#Pablo VI

[unpasoaldia]

Los Católicos y las Reliquias

Continue reading Untitled

[pablo-garegnani]

Evangelii Nuntiandi

Si te gustó esta presentación, te agradecemos que la compartas con tus contactos. #Tiberíades

[megalomari]

amé Robot Dreams, tenía que animarlos ❤️

[refuzz]

The reboot

My edit (done on my phone at 3am)

[mariusslonelysoul]

College au lams? Nah, sorry, i only know reincarnated belgrantín

[monokerus]

Björns trolleri blev ännu roligare då jag så sent som igår satt i ett möte där någon säger "ok so if anything goes wrong we'll all blame Pablo because he's not in the office"

[ifreakingloveroyals]

Through the Years → Felipe VI of Spain (2,770/∞) 16 April 2022 | King Felipe VI of Spain visits CREADE Refugees center in Pozuelo de Alarcon, Spain. (Photo by Pablo Cuadra/Getty Images)

[longlistshort]

The National Museum is a public art project founded and curated by Jon Rubin and presented by Pittsburgh Cultural Trust. Different artists are invited to change the name of the museum and an essay is written using the title as a jumping off point. The first iteration is by artist and writer Pablo Helguera.

About the project from Jon Rubin’s website–

The National Museum repeatedly asks which stories, histories and futures are deemed worth saving and which are ignored or forgotten. Each month, a different artist is invited to change the name of the museum and a national writer is invited to use that museum title as the jumping off point for an essay. In its first year, the project currently consists of storefront signage, street posters, printed broadsheets, a website and monthly accompanying essays.

When a name starts with “The National Museum” it triggers contentious and political associations with borders, nationhood, even citizenship and belonging. Who gets to determine the belonging of an entire group of people bound only by the fact of their geographical location. There’s something absurd about that, if you think about it. Instead of claiming ownership over a diverse populous or even a disparate set of objects, can the notion of the “national” be rethought as something that is less tangible, less object-oriented?

There is a fundamental hubris and absurdity in calling something, anything, a museum, let alone The National Museum. But, in many ways, it’s really no different than any other museum that someone, usually with far more money, privilege, and power than any of my artist peers or myself, has simply made up. So, in a way, the project functions as a kind of loophole or work-around, a participatory fiction that allows a variety of artists to put forth an ongoing series of grand propositions, a theoretical institution that repeatedly brings into question the certainty and reality of our pre-existing institutions.

The National Museum elucidates how museums, especially national ones, are perhaps no different than the nation-states in which they reside. Each is an imagined political construct, a collective fiction used to collect, categorize, narrativize, and control. Throughout modern history museums have used the collections they steward and the stories they tell to validate extractive legacies of colonialism. And, although our current museums, both national and private, are staffed by people with experience in the arts and humanities, the ultimate decision-makers in many of these institutions are wealthy donors and trustees who derive financial benefits from, and exert ideological control over, the fundamental mission of museums. So, while the general public think museums are nominally for “everyone,” the truth is that they are delimited by economic, geographic, racial, and cultural boundaries that restrict their function, design, and access to select publics.

Pablo Helguera’s essay on building façades as art and metaphor, Creditable Unrealities, is included on the broadsheet for the project (as well as his Substack Beautiful Eccentrics), and is a highly enjoyable read.

It includes this passage on how he came up with his name for the museum-

“Ultimately, I reasoned that façades are  the most direct indicator of the time when they were built:  they are the things that we try to use as visual reference to identify a city we know in a historic photograph; they are time markers. And when it comes to museums, they traditionally seek to project timelessness, especially those august institutions whose neoclassic façades promise a container of art for the ages. So I thought that this façade should be the threshold not of art history but of our own awareness of that history and our minuscule place in it, knowing that the present that we are living so vividly will soon wash away, largely unimportant within the broader scope of human life. In 2001, doing research on people who consumed ecstasy, I was struck by the effect that their drug had in some people’s temporal awareness, and how it resonated with my own  (drug-free) experiences. Thus the phrase “I have nostalgia for the moment I am living”, which gave the inaugural title to the National Museum.”

The next iteration of the museum will feature Edgar Heap of Birds (Hock E Aye Vi). The broadside will be written by poet, writer, lecturer, curator, and policy advocate Suzan Shown Harjo.

[garciapimienta]

pablito is giving a masterclass today and the club is loaning him.... cool they are idiots

[peaceeandcoolestvibes]

Mirarle la cara KAHAJAJAJ está gritando AIUUUDAAA

[juan50300]

EL CREDO DE PABLO VI

EL CREDO DE PABLO VI

I INTRODUCCION: El contexto El credo que se va a reproducir en este trabajo fue proclamado por S.S. Pablo VI, hoy santo, el 30 de junio de 1968, en la plaza de San Pedro de Roma, durante la misa de clausura del año de la Fe Vamos a ver a continuación el contexto en el que se da esta proclamación 1968 Nos encontramos en un año en el que la sociedad tradicional y sus normas morales van a ser…

[unpasoaldia]

“Líbranos del mal” PABLO VI

Continue reading Untitled

[docpiplup]

@asongofstarkandtargaryen

Same picture.

[gadriezmannsgirl]

GadriezmannsGirl Masterlist!

Hello everyone! You can call me M; I'm latina 🇻🇪. and I mostly write for my guys Gavi, Pedri, Antoine and Rúben Dias. My requests are Closed (at the moment) and I can also write for:

Frenkie de Jong

Fermín López

Ferran Torres

Joao Félix

However, there are a few things I'd like to clarify:

Like I said before my requests are closed for now, however feel free to talk or rant to me about anything you want with due respect.

I don't do smut (Only Fluff and Angst). I won't do any kind of vi**ence, r**e, s**cid*l or any dark themes.

I use she/her pronouns in all my works.

If I'm not comfortable with writing something or for someone, don't keep asking for it!

This is a safe space for everyone, I do not accept any kind of hate towards anyone in here.

Respect is at the top of my list in here

You can talk to me by pressing the "say your stuff✨" button just to chat about anything or to request something

Don't copy my work! It's very rude!

Feedback is highly appreciated!

With all of this being said, enjoy all of my works!😌

°°° °°° °°° °°°

Pablo Gavi Masterlist

Pedri González Masterlist

Rúben Dias Masterlist

Antoine Griezmann Masterlist

Other Players Masterlist

°°° °°° °°° °°°

Last Updated: July 27th, 2024

[useless-catalanfacts]

These are the earliest (finished) Renaissance paintings in the whole Iberian Peninsula: the musician angels frescoes in the València Cathedral, Valencian Country.

In the year 1469, a fire destroyed the main altar of València's Medieval cathedral, so they needed to rebuild it. In 1472, Roderic de Borja -who would later become the Pope Alexander VI-, came back to València after spending almost 20 years in Rome with his uncle Pope Callixtus III. And he came back with two Italian painters: Paolo da San Leocadio and Francesco Pagano.

At the time, the Renaissance hadn't yet spread outside of Italy. It was starting around 1490 and in the early 1500s that it spread to the rest of Europe. But these two Italian painters who came to València were already painting in Renaissance style.

At first, the Cathedral authorities were unsure of these artists, considering that they had to paint the main altar, the most important place in the whole cathedral. For this reason, they asked them to prove their skills. Paolo de San Leocadio and Francesco Pagano started painting the Shepherds' Adoration, but their skills impressed the cathedral authorities so quickly that they didn't even need to finish it before going on to paint the altar.

The unfinished painting The Shepherds' Adoration (1472) by Paolo da San Leocadio and Francesco Pagano.

A later reform during the Baroque period considered these fresco paintings old-fashioned and covered them with a new Baroque vault. The Renaissance frescoes were brought to light again in 2004. Experts expected to find the frescoes covered by a layer of lime and mostly destroyed, but they were pleasantly surprised to find them in a great state of conservation.

Photos by Catedral de València, Pablo Casino, Prats i Camps and sancholovesart.es.

[viejospellejos]

Lo de Van de Ven cagándose en pleno partido no lo vi venir:

Enviado por: Pablo