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Ejercicios de ocupaciónis the fifth title of Cuerpo de Letra collection, a series of studies focused on dance and contemporary thinking.
This book contains essays, social and artistic experiments that invite us to train ourselves in the plural and think on ourselves as political bodies: from the intimate encounter to multitudinous proposals, from the protest to the party, from assemblies practices to a policy of inhabiting, that exploring issues such as dynamics, rhythms, statements, demonstrations, and other ways to become ourself. But the book itself is also a kind of laboratory for diversity, in which each of the essays of political theory, theory of performing arts and reflections of the artists find their own space, shaping a plurality of perspectives on a crucial problem: how to think the current political transformations from the idea of a collective body.
>> Victoria Pérez Royo is professor of Aesthetics and Art Theory at the University of Zaragoza, and co-director of the Master in Performing Arts and Visual Culture (UCLM, Museo Reina Sofia).
>> Diego Agulló (Madrid, 1980) studied philosophy. In 2005 he moved to Berlin, where he began his foray into the performing arts. From numerous collaborations it has developed -- in the margins of dilettantism and profesionalismo -- a practice that focuses on the concepts of body and event.
Contributions by Diego Agulló, Santiago Alba Rico, Alice Chauchat, Mª José Cifuentes, Itxaso Corral, Manuel Delgado, Cláudia Dias, Eleonora Fabião, Susan L. Foster, Christine Greiner, Amanda Piña, David Pérez, Victoria Pérez Royo, Paz Rojo, Paulina Chamorro, Fernando Quesada, José A. Sánchez, Amador SavaterAlso available:
[CdL#1] Agotar la Danza. Performance y política del movimiento / André Lepecki
[CdL#2] Arquitecturas de la mirada / Ana Buitrago (ed.)
[CdL#3] Hacer historia. Reflexiones desde la práctica de la danza / Isabel de Naverán (ed.)
[CdL#4] A contracuento. La danza y las derivas del narrar / Roberto FratiniTítulos disponibles:
[CdL#5] Ejercicios de ocupación. Afectos, vida y trabajo / Ixiar Rozas, Quim Pujol (eds.)
Victoria Pérez Royo, Diego Agulló
Buenos Aries is noteworthy for its eclectic architecture, with a wide range of impressive buildings. But when Anat Meidan, an art collector with a passion for La Belle Époque period moved to the city, she was astonished and delighted to discover the extent to which the legacy of the rich Art Nouveau architecture that had flourished there during the first decades of the twentieth century was still very evident.
With her extensive, expert knowledge and passion for the period, the author set about researching, documenting and photographing these extraordinary buildings, their exteriors and where possible their interiors, as well as gathering information about the gifted people who designed and built them. She engaged the collaboration of Gustavo Sosa Pinilla, a leading architecture photographer to accompany her on the expeditions around the city. In addition, through her personal charm (and a few well placed connections) she was able to gain access to the interiors of private homes and buildings usually closed to the general public, enabling her to photograph and document interiors not normally accessible.
In this meticulously researched, richly illustrated book, with hundreds of splendid photographs, the reader is invited to share with Anat her voyage around the city as she narrates with warmth and enthusiasm the very personal account of her love affair with Buenos Aires, as she goes about discovering its Art Nouveau jewels.
>> Anat Meidan, a museum curator with a special interest in the Art Nouveau movement, lives in the Neve Tzedek quarter of Tel Aviv, Israel. She has written and published a book (in Hebrew) about the artistic riches of Istanbul, with a section devoted to Art Nouveau in the city. Currently, she is working on the exhibition The New Woman, focused on three female artists ––Jessie M. King, Margaret Armstrong and Ethel Larcombe––who all worked in the Art Nouveau style across a range of media.
This book ––and the homonymous exhibition–– explores the work of artists who attempted to keep alive the expanded possibilities opened up for the arts of painting and sculpture by what was called Cubism in Paris between 1911 and 1914. This little community of artists refused to accept that recording the war or producing propaganda was their duty. They refused to forget the excitement of 1911-14, and kept faith in their independence as individuals as this war of machines threatened to rob every front-line soldier of his humanity and to draw even foreigners in France into “total war”.
The vast majority of fit young Frenchmen were mobilized, so those artists left behind in Paris were either foreign or too old or unfit for combat. Pablo Picasso, then called the inventor of Cubism, remained a leading figure, alongside his fellow Spaniards Juan Gris and María Blanchard, the Mexican Diego Rivera, the Italian Gino Severini, and the Lithuanian sculptor Jacques Lipchitz.
One feature of this book is the diversity of the work produced by these artists, each working as individuals. Another, however, especially from 1917, is the move made by most of them towards a more structured, architectural Cubism, which could be taken as reparative against the destructive forces that seemed to have taken over the whole world.>> Christopher Greenis Professor Emeritus of the History of Art at the Courtauld Institute of Art, London. Among his recent publications is Picasso: Architecture and Vertigo (New Haven and London, 2005). He has curated several exhibitions, including Juan Gris (WhitechapelArt Gallery, London, Staatsgalerie Stuttgart and Rijksmuseum Kröller-Müller, Otterlo, The Netherlands, 1992-93), and Henri Rousseau: Jungles in Paris (Tate Modern, London, Galeries nationales du Grand Palais, Paris and National Gallery, Washington D.C., 2006-07).
>> Christopher Greenis Professor Emeritus of the History of Art at the Courtauld Institute of Art, London. Among his recent publications is Picasso: Architecture and Vertigo (New Haven and London, 2005). He has curated several exhibitions, including Juan Gris (WhitechapelArt Gallery, London, Staatsgalerie Stuttgart and Rijksmuseum Kröller-Müller, Otterlo, The Netherlands, 1992-93), and Henri Rousseau: Jungles in Paris (Tate Modern, London, Galeries nationales du Grand Palais, Paris and National Gallery, Washington D.C., 2006-07).
>> Art historian, Dr Neil Cox is Head of Department of Art History and Theory at the University of Essex; author of the reference book Cubism, and co-author of A Picasso Bestiary. He has also written and presented two BBC TV series.