El primer número de la revista electrónica Artefacto Visual: Revista de estudios visuales latinoamericanos, con un dossier temático sobre “Violencia, conflicto y postconflicto: imágenes de América Latina“.
Presentación, pp. 4-6
Dossier: “Violencia, conflicto y postconflicto: imágenes de América Latina”
Notas para una constelación teórica en torno a la violencia y su representación, por Elena Rosauro, editora invitada, pp. 8-30
Hacer ver: representaciones de la guerra en Colombia, por Alejandro Gamboa Medina, pp. 31-46
1987: Visualidades punk y miradas racializadas en Perú, por Olga Rodríguez-Ulloa, pp. 47-67
Intervenciones sobre la violencia en México: prácticas instituyentes y poderes instituidos, por Ana Torres Arroyo, pp. 68-87
Multiple paths and multiple traumas: the Inhotim Cultural Institute and its technologies of affect, por Alice Hereen, pp. 89-107
Publicaciones de artista como forma de resistencia política y cultural: los papeles del CAyC (1968-1977), por Daniela Hermosilla Zúñiga, pp.108-126
Mover montañas o impugnarlas. Alegorías de la Modernidad en Cuando la fe mueve montañas, de Francis Alÿs, y Fitzcarraldo, de Werner Herzog, por Miguel Errazu, pp. 127-147
Rodrigo Moya en Guatemala. El registro fotográfico de un ajusticiamiento guerrillero, por Mónica Morales Flores, pp. 148-167
Stephen Ferry: por una fotografía que debe volver adentro, por Claudia Gordillo, pp. 169-180
La prolongación de la memoria: Doris Salcedo en el Guggenheim de Nueva York, por Juanita Solano, pp. 182-187
Sumando ausencias: miradas y experiencias contradictorias, por Laura Ramírez Palacio, pp. 188-190
Lo visto y lo leído
El sujeto de la fotografía, por María Alzira Brum, p. 192
Política editorial e instrucciones para autores, pp. 194-200
The exhibition brings together an exceptional group of fourteen works that were removed in the past from their original location (the west façade and choir of the Cathedral in Santiago de Compostela) and are now housed in the cathedral museum and in different institutions and private collections.
Notable among them are the recently restored sculptures of David and Solomon, and a Statue-column of a male figure holding a cartouche that was found last October inside the cathedral’s south tower, a discovery that represents an enormous advance in our knowledge of Master Mateo’s activities in the cathedral of Santiago de Compostela.
Co-organised with the Real Academia Gallega de Bellas Artes, and the Fundación Catedral de Santiago.
Hilary Macartney (University of Glasgow), with Jim Tate (National Museums of Scotland) and Brian Liddy (Bodleian Library)
Copied by the Sun: The First Photographically Illustrated Book on Art
Illustrated talk, book launch and display of collection highlights
University of Glasgow Library Special Collections, Henry Heaney Room
Thursday 27 October 2018
In 1848, the Scottish scholar Sir William Stirling Maxwell created the world’s first photographically illustrated book on art by adding a volume of Talbotype (or calotype) illustrations to his pioneering book on Spanish art Annals of the Artists of Spain. The photographs, by William Henry Fox Talbot’s assistant Nicolaas Henneman, faded soon after. Nevertheless, this ground-breaking volume pointed the way towards the use of photography in the study of art. This talk launches the publication of a two-volume facsimile and critical edition of the digitally reconstructed photographs. On display will be the related calotype negative (1847) by D O Hill and Robert Adamson of Velázquez’s Surrender of Breda, a highlight of the recent Stirling Maxwell exhibition at the Prado Museum, Madrid, and other items from the Photographic and Stirling Maxwell Collections in the University of Glasgow Special Collections.
Copied by the Sun will be available for cash sale at the special price of £67.00.
Publication details (source: WorldCat):
Copied by the sun: Talbotype illustrations to the Annals of the artists of Spain by Sir William Stirling Maxwell: studies and catalogue raisonné /
Matilla, José Manuel.
Museo del Prado
Madrid: Museo Nacional del Prado
2 volumes (365 numbered pages, 140 unnumbered pages) : color illustrations ; 24 cm.
Friday, 11 November 2016, 7.00pm
The Wallace Collection
The Wallace Collection welcomes its new Director and Spanish painting specialist Dr Xavier Bray with a special evening concert, ‘Through Gilded Trellises’: a Celebration of Spain, featuring award-winning soprano Natalya Romaniw and acclaimed tenor Luis Gomes. Inspired by the Collection’s impressive assemblage of Spanish Old Master paintings, the concert will highlight music by Turina, Mompou and Granados in addition to Spanish-inspired music by celebrated European composers such as Debussy and Scarlatti. The intimate concert will be held in the Collection’s Great Gallery, surrounded by some of art history’s most recognizable Old Master paintings, including Velázquez’ The Lady with a Fan and Rubens’ The Rainbow Landscape.
The evening will also feature an ‘in conversation’ discussion between Dr Bray and pianist Iain Burnside, where they will consider the wider impact of Spanish painters and composers on European culture.
‘Goyescas’: Music in the Time of Goya
José Menor & The Latin Classical Chamber Orchestra
Wednesday, 2 November 2016, 7.00pm
St John’s Smith Square
Join Spanish virtuoso pianist José Menor and The Latin Classical Chamber Orchestra on an exhilarating musical journey to 18th-century Spain as they mark the 2016 centenary of the great Spanish composer Enrique Granados (1867-1916) with a multi-media programme inspired by the life and times of Granados’ greatest muse, the Spanish painter Francisco de Goya (1746-1828).
Click HEREfor more information.
Click HERE to watch a video.
Click HERE to listen to an audio clip.
Surrealist painter born in Sagua la Grande, Cuba, of a Chinese father and a mother of mixed African, Indian and European origin. Studied at the Academy of San Alejandro in Havana 1920-3, then went in 1924 to Madrid where he worked in the studio of Fernando Alvarez de Sotomayor, the Director of the Prado, and also in the evenings at the Free Academy. Left Spain in 1938 after taking part in the defence of Madrid, and moved to Paris. First one-man exhibition in Paris at the Galerie Pierre Loeb 1939. Friendship with Picasso, who enthusiastically encouraged him, and with Breton and the Surrealists. Became interested in African sculpture. Fled in 1941 to Martinique with Breton, Masson and Lévi-Strauss, then returned to Cuba where his work was influenced by savage rituals and the tropical jungle. Visited Haiti in 1945 and 1946 and discovered the Voodoo cult; later in 1946 met Gorky and Duchamp in New York and returned to Paris. 1947-52 in Cuba, New York and Paris; left Cuba in 1952 to live in Paris. Since 1960 has also worked regularly at Albisola Marina, Italy. Awarded the Guggenheim and Marzotto Prizes 1964-5. Lives in Paris and Albisola Marina.
Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.404-5