It is true that the technique of engraving implies a specific graphic image which may appear different from that of paintings. As to the collections, without being a collector. I would say that I accumulate things with which I enjoy sharing my life. It all began very early, when I inherited a stamp collection from my grandfather, but I very quickly understood that it was taking a lot of energy to continue with it, and more important, it bored me greatly.
At the start of the fifties, I left on a trip to study in Europe, and with the earnings from the sale of the stamps, I began to buy — in Madrid — engravings. This same collection was later to be enriched with contemporary European and Latin-American engravings. These engravings today make up part of the basic collection of the Centro de Arte Contemporaneo de Cordoba. Later I developed a passion for Pre-Columbian. When did you discover Pre-Columbian art? When I returned from Europe, I discovered in myself a pressing desire to know America.
In May , After I bought a car and specially adapted it, I started out on the road, deciding that my final destination must be Mexico. Out of Tiahuanaco in Bolivia, I was finding on my route the vestiges of different cultures which are scattered about the continent. I think that these months were the most intense ones in my life: the contact with the abused descendants of these ancient civilizations, the governments neglect of their most perishable heritages. On one road in Peru, near the coast, children sold me pieces of painted cotton which came from the funerary fardos of Chancay.
Later, traveling through Ecuador, other children sold me, for a few bits of change, stylized figurines which came from Valdivia. I arrived in Mexico with a small load which I had to divest myself of shortly thereafter. But later on, with the same passion, I continued my research, adapting it to my finances, which were not really encouraging at the time. I got used to traveling with my treasures: From Mexico passing through Cordoba and then Buenos Aires, finally landing in Paris, where I have chosen to live.
In a collection, how do you deal with preferences, how are priorities established? For the ceramics, that I own, I give first place to representations of people or animals. For me, this is the first condition. Of all the ceramics, my preference is certainly for those of the Nazca culture. Here I find a very good example of the refinement of society. They were done with the greatest technical perfection. The designs, the shapes and the colors are wonderful.
In any case, it is very difficult for me to establish a hierarchy. Each culture, in its diversity, has different interests. And I have the same relationship with ceramics as with the El Magdalena urns, the Mochicas of the first period, or the erotics of the Mochica III period. They are all necessary in my daily life. As I find myself in your house, knowing your paintings and your collection, I would describe you as a recidivist. Why this obsession for series? The truth is that I have no idea why. Because of this, certainly, the army of funerary masks from Chancay , all painted an orange red, with their hair and their feathers.
Grouped together , they convey the idea of multitude, with a strange presence. Something similar happened to me with the funerary urns which come from the north of Colombia, in particular those of Magdalena. These urns, which are generally large, are made of beige ceramic and crowned with figures, standing or seated, in various positions. I have twenty-four of them, and together they produce a surprising effect. From time to time, I change their places and I see myself as a small boy doing the same thing with my lead soldiers. It was in Paris that you began to become interested in African art?
Later I met Jacques Kerchache, who suggested that I swapsome of my pieces with him. At that time, he had a gallery on rue de Seine. This exchange was for certain the detonator of my new passion; very convenient, because Paris is still one of the greatest markets for African art, with its galleries, museums and foundations, in constant activity, and its periodic offerings in the sale rooms. The discovery of the desired object in a gallery, the succession of unhoped for encounters and the participation, from time to time, in auctions, is for me a way of breaking with daily routine and to give vent to my passion boldly.
And in African art, what are your preferences? Among the things I got by swapping were two masks from the Ekoi people of Niger. I found them fascinating. These masks are generally double: one light and the other dark, life and death united. Their characteristic quality is to be covered with leather, with a very deep patina. Aside from the sensuousness of the material and the elegance of the hairstyles, their hightened expressivity is a constant contradiction with the treatment of the object.
I think this expressiveness explains why there are not too many enthusiasts and why, from time to time, top-choice pieces appear on the market. It is these objects which keep me company while I work. You spend part of the year in Argentina. During this period, does the collector go into hibernation or does he discover in this country other sources of interest?
There I began to collect Pre-Columbian ceramics from the north of Argentina, which unfortunately is not well known. I think judging by the technical level and the inventiveness of its forms, it rivals the best South American pieces. Furthermore, it has allowed me to get to know well a part of my country that I was not familiar with.
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Here, in your house, I feel a little intimidated by all these objects, masks, totems which surround us on all sides. You have a family and children. How do they handle your passions, which you impose on them? I must admit that well before starting a family, the objects already occupied a part of my life and were invading my space. It is true that where I placed them depended on the age of the younger generation. I have always left the pieces of less value within the reach of the children.
They were free to put them on the ground and do what they wanted to with them. However some tossed balls did create work for the restorer. In any case, six children grew up here and I must say that the damages were minimal. But you are also a collecter of Pre-Columbian art and African art mainly. What is the source of this passion? It all began very early, when I inherited a collection of stamps from my grandfather.
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The passion for pre-Columbian came to me later. In May , having returned to Argentina, after buying a car, I set out on the road and set Mexico as my final destination. Starting in Tiahuanaco, in Bolivia, I encountered on the road the vestiges of different cultures which were spread about the continent. I think that these months were the most intense of my life: the contact with the scorned descendants of these ancient civilizations, the lack of interest on the part of governments at the time for this perishable inheritance.
On a road in Peru, near the coast, children sold me pieces of painted cotton which came from the funerary fardos of Chancay.
The masks made of red wood were placed there, right on the street. Later, in Ecuador, other children offered me terracotta figures from Valdivia. Over the years, my collection has known a certain number of avatars, but I continued my search, getting used to traveling with my treasures: from Mexico via Cordoba, my home town, and Buenos Aires, and on to Paris, which I chose as my place of residence. Pre-Columbian art objects have accompanied me everywhere. And African art? I had the good fortune to meet Jacques Kerchache, the inspiration for the museum on Quai Branly.
Then I made the acquaintance, in his country, of a king who gave me a number of pieces. Ordinarily the elephant masks are burned when they are no longer used. Here, in Arcueil, I have assembled a good thirty of them. What approach do you prefer in dealing with the unbelievable diversity of works from tribal cultures, and more generally non-European art?
I have never collected Asian art, and very few objects from Oceania. My preferred areas are Pre-Columbian and African civilizations. Sometimes I have collected objects that are not well known and not highly valued, like these Chane masks from the north of Argentina, hanging from a cross-beam in the studio. In Pre-Columbian art, where ceramics is concerned, I have given preference to representations of human beings and animals.
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My preferences are for creations of the Nazca culture, which are very refined in design, shape, and color—and technically perfect. I have the same relationship with the Mochica of the first period and the erotics of the Mochica III period, as well as with the urns of El Magdalena, in Colombia; I own a whole group of them. All these things are necessary in my daily life. In one of the underground rooms in your home, which resembles a crypt, they are aligned in two rows: the effect is startling. In one of the reception rooms, two display cases face each other, filled with tens of funerary masks from Chancay.
These cinnabar-red figures, with their shell eyes and black pupils, produce a much more powerful effect than an isolated object.
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Where does this taste for series, groupings, come from? The truth is that I have no idea. I think that childhood memories, lead soldiers have something to do with it. That certainly connects with this army of funerary masks from Chancay all painted an orange-red, with their hairstyles and feathers. Grouped in this way, they suggest a multitude, with a strange presence. The same is true of the funerary urns from Magdalena. I have twenty-four of them; from time to time, I move them around and I see myself again as a small boy doing the same thing with lead soldiers. Not all your objects are so serious.
Unlike more than one collector of primitive art, it could be said that you are not as sensitive to the interior dimension of these figures, to their individual mystery, as to the ability they have to exteriorize a feeling, to their expressive power, and also to the variety of their postures. There is also this taste for color, the polychrome. Among the objects obtained by exchange with Jacques Kerchache, there were two Ekoi masks which I found fascinating.
These masks are often double, one light and the other dark, life and death united. Aside from the sensuousness of the material and the elegance of the hairstyles, their heightened expressiveness is in constant contradiction with the treatment of the object. This expressiveness is not so much what most of the collectors are seeking in African art. No, moreover, the humor, gaiety, and vividness of the colors, the pictural aspect. I like for an object to amuse me. I appreciate invention in all its forms. I would never be able to buy this kind of thing.
These are not works of the hand of man, and I would feel uncomfortable about them. Masks and marionettes favor type over the psychological dimensions; posture, attitude count more than individuality. It is quite possible, although I am not really aware of it. On the other hand, I know how much the figures that I draw are linked to the world of my childhood. With the war, sophisticated Japanese or German wind-up toys from, with which I had played up until them, were no longer imported to Argentina. I had to be content with more modest toys, made right there, the expression of a folk art which today has practically disappeared.
The fellows you see in my paintings come from there. And thus we come back to the memory of the lead soldiers I mentioned in talking about the urns from Magdalena. The collections and painting are alike perhaps from this standpoint. What I paint is an historical reconstruction of my childhood. In a joint issue with Argentina was commissioned on the theme of tango. Both countries issued the same stamps on the same date. Tapestry in progress Gobelins Works, high sheen. Estas pueden aislar una figura o un grupo de paseantes, crear un cambio de registro entre la parte superior y la inferior de la pintura, sugerir una imagen.
Su sentido de libertad, su profundo humor no plantean exigencias. El paso del tango eterno. Gigantes, porque condensan dentro de ellos algo infinito. Incluso dentro de la inmensa diversidad de esta cultura, Argentina es un caso especial. Otra influencia parece haber sido la obra de Paul Klee.
Observen, por ejemplo, sus grandes escenas urbanas y multitudinarias, como Gente de las Azoteas , Se Llamaba Charles Atlas o Pasar Desapercibido Las otras dos pinturas, que forman un par, no tienen edificios, sino que consisten simplemente, en cada caso, en una vasta multitud de figuras que corren, cubriendo toda la superficie de la tela. Los sombreros son celebrados en otro trabajo, muy anterior, incluido en su muestra Surtout les Chapeaux Estos son interesantes por una serie de razones diferentes. Corrientes era la calle de Buenos Aires donde estaban ubicados todos los bares de tango.
Al mismo tiempo, sigue siendo conciente de lo que lograron los Modernistas originales, y no tiene miedo de incorporar algunos de sus descubrimientos a su propio trabajo. Mire, por ejemplo No pienso, personalmente, que las obras pierden su sentido de esta forma. Sin hacer algo especial de mi individualidad, no me siento muy bien preparado para trabajar en equipo. La agresividad no ha desaparecido, pero el requisito de la amargura me parece haber sido cambiado por burla y sarcasmo. Usted sabe, mi trabajo no es exactamente un ejercicio en el estilo de la agresividad.
Estaba comenzando a pintar y, ciertamente en ese momento, fui influenciado por este artista. Pero estas son todas cuestiones que no sustentan mis respuestas como pintor. En lo que respecta a las colecciones, sin ser un coleccionista. Cada, cultura, en su diversidad, tiene intereses diferentes. Todas son necesarias en mi vida cotidiana. Tengo veinticuatro de ellas, y juntas producen un efecto sorprendente.
Usted tiene familia e hijos. Debo admitir que bien antes de comenzar una familia, los objetos ya ocupaban una parte de mi vida y estaban invadiendo mi espacio. No obstante, algunos tiros de pelota dieron trabajo al restaurador. Todas estas cosas son necesarias en mi vida diaria. Hablemos de estas urnas. La verdad es que no tengo ninguna idea. Lo mismo rige para las urnas funerarias de Magdalena.
No todos sus objetos son tan serios. A mi me gusta que un objeto me divierta. Es bastante posible, aunque no estoy realmente conciente de ello. Tapiz en proceso de trabajo Gobelins Works alto brillo. Introduktion og baggrund 4 1. Vold og hverdag 18 2. Beretninger om vold 33 4. Konklusion 56 6. Udover mordene og de mange flygtninge der fulgte af volden, regner man med at omkring 5. Starn De fleste indbyggere flygtede ud i skoven. Indbyggerne vendte officielt tilbage d. Kommissionen har i sin 8.
Mi historia [Becoming]
Varese ff. Veber Fra blev hele den centrale jungle genstand for en stor indianer-opstand, ledet af den legendariske Juan Santos Atahualpa. Ortiz 79 f. Denne trafik er angiveligt fortsat langt op i det Hvalkof Taussig 97 ff. Hastrup For selvom man regnede udefrakommendes overgreb for eksterne i f. Veber f. Organisationens medlemmer er valgt blandt indianerne i Pangoa. I Cachingarani bor der ca. Varese Der boede i indianere i Pangoa-dalen og ca. Endvidere har jeg talt med nogle af de tilflyttere fra Andes-bjergene, der bor i Pangoa.
Hastrup 34 ff. Samtidig skaber vold desintegration og splid i de civile samfund, den rammer i. Filosoffen J. Hvad bl. Jackson 7 og muligvis bidrage til at optrappe en konflikt. It also includes my writings in my other fields of work i. I have already linked my website to the poets-unite-worldwide page on Facebook and want to be linked to your site too.
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Notify me of new posts via email. Hoy, en medio de estas paredes arruinadas, creo ver su actual imagen bajo un graffiti de sentido obscuro pero que me libera del acoso de mi propia juventud. In my youth I was devoted to poetry, as many of my generation. But, after the years, I feel that writing helps me to stay alive and connected emotionally with the world we live in. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:.
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