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NOTICIA, DIARIO DIGITAL, DIARIO RIO NEGRO.

Tráfico de aves en Río Negro: un delito que mueve millones

Cada vez hay más intervenciones del Estado Provincial para evitar el tráfico, pero el comercio ilegal crece y pone en riesgo a especies. El cardenal amarillo es una y fue declarada monumento natural.

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Tráfico de aves en Río Negro: un delito que mueve millones - Diario Río Negro

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Cada vez hay más intervenciones del Estado Provincial para evitar el tráfico, pero el comercio ilegal crece y pone en riesgo a especies. El cardenal amarillo es una y fue declarada monumento natural.

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NOTICIA, DIARIO DIGITAL, REAL CHUBUT.

"Decomisaron más de 500 kilos de carne de guanaco"

Fue en el marco de un control preventivo que llevó a cabo la policía de la localidad de Gobernador Costa, sobre la avenida Roca de esa localidad, donde se observó transitar a exceso de velocidad a un vehículo Ford Ranger.

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Decomisaron 550 kilos de carne de guanaco en Gobernador Costa

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NOTICIA, DIARIO DIGITAL, LM CIPOLLETTI.

"Decomisaron 250 kilos de carne de caballo proveniente de faena clandestina". El procedimiento lo llevó a cabo personal del Destacamento Especial de Seguridad Vial de Paso Córdoba. El conductor llevaba la carne escondida en la caja de su camioneta, tapada con bolsas de arpillera.

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Decomisaron 250 kilos de carne de caballo proveniente de faena clandestina

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El procedimiento lo llevó a cabo personal del Destacamento Especial de Seguridad Vial de Paso Córdoba. El conductor llevaba la carne escondida en la caja de su camioneta, tapada con bolsas de arpillera.

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Buscan que los circos no utilicen más a los animales

Greenpeace Argentina inició una campaña para terminar con los espectáculos que incluyen animales, los cuales son mantenidos en cautiverio.

NOTICIA, 2017. PAGINA WEB "CONCLUSIÓN"

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Buscan que los circos no utilicen más a los animales

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pGreenpeace Argentina inició una campaña para terminar con los espectáculos que incluyen animales los cuales son mantenidos en cautiveriop

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.: Bubalcó | Vení a conocernos y descubrí un mundo que ni imaginás :. – bubalco.com

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.: Bubalcó | Vení a conocernos y descubrí un mundo que ni imaginás :.

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MUSICO, GENERAL ROCA, RIO NEGRO

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Colectivo Río
Angélica Quilodrán, Elena García, Gabriela Sacks

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In-Visible – Gabriela Sacks * Artista Visual. Río Negro. Patagonia. Argentina

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IN-Visible surgió como proyecto colectivo a partir de nuestra necesidad desde el campo del arte de repensarnos y reflexionar acerca de nuestra relación con el entorno geográfico que habitamos, el Alto Valle , que constituye el área más densamente poblada de toda la Patagonia, actualmente enmarcada dentro del impacto ambiental que genera el extractivismo y la contaminación.

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GENERAL ROCA, RIO NEGRO

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STOP MOTION- CLAYMOTION

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ORIUNDA DE INGENIERO HUERGO, RIO NEGRO

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Dentro del Ciclo de exposiciones 2019 que se desarrollan en La Casa del Neuquén para impulsar a los artistas de la provincia, este jueves 12 a las 16:30hs se inaugura la muestra individual de Stella Maris Provecho.

Las presentes obras componen un manifiesto visual sobre la anatomía de la tierra habitada por Stella Maris Provecho. ¿Que abunda bajo la epidermis? Y ¿que la sobrevuela?

Toda geografía tiene su riqueza. El ser humano a lo largo de la humanidad ha modificado y ha vivido de la naturaleza. Karl Marx plantea que el hombre, por medio de su actividad, transforma la naturaleza y se transforma también a sí mismo. Pasa de un estatus de conciencia a otro superior y supuestamente llegará el día en que el hombre reconozca al otro, no más como un medio sino como un fin o como a uno mismo. Stella Maris cristaliza el mensaje que quiere dar a conocer, apuntando hacia un conocimiento más verdadero de la realidad. No como una realidad absoluta, sino como una realidad más consiente.

Los pájaros son presentados como alegorías de un panóptico -ya liberado del pensamiento de Michel Foucault- para ser cargado de un estado de vigilancia del cual somos inconscientes. ¿Realmente el hombre está condenado a ser libre como planteaba Sartre? La artista nos confronta con la crisis de libertades que vivimos, y nos incita a elevarnos para ser libres en un sentido superior. ¿quien vigila a quien? La frontalidad de las criaturas plumíferas mirando sutil y constantemente al espectador establecen un dialogo subjetivo. También sufren del frenesí de época del arte contemporáneo, donde la obra esta atravesada por la ambigüedad. Se puede pensar en esas aves como alegorías de su status en estado de peligro crítico, amenazadas, vulnerables, o extintas.

Stella Maris no trabaja aislada en estas preocupaciones ya que parte desde mapas reales donde cita y se retroalimenta. Por ejemplo, con las obras América invertida (1943), de Torres García y Mapamundi (1981) de Nicolás García Uriburu, y retoma el planteo de una inversión del Sur-Norte-Sur y en el caso de Garcia Uriburu le suma a las indagaciones sobre la ecología. Cita a Jorge Macchi tomando al mapa como brújula. A la obra de Guillermo Kuitca desde el sentido de pertenencia. Estos mapas como nuevas formas de ver al mundo. Pero siempre desde un mismo territorio: el suyo, el propio. El destino del territorio es ineludible a su condición plausible de ser conquistado, y reconquistado, pero ¿por quién esta vez?

Vanesa Catellani. Curadora

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"Rising Tide" de Jason deCaires Taylor

Instalación de esculturas sumergidas en el río Támesis representa figuras ecuestres que emergen o se ocultan según el nivel de la marea. La obra aborda temas de cambio climático y vulnerabilidad ambiental en un contexto contemporáneo.

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Cruzando el puente de Vauxhall, en la orilla opuesta al Parlamento de Westminster, puede verse estos días a los cuatro jinetes del Apocalipsis con el agua al cuello. Si uno espera lo suficiente, hasta que bajen las aguas fluctuantes del Támesis, los cuatro caballos emergerán en la orilla con todo su esplendor de cemento y acero.

Se trata de la última obra de Jason deCaires Taylor, autor de las figuras humanas del Museo Subacuático de Arte en México (MUSA), que ha regresado temporalmente a su tierra natal antes de volver a Lanzarote, donde espera culminar en los próximos meses el Museo Atlántico bajo las aguas de Las Coloradas.

La obra londinense va más allá de todo lo hecho por el ecoescultor británico. No se trata exactamente de obras sumergidas, sino en todo caso semisumergidas y bien ancladas en tierra, para que no se las lleve la corriente. La obra se titula Marea Creciente y juega visualmente a simular una crecida de las aguas en el estuario del Támesis como consecuencia del cambio climático.

"Mi intención ha sido hacer una pieza que se trabajara con la naturaleza y se fundiera con el entorno del Támesis, pero que hiciera también alusión a la naturaleza industrial de la ciudad y a su énfasis excesivo en el trabajo y en la construcción", ha explicado el propio Taylor.

Si nos fijamos bien, las cabezas de los caballos han sido reemplazadas por cabezales de bombas de varilla, usadas para extraer petróleo en tierra. Dos de los jinetes tienen además el sospechoso aspecto de políticos o de hombres de negocio -tanto monta- mirando hacia otro lado y procurando no ver la marea creciente.

La elección de la orilla, a menos de un kilómetro del Big Ben, tiene también una clara intencionalidad política. "Quería crear la imagen del político, enfrente del Parlamento e ignorando el mundo a su alrededor", confiesa Taylor a The Guardian. "Allí están, encima de sus caballos, tomando mientras tanto todo lo que pueden de la tierra".

La obra forma parte del Totally Thames Festival y estará instalada provisionalmente al menos durante un mes. El principal reto, reconoce el ecoescultor, ha sido esta vez idear un sistema de anclaje con acero reforzado en las piernas de los caballos, para evitar que la corriente fluvial se acabe llevando las esculturas.

A tiempo para la Cumbre del Clima de París, Taylor ha querido denunciar así la ceguera y "el estado de loca negación " de los políticos ante el cambio climático, la piedra angular de toda su obra sumergida. Tras la incursión londinense, Taylor volverá a su estudio en Lanzarote para completar sus esculturas, que durarán previsiblemente 300 años bajo el agua y que atraerán a cientos de buceadores.

6 Comentarios

6

......los cuatro caballos emergerán en la orilla con todo su esplendor de cemento y acero. cemento y acero.....es algo risorio

5

@dosgats que diferencia la primavera del invierno si no tiene flores?

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Los cuatro jinetes del 'Apocalipsis climático' cabalgan en Londres

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Cruzando el puente de Vauxhall, en la orilla opuesta al Parlamento de Westminster, puede verse estos días a los cuatro jinetes del Apocalipsis con el agua al cuello. Si uno espera

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Sabrina Ratté (Canada, 1982)

Una serie de obras digitales que exploran la destrucción ambiental a través de entornos simulados en 3D. Representa paisajes que cambian, se deterioran o desaparecen, haciendo un uso innovador del arte digital.

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Arsenal Contemporary Art New York is pleased to present a solo exhibition by Sabrina Ratté.

Through her work Sabrina Ratté's enables the visualization of speculative futures exposing new and potential worlds. The interactive installation Objets-Monde presents a vast, uninhabited landscape, where the remains of psychedelically-colored car wrecks and old-school cathode-ray tube monitors are the last vestiges of a former culture. Traces of the effects of the Anthropocene are also found in the Floralia video quartet. Samples of then extinct roses, hydrangeas, ferns and glaciers, are preserved and displayed in a virtual archive.

Ratté's subject matter is inspired by a wide range of sources: the writings of Donna J. Haraway, Ursula K. Le Guin, Greg Egan; the drawings of Hans Bellmer; Greek mythology and the philosophy of Gottfried Wilhelm Leibniz. The cyborgs/goddesses in the large-scale Monades prints embody Leibniz's concept of the monad, where each individual is a fragmented mirror of a larger reality. The interactive multi-screen installation Distributed Memories presents multiple memories simultaneously by bombarding us with Ratté's video outtakes and experiments from over ten years of creation. The animated video canvases of Radiances present seductive surfaces and painterly textures, highlighting Ratté's ability to, as she calls it, paint with electronic light.

Using photogrammetry to scan objects, plants and her own body, Ratté combines elements from the real world into her 3D animations. Through a combination of analog technologies (video synthesis and visual feedback), 3D animation and digital effects, Ratté's imaginary worlds always retain an echo of our current existence. These relics from the past are seen in Objets-Monde, where she imagines how life is transformed after humans are gone. Or in Floralia, where an electricity-like interference in the video signal is caused by memories emanating from the archived plants. The captivating and bewitching way Ratté fuses electronic and human memory, the apocalyptic with nostalgia, preciousness and waste, idealized nature and the indelible presence of humans in the exhibition Reality-Settings, is a contemporary Siren song that cannot be resisted.

Sabrina Ratté's work has been presented internationally by various institutions including Laforet Museum (Tokyo), Centre Pompidou (Paris), Musée national des beaux-arts du Québec (Quebec City), Thoma Foundation (Santa Fe), PHI Center (Montreal), Whitney Museum of Art (New York), Chronus Art Center (Shanghai), and the Museum of the Moving Image (New York). Her first major solo exhibition is currently at La Gaîté Lyrique (Paris). She was nominated for the Sobey Art Award in 2019 and 2020. Her work can be found in the collections of the Montreal Museum of Contemporary Art, Caisse de dépôt et placement du Québec, Global Affairs, TD Bank, Bell Canada and Hydro-Québec, amongst others.

Written by Christine Redfern / ELLEPHANT

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Reality-Settings - Arsenal Contemporary Art

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Reality-Settings Sabrina Ratté Sept 23 - Nov 5, 2022

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Derrame de petróleo n.° 15 ©Edward Burtynsky, cortesía de Nicholas Metivier Gallery, Toronto

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El Proyecto Antropoceno es un cuerpo de trabajo multidisciplinario que combina fotografía de bellas artes, cine, realidad virtual, realidad aumentada e investigación científica para investigar la influencia humana en el estado, la dinámica y el futuro de la Tierra.

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Las performances de Ana Mendieta solían ser efímeras y específicas para el lugar: sus obras eran lavadas, quemadas, reintegradas o derretidas, y eventualmente dejaban de existir, por lo que se daban a conocer a través de la documentación fotográfica de los eventos exhibidos en museos y galerías por la artista. En su obra, Mendieta aborda una amplia gama de cuestiones relacionadas con la sexualidad, la espiritualidad, el desplazamiento cultural, el feminismo y la identidad.

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In this article I will discuss the perishable nature of the work by earth artist Ana Mendieta, focusing specifically on, arguable her most famous works, the ' Silueta Series'.

I will examine the need and reliance Ana Mendieta placed on documenting her performances, through the various media methods of photography and film, and the relationship between the documentation and the work itself.

The use and dependence of documentation through photography to capture the event of ephemeral artworks allows the question to emerge: what is the artwork and what is the documentation? Is the photograph an artefact of the event, an externally produced record where the event is the artwork, or is the work defined by the outcome of the procedure (the photograph or film) which emerged from the event itself? The distinction between the two lines of enquiry has the capacity to change the photographic/film documented evidence into a combined element or finished product of the work itself.

Ana Mendieta (1948-1985) was a Cuban-born artist exiled to America during the Cuban revolution at the age of twelve. Mendieta is best known for her ' Silueta Series', a series of private performances which took place between 1973 and 1980 and explored the relationship between the artists' body and the earth. The 'Silueta Series' began whilst Ana Mendieta was on a journey to Oaxaca, Mexico, with Hans Breder, a German artist with whom Mendieta had a decade-long relationship with, who assisted Mendieta in photographing her performances. Breder was originally Mendieta's teacher at the University of Iowa, and he encouraged his students to document their ephemeral and site-specific art so they could have evidence of the work, in order for them to get their degrees.

The performances by Ana Mendieta were usually site-specific and ephemeral - her works being washed, burned, reintegrated or melting away, eventually ceasing to exist - so they became known through the photographic documentation of the events exhibited in museums and galleries by the artist. In her body of work, Mendieta addresses a wide range of issues surrounding sexuality, spirituality, cultural displacement, feminism and identity.

The image above shows an example of six of the works made for the ' Silueta Series'; in one image a human figure has been twisted into shape by twigs; in another the red imprint of the artists body has been marked onto a white sheet, hung against the stone and plaster wall of an alcove; the third image shows the hollow indentation of Mendieta's body with her arms raised within the shore of a waters edge, filled with a red dye, waiting for the water to fill the impression and wash away the colour, allowing the figure to metaphorically 'bleed'.

The first Silueta by Ana Mendieta was performed in an ancient Zapotec tomb in Oaxaca, and shows the artist laying down on the floor of the site, surrounded and covered in flowers that appear to grow from her body. The 'Silueta Series' photographs show Mendieta's body in communion with various landscapes, a process which the artist found ritualistic . Mendieta's primary audience was a camera - the artist rarely performed in front of the public. The photographs taken capture the life and the breakdown of the Silueta's and in most cases today, these documents are the only remaining traces of evidence that these works ever existed.

Is the Art Work the Live Performance or the Exhibited Documentation?

The use of photography within art has increased over the past century due to significant technological advances and the requirements from artists involved in various artistic practices that create their work away from the studio or gallery space. The photograph provides not only a new way of creating visual art, but also a revolutionised way of considering and representing time. What the photograph actually stands for can vary; the photograph can act as a secondary document; or as a substitute for the direct access to a particular art work that is unavailable for public viewing in a gallery space (site-specific Land Art for example); or the photograph is the culmination of the work or performance and therefore is the artwork. It can be unclear sometimes however what the artist's aim is - the photograph can be presented as a component of the artist's work, or it can be used as a vehicle for the actual documented work to be seen through.

The relationship between the artist and photographer is a crucial element to the work and how it is translated to the viewer. The interpretations made from a documented performance can be influenced by the intentions, ideas and aesthetics of whoever recorded the event. In an interview between Alice Maude-Roxby and Hans Breder, Breder tells of how he and Ana Mendieta would always discuss the translation of action into photography prior to the actual live event. This was very important for both photographer and performing artist to understand what was desired in the final outcome.

﻿ Photographic Documentation

In the journal article Presence' in Absentia: Experiencing Performance as Documentation, Amelia Jones contends that in order to learn about performance art, the documentation is required for reflection to take place. Jones goes on to observe that "the body art event needs the photograph to confirm its having happened; the photograph needs the body art event" which shows that if an art work is to survive the test of time, both elements of presentation are needed in order for the work to be a success. This is an interesting hypothesis when balanced against the work of Ana Mendieta; the 'Silueta Series' is photographed at its point of loss and disintegration, therefore while the photograph provides evidence that the Silueta occurred, it also at the same time shows the absence of the Silueta just as equally - the photograph is the captured moment of unbounded space and time.

Live Performance and Documentation - Which is the Artwork?

There are issues however with documenting works that were once live; if the work was once viewed as a live performance, audience members at that time may have had a radically dissimilar experience to the work than if it was displayed in an alternative environment through different methods, for example, a live dance performance seen in a theatre being documented and shown in a gallery space as a video or photograph. Furthermore, using a photograph to represent a live performance captures only a single momentary shot and disregards the rest of the performance. Martha Buskirk recognises this contention, noting that if an art work is realised and/or made during a performance, then the physical qualities of the work cease to exist when it is disassembled or reproduced.

The Ontology of Performance

The photograph or film being a mere fragmentary record and not part of the work is argued by Phelan (1993, 146) who states that "performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance". Phelan's views are somewhat narrow in terms of accepting documentation in conjunction with live performance; Phelan goes on to note that "the documentation of a performance then is only a spur to memory, an encouragement of memory to become present."

Although Phelan's views towards documentation are negative, this point argues that a performance can be merely documented because the bodily presence of the performer in the event is ontological - it is impermanent and it physically can never be completely reproduced. The performance itself is ephemeral, which metaphorically sits in opposition to the static, non-changing photographs and recordings which document it. Therefore the documenting photograph or film can be used, but only (in Phelan's views) to remind audience members who viewed the original live performance of what they once saw.

Photographs can be a valuable reminder or witness of the event, however they do not show everything that happened. The experience of just seeing the photograph or film and not the live works itself would not have the same impact, for as Phelan notes; any attempt to save or preserve the performance changes the meaning of it. The documentation should be understood to be a medium for the work to be remembered.

Art critic Lucy Lippard (1969, 180) takes a similar stance to Phelan's views, arguing that "temporary art exists for less time but is no less accessible by photographic record." Performance art, if not documented, can only be revisited primarily through the memory of those present at the time and their accounts of the event, and secondly through word of mouth. Media documentation can have the consequence of diminishing the original emotion and effect of the performed event, therefore preventing the viewer from fully engaging with the meaning, and giving the false impression that the performance continues after the piece has come to an end.

Documentation as an Instrument of Site-Specific Work

The use of documentation within site-specific performative works can be seen as a combined element of the procedure of the performance, something which Nick Kaye (2000, 32) analyses as being "an instrument of site-specific work". Kaye argues that through site-specific performance work, the artist's body becomes the site of the work - the land being the recipient of the performative action, and the action of the performance being the ephemeral mark of contact to the earth. These impermanent works are generally left to be dismantled by nature (ice that melts away, soil becoming overgrown, sand that falls apart etc.), causing them to become a device of transience. Documentation of site-specific performance works occurs because it is incorporated as part of the art work and the culmination of it, the photograph acting as a witness to the live event.

This view is supported by Auslander who notes that the issue of the documentation of live performances has only come about within the past 100 to 150 years, due to the advance of recording technologies. Before this era, the term 'live' within performance did not exist, because there were no means of making it anything other than 'live'. The expression of "liveness" within performance art has only come about due to the possibility of technical reproduction. It is through this realisation that Auslander rejects Phelans claims that "to the degree that live performance attempts to enter into the economy of reproduction it betrays and lessens the promise of its own ontology", because the notion of live performance "can only exist within an economy of reproduction". Therefore, what we conceive as being 'live' will always be subject to mediatisation, because it is from the use of media technology that we are even aware of the concept of being 'live'.

Documentation Incorporated Into Artistic Practice

There will always be a relationship connecting the processes of documentation to the site-specific event itself, whether being an actual part of the work or subsequent to it, with the site of the art work not being assumed to simply be present to performance, or absent from documentation. This is agreed by Maude-Roxby who states that the document of a performance is not the actual art work, but it is neither merely a photograph or film; it holds a position in between the two, and there is no simple means of determining where any particular example can sit on that spectrum. This changes the significance of the photographic or film documentation from being a historical artefact to being an incorporated part of the artistic practice. Every documentary photograph, video and film is a permanent artefact of the presentation, staging, visual object or event that once took place.

In terms of the work of Ana Mendieta, there is a co-existence of the permanent and eternal, and the performative and ephemeral. The importance and value of the live work in association to the documented work, in the opinion of Martha Buskirk is that it does not really matter whether the photographs or films factually depict the performance that originally took place, or whether a performance took place at all and the photographs are merely staged to give that impression, because that is how the artist has chosen to represent their work.
Books:
Beardsley, J. (1984)Earthworks and Beyond. New York: Abbeville Press Publishers.

Burgin, V. (1969) A source of information. In: Harrison, C. & Wood, P, ed. 2002. Art in Theory 1900-2000. Oxford: Blackwell Publishing.

Clearwater, B. (1993)Ana Mendieta. Florida, USA: Grassfield Press.

Groys, B. (2002) A source of information in: Jones, A. & Heathfield, A. ( 2012) Performance Repeat Record. Bristol: Intellect.

Jones, A. (1998)Body Art / Performing The Subject. London: University of Minnesota Press.

Kaye, N. (2000)Site Specific Art; Performance, Place and Documentation. London: Routledge.

Kosuth, J. (1969) A source of information. In: Harrison, C. & Wood, P, ed. 2002. Art in Theory 1900-2000. Oxford: Blackwell Publishing.

Licht, I. (1975) A source of information. In: Loeffler, C. & Tong, D, ed. 1989. Performance Anthology. San Francisco: La Mamelle, Inc.

Lippard, L. (1967 and 1969) A source of information. In: Alberro, A. & Stimson, B, ed. 1999. Conceptual Art: A Critical Anthology. London: The MIT Press.

Molderings, H. (1984) A source of information. In: Battcock, G. & Nickas, R. Ed. 1984. The Art of Performance: A Critical Anthology. New York: E.P Dutton.

Phelan, P. (1993) Unmarked: The Politics of Performance, Routledge, New York.
Internet:
Mendieta, A. (1973-77) Silueta Works in Mexico. [electronic print] Available at: <http://www.moca.org/pc/viewArtWork.php?id=87> [Accessed 19 November 2012]
Journals:
Auslander, P. (2006)The Performativity of Performance Documentation. Performing Arts Journal, 28(3), p.1-10.

Auslander, P. (1997)Against Ontology: Making Distinctions between the Live and the Mediatized. Performance Research. 2(3). P.50-55.

Cabañas, K. (1999)Ana Mendieta: "Pain of Cuba, Body I Am". Woman's Art Journal. 20 (1) p. 12-17

Forte, J. (1988) Women's Performance Art: Feminism and Postmodernism, [e-journal] 40 (2) p. 233-235. Available through: JSTORwebsite <http://www.jstor.org/stable/3207658> [Accessed 13 Novermber]

Jones, A. (1997)Presence' in Absentia: Experiencing Performance as Documentation. Art Journal, 1997, 56(4) p.16.

McMahon, J. (2000)The Script of Sensation. [e-journal] 21 (3) p.67-77. Available through: JSTOR website < http://www.jstor.org/stable/40244618>

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In this article I will discuss the perishable nature of the work by earth artist Ana Mendieta, focusing specifically on, arguable her most famous works, the 'Silueta Series'.

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(Cheshire, Inglaterra, 1956)

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"Creature Comforts" de Aardman Animations

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"Creature Comforts" de Aardman Animations

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Aardman Animations, Ltd es un estudio de animación con base en Bristol, Inglaterra, Reino Unido. Es conocido por el empleo avanzado de las técnicas de claymation y stop motion en sus producciones.

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Nick Park's Creature Comforts took the classic documentary style and applied it to the lives of wild animals and pets, matching a cast of clay characters with human voices to charming effect. Originating from Nick's 1989 Academy Award®-winning short film, Creature Comforts was unique for using unscripted vox-pop interviews with the British public in a stop motion series that has become an Aardman classic.

The success of the short film led to two TV series, which broadcast on ITV, and an iconic series of commercials for the Electricity Board's 'Heat Electric' campaign. Creature Comforts also went across the pond to the USA where the unique format was used once again to tell real-life stories from people in America.

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Read more about Creature Comforts, Aardman's Academy Award®-winning documentary style stop motion animated shorts and TV series.

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Garza blanca (ardea alba) realizada con material reciclado que fuera recolectado en la Jornada de Limpieza del Área Natural Protegida Paso Córdoba realizada el pasado 23 de abril, más material recuperado de la Planta de Residuos I.
La obra fue realizada por el artista necochense Germán Hary, en una iniciativa conjunta entre el Municipio y la docente Alba Stucchi, impulsora del proyecto Puro Río.
La escultura quedó colocada en el sector de Lagunas naturales ubicado unos 100 m del estacionamiento del pedrero al Este del Área Natural Protegida Paso Córdoba.
Y la iniciativa tiene por objetivo fomentar la toma de conciencia ambiental a través del arte, reflexionando sobre la huella que generan las actividades humanas y los residuos.

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Nace en 1964 en Buenos Aires y desde 1977 reside en San Carlos de Bariloche, Río Negro, Argentina

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Temas abordados: Relaciones de poder y conflictos de las tierras patagónicas

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Nadia Guthmann «Patagonia lof & lodge» 160 x 200 x 110 cm | Sitio de Arte

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La idea de esta obra está en que el conflicto por las tierras patagónicas fue noticia al mismo tiempo que era también noticia la recompensa ofrecida por el gobierno para incentivar la caza de pumas

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JOSÉ IGNACIO RAFFO (36)

NEUQUÉN

https://www.instagram.com/p/CvUm9bxOkJN/?utm_source=ig_web_copy_link

https://www.neuquencapital.gov.ar/cultura/sock-raffo/

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Artista plástico, escultor.

Técnico y profesor de artes visuales – Escuela Superior de Bellas Artes de Neuquén

Reside en la ciudad de Neuquén, egresado de una escuela técnica donde aprendió a soldar y a utilizar gran variedad de herramientas.

Continuó sus estudios en la escuela de Bellas Artes de Neuquén donde se graduó con los títulos de técnico y profesor en artes visuales.

En la actualidad trabaja en su taller instalado dentro de un vivero. Como materia prima para sus obras utiliza hierro y viejas piezas de metal

que recicla de distintos lugares. La temática de sus obras es extraída de la naturaleza, creando esculturas figurativas de estilo realista.

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-Tres obras patagónicas que remitan a su proyecto artístico

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-Tres obras contemporáneas que remitan a su proyecto artístico

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-Proyectos, obras, imágenes que remitan a la materialidad,

espacialidad,

-Similitudes en cuanto a lenguaje, soporte, procedimientos, montaje,

etc.

-Cable a tierra, no importa si gusta o no.

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Tortuga Terrestre Argentina en diciembre de 2023 por Gabriel Distilo