#emiliana de zubeldia

[elmartillosinmetre]

Teclas femeninas

[Una romanza (1894) de Santiago Rusiñol. / MUSEO NACIONAL DE ARTE DE CATALUÑA]

El pianista bilbaíno Antonio Oyarzabal graba en IBS un recorrido por música para teclado de trece compositoras, la mayoría de ellas poco o nada conocidas

Es imposible sustraerse al ambiente y las modas. Nadie en su sano juicio ha dudado nunca del papel que las mujeres han jugado en la historia de la música. Las limitaciones que en muchos lugares y épocas tuvieron para mostrarse como compositoras han sin duda privado a la humanidad de obras de valor, pero lo mismo podría afirmarse de cualquier otra condición que hubiera dificultado el acceso de individuos con talento a la práctica artística. Lo femenino se ha convertido en sí mismo en un valor, lo cual no deja de resultar peligroso para la propia valoración de las mujeres. Las cuotas siempre las carga el diablo.

De cualquier modo, se suceden proyectos de recuperación de música escrita por mujeres, un criterio como otro cualquiera, que en efecto puede poner en circulación obras de mérito poco valoradas. Entre las grabaciones que se han difundido en los últimos meses siguiendo este criterio me ha llamado especialmente la atención este trabajo del pianista vasco Antonio Oyarzabal (Bilbao, 1989) para IBS. En La muse oubliée, Oyarzabal ha recogido música para tecla de trece compositoras muy diversas, la más antigua de las cuales nació en 1665 y la más actual murió en 1987. En su opinión se trata de “joyas compositivas, que merecen ser rescatadas de las sombras”, aunque en realidad la mayor parte de estas obras han sido ya registradas y algunas son programadas a menudo.

Planteo distribuir a estas trece compositoras en tres grupos. En el primero, incluyo a aquellas que son ya muy bien conocidas por cualquier aficionado medianamente interesado: así, Élisabeth-Claude Jacquet de la Guerre (1665-1729), niña prodigio en el Versalles de Luis XIV, de exitosa y próspera carrera parisina, y de quien Oyarzabal toca cinco danzas extraídas de sus Pièces de clavecin publicadas en 1687; Fanny Hensel (1805-1847), hermana mayor de Mendelssohn, que cierra el CD con una breve y ensoñadora Melodía en do sostenido menor; Clara Wieck (1819-1896), la esposa de Schumann, de quien se incluyen sus ya muy tocadas 3 romanzas Op.21; y Lili Boulanger (1893-1918), la malograda hermana de Nadia Boulanger, cuyos Trois morceaux muestran su indiscutible personalidad, su deslumbrante talento para mezclar la pintura musical con la expresión subjetiva.

En un segundo grupo coloco a compositoras cuya obra está en general aún poco difundida, pero se encuentra en pleno proceso de rehabilitación y cada vez se programa más. Singular es acaso la figura de Germaine Tailleferre (1892-1983), más conocida por su nombre (como miembro de Les Six, el grupo neoclásico creado un poco artificialmente en París en los años 1920) que realmente por su obra, muy poco presente en nuestra vida musical, y por ello se agradecen estas tres elegantes y ligeras piececitas. La otra francesa de este grupo, Mel Bonis (1858-1937), es autora de evocativas piezas románticas de salón, como las cuatro extraídas de les Femmes de Légende que aquí se incluyen. De las dos americanas, Amy Beach (1867-1944) recurre en su Scottish Legend a una reinterpretación del folclore, práctica tan común a los maestros de principios del siglo XX. Distinto es el caso de Ruth Crawford (1901-1953), compositora de obra breve pero toda ella extraordinaria por su carácter audaz, hasta rozar el experimentalismo como en este enigmático preludio (Andante Mystico) que toca aquí Oyarzabal. La británica Ethel Smyth (1858-1944), que destacó además de como artista como prominente sufragista, está presente con un Klavierstück que muestra su cercanía al Romanticismo alemán. Algo más conocida empieza a ser también la música de la navarra Emiliana de Zubeldia (1888-1987), exiliada en México durante la Guerra Civil, cuyos Esquisses d’un après-midi Basque, de 1923, son breves apuntes que no están lejos del estilo de los compositores de la Generación de la República más cercanos a la música francesa, que fueron la mayoría.

Dejo para el final a las casi completamente desconocidas: la neoyorquina Mana Zucca (1885-1981) abre el álbum con un sencillo Preludio en la misma tonalidad de la pieza de Fanny Mendelssohn que lo cierra; otro Preludio sirve para presentar a la letona Lucija Garuta (1902-1977), que muestra una escritura no lejana al elusivo mundo de Scriabin; finalmente, la checa Vitezslava Kaprálová (1915-1940), de corta vida y obra que, como muestran estos cuatro Preludios, nació bien empapada en el arte de Debussy, Stravinski y Bartók.

LA MUSE OUBLIÉE EN SPOTIFY

Estampas románticas, cadencias frigias

La malagueña Paula Coronas (Torre del Mar, 1973) plantea en este álbum titulado Femmes d’Espagne una mirada diferente al universo femenino a través de la obra de ocho compositores, todos españoles, todos varones. El disco, publicado también por el sello granadino IBS Classical, parte de la colección de estampas que el sevillano Joaquín Turina publicó en París en 1917 con ese mismo título y se sustenta básicamente en el lenguaje del nacionalismo español, que, como es bien sabido, bebió fundamentalmente de la tradición de la música popular andaluza, aquí a menudo trufada de elementos franceses, pues muchos de estos compositores pasaron por París. Al lado de Turina, está presente Falla con la "Andaluza" de sus Cuatro piezas españolas y Ernesto Halffter con dos danzas de su ballet Sonatina, escrito para La Argentina en 1928.

A estos conocidos maestros se unen otros cinco músicos andaluces menos famosos, como los malagueños Eduardo Ocón, el más importante compositor local del siglo XIX, Emilio Lehmberg y Joaquín González Palomares (reputado violinista), el gaditano José Muñoz Molleda y el granadino Ángel Barrios. En todos los casos, son obras en las que abundan las cadencias frigias, con sus reminiscencias flamencas, y un pintoresquismo de postal romántica.

Femmes d’Espagne. Paula Coronas, piano. IBS Classical.

[Diario de Sevilla. 18-10-2021]

FEMMES D'ESPAGNE EN SPOTIFY

[leyhejuhyunghan]

Les XX and music Conservatoire de Paris Paul Marie Théodore Vincent d'Indy (French, 1851–1931) Poème des rivages (1919-21) on Kant sublime and Vincent Willem van Gogh (Dutch, 1853–1890)

Les XX and music Conservatoire de Paris Paul Marie Théodore Vincent d'Indy (French, 1851–1931) Poème des rivages (1919-21) on Kant sublime and Vincent Willem van Gogh (Dutch, 1853–1890)

Paul Marie Théodore Vincent d'Indy (French: [vɛ̃sɑ̃ dɛ̃di]; 27 March 1851 – 2 December 1931) was a French composer and teacher.

Vincent d'Indy, ca. 1895 https://en.wikipedia.org/wiki/Vincent_d%27Indy#/media/File:D%27Indi_Vincent_Postcard-1910.jpg

Life[edit]

Paul Marie Théodore Vincent d'Indy was born in Paris into an aristocratic family of royalist and Catholic persuasion. He had piano lessons from an early age from his paternal grandmother, who passed him on to Antoine François Marmontel and Louis Diémer.[1] From the age of 14 he studied harmony with Albert Lavignac. At age 19, during the Franco-Prussian War, he enlisted in the National Guard, but returned to musical life as soon as the hostilities were over. The first of his works he heard performed was a Symphonie italienne, at an orchestral rehearsal under Jules Pasdeloup; the work was admired by Georges Bizet and Jules Massenet, with whom he had already become acquainted.[1] On the advice of Henri Duparc, he became a devoted student of César Franck at the Conservatoire de Paris. As a follower of Franck, d'Indy came to admire what he considered the standards of German symphonism.

Vincent d'Indy, sculpture by Antoine Bourdelle In the summer of 1873 he visited Germany, where he met Franz Liszt and Johannes Brahms.[1] On 25 January 1874 his overture Les Piccolomini was performed at a Pasdeloup concert, sandwiched between works by Bach and Beethoven.[1] Around this time he married Isabelle de Pampelonne, one of his cousins. In 1875 his symphony dedicated to János Hunyadi was performed. That same year he played a minor role – the prompter – at the premiere of Bizet's opera Carmen.[1] In 1876 he was present at the first production of Richard Wagner's Ring Cycle at Bayreuth. This made a great impression on him and he became a fervent Wagnerite. In 1878 d'Indy's symphonic ballad La Forêt enchantée was performed. In 1882 he heard Wagner's Parsifal. In 1883 his choral work Le Chant de la cloche appeared. In 1884 his symphonic poem Saugefleurie was premiered. His piano suite ("symphonic poem for piano") called Poème des montagnes came from around this time. In 1887 appeared his Suite in D for trumpet, 2 flutes and string quartet. That same year he was involved in Lamoureux's production of Wagner's Lohengrin as choirmaster. His music drama Fervaal occupied him between 1889 and 1895.

Inspired by his own studies with Franck and dissatisfied with the standard of teaching at the Conservatoire de Paris, d'Indy, together with Charles Bordes and Alexandre Guilmant, founded the Schola Cantorum de Paris in 1894. D'Indy taught there and later at the Paris Conservatoire until his death. Among his many students were Isaac Albéniz, Leo Arnaud, Joseph Canteloube (who later wrote d'Indy's biography), Pierre Capdevielle, Jean Daetwyler, Arthur Honegger, Eugène Lapierre, Leevi Madetoja, Albéric Magnard, Rodolphe Mathieu, Darius Milhaud, Helena Munktell, Cole Porter, Albert Roussel, Erik Satie, Georges-Émile Tanguay, Otto Albert Tichý, Emiliana de Zubeldia and Xian Xinghai, Ahmet Adnan Saygun. Xian was one of the earliest Chinese composers of western classical music See: List of music students by teacher: C to F#Vincent d'Indy. While A. A. Saygun became one of the pioneers of classical music in Turkey.

Few of d'Indy's works are performed regularly today. His best known pieces are probably the Symphony on a French Mountain Air (Symphonie sur un chant montagnard français, also known as Symphonie cévenole) for piano and orchestra (1886), and Istar (1896), a symphonic poem in the form of a set of variations in which the theme appears only at the end.[1]

Vincent d'Indy in 1913. Among d'Indy's other works are other orchestral music (including a Symphony in B♭, a vast symphonic poem, Jour d'été à la montagne, and another, Souvenirs, written on the death of his first wife; he later remarried), chamber music, including two of the most highly regarded string quartets of the latter nineteenth century (No. 2 in E major, Op. 45, and No. 3 in D-flat, Op. 96), piano music (including a Sonata in E minor), songs and a number of operas, including Fervaal (1897) and L'Étranger (1902). His music drama Le Légende de Saint Christophe, based on themes from Gregorian chant, was performed for the first, and possibly last, time, on 6 June 1920. His comédie musicale had its premiere in paris on 10 June 1927. His Lied for cello and orchestra, Op. 19, was recorded by Julian Lloyd Webber and the English Chamber Orchestra conducted by Yan Pascal Tortelier in 1991. As well as Franck, d'Indy's works show the influence of Berlioz and especially of Wagner.

D'Indy helped revive a number of then largely forgotten early works, for example, making his own edition of Claudio Monteverdi's opera L'incoronazione di Poppea.

His musical writings include the co-written three-volume Cours de composition musicale (1903–1905), as well as studies of Franck and Beethoven.

D'Indy died where he was born, in Paris.

Political views[edit]

D'Indy was a committed monarchist, joining the League of la Patrie française during the Dreyfus affair. He was anti-Semitic, but did not extend this bias to his Jewish colleagues.[1]

Critical reaction[edit]

Vincent d'Indy, photo: Library of Congress Opera critic Arthur Elson, writing in 1901, while appreciating d'Indy, prefers another composer.[2]:343–44

Of the younger men, Vincent d'Indy (1851– ) has shown himself abreast of the times, and his Fervaal, with a libretto of "rhythmic prose," is a worthy example of the school of operatic realism and musical complexity. [...] But the most prominent composer for the Paris stage at present is Alfred Bruneau. [...] [I]n Le Réve [sic] (1891), on a libretto from Zola's novel, he began the career that has won him his present position.

In a post-Wagner age under "the artistic domination of Bayreuth," Elson describes two "paths" in contemporary opera, one path being more conservative[2]:350–51

while the other has led to the uttermost regions of modern polyphony and dissonance. [...] Among the more radical group, corresponding to Bruneau, d'Indy and Franck, the most daring work has been done by Richard Strauss.

In Elson's opinion, those following the more conservative path are Cornelius, Goetz, Humperdinck, Goldmark, Saint-Saëns and Massenet.

Legacy[edit]

The private music college École de musique Vincent-d'Indy in Montreal, Canada, is named after the composer, as is the asteroid 11530 d’Indy. https://en.wikipedia.org/wiki/Vincent_d%27Indy

Symphony on a French Mountain Air, Op. 25 by Vincent D’indy (1886) https://youtu.be/ojHuauK7vlg

Vincent d'Indy Poème des rivages Op.77 (1919-21) Part I https://youtu.be/SnPH-6mim60

Movements/Sections 4 movements Calme et Lumière. Agay (Méditerranée) La joie du bleu profond. Miramar de Mallorca (Méditerranée) Horizons verts. Falconara (Adriatique) Le mystère de l'Océan. La Grande Côte (Golfe de Gascogne) http://imslp.org/wiki/Poème_des_rivages%2C_Op.77_(Indy%2C_Vincent_d%27)

The Conservatoire de Paris (pronounced [kɔ̃.sɛʁ.va.twaʁ də pa.ʁi]; English: Paris Conservatory) is a college of music and dance founded in 1795 associated with PSL Research University. It is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. The Conservatoire offers instruction in music, dance, and drama, drawing on the traditions of the "French School".

In 1946 it was split in two, one part for acting, theatre and drama, known as the Conservatoire national supérieur d'art dramatique (CNSAD), and the other for music and dance, known as the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP). Today the conservatories operate under the auspices of the Ministry of Culture and Communication.

Franco-Prussian War and the Third Republic[edit] In the Franco-Prussian War, during the siege of Paris (September 1870 – January 1871), the Conservatory was used as a hospital. On 13 May 1871, the day after Auber's death, the leaders of the Paris Commune appointed Francisco Salvador-Daniel as the director - however Daniel was shot and killed ten days later by the troops of the French Army. He was replaced by Ambroise Thomas, who remained in the post until 1896. Thomas's rather conservative directorship was vigorously criticized by many of the students, notably Claude Debussy.[2]

Piano class of Charles de Bériot in 1895 with Maurice Ravel on the left During this period César Franck was ostensibly the organ teacher, but was actually giving classes in composition. His classes were attended by several students who were later to become important composers, including Ernest Chausson, Guy Ropartz, Guillaume Lekeu, Charles Bordes, and Vincent d'Indy.[2]

Théodore Dubois succeeded Thomas after the latter's death in 1896. Professors included Charles-Marie Widor, Gabriel Fauré, and Charles Lenepveu for composition, Alexandre Guilmant for organ, Paul Taffanel for flute, and Louis Diémer for piano.[2]

Gabriel Fauré[edit]

Fauré in his office at the Conservatoire, 1918 Lenepveu had been expected to succeed Dubois as director, but after the "Affaire Ravel" in 1905, Ravel's teacher Gabriel Faurébecame director. Le Courier Musical (15 June 1905) wrote: "Gabriel Fauré is an independent thinker: that is to say, there is much we can expect from him, and it is with joy that we welcome his nomination."[14]

Fauré appointed forward-thinking representatives (such as Debussy, Paul Dukas, and André Messager) to the governing council, loosened restrictions on repertoire, and added conducting and music history to the courses of study. Widor's composition students during this period included Darius Milhaud, Arthur Honegger, and Germaine Tailleferre. Other students included Lili Boulanger and Nadia Boulanger. New to the staff were Alfred Cortot for piano and Eugène Gigout for organ.[2]

The modern era[edit]

The CNSMDP new building at the Cité de la Musique. The Conservatory moved to facilities at 14 rue de Madrid in 1911.[2]

Henri Rabaud succeeded Fauré in 1920 and served until 1941. Notable students were Olivier Messiaen, Jean Langlais, and Jehan Alain. Staff included Dukas and Jean Roger-Ducasse for composition, Marcel Dupré for organ, Marcel Moyse for flute, and Claire Croiza for singing.[2]

Claude Delvincourt was director from 1941 until his tragic death in an automobile accident in 1954. Delvincourt was a progressive administrator, adding classes in harpsichord, saxophone, percussion, and the Ondes Martenot. Staff included Milhaud for composition and Messiaen for analysis and aesthetics. In 1946, the dramatic arts were transferred to a separate institution (CNSAD). Delvincourt was succeeded by Dupré in 1954, Raymond Loucheur in 1956, Raymond Gallois-Montbrun in 1962, Marc Bleuse in 1984, and Alain Louvier in 1986. Plans to move the Conservatory of Music and Dance to more modern facilities in the Parc de la Villette were initiated under Bleuse and completed under Louvier. It opened as part of the Cité de la Musique in September 1990.[2]

Currently, the conservatories train more than 1,200 students in structured programs, with 350 professors in nine departments.

https://en.wikipedia.org/wiki/Conservatoire_de_Paris

Les XX was founded on 28 October 1883 in Brussels and held annual shows there between 1884 and 1893, usually in January–March. The group was founded by 11 artists who were unhappy with the conservative policies of both the official academic Salon and the internal bureaucracy of L'Essor, under a governing committee of twenty members. Unlike L'Essor ('Soaring'), which had also been set up in opposition to the Salon, Les XX had no president or governing committee. Instead Octave Maus (a lawyer who was also an art critic and journalist) acted as the secretary of Les XX, while other duties, including the organization of the annual exhibitions, were dispatched by a rotating committee of three members. A further nine artists were invited to join to bring the group membership of Les XX to twenty; in addition to the exhibits of its Belgian members, foreign artists were also invited to exhibit.[1]

There was a close tie between art, music and literature among the Les XX artists, during the exhibitions, there were literary lectures and discussions, and performances of new classical music, which from 1888 were organised by Vincent d'Indy,[2] with from 1889 until the end in 1893 very frequent performances by the Quatuor Ysaÿe.[3] Concerts included recently composed music by Claude Debussy, Ernest Chausson and Gabriel Fauré. Leading exponents of the Symbolist movement who gave lectures include Stéphane Mallarmé, Théodore de Wyzewa and Paul Verlaine.[1]

https://wikivisually.com/wiki/Les_XX

Vincent Willem van Gogh (Dutch, 1853–1890)

Self-Portrait, 1887, Art Institute of Chicago https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Self-Portrait_-_Google_Art_Project_(454045).jpg

Flowering Plum Orchard (after Hiroshige), 1887. Van Gogh Museum, Amsterdam https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Bloeiende_pruimenboomgaard-_naar_Hiroshige_-_Google_Art_Project.jpg

The Starry Night, June 1889. Museum of Modern Art, New York https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg

The Church at Auvers, 1890. Musée d'Orsay, Paris https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise,_View_from_the_Chevet_-_Google_Art_Project.jpg

Starry Night Over the Rhone, 1888. Musée d'Orsay, Paris https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg

Olive Trees with the Alpilles in the Background, 1889. Museum of Modern Art, New York https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Van_Gogh_The_Olive_Trees..jpg

Wheatfield Under Thunderclouds, 1890, Van Gogh Museum, Amsterdam, Netherlands https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Wheatfield_under_thunderclouds_-_Google_Art_Project.jpg

Wheatfield with Crows, 1890. Van Gogh Museum, Amsterdam https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Wheatfield_with_crows_-_Google_Art_Project.jpg

Vincent Willem van Gogh (Dutch: [ˈvɪnsɛnt ˈʋɪləm vɑn ˈɣɔx] (About this sound listen);[note 1] 30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings, most of them in the last two years of his life. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. His suicide at 37 followed years of mental illness and poverty.

Born into an upper-middle-class family, Van Gogh drew as a child and was serious, quiet and thoughtful. As a young man he worked as an art dealer, often travelling, but became depressed after he was transferred to London. He turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881, having moved back home with his parents. His younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, contain few signs of the vivid colour that distinguished his later work. In 1886, he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and local landscapes. His paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include series of olive trees, wheat fields and sunflowers.

Van Gogh suffered from psychotic episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly and drank heavily. His friendship with Gauguin ended after a confrontation with a razor, when in a rage, he severed part of his own left ear. He spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homoeopathic doctor Paul Gachet. His depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later.

Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the public imagination as the quintessential misunderstood genius, the artist "where discourses on madness and creativity converge".[6] His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and German Expressionists. He attained widespread critical, commercial and popular success over the ensuing decades, and is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist.

https://en.wikipedia.org/wiki/Vincent_van_Gogh

[robenaraiza]

I know you're sad, sweetheart, but it will pass, and I am on my own dark path and so must go. (en Plaza Emiliana De Zubeldia)

[paisajeurbanohmo]

Autor: Anónimo colectivo 

Ubicación: https://www.google.com.mx/maps/place/Plaza+Emiliana+de+Zubeldia,+Luis+Encinas+Jhonson,+Centro,+83000+Hermosillo,+Son./@29.0836134,-110.9613592,17z/data=!3m1!4b1!4m5!3m4!1s0x86ce8449b6ba1443:0x9e30d9e7fe3fb48e!8m2!3d29.0837206!4d-110.9594187

Dimensiones: 76cm

Técnica: Stickering 

Este tipo de arte urbano es conocido como Stickering, se trata de un tipo de Street art poco común en nuestra ciudad y consiste en la intervención de los espacios u objetos a partir de la incorporación de calcomanías que pueden haber sido previamente alteradas. En la imagen vemos una señal de tránsito que ha sido intervenida con diferentes tipos de stickers; algunas presentan imágenes, pero la mayoría son firmas o “placas” con diferente caligrafía, lo que apunta al carácter colectivo de esta variedad del grafiti. A lo lejos se puede divisar el monumento modernista de la plaza, lo que muestra cómo los autores callejeros buscan desafiar el orden y la estética impuesta por las autoridades.

El stickering es un estilo de arte callejero difícil de interpretar. Como sugiere esta obra, los principios que mueven a estos artistas es expresar su oposición a la autoridad y el deseo de autoafirmación. Una señal de tránsito es propiedad pública y una de sus condiciones es que debe estar limpia, sin nada que la obstruya. Sin embargo, en la imagen se pone de manifiesto una de las contradicciones del Estado, ya que el mismo gobierno parece haber intervenido los señalamientos mediante su campaña “Cero grados de alcohol al volante”, iniciativa oportunista de uno de los partidos políticos dominantes que se propone alertar sobre los peligros de conducir bajo los efectos del alcohol.  Pareciera que la intervención partidista ha incitado a que otros también intervengan los señalamientos. Como otras formas de grafiti, el stickering nos da cuenta de las constantes batallas por tomar control y posesión del espacio público.

Fotografía: Luisa Aldaco

Texto: Luisa Aldaco y Paisaje Urbano

ITESM CSN 

[jaloma]

Con un agradecimiento a la Gobernadora @ClaudiaPavlovichArellano termina el recital dedicado a Emiliana de Zubeldia. @iscsonora #FAOT33 (en Palacio de Bellas Artes, México, D.F.)

[jaloma]

Emiliana de Zubeldia regresa a Bellas Artes con Elena Rivera y Jorge Robaina. #FAOT33 @iscsonora @palaciooficial (en Palacio de Bellas Artes, México, D.F.)