Podcast appearances and mentions of Tina Modotti

Hörbahn on Stage: Ursula Haas liest: "Zerzauste Tage" – anschließend spricht Uwe Kullnick mit der Autorin über Ihre Tätigkeiten und Ihre Aufgaben als LibrettistinLesung Ursula Haas (Hördauer ca. 26 min), Gespräch (Hördauer ca. 50 min)Moderation Uwe KullnickDas schriftstellerische Schaffen von Ursula Haas ist durch Lyrik geprägt. Davon zeugen die Tagebuchaufzeichnungen »Zerzauste Tage. Ein Jahr der Wirklichkeiten«, die gefühlvolle Einblicke in das Weben und Streben einer Poetessa und Librettistin geben. Leitmotiv sind Reflexionen über das Schreiben und den Mut, der dazu gehört. Die Aufzeichnungen setzen am Pfingstsonntag 2018 ein und enden Pfingsten 2019. Die Tage, die dazwischen liegen, sind zerzaust, sie verbinden Alltagseindrücke ebenso wie existentielle Ereignisse – etwa das Abenteuer Kuba-Reise im Januar 2019 – und Erkenntnisse eines randvollen Daseins mit poetischer Sprache. So auch das große Ereignis ihres Lebens: die Begegnung mit Rolf Liebermann, der ihr nach der Lektüre ihres Romans »Freispruch für Medea« den Auftrag anvertraute, ein Libretto zu verfassen: Beginn einer erfolgreichen Arbeit als Librettistin. Ursula Haas hat deutsch-böhmische Wurzeln und wuchs in Düsseldorf und Bonn auf. Nach dem Studium der Germanistik, Geschichte und Pädagogik in Bonn und Freiburg lebt und arbeitet sie in München. Zu ihren Arbeiten gehören Lyrik, Erzählungen, Romane, Essays, Opern- und Lieder-Libretti sowie musikbegleitende Texte zu konzertanten Opernfassungen und Theaterstücke. Zuletzt erschien 2018 in der edition bodoni ihr Gedichte- und Poesieband »Wortfisch im grünen Aquarium«.  Ursula Haas: Ich bin im Krieg in Tschechien geboren, wuchs in NRW auf und lebe seit langem in München. Trotz Germanistikstudium schreibe ich seit gut 20 Jahren literarische Bücher. Mein Medea-Roman war der erste von einer Frau geschriebene! Er brachte mir auch insofern Glück, weil ich durch ihn zum Schreiben von Musiktexten (Libretti) kam. Daraus entstand z.B. die Medea-Oper mit der Musik von Rolf Liebermann, die 2001 in der Pariser Oper aufgeführt wurde. Mein Roman "Drei Frauen" von 2009 beschäftigt sich mit drei Künstlerinnenbiografien. (Camille Claudel, Tina Modotti und Lenka, die meinem Leben nachgeht). Siehe die Kritiken bei Amazon! Mein ebenfalls 2009 erschienener Lyrikband " Ich kröne dich mit Schnee" bekam 2010 den Nikolaus-Lenau-Preis. 2014 erschien im A1 Verlag der Band mit Erzählungen "Busenfreundinnen. Geschichten zu Lust und Brust". 2018 der Gedichte -und Poesie-Band "Wortfisch im Grünen Aquarium" (edition bodoni).2020 das Tagebuch "Zerzauste Tage. Ein Jahr der Wirklichkeiten" (edition bodoni).Poetisches Schreiben bestimmt mein Leben und immer wieder die Arbeit für Musiler zu schreiben wie 2020 für den Komponisten Silvan Loher über den Sommer am Rheinfall für das Rhyality immersive Art project.Schauen Sie doch auf meine Website www.poetessa.de. Dort erfahren Sie nicht nur meine literarischen Aktivitäten wie Lesungen und Veröffentlichungen und auch Essays in Magazinen und Zeitschriften, sondern auch, dass ich Ihnen kreatives bzw. literarisches Schreiben als Dozentin und Coach in München vermittle.Termine Hörbahn on Stage in Schwabing Wenn Ihnen dieser Beitrag gefallen hat, hören Sie doch auch einmal hier hineinoder vielleicht diese SendungRedaktion und Realisation Uwe Kullnick

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

En las calles empedradas de la colonia Juárez, en el corazón aristocrático de la Ciudad de México, la noche del jueves 10 de enero de 1929, la fotógrafa italiana Tina Modotti caminaba junto al joven comunista cubano Julio Antonio Mella, ignorando por un instante las advertencias del pintor Diego Rivera.Entonces, un mercenario desconocido aprovechó ese descuido, se acercó con una escuadra y disparó. Dos balas perforaron el tórax del exiliado. “¡Machado es el culpable, sus esbirros son mis agresores!”, alcanzó a gritar Mella, mientras el olor a pólvora se esparcía y Tina pedía auxilio en la oscuridad.Puedes conocer más de este y otros casos en los Archivos secretos de La Prensa.*Este episodio se realizó con base en los periódicos y noticias que se publicaron en el momento de los hechos. Hosted on Acast. See acast.com/privacy for more information.

Nel settembre del 1900 a Muggia, una piccola città non lontana da Trieste, nasce Vittorio Vidali. La sua è una biografia che attraversa il Novecento senza mai trovare un attimo di quiete. Viaggia continuamente, cambia missione politica, identità, paese, compagna: braccato da poliziotti e servizi segreti.A Trieste, la città di frontiera per definizione, Vidali diventa comunista molto presto. Da ragazzo sceglie il campo dell'antifascismo militante, dentro un clima in cui la violenza politica fa parte ogni giorno del confronto. È una forma di iniziazione alla violenza, ma anche il segno del suo destino: la politica per lui è un'esperienza tolizzante, non separabile dalla vita.A metà degli anni Venti è negli Stati Uniti. Attraversa il Paese, incontra lavoratori, li raggiunge attraverso viaggi infiniti, spesso sui treni bestiame. È una stagione di formazione, in cui la militanza si misura con la realtà materiale e con l'organizzazione. Per lui, anche in questi anni la politica è insieme pensiero e azione, inseparabili.In carcere incontra Bartolomeo Vanzetti, uno degli anarchici italiani più noti di quella stagione, destinato alla sedia elettrica. Per cercare di salvare lui e Nicola Sacco il mondo si mobilita, ma non ci sarà nulla da fare. La sentenza di morte verrà eseguita.La sua fuga prosegue in Messico. Partecipa alla fondazione del Partito comunista messicano. È il passaggio verso una dimensione internazionale della militanza, che si consolida poi a Mosca, dove Vidali viene addestrato all'interno degli apparati sovietici. Da questo momento la sua figura si colloca stabilmente in quell'area in cui politica, organizzazione e attività clandestina coincidono definitivamente.La guerra civile spagnola rappresenta uno dei punti più noti e più controversi della sua storia. Con il nome di Carlos Contreras, Vidali diventa una figura rilevante nel fronte repubblicano. Sono gli anni in cui si intrecciano dimensione militare, impegno politico e conflitti interni allo stesso campo antifascista. In quel contesto incontra personalità come Ernest Hemingway, Rafael Alberti, Pablo Neruda, segno di un ambiente in cui politica, idealità, organizzazione e cultura crescono insieme.Accanto alla militanza, c'è anche una dimensione personale molto importante. La relazione con Tina Modotti, attrice, fotografa e militante comunista, è una delle storie d'amore più controverse del secolo.Nel 1947 Vidali torna a Trieste, dopo anni trascorsi tra Europa e Americhe e mentre il suo nome è nelle liste dei sovversivi più noti e ricercati. La città è di nuovo al centro delle tensioni tra blocchi contrapposti. Qui continua ad agire, muovendosi nelle pieghe del conflitto tra l'Unione Sovietica guidata da Stalin e la Jugoslavia di Tito, in una fase in cui la politica internazionale si riflette direttamente nelle vicende locali.Raccontare Vidali significa confrontarsi con una figura che ha attraversato la storia di molti paesi. È stato tante cose insieme: uno stalinista violento, un rivoluzionario convinto, un comunista fedele alla linea, un uomo inquieto. Le fonti e le interpretazioni restituiscono immagini diverse, spesso difficili da ricomporre. Learn more about your ad choices. Visit megaphone.fm/adchoices

In questa nuova puntata del podcast, esploriamo il confine tra l'immagine statica e la narrazione cinematografica attraverso lo sguardo di Valerio De Paolis, figura cardine nella distribuzione del cinema d'autore in Italia. L'occasione è la mostra “Lanterne Magiche”, curata da Alessandra Mauro e Roberto Koch, attualmente ospitata presso il Museo Carlo Bilotti di Roma. L'esposizione segna il passaggio della collezione De Paolis dalla dimensione privata a quella pubblica, trasformando una passione personale in un percorso visivo condiviso. Durante la conversazione, De Paolis riflette sulla natura impulsiva e istintiva della sua ricerca, nata non dalla volontà di costruire sistematicamente un archivio, ma dal piacere immediato del “colpo di fulmine” visivo. Il cuore della discussione ruota attorno alla capacità della fotografia di operare una sintesi estrema: De Paolis osserva come un singolo scatto possa condensare una narrazione complessa e profonda, riuscendo a trasmettere in un istante ciò che il cinema, per sua natura, deve costruire gradualmente attraverso lo scorrere del tempo. Questa riflessione introduce uno dei pilastri della sua collezione, ovvero la centralità della figura femminile. Per De Paolis, la donna non è mai un semplice soggetto estetico o fisico, ma viene rappresentata come un'interlocutrice privilegiata, simbolo di un rapporto fondato sulla conversazione e sull'amicizia. Il valore dell'immagine viene poi esplorato attraverso il dualismo tra l'originale e la sua riproduzione. Prendendo come esempio il celebre ritratto di Tina Modotti scattato da Edward Weston, l'ospite sottolinea come il possesso dell'opera originale generi un coinvolgimento emotivo unico, che trascende la pur valida fruizione estetica di una copia. Buon ascolto! Leggi gli articoli del nostro Magazine: https://magazine.discorsifotografici.itSeguici su Facebook: https://www.facebook.com/discorsifotograficiSeguici su Instagram: https://www.instagram.com/discorsifotografici/Scrivici a: info@discorsifotografici.it

Te damos la bienvenida a la exposición "Poética del Paisaje" Imagina por un momento que no estás en una sala de museo, sino al borde de un sendero en el Valle de México o frente a la inmensidad de un mar tropical. Carlos Pellicer Cámara, el gran poeta tabasqueño, decía que "el mundo es un paisaje que se bebe" Hoy, ese paisaje se despliega ante ti no solo en versos, sino en pinceladas. Esta exposición es un encuentro afortunado, por un lado; verás piezas que el MUNAL ha resguardado por décadas; por otro, descubrirás la colección personal del poeta, recientemente donada por su sobrino Carlos Pellicer López. Quien nos invita a preguntarnos ¿Qué busca un poeta en la pintura? Además de la luz, el aire y la forma de la tierra. Carlos Pellicer era un senderista incansable; caminaba la naturaleza para luego escribirla. En estas salas, pintores como José María Velasco o el Dr. Atl se convierten en tus compañeros de ruta. Mientras recorres las salas, te invitamos a que dejes que las imágenes te hablen al oído como si fueran poemas visuales. Observa el horizonte en los cuadros: ahí comienza nuestro viaje.

Lyrik: Ghasele von Ursula Haas – gelesen von der Autorin – aus: "Ich kröne dich mit Schnee"(Hördauer ca. 34 Minuten)Formal gebändigte Lyrik von überzeugender BildkraftDieser Band mit Gedichten zeigt Ursula Haas auf dem Höhepunkt ihrer lyrischen Kunst und Kunstfertigkeit. Er gliedert sich in drei Kapitel, wobei das zweite Kapitel „Im Schleier des Morgens“ aus Ghaselen besteht und einer alten morgenländischen Versform, die im 19. Jahrhundert eine große Faszination auf die Lyriker ausübte, neues Leben einhaucht. Tradition und Moderne begegnen und vereinigen sich hier.Ursula Haas wechselt in ihren Gedichten zwischen längst vergangenen Bildungslandschaften und unserer Jetzt-Zeit. Genauso rasch wechselt sie die Orte: von Prag im Winter zum Erntedank auf der Insel Reichenau, von einem Sommertag auf Kap Corse zum Herbst in Berchtesgaden. „Die Zeit der Verpuppung ist lang“, so heißt es in einem ihrer Gedichte, aber dafür entschädigt der Sommerflug, bei dem „das Blau des Himmels/zum Garten Eden wird.“Dieser Gedichtband ist eine Entdeckung für alle Freunde und Kenner der zeitgenössischen Lyrik. Ursula Haas wurde in der ehemaligen Tschechoslowakei in Aussig a.d. Elbe (Usti nad Labem) geboren. Sie wuchs in Düsseldorf und Bonn auf und studierte Geschichte, Germanistik und Pädagogik in Bonn und Freiburg. Nach ihrer Referendarzeit in München trat sie nicht in den Schuldienst, sondern gab Privatunterricht und begann zu schreiben. Verheiratet mit dem Chirurgen Werner Haas, bekam sie eine Tochter und einen Sohn. Inzwischen alleinstehend, lebt und arbeitet Ursula Haas nach wie vor in München als freie Schriftstellerin in den Genres Lyrik, Roman, Erzählung, Libretto, Theaterstück und Essay. Ihre Gedichte sind in zahlreiche Sprachen übersetzt."Ich bin im Krieg in Tschechien geboren, wuchs in NRW auf und lebe seit langem in München. Trotz Germanistikstudium schreibe ich seit gut 20 Jahren literarische Bücher. Mein Medea-Roman war der erste von einer Frau geschriebene! Er brachte mir auch insofern Glück, weil ich durch ihn zum Schreiben von Musiktexten (Libretti) kam. Daraus entstand z.B. die Medea-Oper mit der Musik von Rolf Liebermann, die 2001 in der Pariser Oper aufgeführt wurde. Mein Roman "Drei Frauen" von 2009 beschäftigt sich mit drei Künstlerinnenbiografien. (Camille Claudel, Tina Modotti und Lenka, die meinem Leben nachgeht). Siehe die Kritiken bei Amazon! Mein ebenfalls 2009 erschienener Lyrikband " Ich kröne dich mit Schnee" bekam 2010 den Nikolaus-Lenau-Preis. 2014 erschien im A1 Verlag der Band mit Erzählungen "Busenfreundinnen. Geschichten zu Lust und Brust". 2018 der Gedichte -und Poesie-Band "Wortfisch im Grünen Aquarium" (edition bodoni).2020 das Tagebuch "Zerzauste Tage. Ein Jahr der Wirklichkeiten" (edition bodoni)."⁠Wenn Ihnen dies gefallen hat, hören Sie doch auch einmal hier hinein⁠oder hierSchnitt und Realisation Uwe Kullnick

Tina Modotti, ki se je pred 130 leti rodila v Vidmu v Italiji, danes velja za pomembno ustvarjalko moderne fotografije 20. stoletja. In vendar je njen inteziven in dovršen umetniški opus nastajal le dobrih sedem let. Kmalu zatem je kot članica mehiške komunistične partije postala prepoznavna figura revolucionarnega gibanja – in fotografijo je povsem opustila. Kot najstnica se je preselila v Združene države Amerike in se preizkusila kot gledališka in filmska igralka, njen ustvarjalni in politični preobrat se je zgodil v Mehiki dvajsetih let prejšnjega stoletja. Tam je vstopila v krog umetnikov in intelektualcev, med katerimi sta bila tudi Diego Rivera in Frida Kahlo. Ključno vlogo pri njenem razvoju je imel ameriški fotograf Edward Weston. Po izgonu iz Mehike se je vključila v delo Mednarodne rdeče pomoči. Njena pot jo je vodila v Sovjetsko zvezo in nato v Španijo, kjer je med državljansko vojno delovala v podporo republikanski strani. Povsem se je posvetila političnemu organiziranju, revolucionarnemu in humanitarnemu delu, zato se k fotografiji ni več vrnila. Posebno zanimivo je, da je del svoje zapuščine – fotografije in drugo gradivo – v Moskvi zaupala tržaškemu Slovencu, revolucionarju in povojnemu politiku Ivanu Regentu. Prav po zaslugi teh vezi ima tudi slovenski prostor pomembno, čeprav pogosto prezrto mesto v zgodbi Tine Modotti. gost: dr. Miklavž Komelj, poznavalec njenega dela, ki je izbrskal umetničino zapuščino v Sloveniji  fotografija: Wikipeida, Tina Modotti by Jane Reece c. 1919

A new play by acclaimed theatre artist and author Carmen Aguirre opened Oct 16 at The Cultch. Fire Never Dies was inspired by the life of Italian photographer Tina Modotti. Modotti was brought up in poverty in Italy, crossed the Atlantic to the U.S. in 1913 when she was in her teens, and then moved to Mexico City where she became part of the thriving art scene that included Frida Kahlo and Diego Rivera. Along the way, Modotti made a name for herself with her arresting photographs of the working class and Mexican Indigenous culture. Carmen Aguirre joins me today to talk about the play.

“Edward Weston” Modernité révéléeà la Maison Européenne de la Photographie, Parisdu 15 octobre 2025 au 25 janvier 2026Entretien avecLaurie Hurwitz,commissaire d'exposition et responsable de la collection vidéos d'artiste de la MEP, co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, 14 octobre 2025, durée 19'46,© FranceFineArt.https://francefineart.com/2025/10/19/3655_edward-weston_maison-europeenne-de-la-photographie/Communiqué de presse Commissaires :Simon Baker & Laurie Hurwitz, MEP, ParisPolly Fleury & Hope Kingsley, Wilson Centre for Photography, LondresChargée de production : Elisa Monteillet, MEP, ParisCette exposition a été réalisée avec le soutien du Wilson Centre of Photography sur une idée de Michael Wilson.La MEP présente Modernité révélée, la plus grande exposition dédiée à Edward Weston à Paris depuis près de trente ans. Figure majeure de la modernité photographique, Weston a forgé un langage visuel radicalement novateur, fondé sur la clarté, la rigueur formelle et une exploration approfondie du médium photographique.Conçue à l'initiative de Michael Wilson — fondateur du Wilson Centre for Photography à Londres et l'un des plus grands collectionneurs de photographies au monde — l'exposition réunit un ensemble rare de tirages d'époque issus de sa collection, dont plusieurs sont présentés pour la première fois en France. Ces oeuvres offrent un éclairage exceptionnel sur l'évolution du travail de Weston et sur l'émergence d'un modernisme photographique pleinement affirmé.S'étendant sur plus de trois décennies, de 1908 à 1945, le parcours retrace la trajectoire artistique de Weston. Ses premières photographies pictorialistes, réalisées en Californie dans les années 1910 et au début des années 1920, s'inscrivent dans les traditions visuelles du XIXe siècle : flous soigneusement maîtrisés, mises en scène élaborées, et présence de symboles allégoriques. Progressivement, son regard se transforme : les images gagnent en netteté, les compositions s'épurent, et l'accent se porte de plus en plus sur la forme, la surface et la structure. Dès les années 1920, certaines oeuvres tendent vers l'abstraction géométrique — bien que Weston n'ait jamais adopté un style unique. Cette transformation s'opère de manière continue : les motifs se croisent, les techniques évoluent, révélant un artiste en constante recherche, affûtant sans relâche son regard.L'exposition met en lumière les grandes étapes de ce cheminement, notamment son séjour au Mexique, où il collabore étroitement avec Tina Modotti. Ensemble, ils créent des portraits et des nus empreints d'une liberté nouvelle et d'une radicalité inédite. Ces images dialoguent avec ses paysages évocateurs de la côte californienne, autour de Point Lobos et Carmel.Le coeur de l'exposition rassemble ses séries les plus emblématiques : gros plans sensuels de formes naturelles — poivrons, coquillages, fruits et légumes — photographiés avec une intensité presque obsessionnelle ; paysages de dunes et de rochers à Point Lobos et dans la Death Valley ; nus lumineux de Charis Wilson, sa muse et compagne. Weston y révèle la beauté universelle des choses les plus simples, qu'il transforme en formes sculpturales épurées. Portraits, nus, natures mortes et paysages se répondent dans une mise en relation inédite, dévoilant les résonances profondes de son oeuvre. Chez Weston, les formes naturelles prennent souvent des qualités anthropomorphiques subtiles, témoignant de la puissance formelle et de la richesse expressive de son regard.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Vita e opere di Tina Modotti, fotografa e rivoluzionaria del Novecento. La storia, la politica, l'amicizia con Frida Kahlo e lo stile prospettico.

durée : 00:55:56 - Autant en emporte l'Histoire - par : Stéphanie DUNCAN - D'une beauté originale, brune aux yeux noirs mélancoliques, Tina Modotti, fille d'ouvriers italiens qui connut l'usine à douze ans avant de conquérir le Nouveau Monde, fait partie de ces femmes des années 1920 qui nous fascinent pour leur liberté sexuelle, leur engagement artistique et politique.

Tina Modotti, -bohaterka wykładu w Szkole Bardzo Wieczorowej profesorki Anny Adamus Matuszyńskiej była włoską fotografką, aktorką teatralna i filmową oraz działaczką polityczną.    Emigrowała wraz z rodziną z Włoch do Stanów Zjednoczonych i tam najpierw ciężko pracowała, a później ucząc się fotografii stała się jedną z najlepszych fotograficzek początku wieku dwudziestego.  Jej życie osobiste również było nadzwyczaj interesujące. Uczyła się fotografowania od największych sław, ale też bardzo szybko w tych fotografach - swoich nauczycielach, zakochiwała się. Czuła przez całe życie na ludzką biedę i ludzkie nieszczęście. Tina Modotti była  kobietą piękną, inteligentną i przez całe swoje życie niezależną.O niej to właśnie z profesorką Anną Adamaus Matuszyńską rozmawia Marek Mierzwiak.

C'est au Jeu de Paume, à l'occasion de l'exposition Tina Modotti, que Vicky Krieps et Viggo Mortensen retrouvent Pierre Lescure. Ils y évoquent les rôles qui les ont propulsés, dans le Seigneur des Anneaux et dans Phantom thread et se remémorent la naissance de leur amour pour le cinéma. Ces deux acteurs à la carrière internationale incarnent dans Jusqu'au bout du monde, bientôt à l'affiche, deux pionniers de la conquête de l'Ouest américain.

C'est au Jeu de Paume, à l'occasion de l'exposition Tina Modotti, que Vicky Krieps et Viggo Mortensen retrouvent Pierre Lescure. Ils y évoquent les rôles qui les ont propulsés, dans le Seigneur des Anneaux et dans Phantom thread et se remémorent la naissance de leur amour pour le cinéma. Ces deux acteurs à la carrière internationale incarnent dans Jusqu'au bout du monde, bientôt à l'affiche, deux pionniers de la conquête de l'Ouest américain. 

Cette semaine dans le Paris des Arts, Valérie Fayolle reçoit l'une des grandes voix du reggae francophone : Tiken Jah Fakoly. Le chanteur revient avec un nouvel album entièrement acoustique de ses plus grands standards. Dans l'émission, également à l'honneur, la photographe Tina Modotti dont l'œuvre militante est exposée au Jeu de Paume. Et puis une rencontre dans les coulisses du théâtre de la Scala avec Helena Noguerra. La chanteuse et comédienne nous reçoit dans sa loge avant de monter sur les planches enfiler le costume de Frida Kahlo.

1921 – Edward Weston conoce a quien sería su musa, su amante, su asistente y su mejor alumna, Tina Modotti que por entonces está casada con un artista que se apoda Robo. En la primera etapa del romance que dura años, Tina le escribe. Un espacio de Bárbara Espejo.

El Jeu de Paume de París dedica una amplia muestra a Tina Modotti, la fotógrafa de la Revolución mexicana, con la exposición más grande jamás organizada hasta ahora sobre ella en Francia. En Carrusel de las Artes también vamos al Museo de las Artes Decorativas de París para descubrir el vínculo entre moda y deporte. En los estrenos de cine, 'El Juego de la reina' (Firebrand); y hablamos con Ëda Diaz, cantante y compositora franco-colombiana en los escenarios con su primer disco 'Suave bruta'.

durée : 00:59:07 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny, Aliette Hovine - En quoi les photographies de Tina Modotti dénoncent-elles les conditions de vie des défavorisés et les inégalités sociales et économiques dans le Mexique du début du XXe siècle ? - invités : Gérard de Cortanze Écrivain, essayiste, traducteur, critique littéraire; Eugénia Palieraki Maîtresse de conférences en histoire et civilisation de l'Amérique latine à Cergy Paris Université

Lyrik: Ghasele von Ursula Haas – (Liebesworte) gelesen von der Autorin – aus: "Ich kröne dich mit Schnee" (Hördauer 34 Minuten) Formal gebändigte Lyrik von überzeugender BildkraftDieser Band mit Gedichten zeigt Ursula Haas auf dem Höhepunkt ihrer lyrischen Kunst und Kunstfertigkeit. Er gliedert sich in drei Kapitel, wobei das zweite Kapitel „Im Schleier des Morgens“ aus Ghaselen besteht und einer alten morgenländischen Versform, die im 19. Jahrhundert eine große Faszination auf die Lyriker ausübte, neues Leben einhaucht. Tradition und Moderne begegnen und vereinigen sich hier.Ursula Haas wechselt in ihren Gedichten zwischen längst vergangenen Bildungslandschaften und unserer Jetzt-Zeit. Genauso rasch wechselt sie die Orte: von Prag im Winter zum Erntedank auf der Insel Reichenau, von einem Sommertag auf Kap Corse zum Herbst in Berchtesgaden. „Die Zeit der Verpuppung ist lang“, so heißt es in einem ihrer Gedichte, aber dafür entschädigt der Sommerflug, bei dem „das Blau des Himmels/zum Garten Eden wird.“Dieser Gedichtband ist eine Entdeckung für alle Freunde und Kenner der zeitgenössischen Lyrik. Ursula Haas wurde in der ehemaligen Tschechoslowakei in Aussig a.d. Elbe (Usti nad Labem) geboren. Sie wuchs in Düsseldorf und Bonn auf und studierte Geschichte, Germanistik und Pädagogik in Bonn und Freiburg. Nach ihrer Referendarzeit in München trat sie nicht in den Schuldienst, sondern gab Privatunterricht und begann zu schreiben. Verheiratet mit dem Chirurgen Werner Haas, bekam sie eine Tochter und einen Sohn. Inzwischen alleinstehend, lebt und arbeitet Ursula Haas nach wie vor in München als freie Schriftstellerin in den Genres Lyrik, Roman, Erzählung, Libretto, Theaterstück und Essay. Ihre Gedichte sind in zahlreiche Sprachen übersetzt. "Ich bin im Krieg in Tschechien geboren, wuchs in NRW auf und lebe seit langem in München. Trotz Germanistikstudium schreibe ich seit gut 20 Jahren literarische Bücher. Mein Medea-Roman war der erste von einer Frau geschriebene! Er brachte mir auch insofern Glück, weil ich durch ihn zum Schreiben von Musiktexten (Libretti) kam. Daraus entstand z.B. die Medea-Oper mit der Musik von Rolf Liebermann, die 2001 in der Pariser Oper aufgeführt wurde. Mein Roman "Drei Frauen" von 2009 beschäftigt sich mit drei Künstlerinnenbiografien. (Camille Claudel, Tina Modotti und Lenka, die meinem Leben nachgeht). Siehe die Kritiken bei Amazon! Mein ebenfalls 2009 erschienener Lyrikband " Ich kröne dich mit Schnee" bekam 2010 den Nikolaus-Lenau-Preis. 2014 erschien im A1 Verlag der Band mit Erzählungen "Busenfreundinnen. Geschichten zu Lust und Brust". 2018 der Gedichte -und Poesie-Band "Wortfisch im Grünen Aquarium" (edition bodoni).2020 das Tagebuch "Zerzauste Tage. Ein Jahr der Wirklichkeiten" (edition bodoni)." oder hier Wenn Ihnen dies gefallen hat, hören Sie doch auch einmal hier hinein Schnitt und Realisation Uwe Kullnick --- Send in a voice message: https://podcasters.spotify.com/pod/show/hoerbahn/message

“Tina Modotti” L'oeil de la révolutionau Jeu de Paume, Parisdu 13 février au 12 mai 2024Interview de Isabel Tejeda, commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 12 février 2024, durée 23'05,© FranceFineArt.(avec l'aimable traduction de Pascale Fougère)https://francefineart.com/2024/02/14/3514_tina-modotti_jeu-de-paume/Communiqué de presse Commissariat :Isabel Tejeda Martín, commissaire indépendante, professeure à la Faculté de Beaux Arts de l'Université de Murcie en Espagne spécialisée en art.Assistée d'Eva M. Vives Jiménez.Le Jeu de Paume rend hommage à Tina Modotti (1896-1942) à travers une grande exposition, la plus importante jamais consacrée à Paris à cette photographe et activiste politique d'origine italienne.Le parcours exceptionnel de Tina Modotti n'a jamais cessé de fasciner : essentiellement produite entre 1923 et 1930, son oeuvre frappe par son caractère fulgurant. C'est au sein du Mexique postrévolutionnaire que se forgent tant sa conscience politique que le style particulier, à la fois sensible et critique, avec lequel elle saisit sur le vif les mouvements sociaux et les inégalités sans jamais négliger l'aspect esthétique de la photographie.L'exposition rassemble près de 240 tirages mais aussi des documents d'archives et revues d'époque issus de prêts de musées internationaux et de collections privées. L'exposition retrace la carrière unique de cette photographe et militante révolutionnaire, amie et interlocutrice de peintres tels Diego Rivera et Frida Kahlo.« Je ne cherche pas à produire de l'art mais des photographies honnêtes, sans avoir recours à des truquages ou à des artifices, alors que la majorité des photographes continuent à rechercher des effets artistiques ou à imiter d'autres expressions plastiques. Cela donne un produit hybride, qui ne nous permet pas de distinguer dans l'œuvre sa caractéristique la plus significative : sa qualité photographique. » Tina Modotti, Sobre la fotografía [Sur la photographie], in Mexican Folkways, vol. 5, no 4, oct.-déc. 1929Tina Modotti a passé la majeure partie de son existence au coeur de la tourmente. Sa vie a été marquée par certains des événements historiques mondiaux les plus importants des années 1920 et 1930, qu'elle a personnellement vécus, parfois en première ligne. Elle émigre aux États-Unis dès l'âge de 16 ans. A San Francisco, elle trouve un emploi de couturière avant d'être employée comme mannequin pour un prestigieux magasin de mode, pour finalement se lancer pleinement dans le cinéma en 1918. À Los Angeles, en 1921, elle fait la rencontre d'Edward Weston : elle devient d'abord le modèle du photographe, puis son amante. En 1923, ils s'installent au Mexique, où le couple ouvre son studio : débute alors officiellement la carrière photographique de Tina Modotti.Son travail artistique se développe au contact de la société intellectuelle et artistique mexicaine mais aussi du Parti communiste mexicain. Ses images fortes en font l'instigatrice du photojournalisme dans le pays. Sur le plan créatif, elle a trouvé sa place dans la bataille opposant le formalisme et l'art engagé en tant que reflet et composante de la réalité sociale, un débat crucial pendant ces années où le monde a radicalement changé. Longtemps étudiée à travers le seul prisme de l'influence d'Edward Weston, l'œuvre photographique de Modotti se détache enfin, dans sa singularité. C'est à l'étude de Tina Modotti en tant que photographe qu'invite donc cette exposition chronologique et thématique conçue en cinq parties.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Diana Napoli"Il mondo in testa"Vittorio VidaliScene di vita di un rivoluzionario di professionePrefazione: Luciano CanforaManni Editoriwww.mannieditori.itRivoluzionario di professione al servizio del Comintern, eroe della guerra civile spagnola e poi figura significativa del PCI nel secondo dopoguerra, Vittorio Vidali è stata una personalità singolare nella politica del Novecento.Da Mosca a Madrid, da Città del Messico a Trieste, dall'avvento del fascismo al comunismo internazionale, dalla vittoria della Repubblica fino alla stagione politica degli anni Settanta, Vidali non ha mai smesso di pensare il mondo partendo dalla sua problematica adesione allo stalinismo.Diana Napoli ricostruisce i momenti principali, le cesure, le contraddizioni di un'esistenza avventurosa e straordinaria scandita dall'appassionata storia d'amore con Tina Modotti, dai rapporti con Palmiro Togliatti, Enrico Berlinguer, Franco Basaglia e altri, e dà voce ai ricordi, ai desideri, ai dubbi, alle perplessità di un uomo capace di interrogare ancora il nostro presente.Diana NapoliÈ nata nel 1980, vive a Roma.Dopo il dottorato di ricerca in Storia all'École des Hautes Études en Sciences Sociales di Parigi, ha collaborato con diverse università a Roma, Parigi e Città del Messico, attualmente è docente di Filosofia e Storia a Roma.Ha pubblicato vari articoli su rivista, da “Nazione Indiana” a “Aut-Aut”, il saggio Michel de Certeau. Lo storico smarrito (Morcelliana, 2014) e ha curato testi di storia e filosofia, tra cui la raccolta di scritti di Jean-Paul Sartre Parigi occupata (Il Melangolo, 2020).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 01:20:17 - Les Nuits de France Culture - par : Albane Penaranda - En 1995, à l'occasion de l'exposition des photos de Tina Modotti à la Fnac rue de Rennes à Paris, et de celles, à l'Hôtel de Sully, d'Edward Weston qui fut son compagnon, France Culture tente de percer l'énigme d'une petite ouvrière italienne, devenue une des photographes les plus cotées au monde.

Natural de Udine-Itália, aos 18 anos inicia sua carreira como atriz e também fotógrafa (seu fazer politico). Foi dirigente do partido comunista no México, atuou na Guerra Civil Espanhola, como enfermeira voluntária. Seu trabalho fotográfico , serviu de inspiração para o movimento Muralista no México. Sua genialidade com a câmera marca uma estética marxista compromissada com as lutas sociais. O MTST, entende a importância da imagem fotográfica, enquanto registro histórico e memória da luta.

La puntata di oggi: come si misura una fotografia? In occasione di un progetto fotografico collettivo al quale sto lavorando mi sono accorto di quanta confusione ci fosse sull'opportunità di misurare una foto, salvandola. Così, in questa puntata, ho cercato di riassumere quello che la prassi e la collaborazione con altri fotografi e interlocutori mi ha insegnato, sperando che vi sia utile.Poi, prosegue la rubrica Quei Bravi Fotografi, oggi vi parlo di Tina Modotti, una fotografa italiana vissuta a cavallo fra il 19o e il 20o secolo con una vita fatta di pensiero libero e impegno politico che si rispecchia nelle sue foto. Trovate i suoi riferimenti più in basso. Aspetto le vostre domande e i vostri feedback. Buona luce a tutti!******************************************* I MIEI LINK: Cliccate qui per sostenere con un piccolo contributo volontario le spese del podcast: https://www.patreon.com/user?u=15429568 Email: andreageymet@gmail.com (da usare anche per un contributo con PayPal) Adobe Portfolio: https://andreageymet.myportfolio.compeopleofindia.myportfolio.comInstagram del podcast: https://www.instagram.com/passione_fotografia_podcast/ Le mie foto dei viaggi: https://instagram.com/andreageymet?igshid=MzRlODBiNWFlZA== I miei ritratti: https://www.instagram.com/andreageymet_ph/ Il gruppo Telegram: https://t.me/passionefotografiapodcast*******************************************IL SITO DOVE LEGGERE LE RECENSIONI DELL'ATTREZZATURA: https://www.juzaphoto.com******************************************* Il mio fornitore di fiducia: https://www.solodigitali.com******************************************* QUEI BRAVI FOTOGRAFI Tina Modottihttps://it.wikipedia.org/wiki/Tina_Modottihttp://www.comitatotinamodotti.it/tina.htmhttps://www.instagram.com/timodotti/

Tina Modotti è stata una delle più grandi fotografe del '900, ma spesso si parla di lei in funzione delle sua biografia. Tina Modotti e Frida Kahlo, Tina Modotti musa di Edward Weston, ma chi era Tina Modotti come fotografa? A rispondere a questa domanda e a prendere parte insieme a noi a questo viaggio meraviglioso c'è Riccardo Costantini, curatore della mostra "Tina Modotti. L'opera" che puoi visitare a Palazzo Roverella, Rovigo fino al 28 gennaio 2024. Prima di visitare la mostra, ti consigliamo di ascoltare le parole di Riccardo! Qui trovi maggiori informazioni sulla mostra: La straordinaria mostra di Tina Modotti a RovigoTina Modotti, storia di una fotografa e attivista politica + libri da leggereVisita il sito web di Palazzo Roverella

Fino al 28 gennaio 2024 a Palazzo Roverella la più completa mostra mai organizzata in Italia sull'opera di Tina Modotti (1896-1942). Più di 300 opere tra immagini, filmati e documenti ricostruiscono il lavoro fotografico di una delle più importanti fotografe del XX secolo. Dalle architetture alle nature morte, dal racconto della quotidianità dei ceti popolari, dei contadini, degli operai, […]

Con la cámara en mano y el alma rebelde llegó a México la italiana Tina Modotti, sería modelo y anhelo para muchos de nuestros artistas, pero su alma libre y su pasión por la “causa” la harán trazar una vida aparte cargada de pasión, encuentros y desencuentros.

Oggi a Cult: Bruno Bigoni sul film "Cinque stanze" nelle sale italiane; la mostra "Tina Modotti. L'opera" a Palazzo Roverella di Rovigo; Gianni Biondillo sul libro "Quello che noi non siamo" (Guanda ed.); Rino De Pace e Lorenzo Conti sull'edizione 2023 di MilanOltre; la rubrica di classica di Giuseppe Califano...

"VINCENT VAN GOGH PITTORE COLTO" una mostra che vuole sottrarlo allo stereotipo del pittore del manicomio e della pazzia suicida "TINA MODOTTI. L'OPERA - ripensare la fotografa, riscoprire il valore del suo lavoro fuori dalla sua biografia "WES ANDERSON - ASTEROID CITY: EXIBITION". Alla Fondazione Prada una mostra che possono apprezzare solo gli appassionati JIMMY NELSON HUMANITY - cultura dei popoli indigeni in mostra diventa spettacolo "NEL VENTO DELLA POESIA" - la natura nei libri e nelle opere di Alberto Casiraghi, il papà dei PULCINOELEFANTE

La Spagna boccia l'estrema destra Rinasce l'Orient Express Spettacolo napoletano Tina Modotti, sorella Insalata pantesca, gioiello mediterraneo

Hoy platicamos con Claudia Marcucetti, autora de 7 libros. En esta ocasión platicamos de su mas reciente novela ''FUEGO QUE NO MUERE'' una novela histórica que se centra en la vida de Tina Modotti con un toque de thriller policiaco. Este episodio es diferente a los demás ya que por primera ocasión lo grabamos en vivo con público presente en el Palacio de Hierro. Fue una gran experiencia!!! agradecemos todo el apoyo , no se lo pierdan!

Italiana de nacimiento, arquitecta de profesión, lectora por pasión y escritora por convicción, Claudia Marcucetti Pascoli nos habla de su más reciente novela, Fuego que no muere, en donde relata la relación que tuvieron en México la fotógrafa italiana, Tina Modotti y el comunista, Vittorio Vidali; el proceso para escribirlo así como para documentarlo, su participación en la Feria Internacional de Libro de Guadalajara y mucho más.

En entrevista con Adrián Jiménez en ausencia de Pamela Cerdeira, hoy Claudia Marcucetti, escritora del libro ‘Fuego que no muere'.

Tina Modotti, Querida Theresa eta Immy Hummes hartu ditu hizketagai Ines Azpiazuk...

Audio complementario para la exhibición Tina y Diego: Camaradas.

Te damos la bienvenida a este espacio, tu espacio. Donde puedes complementar tu visita con estos audios que te brindarán información relevante en torno a la exposición Tina y Diego: camaradas. Tina Modotti y Diego Rivera convivieron por lapsos de tiempo durante las estancias que ella tuvo en su paso por México, país del cual quedó cautivada por sus matices, contrastes y colores.

Escuchamos en primer lugar a Miguel Ángel López, profesor de Ciencia Política del Instituto de Estudios Internacionales de la Universidad de Chile, sobre el sentido de los cambios en el Gobierno realizados por el presidente, Gabriel Boric, tras el rechazo a la Nueva Constitución en el plebiscito del pasado domingo y la continuidad del proceso constituyente. Nos detenemos después en la celebración del Bicentenario de la Independencia de Brasil por parte del presidente, Jair Bolsonaro, en Brasilia y aquí en España, en la embajada de Brasil, donde el embajador Orlando Leite Ribeiro repasó las relaciones entre los dos países. Recorremos también la exposición con la obra de la fotógrafa italiana Tina Modotti como retratista de la Revolución mexicana entre 1923 y 1930 en el Museo Cerralbo de Madrid, hasta el 2 de octubre. Escuchar audio

El Museo Cerralbo de Madrid expone, en el marco del festival PHotoEspaña 2022, la obra de la fotógrafa italiana Tina Modotti centrada en su recorrido como retratista de la Revolución mexicana entre 1923 y 1930, a través de 108 imágenes y algunos objetos de archivo. Hasta el 2 de octubre. Escuchar audio

En el segundo capítulo de ¡Más cabritas de Elena Poniatowska!, la Fonoteca Nacional presenta algunos fragmentos de conversaciones en las que mujeres hablan sobre mujeres en el arte, la periodista Adriana Malvido conversa sobre Nahui Olin, la fotógrafa Lola Álvarez Bravo sobre Tina Modotti, la escritora Beatriz Espejo sobre Inés Arredondo. Además escucharemos a la propia Inés Arredondo hablar sobre el proceso creativo del narrador Juan Carlos Onetti y a Consuelo Velázquez contar su primer viaje a Hollywood. La Fonoteca nacional agradece la colaboración de la Fundación Elena Poniatowska Amor, AC/Felipe Haro.

La obra de la fotógrafa italiana Tina Modotti llega al Museo Cerralbo de Madrid, en el marco del festival PHotoESPAÑA 2022. A través de 108 imágenes y algunos objetos de archivo se recupera la memoria de la artista y se plasma su recorrido como retratista de la Revolución mexicana entre 1923 y 1930. Hasta el 2 de octubre.   Escuchar audio

作為黑白底片愛好者，必須認識的其中一個底片品牌就是ILFORD。這個品牌底片種類功能齊全，品質穩定，價格也實惠，而且暗房器材也一應俱全，比如放大機、沖片藥水、相紙⋯⋯等等，可以說是擁有一站到底的全系列服務，讓使用者少了許多走冤枉路的機會。予晞與皓雯作為ILFORD的長期用戶，非常開心能夠與ILFORD合作本集的製作，將這個暗房好夥伴介紹給大家。 本集分享了社畜皓雯與暗房予晞的近況，姚愛寗的新書與展覽「みつめ」，予晞的暗房慘案，以及皓雯分享歷史上非常早期的女攝影師Tina Modotti的事蹟與背景。底片的ISO要怎麼選擇呢？ILFORD台灣除了幫你沖洗底片以外，還有黑白暗房課程，方便可靠的程度簡直有如駕照原地考取一樣！ 最後，本集在8/7~8/14舉行限時抽獎活動，從8/7節目文章上架開始，在底下符合規定的留言即可參加抽獎，期限到8/14的中午12點為止。留言活動辦法如下： 內容：我愛黑白底片，標註兩位好朋友並追蹤c+ IG & ilfordtaiwan_lab,抽獎名單一週後（8/14晚間）直播與文字公佈,請得獎者主動私訊c+ IG,秀截圖與寄送地址。 獎項一:135底片 ILFORD HP5{予晞愛用款}5卷＋5卷底片沖掃 獎項二:20卷底片沖掃 獎項三:135底片 ILFORD PAN 100 5卷＋5底片卷沖掃 #ilfordtaiwanlab #底片抽獎 本節目IG: cplustalkshow 予晞的IG: fotoallison 皓雯的IG: hwchang529 ILFORD的IG: ilfordtaiwan_lab 歡迎各位客倌支持本節目的製作與播出～ 台灣歐付寶這邊請 https://reurl.cc/VjR2nY 支付寶這邊請 https://reurl.cc/9OjZxO Powered by Firstory Hosting

Jorge Pardo siempre busca ir más allá, le gusta exprimir cada experiencia dando siempre una última vuelta de tuerca, y de ahí nace 'Trance Sketches', un disco que nos presenta esta tarde. Nos vamos hasta el Teatro de Mérida para asistir al estreno de 'Minerva' y 'De paseo por los limbos', un ensayo de la historiadora del arte Anna Adell con Mery Cuesta. Terminamos con Tina Modotti, que por primera vez se puede ver expuesto en nuestro país dentro del festival de Photoespaña. Escuchar audio

Date: Feb. 28, 2022 (Season 4, Episode 5: 73 minutes). Click here for the Utah Dept of Culture & Community Engagement shownotes for this episode.  Click here for more SYP episodes.The episode's focus is on Paul Higgins, a 20th century artist, Utah born and bred (middle class, Presbyterian, his father a mining attorney), who became "Pablo Esteban O'Higgins," a beloved Mexican muralist. His devotees thought of his work as expressing the "Soul of God," through his empathic capturing of everyday life.  At his death he was a recipient of a Mexico state funeral. Pablo was also an ardent Communist. The book, Susan Vogel's riddle-of-a-life story entitled Becoming Pablo O'Higgins: How An Anglo American Artist Became a Mexican Muralist (2010). Vogel is joined In this conversation by co-host Catherine Aviles and Fanny Guadalupe Blauer, Executive Director of Artes de Mexico en Utah.   The conversation begins with post-Mexican Revolution (1910-1920)“Muralism” (large-scale, socially conscious public art, expressing political and cultural identities) which remains today a worldwide art movement, inspired by murals of everyday people, laborers and heroes. The conversation then turns to Salt Lake City's many public murals and to one of the city's most vibrant cultural organizations, Artis de Mexico en Utah (est. 2011).O'Higgin's story includes his early work with Diego Rivera (1886-1957, who redefined Mexican culture after the Mexican Revolution), knowing Frida Kahlo (1907–1954, beloved Mexican artist and femanist), watching the intrigue of Leon Trotsky (1879-1940, Marxist theorist and politician, exiled and murdered in Mexico), mentoring Marion Greewood (1909-1970, American artist working in Mexco) and the artist's unrequited love for Tina Modotti (1896-1942, Italian photographer, model and revolutionary acitivist). The episode also tells of O'Higgins father, Edward Higgins (surnames spelled differently), who in an ironic twist, plays a part in Utah's execution of Joe HIl (1879-1915), possibly the world's most lionized labor union martyr and hero. Pablo's early art training was in SLC's East High School with James Harwood (1860-1940, who studied at l'Ecole de Beaux Arts) and LeConte Stewart (1891-1990, perhaps Utah's most beloved rural landscape painter). O'Higgins was influenced deeply by Stewart, and repelled by what Harwood represented--formal, académie inspired art. Aided by his devoted mother Alice McAfee Higgins, O'Higgins was invited to Mexico City where he begins to work alongside Diego Rivera.BIOS: Susan Vogel co-founded Artes de Mexico en Utah in 2011.  She is the author of the only English language biography of this Utah-born Mexican muralist. Susan's gateway to loving Mexican art and history was by way of Mexico's discotheques and marrying into a family from Guadalajara.  Fanny Guadalupe Blauer graduated from the Instituto Politecnico Nacional as a CPA, and holds a certification of an Anthropology from the Center for Research & Advanced Studies of Social Anthropology (CIESAS: Mexico City). Since 2019 Fanny has served as executive director for Artes de Mexico en Utah.  Catherine Aviles, co-producer of the podcast Speak Your Piece (2021-early 2022), has been an educator in Utah for 12 years. Cat has worked for the SLC Library, SLC School District, the Utah Dept. of Culture & Community Engagement and the Natural History Museum of Utah.  She is also the former director for Artes de Mexico en Utah.  Write us at – askahistorian@utah.gov

Formal gebändigte Lyrik von überzeugender Bildkraft Dieser Band mit Gedichten zeigt Ursula Haas auf dem Höhepunkt ihrer lyrischen Kunst und Kunstfertigkeit. Er gliedert sich in drei Kapitel, wobei das zweite Kapitel „Im Schleier des Morgens“ aus Ghaselen besteht und einer alten morgenländischen Versform, die im 19. Jahrhundert eine große Faszination auf die Lyriker ausübte, neues Leben einhaucht. Tradition und Moderne begegnen und vereinigen sich hier. Ursula Haas wechselt in ihren Gedichten zwischen längst vergangenen Bildungslandschaften und unserer Jetzt-Zeit. Genauso rasch wechselt sie die Orte: von Prag im Winter zum Erntedank auf der Insel Reichenau, von einem Sommertag auf Kap Corse zum Herbst in Berchtesgaden. „Die Zeit der Verpuppung ist lang“, so heißt es in einem ihrer Gedichte, aber dafür entschädigt der Sommerflug, bei dem „das Blau des Himmels/zum Garten Eden wird.“ Dieser Gedichtband ist eine Entdeckung für alle Freunde und Kenner der zeitgenössischen Lyrik. Ursula Haas wurde in der ehemaligen Tschechoslowakei in Aussig a.d. Elbe (Usti nad Labem) geboren. Sie wuchs in Düsseldorf und Bonn auf und studierte Geschichte, Germanistik und Pädagogik in Bonn und Freiburg. Nach ihrer Referendarzeit in München trat sie nicht in den Schuldienst, sondern gab Privatunterricht und begann zu schreiben. Verheiratet mit dem Chirurgen Werner Haas, bekam sie eine Tochter und einen Sohn. Inzwischen alleinstehend, lebt und arbeitet Ursula Haas nach wie vor in München als freie Schriftstellerin in den Genres Lyrik, Roman, Erzählung, Libretto, Theaterstück und Essay. Ihre Gedichte sind in zahlreiche Sprachen übersetzt. “Ich bin im Krieg in Tschechien geboren, wuchs in NRW auf und lebe seit langem in München. Trotz Germanistikstudium schreibe ich seit gut 20 Jahren literarische Bücher. Mein Medea-Roman war der erste von einer Frau geschriebene! Er brachte mir auch insofern Glück, weil ich durch ihn zum Schreiben von Musiktexten (Libretti) kam. Daraus entstand z.B. die Medea-Oper mit der Musik von Rolf Liebermann, die 2001 in der Pariser Oper aufgeführt wurde. Mein Roman “Drei Frauen” von 2009 beschäftigt sich mit drei Künstlerinnenbiografien. (Camille Claudel, Tina Modotti und Lenka, die meinem Leben nachgeht). Siehe die Kritiken bei Amazon! Mein ebenfalls 2009 erschienener Lyrikband ” Ich kröne dich mit Schnee” bekam 2010 den Nikolaus-Lenau-Preis. 2014 erschien im A1 Verlag der Band mit Erzählungen “Busenfreundinnen. Geschichten zu Lust und Brust”. 2018 der Gedichte -und Poesie-Band “Wortfisch im Grünen Aquarium” (edition bodoni).2020 das Tagebuch “Zerzauste Tage. Ein Jahr der Wirklichkeiten” (edition bodoni).”

Das schriftstellerische Schaffen von Ursula Haas ist durch Lyrik geprägt. Davon zeugen die Tagebuchaufzeichnungen »Zerzauste Tage. Ein Jahr der Wirklichkeiten«, die gefühlvolle Einblicke in das Weben und Streben einer Poetessa und Librettistin geben. Leitmotiv sind Reflexionen über das Schreiben und den Mut, der dazu gehört. Die Aufzeichnungen setzen am Pfingstsonntag 2018 ein und enden Pfingsten 2019. Die Tage, die dazwischen liegen, sind zerzaust, sie verbinden Alltagseindrücke ebenso wie existentielle Ereignisse – etwa das Abenteuer Kuba-Reise im Januar 2019 – und Erkenntnisse eines randvollen Daseins mit poetischer Sprache. So auch das große Ereignis ihres Lebens: die Begegnung mit Rolf Liebermann, der ihr nach der Lektüre ihres Romans »Freispruch für Medea« den Auftrag anvertraute, ein Libretto zu verfassen: Beginn einer erfolgreichen Arbeit als Librettistin. Ursula Haas hat deutsch-böhmische Wurzeln und wuchs in Düsseldorf und Bonn auf. Nach dem Studium der Germanistik, Geschichte und Pädagogik in Bonn und Freiburg lebt und arbeitet sie in München. Zu ihren Arbeiten gehören Lyrik, Erzählungen, Romane, Essays, Opern- und Lieder-Libretti sowie musikbegleitende Texte zu konzertanten Opernfassungen und Theaterstücke. Zuletzt erschien 2018 in der edition bodoni ihr Gedichte- und Poesieband »Wortfisch im grünen Aquarium«. Ursula Haas: Ich bin im Krieg in Tschechien geboren, wuchs in NRW auf und lebe seit langem in München. Trotz Germanistikstudium schreibe ich seit gut 20 Jahren literarische Bücher. Mein Medea-Roman war der erste von einer Frau geschriebene! Er brachte mir auch insofern Glück, weil ich durch ihn zum Schreiben von Musiktexten (Libretti) kam. Daraus entstand z.B. die Medea-Oper mit der Musik von Rolf Liebermann, die 2001 in der Pariser Oper aufgeführt wurde. Mein Roman “Drei Frauen” von 2009 beschäftigt sich mit drei Künstlerinnenbiografien. (Camille Claudel, Tina Modotti und Lenka, die meinem Leben nachgeht). Siehe die Kritiken bei Amazon! Mein ebenfalls 2009 erschienener Lyrikband ” Ich kröne dich mit Schnee” bekam 2010 den Nikolaus-Lenau-Preis. 2014 erschien im A1 Verlag der Band mit Erzählungen “Busenfreundinnen. Geschichten zu Lust und Brust”. 2018 der Gedichte -und Poesie-Band “Wortfisch im Grünen Aquarium” (edition bodoni).2020 das Tagebuch “Zerzauste Tage. Ein Jahr der Wirklichkeiten” (edition bodoni). Poetisches Schreiben bestimmt mein Leben und immer wieder die Arbeit für Musiler zu schreiben wie 2020 für den Komponisten Silvan Loher über den Sommer am Rheinfall für das Rhyality immersive Art project. Schauen Sie doch auf meine Website http://www.poetessa.de. Dort erfahren Sie nicht nur meine literarischen Aktivitäten wie Lesungen und Veröffentlichungen und auch Essays in Magazinen und Zeitschriften, sondern auch, dass ich Ihnen kreatives bzw. literarisches Schreiben als Dozentin und Coach in München vermittle.

In episode 84 of The Great Women Artists Podcast, Katy Hessel interviews the esteemed writer Patricia Albers on TINA MODOTTI! Tina Modotti (1896–1942) was a trailblazer. Born in Italy, she found herself at the centre of Hollywood in the 1920s, the post-Revolution era of Mexico, in the midst of Communism with the Muralists, the latter of which she captured through raw images, using her camera - her tool - to engage with political and social issues. Nothing short of a revolutionary, Modotti documented the spirit of era. Her own life was never far from drama. Raised in Italy, in1913 she migrated to the US to join her father. Adored for her striking looks, she soon began work as a model, then an actor, starring ina string of Hollywood silent films.  Taking up photography, in 1923she moved to Mexico City to join the cultural avant-garde and experimented with intimate, hazy studies of close-up wilted flowers and light-filled architectural environments – some of the earliest examples of abstraction in photography.  As the 1920s progressed, and her involvement in the Communist movement deepened (officially joining the party in 1927), Modotti turned her lens towards social documentary, photographing empathetic, yet I think triumphant, portraits of locals and labourers, and took her camera to anti-fascist, leftist rallies (with friends Frida Kahlo andDiego Rivera).  However, following the assassination of her then-lover, the Cubist revolutionary Julio Antonio Mella, she was forced to leave Mexico and abandon photography entirely. Fleeing Mexico for WeimarBerlin, Soviet Russia and then Spain, in 1939 she returned to MexicoCity, but died three years later in the back of a taxi... Some still question the cause of her death, viewing it with suspicion due to her ardently leftist politics!!!!  ONE OF THE GREATEST STORIES IN ART HISTORY! ENJOY! Patricia is the author of Shadows, Fire, Snow: The Life of Tina Modotti and curator of the formerly travelling exhibition, Tina Modotti and the Mexican Renaissance, a show and a book focussing on one of the greatest photographers of the early twentieth century: Tina Modotti. F ollow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Research assistant: Viva Ruggi Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Tina Modotti kısa ömrü ve sınırlı sayıdaki fotoğraflarına rağmen bugün fotoğraf dünyasında sarsılmaz bir yere sahip. Onun yaşamınında bolca göç, aşk ve devrim mücadelesi var. Tüm bunların izini Tina'nın eserlerinde izlemek mümkün. Foto Müze'de Laleper Aytek ile konuşuyoruz.

Die fünfzehnte Folge von «Rosalux History» befasst sich mit der Geschichte der Kommunistischen Internationale (1919-1943). Anika Taschke und Albert Scharenberg sprechen mit Prof. Alexander Vatlin (Lomonossow-Universität Moskau) über die Frühzeit der „Weltpartei“, mit Prof. Brigitte Studer (Universität Bern) über „Reisende der Weltrevolution“ und mit Andreas Bohne (Rosa-Luxemburg-Stiftung) über den Antikolonialismus der Komintern. Mit dabei sind auch Naciye Suman, Willi Münzenberg, Joseph Bilé, Tina Modotti und Magnus Hirschfeld. Links: [Rosalux History auf Instagram](https://www.instagram.com/rosalux_history/?hl=de) [Robbie Aitken über Joseph Bilé](https://www.rosalux.de/publikation/id/40552) [Matt Swagler über Panafrikanismus und Antikolonialismus der Komintern ](https://www.rosalux.de/publikation/id/40161) [Anna Belogurova über die Nanyang-Revolution](https://www.rosalux.de/publikation/id/40364) [Sana Tannoury-Karam über die Komintern in der Levante](https://www.rosalux.de/publikation/id/40817) [Dainis Karepovs über die Komintern in Brasilien](https://www.rosalux.de/publikation/id/40319)

Sie war eine der berühmtesten Fotografinnen ihrer Zeit. Und schon zu Lebzeiten eine Legende. Die Geschichte der Tina Modotti ist bis heute voller Rätsel. War sie von kommunistischen Geheimagenten vergiftet worden, weil sie zu viel wusste?

Sie starb auf dem Rücksitz eines Taxis an einem Herzinfarkt. Wie passend, möchte man meinen, für eine Frau, die zeitlebens unterwegs war. Dabei warf ihr Tod sofort Fragen auf: War es womöglich eine "stalinistische Eliminierung" gewesen? War sie von kommunistischen Geheimagenten vergiftet worden, weil sie zu viel wusste? Autorin: Andrea Kath

Manuel Maples Arce, Arqueles Vela, Ramón Alva de la Canal, Fermín Revueltas, Germán y Lola Cueto, Tina Modotti, Kyn Taniya, entre otros que abordaron los postulados del movimiento desde diferentes líneas, exaltando el maquinismo, la metrópolis, los cables, los rascacielos, los postes de luz y el cosmopolitismo. Así se configuró el Estridentismo.

Let me tell you about one of the most recognized photographers in Mexico, teacher of Mariana Yampolsky and successor of Tina Modotti, whose interest in showing the essence of people and customs will fascinate you. She is Dolores Martinez de Anda, better known as Lola Alvarez Bravo. Bibliography: Fotográfica Mx, Lola Álvarez Bravo, México, 2017 https://fotografica.mx/fotografos/lola-alvarez-bravo/ Instituto Nacional de Bellas Artes, INBAL remembers Lola Álvarez Bravo, innovator of professional photography, in the 112th anniversary of his birth, Mexico, 2019 https://inba.gob.mx/prensa/11947/el-inbal-recuerda-a-lola-aacutelvarez-bravo-innovadora-de-la-fotograf-iacutea-profesional-en -the-112-anniversary-of-his-birth Macay Museum, Lola Álvarez Bravo: Lola's Stories, Exhibition 2014 https://www.youtube.com/watch?v=JqQQ8DzvNEg&t=926s Pacheco, Cristina, La Luz de Mexico, interviews with painters and photographers, Fondo de Cultura Económica, 1995. Debroise, Olivier, Lola Alvarez Bravo, In Her Own Light, Center for Creative Photography; 1994 My Social Media: INstagram: https://www.instagram.com/arteinclusivopodcast / Facebook: https://www.facebook.com/arteinclusivopodcast Twitter: @inclusivo_arte Email: arteinclusivopodcast@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Hoy te vengo a contar sobre una de las fotógrafas más reconocidas de México, maestra de Mariana Yampolsky y sucesora de Tina Modotti, cuyo interés en mostrar la esencia de las personas y costumbres te va a fascinar. Ella es Dolores Martinez de Anda, mejor conocida como Lola Alvarez Bravo. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

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Nella puntata di oggi torniamo su alcuni appuntamenti espositivi..da non perdere in questa stagione...-Al Mudec una delle più grandi fotografe dell'inizio del XX secolo..attivista, attrice, spirito libero e anticonformista: TINA MODOTTI..-In mostra al Museo del Novecento un grande artista: MARIO SIRONI..-SCOLPITE: a Palazzo Reale di Milano le fotografe riflettono su un'assenza: la statuaria femminile negli spazi urbani..E da Milano andiamo a Bologna, incontriamo nel suo studio un grande della fotografia: NINO MIGLIORI. A lui dedichiamo uno spazio speciale.

Nella puntata di oggi torniamo su alcuni appuntamenti espositivi..da non perdere in questa stagione...-Al Mudec una delle più grandi fotografe dell'inizio del XX secolo..attivista, attrice, spirito libero e anticonformista: TINA MODOTTI..-In mostra al Museo del Novecento un grande artista: MARIO SIRONI..-SCOLPITE: a Palazzo Reale di Milano le fotografe riflettono su un'assenza: la statuaria femminile negli spazi urbani..E da Milano andiamo a Bologna, incontriamo nel suo studio un grande della fotografia: NINO MIGLIORI. A lui dedichiamo uno spazio speciale.

Coco Chanel ed Elsa Schiaparelli, Eleonora Duse e Sarah Bernhardt, Helena Rubinstein ed Elizabeth Arden sono solo alcune tra le grandi donne di talento la cui rivalità ha lasciato un segno indelebile nella Storia - come racconta Paola Calvetti nel suo libro "Le rivali" (Mondadori, 276 p., € 22,00). Tina Modotti, Dorothea Lange, Lee Miller, Diane Arbus e Francesca Woodman sono invece cinque straordinarie fotografe che hanno avuto il coraggio di raccontare realtà poco conosciute e di offrire uno sguardo indiscreto e curioso sul mondo - spiega Elisabetta Rasy, autrice del libro "Le indiscrete. Storia di cinque donne che hanno cambiato l'immagine del mondo" (Mondadori , 252 p., € 20,00). RECENSIONI "Coco Chanel, una donna del nostro tempo" di Annarita Briganti (Cairo, 160 p., € 15,00) "Ephimera. Dialoghi sulla moda" a cura di Sofia Gnoli (Electa, 240 p., € 29,00) "Tina Modotti. Donne, Messico e libertà" a cura di Biba Giacchetti (24 ORE cultura, 128 p., € 25,00) "Tina Modotti fotografa" di Valentina Agostinis (Abscondita, 188 p., € 31,00) "Donne d'avanguardia" di Claudia Salaris (Il Mulino, 288 p., € 22,00) "Realismo magico e altri scritti sull'arte" di Massimo Bontempelli (Abscondita, 158 p., € 20,00) "Moda futurista. Eleganza e seduzione" a cura di Guido Andrea Pautasso (Abscondita, 222 p., € 23,00) IL CONFETTINO "A tu per tu con Coco Chanel" di Geronimo Stilton (Piemme, 96 p., € 12,50)

Elisabetta Rasy"Le indiscrete"Storie di cinque donne che hanno cambiato l'immagine del mondoMondadori Editorehttps://www.librimondadori.it/Tina Modotti, Dorothea Lange, Lee Miller, Diane Arbus, Francesca Woodman: sono cinque grandi fotografe che, con il loro sguardo, hanno reso indelebili alcuni momenti della storia del Novecento. I loro scatti sono talmente impressi nella nostra memoria, da risultarci familiari al primo sguardo, come la Donna con la bandiera di Tina Modotti, la Migrant Mother di Dorothea Langhe, le foto dei servizi di moda di Lee Miller. Non sempre, però, conosciamo il nome che si cela dietro all'obiettivo, cosa abbia generato il fermo immagine di quel preciso momento, quale alternanza di forza e fragilità, vulnerabilità e determinazione abbia mosso l'autrice della foto.Quello che intuiamo, è che dietro a ogni scatto si nasconde quella che nel suo nuovo libro, Le indiscrete, Elisabetta Rasy definisce l'arte dell'indiscrezione: un'arte dell'indiscrezione che è l'esatto contrario dell'indifferenza, il desiderio di far vedere ciò che per comodità o per interesse è stato tenuto lontano dalla vista, che si tratti di amore, dolore, politica, sesso, povertà, migrazioni, guerra o del corpo umano, soprattutto femminile. Riprendendo il percorso iniziato ne Le disobbedienti in cui, attraverso sei ritratti di pittrici, ha raccontato l'immagine e il posto della donna nel mondo dell'arte, con Le indiscrete Elisabetta Rasy ci conduce dietro all'obiettivo di cinque grandi donne, per cogliere il loro personalissimo sguardo femminile e il loro inarrestabile desiderio di libertà.Elisabetta Rasy è nata a Roma, dove vive e lavora. Ha pubblicato numerosi libri di narrativa e saggistica tra cui Posillipo (Premio Selezione Campiello 1997), Tra noi due, L'estranea, Memorie di una lettrice notturna, Figure della malinconia e Le regole del fuoco (Premio Selezione Campiello 2016). Da Mondadori ha pubblicato La prima estasi (1985) e Le disobbedienti (2019). Le sue opere sono tradotte in molti paesi europei e suoi racconti sono apparsi in numerose antologie italiane e straniere. Collabora al supplemento domenicale del «Sole - 24 Ore».IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

- Tina Modotti, Donne, Messico e Libertà: al Mudec una mostra da non perdere....- Bello impreziosire la Metro con opere d'Arte, ma se le devono pagare gli artisti, c'e' qualcosa che non va..- Tomas Rajlich e l'Arte Astratta in Italia: a Genova , a Villa Croce un grande interprete dell' Astrattismo....- LES CITOYENNES: alla Triennale gli artisti scelti da Guillermo Kuitca dalla Collezione di Fondation Cartier....- NESSUNO ESCLUSO: le fotografie di Christian Tasso celebrano la diversità come risorsa per l'intera umanita'....- 5 serate Live Streaming per celebrare il grande JOSEPH BEUYS a cent'anni dalla nascita

- Tina Modotti, Donne, Messico e Libertà: al Mudec una mostra da non perdere....- Bello impreziosire la Metro con opere d'Arte, ma se le devono pagare gli artisti, c'e' qualcosa che non va..- Tomas Rajlich e l'Arte Astratta in Italia: a Genova , a Villa Croce un grande interprete dell' Astrattismo....- LES CITOYENNES: alla Triennale gli artisti scelti da Guillermo Kuitca dalla Collezione di Fondation Cartier....- NESSUNO ESCLUSO: le fotografie di Christian Tasso celebrano la diversità come risorsa per l'intera umanita'....- 5 serate Live Streaming per celebrare il grande JOSEPH BEUYS a cent'anni dalla nascita

Storie che sembrano trame di romanzi, ma che invece sono vere, anche se per motivi diversi non sempre sono venute alla ribalta delle cronache o ne abbiamo perso le tracce.

Recordemos a esta mujer excepcional de trágica intensidad, su vaivén entre arte y militancia, exilio y arraigo. Pionera del fotoperiodismo social, el ojo de Tina Modotti es excepcional en su sinceridad y belleza. Llevaba el arte a su cotidianidad y vivía lo que alguna vez definió como “el conflicto trágico entre la vida que cambia continuamente y la forma que la fija inmutablemente.” Tina jamás dejó de luchar, con humildad, por las causas en las que creía, y nosotras dedicamos este episodio al fuego de su vida.📷

Ivo Milazzo é o convidado de hoje no Costelinha!Ele fala sobre suas obras como Tikki, Tex, a nova HQ baseada em Tina Modotti e, claro, o final de Ken Parker.Confira nosso podcast, com Lucas Souza e Alexandre Baptista.Comente o que você achou, curta e compartilhe o vídeo.E assine o canal! Isso ajuda a gente a trazer sempre mais coisas pra vocês!Participe do grupo de Whatsapp aqui. E confira novos episódios do Costelinha toda segunda no Spotify ou aqui.Confira o episódio de hoje em vídeo no Sobrecapa!_____Ivo Milazzo è l'ospite di oggi a Costelinha!Parla dei suoi lavori come Tikki, Tex, il nuovo quartier generale basato su Tina Modotti e, ovviamente, il finale di Ken Parker.Guarda il nostro podcast, con Lucas Souza e Alexandre Baptista.Commenta ciò che pensi, ti piace e condividi il video.E iscriviti al canale! Questo ci aiuta a portare sempre più cose per te!E dai un'occhiata ai nuovi episodi di Costelinha ogni lunedì su Spotify o qui.Guarda l'episodio di oggi in video sulla Sobrecapa!

Tina Modotti ha saputo “dare immagine” ai suoi ideali e al suo impegno politico. Nonostante abbia esercitato la sua arte per pochi anni, Tina Modotti è universalmente riconosciuta come una delle più importanti fotografe di sempre.

Oggi parliamo di Tina Modotti, una fotografa, attivista e attrice italiana. È considerata una delle più grandi fotografe del '900. Alcune sue opere sono conservate nei più importanti musei del mondo, come l'International Museum of Photography and Film at George Eastman House di New York e la Library of Congress a Washington. Le 3 parole sono: fabbrica, paesaggio e rivale.☕ Supporta Oggi Parliamo: www.patreon.com/oggiparliamo

¡Hola a todas y a todos! Ya estamos aquí con un nuevo programa monográfico. Este mes analizamos el espionaje a través de la Historia, los diferentes servicios secretos y las historias vitales de algunos de sus protagonistas más destacados, como Fouché, Shakespear, Tina Modotti... Esperemos que lo disfrutéis, que comentéis lo que os gusta, y os disgusta, a través de Ivoox, de Apple Podcast, de Google Podcast, de Podimo, de Spotify, de La Radio de la Historia (lunes de 15-17h y martes de 20-22h) y de las redes sociales, ya sea twitter, facebook, nuestro grupo en Telegram ("Historiados Podcast") o nuestro blog https://historiadospodcast.wordpress.com/. Y también en Youtube.

Tina Modotti è stata una fotografa, attivista italiana. È considerata una delle più grandi fotografe dell'inizio del XX secolo, nonché una figura importante e controversa del comunismo e della fotografia mondiale.Al seguente link trovate le fotografie menzionate durante la puntata https://raccontidiluce.wixsite.com/podcast/post/04-tina-modotti

Con una cámara fotográfica en su mano y el alma rebelde llegó a México la italiana Tina Modotti. Sería modelo y anhelo para muchos de nuestros artistas, pero su alma libre y su pasión por una causa la harán trazar una vida aparte cargada de pasión, encuentros y desencuentros.

La italiana Tina Modotti fue actriz de cine mudo en Hollywood, modelo y pionera del fotoperiodismo social. En Estados Unidos, conoció al fotógrafo Edward Weston. Primero fue su musa, luego su alumna y, finalmente, amantes durante cinco años. En la década del 20, Tina se estableció en México, donde colaboró con el Partido Comunista y se hizo amiga de artistas como Diego Rivera, David Siqueiros y Frida Kahlo. Su trabajo fotográfico es escaso pero fantástico. Una obra maestra, que muestra las desigualdades, la lucha social y la vida de los indígenas mexicanos. Esta carta pertenece a su etapa romántica. Está dirigida a Edward Weston y describe esos encuentros amorosos. Carta hecha fuego. Exaltación del placer. Lee la actriz y fotógrafa Malena Figó. ****** Edward: Repito tu nombre con ternura una y otra vez para acercarte, en cierto modo, a mí en esta noche en la que sola recuerdo. Anoche, a esta hora, tú me leías un libro hermoso. ¿O bebíamos vino y fumábamos? ¿O ya la oscuridad nos había envuelto y tú…? Ah, recordarlo me emociona al borde del desmayo. Dime, a esta hora, ¿me besabas mi seno izquierdo? Ah… ¡La belleza de todo eso! El vino, los libros, las fotos, la luz de las velas, los ojos para mirarnos, la oscuridad, los besos… A veces, me parece que no soporto tanta belleza, que ésta me rebasa. Y vienen las lágrimas. Y la tristeza. Pero esa tristeza llega como una bendición y como una nueva forma de belleza. Ay, Edward, ¡cuánta belleza le has dado a mi vida! Y, ¿sabés? Ya pasó casi un año. Tu carta anterior la tuve debajo de mi cabeza hasta la mañana. ¿Fue su leve fragancia lo que me despertó? ¿O el espíritu de tus deseos y de los míos que parecían emanar de ella? Sí. Embriagarse de deseos. Y, al mismo tiempo, temerlo y demorarlo. Ésa es la forma suprema del amor. Ya es muy tarde. Y la intensidad de mis sentimientos me ha agotado. El sueño me cierra los ojos pero en mi corazón hay una alegría oculta por todas las cosas que seguirán siendo nuestras. Tina.

durée : 00:58:39 - Le Mexique, la Musique et le Monde : #10 La mosaïque mexicaine de 1930 - par : Marcel Quillévéré - Le " son " cubain débarque à Veracruz et influence la musique populaire mexicaine. Le théâtre mexicain connaît une vraie renaissance. Le Mexique attire de plus en plus d'étrangers, notamment des exilés communistes comme le couple vedette de Mella, et la photographe italienne Tina Modotti. - réalisé par : Béatrice Trichet

Le « son » cubain débarque à Veracruz et influence la musique populaire mexicaine. Le théâtre mexicain connaît une vraie renaissance. Le Mexique attire de plus en plus d’étrangers notamment des exilés communistes comme le couple vedette de Mella et la photographe italienne Tina Modotti. L’écrivain britannique D H Lawrence vient s‘y ressourcer sur les rives du Lac de Chapala où il écrit son roman, Le Serpent à Plumes, plutôt mal accueilli dans le pays. L’Espagne y est toujours très présente et la passion des Mexicains pour la zarzuela, la pelote basque, les corridas et les opéras dans les arènes est toujours aussi forte. L’événement de l’année c’est la création de la radio la plus puissante d’Amérique Latine la XEW.

Eric Mencher one of my favorite photographers I discovered on Instagram .His own site Eric Mencher Photogrpahy . We talk about how he got started in photography which in his case quaintly led to photo journalism. His poetic style and the beautiful settings and backgrounds of Guatemala and Mexico among others are quite enchanting and sometimes mysterious. Here are some of his main photographic influences: Garry Winogrand, Cartier-Bresson, Robert Frank, Dorothea Lange, Tina Modotti, Graciela Iturbide, Manual Alvarez Bravo, Robert Adams, Ray Metzker, Aaron Siskind, Harry Callahan, Paul Strand, Luis Gonzalez Palma, Mario Giacomelli, Diane Arbus, Francesca Woodman, Helen Levitt, Brassaï . And one painting of hundreds: Paris Street; Rainy Day by Gustave Do yourself a favor and check out Eric's work as well as his influences. #art #photograph# Iphone #guatemala #mexico #romanticimages #impressionism --- Send in a voice message: https://anchor.fm/mark-forman0/message

- Gérard DE CORTANZE pour son roman "Moi, Tina Modotti, heureuse parce que libre" (Albin Michel). - Nico TACKIAN pour « Celle qui pleurait sous l'eau », Calmann-Lévy - Caroline VALENTINY pour son premier roman « Il fait bleu sous les tombes » (Albin Michel)

While Frida recovers-ish from the accident, she starts down a new path.  This path will take her to a magical place beyond a window, the Communist Party, a Tina Modotti party, and a wedding party.   Diego has a hard time keeping Dieguito in his pants as he makes his move, I tell embarrassing stories, Matilde and Guillermo continue to not talk, missed x-rays are the worst x-rays, and we learn what goes into changing the spelling of your name. And, there are multiple shootings, both of people and electronic equipment.   @artholespodcast artholespodcast@gmail.com

La vita di lotte ed ideali di Tina Modotti.

Tina Modotti e Gerda Taro `Due donne due fotografe due paladine dell’ indipenza.In occasione della Giornata Internazionale delle donne questo podcast vuole rendere tributo al coraggio di queste due fotografe , raccontare le loro storie e ispirare tutte le donne che amano la bellissima arte della fotografia.

Tina Modotti e Gerda Taro `Due donne due fotografe due paladine dell’ indipenza.In occasione della Giornata Internazionale delle donne questo podcast vuole rendere tributo al coraggio di queste due fotografe , raccontare le loro storie e ispirare tutte le donne che amano la bellissima arte della fotografia.

En la sección principal os traigo esta semana la primera petición de una mecenas. Ya sabéis, una de esas personas que hace posible que yo grabe cada semana gracias a su apoyo económico y que da derecho a elegir una temática en la sección que se desee a lo largo de la temporada. En esta ocasión cumplo con la petición de Elvira y traigo la película japonesa “Battle Royale”. Las peticiones de otros mecenas irán saliendo a medida que las vaya preparando. En la sección “El verso libre” se pasa de nuevo por aquí el mítico cantautor cubano Pablo Milanés, en esta ocasión con su himno “Yo pisaré las calles nuevamente” extraído de su álbum de 1976 “La vida no vale nada”. Un tema de lo más adecuado tras el 45 aniversario del sanguinario Golpe Militar de Pinochet y EEUU contra Salvador Allende que se cumplió el pasado 11 de septiembre. En la sección “A golpes de realidad” os traigo como cada semana la actualidad dividida en nuestros cuatro bloques. En el primer bloque, el centrado en el Terrorismo Machista os hablo de todas las brutalidades que cada semana sufren las mujeres a manos de los hombres. Una lacra compuesta de asesinatos, violaciones y maltrato. Además también estará nuestro bloque de menores, el internacional y el centrado en esta España enferma, dictatorial y corrupta. Finalmente en la sección “¿Qué fue de?” os hablo de la fotógrafa comunista Tina Modotti. Os contaré muchas cosas de esta mujer admirable, italiana de nacimiento y mexicana de adopción que además de arte también realizaba activismo con su cámara. Sus imágenes mostraban una realidad que no le gustaban al poder establecido lo que la llevo a ser exiliada de México y estar viajando constantemente. Tiempos: Sección principal: del 00:02:46 al 01:30:29 Sección “El verso libre”: del 01:30:59 al 01:36:28 Sección “A golpes de realidad”: del 01:37:09 al 03:21:21 Sección “¿Qué fue de?”: del 03:22:30 al 04:19:19 Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Diseño logo Canal: Patrick Grau Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

"That's when I came to learn more about Graciela Iturbide, Tina Modotti, Lola Alvarez Bravo…that kicked in this interest or appetite in what else is going on in other places…" Verónica Sanchis Bencomo founded Foto-Féminas as a way to promote the work being done by female photographers working in Latin America and the Caribbean. It was while growing up in Venezuela and witnessing political turmoil that Verónica became acutely aware that the media could be a powerful tool for giving voice to those with little power or means to be heard. It was then through her photographic work with an NGO in Chile that cared for young burn victims, that Verónica became more interested in learning about female photographers who worked in Latin America. Links http://www.veronicasanchis.com/ https://foto-feminas.com/ https://foto-feminas.com/contact/ (click here to donate to the library or to submit your work proposal) https://www.instagram.com/veronicasanchis/ https://twitter.com/VeronicaSanchis https://www.facebook.com/FotoFeminas/ https://twitter.com/FotoFeminas Visit www.thephotoshow.org realphotoshow on Twitter/IG/FB Twitter twitter.com/realphotoshow Instagram instagram.com/realphotoshow/ Facebook www.facebook.com/realphotoshow

This time, I'm bringing you a story that includes almost everything that has fascinated me over the past year and a half: Photography, struggle, modernism, Mexico, revolution, the Spanish civil war. It’s the story Tina Modotti's remarkable life, and it starts with a picture.

Frida Kahlo, Nahui Ollin, Rosa Rolanda, Tina Modotti, Lola Álvarez Bravo… Betsabée Romero, artiste qui habite et travaille à Mexico, est invitée à parler de l’extraordinaire personnalité des femmes artistes mexicaines. Plasticienne multisupports (peinture, photographie, collage, sérigraphie, sculpture) proposant une réflexion critique sur les symboles de notre culture de consommation globale, le travail de Betsabée Romero, entre ironie et poésie, se concentre sur un matériau particulier : la voiture et tous les accessoires qui la constituent.

Il Risveglio di Natascha Lusenti; Cartolina Dal Mondo; Elso Maxwell; La Notizia di Francesca Parisella; #BookBreakfast con Petunia Ollister; ospite: Daniela Froldi di "Oasi Azalea"; ospite: Paolo Ferrari della mostra "Tina Modotti"; ascoltatori in diretta; Sfida Dei Ricordi

Tina Modotti was born Assunta Adelaide Luigia Modotti Mondini in 1896. At the age of 16, she moved from her native Italy to the United States with her father. Modotti soon developed an interest in performing arts and appeared in several plays, operas and silent movies while living in San Francisco. Five years later, she moved to Los Angeles to pursue a career in film. Modotti became known for playing the femme fatale and in 1920 landed the staring role in The Tiger’s Coat. Tina showed an interest in photography from an early age. Her uncle Pietro Modotti ran a photography studio in Italy and later her father ran a similar studio in San Fransisco. After moving to Los Angeles with her boyfriend Robo Richey, Tina soon became friends with Edward Weston. Weston became a mentor and inspiration for Modotti’s development as a fine art photographer an by 1921 she was modeling for Weston and the two soon began an affair. Modotti’s boyfriend, Robo went to Mexico in December of 1921. Unaware of Tina’s affair with Weston, he took a portfolio of Weston’s work hoping to work out an exhibition in Mexico. While Tina was on her way to Mexico to join him, she found that he had died 2 days before her arrival of smallpox. The following year, Tina mounted a two week exhibition of Robo’s and Weston’s work at the National Academy of Fine Arts in Mexico City. Weston moved to Mexico the following year leaving behind his wife and 3 of 4 children. Tina set up and managed Edward’s studio in return for his mentoring her as a photographer. Weston was taken by Mexican culture and was inspired by local folk art and landscape. Modotti was more interested in people and the Modernest aesthetic. She soon found a community of cultural and political avant-gardists who she became closely associated with including Frida Kahlo and Diego Rivera. As her photography skills began to mature, Modotti’s work included lyrical images of peasants and workers and experiments with architectural interiors, flowers and urban landscapes. Mexican photographer Manuel Alvarez Bravo notes 2 distinctions in Modotti’s work being both “romantic” and “revolutionary”. The romantic aspects of her work undoubtedly influenced by Weston and the revolutionary from her growing interest in politics. In 1926, Weston signed a contract with writer Anita Brenner to photograph her book on Mexican folk art. Modotti and Weston were joined by Edward’s son Brett. The job was quite large requiring over 400 8×10 negatives and prints. Brett was brought up to speed at a breakneck pace and learned how to make prints while traveling through Mexico in search of lesser known native art. The project took months and by the end, Edward’s relationship with Tina was over. At the end of the project, Edward and Brett returned permanently to California. Modotti continued her works as a photographer and in 1929 did her first one-woman retrospective exhibition at the National Library which was advertised as the “First Revolutionary Photographic Exhibition In Mexico”. By this time, Tina had been a member of the Mexican Communist Party for several years and her work was very politically focused. In 1929, Modotti’s close friend Julio Antonia Mella was assassinated presumably by agents of the Cuban government. Soon there was an assassination attempt on Mexican President Pascual Ortiz Rubio and Modotti was questioned about both crimes. In 1930, she was expelled from Mexico as the result of an anti-communist and anti-imagrant press campaign. Modotti evaded police through Rotterdam, Berlin and Switzerland before making her way back to Italy to join the anti-fascist resistance before proceeding to Moscow in 1931. After this move to Russia no photographs survive and it is presumed that Moditti never photographed again. During the rise of the Spanish Civil War, Modotti left Moscow for Spain. Following the collapse of the Republican movement, she returned to Mexico under a false identity. Two years later, Modotti died under somewhat suspicious circumstances though the official autopsy indicated heart failure. She was 46. ine art photographer an by 1921 she was modeling for Weston and the two soon began an affair. MoMA Collection :: http://www.moma.org/collection/artist.php?artist_id=4039 Philadelphia Museum of Art Collections :: http://www.philamuseum.org/collections/results.html?searchTxt=modotti&keySearch=+Search+&searchNameID=&searchClassID=&searchOrigin=&searchDeptID=&accessionID=&page=1

Elena Poniatowska’s work, in both fiction and journalism, has always been devoted to giving a voice to the voiceless, the disenfranchised and the oppressed. Her most famous book La noche de Tlatelolco (1971) dealt with the massacre of up to 300 protesters in Mexico City in 1968. Others of her books have been recreations of the lives of ordinary Mexicans, such as the victims of the 1985 earthquake, and of well-known artists and radicals such as Diego Rivera, Frida Kahlo and Tina Modotti. Her most recent novel Leonora, recently translated for Serpent’s Tail by Amanda Hopkinson, is based on the life of the surrealist artist Leonora Carrington who sought and found refuge in Mexico, the country where she created most of her finest work and where she died in 2011. Poniatowska will be appearing at the shop to talk about her career with the poet and publisher Michael Schmidt. See acast.com/privacy for privacy and opt-out information.

Tina Modotti (1896 – 1942) was an Italian photographer who was most active in Mexico between 1923 and 1930. Known for her romantic and business relationship with Edward Weston and her friendships with Diego Rivera, Frieda Kahlo and other Mexican artists, Modotti was also a political activist during the Mexican Revolution and beyond. Links for … Continue reading History of Photography Podcast 7 : Tina Modotti →

Tiziana Ticci sulla Retrospettiva su Tina Modotti a Torino, la Mostra sulla RAI e quella su Marco Petrus alla Triennale di Milano - IT Festival alla Fabbrica del Vapore di Milano - Sandro Avanzo dal Festival Gay Lesbico di Torino - Marina Petrillo dal Festival Internazionale del Giornalismo di Perugia

Tiziana Ticci sulla Retrospettiva su Tina Modotti a Torino, la Mostra sulla RAI e quella su Marco Petrus alla Triennale di Milano - IT Festival alla Fabbrica del Vapore di Milano - Sandro Avanzo dal Festival Gay Lesbico di Torino - Marina Petrillo dal Festival Internazionale del Giornalismo di Perugia (seconda parte)

Tiziana Ticci sulla Retrospettiva su Tina Modotti a Torino, la Mostra sulla RAI e quella su Marco Petrus alla Triennale di Milano - IT Festival alla Fabbrica del Vapore di Milano - Sandro Avanzo dal Festival Gay Lesbico di Torino - Marina Petrillo dal Festival Internazionale del Giornalismo di Perugia (seconda parte)

Tina Modotti raccontata da Alessandra Mauro. Il 3 dicembre 1929 all'Università Autonoma di Città del Messico si inaugura una rivoluzionaria rassegna delle opere di Tina Modotti con Alessandra Mauro Repertorio: - Frammenti tratti da Tina Modotti - Il fiore della rivoluzione - Cuore di tenebra,Dentro la storia - Radio3 Rai novembre 2012 (Archivio RAi); - Vita, atmosfere ed esperienze della fotografa Tina Modotti da La storia in giallo - Radio3 RAi marzo 2007 (Archivio RAi); - Rapporto da Tina e Frida Kahlo tratto da Frida, film del 2002 diretto da Julie Taymor. Brano musicale: Tina Modotti ha muerto - Catherine Vincent

Time After Time-.Frank Sinatra – John Coltrane-.LOS VOLCANES -CICLO JAZZ EN NOVIEMBRE.- Brasilian Duos Luciana Souza, voz, Romero Lubambo, guitarra. Abdu Salim + Daahoud Salim Trio e invitados Homenaje: 30 aniversario de su llegada a España Abdu Salim, saxos y flauta. Daahoud Salim, piano. Jose Luis Martin, contrabajo. Ivan San Juan, batería. Difícil encontrar una voz más exquisita en el jazz y alrededores que la de Luciana Souza. Cristalina, de una dicción, fraseo y afinación perfectos, aérea, y de incomparable fluidez y frescura, Luciana embelesa, ya se trate de música brasileña, con la que creció, standards jazzísticos o temas contemporáneos. Luciana interioriza cada canción que interpreta dotándola de una rara intimidad que cala hondo en el oyente. Es en el formato más recogido, en el que Luciana Souza encoje el corazón, con el que nos visita en este ciclo: sus dúos con Romero Lumbambo. Y tras la cálida y queda intimidad, el fuego. Abdu Salim llegó en 1983 para revolucionar de forma perenne el jazz de Sevilla. Abdu Salim fue el primer contacto en directo que muchos tuvimos con ese aliento de libertad, con un jazz visceral y de elevación espiritual. El impacto fue profundo y fértil, entre aficionados, entre músicos, y no hay quien en nuestra ciudad no se considere un alumno suyo, directa o indirectamente. Abdu Salim y Sevilla están íntimamente unidos, vuelve para recibir homenaje debido, apoyado por el trío de su hijo Daahoud, y antiguos y nuevo compañeros. Francesco Bearzatti, saxos. Giovanni Falzone, trompeta. Danilo Gallo, contrabajo. Sylvain Darrifourcq, batería. Monk' n' Roll va camino de convertirse en el disco más desprejuiciado, descarado y acaso el más creativamente descabellado de 2013 ¿Dónde si no puede escucharse un ‘Round Midnight que dar lugar al Walking On the Moon de The Police? O ¿qué tal Bemsha Swing con Another Bite the Dust de Queen? No son los únicos encuentros/ choques/ chispazos que forman Monk' n' Roll. El cuarteto de Francesco Bearzatti camina como un equilibrista en ellas pero con el asombro de un contorsionista en transformaciones inesperadas y llenas de humor que parten del repertorio de Monk y de modo inesperado da en el del Rock. Músico europeo del año 2011 para la L'Academie du Jazz, Bearzatti ha liderado proyectos rompedores como los de los discos inspirados en la fotógrafa Tina Modotti y Malcolm X, todos ellos recibidos con apasionadas reseñas, pero ha sido Monk' n ‘Roll el que le ha aupado en el reconocimiento popular. Un espectáculo, una invitación a lo inesperado. Lee Konitz – Dan Tepfer Duo Lee Konitz, saxo alto. Dan Tepfer, piano. Juan Galiardo Quintet con Jerry Bergonzi y Joe Magnarelli Jerry Bergonzi, saxo tenor. Joe Magnarelli, trompeta y fliscorno. Juan Galiardo, piano. Dave Santoro, contrabajo. Andrea Michelutti, batería. Lee Konitz sigue negándose a ser una figura venerable, ha conseguido ser un enfant terrible en todos los estadios de su carrera. No importa si con treinta o con ochenta y seis años. Konitz lo ha logrado de la manera más difícil, interpretando standards de forma distinta cada noche, sin nada preconcebido. Asombran la frescura de sus última cosecha de discos, no importan si con Bill Frisell, Ethan Iverson o Brad Mehldau: Konitz ofrece cada vez frases más concisas pero con la sugerencia de un haiku o la rotundidad de un aforismo. Dan Tepfer uno de los más dotados pianista actuales hace de partenaire a uno de los mayores dialoguistas de la historia del Jazz en un escenario que Konitz ya pisó con grandes como Paul Bley y Enrico Pieranunzi. De grandes también se rodea Juan Galiardo en un quinteto que cuenta con los maestros Jerry Bergonzi y Joe Magnarelli en un grupo probado en incesantes giras y programas dicdácticos. No cabe hablar de invitados, esto es un grupo compacto forjado en el diálogo y la anticipación no importa si en temas de toda la vida o en originales del pianista sevillano establecido en Cádiz. La elegancia improvisatoria que exuda el grupo en su único disco hasta la fecha (Newsteps, 2012) no está reñida con el trapío de su directo como se podrá disfrutar esta noche. David Binney, saxos, John Escreet, piano, Matt Brewer, contrabajo, Antonio Sánchez, batería Quienes se hubiesen hecho al sonido a Antonio Sánchez por medio de su participación en las bandas de Pat Metheny, tuvieron que reajustarse cuando se enfrentaron a su obra como líder. Primero llegó Migration, uno de los más fulgurantes debuts de 2007, dramático, con identidad compositiva, abierto a distintas realidades musicales. No sólo era el batería orquestal y de increíble independencia que tocaba con Pat Metheny, Sánchez tenía su propio camino, como siguió demostrando en el duro juego intergrupal de Live in New York con el encarnizado entrecruzamiento de los tenores David Sánchez y Chris Potter y ahora New Life (2013), un disco cargado de sabia nueva con cuya formación (menos Donny McCaslin) acude al Teatro Central. Metheny escribe sobre New Life:” desde el mundo musical que Antonio habita con sus voraces intereses y actividades musicales suena y se siente como totalmente orgánico y natural”. Esa voracidad llega de forma neta, exuberante y casi febril, con una banda de maestros contemporáneos: el apasionado alto de David Binney, la sesuda figuración del piano de John Escreet, y el flexible bajo de Matt Brewer.

Elena Poniatowska Tinisima (Farrar, Straus & Giroux) Mexico's "premiere; woman of letters" on Tina Modotti--photographer, model, revolutionary--the subject of this biographical novel.