#paulamorales

[unblogparaloschicos]

Cine: Yo nena, yo princesa (2021)

Manuel (Isabella G. C.) y Elías (Valentino Vena) son mellizos, pero no pueden ser más diferentes. Tal distinción comenzó a marcarse desde los dos años, cuando Manuel, criado, junto a su hermano, como un varón hecho y derecho, va deslizando pistas que confunden e inquietan a sus padres, Gabriela (Eleonora Wexler) y Guillermo (Juan Palomino). Y a los cinco, el asunto se les vuelve más desconcertante: dibujos de princesas, hebillas en el cabello, vestidos “robados”. La actitud de los padres es notoriamente contrastante: mientras Gabriela procura seguirle el ritmo y mostrarse más abierta y comprensiva, su esposo manifiesta su frustración de forma airada. 

A todo esto, Manuel padece la tensión familiar en su propia piel, mostrándose infeliz y perdiendo cabello. Ningún médico parece dar en la tecla. Una psicóloga (María Onetto) les ofrece una solución radical: imponer al niño la idea de que es varón, lo cual acaba empeorando la situación anímica de Manuel. Un documental emitido por televisión y alguna investigación posterior por internet le da a Gabriela la pauta de que quizás Manuel sea de esos chicos que se identifican con el sexo opuesto, una niña transgénero y una visita a la CHA (Comunidad Homosexual Argentina), adonde los atiende otra profesional, la licenciada Pavan (Paola Barrientos), les confirma la posibilidad.

A partir de allí comienza una nueva etapa, muy larga y angustiante, que se cobra el matrimonio de Gabriela y Guillermo y define el futuro civil de Manuel, que opta por el nombre de Luana, identidad que desea y necesita ser verificada en un documento argentino (un dato no menos interesante es que la actriz que interpreta a Manuel/Luana también es una niña transgénero).

La historia real aconteció en 2013, un año después de la sanción de la Ley de Identidad de Género de Argentina. Gabriela Mansilla contó en su libro “Yo nena, yo princesa (Luana, la niña que eligió su propio nombre)” (2014) cómo Luana logro el hito de ser, a sus seis años, la persona transgénero más joven en ser reconocida por la ley con su verdadera identidad. En ese año, María Aramburu y Valeria Paván estrenaron un documental alusivo (”Yo nena, yo princesa - Experiencia trans de una niña de cinco años”) y, en 2021, esta adaptación del libro, dirigida por Federico Palazzo. Además de los mencionados, aparecen otros actores de la talla de Valentina Bassi (como SIlvia, tía de los mellizos), Lidia Catalano (Esther, abuela de los pequeños), Mariano Bertolini (el tío Federico), Irene Almus (la tía Gori), Paula Morales (directora del colegio privado), Ana Celentano (directora del colegio público), Héctor Bidonde (Roberto, padre de Guillermo) y Claudio da Passano (quien está a cargo de la seguridad de la Casa de Gobierno argentino).

Aquì, imagenes de la verdadera Luana:

Tràiler:

[moralespaula]

“Mi vida no es un juguete”. El amor y respeto es fundamental para alcanzar la paz. Miles de familias están siendo divididas, encarceladas. Niñxs arrancadxs de sus familias y encarcelados! Por migrar, por necesitar asilo político, por querer una vida mejor. La vida de NADIE es un juguete. Solidaridad con todxs lxs imigrantxs. : : : : : : : : : : : #paulamorales #illustrationart #paulaillustrates #poramoryconamor#paulamoralesart #immigration #immigrantchildren #somosmigrantes #illustration #illustration_daily #illustrationoftheday #latinx

[imthehuman]

With every post, a smile, ت

[trapstrblog]

[muvana]

via Giphy

[ozkamal]

New trending GIF tagged cute, puppy, vaporwave, poodle, paulamorales via Giphy http://ift.tt/2hjHSDk

[ambersfamastersproject]

Video Artists- models of installation presentation.

Another thought is how would these collages be presented? My initial thought would be multiple portrait screens along a wall. I have found some artists models here that align with my thoughts on possibilities of presenting video work. 

All incorporate screens which is important to my thesis concept of internet culture and parameters of digital art. 

Yorgo Alexopoulos. 2012. Planar Mosaic.   http://ministryofartisticaffairs.com/blog/case-study-video-art-in-the-digital-era/ Interesting way to consider screens in a space, but my only concern with using this technique is that it is a lost opportunity to reference the 2000s through display modes. These kinds of screens could be a good test for content to gather critique on if I wasn’t seeking comment on the mode of presentation at that stage.  What I do enjoy is the large quantity of screens and the mosaic technique. I wonder how hard it would be to develop video that was a mosaic across different screens? Worth asking those who have experience with video installations.  Content wise I can’t comment on what’s going on as I have not seen this work in action and am just using this image to evaluate potential installation techniques.

Zina Saro-Wiwa. “Mourning Class: Nollywood” (2010), video installation on monitors, color, sound, 20 min 42 sec (courtesy and © 2012 Zina Saro-Wiwa; all exhibition photos by Sam Fentress and via theprogressoflove.com) https://hyperallergic.com/67502/progress-of-love/

This is more what I imagined my longer video works would be displayed on as i made them, i.e. an array of devices indicative of the era I am investigating.  However I am not convinced by the space,arrangement, corner? Something is missing for me or lackluster that I cannot describe...

I think it may be a lack of imagery intensity, the pedestals are distracting and not adding to the scene. I would prefer more of an act of layering/bleeding of imagery off the screen, i.e. a darker space, projections of the videos also onto the objects, coloured lighting, more stacking or clustering of the screens, suspended screens... more chaos in short. My project asks for more dominance of the technology and references to impossible virtual spaces. 

Henry Driver, Odyssey (2014). Aesthetica Art Prize 2016 Shortlisted Artist. Photo courtesy of Benjamin Beauchamp.

http://www.aestheticamagazine.com/aesthetica-art-prize-call-entries-judging-panel/

Same comments as before, I like that this installation is darker and the images bleed onto the ground through reflection. 

Also key boards could be a addition of interaction and idea of control. What would happen if the keyboard did work? Or didn’t? What if it misbehaved or created error signals? could the interaction be indicative of a child’s experience of interacting with those 2000s computers, perhaps giving it viruses or inappropriate content? 

Anna Konik, Play back (of Irene), 2011. Video Installation, Atlas Sztuki Lodz. © Dominik Szwemberg. 

  https://www.e-flux.com/announcements/28547/anna-konik/ Love how the screens are orientated and how there is a relationship of colour and light with the space they occupy. Makes me speculate as to how it would feel if the screens were orientated on the roof and suspended facing down with furniture underneath to view. Like old tech observatory experience. Lying down and gazing up at something I think is a strong emotive experience I associate with childhood and moments of curiosity/awe.  This makes me wonder if through installation I could also make the audience feel child like or small; i.e. through scale, high screen orientation or uncertainty of what their actions will result in (unpredictable positive and negative feedback rewards for interaction). 

Paula Morales.The Heist (installation view), two-channel video installation with digital animation on tvs, mylar, assorted fabric, marble slabs, foam columns, and LED bulbs, dimensions variable. http://rsfprojects.com/paulamorales/812h9a2u1nl2b273tzq62s1z2r9hms

I will do another post for this artist as I feel they have captured v a p o r e w a v e aesthetic as a video installation artist. I would like to unpack and investigate a few of her works more thoroughly. 

[moralespaula]

“Mi vida no es un juguete”. El amor y respeto es fundamental para alcanzar la paz. Miles de familias están siendo divididas, encarceladas. Niñxs arrancadxs de sus familias y encarcelados! Por migrar, por necesitar asilo político, por querer una vida mejor. La vida de NADIE es un juguete. Solidaridad con todxs lxs imigrantxs. : : : : : : : : : : : #paulamorales #illustrationart #paulaillustrates #poramoryconamor#paulamoralesart #immigration #immigrantchildren #somosmigrantes #illustration #illustration_daily #illustrationoftheday #latinx

[quienesoliverterrones]

[ellohype]

Studio times, tropical aesthetics 

Via Paulamorales on Ello #tropical #gif #paulamorales

[moralespaula]

Currents 〰//////////////////////////////////////// Come see how the gallery has been transformed. Friday July 28 at 7 pm at 1050 Larkin @rsfprojects. : : : : : : : #linetheory #rsfprojects #glitchreality #paulamoralesart #paulamorales #newmedia #newmediaart #newmediaartists #sf #sanfrancisco #currentspaulamorales #instadaily #bayarea

[ricardlopezphotography-blog]

Fotografía y edición: Ricard López Photography​ Modelo: Paula Morales​

[newhive]

fractal color by paulamorales

[paulatalksaboutmovies]

“What is important is to spread confusion, not eliminate it.” ― Salvador Dalí     I cannot clearly recall when the last time that a movie or movies left me frustrated, confused and bored all at the same time.  I am usually attracted to different forms of art being portrayed and displayed but these I may say have been a big exception.  Ashes of Time: Redux (1999/2004) Wong Kar Wai manages to tangle every bit of ones senses.  Three Times (2005) on the other hand starts in a more direct way, in a way that leads you through scenes gets you involved a story or so you think.  It then rapidly moves from the story you thought was the plot of the story to a story within a story where the dialogue is completely cut out and all you can see is text that is being shown between scenes to serve as dialogue.  The style of these word cards reminded me of the early silent films.  These films are not only charged with confused filled elements but also contain circumstances that establish an uncomfortable feeling in general.     A dreamlike quality is inevitable.  Kar-wai weaves the spectator into a path of a memory full, color saturated trip into the subconscious. The use of  color in this film is unbelievable the color palette remains the same through the movie yet the coloring of the different subject and object shifts through the movie depending on the mood that he is trying to create.  The use of shadow, distance, open frames and exaggerated light techniques (specifically when they meet at the water and you can see the water reflect on their faces the reflection is incredibly exaggerated and almost blinding, as well as the horse scene there seems to be a flashing light at that comes up and down.  This scene is also incredibly sexual.).  Kar Wai leaves so many elements to interpretation, to curiosity and they surely lead to confusion.  Who is who? and what are they doing with who? and why? these questions would be regularly answered in a typical setting scenario; not here.  I feel like he is purposely driving us into a spiral somewhat a path into his mind.        One of the most difficult things to follow for me in both movies has been the fact that they are in different languages, languages that are not even phonetically similar to languages I know so I can’t really follow along by ear and have to constantly be looking down to read making me believe that I am losing some important elements of the narrative in both films.       The confusion seems to be a thread that narrates their interior feelings, I feel both movies are visual diaries of their confusions and by planning the way each frame is going to be, each story told within a story even the creative decisions of deciding to come forward and backward in time creating the eternal nowness we lost track of time.  By not having time the confusion is evident, by using actors and actresses that are similar visually is also a factor to be taken into consideration.  In conclusion the timelessness of these pieces are what create a powered sensation of dreamlike state that memory almost like they take place in the unconscious.  These movies did not only make me uncomfortable but also challenged my artistic take on reality a little further.  Surely this movies are made to be watched more than once and each time that one watches them new details arise and meanings divert.  We create what we are looking for and sometimes change and disorder can create a certain alignment in our visual lives.

[good-art-inspiration]

Marie Antoinette #paulamorales #props #diy #photoshoot #composite #heads #barbies #texture MUAH: Kayla PostmaAssistants: Moises Martinez, Joey Jeter, Alexander MeinkePhoto, styling and post: Paula Morales by Paula Morales Images on Flickr.

[moralespaula]

The grid as a vessel. : : : : : : #thegrid #paulamorales #paulamoralesart #love #instadaily #glitchreality #artoftheday #gallery #creative #artwork #artist #inspiration #art #artwork #artsagram