ESQUIFES, FORCAS E OUTROS SIGNOS

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Quinta-feira, 8 de Dezembro de 2011

ESQUIFES, FORCAS E OUTROS SIGNOS

DiegoRivera (Guanajuato, 8 de Dezembro, de 1886 – San Ángel, 24 de Novembro de 1957), Frida Kahlo

Para quem trabalha no horário que já foi das nove às cinco e agora termina quando calha dando jeito ao patrão, é de aproveitar este oito de Dezembro para despedir o sono atrasado da semana. De caminho, é juntar a despedida deste feriado santo, das ‘As’ sem portagens, duns euros mensais, do “vou ali já venho que a ‘Ax’ é rápida e ponho-me lá num pulo”. Para gozar ócios nesta quinta melhor ficar em casa com um livro na mão ou caminhar em passo estugado no espaço verde mais próximo ou entreter a família com jogos que todos envolvam ou repor a conversa comum em dia. Vale o fecho da maioria do comércio de bairro que assim desvia de gastos os passantes e contribui para a nossa economia subir um degrau a caminho da forca em espera.

Recuados estão os ânimos do “não pagamos, não pagamos!” Agora, após o jogo do «glorioso» na Luz, reúnem-se meia dúzia de revoltados junto às novas portagens que começaram a sacar às zero horas d’hoje. Mascaram-se de Cavaco, de Sócrates, de Pedro Passos Coelho sem esquecerem, lá para os Algarves, Paulo Portas, Macário Correia e os deputados algarvios Miguel Freitas (PS) e Mendes Bota (PSD). Um esquife com a forma do mapa algarvio e está feita a «manif». “Juram a pés juntos” utilizarem doravante a mortífera “125 Azul”, resistem um par de horas e, depois, “ala pra cama que se faz tarde, tenho a mulher à espera e não quero que me atazane logo hoje q’tou feliz como um alho por o Benfica continuar na Liga dos Campeões.”

Durante este feriado que à meia-noite vai a enterrar sem honra nem glória, são prováveis pedras, cacetadas e uns “agarrem-me que me vou a eles” por gargantas inflamadas e espíritos tementes a passarem por indignados com outros valentes «eles».

CAFÉ DA MANHÃ

Lembra o Google: 125º aniversário de Diego Rivera (Guanajuato, 8 de Dezembro, de 1886 – San Ángel, 24 de Novembro de 1957).

Conteúdo não suportado.Conteúdo não suportado.

tags: 125 azul, benfica, cavaco, diego rivera, estádio da luz, feriado de 8 de dezembro, frida ka, liga dos campeões, macário correia, mendes bota, miguel freitas, ni chicha ni limonada, paulo portas, pedro passos coelho, portagens, scuds, sócrates, victor jara

publicado por Maria Brojo às 08:33

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De Perro Bolivariano y del Nilo a 8 de Dezembro de 2011

It is perhaps understandable that Rivera's work became inextricably linked with social realism. His trip to the U.S.S.R. in 1927-28 brought him into contact with many young Russian artist who later carried out government mural commissions, and his works were well known in Moscow through the publication of newspaper and magazine articles. The artists, such as Ben Shahn, with whom Rivera associated during his two stays in New York were politically active individuals who, like their Russian counterparts, admired Rivera as the great revolutionary who had put into practice what they still hoped to achieve. Rivera's political philosophy and subject of his murals did create a common bond between his work and that of the social realists. However, his mural style, indeed his overall aesthetic, modeled as it was on his studies of Italian Renaissance frescoes, classical proportions, pre-Colombian sculptural forms, Cubist space, and Futurist conventions of movement, bears little relationship to social realism.

Over the past forty years, critical opinion in the United States has remained virtually unchanged: Rivera's work and the Mexican mural movement as a whole have been characterized as politically motivated, stylistically retrograde, and historically isolated. Furthermore, Mexican scholars have traditionally emphasized the overt revolutionary ideals and didactic content of Rivera's murals in Mexico, thus extolling the very aspects of his work that have carried a negative connotation in the United States. In Mexico Rivera's work is synonymous with institutionalized ideals of the Mexican Revolution, which promoted indigenous culture to the exclusion of foreign influence. As a consequence, in Mexico the vast body of published literature on Rivera has concentrated on his Mexican murals, while little attention has been given to his work in the United States and Europe or to his easel paintings and drawings.

Rivera's own statements support this view of his art as a unique and indigenous effort in service of revolutionary ideals. In his autobiography, "My Art, My Life", his Paris years and his sojourn in Italy are acknowledged as preparation for the creation of new revolutionary murals, but he characterized the formation of his mural style as spontaneously generated from indigenous Mexican culture:

My homecoming produced an aesthetic exhilaration which it is impossible to describe. It was as if I were being born anew, born in a new world... I was in the very center of the plastic world, where forms and colors existed in absolute purity. In everything I saw a potential masterpiece - the crowds, the markets, the festivals, the marching battalions, the workingmen in the shop and in the fields - in every glowing face, in every luminous child... My style was born as children are born, in a moment, except that this birth had come after a torturous pregnancy of thirty-five years.“

While it is clear that the major accomplishments of Rivera's career were his vast mural programs in Mexico and the United States, the tendency of scholars and critics to limit their perspective and focus only on those works has served to overshadow his overall accomplishments as an artist.

Rivera's life was filled with contradictions - a pioneer of Cubism who promoted art for art's sake, he became one of the leaders of the Mexican Mural Renaissance; a Marxist/Communist, he received mural commissions from the United States corporate establishment; a champion of the worker, he had a deep fascination with the form and function of machines and pronounced engineer America's greatest artists; a great revolutionary artist, he also painted society portraits.

Part of the challenge in organizing this exhibition has been the attempt to separate fact from fiction. Gladys March, who wrote "My Art, My Life" with Rivera, commented on his mythologizing:

Rivera, who... was to transform the history of Mexico into one of the great myths of our century, could not, in recalling his own life to me, suppress his colossal fancy. He had already converted certain events, particularly of his early years, into legends.

Outro "generoso"....

“http://youtu.be/2fGVS0tRa7o

http://youtu.be/4xRJ6jbCv1o

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De c a 8 de Dezembro de 2011

então... Fancy - Bolero

http://www.youtube.com/watch?v=0bs66fVgrG8

Flames of Love

http://www.youtube.com/watch?v=MZgf9-ByHeU&NR=1

Fancy

When you listen to the lyrics of this wonderful song. The "female voice" of this song is describing how she overcame poverty through prostituting herself through "Aristrocrats." If you look up the word "aristrocracy," in the dictionary, you will find something akin to "government by the best or most outstanding citizens of society, or 'ruling body of nobles'." Yet, as we see in the media, those government officials are taking advantage of the very vulnerable citizens they claim to protect!

http://www.youtube.com/watch?v=_K6Y-YGZUec

preguntitas sobre Dios

http://www.youtube.com/watch?v=y9orT1dgPIQ

vientos del pueblo

http://www.youtube.com/watch?v=QNe0oNA8Ik8

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De c a 8 de Dezembro de 2011

mais de acordo com a realidade

http://www.youtube.com/watch?v=_3xw3fCau3s

el Museo Mural

http://www.youtube.com/watch?v=oIkFG6_QrZM

http://www.youtube.com/watch?v=M_yazFb48Is

a história do México

http://www.youtube.com/watch?v=MJ7eiE8ulOA

ele fala de Frida

http://www.youtube.com/watch?v=wluARr76T10

Frida - viva la vida

http://www.youtube.com/watch?v=yDVB3QDkWC8

Frida com Chavela

http://www.youtube.com/watch?v=d9T-XqgLToA

com tango

http://www.youtube.com/watch?v=f62cXQLwF68

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