#Federico Durand

[musicwithoutborders]

Federico Durand, Elin I El éxtasis de las flores pequeñas, 2011

[gacougnol]

Tour Tapes from Federico Durand

[ratbits]

"Polaroid Ode" by Cori A. Winrock

For Federico Durand. Something has been inexplicably lost with the rise of infinite HD digital photography. Maybe it was the inherent finitude of analog photography, the shortage of film and the time, energy, and resources to cultivate it. You had to really think about what you were going to shoot. You had to choose and, when you had, you had to stand by that decision. Perhaps this is why…

[justforbooks]

Anouk Aimée

Elegant French film actor best known for her roles in the classic films A Man and a Woman, Lola, and La Dolce Vita

Show-business history records how the young Françoise Sorya was walking with her parents in Paris when they were approached by the director Henri Calef, who asked whether the teenager could play a part in his forthcoming production La Maison Sous la Mer (1947). The answer was yes and Françoise took the professional name Anouk after the character she was to play.

A short while later, she accepted a part in La Fleur de l’Age and its director, Marcel Carné, added Aimée to her chosen name. In the event the film was not completed, but its writer, Jacques Prévert, had been captivated by the beauty and natural talent of the young actor and wrote a screenplay indebted to Romeo and Juliet for her. As a result, Anouk Aimée, who has died aged 92, took the role of Juliette in The Lovers of Verona (1949).

The success of the movie launched her career, which included some 70 feature films, stage work and a handful of TV movies and miniseries. Her greatest successes were La Dolce Vita (1960), Lola (1961) and A Man and a Woman (1966), for which she won a Golden Globe and an Oscar nomination, but she chose work erratically and happily sacrificed her career for a private life that included an absence from the screen during the first six years of her marriage to the actor Albert Finney.

Daughter of Geneviève (nee Durand), who acted under the name Geneviève Sorya, and Henri Dreyfus, also an actor, she was born in Paris. During the occupation, her parents moved her to the country for safety and she used her mother’s name rather than that of her Jewish father. He later changed his name to Henry Murray.

Aimée studied both drama and dance before her first starring role in The Lovers of Verona, as the would-be actor Juliette, who, while working as an understudy, meets and falls tragically in love with a set carpenter (Serge Reggiani). That success took her to Britain for a part opposite Trevor Howard in The Golden Salamander (1950). Although she was well received in the rather dull film, she subsequently married the Greek director Nico Papatakis and had a daughter, and did not appear on screen again until The Crimson Curtain (1953).

This was a stylishly made period romance, adapted by the writer Alexandre Astruc from a short story as his directorial debut. Despite a duration of 43 minutes and narration rather than dialogue, it proved a critical success. Aimée, cast as a young woman with heart problems who sacrifices herself for her lover, embarked on a busy international career.

She played a prostitute, Jeanne, in an adaptation of a Georges Simenon story, The Man Who Watched the Trains Go By (aka The Paris Express, 1952); co-starred in a somewhat pretentious thriller, Bad Liaisons (1955), directed by Astruc; and played a small role in Lovers of Paris (1957), which starred Gérard Philipe, France’s leading romantic actor.

She was invited to play opposite him in Jacques Becker’s Montparnasse 19 (1958), a biopic of Modigliani in which she took the role of the woman who eventually married the artist. She moved straight to another prestige production for Georges Franju, The Keepers (1959), playing a woman who tries to help a young man wrongly committed to a psychiatric hospital by his father. In Federico Fellini’s La Dolce Vita, starring Marcello Mastroianni, she had the powerful role of a jaded socialite and found in the director a new freedom and vitality that kept her working in Italy for much of the next six years.

However, her best role was in Lola, Jacques Demy’s enchanting debut, dedicated to Max Ophuls and romantic cinema, which it affectionately satirised. Aimée as the not very talented singer waiting for her sailor lover to return made the character, in top hat and feather boa, vivacious yet vulnerable. Sadly, most of the other films in this period were less distinguished, and only Fellini’s 8½ (1963) placed her in a quality movie, as Mastroianni’s girlfriend.

She received the greatest popular acclaim of her long career in Claude Lelouch’s A Man and a Woman. It took the Oscar as best foreign film, and the Cannes festival award as best film, with an Oscar nomination for Aimée as best actress. She did not win, but there was compensation in receiving the equivalent award from Bafta, a Golden Globe and starring in a huge box office hit. Its success led to a sequel, A Man and a Woman – Twenty Years Later (1986).

After starring in the elegant and mysterious Un Soir, Un Train (1968) for the Belgian director André Delvaux, she again played Lola, in Model Shop (1969), which marked Demy’s American debut. The film flopped, not least because Aimée seemed uninterested and unengaged by her role.

The same could be said of The Appointment and Justine (both 1969). The former was a misguided project by the New Yorker Sidney Lumet and suffered from an arty pseudo-European “sophistication” that alienated audiences. Justine was taken over by George Cukor early in the shooting. The director, famous for his rapport with female actors, later remarked that it was his only experience working with “somebody who didn’t try”. It was a commercial failure.

She returned to the screen in 1976 with Second Chance. There was an upturn when she received the best actress award at the 1980 Cannes festival for A Leap in the Dark, an atmospheric work by Marco Bellochio. Aimée took the character role of a spinster sister of a judge (Michel Piccoli), also unmarried, each enduring lives of quiet desperation. This was one of eight films she made with Piccoli, a friend since their days as drama students.

She worked for another distinguished director, Bernardo Bertolucci, in Tragedy of a Ridiculous Man (1981), but her cool talent was swamped by the ebullience of her co-star, Ugo Tognazzi. The political thriller enjoyed little success either critically or commercially. Aimée subsequently worked mainly in France, with occasional sorties into international movies, including a small role in Jerzy Skolimowski’s Success Is the Best Revenge (1984), and a larger one in Bethune: The Making of a Hero (1990), a co-production celebrating the Canadian doctor Norman Bethune, portrayed by Donald Sutherland.

She was among the prestige cast in Robert Altman’s stargazer’s delight, Prêt-à-Porter (1994), which had fun at the expense of the fashion trade. In 2002 she received a lifetime achievement Golden Bear award at the Berlin International film festival.

She continued to work during the following decade, and defended criticisms of her occasional misfires, saying that while some of her choices had been poor, she was still proud of her “not unimpressive” career. She added that actors, too, need to work for money.

She had a pivotal role in The Birch-Tree Meadow (2003), co-written by Jeanne Moreau and directed by Marceline Loridon-Ivens. This sturdy work cast her as a Holocaust survivor returning to the scenes of the atrocities and encountering the photographer grandson of an SS officer.

In lighter mood in the comedy Happily Ever After (2004), she played the mother to the central character Vincent, a role taken by the director Yvan Attal. In 2006, she was attracted to another supporting role as the mother to the lead actor in the intriguing Hotel Harabati.

The amiable The One I Love (2009) was followed by a return to the director who had given her international fame in 1966. Lelouch’s Ces Amours-là was a sad disappointment, however, and Aimée’s following film, Paris Connections (financed by Tesco and sold through their retail outlets), based on a Jackie Collins novel, seems to have fared little better.

She then worked with the novelist and film-maker Philippe Claudel in his second feature, Tous les Soleils (2011), in which she took the role of a dying woman. After Mince Alors! (2012), her 90th screen credit, in which she had a small role, as Maman, she effectively retired, living in Montparnasse, Paris, with her daughter, Manuela.

However, in 2019 she was tempted to return for a final film with Lelouch and the chance to work again with Jean-Louis Trintignant, her co-star from A Man and a Woman. The film The Best Years of a Life was the second follow-up to that famous original and dealt with love and memory in old age. It was celebrated for showing the enduring magnetism of its stars.

Aimée was married and divorced four times. She is survived by Manuela.

🔔 Anouk Aimée (Nicole Françoise Florence Dreyfus), actor, born 27 April 1932; died 18 June 2024

Daily inspiration. Discover more photos at Just for Books…?

[carmenvicinanza]

Anouk Aimée

Anouk Aimée, è stata la meravigliosa attrice che ha recitato in film di culto come La dolce vita e 8½ di Federico Fellini e Un uomo, una donna di Claude Lelouch.

Candidata all’Oscar e ai premi BAFTA, ha vinto il Premio come miglior attrice al Festival di Cannes nel 1980, il Premio César onorario 2002 e l’Orso d’oro alla carriera al Festival di Berlino, nel 2003.

Nata a Parigi il 27 aprile 1932 col nome di Nicole Françoise Florence Dreyfus, era figlia di Henry Murray, nome d’arte di Henri Dreyfus, attore francese di origine ebraica, e di Geneviève Sorya, nata Geneviève Durand. Ha ricevuto un’educazione tradizionale nella recitazione come nella danza tra Parigi e il Sussex inglese.

Durante la Seconda Guerra Mondiale, per schivare la deportazione antiebraica nazista, venne mandata in campagna dove si faceva chiamare Françoise Durand (il cognome della madre).

Ha debuttato sul set a soli 15 anni, nel 1947, in La fleur de l’âge, nello stesso anno, il ruolo di Anouk in La maison sous la mer, ha portato il suo nome d’arte, a cui l’anno successivo Jacques Prévert, suggerì di aggiungere “Aimée” (amata), perché, era amata da tutti.

Importante protagonista della Nouvelle Vague, il film che le ha dato gran fama è stato La dolce vita, del 1960, in cui interpretava Maddalena, la donna che accompagnava il cronista interpretato da Marcello Mastroianni nelle sue notti tormentate in giro per Roma.

La consacrazione internazionale è giunta nel 1966 con Un uomo, una donna di Claude Lelouch, che ha vinto l’Oscar e il Festival di Cannes e che le è valso il Golden Globe per la migliore attrice.

Chiamata e apprezzata sugli schermi di tutto il mondo, ha girato circa settanta film con registi come Federico Fellini, Claude Lelouch, Jacques Demy, Sydney Lumet, George Cukor, Julien Duvivier, Vittorio De Sica, Dino Risi, Bernardo Bertolucci, Marco Bellocchio, Robert Altman e molti altri ancora.

Ha lavorato anche molto in televisione e a teatro.

La sua ultima interpretazione è stata nel 2019, sempre nel ruolo di Anne, in I migliori anni della nostra vita, terzo episodio del grande successo di Un uomo, una donna di Lelouch.

Si è spenta a Parigi, il 18 giugno 2024.

Anouk Aimée è stata un’attrice contenuta, scura, misteriosa, dal naturale fascino ed eleganza, magnetica, magistrale, una colonna portante della cinematografia mondiale.

[blurrymerzsblog]

Rip Anouk Aimée

For many, her name and her face are still associated with a melody and a camera that rotates dizzyingly around a couple in love: Anouk Aimée, the heroine of “A Man and a Woman” by Claude Lelouch, dies on June 18. in Paris, at the age of 92. Born Nicole Dreyfus, she had changed her name for the first time, taking that of her mother, Durand, to escape raids and wearing the yellow star. She later adopted the name of the first character she played, in “La Maison sous la mer”, by Henri Calef. It was Jacques Prévert who suggested adding the name Aimée, which she carried magnificently. Looked at like a horizon line, ebony hair, her presence, at once serious and mysterious, radiated the films of Federico Fellini (“La dolce vita”, “Huit et demi”) and Jacques Demy (“Lola”, “Shop”). of models"). A career recognized with an honorary César in 2002.

#anoukaimee

[sounds01014]

Sonic Dialogue 4 - Los colores from Federico Durand, Pablo Picco

[13melekradyo]

27 Temmuz 2024 tarihli program kaydı.

Güncel drone/ambient kayıtlarından bir seçki // A selection of recent drone/ambient recordings. Download.

01 – Salt Of The Sound – Be Still, The Waves 02 – Hang Ruan & Nick Turner – Anticipation 03 – T.R. Jordan – Allusion 04 – Wanderwelle – Schauduwruis 05 – Cult Of Light – Among The Wolves 06 – Arcadian – Shadowplay 07 – C. Lavender – Ocean Of Ambrosia 08 – Federico Durand – Mensaje Desde El Mar Del Norte 09 – Olma ft. Michael Grigoni – Mesic 10 – Grand River and Abul Mogard – Archi

[ulkaralakbarova]

Five years after their summer together in Barcelona, Xavier, William, Wendy, Martine and Isabelle reunite. Credits: TheMovieDb. Film Cast: Xavier Rousseau: Romain Duris Wendy: Kelly Reilly Martine: Audrey Tautou Isabelle: Cécile de France William: Kevin Bishop Gérard: Olivier Saladin M. Boubaker: Zinedine Soualem Natacha: Evguenya Obraztsova Neus: Irene Montalà Grand-père: Pierre Gérald Barbara: Frédérique Bel L’homme qui veut aller aux toilettes dans le train (uncredited): Cédric Klapisch Kassia: Aïssa Maïga Edward: Gary Love Celia Shelburn: Lucy Gordon Mère Xavier: Martine Demaret Platane: Pierre Cassignard Madame Vanpeteguem: Hélène Médigue Productrice TV: Carole Franck Auteur Série: Robert Plagnol Directeur Série: Nicolas Briançon Michel Hermann – Editeur: Bernard Haller Soledad: Cristina Brondo Alessandro: Federico D’Anna Tobias: Barnaby Metschurat Lars: Christian Pagh Snowboarder: Lannick Gautry Jean-Édouard: Julien Guéris Odile: Laura Weissbecker Caroline – Copine Isa 1: Sophie Barbe Juliette – Copine Isa 2: Julie Durand Copine ‘Cogneuse’: Catherine Lebegue Copine Fête Isabelle: Florence d’Azémar Nounou Grand-père: Fatiha Cheriguene Concierge Xavier: Marie-Renée George Père Natacha: Igor Gusev Mère Natacha: Yelena Solovyova Frère Natacha: Aleksandr Karpukhov Père William: Nicholas Day Mère William: Amanda Boxer Copain Celia Moscou: Julien Hans di Capua Miguel: Jake Canuso Traductrice Russe: Senia Devine Chorégraphe Russe: Katrina Vasilieva Mac Master: Julien Pabion Journaliste ‘Prune’: Agathe Robilliard Journaliste Cosmo: Annette Faure Copine Xavier 1: Anne Steffens Copine Xavier 2: Stéphanie Ricco Copine Xavier 3: Isabelle Joly Lucas: Amin Djakliou Danceuse de ballet (uncredited): Amanda Jane Manning Danceuse de ballet (uncredited): Stéphanie Montreux Livreur (uncredited): Philippe Soucy La Fille de la Gare (uncredited): Eléonore Stern Film Crew: Screenplay: Cédric Klapisch Producer: Bruno Levy Producer: Matthew Justice Executive Producer: Elena Yatsura Music: Loïc Dury Editor: Francine Sandberg Orchestrator: Laurent Levesque Musician: Christophe Minck Key Makeup Artist: Judith Gayo Unit Production Manager: Anne Férignac First Assistant Director: Kira Sinelshikova Assistant Costume Designer: Julia Patkos Digital Colorist: Christine Szymkowiak Musician: Simon Andrieux Script Supervisor: Barbara Constantine Catering: Georges Gautier Production Accountant: David Kerney Extras Casting: Jeanne Millet Makeup Artist: Véronique Nguyen Set Dresser: Stephanie Guitard Key Grip: Colin Strachan Location Manager: Frédéric Vialle Location Manager: Martin Wady Assistant Unit Manager: Benjamin Dewaele Assistant Director Trainee: Samantha Mialet Second Unit Director: Bertrand Normand First Assistant Art Direction: Florian Sanson Art Direction: Tim Stevenson Assistant Camera: Mounia Lamrani Musician: Guillaume Dutrieux Administration: Géraldine Toitot Second Assistant Art Director: Chloe Leguay Key Grip: Michel Dechaud Assistant Camera: Kathy Sebbah Location Manager: Tony Hood Musician: Felix Niel Music: Bruno Epron Mahmoudi Production Manager: Caroline Levy Second Assistant Director: Ophélie Gelber Assistant Director Trainee: Gabriel Levy Assistant Sound Editor: Sophie Durand Sound Assistant: Sergey Ekinow First Assistant Camera: Julian Bucknall Lighting Technician: Philippe Wegiel Set Decoration: Shirley Robinson Compositing Supervisor: Sylvian Fabre Still Photographer: Jérôme Plon First Assistant Camera: Galatae Politis Director of Photography: Dominique Colin Assistant Unit Manager: Laurent Blu Unit Production Manager: Antoine Théron Third Assistant Director: Paul Bennett Sound: Xavier Prêtre Digital Intermediate Producer: Sophie Denize Production Secretary: Séverine Guignard Costume Design: Anne Schotte Props: Daniel Ainslie Sound Recordist: Vincent Laurence Boom Operator: Jean-François Schenegg Digital Compositor: Sebastien Dupuis Casting Assistant: Hermine Poitou Executive Music Producer: Monte Christo Painter: Thierry Poulet Sound Re-Recording Mixer: ...

[amandi-mga2024mi5019]

Possible choice of music

I wanted to incorporate music from artists who were attempting to recreate the sounds of nature in some way through their music.

Plants and Oxygen by IDRA

[magouka]

Jordy. VI.

[diario-vespertino]

Se aprobó la ley antipiquetes para desactivar las masivas protestas de docentes y salud

Con el edificio cercado por policías y rodeado por docentes autoconvocados, trabajadores y trabajadoras de la salud, y organizaciones sindicales, sociales y políticas, el Senado de Salta aprobó el jueves 1 de junio por la tarde (con solo 11 votos positivos, 10 en contra y dos ausencias) la Ley antipiquetes, que ya había recibido media sanción el martes pasado. La medida, que busca regular, controlar y limitar las protestas sociales en los espacios públicos, habilita al Ministerio de Seguridad provincial a autorizar o no manifestaciones; ordena que deberá notificarse con 24 horas de antelación a la comisaría más cercana indicando el lugar donde se realizará una protesta, el tiempo que durará y quiénes serán los responsables de la misma; y además prohíbe los cortes de calle o ruta total. Busca controlar el conflicto gremial con educadores y salud, que lleva ya un mes ganando de forma masiva las calles salteñas. Mientras, el gobernador Gustavo Sáenz, que en dos días y en forma express ordenó su aprobación sobre tablas (sin tratamiento ni discusión previa en comisiones), pasó de anunciar un superávit a afirmar que no habrá dinero para aumentos salariales. El Senado de Salta aprobó este jueves 1 de junio por la tarde la Ley antipiquetes, que ya había recibido media sanción el pasado martes, con solo 11 votos positivos, 10 en contra y dos ausencias. Entre los senadores que votaron a favor figuran Diego Cari (Guachipas); Juan Cruz Curá (Orán); Esteban D´Andrea Cornejo (Chicoana); Emilio Durand (Capital); Marcelo García (Anta); Mashur Lapad (Rivadavia); Javier Monico Graciano (Rosario de la Frontera); Sergio Ramos (Rosario de Lerma); Alfredo Sanguino (La Candelaria); Carlos Sanz (Cerrillos); y Jorge Pablo Soto (La Viña). En tanto, los diputados y diputadas que habían votaron positivamente la media sanción el martes son Esteban Amat; Mabel Balderrama; Moisés Barboza; Roberto Bonifacio; Federico Cañizares; Gonzalo Caro; Laura Cartuccia; Dimas Cianci; Omar Exeni; Patricia Hucena; María López; Antonio Otero; Patricio Peñalba; Martín Pérez; Germán Ralle; Noelia Rigo; Teodora Riquelme; Juan Esteban Romero; Juan Carlos Roque Posse; María Verónica Saicha; Claudia Gloria Seco; Rogelio Segundo; Daniel Segura; Ricardo Vargas; María del Socorro Villamayor; y Lino Yonar. De esta manera, el gobernador Gustavo Sáenz logró, en dos días, la aprobación express sobre tablas (sin tratamiento ni discusión previa en comisiones de trabajo) de la ley que busca regular, controlar y limitar las protestas sociales en la provincia, habilitando al Ministerio de Seguridad provincial a autorizar o no manifestaciones, y a desalojarlas con represión policial. El proyecto aprobado a toda velocidad esta semana ya había sido presentado en abril del 2022 por la ex legisladora nacional y actual diputada salteña conservadora Cristina Fiore y la diputada salteña María del Socorro Villamayor. Ante la instancia final del tratamiento del proyecto de ley, desde la noche del miércoles docentes y organizaciones sociales, sindicales y políticas habían acampado frente a la Legislatura, que empezó a ser vallada desde las 3 de la mañana. De esta manera, el Palacio Legislativo salteño amaneció totalmente vallado, con policías y rodeado de miles de trabajadores y trabajadoras que se movilizaron en el marco de una masiva jornada de protesta contras las políticas de ajuste y represivas del gobierno de Saénz, luego de las brutales represiones del 24 y 25 de mayo, que dejaron docentes heridos con bala de goma y 19 imputados e imputadas por cortar la ruta. La medida, que busca regular, controlar y limitar las protestas sociales en los espacios públicos, habilita al Ministerio de Seguridad provincial a autorizar o no manifestaciones; ordena que deberá notificarse con 24 horas de antelación a la comisaría más cercana indicando el lugar donde se realizará una protesta, el tiempo que durará y quiénes serán los responsables de la misma; y además prohíbe los cortes de calle o ruta total. Dee hecho, en su artículo 3°, la ley señala que «la Autoridad de Aplicación resguardará el desarrollo pacífico de la protesta o manifestación pública, en la medida que la misma: permita el normal funcionamiento de servicios públicos, especialmente los referidos a la salud, transporte público, educación y bomberos; habilite, aunque sea parcialmente la circulación de personas y/o vehículos en una dirección determinada; evite la comisión de delitos tipificados en el código penal durante los actos preparativos, desarrollo o desconcentración de las mismas, incluidos los daños a la propiedad pública o privada; se haya realizado la correspondiente notificación, conforme lo determinado por la presente Ley». La ley profundiza lo ya dispuesto en el Decreto 91/23, publicado por el gobierno de Sáenz en febrero de este año, por el que el Ejecutivo provincial creó el «Protocolo de Actuación de las Fuerzas de Seguridad del Estado Provincial en Manifestaciones Públicas«. El conflicto gremial con educadores y salud lleva ya un mes ganando de forma masiva las calles salteñas. Mientras, el gobernador Gustavo Sáenz, que en dos días y en forma express ordenó su aprobación sobre tablas (sin tratamiento ni discusión previa en comisiones), pasó de anunciar un superávit a afirmar que no habrá dinero para aumentos salariales. Un conflicto que escaló luego de la brutal represión llevada adelante por la policía salteña el pasado 25 de mayo en el acceso de ingreso a la capital, sobre la ruta nacional 9. En este contexto, el miércoles 31 de mayo la Asamblea de Docentes Autoconvocados sesionó en Asamblea Provincial bimodal y aprobó por unanimidad las siguientes medidas: «1) Ratificación del PARO PROVINCIAL DOCENTE por tiempo indeterminado. 2) Exigir el DESPROCESAMIENTO DE LOS 19 COMPAÑEROS QUE FUERON DETENIDOS. Y las siguientes mociones se aprobaron por MAYORÍA: 1) CONCENTRACIÓN frente a la Legislatura: jueves 01 de Junio, a 9hs. 2) Asamblea Provincial Docente con formato bimodal, y rotativa en los diferentes Departamentos. Aclaración: tanto para la participación en la presencialidad como en la virtualidad, se requerirá presentar en el ingreso el Recibo de Sueldo. Para la virtualidad estará previamente organizado a través de cada Delegado con su departamento. 3) Firma de Nota desde la Asamblea Provincial de Docentes Autoconvocados en REPUDIO AL PROYECTO DE LEY ANTIPIQUETES, para ser presentada el día jueves 01 de Junio en la Legislatura. 4) Sólo se aceptará reunión con el gobierno si es con el gobernador Gustavo Sáenz. 5) En las mesas de diálogo con el gobierno ingresarán los Delegados representantes de los 23 Departamentos, con Técnicos y un Abogado. 6) Destitución de la Jueza Zunino. 7) Que el Movimiento Docente Autoconvocado acompañe en las distintas instancias del proceso a los Compañeros imputados. 8) Que el gobierno reconozca públicamente a los Autoconvocados como los únicos representantes de la Docencia. Rechazamos la excusa de la crisis, cuando en tiempo de elecciones desde el mismo gobierno expresaron que hace tres años hay superavit. 9) Se podrá convocar a Asamblea Provincial con carácter de urgencia, debido a que permanecemos en Estado de Alerta y Movilización permanente. 10) Próxima ASAMBLEA DOCENTE PROVINCIAL bimodal: sábado 03 de Junio, a las 16hs. 11) Conformación de las Comisiones de la Asamblea Provincial: * Comisión de Prensa: Naira Rivero, Santiago Garnica, Andrea Gonzalez, Limey Flores y Nanci Liendro * Comisión Finanzas (Fondo de Huelga): Florencia Gasparini, Soledad Romaniello, Patricia Sivero, Sonia Guerrero, Sandra Angelo Luz Luna * Comisión de Movilización: Marina Laguna, Olga Ramos, Marcela Romero, Ivana Rueda, Carmen Venencia, Georgia Romero, Iván Reinoso, Nahuel Riquelme, Mariano Durán * Se hicieron presentes Compañeros DOCENTES AUTOCONVOCADOS DE LA RIOJA, en apoyo a nuestra lucha. MESA DE CONDUCCIÓN PRESENTE: *Georgia Romero *Soledad Leiton *Mirtha Grandiller *Johana Choque *Nahuel Riquelme». :::ANRed::: Read the full article

[gacougnol]

Federico Durand

Herbario

Album Cover

[musicollage]

Federico Durand. El Éxtasis De Las Flores Pequeñas, 2011. Own. ~ [ Mastered By – Taylor Deupree ]

[cctonos]

verano 2019

para escuchar en spotify

gas - pop 1 huerco s. - a sea of love dirty beaches - water park theme (take 2) basic channel - radiance iii deepchord presents echospace - ocean of emptiness grouper - i’m clean now software - island sunrise terekke - swim niño de elche - saetas de san juan de la cruz @all - alles fließt nichts bleibt federico durand - la tarde ronda por la casa pariah - here from where we are

playlist : gabriel giménez + eric olsen arte: designer drugs