Exhibiciones de arte: Nacionales
El Profesor Gausachs
Huella indeleble del exilio Republicano Español en la Pintura Dominicana.
Centro Cultural de España / Abierta hasta el 7 de Marzo, 2020 / 31 de Enero 7:00 P.m
Una muestra que reúne dibujos, fotografías y diversos documentos que permiten comprender el origen de la pintura dominicana contemporánea y la vida del formidable pintor José Gausachs.
Con esa misma chispa vibrante, Gausachs tocó casi todo tema pictórico y utilizó casi todo medio plástico. Como maestro, Gausachs “enseñó a ver” a artistas de la talla de Gilberto Hernández Ortega y Clara Ledesma, e incluso a la más joven Ada Balcácer y les hizo conscientes del mundo fascinante, lleno de magia y misticismo de la negritud antillana. Esa idea esencial del arte dominicano, esa poesía secreta que se respira en el Hernández Ortega primero y único y que trasciende de igual modo en la obra de Iván Tovar. Esto es, en suma, un aporte fundamental que hace Gausachs a la plástica dominicana.
Su estilización de la mujer negra está cargada de ritmo interior, sin ser jamás “folklórico” De hecho, una afirmación suya hecha hacia 1952 revela ese sentido: “Muchas veces ni siquiera miro la modelo, solo su presencia me basta y me es necesaria.”
Professor Gausachs
Indelible imprint of Spanish Republican exile in Dominican Painting.
Cultural Center of Spain / Open until March 7, 2020 / January 31 7:00 P.M
An exhibition that brings together drawings, photographs and various documents that allow us to understand the origin of contemporary Dominican painting and the life of the formidable painter José Gausachs.
With that same vibrant spark, Gausachs touched almost every pictorial theme and used almost every plastic medium. As a teacher, Gausachs “taught to see” artists of the stature of Gilberto Hernández Ortega and Clara Ledesma, and even the youngest Ada Balcácer and made them aware of the fascinating world, full of magic and mysticism of West Indian blackness. That essential idea of Dominican art, that secret poetry that is breathed in the first and only Hernández Ortega and that transcends in the same way in the work of Iván Tovar. This is, in sum, a fundamental contribution that Gausachs makes to Dominican art.
His stylization of the black woman is charged with an interior rhythm, without ever being “folkloric”. In fact, an affirmation of hers made around 1952 reveals this meaning: “Many times I don't even look at the model, only her presence is enough for me and it is necessary for me. ”
CON VISTA AL MAR –20.02.20–
Engel Leonardo, Pascal Meccariello, Patricia Castillo (Patutus), Rafael Pérez Concepción y Raquel Paiewonsky / El monumento Fray Antonio de Montesinos
El monumento Fray Antonio de Montesinos acoge a partir del día 20 de febrero la exposición Con vista al mar, un proyecto colectivo de los destacados artistas dominicanos Engel Leonardo, Pascal Meccariello, Patricia Castillo (Patutus), Rafael Pérez Concepción y Raquel Paiewonsky.
Con vista al mar propone un armónico conjunto de instalaciones, esculturas y obras bidimensionales, concebidas gracias a un ejercicio curatorial y un diálogo constructivo, entre los artistas, que da forma al conjunto expositivo en el espacio del recientemente restaurado monumento. Retomando una práctica expositiva colectiva, ya no tan frecuente en la actualidad del arte contemporáneo dominicano.
La muestra tendrá lugar en el monumento Fray Antonio de Montesinos, hoy símbolo indiscutible de la ciudad de Santo Domingo, espacio que por su gran valor histórico inspira a los artistas participantes en la elaboración y concepción de las piezas propuestas.
La exposición estará abierta al público del 20 de febrero al 30 de marzo de 2020, paralelamente los artistas propondrán diversos intercambios con los visitantes: visitas guiadas, conferencias, encuentros, entre otras actividades.
WITH SEA VIEW –20.02.20–
Engel Leonardo, Pascal Meccariello, Patricia Castillo (Patutus), Rafael Pérez Concepción and Raquel Paiewonsky / The Fray Antonio de Montesinos monument
Starting on February 20, the Fray Antonio de Montesinos monument hosts the exhibition Con vista al mar, a collective project by the prominent Dominican artists Engel Leonardo, Pascal Meccariello, Patricia Castillo (Patutus), Rafael Pérez Concepción and Raquel Paiewonsky.
Overlooking the sea, it proposes a harmonious set of installations, sculptures and two-dimensional works, conceived thanks to a curatorial exercise and a constructive dialogue between the artists, which shapes the exhibition complex in the space of the recently restored monument. Returning to a collective exhibition practice, no longer so prevalent in contemporary Dominican art today.
The exhibition will take place at the Fray Antonio de Montesinos monument, today the undisputed symbol of the city of Santo Domingo, a space that, due to its great historical value, inspires the participating artists in the elaboration and conception of the proposed pieces.
The exhibition will be open to the public from February 20 to March 30, 2020, in parallel, the artists will propose various exchanges with visitors: guided tours, conferences, meetings, among other activities.
MUNDOS PARALELOS
JosÈ GarcÌa Cordero / LA TESIS ìHISTORIA DEL CONSUMO DE LA FOTOGRAFÕA COMO ARTEî / Centro de la Imagen / Zona Colonial
Este operar con un aparato fotográfico entre las manos me acompaña desde siempre. La tesis “Historia del consumo de la fotografía como arte” que presenté en la Universidad de París, Vicennes, en 1982; me permitió establecer pautas para la comprensión de la démarche artistique (modo de crear) que utilizan los artistas que admiro y “consumo.”
Diane Arbus y Cindy Sherman son ejemplares. Dos conceptos. Dos generaciones. Un sólo útil. El mundo para Arbus está lleno de imágenes captables. El mundo de Sherman es construido y corregido.
El motivo directo contra le tableau vivant (componer lo que se va a fotografiar). El encuentro sublime contra el acecho programado. Lo vivo del sujeto contra el escenario montado. La fábrica de imágenes produce de mil modos.
Estos Mundos Paralelos, interior -exterior, que presento, son estos conceptos obrando. La ilusión creada en la mesa del taller con los objetos y fotos robadas, se opone a la cacería exterior en las calles. A la recolecta de instantes en las galerías y ferias de arte, donde captó momentos que me asombran y cuyo contenido –lo artístico– va más allá de la información que revelan.
José García Cordero
PARALLEL WORLDS
JosÈ GarcÌa Cordero / THE THESIS “HISTORY OF THE CONSUMPTION OF PHOTOGRAPHY AS ART” / Image Center / Colonial Zone
This operating with a photographic device in my hands has always accompanied me. The thesis "History of the consumption of photography as art" that I presented at the University of Paris, Vicennes, in 1982; It allowed me to establish guidelines for understanding the artistic démarche (way of creating) used by the artists I admire and “consume.”
Diane Arbus and Cindy Sherman are exemplary. Two concepts. Two generations. A useful one. The world for Arbus is full of captivable images. Sherman's world is built and corrected.
The direct motive against le tableau vivant (compose what is to be photographed). The sublime encounter against programmed stalking. I live the subject against the mounted stage. The image factory produces in a thousand ways.
These Parallel Worlds, interior-exterior, that I present, are these concepts at work. The illusion created on the workshop table with the stolen objects and photos, opposes the outdoor hunting in the streets. He collects moments in galleries and art fairs, where he captured moments that amaze me and whose content - the artistic - goes beyond the information they reveal.
José García Cordero
MUJERES DE CINE
ECOS DE HOLLYWOOD EN ESPAÑA, 1914 / 1936 / Museo BELLAPART
El cine ha sido uno de los principales medios artísticos del siglo XX e instrumento motivador de grandes cambios sociales a lo largo de su transcurrir. A través de la imagen en movimiento, muda en sus inicios y sonora desde la tercera década, hemos sido testigo de los diversos roles que ha ocupado la mujer hasta apropiarse de escenarios que la tradición reservaba a los hombres.
Así las “Divas de Hollywood” irrumpieron en nuestros espacios, trazaron pautas de comportamiento, esquemas de moda, reordenación
para el cuerpo femenino, quimeras
y frustraciones que encontraron reflejo en las sociedades occidentales y dieron paso a nuevos esquemas para la mujer y su entorno.
Mujeres de Cine.
Ecos de Hollywood en España, 1914-1936 nos refiere a esos inicios
turbulentos del siglo pasado,
entre guerras y vanguardias, entre protestas y sufragios, entre amores y desventuras, situaciones y acontecimientos que definieron
la modernidad. El proyecto fue presentado por primera vez en el Instituto Cervantes de Berlín durante la Berlinale de 2017, dando inicio a un itinerario que ha hecho
escala en Asunción, Paraguay y en Managua, Nicaragua.
El Museo Bellapart recibe con beneplácito Mujeres de Cine. Ecos de Hollywood en España, 1914-1936 y agradece a la Embajada de España la oportunidad de recrearnos en imágenes de esas grandes figuras femeninas que hicieron historia en la meca del cine.
Museo Bellapart
Juan José Bellapart
Presidente
FILM WOMEN
ECHOES OF HOLLYWOOD IN SPAIN, 1914/1936 / BELLAPART Museum
Cinema has been one of the main artistic media of the 20th century and a motivating instrument for great social changes throughout its history. Through the moving image, mute in its beginnings and sound since the third decade, we have witnessed the various roles that women have occupied until appropriating scenarios that tradition reserved for men.
Thus the "Hollywood Divas" broke into our spaces, outlined behavior patterns, fashion schemes, rearrangement
for the female body, chimeras
and frustrations that found a reflection in western societies and gave way to new schemes for women and their environment.
Cinema Women.
Echoes of Hollywood in Spain, 1914-1936 refers to those beginnings
turbulent last century,
between wars and avant-gardes, between protests and suffrage, between love and misadventures, situations and events that defined
the modernity. The project was presented for the first time at the Instituto Cervantes in Berlin during the Berlinale 2017, starting an itinerary that has been
stopover in Asunción, Paraguay and in Managua, Nicaragua.
The Bellapart Museum welcomes Mujeres de Cine. Echoes of Hollywood in Spain, 1914-1936 and thanks the Embassy of Spain for the opportunity to recreate us in images of those great female figures who made history in the mecca of cinema.
Bellapart museum
Juan José Bellapart
President
FILM WOMEN
ECHOES OF HOLLYWOOD IN SPAIN, 1914/1936 / BELLAPART Museum
Cinema has been one of the main artistic media of the 20th century and a motivating instrument for great social changes throughout its history. Through the moving image, mute in its beginnings and sound since the third decade, we have witnessed the various roles that women have occupied until appropriating scenarios that tradition reserved for men.
Thus the "Hollywood Divas" broke into our spaces, outlined behavior patterns, fashion schemes, rearrangement
for the female body, chimeras
and frustrations that found a reflection in western societies and gave way to new schemes for women and their environment.
Cinema Women.
Echoes of Hollywood in Spain, 1914-1936 refers to those beginnings
turbulent last century,
between wars and avant-gardes, between protests and suffrage, between love and misadventures, situations and events that defined
the modernity. The project was presented for the first time at the Instituto Cervantes in Berlin during the Berlinale 2017, starting an itinerary that has been
stopover in Asunción, Paraguay and in Managua, Nicaragua.
The Bellapart Museum welcomes Mujeres de Cine. Echoes of Hollywood in Spain, 1914-1936 and thanks the Embassy of Spain for the opportunity to recreate us in images of those great female figures who made history in the mecca of cinema.
Bellapart museum
Juan José Bellapart
President
