REMEDIO PARA EL VERANO

La Cultura: Remedio para los males de Verano.

Frente a una sociedad de antivalores, enfermedades sociales y crisis, las manifestaciones artístico-culturales pueden ser el mejor escudo y antídoto para enfrentarlas.

Violencia, caos moral y ético, inseguridad, pobreza económica, sida, enfermedades incurables, consumismo, delincuencia, frivolidad, hedonismo. Estos y otros males de la sociedad contemporánea, tienen arrinconado al hombre de hoy. La cultura y el arte pueden ser uno de los remedios para vivir mejor y no perder así la esperanza en un mundo mejor que el que tenemos. Alejandro Jodoroswky sostiene "que arte que no cura no sirve".

Como cura el arte
El arte cura y trabaja en tres campos de nuestro ser, cuerpo, mente y espíritu. En lo que respecta a la parte espiritual, se libera el poder interior y se alcanzan imágenes, de espíritus y ayudantes. El encuentro con el arte, además, favorece la percepción de Dios.Cuando se pregunta a los artistas, acerca de la curación, hablan de luz, de oscuridad, de lugares del mundo interior donde ven las visiones que pintan.
Muy dentro de nosotros hay profundos espacios, loas regiones más lejanas del alma. Al viajar, hacia dentro, podemos vislumbrar mundos, sentirlos, vivir en ellos. Y sólo con el arte podemos traer de vuelta, con nosotros, las huellas llenas de recuerdos, traer su espíritu.
Cuando decimos arte, nos referimos a todo arte, la pintura, la escultura, la narración de historias, la poesía, la música, la danza, el arte escénico. El arte es la voz de la fuerza vital, de la expansión, del amor que hay dentro de nosotros. Es la conexión, el puente verdadero, la fuente de todo poder. El arte es la voz del espíritu. Y cuando el espíritu se libera, cuando se ve el espíritu, se lo oye, se libera el sanador interior.
Claramente este texto no es una columna, ni menos crónica de algún fallido intento de crítica artística. Pero siento que nuestro vasto norte grande, se ha envuelto en un torrido verano, salpicado de cultura que nos permite un break, lleno de colores, luces y cultura, mucha cultura, entre el desierto y el mar.
Tan lejos, tan cerca........................................por ahora con mucho arte de verano.


Salvador Lauriani Olivares

STATE OF SITE: ARTE OF THE NORTHERN BORDER

STATE OF SITE: ART OF THE NORTHERN BORDER The outskirts of Latin American Art, has always passed through the paths of marginalization and exclusion, exceptions in international markets, nor recount important milestones of styles, currents or creative art of a local export. The advanced crossed the Atlantic in the years of the avant-garde and the neo-developed, in'80 and'90, landed in the country's north. So it is valid to state that we do not have a common denominator, or imprints that at least reached the level of flow, with the exception of the Group Argentine Madi, who at the beginning of the fifties, embraced the tenets of geometry. The Chilean art is peripheral to the international respect and of the provinces (regions) is the periphery of the Chilean art. So, from our identity "peripheral" constitute an eclectic group, not only gestuality and low projection toward the centers of mass. Our motherland, has given us lots of talents in various areas of the plastic, especially painters and sculptors. But we were unable to Engrande flow, not least speeches or theories, allowing the history of events in the visual arts in recent years, at the local level. The concept of matria was used in ancient times to refer to the land of birth and sentiment. As time is maintained thanks to the literary tradition and poetic, mainly in Galician and Portuguese. Edgar Morin uses when referring to the matria Europe, while Miguel de Unamuno used it to refer to the Basque matria. Simply identify the actions of each of the local agents of the cultural system in order to establish whether it is the actual existence of a local scene. Because local scene so that there are certain conditions be met. It is not enough that a site has simply artists, so that scene, requires a degree of institutionalization of relations between the various actors. So if we can have an identity, which is recognized throughout our motherland. SALVADOR LAURIANI OLIVARES OCTOBER 2009

ESTADO DE SITIO. ARTE DEL BORDE NORTE

ESTADO DE SITIO: ARTE DEL BORDE NORTE

La Periferia del Arte Latinoamericano, siempre ha transitado por los caminos de la marginalidad y la marginación, excepciones en los mercados internacionales, tampoco relatan hitos destacados de estilos, corrientes o creadores, de un arte local, de exportación.
Los adelantados cruzaron el atlántico, en los años de las vanguardias y los neo-adelantados, en los ’80 y ’90, desembarcaron en el país del norte.
Entonces es valido declarar que no tenemos un común denominador, ni improntas
que al menos, hubiesen alcanzado el nivel de corriente, a excepción del Grupo Argentino MADÍ, que a inicios de la década del cincuenta, abrazó los postulados
de la geometría.
El arte chileno es periférico respecto al internacional y el de las provincias (regiones) es la periferia del arte chileno. Entonces, desde nuestra identidad “periférica”, conformamos un grupo ecléctico, sin gestualidad única y escasa proyección hacia los centros de difusión masiva.
Nuestra madre patria, nos ha regalado muchísimos talentos en las diversas áreas de la plástica, sobre todo pintores y escultores. Pero no fuimos capaces de engrandar corriente alguna, ni menos discursos o teorías, que permitiesen establecer la historia de los acontecimientos en las artes visuales, de los últimos años, en el plano local.

El concepto de matria fue utilizada en la antigüedad para hacer referencia a la propia tierra del nacimiento y del sentimiento. A lo largo del tiempo se mantiene gracias a la tradición literaria y poética, principalmente en lengua gallega y portuguesa. Edgar Morin la emplea al referirse a la matria Europa, mientras Miguel de Unamuno lo usó para referirse a la matria vasca.
Basta con identificar las acciones de cada uno de los agentes del sistema cultural local para poder establecer si es efectiva la existencia de una escena local. Porque para que haya escena local se debe reunir ciertas condiciones.No basta que en un sitio haya simplemente artistas, para que haya escena,se requiere de un grado de institucionalización de relaciones entre los diversos agentes.
Entonces si podremos tener una IDENTIDAD, que se reconozca en toda nuestra madre patria.


SALVADOR LAURIANI OLIVARES

OCTUBRE 2009

THE ATTACK OF THE BALLS OF ART

The ATTACK OF THE BALLS OF ART ... ... ... ... ... ... ... ... ... ... Casa de la Cultura de Antofagasta "Mainstream artists' vision of a younger generation to the process of creation - continues the presentation of the catalog, using the proceeds to support symbol-gas cylinders, is a unique project in our country that brings us to new dimensions of contemporary art." At the Cultural Center of our city is presented to show that you have balls of gas as a carrier. (Moving the material object, dadaist influence in the 21st century). In the very essence of art is the search for new forms of expression. That is how the plastic never ceases to amaze with proposals that sound gimmicky but on this occasion is right on experimentation with other material, away from the classical concept of the table hung on the wall. (Does our landscape tradition will be ready for this brutal contrast?) This is the case with "The cylinder as the base", which conducted the contest Foundation Gasco inviting a group of more than 90 young artists (Santiaguinos of course) to develop sketches of intervention of balls and ponds of liquefied gas, carrying an object for everyday use in homes Chileans to other dimensions. (Pop Art: Made in Chile) The sample was submitted earlier this year in Santiago, with good reception in the artistic medium, as this new medium enabled artists to develop their creativity with versatile works that reflect the trends of the new generation of Chilean painting. (The painting is dead, long live painting!) The 12 winning artists, selected by a jury of experts, were in their workshops cylinders and ponds which used it as a new pictorial support, giving way to works that are notable for their versatility and freedom, and reflect the look and current renewal of this young generation of Chilean painting. The works are presented in this exhibition are the result of this creative challenge and belong to TRUFFE Bruna, Daniel Mena, Sebastian Leyton, Malu Stewart, Jorge Gonzalez Lohse, Rodrigo Cabezas, Victor Hugo Bravo, Jose Maria Spencer, Gaston Laval, Mario Z . Pablo Jansana, and Michael Wright-Morgado. (All capital ...) Salvador Lauriani O

el ataque de los balones de gas

El ATAQUE DE LOS BALONES DE ARTE…………………………

Casa de la Cultura de Antofagasta


“Incorporar visión de artistas de una generación joven al proceso de creación - continúa la presentación del catálogo-, utilizando como soporte el producto-símbolo cilindros de gas, es un proyecto único en nuestro país que nos lleva a nuevas dimensiones del arte contemporáneo.”

En el Centro Cultural de nuestra ciudad se presenta la muestra que tiene a balones de gas como soporte. (Desplazamiento del material-objeto, influencia Dadaísta en pleno siglo 21).En la esencia misma del arte está la búsqueda de nuevas formas de expresión. Es así como la plástica nunca deja de sorprender con propuestas que aunque suenen rebuscadas, en esta oportunidad aciertan en la experimentación con otras materialidades, alejadas del concepto clásico del cuadro colgado en la pared. (¿Nuestra tradición paisajística estará preparada para este brutal contraste?)Este es el caso de "El cilindro como soporte", concurso que realizó la Fundación Gasco invitando a un grupo de más de 90 jóvenes artistas( Santiaguinos por supuesto) para que desarrollaran bocetos de intervención de balones y estanques de gas licuado, llevando un objeto de uso cotidiano en los hogares chilenos a otras dimensiones. (Pop Art: Made in Chile)La muestra fue presentada a principios de este año en Santiago, con buena recepción en el medio artístico, ya que este nuevo soporte permitió a los artistas desarrollar su creatividad con obras versátiles que reflejan las tendencias de las nuevas generaciones de la pintura chilena. (¡La pintura ha muerto, viva la pintura!)
Los 12 artistas ganadores, seleccionados por un jurado de expertos, recibieron en sus talleres cilindros y estanques que utilizaron como un nuevo soporte pictórico, dando forma a obras que se destacan por su versatilidad y libertad, y reflejan la mirada renovadora y actual de esta joven generación de la pintura chilena. Las obras que se exponen en esta muestra son el resultado de este desafío creativo y pertenecen a Bruna Truffa, Daniel Mena, Sebastián Leyton, Malu Stewart, Jorge González Lohse, Rodrigo Cabezas, Víctor Hugo Bravo, María José Spencer, Gastón Laval, Mario Z., Pablo Jansana, y Michael Wright-Morgado. (Todos capitalinos…)

Salvador Lauriani O

URBAN MURAL lll

URBAN mural lll The mural painting dignifies an area specifically, a set of murals in town dignifies the whole, their neighborhoods and their inhabitants. A recognition and appreciation to all the designers who are giving away moments of beauty for residents and visitors of Antofagasta, in every corner of the city, becoming a space alien and antisocial in a meeting place and communication based on creativity, execution based on the beauty of urban geography to watch and listen to the art of the streets. The brigades are muralists Chilean experience absolutely original. They were born with a purpose practice: advertising policy. There was in them or a teacher or a group of artists. All they know what they learned to work. All they have done what they learn. For them the academy was the work of the street, day or night, harassed by their opponents or fleeing police. In the haste was born an art fast, direct, simple. As in the art of the primitive Christians, the city wall are made of symbols and letters. The dove, hand, ear, the star, as are the language of a new faith for a long time that was disclosed in hiding at night. And as these primitive artists, members of the brigades muralists did not know they were making a new form of expression and the possibility of a genuine folk art. The murals are anonymous and urban passengers. The bottom line is that they do not persist. The message changes the pace of events. They are so linked in life that his art is in permanent conflict with the wind, rain, with the work of other men. What today is painted is destroyed tomorrow. We inhabit the city, walk around and discover that the artworks are waiting on every street corner, where architecture, poetry and art have a responsibility aesthetics, which will be the legacy for the history of the coming years. All those who inhabit the town know the current situation of our city, a unique city with a valuable cultural past, but that time he has left deep footprints and resent the social problems that have arisen or aggravated by their same geographical features. (Far from manifestations of real cultural value, which favors the scenery of the way, on the merits.) SALVADOR LAURIANI Olivares September 2008

Murals in the City..................

Murals in the city ..................... In Chile the mural is a graphic expression which for decades has been incorporated within the city codes. And the interesting thing-and worthy of reflection, I think, is when this can be done for some genuine artistic expression but for others it may be just vandalism, or propaganda. How ultimately define what the fine line that separates them? Define what is a mural; As current aesthetic has its first manifestations between the twenties and forties, at the end of the Mexican Revolution and that arises when the Latin American art, dependent on Europe, Mexico takes a moment of particular interest to develop the art of mural. The changes resulting from this period, especially social, generate a new vision in front of the occasion to represent the arts as well as a new way to see the mural vida.El responds to revolutionary ideals and peace policy and is not in itself a technical or fresh as the mural: a school or movement. In Chile, the mural begins with the brigades that were organized in the seventies, for propaganda purposes, which, after the triumph of Allende, worked as awareness messages on the responsibilities of the State and society. Among the most famous brigades are Ramona Parra, Inti Peredo and Elmo Catalan, which introduced a language and particularly with certain functions: fillings and funds in pure colors that vibrate to the interior of thick black lines delineate the brochazo, introducing symbols (pigeons , Fists, faces, stars) to form strong and shocking images that transformed the cityscape. With the Coup d'Etat, the movement was interrupted, barely subsisting as political resistance, the return of democracy, the artists have done murals at universities, buildings in the centre of the capital and Valparaiso (where there is a special journey, in the heart Cerro Bellavista, the birthplace of wonderful, open-air museum.) Our city is ready to receive the first major task of occupation of the city, from the gaze of history's great north, its people, characters and anecdotes. The concern involves the construction process of memory and no doubt should exist similar projects in the medium term. Where is important not only because the story (memory), but also the perspective of aesthetics and art theory. Unable to collect history, propaganda and also good contemporary art. Salvador Olivares lauriani August 2008