The president, secretary and treasurer of the association of retired nursing Valencia, congratulations on your upcoming 93 birthday to our dear colleague and vice president, Amalia Amoros. 
Partial view of the dining room where they celebrated the Christmas meal and delivery of certificates courses computer. 
Francisco Soto, secretary of the Association of retired and current teacher of advanced computer and office equipment, makes entraga to their students, the 
Salvador and his face with so many gifts on his first Christmas ... the best gift. 
Neon, Peter Liversidge. 
Laurel Woodcock, Quotation, 2006, blue neon. 
Joseph Kosuth, Five Words in Green, 1965.
The hundreds of urinals from other authors, the prints of Goya and classic paintings stolen by Jake and Dinos Chapman and altered with interventions infamous, the complete works of Richard Prince who stole Marlboro ad and book covers the 60's; neon signs, the empty rooms, exhibitions or work ghost who steals the found footage film clips and reissued. Since the first white painting by Malevich in 1918, we have seen hundreds of versions parade until the end of white light from a video projector, or chistorete Loris Gréaud to say that his self-portrait painting is invisible.
amazing thing is that ideas are so bad and also they are predators, devouring as if they were sources of wisdom. In your deep limitations is his greatness? These repeats are sequences systematic exposures and symptomatic of the degradation in which they submitted to the building to highlight an ideological system. Looking for complete freedom, disassociating the art of the past fell into an ideological dictatorship, to destroy without bringing. This art does not create or proposes breaking aesthetic boundaries, imposes a lazy thinking easy to handle. His objects are not works, this repetition is propaganda that impacts the insistence, the ad to be seen more often is that going to penetrate the mind of the beholder. This reiteration of ideas intended to convince us that this is what we have now assimilated as art. His monotone answers you need to bring equality, have been standardized to the art as did the communist system to tyrannize its citizens intellectually and set the value of the individual does not exist, which prevails in a group. Why insult the authorship and originality, is a totalitarian system of equality. There is no hierarchy of values, there is a widespread implicit validity: if you choose a urinal or a neon sign, and trash is art. In this art fallacy intellectual freedom and prohibition, have forgotten that repetition is submission without reason. Equal mediocrity.
Boltanski, Personnes. For Josef Lespa
.
have nostalgia for the future is the fate of analyzing the present. Take a trip on our pitiful condition for a stem in which art dies. Painters, sculptors, cartoonists and graphic artists exhausted from contempt for his work, to be expelled from the museums, get fed up and leave the building in a collective spiritual suicide.
The thousands of contemporary artists and curators, with the fury of a plague of locusts, take up the spaces devoted to art that transcended and we were trained as civilized beings. Enter the Louvre and hang off the Mona Lisa and instead placed the pubic hair of Marina Abramovic. demolished Sistine Chapel and the ruins droppings emerging artists and create art detritus. As this art always has good intentions, without being sociologists or Psychologists offer surface and immediate work to resolve social pathologies, destroy the work from Artemisia Gentileschi to Cook and assemble Monica works "feminists" who defend the rights of women and their status with sublime performances and installations of cosmetics and household cleaners packaging household. At last we own all the space to expand his work and educate the public to despise the beauty and intelligence and in a paroxysm take the Uffizi Gallery, burn Birth of Venus Botticelli and replaces a peformancera bathing in her menses, the photographic record, video and "interdisciplinary research" remain as permanent works. Take the Titians , and Raphaels , the self-portrait of Da Vinci exchange it for an animal of Demian Hirst, the Adoration of the Magi by a giant balloon of Jeff Koons. In an orgasm of joy and ecstasy of contemporary artists who have felt marginalized, misunderstood and undervalued enter the Orsay Museum and the Prado Museum, the works involved, the wreck and put his dirty clothes. In the empty rooms are audio installations tune singing "folk songs" as Susan Philipsz, the latest Turner Prize. To relate "art and technology" instead of the monumental Rubens Marie de Medici who commissioned hanging video screens with images out of focus of your vacation, personal encounters, and all the trifles that usually burn and turn into art.
The future continues to advance, no trace of what was art, there is aesthetic experience, contemplation went out of fashion and takes a few seconds to see common consumer items in the rooms exposure. Art schools fail to teach drawing, painting and any discipline that refers to humanity's artistic past. Teachers are banned and sent to reeducation camps. The everyday more boorish and scandal take over the space, the museum is an extension of television, its news, advertising, programs and ideas replace the aesthetic thought. In a display of demagoguery mass production of artists is part of political campaigns, "they are all artists and everything is art" is the most used advertising slogan.
Without the intellectual haven that is the true art, our natural inclination for beauty mutilated, with intelligence repressed and subject to think and not accept anything as art, walked out in frustration to the involution and savagery. Then with humanity in its essence destroyed "promoters art "because finally satisfied laugh educated an audience that accepts submissive they decide what is art. Hallelujah! Hallelujah!
My mouth never sinned, without the consent of reason, of having incited a passion that would later end up in tears.
Lorenzo Da Ponte.
Posterity is puritanical. Just remember what has been purified. So the great libertine repent before he died, leaving a memory clean, without blemish, and his posthumous image is the one worthy of homage.
The last years of Louis XIV were those of a king obsessed with chastity, this led him to drive from Paris to the Italian artists of the Commedia dell'Arte. The theater returned to France with the reign of the licentious Duke of Orleans, after the king gave his life, previously given to the excesses of love, sex and food, their bodies devoured and poisoned by the gangrene that caused the drop. The king dead, long live comedy.
That was the world that seduced Antoine Watteau. This painter is what we call an artist today pop, died at age 36 of tuberculosis and left a work sensual, voluptuous and full of plump meats inspired by the work of Rubens.
Watteau worked at a workshop of copyists recorded in series, consistently reproducing images of the king and religious themes, with this training workshop came to Claude Gillot specializes in the Commedia dell'arte scenes, and found the passion the theater and its characters.
Forgot religious archetypes, transformed the attributes of the pious saints by the passions of love, rivalry, jealousy and the tears that were shed by the mistakes and love affairs. These scenes were located in settings that are purely theatrical countryside, in gardens, woodland pools that are framed by curtains skies are blue, orange, wet, submerged in the mild climate of an evening of celebration.
Watteau never had clients or patrons in the nobility, that he gave his work a unique opportunity that became the basis of the rococo aesthetic: the invention of the "gallant festivals." Only painted folk, bourgeois and actors of comedy, Pierrots, maids, Columbian, musicians, in a celebratory, peaceful delivery.
In many of these images can be found Watteau himself among those who have fun, sing or listen to poems, but what has sparked the imagination of researchers and novelists, is his obsession with a woman who always looks back. In an era when theater works were still staged with rigid rules and inviolable, that the concept of the fourth wall was not yet invented, let alone naturalism, the staging of Watteau's paintings are disturbing.
For example "The Pleasures of the Dance", in the center of the composition, in a majestic white marble arcade and blue, with niches that hold Greek gods, opening a garden in the background, in this little paradise, a group of elegant bourgeois dance, while a couple presides at the celebration, he is facing with his foot lifted slightly tilting the body to the rhythm of music, and she backs to the audience, we, the temporary witness this scene, his red hair hairstyle highlights her silk dress and a lace collar, the lady gets up her dress to follow his partner. Do not see your face, imagine that is the most beautiful and jealous Watteau hidden. The excitement of having it and show distress.
And so we continue immersed in his paintings and found a beauty that refuses to mirarno, In The Rest "travelers stop to rest under a tree and she on one side, dressed yellow silk to get our attention, is a point of expulsion, is a cry, and he's back, her skin soft, cold, a long neck, delicate head touched by a flowered hat. Watteau portrayed as he looks into an abyss seduced by the approach of panic. In "Two cousins" does the same, is a situation intimate, melancholy, in a garden with a pond in the center, two beautiful girls watch the afternoon, enjoy the captivating pleasure of the day that changes in the reflection of water, the color of the plants, the air temperature. A maid insists cover one with a red scarf, but she refuses, her breasts are exposed, it seems that can not be contained by the golden gown neckline. On one side, standing, tyranny, and the beauty of a long back, serene, endless neck, white, surmounted by a brazen head, the hair is collected to see those shoulders, that skin just waiting to be touched, kissed . Watteau made of the prohibition, seduction, selfishness how to get involved for fear of revealing that the object of fascination that he himself destroyed.
The only function of his paintings is hide who she is, telling us that there is but we do not have a right to know how to see your eyes. At the height of delight and despair naked Pt "The Judgement of Paris ", the evocation of sodomy, which years later would fashion the beheaded queen Marie Antoinette, is the center of the composition, Helena discover and Paris is about to give the golden apple. A scene in which all the characters they see you face, except us. Watteau's paintings are the passion of concealment. Pascal Quignard says that those who love hide and survive only stories that have no witnesses.
With this smile ... who does not like waking up? 
The seducer does not carry any ethical weight, is an avid body sensations, which strives to create and become addicted to them. Seduce for living, sleeping, eating, defecating, is what makes your life an adventure that stretches as far as what drives his own daring. The artists of this vice never think of its consequences, this would limit its action, there is no impact to justify suppressing your pleasure.
Egon Schiele enjoyed waking up the vanity of the young, almost children, inviting them to pose for her beautiful drawings that compliment that implies the proposition "I want to do a portrait," says "you're beautiful" and it was enough for girls and girls come into his garden and take off their clothes until the Puritan society did a scandal that threw Egon to prison. Balthus's paintings depict the natural inclination is for girls to feel feminine and desirable, in the memorable Therese Dreaming, she has about twelve or thirteen years, raised one leg and let the sun fall upon her pussy, close basking in the eyes of a pleasure for her, sought for her, while a kitten licking milk from a dish. Balthus's paintings are those girls who were at Casanova marquesas wearing only a mask and willing to tell their marital woes in the cadence of a gondola, are stealing the Italian nuns of the convents and had more desire to delivery carnal to the spiritual.
Egon Schiele enjoyed waking up the vanity of the young, almost children, inviting them to pose for her beautiful drawings that compliment that implies the proposition "I want to do a portrait," says "you're beautiful" and was sufficient to that girls and young women entering their garden and take off their clothes until the Puritan society was a scandal that threw Egon to prison. Balthus's paintings depict the natural inclination is for girls to feel feminine and desirable, in the memorable Therese Dreaming, she has about twelve or thirteen years, raised one leg and let the sun fall upon her pussy, eyes closed enjoying the heat, a pleasure for her, and she sought , while a kitten licking milk from a dish. Balthus's paintings are those girls who were at Casanova marquesas wearing only a mask and willing to tell their marital woes in the cadence of a gondola, are stealing the Italian nuns of the convents and had more desire to delivery carnal than spiritual.
In the book Adrian Orozco Malvido The Young Love letters to a girl arises José Clemente Orozco seduced with the same obsession and temperament he devoted himself to painting. Regardless of the interpretation which the author makes the love affair, the letters are the description of the process, Sam will not use the same method in all his life. Orozco estimated to meet Refugio, not love at first sight, it recognizes that the girl who is all-day journey to school is the same as living in the neighborhood in which he has his studio, that is, is to scope. So begins to woo her with letters and a torrent of words that overflow on a binge of emotions, which are essential for an artist who needs to live in a nightmare day invents feelings, causes and twists to fuel that passion that requires painting.
Balthus, Therese Dreaming.
Refuge is 12, only goes to church and school, is a virgin, is the romantic and aesthetic representation of a hunt without any consequences or commitments, is a well of images that pushes masturbation, visiting prostitutes that age and draw in the series of La Casa de las Lagrimas where naked girls waiting for customers in wet beds and broken, his body in the abandonment, depleted by tens of picked and fellatio. These girls learned bodies, exploited, hurt, with the age of the young Refugio Orozco sought and says, "Give me a kiss, just one," I want to be by your side, I hold you, want to make you a thousand caresses, I consumed in the fire of your eyes. "
The painter who portrays the seedier human waste and beauty ideals, need to go to the virginity of Refugio to the gloom sick of the brothel, to capture a transition that full of wisdom. Orozco never intended to marry Refugio, prove nearly 500 letters in which she played to awaken the passion into believing that mad love to a grown man. Is exacerbating the sense of ownership, analyze, and blackmail to convince small. Refuge is flattered, responds as serial novel character and may well have been reading these stories and live in this connection his own novel. Orozco was 26, he says he cried at parting of Refuge, and it is true, Refugio was the desire, sensuality untouchable, and the triumph of his words. Fun indeed, at the height of a man who loved dancing, which in New York early in the morning to shovel the snow and can see his neighbor girl go to school. The Emperor Tiberius would have celebrated this relationship and their children, fish will bite the phallus and swam to his side.
Millennium Maze Posted in Journal on Saturday, December 4, 2010.
