Sunday, October 4, 2009

Can Employers Tell When You Can Smoke



(Interview with Omar-Pascual Castillo, ARTJAEN'09 artistic director, editor, writer and curator)


Omar-Pascual Castillo
against two drawings of José Bedia

12 years ago came to Spain leaving behind his native Cuba. The habanero has built a career as a professional within the culture that has led him to work with major international contemporary artists such as Ray Smith, Jose Bedia and Tony Oursler. In his role as an art critic writes articles in magazines such as Atlantic Art.es, ArtNexus or Dardo Magazine, or tests for the case of Turner Publishing in Madrid or polygraph Barcelona.
police stations in art their most recent projects include a traveling exhibition across the country from New York artist Tony Oursler, or personal samples of Jesus Zurita and Ydáñez Santiago in Monterrey, Mexico.
is currently Artistic Director of the third edition of ARTJAÉN, International Art Fair, to be held on 26 to 30 November in the Andalusian city.

- In his career highlights his training as a philosopher and historian explores how the art world?

I came to the art world first of all for my education, kept very close to Havana's cultural universe of the late 80'se early 90's, My mother was editor-in Cuba and is a highly educated woman, very up to date, at least at the time, now retired, then definitely by the artists. Artist friends who knew they wanted to be a writer, poet and philosopher, I demanded he write his catalog texts, then learned to ride their own exhibitions, almost from the look installative based on the narrative thread or formalistic, but the historiographical or chronology, and finally, because I found in philosophy, aesthetic studies, linguistics, semiotics, or now called Cultural Studies and Visual Studies. So I

the world of art from the professional point of view, from the amateur point of view, if I was and am a devourer of images.

- The work prior to the opening of an exhibition is difficult and unknown. Could you explain what steps are taken from the submission of a project to a room until the day he opens the show?

There are different types of art projects stations. There are many different types of art stations, maybe I should say. There is born as a manifestation of a symptom that you encounter in your studies of culture, such that connoisseurs or experts call "the thesis", as raised-usually-a "thesis" a "hypothesis", or rather I would say thinking of Foucault, "a paradigmatic diagnosis or symptom of modern society", others are the "signs" samples "and forgive the repetition, those who only seek to" show, take a look, displaying an overview, take a pan, "that rule is a bit chaotic display or scholastic, and are the authors' study shows, considered monographs, which are what interest me most to me.
But in either case, the original basis of the work is the same: meter wall, museum idea, claims and budget, combined these elements is what makes us run one or another step to carry out a display.
usual rule, studies and contacts with artists and galleries, presented the project, then look for spaces and employers, and finally, technical service providers, read, assembly, transportation, insurance, electricians, framers, printers, graphic artists, designers, carpenters, and organized the press office, the catering opening, dismantling and return ...
More or less, and quickly said, these are the steps.

- had a chance to learn the art from another point of view as it has developed some artistic aspects as painting and photography, "it helps to better understand the work of an artist?

I started doing art for reasons quite unrelated to art, entertainment, as defog therapy for unlock my creative writing, and studying the art and ways to run it, to know itself from within, and something so handy to be able to live in Cuba since the 90s, where I grew up was very difficult to live as a writer but as an artist is survived, having seen, from my studies, that much of the art world was "training and protocol" was a survival mechanism, and escape. The writers also rarely travel, artists, constantly travel to display their creations.
And yes, answering your question specifically, it helps me, very much, so much that sometimes I let myself down easy, because I know very well how exactly some results that are merely mechanical formalism or gloating.

- Do you think that culture and contemporary art in particular has been affected by the global economic crisis?

Yes, everything is affected by this global crisis.
For example, NYC is in bankruptcy, closed more than 50 galleries, important. The fairs are in a tailspin, many of them, for reasons of sales. But just depends on the sectors. The art that was not inflated for supremacy in the market has not suffered big falls, rather they are on standby, the young art however, is more fashionable than ever, so cheap it is ... well, are cycles, mechanisms of movement and settlement of accounts . But I strongly believe that everything will return to its place. Maybe it's good to deflate some myths and business stratagems some speculative outrageous brutality, and the water returns to its cause.
Whenever there is crisis and developments screens. Survive them, the best of each house.
art would not be less.

- Currently working as artistic director ARTJAEN. What is the role of Spain at this level in the markets art?

ARTJAEN aims to become a "focus" region to the southern Andalusian region of Spain, a "benchmark", but as a "turn of dissent" to the centrality of cultural movements in this country, that such it seems if things do not happen in Madrid or Barcelona has no place, impact, quality, respect. Instead there
fairs like ARTSANTANDER, DFOTO (San Sebastian), ForoSur (Cáceres), or Valenciart ArtSalamanca that have Movima something the map of regional markets.
know we're in strange times, critical times, but just can not stay in the destitution of apathy and listlessness, or depression.
have to keep working, "depression is a disease of the affluent gentrified in their comfortable seats," said a friend and some people can not afford to get depressed, Ontario, can not afford the impasse, silence, or procrastination.
ARTJAEN be a fair small but cozy, friendly, courteous ... integrated into the city and its institutions and their spaces.
subtleties just want to redefine the cultural map of Spain, we do not revolutionize it.
Personally, I do not believe in the great deeds, much less in the "revolutionary", just believe in the will of the teams and to join forces very specific directions. "These are the true revolutions minimum revolutions," as Julia Kristeva.
If we turn the consumption of Contemporary Art in a city virtually deserted in this regard, we have already done enough.

- Viewing his career highlights is a fact that more working elsewhere in Spain, why?

First, because ... why not? The world today is global. In addition to easily if you work a bit, slip on your map natural surrounding, at least in my field. Also, outside of Spain, sometimes working in better conditions than in Spain, except in the publishing world. Spain in the industry in the field of culture, I do not have jurisdiction.
I repeat, at least in my experience.

- What are the criteria for critical writing about a particular artist?

My texts as all my work is somehow "situationist" aims to "re-placing" targeted, where a critical text of an artist, so does this mechanism of "place" only "re-set" in the thought of the context in which the artist develops.
The rest is pure writing school, move from general to particular, and highlight some strengths and weaknesses of the work.
In general, I prefer to bring visions derivatives, tangential, not dictatorial like the idea of \u200b\u200b"blessing or curse" nobody's job.
In fact, much of my texts are subtitles, notes, annotations, brief sketches ... etc, and became embroiled in that state of "uncertainty that a laboratory of ideas" on a production, not its critical ruling, but " re-writing. "
often say that I am interested in entering the artist's head, not in your hand or eye, but what made him tick, what governs it, which paralyzes him ... that: your head.

- being Cuban and adapted to English employment context?

has and has had its pros and cons.
First, the pro ... do not expect you to be too "politically correct", formal or discreet, because "you're Cuban," and that informality and speed go with you, and this is a stereotypical view of us, but has its advantages ... have the fertile ground of positive affect towards the ... "where you come from."
Still, you're supposed assigned a "niche market", the Latin American or Latin American maximum. And that's a job.
Second, against this "curb marketing" of your proposals limited to the "Latino" and "Latin American" do not you come out of there ... and some logistical issues preferences have to be English, for example in the fact "apply to places and jobs."
Because I'm stubborn and still carrying some 12 years in Spain and being great-grandson of English, I have not made "a English citizen."
On the other hand, I'm used to working with other genres and types of hiring firm and resolute that the stagnation of the English civil service bureaucracy, but bandeable, and once you adapt, you the storm bands.
But Spain is a very malleable when you're acclimated within it.
Still, I've been many years working, and the art world is very small, many of us know a minimum of references, and if you do your job best, this precedes you.
Toughness is also important.
Tenacity is important in all, I think, but to an immigrant, even more so.
You have to re-build your territory in hostile territory, which is not yours, adecuarte to him and not ever make you feel invasive, but a guest, always a guest.

- What institutional support is a curator?

work depends on whom may be from a private foundation to a ministry. The ministries and branches of culture together governments, provincial governments, municipalities, town (in the case of the Canary Islands) and private sponsors, galleries, there are a lot of support not only institutional, institutions are run by people, and it is people who manage and move . They do not move alone.

- For a cultural manager is it profitable work culture?

In Spain it is difficult to issue payment or collection of items directly derived from institutional, for the most part, are extremely slow.
One trick is to not only live in the public sector, another is to move much, other work outside of Spain.
Well, actually, not impossible. Except that, as always I say, not a sprint, is a distance race, an endurance race. Torres Encarni




Granada, Spain
October 4, 2009.

Saturday, October 3, 2009

What Color Rugs For Beige Color Bathroom Tiles

endurance race COLLECTIONS INVITED: MEIAC / DKV / Cruzcampo



Marta Maria Perez Bravo
Protection, 1990
Photo B & N
Courtesy Collection MEIAC

Parallel to ARTJAEN, in their own exhibition area involved 3 collections invited:



Museum of Fine Arts Jaén

SHOOTING 1 ...
(VIDEO ART IN THE COLLECTION IIBEROAMERICANO MEIAC).

Tania Bruguera (CUBA). Priscilla Monge
(COSTA RICA).
SERRANO TERESA (MEXICO).
RAUL CORDERO (CUBA).
SASTRE MARTIN (ARGENTINA).
João Onofre (PORTUGAL).
MUNTADAS ANTONI (SPAIN). ALFREDO JAAR
(CHILE). GIL
ALONSO (SPAIN)

Provincial Museum of Fine Arts in Jaén


other's eyes (PHOTO COLLECTION IN LATIN AMERICAN MEIAC).

Marta Maria Perez Bravo (CUBA). LILIANA PORTER
(ARGENTINA). GABRIEL OROZCO
(MEXICO).
ANDRES SERRANO (U.S.).
Mario Cravo Neto (Brazil).
MIGUEL RIO BRANCO (BRAZIL).
Jorge Molder (PORTUGAL).
SIERRA SANTIAGO (SPAIN). RITA
MAGALHÃES (PORTUGAL).

GRAFIC (DKV Cartoon Collection. Art and Health)

Part of the extensive and prestigious collection DKV. Arts and Health, under a police station in Ventura Alicia will be displayed in our event, with the support of the Publications Library, and, of course, the involvement of it in our VIP Program. FOUNDATION COLLECTION

Cruzcampo

Selecting a group of pieces Cruzcampo participants Awards sponsored by the Foundation of the same name specializing in contemporary painting, to take place at the Royal Economic Society, Chamber Jaén.

Verse About The Lottery

galleries in ARTJAEN'09

(confirmed on October 4)

NATIONAL: Galería Fernando Pradilla


Álvaro Alcázar Gallery
-Bcn
Myto Gallery Gallery Gallery Sandunga
Isabel Ignacio Javier Marín

Gallery Gallery Gallery Alexandra Irigoyen Manuel Ojeda

UNODEUNO
Gallery Gallery Gallery
Lorenzo Colomo Spiral Gallery Eduma

Tea Gallery 6 Gallery The smooth


INTERNATIONAL: Fernando Santos Gallery


GEGalería
Lyle O. Reitzel Gallery Federico Luger Gallery

Monday, August 10, 2009

Milia Treatment Naturalis Reviews

TRIP TO LAS PALMAS DE GRAN CANARIAS


You
Laura González Cabrera Have Nothing to Say, 2007

Oil on canvas Courtesy of the Artist

Forgive the silence, last week I was in Las Palmas de Gran Canarias. There I met
personalities Art Team of the Canary Islands, and the CAAM, as well as with the artists: Francis Naranjo, Ubay Murillo, Alberto Garcia, Laura González Cabrera, Greg and Raquel and Rocio Arevalo. And with the gallery Manuel Ojeda.

From these meetings as well as fabulous a few hours of talks, we got the idea of \u200b\u200bpossible future work related to ARTJAÉN, and you can expect confirmation, but Francis N. ARTJAÉN already involved as author of the corporate image de la Feria. Y Manuel Ojeda a accedido a llevar un One Man Show de Ángeles Agrela a nuestro evento, lo cual nos resulta un lujo y una apuesta a reconocer como un gran aliciente para seguir adelante.

Monday, July 27, 2009

Wedding Vote Of Thanks, The Essentials

TRIP TO ARTSANTANDER



Resultó ser un "accionista".
JUGANDO CON FUEGO
De las acciones de Blinky Rotred. El hombre cometa.
Óleo / lienzo
130 x 195 cm
(Cortesía Colección privada, Portugal)

Hemos visitado la Feria de ARTSANTANDER, y desde allí hemos recibido buenas críticas de nuestro proyecto y el apoyo de varias galerías interesadas de golpe a participar en el mismo, como igualmente hemos tenido la desdicha de que galerías and Rafael Ortiz, PazyComedia, Angeles Baths, Carvalho Carlo Maria Llanos and we have delegated the invitation for different reasons, Rafael for the 25 anniversary of his Gallery (formerly called Marble) held just ARTJAEN dates, you can not participate Stand but supports us in relation to projects of Miki Leal and Manuel Bautista, and Carlos and PazyComedia by the proximity of our dates with ArtLisboa.
A pity, galleries that really interested us enough.
But we have been pleasantly surprised to personally meet the artist José Luis Serzo, one of the last creators "total" I've had the luxury of knowing.

Next week, Las Palmas Gran Canarias.

Sunday, July 19, 2009

Whats A Good Stocking Stuffer

Second Visit to Madrid two weeks of travel



Juan Francisco Casas in his studio in front of two drawings of Boli-VIP, 2008.
Courtesy of artist & Galeria Fernando Pradilla

Last week we have been traveling to Madrid, where we visited the exhibition: Warm Front and New Views of Galería Fernando Pradilla, it appears gallery will participate in our event with the proposed "Good & Bad Painting. " And, of course, also supporting the project-rooms of Juan Francisco Casas.

We have also met with Turner Books, and visited the Contemporary Art Gallery-friendly format, also interested in participating at our fair. We have no confirmation

defining, but the criticism of the project and the intentions of being in it, are positive.

Saturday, July 4, 2009

How To Treat Masterbation





Maria Mancilla
Series: Feathered 3, 2009

Color Photo Courtesy of the artist

After two weeks of travel, we have presented ARTJAEN'09 in Seville, Malaga, Granada and Madrid, and we We quickly assembled or simply talked about the fair, the new project and claims Javier Marín, Isabel Hursley, Alfredo Viñas, Isabel Ignacio Almagro Emilio, Alvaro Alcazar, Begoña Malone, and the artists DEMO, Jesus Pedraza Matías Sánchez, Jesús Zurita, Paco Pomet, MP Rosado, Cristina Lama, Maria Mancilla, Jose Pinar, Simon Zabell, Ray Smith, Jose Bedia, Francis Naranjo, and critics: Ivan de la Torre (theoretical event coordinator), Sema D'Acosta, Suset Sácnhez, and Juan-Ramón Barbancho.
Just as we have established the first contacts with the Ministry of Culture of the Junta de Andalucía, CajaGranada and the Universities of Jaén, Málaga and Granada.

We are in the difficult first phase of submission and acceptance of our intentions, but so far all the reviews are favorable.

Next week more travel presentation in Madrid, Salamanca, Malaga and Sevilla.

Omar-Pascual Castillo
July 4, 2009

Monday, June 15, 2009

What Does A Herpes Bubble Look Like

PARALLEL EXHIBITION GALLERIES II



Ray Smith
L'Orologist Series, 2008-2009
view of her studio in Brooklyn, NYC
Courtesy of the artist & Álvaro Alcázar Gallery

RAY SMITH: RUSH HOURS

(RUSH HOUR)

selection of about fifty pieces in the series L'Orologist (2002-2009) the renowned Texas-Mexican artist residing in New York, Ray Smith, shows among which find paintings, drawings and graphic works.

Collaboration: Gallery Álvaro Alcázar (Madrid), Fundación Iberoamericana Painting (Las Palmas de Gran Canaria)

NACHO
SERVANT SCULPTURE (OBRA RECENT)

Selection of the last production of this important artist sculpture Jaen, Medal of Fine Arts in Spain.

Collaborator: Álvaro Alcázar Gallery (Madrid)

JOSE BEDIA: GRAFOLOFÍAS

selection of more than thirty original graphic works of this important Cuban-American artist, who lives in Miami, who also accompany this selection of works with an installation performed in situ, especially for this exhibition.

Collaborator: Polígrafa (Barcelona), Lyle O. Reitzel (Miami-Dom.Rep)


Alexis Esquivel
We like pachamga, 2007

Mixed media on canvas Private Collection, Courtesy of the artist

CUBAN BLACK GROOVE
NEW VISIONS OF THE BLACK ARTS IN THE CUBAN
CURRENT

In the context of Cuban art within and outside the island, "The Black Issue", to be so racially or conduct or pattern of life has always been a their brand identity, this project brings together under this premise to four of the most significant artists of the last fifteen years of the Cuban art scene, marked by a possible "New Negritude. ALEXIS

ESQUIVEL (Painting and Drawing), MICHEL ACOSTA (Painting and Drawing), RENE PEÑA (Photography), and Elio Rodriguez (Painting and Graphics)

Collaboration:
Poster Gallery (Granada)
Galería Fernando Pradilla (Madrid)

10 X 10 (ASIATIC VIDEO ART NOW)
A project curated by Italy's Adriana Forconi, one of the leading scholars and promoters of Asian art in Italy and Europe, which will display a selection of ten artists and ten single-channel works

Help Anniversary Letters

REPORT INVITED PRESENTATIONS I

From the figure of 60 national and international galleries invited to ARTJAEN'09, within a period of 7 days of our call, 5 galleries have already accepted our invitation.

Fernando Santos, Lisboa-Porto
(who participate with a stand of 120 m)
o.Reitzel Lyle, Miami-Dom.
Alvaro Alcazar, Madrid
Sandunga, Granada
and Elizabeth Ignacio, Sevilla

and 2 have rejected our invitation:

Panamerican Art Projects, Miami (participate in and ARTMIAMI PINT-NYC, and the proximity of dates prevents them from accepting our invitation)
Iturralde Gallery, LA

Friday, June 12, 2009

Milena Velba New Streams

PARALLEL I



Report
Raul Cordero, 1999 Single Channel Video

Courtesy Stock
MEIAC
ARTJAÉN, together with the Association of Friends of the Iberoamericana MEIAC and Collection of MEIAC (Badajoz) offered as samples parallel to the fair the following proposals:

SHOOTING 1 ...
(VIDEO ART IN THE COLLECTION OF AMERICAN MEIAC).

Tania Bruguera (CUBA).
Priscilla Monge (COSTA RICA).
SERRANO TERESA (MEXICO).
RAUL CORDERO (CUBA).
João Onofre (PORTUGAL).
MUNTADAS ANTONI (SPAIN). ALFREDO JAAR
(CHILE).



other's eyes (PHOTO COLLECTION IN LATIN AMERICAN MEIAC).

MARTA MARIA PEREZ BRAVO (CUBA). LILIANA PORTER
(ARGENTINA). GABRIEL OROZCO
(MEXICO).
ANDRES SERRANO (U.S.).
Mario Cravo Neto (Brazil).
MIGUEL RIO BRANCO (BRAZIL).
HELENA ALMEIDA (PORTUGAL).
Jorge Molder (PORTUGAL).
SIERRA SANTIAGO (SPAIN).
ANGELA FERREIRA (PORTUGAL).

Tuesday, June 9, 2009

Emergency Medical Responders In Alberta

ARTJAEN 2009.INTERNATIONAL



Guster Jesus Zurita, 2008

Wall Mural Painting on Cervantes Institute in Tokyo, Japan
Courtesy of the Artist

[LOOKING INTO CONTEMPORARY ART
/ LOOKING INSIDE ART NOW]



INTRODUCTION.
In contemporary circumstances Development of Visual Arts is creating an area of \u200b\u200baction that has been constantly negotiating its mapping operations, and does not govern the designs of contemporary art only what happens within the legitimating space of the Museum or Art Center, but also art fairs, biennials, Meetings, increasingly taking a leading role in the implementation of increasingly sophisticated construction of our subjective visual. Subjectivity where relationships are purely aesthetic violated on a regular basis by the stamp market, but not only forms of displacement of the "market itself, but also by their unstoppable action "New opinion makers" Art criticism (it is specialized or commentator at the newspaper), The Theory of Art (which takes its best grandstand or bastion of battle and rooting in the academic world), or advertising and mass dissemination of artistic events.

ART FAIR ANDALUCIA.
Andalusia is a land of undeniable cultural wealth, within which stands out with strong strength and drive the deployment of an Emerging Artists supported by the institutionalization of our visual production with the creation of museums and regional art centers, and with the "quarry job training" new generations and artistic developments arising from the faculties of Fine Arts of the University of Seville, Granada, Málaga and Jaén. An art which also has the support of a large group of regional galleries daily project work towards the internationalization of our Art. Thus, Andalusian artists show their work frequently on international circuits from cities like Berlin, New York, Milan, Madrid, Lisbon, Mexico City, Monterrey, Miami or Barcelona.

Well, before this picture ARTJAÉN, in its third year and refocus its initial program, one that at birth only intended to mean showcase ourselves and now seeks to articulate a space for dialogue to facilitate the presence and communication, promotion and marketing and the thinking and the analysis of this new art, inside and outside the event center, without forgetting, our origins, limitations, or true projection, but knowing the same way that we are in a global time by the international mass media networks.

Being thus insists ARTJAÉN become a platform of links, ties, and shared experiences in and out of Jaén, Andalusia, Spain, Europe and Latin America. Without seeming pretentious, only at our level, we fill a gap, accommodating, offering a cultural figure, a pan of looks, but waiting, turn-that our actions generate future actions and projection media, reciprocity and fluent knowledge of contemporary art within and beyond our borders.

Therefore, "look inside" ... for there, inside, inside of our own art, our particularity, it is our universality, and vice versa.

ARTJAEN PROJECT 2009.
To offer a pragmatic turn in our work, under the support of various public entities, linked directly to "make art" in our context, invite various creators of three of the most active branches of the visual bitter Andalusia speak of Painting, Drawing and the so-called New Media, which in this case, the focus in the production of Photography and Video Art.

In particular, spoke of thirty (30) Project-Rooms, presented as "one-person artists 'projects' that, from our point of view, make a pattern," a before and after "in our art scene today mostly linked to Andalusia, whether by origin or by their work with gallery Andalusia.

Taking as a starting point "the pictorial" as a reference because in our culture is the medium, language or artistic path most established, and also one of the most powerful, not a quantitative value but for its rigorous quality, and to be "Artist" in Andalusia involves "competing" or "dialogue "with a strong tradition of painting, this relationship has generated historical reference the possibility of a" New Painting Andaluza "(as some critics and art historians are at risk of labeling) of a radical conceptual and formal solid waste results. Parallel to the power of pictorial exercise, work on "work on paper", or the drawing has a "paper"-never rather-very significant in current Latin American landscape, possibly because of its ability confesasional, sketchy, and his solemn mindedness. Completing these shows on "project-rooms", we will invite a group of artists to show in one room a single channel video art piece, or a mini-series of photographs, in some cases cutting unitive installed a story, as if each one of the room tells a single story or a story one way. And this is the most contemporary and enunciate contribution of the future-present in the Contemporary Art is brewing in interrelationship Vanguard and tradition.

parallel to what "happens" within the fairgrounds, ARTJAÉN will expand the city, joining her. First inviting artists with a strong projection to perform "street works", secondly, proposing projections Videoart-screening programs, and third, to coordinate a set of possible samples in exhibition spaces of the city.

And finally, instead of following the strategy view of fairs like ARCO that promote a "guest country" to show part of its most vibrant art scene; ARTJAÉN intends to invite a museum to be built into some rooms the city, showing selections from its collection. In this edition, Museum will MEIAC chosen in the first place, almost familial proximity of location of Extremadura and our southern territory, and secondly, by the extent of its projection, thanks to cutting-edge way to how it has been imposed as a reference points and undisputed strongest within the European scene in all matters relating to New Technologies and Latin American Art.

In summary, four scenarios raise the activation of the project:

1 .- A group of activating "the Andalusian landscape of Contemporary Art", supported by public entities under a police program to participate in a selection of Project-Rooms .

2 .- An activation group (by invitation, selected an Advisory Committee of the Fair) of National Andalusian galleristic universe, and to be international. These last two, will receive a special participatory support or incentive, which will facilitate their decision to participate.

3 .- An activation group that will allow the display of cultural institutions and managers of their work year, or policies proposed participatory cultures in the area. Example: Diputación de Jaén, the Diputación de Granada, the Junta de Andalucía, Jaén University, the University of Granada, among others.

4 .- An activation group exhibition that will expand the fair as a cultural event beyond the margins of the fairgrounds. In this case, you can agreements outside the fairgrounds exhibition organized by the steering committee of the fair, or coordinated under his wing, and organize external holdings of artists in the city or the area around the Fair, under the auspices of event.


Matías Sánchez
VIP Room, 2008 Oil on canvas

200 X 350 cm Courtesy of the Artist

Begoña Malone Gallery & Christoph Cutts Gallery

PROJECTS-ROOMS:


looking in I

(NEW STRATEGIES IN THE YOUNG PAINTING PICTORIAL ANDALUZA) SIMON

Zabell (MALAGA-GRANADA). ABRAHAM
LACALLE (Almería). JOSEPH
Pinar (Granada). SANTIAGO
Ydáñez (Jaén). JESUS \u200b\u200b
ZURITA (CEUTA-GRANADA). JOSE MARIA GALLARDO
(Sevilla).
MATIAS SANCHEZ (Sevilla). SUNDAY
ZORRILLA (Jaén).
RUBEN GUERRERO (Sevilla). PACO
Pomet (Granada).

LOOKING IN II
(MASTER DRAWINGS)

NACHO SERVANT (JAEN-MADRID). Premio Nacional de Bellas Artes.
RAY SMITH (USA-MEXICO). JAVIER VELASCO
(CADIZ-VALENCIA). MIKI LEAL
(Sevilla).
MP & MP Rosado (SEVILLA-MADRID).
AARON LLOYD (Sevilla).
CRISTINA LAMA (SEVILLA)
RUTH MORAN (Badajoz-SEVILLA).
JUAN FRANCISCO CASAS (Granada).
CHICO LOPEZ (Jaén). IMAGINARY


ROOMS (VIDEO ART AND PHOTOGRAPHY CURRENT)

CRISTINA LUCAS (JAEN-MADRID). MARY
RODS (Sevilla). HECTOR
BERMEJO (LOGROÑO-GRANADA). FERNANDO
BAYONNE (Granada).
CARLOS AIRES (MALAGA-MADRID). MIGUEL ANGEL
TORNERO (GRANADA-MADRID).
MANOLO BAUTISTA (Sevilla). JUAN CARLOS
RIVER (Sevilla).
MARINA RV (Granada). MARISA
MANCILLA (Jaén-Granada).

Outing (COMING OUT )
(URBAN INTERVENTIONS)

JESUS \u200b\u200bPEDRAZA. (CORDOBA-MADRID). FRANCIS
NARANJO. (CANARIAS). ARTIST DEMO
. (MADRID).

Monday, June 8, 2009

Java Virtual Machinematlab Windows 7

ART FAIR POINT



DEAR FRIENDS AND COLLEAGUES IN THE WORLD OF ART
take the first step to start
THE GAIT THE 3RD EDITION OF ARTJAEN'2009
TO BE IN THE LAST WEEK OF NOVEMBER
Under the artistic direction Omar-Pascual Castillo
AND COLLABORATIONS WITH ADRIANA Forconi IVAN E DE LA TORRE

keep you informed ...... ......