Podcast appearances and mentions of carlos cruz diez

This week, Ben talks with Daniel Djuro-Goiricelaya.Daniel, a native of Maracaibo, Venezuela, was the second of three sons of a Cuban Basque mother and first generation Ukrainian/Russian Father. He was raised in a colorful, multicultural home where different languages were spoken, and traditions upheld; opening the windows of his imagination and awakening his artistic soul and curiosity at an early age. In 2004, due to the turbulent political climate in Venezuela, Daniel and his family received political asylum and moved to the US.As an interdisciplinary artist, he describes his process as Chromatic Immersion Journeys.  He uses the language of color to develop works through different concrete forms such as pigments, materials, and textiles as well as non-tangible forms such as light and performance, bodies of work in which he involves political, social, aesthetic and universal issues.Aesthetically he has a great influence by the arts and crafts of the Wayuu people. He grew up as child exposed to the work of Venezuelan artists such as Armando Reveron, Carlos Cruz Diez, Jesus Soto, Francisco Hung, Lia de Bermudez. He learned directly from Frank O'Cain in the Arts Student League New York.Daniel was featured in Italian L'UOMO Vogue as one of New York's up and coming artists.Daniel is the Art Director and Co-Founder of the artist community project EL PATIO DE MI CASA (@lptdmcs) and Residency program La Casita de Bambú.Today, Daniel lives in Bucks County PA working in both his studio sharing with people the power of emotional growth through art making and as a Community Engagement and Arts Integration Manager for Arts Academy Elementary Charter School (@artsacademyelementary) in Allentown, PA And Art Commissioner of the Allentown Arts Commission (@allentownarts), and the Art Community and Action Fellow with the Allentown Arts Museum (@atownartmuseum).You can follow Daniel Djuro-Goiricelaya on Instagram at @ddjuro or check out their website at https://www.ddgart.com/.

L'EXPRESSO DE L'ART les vendredi à 19h et le dimanche à 11h. L'Expresso de l'Art aborde la création contemporaine autour d'un café, ristretto ou lungo selon le format de l'épisode, mais toujours autour d'histoires et d'anecdotes, une invitation à aborder l'art dans l'intimité des artistes. L'Expresso de l'Art, un Podcast de Stéphanie Pioda. Production : Grigori Michel - Paris Curatorial / Montage : Jordan Ziouche – Manadona. Dans ce 1er épisode, l'Expresso de l'art rencontre Carlitos Cruz-Diez, le fils de Carlos Cruz-Diez. Nous sommes à l'atelier du Maestro comme on l'appelle toujours ici, et Carlitos nous plonge dans l'intimité de la vie familiale et artistique du clan Cruz-Diez, les deux étant liés. Il nous raconte aussi pourquoi la couleur est "quelque chose d'éphémère qui se produit dans l'espace", un "événement" et la quête de Cruz-Diez. © Photo Atelier Cruz-Díez, Paris, France, 2024 © Adagp, Paris 2024Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

L'EXPRESSO DE L'ART les vendredi à 19h et le dimanche à 11h. L'Expresso de l'Art aborde la création contemporaine autour d'un café, ristretto ou lungo selon le format de l'épisode, mais toujours autour d'histoires et d'anecdotes, une invitation à aborder l'art dans l'intimité des artistes. L'Expresso de l'Art, un Podcast de Stéphanie Pioda. Production : Grigori Michel - Paris Curatorial / Montage : Jordan Ziouche – Manadona. Dans ce 1er épisode, l'Expresso de l'art rencontre Carlitos Cruz-Diez, le fils de Carlos Cruz-Diez. Nous sommes à l'atelier du Maestro comme on l'appelle toujours ici, et Carlitos nous plonge dans l'intimité de la vie familiale et artistique du clan Cruz-Diez, les deux étant liés. Il nous raconte aussi pourquoi la couleur est "quelque chose d'éphémère qui se produit dans l'espace", un "événement" et la quête de Cruz-Diez. © Photo Atelier Cruz-Díez, Paris, France, 2024 © Adagp, Paris 2024Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

¡Bienvenidos nuevamente a "Un Minuto con las Artes"! Iniciamos el 2024 con una entrevista muy especial. En esta ocasión, tenemos el honor de conversar con Edda Armas, poeta, psicóloga social, guía de talleres, promotora de iniciativas literarias y educativas, y fundadora de Dcir Ediciones. Dcir Ediciones es un sello dedicado exclusivamente a la poesía, creado en 2015 y que hasta la fecha cuenta con 14 libros en su catálogo. Una aventura poética en la que también participaron la hermana de Edda, Annella Armas, y el maestro Carlos Cruz-Diez, quien tuvo a su cargo la creación del logo que identifica y da nombre a la editorial. No se pierdan esta fascinante entrevista con Edda Armas, donde exploraremos su inspiración, sus proyectos literarios y mucho más. Esperamos tus comentarios

En 2023 se celebra el centenario de dos maestros del arte cinético. Jesús Soto y Carlos Cruz-Diez nacieron en Venezuela, pero fue en Francia donde trabajaron en la creación de esta corriente que removió las bases del arte moderno. Jesús Soto y Carlos Cruz-Diez fueron pioneros de lo que se denominó el arte cinético. Los dos nacieron en 1923 en Venezuela, y se mudaron muy jóvenes a París. La capital francesa fue determinante en el desarrollo de estos dos artistas, que trabajaron de forma distinta. Jesús Soto (1923 – 2005) se especializó en el movimiento, la tridimensionalidad, a veces con obras que el espectador puede atravesar, sus famosos “Penetrables”. Carlos Cruz-Diez (1923 – 2019), en cambio, se apasionó por color, considerándolo una situación efímera y en constante mutación.Ambos son referencias internacionales de una corriente que consideraba la obra de arte como una experiencia que se construye con el espectador.“Soto y Cruz-Diez son artistas que desarrollaron lo que hoy llamamos una estética del espectador. Es decir, que sus obras invitan al público a participar en la existencia misma de la obra. No con botones ni palancas, sino revelando el hecho de que el mínimo movimiento o cambio de perspectiva del espectador, produce una vibración, una mutación constante”, explicó a RFI Matthieu Poirier, especialista del arte cinético.El cinetismo es un arte de la inestabilidad y de la ilusión óptica que hoy bate récords en el mercado.“El arte cinético nació en los 50. Pero desde hace unos 15 años, ha habido un auge en el interés por parte del mercado, los museos y del público. Porque el arte cinético se inscribió en la continuidad de la abstracción y porque muchos artistas que nacieron en los 70 y 80, reivindicaron esa corriente, desarrollándola aún más: Eso es muy importante porque un artista se vuelve histórico en la medida en que influye en las generaciones posteriores”, concluyó Poirier.En París, muchas galerías, museos e instituciones poseen obras de los cinéticos venezolanos y de otros artistas. Entre ellas, la fundación Cherqui que dirige Mathias Chetrit, resguarda una importante colección de obras de esa corriente.“La posibilidad para el espectador de participar, de interactuar con la obra, gusta mucho al público, niños y grandes. Es como un juego y a la vez, una experiencia visual muy potente. En nuestra fundación, tenemos una obra de gran formato de Soto, hecha con 600 varillas metálicas de color. Es una obra que captura al público, incluso si para algunos puede ser desestabilizadora. Los cinéticos fueron verdaderos precursores, que comprendieron la importancia de la interacción, seis décadas antes de que aparecieran las redes sociales..! Hoy en día, los coleccionistas del mundo entero y los museos buscan esas obras”, expresó Chetrit.El centenario de los cinéticos Jesús Soto y Carlos Cruz-Diez se celebrará en Francia y Venezuela con diferentes exposiciones y conferencias.

Licenciada en Artes Plásticas de la Escuela de Artes de la Universidad Central de Venezuela, con estudios de maestría en Literatura Latinoamericana por la Universidad Simón Bolívar en Venezuela. Fue directora General del Museo Armando Reverón (1994-2001), del Museo de la Estampa y del Diseño Carlos Cruz-Diez (2001-2006), del Museo Alejandro Otero en Caracas (2006-2008). Y es miembro de la Asociación Internacional de Críticos de Arte (AICA), Capítulo Venezuela. Autora de varios libros, el pasado mayo se presentó en Miami 15 Flourishing Latin American Artists in Miami (15 artistas latinoamericanos florecientes en Miami). Un Minuto con las Artes, la Academia en tu Radio, con Susana Benko, Álvaro Mata, Humberto Ortiz y Rafael Castillo Zapata. Al aire por Radio Capital 710 AM el miércoles 7 de junio de 2023. ----------------- Sigue nuestro contenido a través de: ▸ Instagram → ⁠https://acortar.link/67DKb7⁠ ▸ Google Podcast → ⁠https://acortar.link/8ugV9Q⁠  ▸ Apple Podcast → ⁠https://acortar.link/nEcfJN⁠ ¿Qué te pareció esta entrevista? ¡Déjanos tu comentario!

Niño Josele, el enorme guitarrista flamenco, ojito derecho de Paco De Lucía, nos visita con su guitarra y su nuevo álbum “Galaxias” en el que han participado Chick Corea, Rubén Blades, Jorge Pardo o Rosario La Tremendita. El próximo domingo 10 de diciembre en el Auditorio Nacional de Madrid asistiremos al “Concierto Por Un Mundo Mejor” -, Concierto Solidario de Navidad organizado por Misiones Salesianas para proteger los derechos de los menores. El programa incluye la interpretación de diez composiciones de Juan Antonio Simarro, compositor, pianista, director y productor musical de cine, teatro, ballet y televisión interpretadas por la Orquesta Sinfónica Carlos Cruz Diez los beneficios de este concierto navideño irán destinados a proyectos que los misioneros salesianos llevan a cabo en los 134 países en los que están presentes. DISCO 1 NIÑO JOSELE & CHICK COREA Galaxias  DISCO 2 NO REPLY No somos hijos  DISCO 3 JUAN ANTONIO SIMARRRO CUARTETO DE CUERDA Nº1, 3er MOVIMIENTO  DISCO 4 JUAN ANTONIO SIMARRRO DIVERTIMENTO PARA UKELELE Y ORQUESTA DE CUERDA DISCO 5 JUAN ANTONIO SIMARRRO De Sol A Sol  DISCO 6 NIÑO JOSELE Caballo Andaluz DISCO 7 NIÑO JOSELE & RUBÉN BLADES No pasa nada DISCO 8 NIÑO JOSELE & ANDRÉS CALAMARO Ranchada de los paraguayos Escuchar audio

¿Por qué escuchar esta entrevista? Nelson es fotógrafo profesional, con estudios de fotografía desde los 14 años en el taller del artista Carlos Cruz-Diez en París. Fundó en el año 2002 la Organización Nelson Garrido (ONG), que funcionó hasta el año 2022 como una escuela de fotografía y centro cultural alternativo donde se expresaron sus métodos docentes. Nelson fue el primer fotógrafo venezolano en ser distinguido con el Premio Nacional de Artes Plásticas en el año 1991. Y en 1995 su obra fue premiada en el III Concurso Internacional de Fotografía Latinoamericana (Asfoto, Bogotá). Explora lo que tenemos para ti en nuestra página web: https://tramauniversity.org/ Síguenos en Instagram para estar al día con todas nuestras actividades: https://www.instagram.com/tramauniversity/ Regla #1: Ser autocrítico todos los días. Regla #2: Cuidado con la trampa: la rutina. Regla #3: Hay que ser realista pero siempre intentar alcanzar hasta lo imposible. Cronomarcadores 00:00:13 Presentación del invitado. 00:01:31 Primera experiencia artística con Carlos Cruz Diez, en París. 00:06:45 ¿Cómo pasa de hacer arte cinético a la fotografía? 00:13:20 ¿Cómo llega a Nelson a los pilares de su obra: sexo, muerte y religión? 00:24:35 ¿Cuál es la relación de Nelson con la religión? 00:30:00 ¿Cómo quisiera Nelson morir? 00:42:48 ¿Qué conexiones hay entre la obra de Nelson y la del fotógrafo Joel-Peter Witkin? 00:48:53 ¿De qué se trata la “agitación” que se refleja en su obra? 00:56:40 ¿Qué es la fotografía? 00:58:08 ¿Por qué hace Nelson fotografía? 01:01:00 ¿Qué caracteriza a una fotografía de una estándar? 01:06:26 ¿Por qué la periferia y no el centro? 01:12:00 Experiencia más recordada por Nelson en el ejercicio de la fotografía. 01:15:52 Claves para mantener un alto nivel de excelencia. 01:19:44 ¿Qué significa Venezuela para Nelson Garrido? 01:23:00 Palabras para aquél que busca el éxito.

En esta edición de La Cátedra del Pop, Luis Carlos Díaz conversó con el productor Joe Torres, acerca del documental "Free Color", que registró la obra inacabada del maestro Carlos Cruz-Diez. del arte óptico y el cinetismo, que consiste en liberar al color del soporte y la forma.

What you'll learn in this episode: The difference between art jewelry and jewelry by artists Why more collectors and jewelry enthusiasts are starting to appreciate artist jewelry How Elisabetta helps visual artists bring their first pieces of jewelry to life Why artist jewelry is a smart investment About Elisabetta Cipriani Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant wearable art projects. Since the opening of her namesake gallery in 2009, Elisabetta's pioneering vision has redefined the boundaries between jewelry and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 50 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The gallery's projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewelry Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani's jewelry collaborations are featured in From Picasso to Koons: The Artist as Jeweler, the international touring exhibition of artist jewelry curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco. Additional Resources: Instagram Website Photos: Available on TheJewelryJourney.com Transcript: Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Elisabetta Cipriani, founder and owner of the gallery Elisabetta Cipriani Wearable Art, a gallery of limited-edition jewels created by artists. The gallery has collaborated with more than 50 well-known painters and sculptors since its opening in 2009. Welcome back.    I remember years ago, even eight, nine years ago, I bought an artist jewel, and people just didn't understand why you would buy a jewel from an artist. In fact, I was listening to a panel once, and somebody said they wouldn't buy an artist jewel by Man Ray because it wasn't what he was known for. That really surprised me, because I think I would want a piece like that because it's so unusual. What changed?   Elisabetta: I think people are more knowledgeable now. They study more. I'm talking about art, not about jewelry. Even young collectors who want to start a collection, they are eager to learn more about the artist and the works. I think they are acquiring a stronger sensibility in work that is art. Can jewelry be art? Yes, if it's done by an artist. Also, when people see an art piece from an artist and they see a jewel from the same artist, they see the connection. The dialogue is the same; there is a continuity.   Before, people were probably seeing it as a decorative piece rather than a pure art piece. The traveling exhibition really helped because it went to New York, it went to Miami, it went to Venice, it went to Paris at the Museum of Decorative Arts, I think Brussels. It went everywhere, and she is still working on it. She wants to bring it to Brazil and a main city in Italy like Milan or Rome. She's working on it. So, people are seeing art as jewelry, and they understand that it's not decorative, but it's an art piece. It's collectable, and it is precious not because it's a jewel, but because it is an intimate aspect of an artist.    An artist, especially in the past, they didn't do it for a commercial purpose. They did it for themselves, for their friends, for their lovers. It was only later that, for example, Picasso had François Hugo, who was doing his gold plates. He asked Picasso if he could do those big plates reduced as small medallions to wear. That was a goldsmith who actually started the collaboration with the medallions with Picasso, GianCarlo Montebello in Milan. In the seventies, they started inviting artists like Man Ray, GianCarlo Montebello, Niki de Saint Phalle, Lucio Fontana to do jewelry as a commercial business, basically.   Then, apart from people seeing artist jewelry in museums, they also see us: galleries showing in the best fairs around the world, in New York, in Maastricht, in London or in Paris, the Basel Design Fair in Miami, and also auctions. At the auctions, the prices are crazy. I can't buy at an auction. If I look at something that I would love to buy, I'm there, but I already know that I can't reach that price, because it goes five times more than the estimated price.   Sharon: The Picasso medallion was at auction. I don't know what it went for before. I don't even know if it sold, but when Bonhams had its modernist jewelry auction recently, that was the centerpiece, that Picasso medallion.   Elisabetta: Yes, even Claude Lalanne, for example, was at a recent auction in Paris, and the prices—the estimate was 3,000-5,000 euros, and it sold for 70,000 euros. I have two Lalannes, thank god. These pieces, they grow in value; we all know that. For example, recently I collaborated with Carlos Cruz-Diez, one of the most important Venezuelan kinetic artists. He passed away a few years ago at the age of 91, so he had a great life. He was an amazing artist. He was a beautiful man, and we did a necklace together and a bracelet. With him, we split the editions. He took a certain amount of necklaces and a certain amount of bracelets. Mine sold out, and I had one left in another color, gold. I had a client coming to see the pieces, and I was surprised at the increase in price. When I asked him, “Can you update me on the price?” the new price was 40% higher. I never say this to my clients because I don't like it. You buy it because you love it, not because you want to make an investment, but it's obvious that's an investment because, after two years' time, it's 40% higher.   Sharon: Somebody once said that people buy jewels done by artists because the painting, the artwork itself, may be unaffordable, but this way they can buy something that's relatively affordable. Do you find that true? Do you find that people say, “I love this artist. I want a piece of his or hers”?   Elisabetta: First of all, my collectors are art collectors, so those who buy my jewelry are mainly art collectors or lovers of jewelry. Most of them, they buy the jewel because they have the art piece but they can't carry it with them around the world, whereas the jewel, yes, they can, and they love it. Of course, if I say it's $30,000, for them, it's nothing compared to how much they paid for the art piece by the artist. Art collectors, they understand the value of the piece. Even if there is no diamond, no precious stones, they know it costs that amount of money because it's made by that artist.    Sharon: Was opening your own gallery something you wanted to do for a long time?   Elisabetta: No, not at all. I started this business as a passion. I wasn't really thinking to become a gallerist or a dealer. I just wanted to do something I really loved, that I always wanted to do. Even better, because I linked jewelry with art. I'm continuing to work one-to-one with visual artists. It's something I love, to talk to artists. I'm a curator as well because I choose the artists that I love, as a painter, as a sculptor. I choose the artist with whom I would like to collaborate. I see an art piece; I don't see a jewel at all. I love what they create, and it happened like this spontaneously.   Sharon: You've mentioned there's resistance from the artists. Is it because they're surprised that somebody would ask them to do that? Do they feel like, “I don't do jewels; I do paintings”? What's their resistance?   Elisabetta: I must say I've only had a few turn-downs, artists that say, “No, I'm not interested. It's not what I do.” They don't see it as their language, so they say, “I'm not doing it.” This past year there were ones that said “no is no,” but there were two or three others who said “not now.” I understood in time that “not now” means they are too busy creating art works and going to museums, as I said before, and that they need to have a quieter moment to do this. It's really very challenging for them.    Imagine an artist who creates big sculptures. They work with their hands, with arms opened up. They also have to think about wearability. How can I translate that sculpture into something very small, in the same language? How can I translate the strength of a big sculpture into a miniature? It's difficult. It's even frightening, but I am good at reassuring them that once they come up with an idea, with a sketch, with a prototype, I'm good at helping to transform it into something wearable.    Sharon: What's the process? They say, “O.K., now's the time,” they sketch something and bring it to you and say, “What do you think?”    Elisabetta: Once they agree, I ask them to create a sketch or a protype, something. I need to start with their design. They give me the design which, thank god, I always like it. It would be difficult to tell them I don't like it. Every time I pray it's something nice, and thank god, it was always nice.    Then I bring the design to my goldsmith, who is in Rome, and I start the production, meaning I start a protype. We do casts and samples in silver, and once I'm happy with my goldsmith, once we get close to the design the artist has given me, I show the first model of the prototype to the artist. Then we make changes. It's back-and-forth communication and changing until the artist is 100% happy. Then we can start making the piece in gold or in silver. It depends on the artist, if he wants to do it in silver or in gold.    It's all up to the artist whether we make a small edition or a unique piece or a bigger edition. The maximum I work with is an edition of 12. I have a few where I have an edition of 20, but that's because they're made in silver and it's easier. Still, even if it's an edition of 20, there are limits depending on how big it is. I also have unique pieces. In any case, even if it's a limited edition, it's always handmade at the end. There isn't a stamp, a mass production. It's always the hand of the goldsmith who needs to modify it. They are the same within an edition, but not exactly the same. We keep the beauty of it as well.   Sharon: I don't mean to put you on the spot, but it's a question that nobody can answer definitively: what's the difference between art jewelry and jewelry by artists? For instance, when I think of art jewelry, art jewelry can be made of gold or silver, but it can also be made of wood and plastic and feathers. What is the difference between somebody saying, “I do art jewelry” as opposed to, “I'm an artist”? What's the difference?   Elisabetta: The difference, very obviously, is that art jewelry is made by someone who does only that, and artist jewelry is a jewel made by a visual artist, a painter or a sculptor that has nothing to do with jewelry. It's a classic experiment. It's more traditional in a way. I've never an artist-jeweler bring an experiment or feathers. It's not the material; it's the intrinsic thing, the complexity of the material, combining the classic with precious materials. It's too advanced for an artist to do that, I think.   Sharon: That's interesting. If they're not doing jewelry, if their métier is painting or sculpture, to come and say, “I want to make something that has plastic and gold or plastic and wood,” that is—   Elisabetta: And you can see the difference. Just yesterday I sold a piece to a well-known American collector. I didn't know about her. She sent me an article about her collection. She has a contemporary jewelry collection. I call it contemporary jewelry, quite impressive, but it's very different from an artist jeweler. I don't know; It's a feel. It is a little bit colder to me.   Sharon: Cold contemporary. There's so much beautiful contemporary jewelry, but it's done for the beauty of the jewelry in a sense.    Elisabetta: Yeah, I see artist jewelry being more sculptural, more two-dimensional.   Sharon: Do you see this as a growing field? Are more galleries coming online with this?   Elisabetta: There aren't many galleries. There are five in the world. It may happen that a person wakes up in the morning and says, “O.K., I'm going to collaborate with an artist,” and they do three projects with different artists and then they disappear. There are only five proper galleries who have a program, who show at fairs, who are around, but the interest is for sure on collectors.    I would be happy for more galleries to open. The more there are, the better the word is spread. It's important. We need quality, not quantity, so if they open, they should do it in a nice way. It would be a shame to work with an artist and create something that is not properly made.   Sharon: Do you ever have artists come to you and say, “I'd like to do some jewelry”?   Elisabetta: Not visual artists.   Sharon: No?   Elisabetta: Not sculptors and painters. Jewelers? Yes, many, because I have two sections in my gallery. One is what I specialize in, which is artist jewelry. A few years ago, I opened up the gallery with jewelers who have a very strong sculptural approach when they create jewelry. For me, both of them are artists. Even if you're not a painter and a sculptor, you're indeed an artist as well, because you're creating something. So, a few years ago—I don't remember if it was before Covid—I launched this section, which is called EC Lab.   Sharon: I'm sorry; what is it called?   Elisabetta: EC Lab.   Sharon: EC Lab, O.K.   Elisabetta: You know about it.   Sharon: I've seen it. I didn't realize what it was. I've seen it on your website, yes.    Elisabetta: There are great artists there. There's Ute Decker; there's Joy BC; there's Gigi Mariani; Leonid Dementiev; John Moore. They are artists to me. Some of them actually create small sculptures. That is what they do for a living. It's not painting, it's not traditional sculpture, but their approach is sculptural and so unique that, for me, I don't see the difference between artist jewelry and contemporary jewelry, if you want to call it that. It's quite successful, and I enjoy seeing these artists within the context of artist jewelry and identifying them as artists.    Sharon: Interesting combination. I could see why that would work out, and that it's popular because it's not retail. You're not going to walk into a mall and find them.   Elisabetta: No. Actually, most are by appointment. Not everyone can come and ring the bell and come upstairs. You need to make an appointment because it's exclusive here, and I protect them. They're like my little children.   Sharon: So you have to do it by appointment. It's not like somebody walks in off the street.   Elisabetta: The gallery is always open, but I want people to make an effort to make an appointment.   Sharon: Is that the way it's always been?   Elisabetta: Yes.   Sharon: That's interesting. Elisabetta, thank you so much. I would love to enter your gallery. Thank you so much for joining us today.   Elisabetta: It's been a pleasure.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: The difference between art jewelry and jewelry by artists Why more collectors and jewelry enthusiasts are starting to appreciate artist jewelry How Elisabetta helps visual artists bring their first pieces of jewelry to life Why artist jewelry is a smart investment About Elisabetta Cipriani Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant wearable art projects. Since the opening of her namesake gallery in 2009, Elisabetta's pioneering vision has redefined the boundaries between jewelry and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 50 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The gallery's projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewelry Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani's jewelry collaborations are featured in From Picasso to Koons: The Artist as Jeweler, the international touring exhibition of artist jewelry curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco. Additional Resources: Instagram Website Photos: Available on TheJewelryJourney.com Transcript: For a long time, jewelry created by visual artists was considered lesser than artwork made in the medium the artist was known for (compare the price of Man Ray jewelry to the price of Man Ray photographs, for example). But in recent years, both jewelry and art collectors have realized the significance of artist jewelry, due in no small part to Elisabetta Cipriani. Through her gallery, Elisabetta Cipriani Wearable Art, Elisabetta collaborates with leading visual artists to create limited edition artist-made jewels. She joined the Jewelry Journey Podcast to talk about what inspired her to combine fine art and jewelry; the process she uses to work with artists; and why jewels by artists should be a part of any jewelry lover's collection. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Elisabetta Cipriani, founder and owner of the gallery Elisabetta Cipriani Wearable Art, a gallery of limited-edition jewels created by artists. The gallery has collaborated with more than 50 well-known painters and sculptors since its opening in 2009. We'll hear more about Elisabetta's jewelry journey today. Elisabetta, welcome to the program.    Elisabetta: Hello, Sharon. Thank you for having me.   Sharon: So glad to have you. Tell us about your jewelry journey. Did you study jewelry as a young girl? Did you like glittery things? Tell us about that.   Elisabetta: Basically, I didn't study jewelry when I was in university. I never studied jewelry; I only had a big passion for traditional jewelry. I'm Italian. I come from Rome, and there is this Italian tradition of having beautiful jewelry. Especially in the 80s, women were going out with parures, with the necklaces and bracelets. They were taken out from the safe for special occasions. I have memories of me as a young girl on my mother's bed with her jewelry on the bed, dressing up for various events and weddings. I was touching them and looking at them from the back and the front, and I was trying them on and asking her all the time, “Please, can I have this when I'm older?” I was playing with them while she was selecting the right piece for the right event. For me, when she went out, it was the best moment. It wasn't like playing with a doll. It was like, “Oh my god, beautiful jewelry. I can have a look at them again.” I've always had this passion.    I have a background in jewelry in terms of how to make a jewel. I didn't study the history of jewelry. Of course, now I know about it because I read and studied a little bit. I'm not an expert; I know what I'm talking about, but I never had the occasion to study in depth in university, for example. When I finished school, I wanted to study jewelry, to create jewelry, and my father said, “There's no way you can do that. You need to do a proper degree.” I took a gap year, and I remember that I did an evening course on pearls and diamonds. It was really advanced, and I didn't understand much of it, but I ended up doing history of arts, which is now all connected.   After university, I worked in a museum of contemporary art in Rome called MACRO. It's a state museum for contemporary art in Rome. I worked there for three years as co-curator. I had the best experience of my life because I met the most important artists the museum was inviting to have their exhibitions there. How old was I? I was 23 years old, and for me, it was natural to talk to a famous visual artist like Tom Wesselmann, who passed away, or Cecily Brown, Vik Muniz, Tony Cragg. For me, it was natural to have a conversation with them and go to their artists' studio with the director of the museum to select the artworks for the exhibition. I learned how to move in the world of art with the artists. I was really comfortable being with them, but deep in my heart, I always had this love for jewelry. I was wearing jewelry from my mother and grandmother that they were giving to me as gifts. I always kept it as a passion.   I moved to London in 2005, and I worked for an art gallery. I left Rome because I wanted to grow and be independent and learn the art market, how you sell an art piece, rather than being a curator. Then I learned about jewelry by Picasso and Man Ray, and I thought it was an interesting topic to follow and learn about. Then there was Louisa Guinness. I used to work for the husband of Louisa Guinness, Ben Brown. At that time, I think it was two years since she had started her business, and she had one kid after another. She asked me to bring the cabinet of jewelry to the art fairs, so I was bringing this cabinet with Picasso jewelry and Kapoor jewelry. It was 17 years ago. I remember there was an interest in artist jewelry, but not as much as today. I was selling the pieces. People were seeing them more as jewelry back then, sculptures by artists. It's weird how things have changed. The perception is that what you are buying or owning is not a jewel, but it's an art piece you can wear by a visual artist.    I worked for Ben Brown for three years, and then I got married. When I was pregnant, I said, “That's it. I'm not going to continue working for the gallery. I want to work independently. I'm going to open my own business.” I started an artist jewelry gallery. I invited the artists I met at the Museum of Contemporary Art in Rome and asked them to work with me. At the beginning, they were very supportive. Most of them said yes. One didn't say yes, but I'm still in touch and asking him if he would like to do a project with me. I've been waiting 12 years and he hasn't come back to me yet. He didn't say no. They say they are busy with their art works, with their museum shows. An artist needs to be free mentally and needs the time to sit down and work small. You might think it's straightforward for an artist to do a wearable art piece, but it's not something they typically do. My first collaboration was with Tatsuo Miyajima, a Japanese artist. He works with LED. He's a very established sculptor from Japan.   Sharon: What is his name? I'm not familiar with him.    Elisabetta: Tatsuo Miyajima. If you want, I can send you his email.   Sharon: That would be great. So, he's very established. What was his reaction when you talked with him?   Elisabetta: This was in 2009. He was surprised at the time that someone would propose something so unusual. He had never done a jewel, so it was also a challenge for him, and he agreed. He sent me an LED from Japan. Basically, it's a digit with numbers that count from one to nine or nine to one. I have it here. It represents the continuation of life in Buddhism. It's never zero. This LED has been mounted inside a ring with three colors: rose gold, white gold and yellow gold. It's a very complicated ring to put together. When you close the ring, the ring turns on and you see this LED that counts from one to nine. Whoever buys the ring can choose the counting speed, from one second to five minutes, because you decide how long you want your life to move on.    Actually, a museum purchased this piece for the museum collection. The museum is called the Slager Museum in Hertogenbosch. They did a beautiful exhibit called “Private Passion” many, many years ago, and they bought the Miyajima ring and a few other pieces. It was my first museum purchase.   Sharon: How exciting.   Elisabetta: It was very exciting. My first project was with Tatsuo Miyajima, then Atelier Van Lieshout, then Tom Sachs. I only had three pieces, and the museum contacted me to go to Holland and bring this jewelry, these small pieces to show them. I was very pleased with it.   Sharon: Wow! You're just starting your own business.   Elisabetta: When I look back to how I started and with the resources I had, it's incredible what I've done in the past 12 years. I should say to myself more often that I should be proud of myself. Normally I don't say those things. I always move forward, and I never stop and say, “Well done, Elisabetta.” Sometimes I need to stop and say it.   I'm inside my husband's gallery, Sprovieri. We are in Mayfair. When I started in 2009, my husband only had a piece of the gallery. Ten years ago, he expanded and got another space which is linked to this one. When I started, he gave me a shelf from his library. So, I had this shelf and then he said, “O.K., you can take this space.” It was a shelf like this. I think it was light blue or grey blue; I don't remember which color. I put my three little jewels on it. So, I had this shelf with these three jewels, and I remember Diane Venet, the most important artist jewelry collector in the world, coming to visit me to see my new projects. I was young; everything was new. She bought the Miyajima ring and the Atelier Van Lieshout piece. That's how I started from my little shelf.    Then I took a small space from the gallery. In 2019, when I celebrated the 10-year anniversary of my business, I took this space here, which is very nice. It's always inside my husband's gallery, where he sells art. It's very nice, because when people come to see the exhibition of an artist, then they come here and discover the most intimate aspect of an artist, which is a jewel.   Sharon: How did Diane Venet know that you even existed there? Were you advertising? How did she find out about you if you only had three pieces?   Elisabetta: When I was working from Ben Brown and bringing this jewelry to the fairs, I spoke to her a few times. I went to see her exhibitions because I was starting to become passionate about artist jewelry. That's how I learned about artist jewelry. So, I went to her. I think her first exhibition was in—I don't remember the city in France where she first showed her collection, but she brought this exhibition to the MAD in New York. I kept in touch with her, and she came to visit me. After a few years, when she opened her exhibition at the Museum of Arts and Design in New York, she invited me to talk with her and Didier and Marc Vendome in this huge stadium about my projects.    In any case, I continued inviting artists to work exclusively for me worldwide. I had a very successful project with Giuseppe Pennone; he's an artist from the arte povera movement. He created this beautiful necklace called “Feuille,” which means leaf, made in bronze and pure gold. The necklace is basically bronze where it's rolled into a leaf, and the artist's hand is imprinted on the leaf because his work is about the connection between nature and the person and the human. It was a very successful piece, and I brought it to my first fair in Paris.    The fair was in 2011 or 2012. It was my first fair. At the fairs, there's always a prize for the best piece in the fair or the best designer. At that fair, there was a prize for the best piece. I was not even thinking about the prize. For me, I was like, “Oh my god, it's my first fair. How do I do this?” I was panicking. Then all of a sudden, the director of the fair came to my booth and said, “Congratulations, you've won the prize.” I'm like, “Which prize?” I won the prize for the best piece in the fair with the Feuille necklace. The prize was basically that the Museum of Decorative Arts in Paris would purchase the best object of the fair and put it in the collection of the museum.   Sharon: That's a high bar to pass. You surpassed it.    Elisabetta: Exactly. There were dealers there who had 40 years of experience. I had just arrived in their world. That piece sold out in less than six months, which is quite unusual for an artist jewel, especially back then. Now, things are quicker. I remember when I started, I had an inquiry once a month. Now, I've got 10 inquiries a day for prices from people all around the world. I don't know how they know about me because I'm so niche in field. I think this is the power of the virtual world, that people browse online and discover. Maybe it's actually thanks to Diane Venet, because she's bringing her collection around the world and people are even more knowledgeable about the subject matter. They might see pieces that come from me, so maybe it's because they've seen it in Diane's exhibition.

Listen to the 58th edition of Free City Radio, with voices from a conference co-hosted with Alternatives, we hear from : Javiera Araya, La Olla de Chile Gisela Frias, Place de la Dignité Sibila Sotomayor, LasTesis Collective This is the write-up on the event, the accompanying music is by Nicolás Jaar of @otherpeoplerecords During the "social outburst" of October 2019, Chile reactivated its political and social life collectively throughout its territory. There was an intensification of feminist mobilization, deployed through a diversified political repertoire, including protest performance. “And the fault wasn't mine, not where I was, not how I dressed [Y la culpa no era mía, ni donde estaba, ni como vestía] was sung all around the country and in other continents, by thousands of women denouncing gender based violence. Without any formal or institutional direction and mainly through mass protests, the shared experience of oppression was enough for the song to spread around the country, capturing the feminist demands that, along with other movements, challenged the systemic violence and structural oppression of a constitution framed in the context of the Pinochet dictatorship, successfully forcing the Chilean state into having a popular referendum that resulted in a vote to redraft the Chilean constitution. This feminist mobilization was interwoven with other transformative projects, in particular at community level, with the critique of neoliberalism, the narrative of the market, and structural inequalities that had been manifesting themself in our country for a (too) long time. The pandemic that a few months later threatened the livelihoods of most of the population, particularly of the urban poor and working class communities, was also the context for political organization and resistance. Since delayed and intricate cash transfers programs implemented by the government were not enough to help families get by during the crisis, local communities organized collective kitchens in the major cities of Chile. These kitchens, locally and autonomously managed, fed people during the most difficult months of the pandemic, distributing meals in the territories. Beyond the diversity in the political views of people organizing these kitchens, they were all driven by principles of solidarity and mutual aid. They were all led by women. Almost two years after the uprising, what does it mean to challenge neoliberalism in Chile today? What kind of grassroots movements took shape in these last years? What role does feminism play in these movements and in the population's strategies for survival? How can these movements intersect with the institutionalized and formalized constitutional process? Free City Radio is hosted by Stefan @spirodon Christoff Accompanying art work by Carlos Cruz-Diez.

Escrito y narrado por Susana Benko

Es un honor para nosotros el tener hoy en Ciudad H a Mari Carmen Ramírez, curadora de arte Latino Americano para el Museo de Fine Arts Houston y directora del International Center of the Arts of the Americas.Mari Carmen nació y creció en Puerto Rico y desde muy pequeña estuvo inclinada al mundo del arte, hoy nos platica qué es la curaduría, cómo disfruta el recorrer un museo, lo controversial que puede ser la apreciación del arte y su impresionante carrera, en donde con una gran pasión promueve y da a conocer a grandes artistas latinoamericanos a Estados Unidos y al mundo.Mari Carmen ha sido nombrada como uno de los 25 Hispanos con más influencia en América en la revista Time. Ha recibido infinidad de premios como el Peter Norton Family Foundation Award por Excelencia en Curaduria, el premio anual de excelencia en curaduría del centro de estudios de curaduría del Bard College y la Beca en curaduría Getty entre muchos otros.Mari Carmen ha sido curadora de muchas exhibiciones muy importantes como “Color in Space and Time” de Carlos Cruz-Diez, The Body of Color de Gego y también, Inverted Utopias: Avant Garde Art in Latin America en el 2004 por la cual recibió el premio de la Asociación Internacional de artes criticas como la mejor exhibición temática a nivel nacional en Estados Unidos, entre muchas otras mas.Platicamos de Houston, de México y de la nueva exhibición de Ernesto Neto, SunForceOceanLife que no se pueden perder.Muchas gracias a Mari Carmen por su tiempo y por una platica en la que aprendimos mucho de todo lo que hay detrás del mundo del arte que tanto nos gusta en Ciudad H.Escuchen la entrevista completa en #spotify o en Apple Podcasts.Si conocen a alguien que le pueda servir este episodio se lo pueden enviar por Whats App desde Ciudad H Podcast en Spotify.ICAA International Center of the Arts of the AmericasMuseo de Fine Arts HoustonNueva exhibición: SunForceOceanLifeInstagram: @ciudadhpodcastEmail: ciudadhpodcast@gmail.comFacebook Group: Ciudad H PodcastAni Priego: @ana_beatMariana Cano: @yomarianablog

"Ejercer el caos es prevenir la crisis" - Maickel Melamed. Nuevo episodio donde entrevisto a Maickel Melamed sobre vivir con virtud, superación, cómo trascender en la vida y alcanzar cosas prácticamente imposibles. una conversación donde desgranamos una buena parte de la vida de Maickel y profundizamos en temas como la gestión del cambio, el alto rendimiento, liderazgo personal, la verdadera motivación, la crisis actual, el caos y hacer que las cosas sucedan. "Me he parido a mí mismo" Esta es una entrevista al superhéroe, sabio, disruptor y agente del cambio, Maickel Melamed sobre liderazgo, revolución, caos, autenticidad, gestión del cambio, autoliderazgo, determinación, autodisciplina, autoconsciencia y ser los maestros de nuestra vida y nuestra realidad. Una conversación sobre la grandeza del ser humano en su máxima expresión. Maickel es un auténtico agente del cambio, líder y portavoz de el impacto positivo.  "Todo puede ser para ti siempre y cuando te lo permitas" - Maickel M. "Somos trillones de células en evolución" - Maickel Melamed. Índice de contenidos Hitos vitales. Reconstrucción y potenciación. Aprendizajes del confinamiento. Aprender a ser humanos. Preparación mental y emocional. Claridad mental y enfoque. La experiencia trascendental de los maratones. Motivación y felicidad. Grandes lecciones del alto rendimiento. Preguntas de fogueo rápido. "No nos llevemos nada" Notas y recursos del podcast Sitio web de Maickel. Instagram. Facebook. Twitter. LinkedIn. Carlos Cruz Diez. "Estamos vivos" - Maickel Melamed.

Learn about Carlos Cruz-Diez and his unique use of color! Be sure to subscribe, download, and share with friends Social Media: @artwatchpodcast Patreon: www.patreon.com/artwatchpodcast

Escrito y narrado por Susana Benko Fotografía tomada del documental "Carlos Cruz-Diez: Life in Color, Color of Life" realizado por Cruz-Diez Art Foundation, dirigido por Fausto Alemán y producido por Adriana Cruz Delgado.

Trabajo, dedicación y pasión; podrían ser las palabras para definir a Donaldo Barros. Este gran artista venezolano de 38 años de edad, el cual trabajó de la mano de Carlos Cruz-Diez, nos comenta un poco de su filosofía de vida y comó todo lo que hace es movido por lo que siente; demostrando que cuando se pone empeño y dedicación, todo es posible. Si quieres conocer un poco más sobre Donaldo, puedes conseguirlo en las siguientes redes: Instagram: @donaldobarros / @doba_art Twitter: @donaldobarros   Para obtener contenido exclusivo y cursos de finanzas y emprendimiento GRATIS visítanos en https://myval-u.com/ Music by: https://www.purple-planet.com/

El emblemático barrio de La Défense, en el oeste de la capital francesa, se adorna con obras de artista contemporáneos en el marco de Les Extatiques. Recordaremos a la directora paraguaya Renate Costa, quien falleció en París, autora de un documental que marcó las conciencias, « Cuchillo de palo » (2010). Escucharemos al apuesto cantante francés Benjamin Biolay, quien regresa con « Grand Prix , su último disco. El barrio financiero de París, La Defensa, vuelve a asociarse al arte plástico contemporáneo en el marco de Les Extatiques, un festival al aire libre que llega a su tercera edición. La idea es simple : poner obras de arte, muchas veces monumentales, en el espacio público, en medio de ese barrio que a veces puede parecer frío, pues allí están concentrados bancos e instituciones financieras. Entre los artistas presentes este año, el colombiano Iván Argote quien trajo una escultura de gran formato, llamada "Strenghtlessness". La obra está inspirada en el emblemático obelisco egipcio que se encuentra en la Plaza de la Concordia de París desde 1830 "Strengthlessness” es un obelisco desinflado y en resonancia con lo que hemos visto últimamente sobre los monumentos históricos. “Esta obra es una reflexión sobre las representaciones coloniales y de poder. El verdadero Obelisco viene de Luxor. La historia se hizo de una cierta manera pero hoy en día podemos tener un retorno crítico sobre esos eventos, monumentos y lo que representan. Es mi respuesta ante esos símbolos de poder, y me encanta que esté aquí en La Défense, que es un lugar de poder económico”, declaró a RFI Iván Argote. "Les Extatiques" de La Defensa podrá verse toda una temporada, hasta el 4 de octubre, y este año otros tres artistas latinoamericanos. La exposición este año lleva port título "Nada que ver". “Es un título provocador. En realidad se pueden ver muchas cosas pero de una manera distinta. El venezolano Carlos Cruz Diez, por ejemplo, nos invita a observar el paisaje y los rascacielos de La Defensa a través de su aro transparente de colores, a través de los cuales podemos ver de otra manera. El mexicano Héctor Zamora instaló un laberinto de ladrillos que proyecta sombras y formas impresionantes, gracias a los rayos del sol, mientras que el viento genera sonidos como si fuera un instrumento”, explicó a RFI el curador de la muestra, Fabrice Bousteau. Muere Renate Costa La cineasta paraguaya falleció en París a los 39 años, luego de luchar durante varios años contra el cáncer. Costa fue la autora de un documental transgresor que marcó un hito hace 10 años. "Cuchillo de palo" relata cómo la familia paterna de la directora ocultó que su tío estuvo en las listas de homosexuales, durante la dictadura de Stroessner en Paraguay, y que fue detenido y torturado. Una historia de amor y de una de perfumes en los estrenos de cine Llega a las salas oscuras "Jumbo" de Zoé Wittock. Una historia de amor y fantasía sobre una joven tímida y desadaptada socialmente, quien trabaja como cuidadora de noche en un parque de atracciones. Jeanne vive una relación muy estrecha con su madre. Un dúo de personalidades opuestas que entra en conflicto cuando Jeanne se enamora de una atracción mecánica. En un registro más humorístico, se estrena “Los perfumes”, la historia de una afamada creadora de perfumes francesa y su relación de trabajo con su nuevo chofer. Relación que llevará a un cambio de los dos personajes. “Les Parfums” de Grégory Magne está protagonizada por la conocida Emmanuelle Devos. "Grand Prix" de Benjamin Biolay Cerramos nuestro programa con lo más reciente de Benjamin Biolay. El cantante francés, acaba de sacar un nuevo disco Grand Prix, con temas en un estilo rock, pero también baladas de amor, que Biolay interpreta con gran sensibilidad. Es el caso de “Comment est ta peine?”.

Una conversación sobre el arte integrado a la calle, la fundación Cruz Diez, la cultura y un paseo por la vida del Maestro Cruz Diez, transcurrieron estos 32 minutos de alimento para el alma. Ojalá lo disfruten tanto como nosotros. #DalePlayMiami se transmite por VDM Radio de Lunes a Viernes de 8 a 10 AM. vdmradio.com o descragando nuestra app para dispositivos móviles.

2010/03/10 "Arriba Miami" transmitido por Exitos 107.1FM Co-Host invitada la actriz y presentadora Nadia Rowinski. Invitados especiales, el Productor Ejecutivo del documental "Free Color" sobre la vida y obra del maestro Carlos Cruz-Diez,Gabriel Cruz Mendoza; y los integrantes del grupo Bacilos.

Escrito y narrado por Susana Benko

El reconocido museo parisino expondrá a partir del sábado una instalación del artista venezolano. L’onde du midi está compuesta por 128 tubos metálicos suspendidos, que ejecutan una sutil coreografía. El artista conversó con RFI sobre esta obra con la que se convierte en el primer latinoamericano en crear una instalación perenne para el Louvre. “¿Qué más podría soñar un artista? El Louvre es un templo del arte y yo me siento profundamente honrado”. Así respondió Elías Crespín, sonriente, cuando le preguntamos por el insigne pedido que recibió del que muchos consideran el museo más importante del mundo. Allí, en medio de las miles de obras maestras y objetos invaluables que resguarda el Museo del Louvre estará L’onde du midi, (La onda meridiana o meridional) una instalación cinética de 10 metros de largo, compuesta de 128 tubos negros y azules, suspendidos sobre la escalinata sur, en el ala Sully. El conjunto flota pero también ejecuta un baile lento, pasando del orden al caos, en una coreografía de media hora de duración dirigida por un programa informático desarrollado por el artista. Esa es la especialidad del caraqueño Elías Crespín quien, explica, estuvo siempre en contacto con el arte cinético. En Venezuela, este movimiento tuvo ilustres exponentes, desde los años 50, entre ellos Jesús Rafael Soto y el recientemente desaparecido Carlos Cruz Diez, quienes vivieron y trabajaron en París, e inundaron con numerosas obras el espacio público en la capital venezolana. Para Crespín, el contacto con el arte y el cinetismo se hizo también en el seno de su familia. Nieto de dos conocidos artistas de origen alemán, Gego y Gerg Leufer, Crespín sin embargo hizo estudios en la UCV y se graduó como licenciado en computación. Pero un cubo cinético de Soto expuesto en el Museo de Bellas de Caracas lo llevó hacia la creación artística, mezclando programación, funciones matemáticas y formas geométricas. “El arte cinético siempre trabajó con las posibilidades del ojo para suscitar la sensación de movimiento o de cambio, explica. Yo me planteé que las obras o las formas estén verdaderamente en constante movimiento”. Dos años después del impacto que le produjo aquella obra de Soto, Crespín puso la primera piedra de su propuesta cinética: Malla electrocinética I, que se expuso en la ciudad de Cabudare. Esa fue su primera incursión en el mundo del arte, y allí se ha mantenido. En 2008, Crespín se trasladó a París, donde hoy tiene un inmenso taller en el que combina informática, geometría y baile. Porque sus obras flotan en el aire definiendo coreografías hipnóticas. Pueden ser líneas, círculos, cuadrados, rectángulos o elipses. Como haría un bailarín sobre un escenario, cada una de sus instalaciones ejecuta “pasos”, movimientos que invitan a la contemplación. "No se puede apreciar la calma si no se ha pasado por el caos"», dice filosófico Crespín, mientras observa una de sus obras dilatarse y retraerse. En 2018 impresionó con un imponente obra hecha de tubos color naranja, Grand Hexanet, que formó parte de la exposición Artist & Robots, presentada en el Grand Palais. Esa obra llamó la atención de Jean-Luc Martinez, el director del Louvre, quien poco después le llamó para hacerle la propuesta de su vida: concebir una obra a la medida del gran museo parisino. Un año después, el Louvre presenta con gran pompa la fascinante L’onde du midi, en el marco de la celebración por los 30 años de la Pirámide del Louvre. De esta forma, el venezolano se une a otros grandes artistas contemporáneos que han dejado su huella en el antiguo palacio de los reyes de Francia: Anselm Kiefer en 2007, François Morellet y Cy Twombly en 2010. Pero Crespín no se detiene ahí. En su taller pululan otras obras, prestas a viajar a China y México, mientras que en París se abrirá una exposición solo, en paralelo a la Onda Meridional y su silencioso baile.

Venezolanos Excepcionales. Cap 4.

Venezolanos Excepcionales. Cap 3.

En este episodio converso un poco sobre el legado del maestro Carlos Cruz-Diez más allá de su obra. Un pequeño tributo para resaltar lo que lo hacía grande: su humildad, energía, buen humor y pasión inagotable por su trabajo. Tomando este ejemplo, les comento cómo podemos adaptarlo a nuestras vidas y cómo el tiempo juega a nuestro favor para lograr las metas que nos tracemos porque ¿has pensando a qué te dedicarías el resto de tu vida así no te paguen 1 centavo? El maestro trabajó hasta sus 94 años. ¡Espero este episodio sea de beneficio para todos! REFERENCIAS: - Entrevista a Carlos Cruz-Diez por Adobe Creative https://www.youtube.com/watch?v=jW9yP2GuTms SIGUENOS: instagram.com/deliandgraphics twitter.com/deliandgraphics instagram.com/threz_ twitter.com/threz_

[Episodio 110] El ilustrador venezolano Eduardo Sanabria, conocido también como Edo Ilustrado, se une a Zona Pop CNN desde Miami para hablar de la vida y legado del maestro Carlos Cruz-Diez, uno de los artistas más influyentes en la corriente del cinetismo, y sobre las caricaturas que realizó en tributo a Cruz-Diez que se hicieron virales. Carlos Cruz-Diez falleció en París el sábado 27 de julio a los 95 años. Support the show.

American opera singer, Tamara Wilson withdrew from her final ever performance of Aida at the weekend. She was scheduled to be conducted by Placido Domingo at the Arena Di Verona but announced on Instagram that her absence was due to illness. But it comes after her public opposition to the use of ‘blackface’ for the role - heavy "chocolate brown" make-up. Tamara speaks out about the incident and why she feels the industry and Aida needs to change. New Zealand writer Fiona Kidman discusses her new novel This Mortal Boy, based on the true story of a young Northern Irishman, Albert Black, who emigrated to Wellington in 1953 to seek work. Just two years later at the age of 20 he was facing the prospect of execution by hanging after an incident in a café that led him to be described as the ‘Jukebox Killer’. Some people just dread Shakespeare; they never 'bond' with him. Sean Allsop has always felt alienated by The Bard whilst simultaneously feeling that maybe he is missing out. So we sent him along to the home of authentic Shakespeare productions - London's Globe Theatre - to ask the experts and find out how a novice should approach Shakespeare for the first time with a production of Henry IV part 1. Kinetic art pioneer Carlos Cruz-Diez has died in Paris at the age of 95 Presenter: Samira Ahmed, Producer: Oliver Jones

Esta entrevista se realizó en la primera temporada  de entrevistas para Onda en  Los Imposibles en Noviembre de 2005. Carlos Cruz-Diez es uno de los máximos representantes del op art (arte óptico) a nivel mundial. Nació en Caracas, Venezuela, el 17 de agosto de 1923 aunque vive y trabaja en París desde 1960.Su investigación ha aportado al arte una nueva forma de conocimiento sobre […] The post Carlos Cruz Diez en Los Imposibles con Leonardo Padrón appeared first on Onda La Superestación.

Back from a Deep Dive in Savannah, Joe and Matthew reflect on their visit and their conversation with curator Rachel Reese. Stops at The SCAD Museum of Art and the Jepson Center – part of the Telfair Museums – are included. Exhibitions by Jose Parla, Carlos Cruz-Diez, and Chiharu Shiota, are discussed. The day’s audio […] The post . . . But, That’s Savannah | Episode 18 appeared first on Brain Fuzz.

L’oeuvre de Carlos Cruz-Diez se présente comme une suite d’expérimentations sur la couleur conçue comme une réalité autonome, dépourvue d’anecdote, de forme et de support. Curateur et historien d’art, Ariel Jimenez a rassemblé dans Carlos Cruz-Diez in conversation with Ariel Jimenez les dizaines d’entretiens réalisés avec l’artiste autour de sa quête pour dématérialiser la couleur.

L'oeuvre de Carlos Cruz-Diez se présente comme une suite d'expérimentations sur la couleur conçue comme une réalité autonome, dépourvue d'anecdote, de forme et de support. Curateur et historien d'art, Ariel Jimenez a rassemblé dans Carlos Cruz-Diez in conversation with Ariel Jimenez les dizaines d'entretiens réalisés avec l'artiste autour de sa quête pour dématérialiser la couleur.