tag:blogger.com,1999:blog-76988252783110440932024-03-12T11:36:26.859+01:00Teresa LancetaTeresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.comBlogger88125tag:blogger.com,1999:blog-7698825278311044093.post-37377650936040593892024-03-12T11:27:00.000+01:002024-03-12T11:27:53.962+01:00En el Musée de Céret<p></p><div class="separator" style="clear: both; text-align: left;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPssXJHR71jVbMMEpcqn2DvoLUFBswd4Xl6GyuAD1tWjJWZfSFw_lk3iVgpqYhnco9RUW8mU8J-q9itUNxVZWzQj05CjBmXy8pBSXx476kE27KnGpkpi8iKHQJQWHMn_qugz91qq0yLieIQHLa6yJ2Qr1uZezEHHxUokQmcvqQfG5ULRaHYZtfc4EUcE-9/s1600/1-1.jpg" imageanchor="1" style="margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPssXJHR71jVbMMEpcqn2DvoLUFBswd4Xl6GyuAD1tWjJWZfSFw_lk3iVgpqYhnco9RUW8mU8J-q9itUNxVZWzQj05CjBmXy8pBSXx476kE27KnGpkpi8iKHQJQWHMn_qugz91qq0yLieIQHLa6yJ2Qr1uZezEHHxUokQmcvqQfG5ULRaHYZtfc4EUcE-9/s320/1-1.jpg" width="240" /></a></span><div class="separator" style="clear: both;"></div></div><br /> En el Musée d'art de Céret han organizado una exposición sobre mi trabajo desde 1983 hasta la actualidad. La idea y la selección que han hecho su director, Jean-Roch Dumontsaintpriest y Gwendoline Corthier-Hardoir, es excelente. Agradezco a todos los que han participado en la organización, el montaje, difusión y al equipo en general la amabilidad, eficacia y buen hacer que han puesto en ella.<p></p><p>A todo el que pueda visitarla, os aconsejo que no os olvidéis del paisaje cercano al Canigó y que los sábados se despliega por toda la población un mercadillo de cercanía que también vale la pena visitar <br /></p><p><br /></p><div class="separator" style="clear: both; text-align: right;"></div><br /><p></p>Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-15494557647676694302024-01-23T14:21:00.003+01:002024-02-06T11:01:48.008+01:00Exposición 'El sueño de la cólcedra' en el Museo Patio Herreriano de Valladolid<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhICDlyLa9-H-H8QNC7e1a0bbdM3tyinf53m7NuZHW0WMCGuKMD22XAITkaEV8PX_z2Z5d97KaU73aMbbyxY-l7gwuGFegmomRycPZLo4pK_3zELKES9Lv1ol5Z41ahJhoTiGDLK-kIUAkfI1RJNSZRKtEjj0i4Wsb7Th-ktCmin-VZKjSa7E6CRKtMRGgH/s1024/Exposici%C3%B3n%20'El%20sue%C3%B1o%20de%20la%20c%C3%B3lcedra'%20en%20el%20Museo%20Patio%20Herreriano%20de%20Valladolid.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="496" data-original-width="1024" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhICDlyLa9-H-H8QNC7e1a0bbdM3tyinf53m7NuZHW0WMCGuKMD22XAITkaEV8PX_z2Z5d97KaU73aMbbyxY-l7gwuGFegmomRycPZLo4pK_3zELKES9Lv1ol5Z41ahJhoTiGDLK-kIUAkfI1RJNSZRKtEjj0i4Wsb7Th-ktCmin-VZKjSa7E6CRKtMRGgH/w640-h310/Exposici%C3%B3n%20'El%20sue%C3%B1o%20de%20la%20c%C3%B3lcedra'%20en%20el%20Museo%20Patio%20Herreriano%20de%20Valladolid.jpg" width="640" /> </a></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikffhfdZu0h0hmMlGiwfwW15CgZM2xr4oyyn9t5IkhcOKiFHVcQaPSInJi9PtOcZgYWz_iFKwKEs2pZBTZGxt8tm6-SoGbY-QUNtyAzrgz38vqOBsxTrw_hCKOmJ4qYO64C6b0OzbDFVLRzeRaigz2gl_ufY4UqR3u1yIvFXKXlc2ZkDOqZ1RGEgonTgOo/s1024/el-sue%C3%B1o-de-la-colcedra_valladolid_vision-exposicion1.jpg" imageanchor="1" style="margin-left: 1em; 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Jorge Guillén, 6, 47003 Valladolid, España41.6545538 -4.730308613.344319963821157 -39.8865586 69.964787636178841 30.4259414tag:blogger.com,1999:blog-7698825278311044093.post-17160586324511265052023-01-13T17:36:00.000+01:002023-01-13T17:36:24.864+01:00Tejer como código abierto en el IVAM<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPwUu1LJ2EhtbTEobC4fuGjNY-mOLJTfBcMZz20MVL0HAJum9OvZkr_jHuhNokFDnWf2Q-36Wb0Me_5TWLq0rSdpWqSQEcxAzwXgUQW6EccagdJ5OjPeUl1Abrarlj07RplpwRI67w-_HA4DacOzDQMF9Bl5v1Z_IH1mms1CUhNhYVPx-iwwF_W1Pyqw/s5637/2022_SEC_Teresa%20Lanceta_005.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4510" data-original-width="5637" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPwUu1LJ2EhtbTEobC4fuGjNY-mOLJTfBcMZz20MVL0HAJum9OvZkr_jHuhNokFDnWf2Q-36Wb0Me_5TWLq0rSdpWqSQEcxAzwXgUQW6EccagdJ5OjPeUl1Abrarlj07RplpwRI67w-_HA4DacOzDQMF9Bl5v1Z_IH1mms1CUhNhYVPx-iwwF_W1Pyqw/w320-h256/2022_SEC_Teresa%20Lanceta_005.jpeg" width="320" /></a></div><br /> <p></p>Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com1tag:blogger.com,1999:blog-7698825278311044093.post-10551596496332386962022-04-15T12:40:00.002+02:002022-04-15T12:50:54.250+02:00Tejer como código abierto en el MACBA<p></p><p></p><p></p><p><span style="font-size: medium;"><b>Tejer como código abierto</b></span></p><p><span style="font-size: medium;">E</span>n el MACBA del 7 de abril al 11 de septiembre.</p><p>En octubre se presenta en el IVAM <br /></p><p>Comisariada por Nuria Enguita Mayo y Laura Vallés Vilches</p><p>Catálogo: Hermanos Berenguer</p><p>Coordinación: Cristina Bonet<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBw9ywG510b3Z2MrwO96dgCAGf_DwzimdhqAUVkFbN3agkxlXj6qWFexq6KgaGvX9DC1SMDFUsUGY52Ap05ywWV8Udev5aWSWx8z4mGCzwaHI99QaIAO4BqWvc63t5vrjaxnUbY1TpYb_IK1RpJ23l-CBs2LHvTpBTGONn3aZPZohiSpbkMqwd2yTt4w/s670/7-teresa-lanceta-ese-olor.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="670" data-original-width="478" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBw9ywG510b3Z2MrwO96dgCAGf_DwzimdhqAUVkFbN3agkxlXj6qWFexq6KgaGvX9DC1SMDFUsUGY52Ap05ywWV8Udev5aWSWx8z4mGCzwaHI99QaIAO4BqWvc63t5vrjaxnUbY1TpYb_IK1RpJ23l-CBs2LHvTpBTGONn3aZPZohiSpbkMqwd2yTt4w/s320/7-teresa-lanceta-ese-olor.jpg" width="228" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCHr0a4RPyUSzE9-GuvzORwym-567IhTsUhwE0OtAK_nv1u5eaHWGBSfmFED40bybhdovLKSh4V9rMcYx2MRCZwGrXUq7w8R05K4gjoaPM8x9RSMMxKb1caTSos58PrPBHIN9p_3ZvGmjZ-nQfea5fOK8g05eM6GVk6neAGujMFz2lIViiuYIxkAIZZA/s427/tejeres.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="427" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCHr0a4RPyUSzE9-GuvzORwym-567IhTsUhwE0OtAK_nv1u5eaHWGBSfmFED40bybhdovLKSh4V9rMcYx2MRCZwGrXUq7w8R05K4gjoaPM8x9RSMMxKb1caTSos58PrPBHIN9p_3ZvGmjZ-nQfea5fOK8g05eM6GVk6neAGujMFz2lIViiuYIxkAIZZA/s320/tejeres.jpg" width="320" /></a></div><br /> <p></p>Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com1tag:blogger.com,1999:blog-7698825278311044093.post-7879607674728523412021-02-10T18:00:00.006+01:002021-02-10T18:00:40.933+01:00Ornamento en Tenerife<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-9yBJ8SiGNf4/YCQQ_dJx97I/AAAAAAAACDE/XJj8j59gSZ4EG6YrX1ovgF_br9RW5mLlwCLcBGAsYHQ/s2048/INVITACIO%25CC%2581N%2BTERESA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="378" src="https://1.bp.blogspot.com/-9yBJ8SiGNf4/YCQQ_dJx97I/AAAAAAAACDE/XJj8j59gSZ4EG6YrX1ovgF_br9RW5mLlwCLcBGAsYHQ/w569-h378/INVITACIO%25CC%2581N%2BTERESA.jpg" width="569" /></a></div><br /><p></p>Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-23282826228229170532021-01-24T12:45:00.000+01:002021-01-24T12:45:09.364+01:00Formas de ser--- The Dead are not Dead<p><span style="font-size: large;">Formas de ser</span><span lang="EN-GB" style="font-size: 14.0pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-size: large;"> </span> en Württembergischen Kunstverein Stuttgart. Iris Dressler & </span><br /><span lang="EN-GB" style="font-size: 14.0pt; line-height: 115%; mso-ansi-language: EN-GB;">Hans D. Christ</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3K9rcvydfRY/YA1c9t4dUSI/AAAAAAAACB0/5ri7EVM0ab4fkHV17daM5HJcjQUgNsk0gCLcBGAsYHQ/s365/10efda8c6a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="250" height="320" src="https://1.bp.blogspot.com/-3K9rcvydfRY/YA1c9t4dUSI/AAAAAAAACB0/5ri7EVM0ab4fkHV17daM5HJcjQUgNsk0gCLcBGAsYHQ/s320/10efda8c6a.jpg" /></a></div><br /><span lang="EN-GB" style="font-size: 14.0pt; line-height: 115%; mso-ansi-language: EN-GB;"><br /></span><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;">Artists</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"><br />
Gerd Arntz, Daniel Baker, Canciones de la guerra social contemporánea, Joy
Charpentier, Ines Doujak, El Solitario / Francisco Lameyer, Toto Estirado, Flo
6x8, Robert Gabris, María García Ruiz, Gonzalo García-Pelayo, Israel Galván,
Tony Gatlif, Helios Gómez, Francisco de Goya, Isaias Griñolo, Julio Jara, Hiwa
K, Teresa Lanceta, Darcy Lange / Maria Snijders, Delaine Le Bas, Los Putrefactos,
Máquinas de vivir, Ocaña, Otto Pankok, PEROU, Ragel, Pedro G. Romero, August
Sander, Franz W. Seiwert, SEM/EN, Stalker, Ceija Stojka, Mario Maya y Teatro
Gitano Andaluz, Luca Vitone, Rosario Weiss u.a.<br />
<br />
</span><b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;">Curators<br />
</span></b><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;">María García und Pedro G. Romero<br />
<br />
INTRODUCTION <br />
<br />
With <i>Una forma de ser</i>, Württembergischer Kunstverein continues its
exhibition series <i>Actually, the Dead Are Not Dead</i>, which goes back to
the Bergen Assembly 2019 of the same name.<br />
<br />
The exhibition deals with the relationship between the feast and the political
sphere. It examines the party as a social and collective platform for
emancipation and self-determination, and explores the aesthetic and poetic
forms that have developed since the nineteenth century, particularly in the
context of the subcultures of the Roma, flamencos and bohemians. It combines
visual arts, music and dance as well as advanced arts since the nineteenth
century with cultural forms associated with folklore and popular art: Francisco
de Goya with the multiple award-winning contemporary flamenco dancer Israel
Galván; August Sander and his photographs of Cologne’s “Lumpenbälle” with the
Spanish underground artist Ocaña; the modernist graphic artists Gerd Arntz and
Helios Gómez with Ceija Stojka; nineteenth-century Andalusian bohemian culture
with flamenco taught to new music.<br />
<br />
The curators of the exhibition, Pedro G. Romero and María García have for
decades been exploring the world of flamenco and the relationship between
stereotyping, romanticizing, and the exclusion of European Roma. Yet they
continue to point out the crucial role that Roma and other marginalized groups
have played in the development of the avant-garde. Flamenco actually emerged in
the mid-nineteenth century in the urban environment of the Roma, bohemians and the
so-called ‘lumpenproletariat’ of the suburbs of Seville and other Andalusian
cities: as a counter-movement to an emerging folklorism in Andalusia at the
time.<br />
<br />
This modern, avant-garde artistic manifestation was first described by Serafín
Estébanez Calderón in 1838 in his text <i>Asamblea General</i> (General
Assembly). What Calderón essentially observes here is a series of kris, the
political assemblies of the Andalusian Roma where the communities of Malaga,
Cádiz and Seville settled their affairs and disputes, and which always went
hand in hand with a fiesta. <br />
<br />
This text, as well as one of the works that Francisco Lameyer, an artist close
to Goya, realized for it, are the starting point of the exhibition, along with
the series <i>Los Disparates</i> by Francisco de Goya himself: a series of
gloomy, carnivalesque and grotesque scenarios with a variety of allusions to
the political situation at the time. From here, the exhibition with works by
artists such as Delaine Le Bas, Robert Gabris and Teresa Lanceta extends all the
way to contemporary art.<br />
<br />
An important local reference is the Stuttgart Vagabond Congress, convened in
1929 by Gregor Gog and held not far from the then newly built
Weissenhofsiedlung on the Killesberg in Stuttgart. As early as 1982, the
Württembergischer Kunstverein and other art institutions had already taken up
the subject of this congress and its background in the context of the
exhibition <i>Wohnsitz: Nirgendwo</i> (Residence: Nowhere). In 2014, Theater
Rampe in Stuttgart dedicated a reenactment to it. <br />
<br />
Under the title <i>Una forma de ser</i>, a way of being or living, the curators
aim to negotiate the communities of the Flamencos, Roma and Bohèms beyond
identity politics in terms of forms and strategies of political subjectivation.
<br />
<br />
Against the background of the current experiences of lockdown and social
distancing, they have expanded and recontextualized the thematic field of the
exhibition: after all, parties are the epitome of social and physical
proximity. Furthermore, certain social groups, such as the Roma, have been hit
particularly hard by the Corona pandemic and its consequences, and their social
exclusion, which existed long before it, has become even worse. In this
respect, the exhibition also negotiates spatial political implications.<br />
<br />
Various performances are planned within the framework of the exhibition. Among
the highlights is the play La Fiesta by </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"><a href="https://www.wkv-stuttgart.de/en/program/2020/exhibitions/una-forma-de-ser/la-fiesta/" title="Opens internal link in current window"><span lang="EN-GB" style="color: blue; mso-ansi-language: EN-GB;">Israel Galván,</span></a></span><span lang="EN-GB" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"> which will be performed at the Staatsoper Stuttgart.</span></p>
<p>
</p>Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-65098136080621924002020-02-02T09:24:00.000+01:002020-02-02T09:24:49.564+01:00GALLINERO EN ROMA<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Vq8WJvOS1sU/XjaG25vNYyI/AAAAAAAAB3g/-M8hKg8SDrMh-VaKw5dBbIa7JuF9b4UeACLcBGAsYHQ/s1600/GALLINERO%2Binvitaci%25C3%25B3n%2Bdigital%2BITA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1044" data-original-width="1600" height="417" src="https://1.bp.blogspot.com/-Vq8WJvOS1sU/XjaG25vNYyI/AAAAAAAAB3g/-M8hKg8SDrMh-VaKw5dBbIa7JuF9b4UeACLcBGAsYHQ/s640/GALLINERO%2Binvitaci%25C3%25B3n%2Bdigital%2BITA.jpg" width="640" /></a><a href="https://1.bp.blogspot.com/-rqN7zj9lHjY/XjaGwGmn_iI/AAAAAAAAB3c/rQgE5qQz3N8xMoRGNUQTwPdPyIKrAT4iQCLcBGAsYHQ/s1600/bergen21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="240" src="https://1.bp.blogspot.com/-rqN7zj9lHjY/XjaGwGmn_iI/AAAAAAAAB3c/rQgE5qQz3N8xMoRGNUQTwPdPyIKrAT4iQCLcBGAsYHQ/s320/bergen21.jpg" width="320" /></a></div>
<br />
<br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-82932490541176656232019-10-14T06:24:00.002+02:002019-10-14T06:24:35.857+02:00Monocromo genero neutro <a href="https://musac.es/#exposiciones/expo/monocromo-genero-neutro" target="_blank"><b>Monocromo género neutro en el Musac, León</b></a><br />
<br />
<br /><div class="sub">
SALA 2</div>
<div class="ficha">
<ul>
<li>28 de septiembre, 2019 - 12 de enero, 2020</li>
</ul>
</div>
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</div>
Aino Aalto, Anni Albers, Elena Asins,
Gae Aulenti, Jo Baer, Eve Beglarian, Marianne Brandt, Monika Buch,
Trisha Brown, Anna Castelli-Ferrieri, Lygia Clark, Hanne Darboven, Sonia
Delaunay Terk, Nanna Ditztel, Irena Dodalová / Karel Dodal, Esther
Ferrer, Simone Forti, María Freire, Eileen Gray, Lotte Grunow, Grete
Heymann-Marks, Linda Karshan, Christina Kubisch, Evelyn Lambart / Norman
McLaren, Teresa Lanceta, Rosalie Mathieu, Rita McBride, Aurélie
Nemours, Greta Von Nessen, Amalia Nieto, Emily Noyes Vanderpoel, Pauline
Oliveros, Lygia Pape, Charlotte Perriand, Yvonne Rainer, Ana Sacerdote,
Lillian Schwartz, Soledad Sevilla, Antonina Sofronova, Loló Soldevilla,
Gunta Stölz, Hildegard Westerkamp, Eva Zeisel<br />
<br />
Comisariado: Juan Guardiola<br />Coordinación: Carlos Ordás<br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com1tag:blogger.com,1999:blog-7698825278311044093.post-16517752889920228942019-09-09T17:46:00.001+02:002019-09-12T09:40:38.285+02:00 Teresa Lanceta & Pedro G Romero en Bergen Assembly <div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-gVwXs4aOw28/XXZxTcdo0rI/AAAAAAAABy0/CIfNi7rIeAAEMB4piGNX66xW1fyT97CCQCLcBGAs/s1600/bergen.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="620" height="320" src="https://1.bp.blogspot.com/-gVwXs4aOw28/XXZxTcdo0rI/AAAAAAAABy0/CIfNi7rIeAAEMB4piGNX66xW1fyT97CCQCLcBGAs/s320/bergen.png" width="223" /><span id="goog_739090693"></span><span id="goog_739090694"></span></a></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">INVITASJONER</span><span style="font-family: "cambria" , "serif";"></span></div>
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<br /></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">A
cura di Pedro G. Romero</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Sacco.
El saco de Roma, las crisis de la representación y los flamencos.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<b><span style="font-family: "garamond" , "serif"; font-size: 28.0pt;">CUADRAS/GALLINERO</span></b><span style="font-family: "cambria" , "serif";"></span></div>
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<br /></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Bergen
Assembley</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Entre
el 5 de septiembre y el 3 de noviembre de 2019.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Entrada
y salida según horarios de la granja.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "garamond" , "serif"; font-size: 17.0pt;">Un
evento para gallinas en la granja </span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 17.0pt;">Langegården
besøksgård y el espacio del Belgin Bergen en Kode Museum, Bergen, Noruega.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<br /></div>
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<br /></div>
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<span style="color: #3366ff; font-family: "cambria" , "serif"; font-size: 22.0pt;"><a href="https://m.twitch.tv/fjosanger"><span style="color: #3366ff;">https://m.twitch.tv/fjosanger</span></a></span><span style="font-family: "cambria" , "serif";"></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "garamond" , "serif"; font-size: 17.0pt;">Un
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<span style="font-family: "garamond" , "serif"; font-size: 17.0pt;">Teresa
Lanceta & Pedro G. Romero</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Con
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Ludovica
Manzetti, Matteo Binci, Cinzia Mariani, María García, Nuria Rodríguez, María
del Mar Villafranca, Tor Steffen Espedal, Kirsten Wandschneider, Erik Krohn
Hansen, Tolga Balci, Anthony Morton, Samuel Mestre, Rafael Marín, Laura Valles,
Ester Pegueroles Castellet, Josefa Aragonés Sancho, Albert Benlloch Enguita,
Pep Benlloch Serrano, Isabel Carballo Municio, Nuria Enguita Mayo, Carmen
Lanceta Aragonés y Félix Molada Mora.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<br /></div>
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<span style="font-family: "garamond" , "serif"; font-size: 11.0pt;">Fotografía
de gallinas. Anthony Morton para Teresa Lanceta & Pedro G. Romero, 2019.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Dentro
del proyecto “political parties/Asamblea General” curado por María García &
Pedro G. Romero para la Bergen Assembley 2019, <i>ACTUALLY, THE DEAD ARE NOT
DEAD, </i>un proyecto comisariado por Hans D. Christ and Iris Dressler, con
Murat Deha Boduroglu, María García, Hiwa K, Katia Krupennikova, Viktor Neumann,
Paul B. Preciado, Pedro G. Romero, Simos Sheikh and Emma Wolukau-Wanambwa.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<b><span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Bergen
Assembley/Kunstvereim Stuttgart.</span></b><span style="font-family: "cambria" , "serif";"></span></div>
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<b><span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Real
Academia de España en Roma.</span></b><span style="font-family: "cambria" , "serif";"></span></div>
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<b><span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">AC/E,
Acción Cultural Española.</span></b><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">El
punto de partida se encuentra en el relato del historiador bizantino Procopio
de Cesarea, que en su <i>De bello vandalico</i> dice así: “Uno de sus eunucos
se acercó al emperador Honorio y le dijo que Roma había perecido. Visiblemente
impresionado el emperador gritó: <i>Y sin embargo, ha comido de mi mano hace
unos instantes!.</i> Porque él tenía una gallina muy grande, su favorita,
llamada Roma. El eunuco comprendió la confusión y le dijo que era la ciudad de
Roma la que había perecido a manos de Alarico. El emperador, con un suspiro de
alivio, respondió rápidamente: <i>Pero yo, mi buen amigo, pensé que era mi
gallina Roma la que había perecido</i>. Tan grande, dicen, fue la locura con la
que estaba poseído este emperador”. Se refiere al famoso saco de Roma del 410,
llevado acabo por los vándalos que dirigía el general Alarico. Edward Gibbon ya
tomó precauciones hacía ésta, literalmente, <i>anécdota</i>, que presenta al
cristiano Honorio anclado a viejas costumbres paganas, débil, extravagante e
idiota, desprecia a Roma, a su senado y a su enemigo Alarico. Pero, cómo diría
Viciane Despret la pregunta adecuada es: ¿porqué precisamente gallinas?</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Para
nuestro propósito han sido interesante las nociones sobre el conocimiento
político del espacio en las gallinas descritas por Giorgio Vallortigara en su <i>Cerebro
de gallina</i>, un eufemismo italiano para el dicho castellano “cerebro de
mosquito”. La medida del espacio tienen que ver con una percepción de
comunidad: el movimiento del grupo, la distribución de alimento, el lugar de la
puesta de huevos condicionan esa especie de movimiento esquinado propio del
caballo del ajedrez. El animote, dice Derrida, debe sumar, a la vez, la
zoología y el significado cultural del animal.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">La
invitación a Teresa Lanceta para este trabajo le atañe de distintos modos: por
un lado está la alfombra en el cuadro del pintor australiano John W.
Waterhouse, <i>Los favoritos del emperador Honorio</i> (1883), pero también su
conocimiento de la <i>Disco Chiken</i> (1988) de Martín Kippenberger; por otro
lado, está ese regalo que fue el adagio de Bert Flint en el Museo Tiskiwin de
Marrakech, <i>emplumarse es una forma de descolonización</i>; y, finalmente, su
frase lapidaria: “mi conciencia política empezó cuando apresaron al Lute y su
primer cargo fue por robar gallinas”. Creo que los trabajos de suelo y pared de
Teresa Lanceta, sus tapices, siempre han ensayado otra forma de entender el
espacio física y simbólicamente, consciente siempre de la necesidad de un nuevo
reparto que, en definitiva, es lo que estamos ensayando.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">El
tapiz que ha realizado Lanceta con las aportaciones de vecinos y amigos que han
regalado viejas prendas y lanas sobrantes, está tejido con diversas técnicas
aunque sea la jarapa –la confección con trapos y retales- la dominante. Su
dibujo parte de algunos suelos geométricos que en Roma albergaron la función
legislativa de las gallinas. Lo romanos nos dieron el derecho pero esas leyes,
a menudo, debían ser ratificadas por el baile que realizaban unos pollos
delante de los augures. Desde los mosaicos de Villa Livia Ad Gallinas Albas
hasta el suelo de la Curia Julia, precisamente sede del senado romano en
tiempos de Honorio, las gallinas significaron también la democracia
plebiscitaria, frente a estas viejas prácticas de adivinación etrusca el
Emperador siempre prefirió el moderno auspicio del gallo sacrificado que,
siempre en privado, dejaba ver su hígado. Los pollos significaban pares
contradictorios: la religión arcaica y la plebe moderna, la sensatez de los
viejos senadores y la extravagancia loca del emperador, el paganismo secular y
la debilidad de los cristianos; pero lo que a nosotros nos interesa es el suelo
mismo que estas contradicciones pisaban.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Nuestros
gallineros están llenos de políticos, de filósofos y de idiotas, vaya, las
mismas gallinas. Como en <i>Le galline pensierose</i> de Luigi Malerba, las
gallinas son el ejemplo idiota. María Zambrano describió bien este caminar en
el que la línea recta es desconocida, este bailar continuo rondando siempre
alrededor de algo, ese menear pendularmente la cabeza diciendo no se qué y esa
expresión, que muchos entienden por bobería o idiotez, es sólo comparable a la
alegría del viviente que encuentra a la par, amor y libertad. Siempre es un
placer hipnótico observar a las gallinas, nuestro tapiz no tiene otra función
que el de una lupa, un instrumental óptico para aumentar los placeres del que
se queda mirando. También damos algunos textos y unas hojas de notas en la que
poder seguir aumentando el número casi infinito de observaciones.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span lang="EN-GB" style="font-family: "garamond" , "serif"; font-size: 14.0pt;">The starting point can be found in a story recounted
by the Byzantine historian Procopius of Caesarea in his book <i>The Vandal</i>
(<i>De Bello Vandalico</i>), which goes like this: "...they say that the
Emperor Honorius in Ravenna received the message from one of the eunuchs,
evidently a keeper of the poultry, that Rome had perished. And he cried out and
said, 'And yet it has just eaten from my hands!' For he had a very large cock,
Rome by name; and the eunuch comprehending his words said that it was the city
of Rome which had perished at the hands of Alaric, and the emperor with a sigh
of relief answered quickly: 'But I thought that my fowl Rome had perished.' So
great, they say, was the folly with which this emperor was possessed."
Procopius was talking about the famous Sack of Rome by the Visigoths led by
King Alaric. The 18th-century historian Edward Gibbon was already sceptical
about this literal "anecdote" that portrays the Christian emperor
Honorius as a weak, extravagant fool hanging on to old pagan customs and
unconcerned with Rome, its Senate, and its enemy Alariac. But as Vinciane
Despret would say, the right question is: why chickens?</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span lang="EN-GB" style="font-family: "garamond" , "serif"; font-size: 14.0pt;">For our purposes, it was interesting to read about the
political awareness of space in the chickens described by Giorgio Vallortigara
in his book <i>Cervello di gallina</i> (literally "hen's brain", an
Italian euphemism equivalent to "birdbrain"). The dimension of space
is linked to the perception of community: the movement of the group, the
distribution of food, and the place where eggs are laid, all determine
chickens' distinctive angular path, a bit like a knight in a game of chess. The
animot, said Derrida, should combine the zoology and the cultural significance
of animals.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span lang="EN-GB" style="font-family: "garamond" , "serif"; font-size: 14.0pt;">The invitation to collaborate on this work concerns
Teresa Lanceta in various ways: there is of course the carpet in the painting
by British artist John W. Waterhouse, <i>The Favourites of the Emperor Honorius</i>
(1883), but there is also her interest in Marin Kippenberger's <i>Disco
Chicken </i>(1988), and the gift of Bert Flint's adage at the Tiskwin Museum in
Marrakesh, "donning feathers is a form of decolonisation." And there
is of course her memorable statement: "my political consciousness was born
when El Lute was arrested and his first charge was stealing chickens." I
think that Teresa Lanceta's carpets and wall hangings, her tapestries, have
always explored a different way of understanding space physically and
symbolically, always aware of the need for a new distribution, which is
essentially what we are attempting.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span lang="EN-GB" style="font-family: "garamond" , "serif"; font-size: 14.0pt;">The tapestry that Lanceta has made with the old items
of clothing and leftover wool offered by friends and neighbours is woven with
different techniques, but mainly jarapa, which is crafted from scraps and
offcuts. The pattern is based on some of the geometric floors on which chickens
performed their legislative duties in ancient Rome. The Romans gave us the
legal system, but their laws often had to be ratified by the movements of a group
of chickens observed and interpreted by the augur-priests. From the mosaics of
Villa of Livia Ad Gallina Albas to the floor of the Curia Julia -the seat of
the Roman Senate during the reign of Honorius- chickens also stood for
plebiscitary democracy: over these old practices of Etruscan divination, the
Emperor preferred the modern augury of the sacrificed rooster which allowed its
liver to be examined, always in private. Chickens represented contradictory
pairs: archaic religion and the modern plebs, the prudence of the old senators
and the crazy extravagance of the Emperor, secular paganism and the weakness of
the Christians. But the important thing for us is the floor that these
contradictions trod. </span><span style="font-family: "cambria" , "serif";"></span></div>
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<span lang="EN-GB" style="font-family: "garamond" , "serif"; font-size: 14.0pt;">Our chicken coops are full of politicians, philosophers,
and fools: of chickens, that is. As in Luigi Malerba's <i>Le galline
pensierose</i>, a chicken is supposedly the model fool. María Zambrano gave a
good account of that gait in which there are no straight lines, that constant
dancing around something, that pendulous swaying of the head saying something
or other, and that expression, which is often interpreted as foolishness or
idiocy and is only akin to the joy of a living being who has found love and
freedom at the same time. It is always a hypnotic pleasure to watch chickens.
Our tapestry is only intended as a kind of magnifying glass, an optical
instrument to enhance the pleasure of those who stop and look. We also offer a
few texts and pages of notes in which to keep adding to the almost infinite
number of observations.</span><span style="font-family: "cambria" , "serif";"></span></div>
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<span style="font-family: "cambria" , "serif";"></span><br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-55736517928193891592019-04-02T21:50:00.000+02:002019-04-06T21:49:19.303+02:00El juego del arte. Pedagogías, arte y diseño. Exposición en la Fundación Juan March<div style="text-align: center;">
<a href="https://3.bp.blogspot.com/-NMch0ABILTI/XKO8CIGVIMI/AAAAAAAABwg/3SyRbYfynsIa7v1qkYw_SCpgYHSfF_3cACLcBGAs/s1600/165.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="1600" height="460" src="https://3.bp.blogspot.com/-NMch0ABILTI/XKO8CIGVIMI/AAAAAAAABwg/3SyRbYfynsIa7v1qkYw_SCpgYHSfF_3cACLcBGAs/s640/165.jpg" width="640" /></a></div>
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<div style="-webkit-text-stroke-width: 0px; color: black; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: white; color: #151515; display: inline; float: none; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 100%; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Fundación Juan March</span></span></div>
<div style="-webkit-text-stroke-width: 0px; color: black; font-size: 16px; font-variant: normal; letter-spacing: normal; margin: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: white; color: #151515; display: inline; float: none; font-size: 100%; font-variant: normal; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>El juego del arte. </i></b></span></span></div>
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<span style="background-color: white; color: #151515; display: inline; float: none; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 100%; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Pedagogías, arte y diseño</i></b>.</span></span></div>
<div style="-webkit-text-stroke-width: 0px; color: black; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: white; color: #151515; display: inline; float: none; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 100%; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Del 22 de marzo al 23 de junio</span></span></div>
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<em style="-webkit-text-stroke-width: 0px; border-image: none; border: 0px; color: #151515; font-size: 100%; font-style: italic; font-variant: normal; letter-spacing: normal; margin: 0px; orphans: 2; outline: 0px; padding: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>…"El juego del arte. Pedagogías, arte y diseño</b></span></em><span style="background-color: white; color: #151515; display: inline; float: none; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 100%; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>,</b></span> una exposición que quiere hacer patente cómo las novedosas pedagogías del siglo XIX más radicalmente basadas en el juego y en la experiencia del "dibujo para todos", inspiradas por el </span><em style="-webkit-text-stroke-width: 0px; border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: currentColor; border-left-style: none; border-left-width: 0px; border-right-color: currentColor; border-right-style: none; border-right-width: 0px; border-top-color: currentColor; border-top-style: none; border-top-width: 0px; color: #151515; font-family: "helvetica neue","Helvetica",arial,sans-serif; font-size: 100%; font-style: italic; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; outline-color: invert; outline-style: none; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">Emilio</em><span style="background-color: white; color: #151515; display: inline; float: none; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 100%; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> (1762) de Jean-Jacques Rousseau (1712-1778) y cuyo destilado más conocido quizá sea el sistema del </span><em style="-webkit-text-stroke-width: 0px; border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: currentColor; border-left-style: none; border-left-width: 0px; border-right-color: currentColor; border-right-style: none; border-right-width: 0px; border-top-color: currentColor; border-top-style: none; border-top-width: 0px; color: #151515; font-family: "helvetica neue","Helvetica",arial,sans-serif; font-size: 100%; font-style: italic; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; outline-color: invert; outline-style: none; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: 0px;">Kindergarten</em><span style="background-color: white; color: #151515; display: inline; float: none; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 100%; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> de Friedrich Froebel (1782-1852), han sido un germen tan eficiente como desatendido del gran cambio introducido en la tradición por el arte moderno, junto con la emulación de la tradición artística (o la ruptura con ella), el conocimiento de otras culturas y épocas o la influencia de la literatura y las corrientes intelectuales del momento. La muestra quiere, pues, hacer visible que la génesis del arte moderno también se encuentra en la infancia de sus protagonistas y en la educación que recibieron". </span><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike></div>
Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0Madrid, España40.4167754 -3.703790199999957640.0300434 -4.3492371999999575 40.8035074 -3.0583431999999577tag:blogger.com,1999:blog-7698825278311044093.post-46134088678209298292019-01-27T16:00:00.000+01:002019-01-30T22:00:27.094+01:00Salir de la alfombra<span style="font-family: inherit;"><i>Salir de la alfombra</i> de <b>Estrella de Diego</b><br />Publicado en <b>El País</b> <br />25/01/2019</span><br />
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<a href="https://elpais.com/cultura/2019/01/25/actualidad/1548435206_739554.html" style="text-align: start;" target="_blank">Salir de la alfombra, Estrella de Diego.- columna Cultura -El País-</a></div>
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<img alt="Aspecto de la exposición 'La alfombra española del siglo XV', de Teresa Lanceta." height="290" src="https://ep01.epimg.net/cultura/imagenes/2019/01/25/actualidad/1548435206_739554_1548435736_noticia_normal.jpg" style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" width="400" /><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;">"Lanceta propone, una vez más, el abismo entre productores y consumidores —quienes las hacían y quienes las poseían—, y con su planteamiento político aspira a abrir un camino que lleve al espectador más allá: hasta el Museo de Artes Decorativas o a los cuadros de Berruguete, donde las geometrías moriscas adornan suelos —o altares— católicos y ofrecen esos otros usos de las alfombras"...</span></span></div>
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Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0Madrid, España40.4167754 -3.703790199999957640.0300434 -4.3492371999999575 40.8035074 -3.0583431999999577tag:blogger.com,1999:blog-7698825278311044093.post-9508009184580164272019-01-20T10:00:00.000+01:002019-01-20T10:25:01.306+01:00La Alfombra Española del Siglo XVGalería ESPACIO MÍNIMO<br />
Del 26 de enero al 23 de marzo de 2019<br />
Inauguración: Sábado 26 de enero, a partir de las 12h<br />
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<span style="font-family: inherit; font-size: medium;"><b>TERESA LANCETA</b></span><span style="color: red; font-family: inherit; font-size: small;"><br /></span></div>
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<span style="font-family: inherit; font-size: medium;"><b>La Alfombra Española del Siglo XV</b></span><br />
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La galería Espacio Mínimo presenta el segundo proyecto individual en su espacio de la artista TERESA LANCETA, que, bajo el título de La Alfombra Española del Siglo XV, engloba piezas de diferentes técnicas -tapices, dibujos y pinturas- y formatos, que ha ido creando a lo largo de las dos últimas décadas, a raíz de la impresión que le producen los ejemplares que alberga la colección del Instituto Valencia de Don Juan en su primera visita y, más tarde, los que se conservan en el Museo de Artes Decorativas de Madrid.</div>
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La artista escribe sobre la exposición:</div>
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En el siglo XV en Albacete, Toledo y Cuenca había una esplendorosa industria de alfombras de inspiración y ejecución morisca. Las poderosas familias de los grandes señores conquistadores de tierras admiraban y compraban esas alfombras para sus casas palaciegas. De apariencia seria rayana a la tristeza, los pronunciados marcos que constriñen el campo central y la implantación de los escudos heráldicos nos hablan de sometimiento, el de sus creadores y el de la cultura que sustentaban. Hoy, son testimonio de que existía una cultura que brilló con luz propia.</div>
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En el transcurrir histórico las composiciones mudéjares fueron retrotrayéndose siendo sustituidas por otros estilos, algunos de los cuales llegaban de Europa. A medida que avanza ese proceso, van perdiéndose la fuerza y la originalidad alcanzadas. Los pintores coetáneos las reprodujeron en sus cuadros: Pedro de Berruguete, Diego de la Cruz o Jorge Inglés, entre otros.</div>
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Con La Alfombra Española del siglo XV, he querido sujetar en mi interior el sentimiento que me producen y extender a través de mi trabajo el conocimiento que aún aportan después de tantos siglos. En mis dibujos y pinturas, la ornamentación toma protagonismo en detrimento de la escena religiosa que representan esos pintores, que en mis pinturas se oscurecen hasta casi desaparecer. Los tapices recrean, alterándola, la repetición geométrica usada.</div>
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1 Se pueden contemplar en el Museo de Artes Decorativas de Madrid, en el Instituto Valencia de Don Juan, Philadelphia Museum of Art, Museum für Islamische Kunst en Berlín entre tantos otros.</div>
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TERESA LANCETA - La Orden de la Banda-multiplicada. 2004</div>
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Teresa Lanceta, -escribe Antoni Marí en su texto Teresa no-está del catálogo de la exposición Tejidos marroquíes: Teresa Lanceta (Museo Nacional Centro de Arte Reina Sofía, Madrid, 2000)- como cualquier artista, se inició en la práctica del arte por la persuasión que la obra de otros artistas ejerció sobre su imaginación creadora. En este caso no es la obra de un artista individualizado, el que despertó su creatividad, sino el conjunto de una personalidad colectiva que, entre la multiplicidad de variaciones y alteraciones, fue reconocida como una unidad autónoma y singular que recogía las diversas individualidades en una sola voluntad de expresión.</div>
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Sobre su trabajo la comisaria Nuria Enguita escribe en la Introducción del catálogo de su exposición Adiós al rombo, celebrada en 2016 en La Casa Encendida en Madrid y en 2017 en Azkuna Zentroa de Bilbao, lo siguiente:</div>
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Desde mediados de los años setenta, tanto en relación con el contexto español como con el catalán, marcados ambos por la pintura y el arte conceptual, Lanceta toma la decisión de tejer como medio de expresión artística, forzando los límites de la comprensión de lo que se considera arte. Y su aproximación al tejido no se produce desde el análisis crítico, sino que empieza en los elementos formales, en lo que los tejidos tienen de original y propio: sus ligamentos, materiales, tradiciones y técnicas.<br />
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A mediados de los años ochenta, Lanceta se sumerge en comunidades tejedoras del Atlas Medio y, a través de sus tradiciones textiles -un saber transmitido de generación en generación-, participa del descubrimiento de un arte colectivo que ha facilitado a las personas vivir, comunicarse y permanecer; un arte marcado por un conjunto de normas, temas y hábitos ancestrales cuyo dominio permite la libertad expresiva y la creación, dando cuenta del paso del tiempo, incorporando historias y hechos. Como los hilos cruzados de la urdimbre y la trama, “hacer” y “vivir” comparten un mismo tiempo. En estas tradiciones textiles de pueblos nómadas, los tejidos transcienden su finalidad decorativa y su funcionalidad simbólica; forman parte de un modo de vida, portan un conocimiento común y cotidiano y, como tales, despliegan su poder ornamental y artístico.<br />
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Lanceta ha mostrado que el tejer es una de las herramientas del arte y que está al servicio del alma humana. Y, con ello, ha mostrado que las artes consideradas ornamentales son arte “a secas”, pues implican innovaciones formales que vinculan ideas innovadoras. Este debate entre arte autónomo y arte útil se intensificó en Occidente durante los años ochenta del siglo XX, a partir de exposiciones como “Primitivism” en el MOMA (1984) o “Magiciens de la terre” en el Centro Pompidou (1989), cuando Lanceta llevaba ya más de diez años “tejiendo”.<br />
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TERESA LANCETA - La matanza de los inocentes</div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com1Madrid, España40.4167754 -3.703790199999957640.0300434 -4.3492371999999575 40.8035074 -3.0583431999999577tag:blogger.com,1999:blog-7698825278311044093.post-8807438048874545022018-12-09T21:01:00.000+01:002018-12-09T21:16:32.904+01:00Aplicación Murillo. Materialismo, charitas y populismos<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.murilloysevilla.org/exposiciones/aplicacion-murillo-materialismo-charitas-y-populismos/" rel="nofollow" target="_blank"><b>Aplicación Murillo. Materialismo, charitas y populismos</b></a></div>
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<br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0Sevilla, España37.3890924 -5.98445889999993637.1871984 -6.3071823999999364 37.590986400000006 -5.6617353999999356tag:blogger.com,1999:blog-7698825278311044093.post-60759107623369991702018-11-25T11:28:00.000+01:002019-01-13T15:45:03.788+01:00TE TOCA A TI .- Del 26 de octubre del 2018 al 17 de febrero del 2019<div class="separator" style="clear: both; text-align: center;">
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Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0Castellón de la Plana, Castellón, España39.9863563 -0.05132460000004357439.937692299999995 -0.13200560000004358 40.0350203 0.029356399999956428tag:blogger.com,1999:blog-7698825278311044093.post-77950850741852133182018-11-01T07:00:00.000+01:002019-01-13T15:45:59.143+01:00Exposición en l'Espai d'Art Contemporani de Castelló<div style="text-align: center;">
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Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0Castellón de la Plana, Castellón, España39.9863563 -0.05132460000004357439.937692299999995 -0.13200560000004358 40.0350203 0.029356399999956428tag:blogger.com,1999:blog-7698825278311044093.post-76555048198262051212018-08-28T17:23:00.003+02:002019-01-13T15:46:48.131+01:00MEMORIAS del AGUA<div style="text-align: center;">
<a href="file:///C:/Users/usuario/Desktop/RGB_guia_sala_cast.pdf" rel="nofollow" target="_blank"><span style="color: black; font-family: "arial" , "helvetica" , sans-serif;">Exposición en el </span><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><b>Centro de Recursos Medio Ambientales de Cristina Enea</b></span></a><br />
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<span style="color: #444444;"><b>Memorias del Agua</b></span></div>
<br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-76054160820759171372018-03-12T18:12:00.003+01:002018-11-24T09:50:54.117+01:00The live Creature<div class="separator" style="clear: both; text-align: center;">
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¡Quedáis invitados!</div>
Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-42398578023253125162017-10-19T12:34:00.000+02:002018-11-24T09:48:15.213+01:00MÁQUINAS DE VIVIR <span style="font-family: inherit; font-size: large;"><a href="http://www.centrocentro.org/centro/exposicion_ficha/246" rel="nofollow" target="_blank"> Flamenco y arquitectura en la ocupación y desocupación de espacios </a></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Máquinas de vivir es un proyecto en torno al diálogo a tres bandas entre la arquitectura radical, la crítica social y las representaciones flamencas. <br /><br />20 OCTUBRE 2017 – 04 FEBRERO 2018, después viajara a la Virreina de Barcelona<br /><br />Comisariada por Pedro G. Romero y María García que han tenido la deferencia de invitarme a participar</span><br />
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Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0Madrid, España40.4167754 -3.703790199999957640.0300434 -4.3492371999999575 40.8035074 -3.0583431999999577tag:blogger.com,1999:blog-7698825278311044093.post-52809913106530436862017-10-17T21:21:00.000+02:002017-11-28T18:06:05.686+01:00El arte amateur<b><span style="font-size: large;">Conferencia en el CA2M</span></b><br />
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<a href="http://ca2m.org/es/universidad-popular-menu/universidad-popular-el-arte-de-ser-amateur">CA2M Universidad Popular El arte de ser amateur</a><br />
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<a href="https://2.bp.blogspot.com/-LsXRRpMNZhg/Wgirw4tdp2I/AAAAAAAABpg/ncY0gtagdToDiIf1rFvFaF5SGdev9nHPQCLcBGAs/s1600/maxresdefault.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://2.bp.blogspot.com/-LsXRRpMNZhg/Wgirw4tdp2I/AAAAAAAABpg/ncY0gtagdToDiIf1rFvFaF5SGdev9nHPQCLcBGAs/s320/maxresdefault.jpg" width="320" /></a></div>
Teresa Lanceta hablará de su práctica como una defensa de la
universalidad del arte, de la creatividad que surge en cualquier lugar,
al margen también de las instituciones, y de la necesidad de salir de
los saberes especializados que dominan los modos de hacer en el arte.
Por ello se detendrá en las creadoras anónimas con las que ha
desarrollado sus proyectos artísticos, en el arte nómada y en su idea de
inspiración, término romántico que ella reivindica como modo necesario
de concentración.<br />
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<b><a href="https://www.youtube.com/watch?v=WAODvbJaDes">El arte amateur conferencia</a></b>Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-55846795600726037742017-09-30T16:58:00.000+02:002017-11-12T21:34:23.363+01:00Tavola Aperta en la biennal de Venezia con Cynthia Gutierrez y Teresa Lanceta<div class="separator" style="clear: both; text-align: center;">
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<br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-17691064731379717112017-09-19T12:28:00.000+02:002018-11-24T09:49:19.859+01:00LES IMATGES RECURRENTS en el Macba<i>Auto de fe</i> (Pedro Berruguete, Museo del Prado) es una tabla,
encargo del Gran Inquisidor Tomás de Torquemada para la sede del
Tribunal de la Santa Inquisición. La pintura logra una fuerte carga
«propagandística». El mensaje era evidente y directo, por lo que podemos
apreciar que el condenado que va a subir a la hoguera, cuerda al
cuello, tiene pelo crespo y nariz aguileña, rasgos que señalaban a
judíos y a conversos.<br />
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Actualmente <i>Auto de fe</i> pierde su primitiva función y se
convierte, por el contrario, en testimonio de crueles sucesos,
manifestando la despiadada actuación de la Inquisición española y su
violenta justicia. <br />
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Cómo llegué a convertir a un joven de belleza sublimada que espera su
ajusticiamiento al amanecer en un poeta rebelde combatiente por la causa
irlandesa todavía me lo pregunto, porque en realidad el joven Payne no
es un poeta, sino un confederado de Alabama que apuñaló al secretario de
Estado de los EUA dentro de la conspiración que acabó con la vida de
Lincoln. <br />
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Los jardines del antiguo hospital de la Santa Cruz son un espacio
amplio, lleno de árboles y parterres con flores. Durante el día están
abiertos a un variopinto público. En recovecos escondidos se bebe
barato, la droga corre en exceso y algunos duermevelan mientras sufren
los avatares de su mala fortuna. Naranjos, jacarandas y rosas blancas
silvestres de pétalos escasos en simetría con su entorno, frágiles
pétalos que se deshojan con una leve corriente de aire.<br />
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«Que la vida iba en serio» lo vislumbras brevemente en efímeros
instantes mucho antes de que te la juegues, como aquel domingo por la
tarde en que mis padres me dieron un dinero inesperado para ir a comprar
chucherías. <br />
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Una joven sostiene un armiño en un cuadro de Leonardo da Vinci. Es el
último armiño vivo en la historia del arte; desde entonces, los armiños
aparecen despellejados para la ostentación del poder. Como en los
cuentos, los lucen desaprensivos reyes Midas.<br />
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<div style="text-align: center;">
<a href="http://www.macba.cat/es/jornades-sobre-visualitats-critiques-primera-sessio/1//activ" style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #0066cc; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">VEO, VEO. Cómo vemos lo que vemos</a><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike></div>
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<a href="https://www.youtube.com/watch?v=AVNnxM360f8&t=8573s">Les imatges recurrents (1ª sessió)</a>Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-442658794205237872017-05-22T09:33:00.001+02:002018-11-24T09:51:46.971+01:00Notificaciones en el Carmen de Valencia<div style="text-align: center;">
<a href="https://3.bp.blogspot.com/-nhp7sL3SSEE/WSKTp1nMqoI/AAAAAAAABlU/WcNAroqV8e0duJyrJWmEeXh1Ad3ud2rMQCLcB/s1600/unnamed__1_.jpg" imageanchor="1" style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #0066cc; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-left: 16px; margin-right: 16px; orphans: 2; text-align: center; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><img border="0" height="220" src="https://3.bp.blogspot.com/-nhp7sL3SSEE/WSKTp1nMqoI/AAAAAAAABlU/WcNAroqV8e0duJyrJWmEeXh1Ad3ud2rMQCLcB/s400/unnamed__1_.jpg" width="400" /></a><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike></div>
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<a href="http://valenciaplaza.com/la-primavera-valenciana-o-el-15m-acampan-en-el-centre-del-carme"><b>Notificaciones</b> comisariada por Isaias Griñolo hasta el 3 de septiembre</a></div>
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Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0Valencia, España39.4699075 -0.3762881000000106739.2736095 -0.69901160000001061 39.6662055 -0.053564600000010676tag:blogger.com,1999:blog-7698825278311044093.post-34077245205172630912017-04-11T16:06:00.001+02:002018-11-24T09:57:33.625+01:00Biennale Arte 2017 - Teresa Lanceta<div style="text-align: center;">
<b> <iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/HcUeeDK1fps" width="459"></iframe></b></div>
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<b> <a href="http://u-in-u.com/en/venice-biennale/2017/">http://u-in-u.com/en/venice-biennale/2017/</a></b></div>
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Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-31309206726218292602017-01-23T14:25:00.000+01:002017-06-10T17:19:15.356+02:00Thomas Golsenne-Teresa Lanceta en Azkuna Zentroa<div class="separator" style="clear: both; text-align: center;">
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<br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0tag:blogger.com,1999:blog-7698825278311044093.post-45075411637597433992017-01-03T15:10:00.000+01:002018-11-24T09:53:49.848+01:00En el Mubag, Alicante<div class="separator" style="clear: both; text-align: center;">
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<br />Teresa Lancetahttp://www.blogger.com/profile/03357406491006838676noreply@blogger.com0