Una imagen de Amerika en el Nationaltheater Mannheim
La estatua de Kafka en Praga
Panorama Sur 2011
Hace 13 años.
Mostrando las entradas con la etiqueta Imágenes / Images. Mostrar todas las entradas
Mostrando las entradas con la etiqueta Imágenes / Images. Mostrar todas las entradas
10.5.09
¿Coincidencia? / Coincidence?
Una imagen de Amerika en el Nationaltheater MannheimLa estatua de Kafka en Praga15.4.09
Ensayos de Amerika / Amerika's rehearsals
Todas las fotos de este post / All the photos of this post
© Ernesto Donegana
© Ernesto Donegana
29.3.09
12.2.09
Algunas fotos de la prueba de escenografía / Some photos from the Bauprobe
La prueba de escenografía se realizó en diciembre de 2008 en la Schauspielhaus del Nationaltheater Mannheim. / The Bauprobe was done in December 2008 at the Schauspielhaus, Nationaltheater Mannheim.
© Todas las fotos de / All pictures by Oria Puppo
30.11.08
Joseph Cornell: el autor de las cajas / Joseph Cornell: the author of the boxes
Joseph Cornell
Nyack (Nueva York), 1903 – Flushing (Long Island), 1972
Escultor estadounidense. Su aprendizaje no es el de un artista convencional: es considerado un autodidacta.
En 1925, y gracias a una exposición, conoce la obra de Picasso, Derain y Rousseau.
A principios de los años treinta entra en contacto con los collages de Max Ernst y con los trabajos de otros surrealistas en la galería de J. Lévy.
Su trabajo más original son sus cajas de cristal: cajas que sirven de soporte a colecciones de curiosidades románticas o victorianas, en las que se combina la austeridad formal del constructivismo con la fantasía del surrealismo, remitiendo su obra a la ensoñación.
Considerado como precursor y pionero en el arte del assemblage, sus construcciones reflejan una meditación personal cargada de riqueza poética.
Joseph Cornell (December 24, 1903 – December 29, 1972) was an American artist and sculptor, one of the pioneers and most celebrated exponents of assemblage. Influenced by the Surrealists, he was also an avant-garde experimental filmmaker. He lived in New York City for most of his life, in a wooden frame house on Utopia Parkway in a working-class area in Flushing, Queens. He lived there with his mother and his brother, Robert, who was disabled by cerebral palsy. Cornell attended Phillips Academy, Andover, in the Class of 1921.
Cornell's most characteristic art works were boxed assemblages created from found objects. These are simple boxes, usually glass-fronted, in which he arranged surprising collections of photographs or Victorian bric-à-brac, in a way that combines the formal austerity of Constructivism with the lively fantasy of Surrealism. Many of his boxes, such as the famous Medici Slot Machine boxes, are interactive and are meant to be handled.
Like Kurt Schwitters Cornell could create poetry from the commonplace. Unlike Schwitters, however, he was fascinated not by refuse, garbage, and the discarded, but by fragments of once beautiful and precious objects he found on his frequent trips to the bookshops and thrift stores of New York. His boxes relied on the Surrealist technique of irrational juxtaposition, and on the evocation of nostalgia, for their appeal. Cornell never regarded himself as a Surrealist; although he admired the work and technique of Surrealists like Max Ernst and René Magritte, he disavowed the Surrealists' "black magic," claiming that he only wished to make white magic with his art. Cornell's fame as the leading American "Surrealist" allowed him to befriend several members of the Surrealist movement when they settled in the USA during the Second World War. Later he was claimed as a herald of pop art and installation art.
Nyack (Nueva York), 1903 – Flushing (Long Island), 1972
Escultor estadounidense. Su aprendizaje no es el de un artista convencional: es considerado un autodidacta.
En 1925, y gracias a una exposición, conoce la obra de Picasso, Derain y Rousseau.
A principios de los años treinta entra en contacto con los collages de Max Ernst y con los trabajos de otros surrealistas en la galería de J. Lévy.
Su trabajo más original son sus cajas de cristal: cajas que sirven de soporte a colecciones de curiosidades románticas o victorianas, en las que se combina la austeridad formal del constructivismo con la fantasía del surrealismo, remitiendo su obra a la ensoñación.
Considerado como precursor y pionero en el arte del assemblage, sus construcciones reflejan una meditación personal cargada de riqueza poética.
Joseph Cornell (December 24, 1903 – December 29, 1972) was an American artist and sculptor, one of the pioneers and most celebrated exponents of assemblage. Influenced by the Surrealists, he was also an avant-garde experimental filmmaker. He lived in New York City for most of his life, in a wooden frame house on Utopia Parkway in a working-class area in Flushing, Queens. He lived there with his mother and his brother, Robert, who was disabled by cerebral palsy. Cornell attended Phillips Academy, Andover, in the Class of 1921.
Cornell's most characteristic art works were boxed assemblages created from found objects. These are simple boxes, usually glass-fronted, in which he arranged surprising collections of photographs or Victorian bric-à-brac, in a way that combines the formal austerity of Constructivism with the lively fantasy of Surrealism. Many of his boxes, such as the famous Medici Slot Machine boxes, are interactive and are meant to be handled.
Like Kurt Schwitters Cornell could create poetry from the commonplace. Unlike Schwitters, however, he was fascinated not by refuse, garbage, and the discarded, but by fragments of once beautiful and precious objects he found on his frequent trips to the bookshops and thrift stores of New York. His boxes relied on the Surrealist technique of irrational juxtaposition, and on the evocation of nostalgia, for their appeal. Cornell never regarded himself as a Surrealist; although he admired the work and technique of Surrealists like Max Ernst and René Magritte, he disavowed the Surrealists' "black magic," claiming that he only wished to make white magic with his art. Cornell's fame as the leading American "Surrealist" allowed him to befriend several members of the Surrealist movement when they settled in the USA during the Second World War. Later he was claimed as a herald of pop art and installation art.
In addition to creating boxes and flat collages and making short art films, Cornell also kept a filing system of over 160 visual-documentary "dossiers" on themes that interested him; the dossiers served as repositories from which Cornell drew material and inspiration for boxes like his "penny arcade" portrait of Lauren Bacall. He had no formal training in art, although he was extremely widely read and was conversant with the New York art scene from the 1940s through to the 1960s.
Cornell was heavily influenced by American Transcendentalists, Hollywood starlets (to whom he sent boxes he had dedicated to them), the French Symbolists such as Stéphane Mallarmé and Gerard de Nerval, and great dancers of the 19th century ballet such as Marie Taglioni and Fanny Cerrito.
Also captivated with birds, Cornell created the “Aviaries” in the mid-1940s to the ’50s, and involved cutouts of colorful images of various birds set against harsh white backgrounds.
3.9.08
Sobre el Kaiserpanorama / On the Kaiserpanorama
Cliquear sobre el título para leer un artículo (en inglés). / Click on the title of this post for reading an article (in english).
26.7.08
On Mendelsohn travelling to Amerika
In late 1924, Mendelsohn traveled to the United States. His ex-assistant Richard Neutra had immigrated to the United States and was working in the office of Frank Lloyd Wright so he could arrange for the two architects to meet. At that time, American culture had an important presence in Germany. With the economic stability hat came in part through the Dawes Plan, many Germans started to see America as the prototype of a modern society. Among German architects, there was great interest not only in the works of Wright and of the other well-known architects but also in the anonymous industrial buildings that were seen as exemplary works of modern design. Although Mendelsohn made some lectures in the United States, his main reason for going was to see the American culture and society with his own eyes.
On the beginning of the trip, he traveled together with the film director Fritz Lang (who later said that the visit to New York was the inspiration for his film Metropolis). They stayed in New York and then Mendelsohn visited Buffalo, Pittsburg, Detroit and finally Chicago where he stayed for two weeks and visited Wright at Taliesin.
Mendelsohn’s impressions of America were mixed; he admired much of the industrial architecture and the American cityscape but found a spiritual poverty in American culture. One outcome of the journey was the book Amerika that was published in 1926. It contained photographs made by Mendelsohn, Fritz Lang and Karl Longberg-Holm accompanied by short commentaries by Mendelsohn.
Fuente / Source
http://en.citizendium.org/wiki/Erich_Mendelsohn
On the beginning of the trip, he traveled together with the film director Fritz Lang (who later said that the visit to New York was the inspiration for his film Metropolis). They stayed in New York and then Mendelsohn visited Buffalo, Pittsburg, Detroit and finally Chicago where he stayed for two weeks and visited Wright at Taliesin.
Mendelsohn’s impressions of America were mixed; he admired much of the industrial architecture and the American cityscape but found a spiritual poverty in American culture. One outcome of the journey was the book Amerika that was published in 1926. It contained photographs made by Mendelsohn, Fritz Lang and Karl Longberg-Holm accompanied by short commentaries by Mendelsohn.
Fuente / Source
http://en.citizendium.org/wiki/Erich_Mendelsohn
Erich Mendelsohn
Cliquear sobre el título del post para el artículo en español. / Click here for the article in english.
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