lunes, 26 de junio de 2017

Centro Botín

Abre sus puertas el Centro Botín, nueva joya de Cantabria

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Era el sueño de Emilio Botín, su «niña bonita». Desde 1993 el banquero presidía la Fundación Botín, creada hace 53 años, en 1964, por Marcelino Botín Sanz de Sautuola y su esposa, Carmen Yllera, para promover el desarrollo social de Cantabria. Soñó para ella una nueva sede en la bahía de su amado Santander. Y no solo lo soñó, sino que logró hacerlo realidad, aunque falleció inesperadamente en septiembre de 2014, sin poder ver en pie el proyecto que un día encargara al arquitecto italiano Renzo Piano. Sí pudo ver al menos cómo en 2012 arrancaba esta aventura. Le pidió a Piano que acabara el edificio en 18 meses. ¿Sería una premonición? Pero era tal la complejidad que resultó imposible. Hoy estaría feliz. 
Santander era ayer un hervidero del mundo artístico. No faltaba nadie, excepto Emilio Botín. Bastaba con ver los aviones llegados en las últimas horas a la ciudad, repletos de mecenas y coleccionistas, directores de museos, ferias, centros de arte, salas de subasta y fundaciones; artistas, galeristas, comisarios, críticos, periodistas especializados internacionales... Entre ellos, la vicepresidenta de ABC, Soledad Luca de Tena; Gustavo Cisneros y su mujer, Patricia Phelps de Cisneros; Patrizia Sandretto Re Rebaudengo; Elena Cué y su marido, Alberto Cortina; Rosario Nadal, Miguel Zugaza, Carlos Urroz, Elvira González, Pilar González de Gregorio, María y Lorena Corral, Borja Baselga, Íñigo Navarro, Oliva Arauna, Pepe Martínez Calvo, Luis Valverde... 




La jornada de ayer estaba reservada a los profesionales del sector: visita al centro y almuerzo. Tras la inauguración oficial de hoy a cargo de los Reyes, a partir de las 10 de la noche habrá un espectáculo de luz y sonido en los Jardines de Pereda. Una hora después el flamante Centro Botín abrirá sus puertas a los primeros 1.200 visitantes: los 600 Amigos con que ya cuenta el centro y sus acompañantes. Mañana, de 10 a 21 horas, podrá visitarlo el público. Ya se han repartido más de 70.000 pases permanentes entre los cántabros para su visita gratuita. 

El «efecto Guggenheim»

Aunque las comparaciones son odiosas, resulta inevitable hablar del «efecto Guggenheim». El edificio de titanio de Gehry es un imán para los nuevos museos, debido tanto a su éxito social (en 2016 fue visitado por 1.169.404 personas), como por su impacto económico (el año pasado contribuyó al incremento de 424,6 millones de euros del PIB y mantuvo más de 9.000 empleos). Íñigo Sáenz de Miera, director general de la Fundación Botín, no facilitó ayer a la prensa ningún dato de algún estudio sobre el impacto económico o número de visitantes que se prevé tenga el Centro Botín. «Apostamos por la calidad, no por la cantidad», dijo al respecto. Tampoco desveló cuál ha sido el desfase del presupuesto. Recordó que el coste era de 80 millones de euros, incluidas la rehabilitación y ampliación de los Jardines de Pereda (se ha pasado de 2 a 4 hectáreas, se han triplicado las zonas verdes y se ha creado una zona infantil de juegos de 774 metros cuadrados), que ha llevado a cabo el paisajista Fernando Caruncho, en asociación con Renzo Piano; y la construcción de un túnel de 372 metros para soterrar el tráfico, logrando así conectar la ciudad con la bahía. En 2015 el presidente cántabro, Miguel Ángel Revilla, desveló que el desfase presupuestario era de 20 millones de euros. 
Como recordó ayer durante la presentación del proyecto Javier Botín, presidente de la Fundación Botín, la financiación ha sido cien por cien con fondos propios, aunque agradeció la ayuda del Gobierno de Cantabria, el Ayuntamiento y la Actividad Portuaria de Santander. «Éste es nuestro proyecto más social, más global y más local», subrayó. 
Para Fátima Sánchez, directora ejecutiva del Centro Botín, la cornisa cantábrica se ha convertido en un eje cultural de primer orden. Al Guggenheim bilbaíno se suman el Museo de la Universidad de Navarra en Pamplona, el Kursaal de San Sebastián (ambos de Rafael Moneo), o el Centro Niemeyer de Avilés (que acabó siendo un fiasco). Con permiso de las Cuevas de Altamira, el Centro Botín es la nueva joya de Cantabria. Parafraseando a Renzo Piano («el arte nos hace mejores»), Fátima Sánchez dice que éste será «un espacio vivo, un lugar de encuentro único, que fomentará la creatividad a través de las artes». La Fundación Botín lleva quince años desarrollando la inteligencia emocional. Hoy lo hace a través de un proyecto en colaboración con la Universidad de Yale. Además, la directora del Centro Botín tiene claro que éste «enriquecerá y dinamizará la vida de la ciudad y de la región». Algo en lo que parece estar de acuerdo la mayoría de hosteleros, comerciantes y taxistas, que ven este proyecto como una fuente de progreso y riqueza para la ciudad. 
De la parte creativa se ocupan Benjamin Weil, director artístico del Centro Botín, y Vicente Todolí, exdirector de la Tate Modern, presidente de la comisión asesora de artes plásticas de la Fundación Botín. Ellos han programado las tres exposiciones inaugurales: la primera monográfica de Carsten Höller en España, una muestra de dibujos de Goya y una selección de la colección de la fundación. Cristina Iglesias ha creado una intervención escultórica permanente, «Desde lo subterráneo», que incluye cuatro pozos en los Jardines de Pereda y un estanque bajo las escaleras del centro. 

Modificaciones 

Aunque no todo ha sido un camino de rosas. A los retrasos y sobrecostes se suman los desacuerdos con las constructoras, que ralentizaron los trabajos. Renzo Piano tuvo que hacer cambios en el proyecto original. Hubo protestas por el tamaño del edificio (se redujo 100 metros cuadrados) y por el emplazamiento dentro del muelle de la Albareda. Se desplazó el edificio unos cien metros hacia la Estación Marítima para mantener en su lugar la Grúa de Piedra, un icono del puerto de Santander. Además, desapareció la pasarela sobre los Jardines de Pereda, debido a que se soterró el tráfico. La ciudad ha ganado en accesibilidad a la zona, antes cerrada por una valla (paseo para peatones, carril bici), reducción de la contaminación... Hubo protestas, como la de la Plataforma en Defensa de la Bahía. Pero el Tribunal Supremo ratificó la legalidad del Plan Especial del Puerto de Santander, dando luz verde a su construcción. Hoy luce espléndido.



martes, 13 de junio de 2017

A Performance Celebrating Female Defiance Goes Off Course






 In 1889, the journalist Elizabeth Jane Cochrane, better known by her pseudonym, Nellie Bly, embarked on an unprecedented voyage: a trip around the world meant to span just 72 days. She had pitched the idea to her editor at the New York World, wanting to beat the fictional record set by Phileas Fogg, the protagonist of Jules Verne’s 1873 Around the World in 80 Days. The paper’s business manager initially said he preferred to send a man — Bly would have too much stuff to carry alone, he argued — but Bly fought him, won her trip, and then published a book detailing her adventures.
Scene from ‘Traveling Lady’ by Jessica Mitrani, performed by Rossy de Palma
This famous exchange serves as the point of departure for Traveling Lady, an ambitious performance by Colombian-born artist Jessica Mitranithat celebrates female defiance while taking a tongue-in-cheek approach to examine the societal expectations of women today. Mitrani has presented Traveling Lady multiple times since 2014, and this most recent showing occurred earlier this month as part of the Dallas’ Symphony Orchestra-led SOLUNA Arts Festival, a week-long event of performances by local and international groups.
A mixture of a film of black-and-white animations interspersed with live, on-stage appearances by actress Rossy de Palma, its narrative form is intriguing, even refreshing. But it seemed at times too unanchored to Traveling Lady‘s message, with scenes and transitions sometimes so abstract and dotty they simply left me with a furrowed brow.
Mitrani recounts Bly’s tale during the first five minutes of the 45-minute-long performance, which is simply illustrated by black-and-white, animated collages, filled with checkered patterns inspired by Bly’s coat. From then on, Traveling Lady divides into chapters that explore the ways women navigate between different identities society has imposed upon them. The animations present de Palma in a kitchen, in an asylum — nodding to the historical ties between women and hysteria — and, in another scene, she is holding a tub of cold cream — to signify women as objects of desire, needing to continuously appear youthful. Quips abound about a woman’s place in the world and current gender dynamics, sometimes boomed by a narrator in the film and sometimes played over a speaker and lip-synced by de Palma, who appears sporadically on stage against an animated backdrop. One that garnered strong laughter from the audience: “Why is it, that when a man travels, he has luggage, but when a woman travels, it’s baggage?” But other lines seemed too far-out or simply too esoteric, such as de Palma’s recitation of a passage from Gertrude Stein’s Ida: A Novel, which Mitrani intended as a meditation on how women can travel through language.
Scene from ‘Traveling Lady’ by Jessica Mitrani, performed by Rossy de Palma
Scene from ‘Traveling Lady’ by Jessica Mitrani, performed by Rossy de Palma
It’s perhaps because Mitrani drew from so many different sources that Traveling Lady feels so fragmented and ultimately perplexing. Stein is one of 72 artistic sources she drew upon (one for each day of Bly’s travels); others include Louis Bourgeois and Josef Hoffman, whose architecture inspired some of the film’s animated settings.
What helps, somewhat, to deliver the performance’s girl-power message are a few recurring props that serve as echoes of Bly’s journeyBly packed light, carrying in a small bag some clothes, slippers, and a jar of the aforementioned cold cream. This bag, a copy of which de Palma totes from time to time, becomes a flagrant metaphor for the emotional burdens women bear from societal pressures; the cold cream, a symbol, of course, of commercialized beauty standards. It comes to life in one memorable scene to complain about how stressful it is to be a cold cream, with a “mission to defy aging.” Fashion collective ThreeAsFour also designed three different versions of a Victorian dress, each voluminous and extravagant in their own way, to make visible the physical constrictions of period clothing. One even becomes a character, waltzing on stage as an eight-foot-tall dress that dancer Jordan Morley commanders. 
Ultimately, it’s the characters of Traveling Lady that maintain the performance’s delight, from the anthropomorphized objects to its star, de Palma, whose dramatic facial expressions are simply captivating. The animations, unfortunately, as creative as they are, are clumsy translations of Mitrani’s ideas about women’s boundaries and freedoms. The performance seemed to want to encourage women to travel through life beyond gender, but it largely ended up dwelling on common gender stereotypes, offering little to inspire.
Scene from ‘Traveling Lady’ by Jessica Mitrani, performed by Rossy de Palma
Scene from ‘Traveling Lady’ by Jessica Mitrani, performed by Rossy de Palma
Scene from ‘Traveling Lady’ by Jessica Mitrani, performed by Rossy de Palma
Scene from ‘Traveling Lady’ by Jessica Mitrani, performed by Rossy de Palma
Traveling Lady took place at the Morton H. Meyerson Symphony Center (2301 Flora Street, Dallas, Texas) on June 1.

sábado, 10 de junio de 2017

Joseph Kosuth inaugura l'anno all'Accademia di Belle Arti di Bologna




Il padre dell'arte concettuale Joseph Kosuth e il maestro che ha trasformato le cose del mondo in fotografia Nino Migliori sono gli ospiti d'eccezione all'inaugurazione dell'anno accademico dell’Accademia di Belle Arti che si terrà venerdì 5 maggio (dalle ore 10).

L’artista americano terrà una lectio magistralis dal titolo “Material culture. Teaching art between theory and practice” (“Cultura materiale: insegnare l’arte tra teoria e pratica”). Maestro dell’arte concettuale e autore di celebri opere come Una e tre sedie, Kosuth è tra i protagonisti più significativi della seconda metà del ’900, e i suoi lavori fanno parte delle collezioni del MoMA di New York e dei più importanti musei mondiali dedicati al contemporaneo.
Joseph Kosuth inaugura l'anno all'Accademia di Belle Arti di Bologna
"Una e tre sedie", Kosuth
Il programma della mattinata prevede, in apertura, i saluti di Fabio Roversi Monaco, presidente dell’Accademia di Belle Arti, del direttore Enrico Fornaroli e di Raffaele Marra, presidente della Consulta degli studenti. Seguirà la consegna dei Diplomi ad honorem dell’Accademia Clementina: la storica istituzione bolognese, all’origine dell’attuale Accademia di Belle Arti, rinnova la tradizione e attribuisce quest’anno i suoi riconoscimenti al fotografo Nino Migliori e alla storica dell’arte Anna Maria Matteucci Armandi.
Joseph Kosuth inaugura l'anno all'Accademia di Belle Arti di Bologna
Nino Migliori
Nino Migliori donerà inoltre all’Accademia la sua opera Ulisse ed Euriclea. Si tratta della stampa in tiratura limitata di venti pezzi di una fotografia realizzata “a lume di candela” da Migliori: il soggetto è il bassorilievo in gesso realizzato nel 1810 dallo scultore bolognese Giovanni Putti, opera che fa parte della gipsoteca dell’Accademia. Questo lavoro di Migliori rientra nel suo più ampio progetto di ricerca sulla visione, che lo ha portato dal 2006 a fotografare numerose opere scultoree utilizzando come unica fonte luminosa la luce di una candela.
Joseph Kosuth inaugura l'anno all'Accademia di Belle Arti di Bologna
Neon, Kosuth
Nel pomeriggio alle 16.30, sempre in Aula Magna, Joseph Kosuth parlerà nuovamente del suo lavoro artistico, in un dialogo condotto dal docente dell’Accademia Guido Molinari. L’ingresso è libero fino ad esaurimento posti.

L'Accademia:
 iscritti in crescita. Sono 1.816 gli studenti iscritti quest’anno ai 23 corsi in Accademia, tra triennali di primo livello e biennali. La cifra fa registrare ancora un aumento rispetto ai 1.731 studenti dell’anno precedente. E sono ben 329, circa un sesto del totale, gli studenti stranieri provenienti da Paesi extra-europei che hanno scelto Bologna per diplomarsi in Belle Arti. Tra loro 201 studenti di nazionalità cinese.

jueves, 8 de junio de 2017

MAVI Museum of Visual Arts



Arturo Duclos, Polvo de estrellas [Star Dust], 2017. Performance with human skull at Galería Metales Pesados, Santiago de Chile. Courtesy MAVI/Galería Metales Pesados.
Arturo Duclos
El fantasma de la utopía
Utopia’s Ghost
June 8–August 20, 2017

MAVI Museum of Visual Arts
José Victorino Lastarria 307
Mulato Gil de Castro Square
Santiago
Chile

www.mavi.cl
Twitter
Arturo Duclos: el fantasma de la utopía [Utopia’s Ghost]
Curator: Paco Barragán
Is the idea of utopia still necessary, let alone possible?
Is utopia still valid as aspiration for a better or even perfect society?
Or has utopia simply turned into nostalgia and a kind of new kitsch?
The exhibition Arturo Duclos: el fantasma de la utopia [Utopia’s Ghost] at the Museo de Artes Visuales (MAVI) in Santiago de Chile tackles these fascinating issues by reflecting on the major revolutionary movements of Latin America that tried to impose by force a more just society: Tupamaros, EZLN, FARC, Sendero Luminoso, M-19, MIR, 26 de Julio, FPMR, MRTA and FSLN.
Utopia as nostalgia
Arturo Duclos, one of the younger members of the Chilean avant-garde, the so-called Escena de Avanzada, has always been interested in the idea of utopia and, particularly, in the inherent ambiguity that underlies the construction of utopia by Thomas Moore, and how this ambiguity has been sufficiently strong to accelerate history by means of battles, movements and revolutions.
Departing from the symbolism and iconography of the flags of these revolutionary movements, Duclos confronts the spectator in a thought-provoking way not only with ideals associated to the spirit of liberation, messianism and social utopia, but the exhibition also establishes fruitful connections with the fate of the many recent leftist populist governments that have existed in Latin America during the last 20 years: from Chávez, Kirchner, Morales, Correa and Lula to Mujica.
Never has mankind known such a period of stability and prosperity, but at the same time—as Thomas Piketty has keenly shown us—never has there been so much inequality in the world. So, if the unpredictable future is no longer a place for utopia then it seems to be safe to look into the malleable past for possible answers. It also allows us to conclude that today’s utopian spirit is imbued with great dosis of nostalgia.
Utopia as kitsch
With an interdisciplinary approach that covers diverse forms, from sculpture, drawing, installation and painting to video and performance, Arturo Duclos: el fantasma de la utopia [Utopia’s Ghost] presents five thematic constellations—Banderas/FlagsCaporalesEscudos de armas/Coats of ArmsMemorabilia and Machina Anemica—as well as Cuartel General/Headquarters, a public tent that will function as a mediation point for the public during the length of the exhibit.
Utopia as the new kitsch? Kitsch as utopian? These seemingly contradicting concepts run into each other more than we are willing to admit. And in this sense, in many of these works Duclos interacts and challenges, both from a conceptual and a formal point of view, the idea of kitsch understood as a saturation of concepts, colors and forms.
“I was always interested,” affirms Arturo Duclos, “in reading these configurations that proceed from the popular culture unconscious and that take the place in these paramilitary groups with a hierarchic regime based upon the religious dance groups.”
With regards to the conceptualization and design of the exhibition, curator Paco Barragán explains that “We are very well aware of the tenacious Alfred Barr’s ideology that persists in modern and contemporary art museums, and for this reason we conceived several Stimmungsräume in order to create a more challenging context for the spectator than the aseptic and anemic white-cube walls would allow.”
Both avant-gardes and revolutions have become parodies subjected to postcapitalism.
Now, the question, according to Arturo Duclos, would be: “What can we do in order to reanimate utopia?” 
This exhibition has been generously sponsored by the Chilean National Fund for the Development of Culture and the Arts-FONDART through its 2017 open call.

BLANCA ORAA MOYUA