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Occupational Therapy. Passive Care. Physical Therapy. Spinal Anatomy. Pass complete! Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page. Mas del 90 por ciento de nuestros rios estan contaminados no dudar NO dudo que mas del 90 por ciento de nuewstros rios estand contaminados.
Reservados todos los derechos en todo el mundo. Used by Permission. All rights reserved. Print Twitter Facebook Email. Click the button below to continue. The show included works tion venue. He placed three transparent panes the entrance at a spot that blocked passage into the gallery of glass, from smallest to largest, on top of one another proper.
The work consisted of a self-supporting drywall to reflect the surroundings. The rod would go, was a photowork was a fictional recongraph of a shower curtain. Projected in that had been in that spot this space, the work brought until the remodeling. Two table-cases in that same two-door passageway, though not to be used in the middle of the gallery displayed twelve photographs of as a breezeway between two buildings.
In that work, pondering and rethinking the place of photography today the artist invited a group of people to a venue and then left, and its relationship with the world of things, ideas, and locking the door behind her. The people left inside were representation.
Txt: Juan Grela G. Ph: Santiago Orti. Ph: Viviana Gil. Ph: Gustavo Lowry. Ph: Gustavo Lowry Ph: Lobo Velar. Ph: Triana Leborans. Cuerpo y performance en la obra de Effy Beth, Edulp, Ph: Lau Gam. El arte y la escritura han sido siempre lugares de refugio y resistencia al hacer comunicable aquello que muchas veces no era permitido ser dicho en voz alta. Este dosier no solo busca reunir esos poderosos vocabularios que desnormalizan y desnaturalizan la historia de violencia colonial heteronormativa, sino subrayar su capacidad para activar nuevos sentidos de posibilidad para la vida.
Sexual-dissident artistic production in Argentina: A partial genealogy from the sixties to the present This dossier provides a visual overview of sexual-dissident, trans-feminist, faggot, lesbic, and queer genealogies in the history of Argentine art from the sixties to the present. Let others be normal! Our selection highlights a series of episodes of visual and performative invention that activates dissident imagination and stirs bodies in opposition to the misogynist and homophobic discourses that have dominated cultural life in Latin America and around the globe.
Art and writing have always offered shelter and resistance by making communicable that which was often banned, not allowed to be said aloud. Insofar as it lays out the flow of that desire and composes a temporal, discontinuous, and tactical collage of lost kinships, this dossier recognizes how powerful the apparition of images that act as places of affective recognition and of poetic and political affinity is for our lives.
He draws attention to the ways that—in defiance of the normative call for isola-. They agree that it is impossible to construct a panoramic image of the lesbic, and offer instead a montage of times and practices that undermines any docile integration of lesbic politics into a single narrative. Our intent, then, is to further grapple with the enraged and impassioned intersections between visual culture and dissident sexualities, between artistic practices and ways of deactivating the regulating frameworks that confine our bodies.
Many of these images challenged the limits of intelligibility at the time they were produced; they could not be read in the existing critical terms and, hence, they required—and they still require— new vocabularies, ones we must invent. Along these lines, we would like to point out how the knowledge that images and the body produce is often well ahead of theory, yielding configurations of feeling that cannot easily be decoded by heteronormative vision, configurations that act as underground and clandestine channels of communication.
The diversity of these episodes suggests how definitions of the body, gender, and sexuality have changed—and that has also changed how artistic practice is understood politically.
This dossier does not address sexualdissident, trans-feminist, faggot, lesbic, and queer politics in an attempt to detect identities. Rather than a logic that revolves around determining who is and who is not or what is and what is not , we attempt to consider the possibilities and conflicts that surface in those processes of representation and dynamics of self-identification and disidentification , and how those processes and dynamics produce subjectivity and sociability.
We envision sexual-dissident, transfeminist, faggot, lesbic, and queer politics as twisted ways of interrogating culture, as. The sexual dissident, the trans-feminist, and the queer take the shape of open, impure, and expansive flows—and aesthetics is one of its many trenches of political experimentation.
In the Argentine context, these processes and struggles have been formalized in different ways and have made use of different tactics and strategies—from fiction to testimony, from representation to action—producing other types of bodies and desires in the face of rampant violence. In painting, the work of Jorge Gumier Maier, Omar Schiliro, Fernanda Laguna, and Ad Minoliti has developed faggot, lesbic, and queer abstraction through decorative elements, voluptuous forms, and kitsch symbols.
Figurative representations have been used to point to sub-cultural experiences and contexts, and as forms of cultural and social criticism in—. In a context marked by censorship, suppression, and oblivion, an array of artists have undertaken an erotic, affective, and political reformulation of the past, reconstructing dissident genealogies, even with their own bodies, reclaiming local histories of alliance and struggle.
The portrait is also a strategy to confront official memories and their heteropatriarchal discourses, breaking the silence imposed on homosexual affective ties. Indeed, Batato and his work in the theater attest to how the most effervescent dimension of alternative creative and political life in the eighties revolved around the performative, the experiential, and the festive.
The photographs show a nude model holding the vegetable in different positions. The most emblematic image from the series is the one where the artist is sitting with the squash in front of her pubis; the image seems to demand that women take back control of their desire and sexuality.
Digital engineering, references to comics, science fiction, and animalvegetable hybrids form the basis of works that bring down the anthropocentric and hetero-patriarchal vision that organizes the world. These varied and heterogeneous visual and performative practices—and many others not included here due to space limitations—have played a key role in generating new forms of aesthetic and political opposition.
This dossier not only. Hago referencia al trabajo de Liliana Maresca, los Fabulous Nobodies y Alejandro Kuropatwa, experiencias que compartieron la posibilidad de tensar el llamado al aislamiento social y politizar la intimidad 5. Al mismo tiempo que el erotismo contribuye a. Solas, agrupadas o apoyadas sobre una. En una tercera etapa a la actualidad , la tasa de mortalidad se estabiliza con 3,5 defunciones por On television shows and in the press, activists confronted the stigmas and institutional violence that HIVpositive persons experienced on a daily basis [Fig.
While dialogues between that community and activism may not have been frequent, works were produced that, due to their efficacious images and knowledge of the pandemic, stand out in the historical narratives of the time. Mindful ENG. I am speaking specifically of the work of Liliana Maresca, the Fabulous Nobodies, and Alejandro Kuropatwa—all of whom defied the call to social isolation, choosing instead to politicize intimacy. She used those images, enlarged, to paper the walls of the venue. She installed a tiered pedestal with a spittoon from which black ink poured down from the ceiling—in the original project, the ink would turn red as it ran down; a soundtrack of extracts from radio and television shows played.
The invitation to the exhibition showed Maresca, nude, on top of the archival images. In , Roberto Jacoby and Kiwi Sainz created the Fabulous Nobodies, a creative agency that designed object-less campaigns. In a context where every facet of economic activity was being privatized, the duo proposed a satirical artifact where communication acted as aesthetic support. In , they developed the Yo tengo sida [I have aids] campaign—a project tied to other platforms Jacoby envisioned collectively in the late nineties and early s.
Insofar as relational, his proposals from those years were enmeshed in social models that, in the landscape of utopia, devised alternative communities. The garments were given to local celebrities and worn around Buenos Aires by artists and their friends. If most communication campaigns focused on preventing contagion, Yo tengo sida reversed the conception of the virus as foreign body, erasing the limits between the known and the alien. The t-shirts were made in striking colors and the phrase written in lowercase letters in a combination that contrasted with the way the word AIDS was usually written, that is, in an alarming shade of red and in capital letters.
Even today, the work acts as a vital image where the virus is affirmed as an experience that involves everyone [Fig. While he had shown his work in discotheques like Studio 54 and Danceteria, and in a few art galleries, it was. The therapy entailed a mix of different drugs to keep the virus from multiplying and, thus, from doing damage to the immune system of people with AIDS; the viral load could be reduced to undetectable levels.
That combined treatment reached the country at a critical juncture: was the year with the largest number of AIDS-related deaths in Argentina.
Kuropatwa was quickly able to obtain the new treatment; he was one of the first public figures in Argentina whose viral load dropped to undetectable levels. It consisted of a series of advertisement-like photographic compositions where the pills occupy the place of either ordinary products or luxury items like jewelry and perfume.
Alone or in clusters, resting on a rose with dew drops or amidst soft towels, the pills are presented as an exclusive object of desire available to just a privileged few.
Before the proliferation of stereotyped and degrading images, artwork produced in Buenos Aires took a critical stance on the dominant logics of the body, the disease, and sexual morality.
In these images there is no shameful confinement, but rather intimacy to be multiplied. Defying the oppressive force of slander with the body itself, building ties of solidarity, and turning pharmacological life into an aesthetic were among the strategies deployed to perforate the real in times when life was bared of any safeguard. There are two direct precedents for this text. In an initial phase , the AIDS mortality rate climbed steadily. During a third phase to the present , the mortality rate has leveled off at 3.
See Adriana Duran et al. From , the number of AIDS-related deaths annually increased in Argentina, going from to 1, There was a marked increase in the early nineties that peaked in with over 2, deaths that year.
The mortality rate then declined and, since , it has wavered from a minimum of 1, to a maximum of 1, See Carlos Guevel et al.
Director: Dr. La sangre…, op. An erasure that acts not only on representations and narratives produced through lesbic identifications, but also on ways of life and uses of pleasure that unsettle the heteronormative organization of the body and of life in common.
That process instills visual hegemonies and the layout of a politics of vision that, in turn, produces sexual ignorance, bodily suppression, and cognitive deadening.
In that sense, heterosexuality as political regime is a bodily, affective, and visual archive of practices of normalization and of harm to our bodies, desires, and lives. It composes a repertoire of modalities of governing subjects and forms of resistance to those subjections. To activate visual experiences of lesbic activism that have been expelled or denied by the narratives of art and of politics means to throw into disarray and to challenge heteronormative protocols of reading and writing that performatively produce fields of artistic research.
We wanted to put to work an archive where—in abrasive, partial, and inconclusive fashion—a multiplicity of images people a minority memory that runs through many contexts, scenes, and readings, an archive that resists producing a hegemonic account of lesbic political artistic action positioned in certain geopolitical locations and epistemological privileges.
In so doing, we unsettle and dislodge any demand for calm or hermeneutic purification. These images also resist being neutralized as part of the neoliberal regulation of diversity as strategy of political discipline.
As erratic and erotic play at fragmentary and precarious interpretation with skewed vision that antagonizes the desire to see everything 4 and that composes the scene of writing as a disjointed and anti-essentialist device of lesbic speech, what we work with here is the murmur, not the statement, the parenthetical, the shadows, the out-of-focus.
That is, a multiplicity of visibilities at play in the makings of the body and in making bodies from our writing. Rather than milestones, what we propose are small gestures, minimal interventions, biographical chatter, chaotic strategies, illegitimate knowledges. These buried interventions we strive to articulate and to salvage from oblivion are not a means to complete a total and roundedoff History on the basis of a hygienic illusion of impartiality.
They are bearers of harm that safeguard the memory of clashes, constituting cultural texts as repositories of practices both political and sentimental in order to come up with present surprises and ironies.
It is made from places even less definite in shape, places that spectrally exceed lesbic mis identification, but that act insidiously to throw off the heteronormative sediments of images. At stake is straining a homogenous history with no discontinuity or rupture, no clash of forces, a story that is like a surface without a single blemish, groove, texture, speck of dust, an account that squashes the vitality of signs that takes shape creatively between body, image, text, and public sphere as space of social, artistic, sexual, and cultural intervention.
Possible agenda behind Kanye's presidential bid. Rocker can't recall albums: 'Coke had done its damage'. Perfect storm threatens season for Maine lobstermen. Woman breaks multiple hot dog-eating records.You say: Sí, la conocieron. 1. sí 2. en la casa de Ángela 3. el viernes 4. no 5. no 6. anoche ¡Qué lástima! (What a shame!) Listen as José talks about some news he recently received. Then read the statements and decide whether they are cierto or falso. Cierto Falso 1. Supieron de la muerte ayer. 2. Se sonrieron cuando oyeron las noticias.