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How many times have we seen in the children's party clowns horrible depressing that make balloon animals? This practice is not unique to our country, is practiced by almost everyone. An inflatable dog animals is the model of one of the most famous sculptures of Jeff Koons, Balloon Dog , made in 1996. Jeff Koons did not invent the image copied it to these clowns and reproduced in permanent materials as "a parody of the banal" in his factory studio with 50 assistants at 600 Broadway in New York and manufacturer architectural and artistic objects Carlson & ; Co . It has several versions in different sizes and materials, a small, porcelain made 2300 copies and sold between 7.500 to 12,000 dollars each on eBay , the large steel is made to order and costs 20 million dollars. It is an idea and repeatedly exploited to the fullest.

Koons, who can not draw or sculpt, says of himself "I am a person of ideas, not get involved in physical production of my objects, I have no skills, so I hired the best to do so." This means that at least the clowns of the parties do make their dogs inflatables. Koons does not just "think" and its marketing machine sells. So far nothing new within the contemporary art creation, if it were not for Koons claims the copyright of all dogs of balloons that are made in the market. In a gallery of San Francisco's Park Life, attorneys for Koons forced the owners to pick up some dogs that were selling pasta. These dogs manufactured in Canada are distributed 300 points of sale. The gallery said shocked, "is fuckin nuts, Jeff Koons Owns all likeness of balloon dogs ? No, it is not. This is an insane abuse of a man who is an artist, is a seller of expensive kitsch objects.

In that plan, Gabriel Orozco is the owner of the rights of all the shoe boxes in the world. Warhol Enterprises will have to charge royalties to Campbell's Soup Company , a Coca-Cola and all that in their very limited language have used their logo to make works of "protest and reflections on the consumer society. " Seafood restaurants pay to Hirst to decorate with stuffed sharks or vats of formaldehyde. Disney paid for the use of Mickey Mouse ad nauseum in millions of pieces "of imperialism." Urgent that all artists make an association or union and to record the collective authorship of all trash generated by the planet. Gabriel Kuri required royalties on all the trees in the city that are covered in chewed gum. Those who install urinals to pay royalties to the heirs of Duchamp, including artists who have copied the piece. The descendants of John Cage that have the copyright for silence and Piero Manzoni's shit in all its forms.

In this art to steal or "ownership" is one of the aesthetic premises that the denostación of authorship is one of the pillars of rhetoric, an artist Copyright prompted by an idea that is created and copied to the top of cynicism. But the cynics get far because the cowards do not lose the opportunity to shut up. The amazing thing is that Koons does not learn to forget is part of the arrogance. Already in 1992, photographer Art Rogers sued for stealing a photo printed on a postcard and that Koons used as a model for sculpture String of Puppies, which had three copies and sold at $ 350 000 each. The jury sided with the photographer and Koons had to pay. His defense was the curatorial text, said that ownership is part of his aesthetic and the card used to ridicule.

is, he does something that can be used deliberately did not invent, but if someone else takes the part, and uses it, so if authorship is theft. Without the value of the original author, the imitator, the copier, the thief, demanding the right to copy, and sends lawyers to fight for something he stole earlier. The work is not making it, is who knows pervert the copyright laws, this is the prevailing rhetoric.

Posted in Cultural Supplement Maze, Milenio Diario.

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KAFKA, KUPER AND SELF Transvestite

"As Gregor Samsa awoke that morning of his troubling dreams, he discovered that he was transformed."

is the beginning of Metamorphosis by Franz Kafka, perhaps one of the best early history of literature. From there anything can happen and it happened. Fear is a way of understanding the world. The artist Peter Kuper, author of several graphic novels and illustrator Times and Newsweek, gave a graphic novel from the story.

With the tools of the graphic novel, Kruper Kafka's story makes a version that matches the motion of film in the development of narrative and action. The beginning of the novel is written on a black page with white font, is a curtain that opens to we get to know the tragedy of Gregor Samsa.

Life can be unbearable, but at times it may be more the possibility of change. Terrible as it is a routine, that we are subjected to security that, at least here, we know what will happen and if we take the risk of change that can upset the world around us, to the extent of making it with our fear, into a nightmare. Kruper

making ideas that will trigger the action and makes a dramatic adaptation of Kafka emphasizes patterned in black and white drawings moves evolve approaches to wide shots.

In the small room Samsa, wakes up in bed for a large beetle, the tension of the new body of Gregory Kuper recreates with large and small drawings in which the insects have their new status, believed to be in a dream , and time goes into a huge hourglass cloisters anxiety of Gregory for being late for the train, panicked screams and realizes that it is not the same when he heard his own voice.

Kuper's drawings we get into the hysteria of Samsa, the irrational fear of being different and still be in the family environment, for Kafka was always a symbol of oppression. The narrative of the voiceover keeps it in cartridges that gets into furniture, sceneries or the shell of the person creating an active voice that unfolds in the bowels of the story, which is not apart of the action. It is perceived that clarity and intelligence with which the director Michael Haneke film inserted the voiceover in his film version of The Castillo. The voice becomes intimate and poetic when describing the plight of Gregorio and inserts with white font on the lock of the door, peering through the key input, see the face of the beetle distorted by panic.

The decision to make the novel black and white gives a deep and terrible truth, the story has no nuance, no other options, is a tragic end, goes beyond the colors with the duality of light and shadow, line and absolute black. This fatality was achieved tonal with scratchboard technique: on pages printed in black ink scraping knives and other metal tools to remove the white lights of the paper is white. It invested a stroke, because what you draw is light, and leave the black form of the line and the shadow.

Portrait of Gregory's father is a horrible man, his face is changed but retains its repulsive, is angry, cold, selfish, robust, brute force to mistreat but not to work, is the figure of Kafka's father was a source of pain, contempt and fear. Kafka insecurity came from the presence of a parent who is dissatisfied with his son showed. Kafka in his letters he remembers everything that he admired the young man, his father denigrated with scathing criticism, to the extent that Kafka chose to hide their tastes, as in his novel hides the beetle. That drawing Kuper takes him harder representation, is a monster of violence that makes the transformation of Gregor into an insect, the worst of places: where the victim gives reasons for the executioner to be tortured.

In creating characters that makes Kuper, the beetle inspires compassion and solidarity Samsa, the insect is never frightening that puts the family out of it and that becomes the problem on the that will turn the most wretched of his feelings and disloyalty. It is an insect that is suffering, seeking help and who needs love and support to cope with change. Fear is destructive because it nullifies, the fear that Kafka had his father, the possibility of irritating, shame to the reality of being an insect that is consistently below expectations, he had created a character that released and purified in the literature. Kuper's graphic novel elegantly recreates the fear, in a staging grotesque cartoon characters in its pettiness.

Published in the Journal Antidote

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TAI CHI FALL AGAINST THE BROTHERHOOD

Today in the press, in the digital world

found some articles

very attractive, while

nice and knew us, we are practicing Taichi from

some time ago, the physical benefits and psy-

gicos that produces the practice of this

great technique, exercise, sport, and want

qualify.

Taichi FALL AGAINST

In Spain, a third of people

crashes every year.

Balance exercises can prevent these episodes by up to 19%.

this says and demonstrates. Laura

Tardón / Madrid / El Mundo.es 13/01/2011.

The new guidelines from the American and British Society of Gerontology, for the first vaz, tai chi as a recommendation to prevent falls among the elderly. So confirms a report published in the Journal of the American Geriatrics Society. "

These episodes are one of the most common health problems in this segment of the population, causing functional impairment and, therefore, loss of independence, says Mary Tinetti, lead author of eset work, Yale University (U.S. .) For this reason, it stresses his team, "it is important to develop interventions to prevent, to the extent possible, the risk of falls in older people."

Taichi is rhythmic, slow movements that require trunk rotation, weight shifting and dynamic coordination between the movements of the upper extremities and below. This improves balance and helps reduce the risk of falls, says Lazarus Montserrat Walnut, coordinator of the unit falls Clínico San Carlos Hospital (Madrid) who also published a study in 2009 in "Clinical Medicine", which recalls that the effective exercise programs are tai chi, balance training and walking and strength training, which can reduce falls by 19%.

Read more in The World (01/13/2011)

How To Defeat Forest World In Supertux

SAMSA

Nero, the emperor lover of the arts, and young people docile, left in the dark of night, without guards, to seek adventures being offered dangers and pleasures, and to conceal her royal presence he dressed. In his youth party dressed as animals and contrary to their gender, had to fornicate including the emperor mixed men and women and they were males with leather phalluses, and they have allowed themselves as females. In the Greek theater masks granted under ethos or personality of the actor. The costume does not simulate exhibits. I am my mask.

Julio Galan's work is marked by what he wants us to see its nature. In the painting on Sunday Mandarin dresses as Princess Turandot, a bird of paradise has tied a noose, is his slave, his victim. Wraps its fragility in the silks of a cruel princess who sets traps to love to escape the boredom of being loved, make clothing and make a shell that does not conceal, nor away, shows that inhibition is an invitation to possession violence.

If the self is an exercise in self-observation and analysis, to portray cross-dressing is the catharsis of intimacy, self-immolation essential. Frida Kahlo dressed as a man in his truest self, sits in a chair as a formal young man poses for his girlfriend takes a memory of him. He wears a dark gray suit is too big for him, a red shirt buttoned to the neck, and hands the scissors to just cut that hair strands that we see scattered across the floor. FGM's even closer to their masculinity, to feel light-headed of men, which does not weigh hair. Frida shouts without this braid am a male.

Saturnino Self-portraits of crossing a bridge with a rapid and irreversible risk, he does not hide immense pleasure because you cross-dress, is painted with the hedonism and delivery who is admired by her lover. His paintings are love letters, are passionate delivery, without shame, shared with the one before the joy of posing and painting. Saturnino Herran Tehuana dress is one of the most successful works of Mexican painting, with bright colors, body leaning on one side so the weight balance gown ethereal space and acquire the value of an aura that surrounds the head and body, is cheeky, playful, seductive. We look with a delicate smile, challenges us sideways, with his mustache on top of a fleshy-lipped mouth. Shows one of his hands for us to verify that he is, long, steady, large. Chest plane adorned with lace and beads. Herran and sees love as a woman is beautiful, it is desirable. Bugambilias is a boy, like his Indian sexy, flexible, Dionysian, it puts on small breasts on a strong and lean torso, wrap it in a garland of flowers is a gift that squirms and looks at the sky in a spasm, is the force that gives off a body that knows how to be graceful and passionate. For Herran concealment blindness was looking at his work as the essence of Mexico, when in fact the issue is just a vehicle for resolving images in compositions meet erotic, heroic and epicurean. Their indigenous sacred rites bodies are complacent, portrayed with a master's moving and shocking, Herran delivers all his virtuosity as a draftsman and anatomist to embody the desire to clean lines, in bodies that define a single line between light and shadow. The Women's Shawl is a young Herrán wrapped in the colors of Sorolla, the composition is placed in the bank to be the red flowered shawl that define the environment. Blessed with nice dress, Saturnino's face smiles and challenges the viewer. The pleasure in idyllic surroundings of purity free from the fear of death and pain is the basic theme of the painting Herran, his self-portraits are the joy of a creator who is not afraid of ephemeral condition of sensuality, the minute they eat the eternal longing. If you already stripped the body of the gods, now saw the body of pleasure.