianist Erik Garcia. The Institute’s headquarters in Lyon organized the workshop Discover your DNA , in which attendees were able to isolate their own genetic sample. In Cervantes Rome conference was held on WikiLeaks and the new http://www.crystal-singing-bowls.com/ journalism. It included the sociologist Alberto Abruzzese, Paolo Fabbri semioticians and Jorge Lozano and correspondent sacred sounds of the Country in Italy, Pablo Ordaz. No longer must travel to Berlin, San Sebastian, New York or Cannes to enjoy a film festival. Now they can do at home: until 16 April is iber.film.america , the first film festival in Latin American Internet, which offers free fourteen award-winning films. The exhibition Design illustrated in Cervantes Dublin momentum of the great design and Spanish creation. El Ranchito opened a call in order to facilitate the creation of collaborative networks and the promotion of artistic production by offering residencies for artists and layout of work spaces. It is intended for artists and cultural agents relating to any creative or artistic and having their residence or principal field of action in the city of Madrid. There are two modes of participation are not exclusive: Residences: there are four residences for artists not resident in Madrid (national or international) that have been proposed by creators and cultural players residing in the city, with the aim of developing a joint or collaborative . Residencies can last from 3 to 6 weeks, and will run between May and December. The resulting project of residence may have additional sacred sounds crystal singing bowls financial support in their production and join the program of activities of El Ranchito. Work spaces for artists: modules are available for working artists and groups in the city who need to develop a new project for a maximum period of 3 months. Apart from the areas awarded individually, are enabled and shared work areas and meeting areas.

No Comments

Sorry, the comment form is closed at this time.

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.