CUBAN ART

Cuban art is an exceptionally diverse cultural blend of African, South American, European, and North American elements, reflecting the diverse demographic makeup of the island. Cuban artists embraced European modernism, and the early part of the 20th century saw a growth in Cuban avant-garde movements, which were characterized by the mixing of modern artistic genres. Some of the more celebrated 20th-century Cuban artists include Amelia Peláez (1896–1968), best known for a series of mural projects, and painter Wifredo Lam (December 8, 1902 – September 11, 1982), who created a highly personal version of modern primitivism. The Cuban-born painter Federico Beltran Masses (1885–1949), was renowned as a colorist whose seductive portrayals of women sometimes made overt references to the tropical settings of his childhood.

In Centro Habana, a small neighborhood of artists have transformed the walls around them. October 2002

Better known internationally is the work of photographer Alberto Korda, whose photographs following the early days of the Cuban Revolution included a picture of Che Guevara which was to become one of the most recognizable images of the 20th century.

There is a flourishing street art movement influenced by Latin American artists José Guadalupe Posada and the muralist Diego Rivera.

After the Cuban Revolution of 1959, some artists felt it was in their best interests to leave Cuba and produce their art, while others stayed behind, either happy or merely content to be creating art in Cuba, which was sponsored by the government. Because it was state-sponsored, implied censorship occurred, since artists wouldn't want to make art that was against the revolutionary movement as that was the source of their funding. It was during the 1980s in which art began to reflect true uninfluenced expression. The "rebirth" of expression in Cuban art was greatly affected by the emergence of a new generation of Cuban, which did not remember the revolution directly.

In 1981 Cubans saw the introduction of "Volumen Uno", a series of one-man exhibitions featuring contemporary Cuban artists. Three years later, the introduction of the "Havana Bienal" assisted in the further progression of the liberation of art and free speech therein.

In the 1960s the aftermath of the Cuban revolution brought new restrictions, causing an exodus of intellectuals and artists. The new régime required "a practice of culture as ideological propaganda, along with a stereotyped nationalism". Although government policies - driven by limited resources - did narrow artistic expression, they expanded, through education and subsidies, the number of people who could practice art, breaking down barriers through democratization and socialization. The increasing influence of the Soviet Union in the 1960s and 1970s did impact Cuban culture, but the Cuban government did not match the U.S.S.R in its degree of control over the Arts.

Ché poster, 1968, designed by Alfredo Rostgaard, based on a photograph by Alberto Korda. The poster was distributed in OSPAAAL's magazine Tricontinental.

In the 1960s government agencies such as the Commission of Revolutionary Orientation (the publishing division of the Cuban Communist Party, later renamed Editora Politica (EP)) and OSPAAAL began churning out posters for propaganda purposes. Many of these used stereotypically Soviet design features, but even some early samples showed hints of the Cuban flair for colorful and inventive graphic design, and by the late 60s, Cuban graphic art was in its heyday. Though still essentially producing propaganda, artists such as Rene Mederos, Raul Martinez, Alfredo Rostgaard, and Félix Beltran were creating vivid, powerful, and highly distinctive works which had a global influence on graphic design. 

An image commonly used by Cuban graphic designers was "Guerillero Heroica", a photograph of Ché Guevara taken by Alberto Korda (b. Havana, 1928 – d. Paris, 2001). The candid shot of a moody exhausted Guevara, taken in March 1960 at a memorial service for victims of an ammunition ship explosion in Havana Harbor, became one of the world's most iconic images. It was eventually altered and adapted for everything from gum wrappers to a 90 ft. tall commemorative iron sculpture in Havana's Plaza de la Revolución. Korda was a popular fashion photographer who became a devoted revolutionary and close companion of Fidel Castro, taking thousands of shots of Castro's travels and Cuba's transformation.

Cubans remained intent on reinforcing a Cuban identity rooted in its own culture, as exemplified by the work of Grupo Antillano. The simultaneous assimilation or synthesis of the tenets of modern western art and the development of Afro-Cuban art schools and movements created a new Cuban culture. Art proliferated under state programs of sponsorship and employment during this post-revolutionary period; the programs both politicized artistic content and inspired confidence in the people within the framework of Cuba's reinvented nationalism. Nelson Dominguez and Roberto Fabelo went from Abstraction and Neoexpressionism of the 1950s, to immortalizing the proletariat, farmers, workers, and soldiers, while continuing to utilize many of the techniques they learned under the tutelage of Antonia Eiriz Vázquez. By combining nationalism with the politicization of art, artists maintained a level of freedom that continues to inspire innovation.

The Salón de Mayo (May Salon) was an art exhibition held in Havana in July 1967. Organized by Carlos Franqui, it presented works by more than a hundred artists and represented rival schools of twentieth-century art: early modernists (Picasso, Miro, Magritte); the next generation (Lam, Calder, Jacques Hérold, Stanley Hayter); and postwar (Asger Jorn, Antonio Saura, Jorge Soto. It represented the high point of artistic free expression in the decade following the revolution.

 

 

The 1960s and 1970s saw the introduction of conceptual art, shifting emphasis away from craftsmanship to ideas. This often meant the elimination of objects in art production; only ideas were stated or discussed. It required an enhanced level of participation by the patron (interactive participation or a set of instructions to follow). Conceptual art, Minimalism, Earth art, and Performance art mingled together to expand the very definition of Art.

By the late 1970s, many of the graduates of the school of the arts in Cuba, "the Facultad de Artes Plasticas of the Instituto Superior de Arte" (founded in 1976) were going to work as schoolteachers, teaching art to young Cubans across the island. This provided a platform for the graduates to teach students about freedom of expression in medium, message, and style of art. It was this new level of experimentation and expression that was to enable the movement of the 1980s.

In Cuba, these new developments were naturally synthesized through the Afro-Cuban sensibility and emerged as The New Art, an art movement widely recognized as distinctly Cuban. Young artists born after the revolution rebelled against modernism and embraced conceptual art, amongst other genres. Many would carry on folkloric traditions and Santeria motifs in their individual expressions while infusing their message with humor and mockery. The art took a qualitative leap by creating international art structured on African views, not from the outside like surrealism but from the inside, alive with the cultural-spiritual complexities of their own existence.

The exhibition Volumen Uno, in 1981, wrenched open the doors for The New Art. Participants, many of whom were still in school, created a typical generational backlash by artists of the previous generation including Alberto Jorge Carol, Nelson Dominguez, and César Leal, who went on the attack against the upstarts. The group, Volumen Uno - made up of Jose Bedia, Lucy Lippard, Ana Mendieta, Ricardo Brey, Leandro Soto, Juan Francisco Elso, Flavio Garciandia, Gustavo Perez Monzon, Rubin Torres Lloret, Gory (Rogelio Lopez Marin), and Tomas Sanchez - presented a "fresh eclectic mix filtered through informalism, pop, minimalism, conceptualism, performance, graffiti and Arte Povera reconfigured and reactivated … to be critically, ethically, and organically Cuban".

This age of artists was dedicated to people who were willing to take risks in their art and truly express themselves, rather than to express things that supported the political movement. While looking at the art of the 1980s we see a trend in the use of the shape of Cuba itself as inspiration for art. One-piece, Immediately Geographic by artist Florencio Gelabert Soto, is a sculpture in the shape of Cuba but is broken into many pieces. One interpretation could reflect the still unequal treatment towards artists, and the repression they were under. A movement that mirrored this artistic piece was underway in which the shape of Cuba became a token in the artwork in a phase known as "tokenization". This artwork often combined the shape of the island of Cuba with other attributes of the nation, such as the flag. By combining the various symbols of Cuba the artists were proudly proclaiming 'this is who we are'. Some art critics and historians however will argue that this was partially due to the isolated nature of the island, and that use of the island in artwork represented a feeling of being alone; as with all art, the intention of the artist can have many interpretations.

By the middle of the 1980s, another group of artists sought a more explicit political responsibility to "revive the mess", "revive the confusion", as Aldo Menendez incorporated into his 1988 installation. Accompanying Menéndez's installation was a note: "As you can see, this work is almost blank. I could only start it due to the lack of materials. Please help me." Here is the Cuban humor, the photo, "perhaps the most quintessentially Cuban expression".

Laughter became the antidote of anarchistic energy for and from the revolution; "one moment an aggressive undertow, then a jester's provocation, pressuring the tensions", wrote Rachel Weiss in To and from Utopia in the New Cuban Art. "The photo is allergic to authority and prestige, the enemy of order in all its manifestations…civil disenchantment, the incredulous and mocking inner nature of the Cuban rises to the surface." The photo, doing away with exactitude, tends to depict the extreme limits of an example. This sardonic Cuban humor has become as ubiquitous in Cuban art as the bright Caribbean colors of its palette. Eduardo Ponjuan, Glexis Novoa (of the ABTV group), Carlos Rodriguez Cardenas, Carlos Garaicoa, René Francisco and Enrique Silvestre are exemplars of this sensibility, mixing it with kitsch and harkening back in time while identifying with current Cuban attitudes, liberating art on the eve of the Cuban 'special period', in which the Soviet Union withdrew its financial aid.

In 1990 the Cuban government began programs to stimulate the tourist trade as a means of offsetting the loss of Soviet support. In 1992 the constitution was amended^[to allow and protect foreign-owned property, and in 1993 the dollar was permitted to circulate legally. In 1994 a cabinet-level department was created, the Ministry of Tourism, to further enhance tourism, which is Cuba's largest source of income. The initial reaction of the artists, as well as the general population, was withdrawal; "Withdrawal from the public to the private…from the collective to the individual…from the epic to the mundane…from satire to metaphor...Withdrawal from controversy…withdrawal from confrontation". But it was the withdrawal from conceptual to figurative art that defined the change in painting. Due in large measure to the interest of tourists, art took on higher-visibility, as well as returning to a more figurative mode of expression. Art also worked as space where Cubans debated some of the social problems magnified by the "Special Period", as illustrated by the Queloides art project, which deals with issues of race and discrimination.

"Every Cuban is an artist and every home is an art gallery," wrote Rachel Weiss in To and from Utopia in the New Cuban Art.

info: Wikipedia

 

 The “Chaos Theory” at the Caja Rural de Córdoba Foundation

The multidisciplinary creator from Córdoba Arroyo Ceballos presents this “premonitory” series supported by a large audience and several surprises

 

Yesterday, a large audience met at the José Luis García Palacios Cultural Center in the capital of Córdoba, including political representatives and people from culture in general.

The event was presented by María Luisa García-Palacios (Head of Cultural Management of the Foundation), Blanca Torrent (Lieutenant Mayor), and the author himself.

It is the first time that Arroyo fully exhibits his “Chaos Theory” composed of a dozen paintings, six sculptures, a sample of his unique “Esféricas” and an artistic installation, all in his usual mixed technique on ocumen or wood, in symbolic abstract style with predominance or taste for the use of recycled elements.

 

It should be noted that the casually “premonitory” nature of this series, widely mentioned in the media in several countries, comes from the great similarity of some of the works made in 2018 with the structure of the coronavirus, which would disrupt our lives two years later. daily hitting the entire world.

The exhibition also has a photographic installation titled “El Caos y Yo” in which well-known photographers from Córdoba (Toni Blanco, Pepe González Arenas, Oscar Barrionuevo, Rafael Patiño, Juan Gaitán, José Carlos Cabello, Jerónimo Tinoco and José Manuel Rosario) interpret the author-chaos concept.

It should be noted that at this inauguration, a six-minute musical composition with the same title as the exhibition was presented, prepared by Francis and Alberto Arroyo Ceballos.

The large audience was able to attend two flash mobs starring the Córdoba group “Neon SunFlower” and the dance group “Merak”.

Pepe González Arenas has been the author of the advertising poster images and the plastic artist Curro Sujar has been the author of the poster design.

Arroyo Ceballos has a great international career marked by more than one hundred and fifty exhibitions, work in museums and institutions in a dozen countries and more than thirty art and literature books as author or co-author. Named in the country in 2015 as a member of the International Association of Art Critics AICA and in 2022 President of the Andalusian Association for the Promotion of Culture cREA. He currently also directs the Espacio Cultura magazine.

The exhibition will remain open from September 21 to October 19 from Monday to Friday from 11 a.m. to 1:30 p.m. and from 6 p.m. to 9 p.m.

 

 ART MIAMI 2023

As Miami’s longest running contemporary art fair and second most attended fair globally, Art Miami is consistently recognized as a leading destination for the acquisition of the most important works from the 20th and 21st centuries in collaboration with the world's most respected galleries.

Art Miami 2023 will kick off with the highly anticipated VIP Preview on Tuesday, December 5th before opening to the public on December 6 through Sunday, December 10 at the prestigious waterfront location of One Herald Plaza in the heart of downtown Miami. Art Miami continues to develop and draw upon the vast collector base, art dealers, advisors, curators and museums that descend upon Miami for what has been largely heralded as the most important week for contemporary art in the United States.
 
The Fair's world-class internationally respected group of participating galleries continually report high volume sales as collectors and advisors acquire important works from the forefront of the contemporary, modern, classical modern, post-war and pop eras showcased in the fair.

Collectors, curators, artists, art enthusiasts and members of the press are invited to experience an exclusive First View of the highly anticipated Art Miami and CONTEXT Art Miami. This can’t miss event is the first opportunity to acquire the finest works from the emerging, cutting-edge, contemporary and modern art movements prior to the fairs' opening to the public the following day.

Art Miami features investment quality works, solo shows and engaging installations presented by highly respected international contemporary + modern art galleries.

info: artmiami.com

 Preview: best art exhibitions in the USA, fall 2023

A first look at some of the most interesting art exhibitions that will be on view in the United States in autumn 2023.

Image: Edgar Degas, “Édouard Manet, Seated, Holding His Hat” (detail), ca. 1865. Graphite and black chalk on wove (China) paper. Metropolitan Museum of Art, Rogers Fund, 1918 (19.51.7) // Sources: Metropolitan Museum of Art, New York / Museum of Modern Art, New York / Getty Museum, Malibu / Museum of Fine Arts, Boston / National Gallery of Art, Washington / Kimbell Art Museum, Fort Worth

Manet/Degas at the Metropolitan Museum of Art, New York (September 24, 2023 – January 7, 2024)

Through more than 150 paintings and works on paper, Manet/Degas takes a fresh look at the interactions of these two artists in the context of the family relationships, friendships, and intellectual circles that influenced their artistic and professional choices, deepening our understanding of a key moment in nineteenth-century French painting. 

Picasso in Fontainebleau – The Museum of Modern Art, New York (October 01, 2023 – February 10, 2024)

This exhibition will reunite both monumental versions of Picasso’s Three Musicians and Three Women at the Spring with the other major works on canvas, small preparatory paintings, line drawings, etchings, and pastels he created in Fontainebleau. This will be the first time these works have been presented together since they left Picasso’s studio. Encompassing both Cubist and classic academic styles, these works will be complemented by never-before-seen photographs and archival documents.

Styled by Sargent – Museum of Fine Arts, Boston (October 8, 2023–January 15, 2024)

John Singer Sargent (1856–1925), admired on both sides of the Atlantic for his luxurious portraits, often chose clothing for his sitters that would both reflect their identities and fulfill his own aesthetic goals. This major exhibition, organized with Tate Britain, brings together about 50 paintings alongside a dozen period garments, shedding new light on the role of fashion and dress in this beloved painter’s creative practice.

William Blake: Visionary – Getty Museum, Malibu (October 17, 2023–January 14, 2024)

A remarkable printmaker, painter, and poet, William Blake (1757–1827) developed a wildly unconventional world view, representing universal forces of creation and destruction—physical, psychological, historical—through his own cast of characters. This major international loan exhibition explores the artist-poet’s imaginative world through his most celebrated works.

Dorothea Lange: Seeing People – National Gallery of Art, Washington (November 5, 2023–March 31, 2024)

During her long, prolific, and groundbreaking career, the American photographer Dorothea Lange (1895–1965) made some of the most iconic portraits of the 20th century. Featuring some 100 photographs, the exhibition addresses her innovative approaches to picturing people, emphasizing her work on social issues including economic disparity, migration, poverty, and racism.

Bonnard’s Worlds – Kimbell Art Museum, Fort Worth (November 5, 2023–March 31, 2024)

“Bonnard’s Worlds” is the Kimbell’s first exhibition dedicated to the works of French painter Pierre Bonnard (1867–1947), inspired by its 2018 acquisition of the artist’s Landscape at Le Cannet (1928). The exhibition includes approximately 70 of Bonnard’s finest works, created over the course of his career, reuniting some of the artist’s most celebrated works from museums in Europe and the United States, as well as many unfamiliar to the public from worldwide private collections.

info: theartwolf.com

La Evolución fotográfica de Pepe González Arenas

Cuando el fotógrafo Pepe González Arenas realizó su primera exposición individual en Córdoba (España), su ciudad natal y de residencia, obtuvo un gran éxito con la muestra LA CALLE VISIBLE.

Después vinieron otras exposiciones exitosas como EL FOTÓGRAFO Y EL ARTISTA, BLICK NACH SÜDEN UM DEN NORDEN NICHT ZU VERLIEREN (MIRADAS AL SUR PARA NO PERDER EL NORTE) o EL PODER DE LA MIRADA, pero todas presentaban el trabajo artístico en dos modalidades fotográficas: la fotografía de retrato y la street photography.

González Arenas, afirmaba con rotundidad que “nunca cambiaría los géneros fotográficos elegidos, que siempre sería un fotógrafo de calle y de retrato”.

Cinco años después la evolución artística de Pepe, le ha llevado a tragarse aquellas rotundas frases, porque González Arenas ha evolucionado hacia una fotografía enfocada en la Arquitectura y más concretamente en la Arquitectura Moderna.

La nueva modalidad fotográfica de Pepe González Arenas lo lleva a viajar 250 ó 300 millas para realizar una serie fotográfica de unas 20 imágenes de un nuevo y llamativo edificio. Nada lo detiene.

Su trabajo unas veces se focaliza en el edificio, como un todo o en algún detalle impactante, a veces buscando una atmósfera con dramatismo y otras con un procesado que resalta las texturas y colores de los materiales empleados en la construcción.

El resultado es una fotografía vanguardista, atrevida e impactante que aporta la visión de un fotógrafo con conciencia social y que a través de su trabajo se entrega en cada una de las imágenes que crea.

“La evolución de su obra hacia la arquitectura confiere a la misma carácter y seriedad, aportando una línea y estilo definidos, provocando un encuentro entre lo que de verdadero tiene el espacio fondo-formal y lo irreverente de realizar guiños a la abstracción justo después de una época muy cercana al costumbrismo en su trabajo.

Una acertada apuesta que deseamos ver presentada de manera expositiva con premura”

(Fco. Arroyo / De la Asoc. Internacional de Críticos de Arte AICA)

 Walking Through Art pioneer in the new Global Art

 

In the historical records of transcendental events, there are always people or institutions that achieved this fact, and this is the case of this Art corporation, which transcends the others, for being the pioneer and seeing the future of the new Global Art, its work representation, logistics and dissemination development is many years old but its biggest challenge occurred since 2020, since its mission is to make a new pictorial movement known and influence the artists of the world, and they are achieving it, it is the intense work and the infinite love for Art that led Director Carol Chacón to take the flag of the new creative expression of humanity and spread it throughout the world.
In the future when this pictorial movement is part of the History of Art, there will be no doubt that it was achieved, thanks to the representatives of Walking Through Art Corp.
The power of Art is infinite and that is projected by Walking, which is an organization dedicated to promoting, disseminating, supporting and fostering artists around the world, with its main headquarters in New York and Quito. These being used as cultural launch platforms.

Walking Through Art Cop., is an organization dedicated to promoting, disseminating, supporting and fostering artists around the world, having as its main headquarters in New York and Quito. These being used as international cultural launch platforms.

Walking Through Art Corp., begins its walk through the arts in August 2018 participating in several exhibitions as a guest organization during this period. In his sharing, he forms alliances, cementing himself in an organization at an international level on June 7, 2019, with his first great exhibition at the consulate of Ecuador Queens, entitled "Spirit in Art". On December 18, 2020, Walking Through Art Corp. is certified in New York City as an Arts and Culture corporation.

Vision:

Walking Through Art Corp., is an organization that cultivates, exposes, encourages and supports the artistic expressions of the human soul.
Goals:
Stimulate and develop programs aimed at the proper development of cultural activities: Exhibition - Events - Shows

Promote, support the emerging artist in his career.

We have alliances with entities that are giving us their support to achieve our objectives. Puerto Rican Family Institute, Grupo Radial CRC NY, Government of Ecuador NY, Grito Cersa, Ambassador CARLOS Garcia of the NATION IS UNITED.

Being their mission to make known and influence the artists of the world a new pictorial movement, and they are achieving it, it is the intense work and infinite love for Art that led Director Carol Chacón to take the flag of the new expression creativity of humanity and spread it throughout the world.

In the future when this pictorial movement is part of the History of Art, there will be no doubt that it was achieved, thanks to the representatives of Walking Through Art Corp.
The power of Art is infinite and that is projected by Walking, which is an organization dedicated to promoting, disseminating, supporting and fostering artists around the world, with its main headquarters in New York and Quito. These being used as cultural launch platforms.

 

 

El Metaverso Cósmico de Elohim triunfa en Europa

La que define como «la primera exposición del mundo creada por un artista plástico en el Metaverso» logra ser finalista en los Open Awards en la categoría de Open Innovation, superando  las propuestas del BBVA o Acciona, por poner dos ejemplos, que no han superado el corte. Además, es el único artista individual que opta a este galardón.

El evento tecnológico Open Awards Europe, que concentra las iniciativas tecnológicas más avanzadas del momento, ha tenido como finalista en OPEN INNOVATION al creador español, elohim, por crear la primera exposición del mundo de un artista plástico en el Metaverso, una propuesta que ha marcado un antes y un después en la historia del arte.

La ganadora ha sido la Universidad Miguel Hernández.

Antes de nada enhorabuena por este gran hito.

 

¿Cuál ha sido la causa que le ha llevado a ser finalista en estos premios tan relevantes, a nivel europeo en el ámbito tecnológico, en un momento de plena transformación de la humanidad por los avances tecnológicos y la creación del nuevo arte?

La clave ha sido la innovación, el pensamiento fuera de la caja, la disrupción, el romper las reglas y la capacidad de ser visionario.

Recordemos que a lo largo de la historia del arte, ha habido creadores que han abierto nuevos caminos y que al principio eran incomprendidos, por ejemplo:

Jackson Pollock rompió las reglas con el acción painting y la pintura de goteo, Andy Warhol a través the Factory, experimentó con técnicas para democratizar el arte y se convirtió en el icono del Pop Art, a través de sus  botes de tomate etc. Vasili Kandinski con la abstracción geométrica dotó de música sus pinturas y profundizó en la espiritualidad del color, Pablo Picasso se adentró en el cubismo y no lo entendían, hasta que se convirtió en el referente mundial, Jean Michel Basquiat  a través del graffiti, saltó de la calle al Interior de museos y a las colecciones privadas más importantes del mundo, creo que con estos ejemplos nos queda claro un denominador común: La disrupción, la vanguardia, el atrevimiento, el ser visionario.

 

¿Y en esos parámetros, que es lo que ha creado elohim?

 Pues elohim, es el primer artista plástico del mundo en hacer una exposición completa en el Metaverso, es el creador del nuevo arte, en plena reinvención de la humanidad, ha re-evolucionado la forma en la que se puede percibir una pintura.

Elohim es el creador del Arte 5.0.

 

¿Nos puede explicar que es el Arte 5.0?

Será un placer, el arte 5.0 se compone de 5 elementos fundamentales y diferenciales de cualquier arte hasta ahora creado por el humano.

En primer lugar, parte de una pintura física pintada a través de las manos, (como los primitivos) sin  el  uso  de ningún instrumento, para que la conexión entre la transferencia de información entre el artista y el lienzo, a través de los colores, sea pura, ya que lo que se transfiere al lienzo son las emociones absorbidas por las experiencias vividas y la  cosmovisión del mundo y a través de la meditación, los cuencos tibetanos, el incienso y el palo santo, la conexión con el universo, recordemos que lo que es arriba, es abajo, así como lo que es afuera es adentro, esa es la clave para crear sinfonías de colores y atmósferas cromáticas puras, sin la interferencia de la mente-ego, es como si fuera un puente entre el alma, el cuerpo y el espíritu, y a su vez con el universo, por  tal  motivo  conecta  con  cualquier  humano, sin distinción de color, raza, religión, nivel cultural, lengua o edad.

En segundo lugar, esa colección es llevada a la galería de arte, se toqueniza toda la obra, y se crea un  contrato inteligente(Smart contract), eso determina que esa obra pertenece a ese creador, creando los NFTs y colgándolo en un market place para poder comercializar dicha obra, y formando parte del ecosistema de la blockchain y conectando directamente con el cliente final, ya que este proceso se elimina la cadena de comercialización de la obra ,intermediarios, marchantes, galerías, casas de subastas, etc.

En tercer lugar, la obra física lleva lo que he denominado una alquimia digital, que es un procesado de transformación de la obra, para dotarla de vida y que la percepción de la energía de la pintura, penetre en el campo emocional del visitante, ya que se convierte en una obra multimedia (Imagen, vídeo,sonido)percibiendo el alma de la pintura y multiplicando exponencialmente la percepción del observador.

Esta nueva pieza se puede incorporar en la galería como complemento de la obra física, a través de una pantalla, maximizando  la evolución de la pintura.

En cuarto lugar, se le incorporan las gafas de realidad virtual (VR) convirtiéndola en una experiencia inmersiva, disparando las emociones a los observadores, ya que es una obra multimedia, lo cual se convierte en una experiencia multisensorial.

En quinto lugar, se crea la historia, a través de la fusión de la experiencia humana y la inteligencia artificial (IA) utilizando a la IA como una asistente llena de la sabiduría de la humanidad e interactuando con ella para la obtención de datos, que después son dotados de emoción y el discernimiento humano, para crear una historia completa.

Una vez ensamblados los elementos anteriormente mencionados, se lleva al Metaverso, creando una experiencia (virtual-real), ya que se combinan las esencias del mundo físico y el mundo virtual, creando una experiencia donde las fronteras se encuentran en la capacidad de sentir, llevando al visitante a una experiencia alquímica, en la que el objetivo final, es crear un viaje de introspección, hacia dentro de nuestra propia alma, para descubrir aspectos internos por despertar y así descubrir quienes somos, de donde venimos, para saber a dónde vamos y esa es "La gran revelación"del Metaverso Cósmico de elohim.

Y lo más importante, no es el arte, es la persona, por tal motivo, se pone al observador en el centro de la experiencia y eso es lo que marca un antes y un después en la historia del arte, como vehículo de comunicación para mostrar la cosmovisión de los tiempos, en una era en la que la fusión del arte

primitivo se fusiona con el transhumanismo.

¿Cómo han percibido los visitantes, la crítica  y los medios de comunicación el Metaverso Cósmico de elohim?

Los críticos dicen que nunca habían visto algo así, que no hay referentes, que les transmite paz  y en los medios de comunicación ha habido una avalancha diciendo que elohim ha puesto a España a la vanguardia del nuevo arte, marcando  un antes y un después en la historia del arte, por último los visitantes se quedan sorprendidos y se quieren quedar más tiempo disfrutando la experiencia, ya que dicen que les da paz y tranquilidad.

¿Por último, me imagino que habrá recibido muchos mensajes para colaborar con otros artistas?

Si, mi buzón de e-mail se ha disparado y no tengo tiempo para poder responder tantos mensajes que se han interesado por el proceso, no obstante me han presentado una propuesta muy atractiva e innovadora, en el ámbito de la escultura y he aceptado el reto, ya que lo complejo es percibir el alma ,lo sutil, no obstante para ello, prefiero que entrevisten a Francis Arroyo Ceballos, que ha sido el creador de Esféricas y el les podrá explicar que es lo que ha sentido al ver sus obras respirar la esencia que hay en su interior.

Pues muchas gracias por abrirnos las puertas de la gran revelación y mucho éxito.

Gracias, gracias, gracias y recordar que hemos entrado en la Era de Acuario que durará 2400 años y se denomina la Era del tiempo Arte.

Un abrazo de luz.

elohim.

 

 Cuba and Spain will celebrate the International Year of Glass 2022

In the International Year of Glass, declared by the General Assembly of the United Nations, many are the actions that are carried out to highlight the multiple contributions of this noble element in art, science, the development of communications and the internet, as well as like in everyday life.

The Cultural Department of the Embassy of Spain announces a series of activities that, together with national institutions such as Tercer Paraíso Cuba, La Mina, the Faculty of Chemistry of the University of Havana, among others, will contribute to the noble objective.

 

recycling Saturday November 19 at 10:00 am at Quinta de los Molinos (Salvador Allende and Luaces Avenues. Centro Habana

Lecture by Paloma Pastor, General Director of the Technological Museum of Glass in Madrid. Tuesday, November 22 at 10:00 am at the University of Havana (San Lázaro and L. Vedado)

Exhibition opening. Wednesday, November 23 at 5:00 pm at the Embassy of Spain (Prison # 51 corner Zulueta. Old Havana)

Conversation between artists and scientists. Thursday, November 24 at 4:00 pm at the Cuban Art Factory (Calle 26 corner 11. Vedado)

Inauguration of exhibition of Spanish glasses. Friday, November 25 at 10 am at the Museum of Decorative Arts (Calle 17 # 502 between D and E. Vedado)

Youth activity (for those enrolled in the workshops). Saturday, November 26 at 10:00 am in A+ Espacios Adolescentes (Compostela between Teniente Rey and Muralla. Old Havana)

info: arteposexcelencias.com

 GEGO. Midiendo el infinito

The Jumex Museum in Mexico City now presents the exhibition of one of the most important artists in Latin America: Gego

How do you represent the unattainable? Who could do it? Well, we believe that one of those people was Gertrud Goldschmidt, better known as Gego. An incredibly interdisciplinary Latin American artist who during her life explored from architecture and design, to sculpture, drawing, and engraving, without neglecting installations and even textiles. His works could be as public as they were complex, and as challenging as they were pedagogical. Now the Jumex Museum will hold a retrospective of this interesting artist titled: Gego: Measuring Infinity. It starts on October 19 and we'll tell you what it's about.

Previously we called Gego as a Latin American artist, and no, we are not unaware that she was not born on this continent, but in Hamburg, Germany, but she lived most of her life in Venezuela, as well as developed professionally there. He was nourished by the artistic currents of the country and then proposed new things.

It was in the 60's and 70's that he had some of his most important works, precisely at the height of geometric abstract art and kinetic art, from which Gego drew a lot of inspiration. He made around 400 works, and 120 of them now reach the Jumex Museum in Measuring Infinity.

In Gego's works we see lines that are chaotic at first glance, geometric shapes that are difficult to decipher, solid structures that seem to crumble with a touch or a simple sigh. Space is essential for the construction of these works, it is even part of it. His most famous work is “Reticulárea”, which dates back to 1969. Here pieces of aluminum and steel come together to create a mesh fabric that spans the entire room.

What? The exhibition that we see in the Jumex does not have those giant networks that are in Venezuela, but it does have some smaller networks, always geometric shapes, and many books and paintings by the artist, as well as some photos where we see her portrayed and her work . What stands out the most are those sculptures, which we admit, did not capture our attention. If you already knew the artist, this is the opportunity of your life to see her works live, if you are not familiar, we believe that it will attract your attention enough to learn more.

We believe that it is not one of the best exhibitions that the Jumex Museum brings, but if you like the curatorship of the museum, it is most likely that this will not disappoint you. Also, finishing you can also visit Rodrigo Hernández's installation: El Espejo, which is exhibited in the basement of the place.

timeoutmexico.mx