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Marlon de Azambuja

He has a real love affair with Madrid and see that never in his life thought about going to live in Spain, he came to Spain because fate willed it so. At first it was not easy, working 12 or more hours per day and earned only 10 euros and paid 15 for sleep as you can imagine that snoring eliminator mathematics was failing from time to time, which forced him to sleep in the street more of a winter night. But he did not mind watching it all as a great sociological experiment. He remembers the day his luck changed, he was watching a guy who was looking for food in the trash and thought, he can also do that. But he really thought he was really ready to eat anything, but could not stop chasing his dreams. The next morning the city was like pesao, you can spend. Since then Madrid has been very generous with him. He made cages snore eliminator that are museums, interlocking devices contingency and creative fruition. Declared a strange incurable and continues to be counted. Use a search conceptual aesthetic that hides unusual mazes. Stresses the urban space with tape, in order to better show the times of communication or, better yet, make us discover aspects that have always existed, with a score of peculiar cruelty, where there is room for minor features. The aesthetic dimension of the work and conceptual dialogue with contemporary social reality, with its changes, and it draws its meaning. It also indicates that there are angles laden mobility through which it would be necessary to move the language to open up new doors for expression. Santo Antônio da Patrulha (Rio Grande do Sul, Brazil), Curitiba (Paraná, Brazil) snore mouth pieces and Madrid. Scholarships, years of training, travel, and homes and the relationship with international scene. A continually evolving artist who goes out and captures the soul and thought. In this case it is the work of a Brazilian artist, as Brazil is Brasilia’s utopian built by Niemeyer, is Concrete Poetry, are Lygia Clark and Helio Oiticica, Lygia Pape and Cildo Meireles, Tunga and Miguel Rio Branco. The exhibition New Neighborhoods Marlon de Azambuja presented Furini Contemporary Art Gallery in Rome, the viewer is faced with two groups of unpublished works. In the first room is the sculpture national question , which is formed by two flags, one from Italy and other European Union, who are trapped in position by concrete blocks. The inability to fully lifted and the confrontation between the country and community lead us questions about the difficult times we live, nationalism, crises and the difficulty of exercising sovereignty without closing the doors to neighboring countries. The second part of the exhibition is formed by a group of drawings in Indian ink on paper, where the artist, based on rules anti-snoring mandibular advancement device of architecture, transformed their molds and forms a series of buildings that remind us constructs neighborhoods, especially those of authoritarian regimes. Overall, the show raises discuss issues about the power of architecture and the use of certain tools for the construction of identity.

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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.