Bulma Dragon Ball Doujinshy

No + VIOLENCE - Video

Exhibition "report, the scenarios and the anonymous"
Curator: Maria Elena Retamal
Meeting As part of the Visual Arts N200.

M. Elena Retamal Ruiz.

"The nations are then imaginary constructs that depend for their existence on cultural apparatuses of fiction, including which literature plays a decisive role "

Ernest Gellner. Nations and Nationalism-1983

A the characteristics of the arts in general is their ability to reinterpret the reality through the production of images that give meaning to the life of a social group. The creation of representational images of the nation is then, in the symbolic body that structures, organizes and unifies social order. That is why, once consolidated Independence, the new Latin American republics, prioritized their interest in founding a "national identity", based on consolidation of certain cultural traditions contained and preserved by the politicians who exercised power from the nineteenth century.

To achieve this purpose, two fundamental facts: an Inauguration of the Academy Painting in 1849, which then extended School of Fine Arts and the opening in Centennial activities of National Museum of Fine Arts . First, establish formal art education models, based on consolidation identity of the fictional country and the second will have the function of its artistic treasure .

Néstor García Canclini

s ENAL " three operations made it possible to restore elites and again, with each change of modernization, aristocratic conception: to ) spiritualize cultural production under the guise of "creation" of art, with the resulting division between art and crafts; b) freezing circulation of symbolic goods in collections, concentrating them in museums, palaces and other exclusive facilities; c) propose as the only legitimate form of consumption of goods that also spiritualized hieratic mode of reception is to contemplate " .

Three major issues will be addressed in order to legitimize the national imagination: the symbols (national heroes and deeds), landscape (National constant, according to the historiography art) and the portrait (as part of preservation strategies and social display.)

Now, facing the art scene that confronts us the Institutional Chilean , on the threshold of our 200 years of "independent", ie Triennial of Chile, its chief curator proposes to remove " reflections on the limits of art working three basic shapes: the same limit as fold suggests in third place or at the borders open to the weather or anything reflection on art institutions : an obsessive that accompanies the long road to modernity and maintains force in each new scene of critical reflection, and possibility of "doing", in Heideggerian sense, to turn in work situations, not knowing the rule of the form, cross the boundaries of aesthetics and compromise actions that occur beyond the scene of representation, are subject to the contingency of what may or may not ser ofrecido a la mirada, convertido en momento estético o en experiencia de obra”.

Pues bien, en torno a nuevas escenas críticas de reflexión, como N200, que establecen proyectos alternativos respecto de la Institucionalidad del Arte es que he sido invitada a pensar este Bicentenario, a partir del cual, mi interés propositivo se construye bajo algunas referencias que paso a reseñar:

Uno, las obras seleccionadas , se proponen como un artistic political argument against the Bicentennial look, as under a non-political context (as that seems to roam around the exhibition of the celebrations argument) is interesting to propose "the political in art, from which establishes a joint "internal" to reflect critically on the social environment from the organization of meanings, from the rhetoric of the media and the establishment of their own mounts symbolic [1] Two

, Stress some imaginary concepts related to national identity, since identity understood as a social construct unstable, it can interfere through new practices and customs have come from the inclusion of other cultural devices.

Three If in the nineteenth century, rhetoric was articulated country from issues such as national symbols, landscape and portrait in the arguments XXI will be other issues coming from new problems that will shake our own events, it establishes three displaced from the three thematic first: MEMORY , SCENARIOS AND ANONYMOUS.

---

[1] See Oyarzun, Pablo, other editors. Art and politics. Universidad Arcis, Santiago, Chile, 2005.p 16

Edition video: Felipe Miranda

Do Poleps Stop You From Falling Pregnet

Collective Work of Marianne
Ladealmedio Jaramillo - Natalia Camilo

MINES Event 2009



This work is inspired by the plight of working immigrants in Chile, the current Labor Code sections do not exist to regulate the work of immigrants, so there is a loophole.

For this work we met with Peruvian immigrant women who worked or working in domestic service, collected their stories and use it in the presentation.
also use the current labor code, for covering the fixtures and to be spat upon MariCarmen, who at some point in his life too was an immigrant.

IMMIGRANTS ZERO

Santiago

Santiago Centro

Kilometer Zero

footsteps ghosts,

immigrants

street.

The surface picks up your tracks

no work or food.

The yearning, dark,

draw furrows, with silence.

So do not say anything,

recognize your accent,

and regret

can not bring you to a place,

like home.

is also my fault

you feel alien,

see you drunk weekend

see you, I see you,

invading my city,

but

I forgive you,

knowing that there

nothing to forgive.

Because if we choose

where birth

I would choose to hold

and tell,

in the primitive earth

No

is a foreigner.

Natalia Camilo. Poem for Peruvians living in Chile

Whats The Name Of The Song In Unleashed ?

If you go to Chile National Ice Rink without Nation



CUATROPUNTO Work Based on the novel by Roberto Bolaño
Black Friday 16 October 18:00 hrs. Biblioteca de Santiago.



Happening

before the collective action of the Library. THE day of Bolaño Chair of the University Diego Portales, where the guest was Martin Caparros with "Chronic Latin American literature."
I asked students who were on the terrace of the college while going on the chair, to read an excerpt from the text of the novel with an ice cube in hand, the audio was recorded and became part of the action in the Library. Then I went to the room where it was made and the final presentation and digested as a cocktail, I asked the attendees - including Raul Zurita, Gumucio and Coppola himself, to do the same.
cameras were in my mates Cuatropunto, MariCarmen at the detail and Malena in shots (thanks for waiting.)

" was not the first corpse that I was. Before had happened a few times. The first, in Chile, in Concepción, the capital of the south. I was leaning to the window of the gym where a few hundred prisoners remained in detention, it was night, a full moon night in November '73, and saw a big courtyard circled by detectives. All beat him to that effect using hands, feet and rubber bars. The fat in the end, not even shouting. Then he went headlong into the ground and only then I realized he was barefoot. "(Bolan, pág.59)

(soon upload the log Ice Rink action on the Library)

Does Silicone Last Longer Than Saline

What is your cross? Love your cause

CUATROPUNTO Work Accompanying the October 12 march.



Malena Valdeavellano
MariCarmen
Jaramillo Natalia Camilo

I am the daughter of history,

memories embedded in the

genetic nation

mixture of mosaic

mixed.

I was not at all times,

but time keeps

tremendous scar

I see drawn

in the face of history.

fractured country, raped,

tortured

country

schizophrenic

bipolar, depressive,

and prone to amnesia .

you breathe polluted air

metropolis,

and every time I inhale,

I feel like choking

your indifference, your careerism,

your ignorant middle class ,

ignorant of your history,

indifferent to your

own pain.

I do not like you calm,

because the people away,

muted, downcast,

watching TV.

I like it when you scream,

rejoice, celebrate

and laugh until your

own misery.

Smiling toothless

a broken hand,

empty pockets.

That is the country calling me

from childhood in the population,

hot milk office.

inadvertently

whom you have given birth,

deformed child, lost,

outcasts from

O'Higgins,

mutilated to Victor.

www.cuatropunto.blogspot.com More

Funeral Guest Book Sayings

October 15, 2009

Opening exhibition "From Chile with D "smell"
as part of the Visual Arts Encounter N200
Cellar Space, Padre Miguel de Olivares 1643, Stgo.


Center

Love Your Work
because textile and action
art
The textile work inspired by the sacking of Violet, was brought to the notice of the N200. The action of the art I made for the inauguration of the sample, using ritual elements and a steering wheel taken from a protest by Malena, born on a small scale.

Text Victor Hugo Bravo, curator:

HBV - DE CHILE WITH D-ODOR drains the vacuum constrictor.

"Contemporary society is inhabited by toxicopornográficas subjectivities, subjectivities that are defined by the substance (or substances) that dominates their metabolisms by cybernetics through to become agents for the kinds of desires that guide farmacopornográficos their actions. So, talk about subjects Prozac, subjects cannabis, cocaine subjects, alcoholic subjects, subjects Ritalin, subject cortisone, subject silicone heterovaginales subjects, subjects doblepenetración subject Viagra, etc..

Nothing revealing in nature, there is a hidden secret. We live in the hyper-punk, and it is not revealing the hidden truth of nature, it is necessary to explain the cultural, political, technical, through which the body acquires status as an artifact natural. The oncomouse, laboratory mouse biotechnologically designed for carrying a cancer gene, eats Heidegger. Buffy the vampire television mutant eats Simone de Beauvoir. The dildo, a paradigm of all pleasure Teleproduction prosthesis, he eats the dick of Rocco Siffredi. There is nothing to disclose on sex or sexual identity, no hidden secret. The truth about sex is not revelation, is sex design. "

Beatriz Preciado

De Chile with pain, the opacity is built from production, with proposals woven into the bizarre, anomalous, overheated aesthetic that reverses any possible contemporaneity to re-raise a stigma modernist series B.

Under emotional definition line, each artist is called fracture time to rethink the work in the media now faced with multiple, lucid thoughts and guidelines for a good attitude in the field of the neat, the pure, brilliant and assertive of art we usually recognize.

aesthetic and conceptual migrations, the rambling and riddles context clearly direct us to a medial area of \u200b\u200bwork, actions that are installed in a range of pre-engineered positioning, adjusted to the supply or demand for the institution, deploy a parallel fact to the institution and define an approach to deciphering the riddle.

Under this idea the dog does not lie and whether incubated in fashioning a new bestial creature, organized in other production systems biology that make it a devourer of events, transfers and gossip where they puts this curatorship.

Organized in a simple and outlined mapping we outline some concepts that make platform:

ERRORS - IMPERFECTION - DECONSTRUCTION platitudes - EMOTIONAL - PRECARIOUSNESS - FRAGILITY

delimiting here forms and production methods that are within a range of low or no participation in a coded scenario, nor is the under-fried, but a handicap in the best sense, of being inside something, to set up center and less periphery something that flies the permanent constitution subjective outside any framework of analysis, beyond contingency, outside any container vessel indicating place and position.

Generating a correlation from a plastic look, this proposal tied and chemically mix the parties to make a lot of great work (organic space-bodied) fragmented, unbalanced and attacks the notion of the community, limited in current systems distribution and role play, delving into these disjointed parts that take refuge in the search for a body that contains and means to avoid referring to themselves in a romantic rhetoric inert body of the piece is made, the member deformed of the amputee and replacement of rejection, missed him.

A point of fact anchored in the deformation of this political understanding, clearly escaping and digested a concrete sense of a social stage where assertiveness and need to be a politician is more than an aesthetic event formulation of ideas of prefixes of the individual training, a form definition, in this case a stagnant emptiness summarizes these positions in a pejorative stronghold of voids, smooth, decalcified but precisely where a melancholy and sharp features resemantization impossible, a wish-try perhaps intended to take a pathological achieve complete fault the glorious triviality.

The center core of being and not being, to produce and not create, practice and do not understand is the site of desire, report, safe, obscene and very effective at the time of collectivization from the patch headless.

Lug Nut For 2004impala

Exercise Diagram Intersection "see"

Wednesday August 5, 2009 - Metropolitan University of Educational Sciences

Rizoma To Party, as a presentation of the Multidisciplinary Workshop ( www.tallermultidisciplinario. blogspot.com )

Base teorica:

Teoría de conjuntos

Se entiende por conjunto a la agrupación en un todo de objetos bien diferenciados de nuestra intuición o nuestra mente.

Georg Cantor

The universal set, which always represented with the letter U (or capital) is the set of all the things we are trying. So if we talk about integers then U is the set of integers, if we talk about cities, U is the set of all cities, this universal set can be mentioned explicitly, or at most cases assume given the context that we are trying, but it is always necessary to prove the existence of the previously set.

The

Venn diagrams to be the English philosopher John Venn (1834-1883) are used to graphically represent sets with drawings or diagrams that can be circles, rectangles, triangles or any closed curve.

joint operations

Sean A and B dos conjuntos.

Unión

Diagrama de Venn que ilustra A U B

Para cada par de conjuntos A y B existe un conjunto que se denota como A U B el cual contiene todos los elementos de A y de B . De manera más general, para cada conjunto U S There is another set denoted as so that its elements are all such that . Thus is the special case where .

is clear that the fact that an element x belongs to is necessary and sufficient condition to assert that x is an element of A or at least B . Ie

Intersection

Venn diagram illustrating

common elements and form a set called intersection of and , represented by . ie, is the set containing all elements of A at the same time are B :

.

If two sets A and B are such that then A and B are said to be disjoint .

Clearly, the fact that is necessary and sufficient condition for asserting that and . Ie

sets theory applied to my own theory about human relationships . Is a diagram "come" because it is designed to enter the set, however in action people avoided stepping on the margin drawn with chalk on the floor. This led me to the strange idea that I can set a limit (arbitrary and in any place) where the perimeter is MY space, and where the other that it should not pass that threshold, that is, DO NOT enter MI territory. At least that was my reading of what happened at that time. It is probable that verbally invite people to enter the circle ... as with Valeria, I invited her to come and she asked me permission, I said that in some rituals mark the ground with chalk in there no one else can enter, it becomes a sacred space . Register

sets:

Being N = Natalia
x = any

1 .- N U N =
Female N = Nicol
happened on the set x

2 .- U N D =
D = Daniela Women
happened on the set x

3 .- N U dialogue
F = F = Felipe
Man stopped The dialogue we set xy

4 .- N U F = F =
dialogue
Fernanda Women who stopped the dialogue we set xy

5 .- N dialogue V = V = Valeria

Women who entered the set x, intersection made my set and we had a dialogue



this year I expect to make elsewhere, with modifications and record the experience.