Backroom Caracas

In this piece by Michael Labarca, the Zulia-born filmmaker employs footage recorded between takes of his short film La culpa, probablemente, to show viewers what makes up the substance that floods intermediate moments –the expectant looks, the expressions of concentration, the moment in which the narrative drama is broken, or the peculiar disposition of bodies around the fiction about to take place.

Un vistazo al catálogo de la exposición de las artistas venezolanas Yeni y Nan. Diseño: Carlos E. Rodríguez. Editado en Caracas por la Galería Nacional de Arte en 1982.          

Un vistazo al libro Live Forever. Elizabeth Peyton. Editado por Phaidon Press Limited en asociación con New Museum. 2008                    

Correspondencia entre la fotografía de Emilie Bjork, Lúa Ocaña, Laura Carrasco Vela, Luisa Díaz Duran, Hideki Tsuchiya, Thobias Malberg, José Enrique Montes, Allison-Scarpulla y Florencia Alvarado.

…bajo la mirada de otro. “Ser un hombre”, sugería Primo Levi. George Didi-Huberman, Pueblos expuestos, pueblos figurantes.     Being and Time is the enigmatic title Heidegger gave to his analysis of human existence. With this title, he warned that only to be woven with time can offer us the possibility of being thrown (as we | ... |

El arte será la puerta giratoria, el lenguaje que precisa el alma para manifestarse, el medio por el cual podríamos recuperar la sensación de unidad indisoluble entre cuerpo y espíritu, palabra y cosa, gesto y realidad.

  For New York-based artist Jonathan Monaghan, Extell works as a kind of conceptual sketch. A robotic voice tries to seduce us with promises of wealth and status, while the camera offers a view of a virtual Central Park, then leads us into a perfect, neat, impossible to inhabit apartment. The artifice eventually leads to | ... |

A look at The Notebooks: Sketches by Designers, Illustrators, and Creatives by Richard Brereton, published by BLUMEN in 2009.                  

Se popularizó entonces la idea de que Dios era sinónimo del Gran Relojero y que el cuerpo humano no era otra cosa que el más perfecto de los relojes. El hombre, al final, sería una máquina orgánica. Una máquina con espíritu. El fantasma que habita la carcaza de piel. Somos tecnología rara y sensible, que piensa, inventa, respira.

Some discourses allow glimpsing at the structuring traits of a time. “The truth” of a time is revealed not as much by its symbolic regulations as by its manifestations on the bodies. Although both keys are inseparable for thinking a specific culture, a substantial difference determines them: The former places itself on the arbitrary dimension of sense (an established order), the latter, instead, is due to the jouissance of the body (the singular manifestations that arise in it).