#Jorge Pardo

[casualist-tendency]

[guy60660]

Jorge Pardo | Benedikt Taschen | AD

[nofatclips]

Armando’s Rhumba by Chick Corea & The Spanish Heart Band, live at the Montreux Jazz Festival in 2019

[jazzandother-blog]

Grossi / Franco / Pardo en Rio de Janeiro.

Gabriel Grossi, harp

Pedro Franco, guitar

Jorge Pardo, t. flute

[cristinabcn]

Trinidad Jiménez y su "Raíz Sureste"

TERESA FERNANDEZ HERRERA. Periodista, Escritora, Editorialista, Directora Gral. Cultura Flamenca, Prensa Especializada Tiene mucho de especial la Sala Negra de los Teatros del Canal. La cercanía, la excelente acústica, el camino laberíntico hasta llegar a ella en la quinta planta, la negrura de la entrada, casi un túnel misterioso que desemboca súbitamente en la negrura de la sala levemente…

[rebeldeway]

[milksockets]

jorge pardo in a sculpture reader: contemporary sculpture since 1980 - glenn harper + twylene moyer (2006)

[cosmicanger]

Jorge Pardo

Untitled

2024

Acrylic ink on canson paper, engraved MDF, birch plywood, encino plywood.

156 1/4 x 156 1/4 x 2 3/4 inches

397 x 397 x 7 cm

[severalpossiblemusiks]

Trick or treat!

You get...

Paco de Lucía's "Sólo Quiero Caminar" from 1981.

Flamenco legend Paco de Lucía's 14th album, it features his brothers, guitarist Ramón de Algeciras and singer Pepe de Lucía. Joined by percussionist Rubem Dantas, bassist Carles Benavent, and flautist/saxophonist Jorge Pardo, the sextet was at the forefront of the "New Flamenco" genre which fused the fiery guitar work of flamenco with the abstract chords and sonic uniqueness of jazz fusion. Sometimes also called "Latin jazz fusion", New Flamenco is disparaged against by more traditional flamenco artists, but Paco's unique approach to combining sounds gave him a much wider audience and influence, taking him to the States to perform with some of the most respected jazz fusion guitarists of the day, and establish a lasting influence over guitar virtuosity both in jazz and flamenco.

The album features many typical flamenco songs reimagined with jazzier accompaniment, showcasing not only the three brother's virtuosity, but also the skills of the backing trio.

Full album here

[worldsandemanations]

Jorge Pardo (Cuban/American, 1963), Untitled, 2001. Acrylic on canvas

[daintyinsider]

Reading List - Lista para Leer

Aves sin nido Clorinda Matto de Turner

Dom Casmurro Joaquim Maria Machado de Assis

Ariel José Enrique Rodó

El Moto Joaquin Garcia Monge

La amada inmóvil Amado Nervo

Desolación Gabriela Mistral

La señorita Etcétera Arqueles Vela

La vorágine José Eustasio Rivera

Doña Bárbara Rómulo Gallegos

Cuentos de Amor, de Locura y de Muerte Horacio Quiroga

Other selected works

Isabel Allende, “Dos palabras”

Anónimo, “Romance de la pérdida de Alhama”

Anónimo, Lazarillo de Tormes (Prólogo; Tratados 1, 2, 3, 7)

Gustavo Adolfo Bécquer, Rima LIII (“Volverán las oscuras golondrinas”)

Jorge Luis Borges, “Borges y yo”

Jorge Luis Borges, “El Sur”

Julia de Burgos, “A Julia de Burgos”

Miguel de Cervantes, Don Quijote (Primera parte, capítulos 1–5, 8 y 9; Segunda parte, capítulo 74)

Julio Cortázar, “La noche boca arriba”

Hernán Cortés, “Segunda carta de relación” (selecciones)

Sor Juana Inés de la Cruz, “Hombres necios que acusáis”

Rubén Darío, “A Roosevelt”

Don Juan Manuel, Conde Lucanor, Exemplo XXXV (“De lo que aconteció a un mozo que casó con una mujer muy fuerte y muy brava”)

Osvaldo Dragún, El hombre que se convirtió en perro

Carlos Fuentes, “Chac Mool”

Federico García Lorca, La casa de Bernarda Alba

Federico García Lorca, “Prendimiento de Antoñito el Camborio en el camino de Sevilla”

Gabriel García Márquez, “El ahogado más hermoso del mundo”

Gabriel García Márquez, “La siesta del martes”

Garcilaso de la Vega, Soneto XXIII (“En tanto que de rosa y azucena”)

Luis de Góngora, Soneto CLXVI (“Mientras por competir con tu cabello”)

Nicolás Guillén, “Balada de los dos abuelos”

José María Heredia, “En una tempestad”

Miguel León-Portilla, Visión de los vencidos (dos secciones: “Los presagios, según los informantes de Sahagún” y “Se ha perdido el pueblo mexica”)

Antonio Machado, “He andado muchos caminos”

José Martí, “Nuestra América”

Rosa Montero, “Como la vida misma”

Nancy Morejón, “Mujer negra”

Pablo Neruda, “Walking around”

Emilia Pardo Bazán, “Las medias rojas”

Francisco de Quevedo, Salmo XVII (“Miré los muros de la patria mía”)

Horacio Quiroga, “El hijo”

Tomás Rivera, . . . y no se lo tragó la tierra (dos capítulos: “... y no se lo tragó la tierra” y “La noche buena”)

Juan Rulfo, “No oyes ladrar los perros”

Alfonsina Storni, “Peso ancestral”

Tirso de Molina, El burlador de Sevilla y convidado de piedra

Sabine Ulibarrí, “Mi caballo mago”

Miguel de Unamuno, San Manuel Bueno, mártir

[arsnovadelperu]

Echa un vistazo a esta entrada… "La canción nacional de la semana: "Mi alma entre tus manos" (Jorge Pardo) Viña del Mar 2009 (competencia internacional)".

[felipeandletizia]

Felipe and Letizia retrospective: February 28th

2004: Went skiing at the resort of Candanchu, in the province of Huesca, Spain.

2005: Met Uruguay’s elected President Tabare Vazquez and the President of Uruguay, Jorge Batlle; Visited Spainish Cultural Centre in Montevideo, Uruguay &Reception offered by Uruguay’s outgoing president, Jorge Batlle

2008: Audiences at la Zarzuela

2011: National Sports Awards; Inauguration of the “Chardin (1699-1779)” exhibition & Funeral for the soldiers deceased in the Academy of Hoyo de Manzanares

2012: Main event of the 475th anniversary of the creation of the Marine Corps

2013: Military audiences

2014: World Day of Rare Diseases in Madrid& Paid his respects to relatives of Spanish Flamenco guitarist Paco de Lucia during his wake at the National Music Auditorium

2017: Ordinary meeting of the Fundéu BBVA Advisory Board in Madrid

2018: Audiences at la Zarzuela

2019: Opening of ARCO 2019 (Contemporary Art Fair) (1, 2) & Reception offered by Peruvian president Martin Alberto Vizcarra at El Pardo Palace.

2020: Event naming the winner of the Princess of Girona Awards on the Social Field 2020

2022: Opening of the the GSMA Mobile World Congress

F&L Through the Years: 920/??

[purasangree]

📺 Es Carlota Pardo, violada en GH frente a las cámaras. Le dijeron que "por su bien" no dijera nada. Denunció al programa de T5 por omisión de socorro. El socialista Jorge Javier incluso se burló de ella en directo. ¿Alguien pidió dimisiones o montó manifestaciones?

Fuente: lavozdegalicia.es

[tepot]

"The Museum: A New Social Sculpture" by Simon Wu in Spike Art Magazine 75 Spring 2023

Some have called this the "reparative turn," which has called on institutions to atone for current and historical grievances perpetrated by museums and society more broadly. Writing about documenta fifteen, curated by the Indonesian collective ruangrupa, New York Times art critic Jason Farago described how the show "militated against its own viewing," focusing on work-shops, social gatherings, and "vibing" over visual art: "The real work of the show was not the stuff on the walls but the hanging out around it." Farago continued that this was connected to a larger shift away from aesthetics and toward various forms of social practice observable in museums, art schools, and magazines. Similarly, art historian Barry Schwabsky, writing in 2022 for The Nation, described the recession of the "aesthetic regime," or a turn away from art as a matter of form to increasingly privilege its ethical content. "What if today we are witnessing a return to a time when art is valued for its social utility, its edifying effect on the viewer," he wrote, "more than for its aesthetic valence?"

[...] In 1996, the curator Nicolas Bourriaud coined the term "relational aesthetics" to describe a growing tendency among practitioners to use social scenarios as materials for their art. There were temporary bars (Jorge Pardo's at K21, Dusseldorf; Michael Lin's at Palais de Tokyo, Paris; Liam Gillick's at Whitechapel Gallery, London), reading lounges (Apolonija Sustersi's at Kustverein Munchen, or the changing "Le Salon" program at Palais de Tokyo), and pad thai (Rirkrit Tiravanija's Untitled 1992 (Free) at 303 Gallery in New York), all of which used social situations as readymade performances of sorts. Throughout the 2000s, artists like Thomas Hirschhorn, Tania Bruguera, and Theaster Gates expanded these ideas into sprawling, multi-year projects that came to resemble libraries and community centers. From its inception, relational aesthetics inspired fierce debates over the relationships between utility, art, and civic duty. What did it mean to assess and experience that verged on social services according to ethical as well as aesthetic metrics?

Perhaps we have come to see the museum itself as a big, unwieldy project of relational aesthetics. When I go to a museum now, I want to know: Who sits on the board? What are their investments? Is the staff trying to unionize? What are its ties to both police and local communities? To think of the museum as a kind of collaborative social performance is to imbue its operations with both formal mutability and symbolic potential, positioning all those involved as "artists" engaged in its collective reshaping. This is not to just say that the museum is a work of art, or that it can escape the criticism that "good ethics" make for "bad art" endemic to relational aesthetics. It is more to say that perhaps those aspects that always felt concrete and immovable are feeling more unmoored than ever.

[cristinabcn]

Jorge Pardo y Cristian de Moret: Flamenco, fusión y más...

Jorge Pardo and Cristian de Moret: Flamenco, fusion and more… TERESA FERNANDEZ HERRERA Periodista, Directora Gral de Cultura Flamenca. Prensa Especializada 11 de septiembre, Teatro Alcázar de Madrid. En concierto irrepetible, único, Jorge Pardo y Cristian de Moret, Cristian de Moret y Jorge Pardo: Tanto monta,  monta tanto Cristian como Pardo. ¡Que me disculpen los Reyes Católicos por…