Originally posted on spontaneouscombustionlanguageimagelab:



a monograph of the works of 


(luna arte contemporaneo) 2014


The notion of connecting, of making connections; of the realization and extrapolation of identifiable forces in time and mind; of nature,in sand and stone; of finding the personal within the general, the specific in the universal, is central to the art of multi-disciplinarian

(print maker, sculptor, painter) Glen Rogers, who, from her base in Sinaloa, Mexico has produced a document rich in feel, color and soul that travels the viewer through mazes of hidden history of the female archetype, of the tribal imperative, of human presence on the

shared planet , marked with traces of that presence into a clearing rich with implications of the necessity and persistence of the creative instinct.

Spirit of Place

ART AND SACRED SITES : CONNECTING WITH SPIRIT OF PLACE ( luna arte contemporaneo) is a monograph, a meditation…

View original 966 more words



a monograph of the works of 


(luna arte contemporaneo) 2014




The notion of connecting, of making connections; of the realization and extrapolation of identifiable forces in time and mind; of nature,in sand and stone; of finding the personal within the general, the specific in the universal, is central to the art of multi-disciplinarian

(print maker, sculptor, painter) Glen Rogers, who, from her base in Sinaloa, Mexico has produced a document rich in feel, color and soul that travels the viewer through mazes of hidden history of the female archetype, of the tribal imperative, of human presence on the

shared planet , marked with traces of that presence into a clearing rich with implications of the necessity and persistence of the creative instinct.


Spirit of Place


ART AND SACRED SITES : CONNECTING WITH SPIRIT OF PLACE ( luna arte contemporaneo) is a monograph, a meditation; a monumental work mapping Rogers’ insights and instinctive recognition of her place, her role, as witness and practitioner of divination available to all who look both at surface and allow, by means of that surface as portal of entry to intuitive awareness through direct observation of those surfaces. The artifacts available on the planet are myriad and rich; from Crete to the streets of San Jose, from the caves of Laucaux to the graffito of North Queensland and Uluru in Australia, and whether these artifacts , these presences, are made available in-situ, through the vehicle of monographs or on designer tableware, their impact and prescience remains and transcends the carrier vessel. A truth is a truth no matter the media employed to tell the tale.


These marks are voices.

Her walls speak in metal and paper through a process that extrapolates the ancient scrawls, respecting their symbolic potency and purpose, into new magic; unique, rich and good as part of a lineage of the female, the human, the keeper of tradition and form, even as the context of that form changes and has changed.


The circle remains the same.


Suggesting wholeness.




A beginning and an end.

A starting point …a destination.

The walls speak.




“For many years, I’ve taken my inspiration from archetypal symbols and sacred sites around the world, continually drawing from a universal visual language. I’ve followed in the footsteps of these early cultures by drawing from nature’s purest forms, such as the spiral, the circle and the crescent, whose cyclical shapes suggest renewal and regeneration. I am honored to have had the opportunity to walk these ancient lands imbued with the spirit of our ancestors. I feel that these same symbols, whether inscribed on ancient stones or painted on my 21st Century canvas, can connect us as humans, connect us to nature and give hope and inspiration to future generations. As I begin a work of art inspired by this imagery, scratching the surface of the plate or layering colors of paint, I feel connected to those who have come before me.”




In circles and scrawls, the spells and impulses are immediately recognizable as distinctly human and universal.

 Impulses important enough to warrant a mark.





The power of place informs Rogers’ work. The sheer mass, distance and space of her sites is exhausting to consider, yet she has sought out guides to the spirit who shared freely, as part of their own practice, the inner workings of mythologies and beliefs associated with the caves, runes, sculptures and markings in coherent language that immediately informed her own interpretations of these traces.

The female archetype, not surprisingly, is an essential element of her investigations and output. That archetype, thousands of years the predecessor of the patriarchal hierarchy, is and remains a presence in her work from the beginning. These images emerged slowly from her nude portraits of women in a time when feminist academic thought condemned such activity as exploitative and was reduced (or expanded) by Rogers to the simplest representations of the feminine: the circle, vulva, serpent, sun, shell, moon, spiral that embody all through gesture and intention like the Japanese ENSO which includes all experience, existence and desire within the circle. A mark so complete that there is nothing outside  that circle as there is no creation or humankind outside of or without entry through the vulva; the sacred and divine.

The marks that move her are of a simplicity that transcend the idea of the feminine and the feminine role outside of the socio-political and cultural order, impositions which are enforced with varying degrees of severity globally, which is why these symbols, I think, are so eagerly embraced by those who encounter them and are inspired if not liberated by them by the potential of their application.


What indicates the creative impulse?

The necessity of expression, of the awe, wonder and reverence of the life experience and the connection to something spiritual that makes sense of it all is probably the driving force of her work as well as the source of the art and marks that inspire her.

The intention to link and bridge across time ethnicity and culture, their practices and principles, is entirely admirable and is successfully realized more times than not in her book, in the presentation of illustrative passages of prose, of informative quotes and explanations make clear the proposition that the mystery of existence might be contained in a universal visual shorthand balanced by a magic and generosity of mind buoyed by trust in a continuity that where she lands is exactly right.

She calls upon a spiritual center available to all, often overlooked and muddied by the obscuring of cultural, even philosophical constructs hell-bent on erosion, on exerting artificial materialism and self-importance that suffocates, over-stimulates, deludes and ultimately kills the procreative impulse that Rogers relies upon and celebrates in ART AND SACRED SITES.

Her circles invite a meal for the senses in a sun settled in gold, red and orange, something that soothes the soul. She becomes a vessel carrying news of a nourishment of wealth of spiritual resources rich with potential accessible to all of us.

We revisit through her work platforms where we have always been, poised for re-invention and continuance, via a re-connection to the places, spaces and symbols which ultimately allow a re-connection to our selves.

The book, through its brilliantly colored or subtle earth toned pages are evocative of the power of the markings and symbols, both original and extrapolated, onto the media of the 21st Century allowing Rogers to present where she has been, what she has seen and what she has done with these sightings with great authority, power and humility communicated through time and generations telling a truth both irresistible and undeniable:

Now is always now.











Carl Heyward

is an artist and writer living in San Francisco






lemme present this dilemma:




one who appears like a brown  chalupa nightmare who invites dialog, exchange even consolidation among the races the generations the classes the sexes the senses be taken at face/FATE value? This  harpie/ brujo/ shaman in wrestler’s El Santero mask and skin-tight mariachi garb tattooed to a fare-thee-well intoning operatic baritone incantations in feathered headdress or acid-trip sombrero best kept at arms-length defies the branding as an exotic, an eccentric, a novelty by means of politically sound compassionate reasoning, the humor of logic despoiled the of-the-minute sensibility full of wisdom and the skewed normality that passes for the status quo ?






The subject is the border of mind and heart; of boundaries that separate the land and the men and women and thought of it and in it and ring a cash register or pull a trigger or lock a cell door; metal and mental. A western sensibility an American on-going crime.



A meal not easily digested, attractive all the same.

Undeniable existence…palate / pallet /palette  enough for you?









Gómez-Peña continues “to develop multi-centric narratives and performative poetics from a border perspective,” creating what critics have termed at different times “Chicano cyber-punk performances” and “ethno-techno art.” During these performances cultural borders move to the center while the alleged mainstream is pushed to the margins and treated as exotic and unfamiliar, placing the audience members in the position of “foreigners” or “minorities in his performance country.


Gómez-Peña has spent many years developing his unique solo style, “a combination of embodied poetry, performance-activism and theatricalizations of postcolonial theory.” In his ten books, as in his live performances, digital art, videos and photo-performances, he pushes the boundaries still further, exploring what’s left for artists to do in a repressive global culture of censorship, paranoid nationalism and what he terms “the mainstream bizarre.” Gómez-Peña examines where this leaves the critical practice of artists who aim to make tactical, performative interventions into our notions of race, culture and sexuality.

(Stephanie Okuda, Theater & Performance Studies, Stanford University)





from a text by Chloe Gurin- Sands/ University of Michigan:   BORDER THEORY 


Guillermo Gomez-Peña speaks often and poignantly about what borders mean to him, how he has personally experienced them, and how they have shaped the culture that surrounds us all.  In an excerpt from “Warrior for Gringostroika,” entitled “The Border Is…A Manifesto,” he elaborates on what a border means to him specifically, and how it can have many different interpretations, definitions, and applications.  With our discussions from class, and areas we have focused on in our particular archive, this manifesto has many answers to questions that Peña leaves open-ended and ambiguous in other pieces and performance art presentations.  He claims border culture is a “polysemantic term” that has many different meanings.  These include: “a transcultural friendship and collaboration among races, sexes, and generations,” “a way to analyze critically all that lies on the current tables of debates,” and also “it means hybrid art forms for new contents-in-gestation.”  With these descriptions, along with many others given throughout this excerpt, it is apparent that Peña recognizes the borders that exist in everyday life, and how multifaceted they truly are, while raising awareness about how to break these borders down, and discuss the intricacies of “border culture.”




In an excerpt from “New World Border” which we read in class, he discusses how he would ideally want the bordered world to disintegrate and become borderless and more mixed on many levels.  His conceptual map of the New World Border is “a great trans- and intercontinental border zone, a place in which no centers remain.  It’s all margins meaning there are no “others,” or better said, the only true “others” are those who resist fusion, mestizaje, and cross-cultural dialogue.”  This quote is particularly interesting because he is voicing his opinion about separations, and judgments made based on borders in society.  Peña would prefer a world where there are no “others” who are left out of categories or cultures because they don’t fit the specific criteria or beliefs.  He instead, wants there to be a free mixture of cultures, and a feeling of togetherness and inclusion, where only those who are negative towards the blend are left out because of their close-mindedness.  He also makes an interesting comment that relates to the physical map of North America.  He “opposes the outdated fragmentation of the standard map of America with the conceptual map of Arte-America – a continent made of people, art, and ideas, not countries.”  This point is the heart of his philosophy about a borderless society.  Peña is pushing for the world to move away from rigid borders that separate countries, such as the United States and America, and instead look at what creates the continent as a whole.  Look instead at the contents it contains, and the wealth of people, art, and ideas that make it unique, mixed, beautiful, interesting, and borderless.


In another art endeavor, Gomez-Peña teamed up with Marco Vinicio to create the publication, “The Broken Line/La Linea Quebrada.”  This was a magazine distributed in the United States and Mexico that addressed many issues relating to the border, and the concept of tearing down the rigidity of the division between the two countries.  The goal of the magazine was to “find new and surprising ways to distribute border art with a minimum of resources, and from an independent perspective.”  It was a bilingual and experimental magazine that was distributed heavily along the San Diego/Tijuana border.  Peña described the process in terms of being written from an intellectual perspective, because he thought that at that given time in the mid 1980’s, they alone had the right to portray the border in an honest and innovative light.  The magazine’s goal was to aid in positively changing the relationship between Mexico City and the state of California by changing the views and opinions of the relationships between Mexicans and Chicanos. Image


Borders are common and plentiful in Guillermo Gomez-Peña’s works.  He references them in his performance art pieces, his writings, and through his photography.  Tearing down these borders are important, and relevant to this artist who has spent much of his life trying to reconcile being fragmented, segmented, and discriminated against because of his different identifications and pushing the boundaries of borders in an attempt to remove them and tear them down.  His pieces attempt to raise awareness about these borders and show the world that there is an alternative to such close-minded tactics of creating border on top of border to separate our daily lives in so many ways, no matter how subtle they may be.



SPONTANEOUS COMBUSTION : language  image lab











































The whispers too, they intimate

Radical Performance Pedagogy

By Guillermo Gómez-PeñaFebruary 12, 2013

(with Saul Garcia Lopez, Emma Tramposch, Dani d’Emilia, and Erica Mott)


Image: Nayla Altamirano. CASA, 2010 (still); performance, St Augustin, Oaxaca. Courtesy of La Pocha Nostra. Photo: Antonio Turok.

What follows is a roundtable conversation between La Pocha Nostra founder Guillermo Gómez-Peña, La Pocha Nostra’s producer Emma Tramposch, and La Pocha Nostra members Saul Garcia Lopez, Erica Mott, and Dani d’Emilia. La Pocha Nostra (also known simply as “Pocha”) defines itself as “a center and forum for a loose network of rebel artists from various disciplines, generations, gender persuasions and ethnic backgrounds,” whosecommon denominator is the “desire to challenge, cross, and erase dangerous borders between art and politics, practice and theory, artist and spectator, mentor and apprentice, body and cultural nightmares.1 The troupe comprises four to six core artists and scholars, as well as additional performance artists, activists, curators, musicians, filmmakers, and designers working part-time on Pocha projects. 

The roundtable occurred at the end of La Pocha International Summer School, an annual intensive pedagogical workshop, which took place in 2012 at the Taller Espacio Alternativo in Oaxaca. The Summer School employs what Pocha defines as a radical performance pedagogy, which “challenges specialized knowledge by creating temporary utopian spaces where interdisciplinary dialogue and artistic imagination can flourish. These utopian spaces are framed by, but not contained within, a pentagon shape of radical ideas and actions whose vertices are community, education, activist politics, new technologies, and experimental aesthetics.”

The Pocha members d’Emilia, Garcia Lopez, and Mott arrived in Oaxaca after performing at the Conarte Festival in Monterrey, Mexico.2 In Monterrey, considered a high-risk zone by the U.S. State Department, the performers witnessed public places usurped by the cartel wars and experienced exceptionally participative audiences that were outraged by the routine of catastrophic violence. So this conversation, which focuses on overcoming the polarities that emerge while undertaking their pedagogy and the workshop’s potential for reinvention, also reflects a context in which organized crime has unprecedented control over governments and violence is rampant in Mexico; political instability and unrest are reaching new levels in many nations; and the global economy—including the art economy—continues to spiral downward. All of these realities were very present throughout the Summer School session.


On Packing the Chevy as Praxis

Oaxaca is a country within a country—a planet within a complex, loud, and potent solar system.— Bruno Varela, Oaxacan performance artist

Guillermo Gómez-Peña: In our political ethos of building transnational communities of rebel artists, we always strive to have twelve “nationals” participating, with some under full scholarship, and twelve “internationals” from the so-called First World, who pay a fairly decent tuition.

Emma Tramposch: But this year, it was quite different, both in number and ethnic composition.

GGP: Very true. We had twenty-six people alongside a bunch of locals who crashed [the session] on various days. Normally, the internationals come from countries with robust art economies, such as the United Kingdom, Germany, the Netherlands, Belgium, Australia, the United States, and Canada. But this year it was very different. Due to the sinking global economy, the internationals came from countries like Colombia, Chile, Brazil, Spain—which is now in serious economical trouble—and other struggling economies. It was epic, which speaks for the need for our pedagogy in times of acute crisis.

Dani d’Emilia: It’s so interesting that so many participants were going through particularly intense moments in their personal, political, and artistic lives.

ET: We had even accepted a Nigerian artist and a Tongan artist, but they were unable to get visas from the Mexican embassy of their respective countries. Does Mexico even have embassies there? When they tried to obtain them through a third-party European country, they got stuck in immigration control. Sometimes the borders between developing countries are more formidable than those between First and Third World countries.

GGP: We need to create our own more utopian and inclusive geo-political map, even if it only exists on planet Poetry.

ET: And most of the Mexican participants could only complete their tuition or fully cover the fee this year in tequio—in exchange for favors.3

GGP: It was pedagogy in exchange for food, cleaning, documentation, preparation of props, chauffeuring, late-night party coordination, et cetera. We gladly bit the silver bullet.4

Erica Mott: This may be what the arts programs of the future will look like, as more artists move towards models of resource sharing and ethical exchange in order to make exciting work under adverse funding conditions.

DDE: A model not only for the arts but also for the everyday sphere of life.

GGP: Unfortunately, our landlords and doctors don’t seem to agree with this model.


Gerardo Juarez. Galloping Shaman (still); Juarez welcoming the audience at La Calera, Oaxaca. Courtesy of La Pocha Nostra. Photo: Tania Bohorquez.

On the Indigenous/International Axis

ET: The presence of indigenous artists was still a crucial anchoring factor in the workshop—a Pocha trademark that is becoming more pressing than ever.

GGP: Yes. Gerardo Juarez, the next mayordomo of Iztacalco; Lukas Avendaño, a two-spirited Mixteco performer and activist who is now in the process of becoming a Pocha member; and Tania Bohórquez, a young Oaxacan photographer who utilizes her nude body as subject matter—[they] were unquestionably some of the strongest performers present. Their body intelligence and performance sophistication humbled the most seasoned of international participants.

ET: Despite the lack of formal training, the Latin Americans and especially the indigenous performance artists tended to be more open in their body language. Why is that?

Saul Garcia Lopez: The indigenous artists were constantly offering their bodies en forma de tributo for the enhancement of the pedagogical ritual of the workshop. They became pedagogical instigators.

EM: I think we risk sounding a little essentialist here. Perhaps the joy that comes from consistently crossing borders with the pedagogy is to learn from our participants, who reveal unexpected and exciting ways in which culture, ethnicity, and worldviews can charge and shape the body as a vehicle or tool for a radical performance practice.


La Pocha Nostra. Participants from El Cuerpo Diferente stage impromptu tableux vivants in X-Teresa Arte Alternativo, Mexico City, November 2012. Photo: Norma Patiño.

DDE: You’re right, Erica, there’s a real danger in excessively romanticizing it all, but there is something that undeniably connects Pocha with Latin American and other colonized bodies. The images we create often emerge out of a purposeful clash between various influences, aesthetics, cultures, iconographies, attitudes, et cetera. For example, there isn’t a “pure” Brazilian body. [Brazilians] are more like strange combinations of ingredients that were thrown together in the melting pot of history. This hybrid re-assemblage became an eloquent state of being.

GGP: I don’t see any problem in stating that the indigenous body, like the Brazilian body, is more awake, assertive, and politicized than, say, the Finnish body. (Laughter)

ET: Acknowledging and addressing the cultural specificities of our participants is part of the pedagogy.

GGP: This is one of the main differences between a Pocha workshop and, say, an Anne Bogard or Eugenio Barba workshop. We insist on facilitating exercises that constantly respond to the challenges of the site and the specificities of the spaces, communities, and individuals we are working with. It’s border pedagogy, meaning it operates in a permanent state of reinvention.

DDE: For sure. In each context, participants bring with them such different backgrounds, struggles, and desires. The intimate borders people choose to cross or the aesthetic and political slant they imprint to the work becomes the crux of our time together. It’s interesting for us to notice that our varied pool of exercises shapes up differently each year in order to dance along with the needs of each group and also to respond to what is happening just outside the door of our workshop space or across a more distant yet equally present border.


Summit of Nalgas, 2012 (still); performance intervention, La Calera, Oaxaca, part of the La Pocha International Summer School, Oaxaca. Courtesy of La Pocha Nostra. Photo: Tania Bohorquez.

On the Need to Reinvent our Pedagogy In Situ

GGP: Our pedagogy was quite different this year, que no? With four instructors—two trans-Mexicans, a de-territorialized Brazilian and a U.S. Viking—we engaged in a multilevel, poly-linguistic type of pedagogy in which we were constantly shifting and sampling roles, languages, and leadership and mixing exercises in surprising new ways.

SGL: At one point, it felt like we were actively configuring brand new strategies for our radical pedagogy. It was,
apparent that sometimes we collapsed vertical, hierarchical

SGL (cont.): models of teaching into what felt like a pedagogical jam session. We needed to be more precise than ever in our instructions in order not to confuse the students.

EM: And to not confuse ourselves. Incorporating polyphonic and jamming tactics into our instruction forced us to be present, mindful, and playfully interactive with each other. It demanded that we apply the same decentralized structure to our instruction that we encourage in the general workshop and insured all instructional voices were heard, not just the most boisterous, like Guillermo’s.

GGP: Ach! I am working on my logocentrism [sic]. I am learning to step back and cede more space to you all. It’s a big learning challenge for me.

DDE: And we are learning not to overwhelm you and the participants with all our pedagogical changes and samplings of new exercises, cabrón! As our pedagogy develops in this new formation, we are trying to strike the balance between pursuing the more familiar and effective Pocha strategies alongside experimenting with new material. We are getting so much better at it. 

On the Politics of Translation and the New Importance of Spoken Work in our Pedagogy

I feel Mexican but not Mexican, just as if I was suddenly inserted in my mother culture, struggling to articulate proper Spanish, and all wrapped in plastic film and sunglasses.—Saul Garcia Lopez

GGP: We also learned a lot about simultaneous translation, que no? We learned that when pedagogical instructions are given in three languages, the number one rule of a translation in situ is that it has to be shorter than the actual command.

SGL: True. We need to avoid redundancy at any cost. No translation was sometimes okay because it forced the students to be more vigilant about sparking their performance intelligence.

DDE: At the same time, this process also made us notice which instructions or observations needed to be carefully translated in order to be understood by all. We often use simple exercises, but by subverting and bastardizing them in various ways, we created conceptual shifts and reached complexities beyond performance training. Language is a very important ally in this process.


La Pocha Nostra. Participants from El Cuerpo Diferente stage impromptu tableux vivants in X-Teresa Arte Alternativo, Mexico City, November 2012. Photo: Norma Patiño.

GGP: I feel that good performance pedagogy is all about “language-ing.” This time, we had a bunch of great writers such as Mario Bellatin, Gabriela Leon, and Lucero Luevano who also happen to be performance artists. Besides body-based art practice, they were interested in language performance, and through their desire to jumpstart every session with poetic or performed texts, we rediscovered the importance of spoken word in the pedagogy.

EM: How the poetics of language could appeal to and ignite the performing body was immediately apparent; it became a vital setting-of-the-stage for our creative sessions. The shared poems were embodied texts; some were danced, others became calls and responses, and others were fantastical languages that created new, mytho-logoscapes that would carry us into the following session.

SGL: We realized we needed to keep inventing and adapting exercises to incorporate text in a non-parliamentary fashion, avoiding illustrative dialogue in a theatrical sense as much as possible.

GGP: We had to openly experiment with text as environment, meta-fiction, and prop—with text embodied in the live image and directly written, or drawn, rather, on the skin. We had to think of the body as a canvas, as a mural wall or an open book. Our quintessential Pocha exercise of the illustrated body reached a new dimension.


Saul Velarde and Logan Phillips. Pocha Rainbow Warriors, 2010 (still); performance, The Museo del Ferrocarril, Oaxaca. Courtesy of La Pocha Nostra. Photo: Berenice Guraib.

On the Increasing Importance of Public Interventions

ET: We also placed more emphasis on public interventions in autonomous zones, in places struggling with the government, such as the Antiguo Museo del Ferrocarril or in buildings with a deep political and labor history, such as La Calera.5

GGP: At one point, the actual workshop site had evolved into a headquarters for us to plot our public interventions that renegotiated the meaning of many highly charged buildings and public spaces. It was the most activist Summer School since the days of the teachers insurrection in Oaxaca.

SGL: The desire of the group to test the pedagogy in public places stressed the political implications of the exercises; it enhanced the performance actions and valor of the students. These interventions also emphasized the transformational process of individual and group aesthetic choices and the relationship of the human body to the architecture—the actual space—or the public.

GGP: It was mind blowing. To our surprise, the use of nude bodies in politically charged buildings and in autonomous zones was always welcome and even celebrated by local working-class communities with very little experience of performance art.

DDE: This desire to use performance to intervene and exchange with the local community also triggered some very interesting conversations within the group, especially due to the various sociopolitical backgrounds of the participants. At one point, in discussing the possibility of making work in public spaces of Oaxaca, a crucial point came up: performance actions have very different impact and consequences in different cultural and social contexts. Clashes with local authorities can also produce very different consequences for the individuals involved, simply because of their nationality.

GGP: Remember the day the North Americans were so exalted by performance that they wanted to suddenly go into the downtown streets in costume and stage impromptu radical interventions? We had to politely persuade them that it is one thing for a blond foreigner to go wild in public in Oaxaca, and it is another thing entirely when it comes to a brown national. Their treatment in jail, if arrested, would be dramatically different. They understood. It’s part of the political learning process.

EM: This conversation regarding public intervention and its impact on the local community, as well as on different members of the group, was a powerful moment for us as instructors to clarify what our goals should be with public interventions during a Summer School. It was also a charged moment of reflection on the freedom and openness cultivated within the trans-border community that developed over the course of the workshop in comparison to the rigidity and dangers outside—and right next door to—the workshop environment. When and how do we wish to strategically press, collide with, and/or pierce that border.

On How to Deal Pedagogically with Sensitive Issues

GGP: Open and unanswered questions: In our sensitive dialogues behind closed doors, we talked about the need to chronicle the most challenging moments we’ve experienced during workshops, those moments that have shaken us as pedagogues and have tested our abilities, the Pocha pedagogy, and the temporal community of rebel artists we are working with.

EM: It’s often the challenges that enrich a sense of solidarity with other radical pedagogues.

GGP: Then let’s remember some of the challenges posed to us by the participants.

SGL: I remember a particular conversation when Pocha alumni—people like the Mexican Nayla Altamirano and the New Yorker Lindsey Drury—expressed their desire to have advanced-level workshops. We have local and international participants who have taken the course multiple times. Some of them have expressed the urgent need for this format. What new strategies can we develop that also encompasses these participants?

EM: This poses a formidable challenge to us and to the pedagogy. What does it means to be advanced in a system aimed at decentralization and different, complex modes of equality?

GGP: If we divide the advanced students from the beginners, we would be creating hierarchies in the ethos of Pocha. Is this good or bad? I don’t know.

ET: We also faced [another] major problem one day, remember? The growing presence of curious visitors from the local arts community, which, while a very common occurrence in Oaxaca, was strongly contested by a few workshop members—mostly North Americans—who felt their presence was disruptive and that we needed to develop a strict protocol for guests. I can see both sides, really.

GGP: How can we strike a balance between remaining open and community-minded yet also protect the close temporary environment created within the workshop setting? We still don’t have an answer for this one.

DDE: Not a full answer, but we did already discover some strategies, such as ensuring that guests were announced and that they participated in some form of exchange during or after their visit. I remember we also discussed how differently participants felt about the nuances of process versus finished work and what phases should be open to the public. Performance is always in process, but it’s so different if you are a visual or conceptual artist, for example.

On New and Perplexing Political Questions

GGP: Due to the acute global crisis of the moment, we were also faced with new political dimensions. I quote from my diary:

“Why is it that no performance artist nowadays has an alliance with their respective nation-states? Is it that performance art is anti-essentialist by nature? In a time in which Mexico is controlled by organized crime, why do we still have more artistic freedom in Oaxaca than, say, in San Francisco, and [why can we] produce more hard-core images there than in London or Berlin? Is the omnipresent danger in Mexico more conducive to openness and willingness to jump into the abyss?”

EM: More questions: How does performance risk-taking differ and evolve when one’s country of residence demands extreme risk-taking in daily activity? How do we as performance artists address, fracture, and re-view or re-envision this risk? In extreme times, it may be the slippery and sometimes trickster identity of the performance artist that can twist, deform, and subvert such critical subject matter.

SGL: As a workshop participant said in Monterrey, “As an artist, what else I can do with my body when we encounter over-the-top images of real cuerpos desmembrados[dismembered bodies] as part of our everyday entertainment?” I still remember a taxi driver in Monterrey airport saying, “Your suitcase is very heavy, cabrón.” As a joke I said, “I have a body inside.” The taxi driver laughed and said, “Con cabeza o sin cabeza? [With or without the head?]” He was referring to the hundreds of beheaded bodies found in connection to the drug-cartel crime in the area. After hearing his answer, I was unsure whether to laugh or not.

GGP: Increasingly, we are having a harder time justifying why we should keep our headquarters in San Francisco when the troupe is spread throughout five different countries and the cultural energy has moved south of the border in the past decade. Though we are still committed to servicing outsider and underserved communities in the United States, we are now constructing a studio in Mexico City to incubate all our Latin American projects and use it as Pocha South Central.

ET: Not to mention the fact that the new Pocha members are challenging our pedagogy and pushing us to expand it and politicize it even more.

GGP: The Occupy movement, the indignados, the Arab Spring, Athens on fire, the movement against violence in Mexico—all these citizen initiatives are challenging our notions of what is performance and what is the new relationship between performance, our bodies, and activism. In many ways this is the core question posed by our new performance, The Insurrected Body, which recently premiered in Austria. We feel excited and a bit scared. The rug has been pulled from under our feet and no matter where we look—north, south, east, or west—we only find flames.

SGL: And then, there is here. Now is the time to surf the apocalyptic shifting of power. Somewhere in this turmoil there is a territory that is home to Pocha. Shall I call it a trans-apocalyptic space?


1. All quotes in the introduction are from La Pocha Nostra’s manifesto:http://visitor.benchmarkemail.com/c/v?e=1CEEFC&c=EDCB&l=49A482B&email=ic3b5%2FTKPzv%2F9wYgElm1zbV4yth9vR43xIq103q5KuP2u%2F1TV4legA%3D%3D&relid=4C4AEFA1

2. This was the first time no founding members of the troupe were present for the festival.

3.  In Oaxaca, tequio is an organized form of collective work or trade that produces an alternative economy.

4. La Pocha Nostra and La Perrera, their partner in Oaxaca, were able to secure the required funding with the support of the National Association of Latino Arts and Culture (NALAC), as well as the in-kind services of many local producers and curators.

5. A former chalk factory, La Calera was transformed into a utopian, self-sustaining art space through the vision of the artist Alejandro Santiago.






compliled for

SPONTANEOUS COMBUSTION: language / image lab 




a san francisco based writer and artist


this SPONTANEOUS COMBUSTION: language/image lab article undergoes further dissemination beginning April 25th, 2014 under the auspices of  Carol Shapiro’s   “webassoauteurs” project:

http://www.webasso-auteurs.net/ouvertures/    “to be the boundary”


















Originally posted on spontaneouscombustionlanguageimagelab:

GAP ( global art project)
gap 2014
Lorna Crane
Joan Stennick
Chaewon Laura Oh
Carl Heyward
Vered Gersztenkorn
Akiko Suzuki
GAP will be exhibiting new art work and conducting workshops in mixed media, collage, quilt making and drawing with six international artists during the month
of July  2014  in Venice and at the end of the month accepted an invitation to participate in the Lecce Biennale in southern Italy.


we encourage you to register early to assure placement and confirmation of the workshop class of your choice: message your email address

with Australian Artist LORNA CRANE
Ca’Zanardi Venice July 2014
About the Workshop                                                               3 hours
This workshop explores the idea of drawing with a fresh and intuitive approach. It will be a workshop of ideas, exploration and self discovery. A…

View original 3,912 more words


GAP ( global art project)
gap 2014
Lorna Crane
Joan Stennick
Chaewon Laura Oh
Carl Heyward
Vered Gersztenkorn
Akiko Suzuki
GAP will be exhibiting new art work and conducting workshops in mixed media, collage, quilt making and drawing with six international artists during the month
of July  2014  in Venice and at the end of the month accepted an invitation to participate in the Lecce Biennale in southern Italy.


we encourage you to register early to assure placement and confirmation of the workshop class of your choice: message your email address

with Australian Artist LORNA CRANE
Ca’Zanardi Venice July 2014
About the Workshop                                                               3 hours
This workshop explores the idea of drawing with a fresh and intuitive approach. It will be a workshop of ideas, exploration and self discovery. A time to take a leap of faith in the search for each artist’s unique visual language by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to take a leap of faith – to view the perception of a mistake as a fresh and inspiring opportunity and to be surprised with some exciting and revealing end results. Process includes building a base layer of interest to over-draw and paint.
Materials List
Necessary > acrylic paint, markers, black ink, assorted pencils, small stapler, assorted graphite pencils, brushes, water container, scissors and glue stick
Optional > book pages, found paper, cloth, discarded works on paper that can be used as collage
Base paper should be a heavier weight  to withstand some collage work to act as a base to then over-draw with a fluid medium
The end results will be a series of small works on paper > some maybe fully resolved or be works in progress to complete in your own time.
facilitated by 
American Artist: 
Carl Heyward  
Korean Artist:
Chaewon Laura Oh
DURATION:   3 hours multiple sessions available and encouraged 


envelope collage #4

Oct., 2013
mixed media
19 x 86 cm 


“I would like to make small collages (extrapolating on the development of my Envelope
Collages and Cardboard Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, torn pages from books,
and lettering, stamping, attaching knitted wires, pencil, charcoal drawings and paintings with
acrylic as background or overlapping collage elements.
Focus centers on the free flow of energy…making collages for fun. “
“collage makes sense of the chaos around us”
…in every object, scrap of paper, discarded note, forgotten photograph and commercial product package is a confrontation with the values of our culture; the glut of information available is overwhelming and poses a challenge to simple linear comprehension; perhaps mixed-media art work offers the opportunity for an almost meditative ordering of the chaos within and without…
Collage and found materials are the
focus: newsprint, photos, magazine
imagery…anything with meaning can be
made to mean more; the sum of
materials can be manipulated to
personal art works narrating
observations on art, the
politics and personal history.

photos, writing, discarded books, blank books, found paper objects. glue stick, pencil, materials to color: acrylic paints and oil stick, markers etc.
with Japanese Artist
Akiko Suzuki
Creation of a small abstract quilt using the Japanese Antique Kimono as a point of departure 
Creation of a quilt consisting of painted clothing
Creation of a quilt combining both Japanese kimono and painted clothing
involving hand stitching 
Materials provided including electric iron.
Black water : series Under my Skin

42x30cm 16″x12″

* PARTICIPANTS note:  as this is a labor-intensive workshop we urge participants to be prepared for all day or half day sessions and to consider the possibility of multiple day sessions to complete these quilts.
Vered Gerzstenkorn:  
an artist from Israel whose approach to painting offers complete freedom to the impulses of the child in the artist.

“Most of my collages (if not all of them) are
made out of my drawings / paintings, I 
hardly use found material to create them. I 

intend to use my way of working in

workshops alongside acrylic techniques.”
Vered’s workshops will prove to be innovative and  experimental in nature putting the participant possibly off-balance 
in unfamiliar territory then ushering them gently back with wall painting with eyes closed then open; extrapolating 
drawings and paintings into formats and juxtapositions both unusual and unexpected;


                                                                                                                     vered gerzstenkorn:
Materials Required: oil sticks, house paint, pencils, anything that makes a mark.
facilitated by American Artist
 Joan Stennick
…is a high-energy class based on the essential tools
of drawing from life, from objects and from the imagination accompanied by music and verbal direction and encouragement from Stennick whose approach will accommodate all skill levels. She will explore new methods of
mark-making awakening new relationships with working  materials through an intuitive approach to art practice.
                                                                  JOAN AT GDG W PAINTING photo by peggy reskin nov 2013 acrylic
 “I track an interior landscape with varied levels of connection to physical reality; never planned in advance, but allowing it to happen as it emerges…when it feels right in my body… and making the mark when I see the shot.”
Our participation in the 3rd ANNUAL LECCE BIENNALE is greatly anticipated by our group of six international artists whose combined efforts have coalesced into activities promoting international art practice in the form of exhibitions, workshops, lectures and a tour during the month of July 2014 to Venice, Treviso and Lecce, Italy.Beginning July 15th, for the period of one year, individual works from each GAP member will be displayed at the Palazzo Vernazza. Additionally, a collaborative work will be created in conjunction with our workshops at Ca’ Zanardi in Venice where our joint studio practice combines with collective investigation into mixed-media, painting, fiber arts ( contemporary quilt making) and collage producing a truly global artifact representative of the dedication, risk and trust between disparate, yet like-minded artists from all over the world in the setting of an up and coming center for European culture: Lecce.THE PROJECT
For Lecce’s 3rd Annual Salento Biennale our purpose is to demonstrate the impact of a wide reaching far-flung group of international artist who have maintained communication and collaboration through an exchange of ideas and art works over the period of 3-4 years having met initially via electronic media.Originally Carl Heyward (San Francisco, California USA) and Lorna Crane (New South Wales, Australia) began a friendship and correspondence via Heyward’s KNEE(jerk) Fragmentation (mail art ) PROJECT in 2011 which consists of a one-for-one exchange of post card sized art works made exclusively for the project that has attracted over 500 artist- participants and produced over 3,000 individual art works. The idea of fragmentation is central to his aesthetic mission in that the pieces of a culture, the debris, the archaeological products of waste and discard give evidence of culturally assigned value and worth; of conscious and sublimated preoccupations of contemporary culture and that their combination through collage, assemblage and other art methods allows a reading of place and time that includes and transcends these elements.He and Crane developed a dialog in the course of this project recognizing the resonance of their personal imagery and founded ZIMBABWE(two-step) to encourage their own practice as a collaborative device, each marking a canvas or surface and sending intact or as a fragment to the other shortly after launching KNEE(jerk).These works will be exhibited in Australia in 2015 while the KNEE(jerk) Project will be traveled as a segmented work exhibited in various sites in combinations of 250-500 works in selected venues.In the course of these electric endeavors, both artists have exhibited in their respective countries as well as having participated in international shows. In expanding their inclusion of other artists in the aforementioned and similar projects, Heyward and Crane added painter Joan Stennick of San Francisco (Heyward’s partner who has exhibited widely in two-person shows with him as well as her own solo exhibitions); Akiko Suzuki an award winning contemporary quilt maker from Osaka, Japan; the hugely popular self-taught Vered Gersztenkorn (Tel Aiv, Israel) a painter-collagist; and Chaewon Laura Oh of Seoul, Korea a multi-media artist and accomplished portraitist, completing the GLOBAL ART PROJECT in November 2013.WE RESONATE TOGETHER




gap 2014


Our work for the Lecce Biennale reflects individual, personal and global concerns by virtue of intention. We are creating and exhibiting work that allows the freedom of expression by the very opportunity to communicate beyond language and culture with diverse artists form all over the world while remaining open to the opportunities of the moment accessed through this circumstance in a setting ( Italy) dear, yet completely foreign to us all.

What might be produced? What might happen? What might reaction be? How will, we be changed? What of value might we give? What might we receive?

What within us will be changed?

Without this experience, how can we know?

We learn from each other and are willing to be vulnerable and open to the experience.

Be willing to witness this process; be willing to join us in Lecce.


beginning July 15th 2014 GAP ( the global art project) Carl Heyward / Lorna Crane / Joan Stennick / Vered Gersztenkorn /Chaewon Laura Oh and Akiko Suzuki present their individual works as well as collaborative creations at the 4th Annual Lecce Biennale in southern Italy. The Lecce Biennale is curated the city of Lecce. This exhibition marks the coming of age of the Biennale and is an extension of the GAP exhibitions and international workshops during the month of July 2014 in Venice at Ca’ Zanardi ( July 5th – July 30th) and a special workshop in the town of Treviso in Veneto Sunday July 13th from 3-5 pm:
Ex Chiesa S.Antonio
Address Piazza La Rotonda
Badoere di Morgano ( Treviso)
Sponsorized to assessorato alla cultura municipal Morgano ( Treviso) and Ass. cult. Art Gallery Museum NabilaFluxus
Curator Virginia Milici

                                                                                           LORNA TAN WORKS FOR WORKSHOP PRlorna crane
                                                               lorna crane

Solo un altro sito WordPress.com

« 2013 review GLOBAL ART PROJECT ( g.a.p. ) ART

5 febbraio 2014 / /
GAP ( progetto artistico globale)


con l’artista australiano Lorna GRU
Ca’Zanardi Venezia Luglio 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>
Sul workshop tre ore
Questo seminario esplora l’ idea di disegno con un approccio fresco e intuitivo . Sarà un laboratorio di idee , di esplorazione e di scoperta di sé . Un tempo per fare un salto di fede nella ricerca di unico linguaggio visivo di ogni artista con la costruzione di una serie di piccoli lavori su carta – ciascuna non più grande di A4.
Siate pronti a lavorare in fretta la creazione di una piattaforma per fare un salto di fede – per visualizzare la percezione di un errore come opportunità fresco e stimolante e di essere sorpreso con alcuni risultati finali emozionanti e rivelatrici . Processo include la costruzione di uno strato di base di interesse a un eccesso di disegnare e dipingere .
Elenco materiali
Necessario > vernice acrilica , pennarelli , inchiostro nero , matite assortite, piccola cucitrice , matite di grafite assortite, pennelli , contenitore dell’acqua , forbici e colla stick
Facoltativo > pagine di libri, di carta , di stoffa trovato , opere su carta di scarto che possono essere utilizzati come collage
Carta di base deve essere più pesante per resistere alcuni lavori collage di agire come base per poi eccessivamente pareggio con un mezzo fluido
I risultati finali saranno una serie di piccole opere su carta > alcuni forse completamente risolto o essere in lavori in corso per completare nel proprio tempo .
facilitato dalla

Artista americano :
Carl Heyward
Artista coreano :
Chaewon Laura Oh

Durata: 3 ore più sessioni disponibili e incoraggiato
Oh :

“Mi piacerebbe fare piccoli collages ( estrapolando sullo sviluppo della mia busta
Collages e cartone Collages )
utilizzando buste, tessuti, bottoni , cartone, oggetti trovati, foto, pagine strappate da libri ,
e lettering , stampaggio , allegando fili a maglia , matita, disegni a carboncino e dipinti con
acrilico come sfondo o elementi di collage sovrapposti .
Centri Focus sul libero flusso di energia … fare collage per divertimento . “
Heyward :

… In ogni pacchetto di oggetti , rifiuti di carta , nota scartata , fotografia dimenticato e prodotto commerciale è un confronto con i valori della nostra cultura, la sovrabbondanza di informazioni disponibili è travolgente e rappresenta una sfida per semplice comprensione lineare, forse opera d’arte mixed -media offre l’opportunità di un ordinamento quasi meditativa del caos dentro e fuori …

Materiali Collage e trovati sono il
messa a fuoco : da giornale , foto , rivista
immagini … qualsiasi cosa con significato può essere
fatto per significare di più, la somma di
materiali possono essere manipolati per
opere d’arte personali narranti
osservazioni sull’arte , l’
cultura ,
politica e storia personale .

foto , scrittura , libri scartati, libri vuoti , trovati oggetti di carta . colla stick , matita, materiali ai colori : colori acrilici e bastone olio , pennarelli ecc

con l’artista giapponese

Akiko Suzuki


Creazione di una piccola trapunta astratta utilizzando il giapponese antico kimono come punto di partenza

Creazione di una trapunta composta da abiti dipinti

Creazione di una trapunta che combina kimono giapponese e abbigliamento dipinto
coinvolgendo cucitura a mano

Materiali forniti anche ferro.
* PARTECIPANTI nota : come questo è un workshop intensivo di manodopera chiediamo ai partecipanti di essere preparati per tutto il giorno o sessioni di mezza giornata e di prendere in considerazione la possibilità di sessioni giornaliere multiple per completare queste trapunte .

Vered Gerzstenkorn :
è un artista da Israele il cui approccio alla pittura offre completa libertà agli impulsi del bambino l’artista .

“La maggior parte dei miei collages (se non tutti ) sono

fatto di miei disegni / dipinti , mi

difficilmente utilizzare materiale trovato per crearli. io

intenzione di utilizzare il mio modo di lavorare in

workshop a fianco di tecniche acriliche . “

Workshop di Vered si rivelerà essere innovativi e di natura sperimentale mettere il partecipante possibilmente fuori bilancio

in un territorio sconosciuto per poi inaugurare delicatamente indietro con la pittura muro con gli occhi chiusi poi aperti ; estrapolando

disegni e dipinti in formati e giustapposizioni sia insolito e inaspettato ;
Materiali richiesti : pastelli a olio , vernice casa , matite, tutto ciò che rende un marchio .

Laboratorio di disegno :

facilitato da artista americano
Joan Stennick

… È una classe alta energia basata sugli strumenti essenziali
di disegno dal vero , dagli oggetti e dalla fantasia accompagnata da musica e la direzione verbale e incoraggiamento da Stennick cui approccio grado di ospitare tutti i livelli di abilità . Lei esplorare nuovi metodi di
mark -making risveglio nuove relazioni con i materiali di lavoro attraverso un approccio intuitivo alla pratica artistica .
JOAN AT GDG W PITTURA foto di Peggy reskin nov 2013 acrilico
“Mi monitorare un paesaggio interiore con vari livelli di connessione con la realtà fisica , mai pianificato in anticipo , ma permettendo che accadesse come emerge … quando ci si sente proprio nel mio corpo … e facendo il segno quando vedo il colpo . “
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
per le informazioni di registrazione e tariffario lasciare un commento e un facilitatore ti contatterà via email
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Ronald Chase / Carl Heyward / Joan Stennick : ORARIO INVERNALE
Con 145 commentsA arazzo di SORROW : AKIKO SUZUKI
In ” 1 )” Piccolo astratto ” 2) ” Mangia le tue ossa ” 112x95cm 44 ” x37 “Cotton tinto a mano e seta di organza “
categorie Senza categoria
3 commenti
Pubblica il tuo proprio o lasciare un trackback : Trackback URL
GLOBAL Art Project (GAP) LABORATORI D’ARTE: VENEZIA , ITALIA luglio 2014 | spontaneouscombustionlanguageimagelab
5 febbraio 2014 alle 17:29 ( Modifica )
[ ... ] Spontaneouscombustionlanguageimagelab Solo un altro sito WordPress.com « PROGETTO ART GLOBAL ( gap ) LABORATORI D’ARTE: VENEZIA , ITALIA luglio 2014 [ ... ]

5 febbraio 2014 alle 06:08 ( Modifica )
Molto interessante ! Mi sento grande ! .. E con grandi artisti ! congratulazioni per una grande idea ! !

5 febbraio 2014 alle 19:09 ( Modifica )
hm … Venezia …. ( > | – . )

Lascia un Commento

also  :

GAP : progetto di arte globale

Carl Heyward

Lorna Crane

Joan Stennick

Chaewon Laura Oh

Vered Gersztenkorn

Akiko Suzuki

GAP esporra’ nuove opere d’arte e realizzera’ laboratori di tecnica mista, collage, creazione di quilt e

disegno con sei artisti internazionali, durante il mese di luglio a Venezia e alla fine del mese ha accettato

l’invito a partecipare alla Biennale di Lecce nel sud Italia.

DATE da stabilirsi




100 EURO


Ogni workshop consiste di un minimo di TRE ORE



<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<


con l’artista australiano Lorna GRU

Ca’Zanardi Venezia Luglio 2014

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>

Sul workshop tre ore

Questo laboratorio esplora l’ idea del disegno con un approccio fresco e intuitivo. Sarà un laboratorio di

idee,esplorazione e scoperta di sé. Un’ occasione per ricercare il linguaggio visivo unico di ogni artista

con la realizzazione di una serie di piccoli lavori su carta – ciascuna non più grande di A4.

Siate pronti a lavorare in fretta creando una piattaforma che vi consenta di percepire un errore come

un’ opportunità fresca e stimolante e di sorprendervi con alcuni risultati finali emozionanti e rivelatori. Il

processo include la realizzazione di uno strato di base su cui disegnare e dipingere.

Elenco materiali

Necessario > vernice acrilica, pennarelli, inchiostro nero, matite assortite, piccola cucitrice, matite di

grafite assortite, pennelli, contenitore dell’acqua, forbici e colla stick

Facoltativo > pagine di libri, carta, stoffa , opere su carta scartate che possono essere utilizzati come


La carta di base deve essere più pesante per resistere al lavoro dii collage e per agire come base per poi

sovrapporre disegni con un mezzo fluido.

I risultati finali saranno una serie di piccole opere su carta > alcuni completamente risolte, altre come

“lavori in corso” da completare nel proprio tempo libero.

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<

Tecnica mista e collage WORKSHOP

Artista americano :

Carl Heyward


Artista coreano :

Chaewon Laura Oh

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>

Durata: 3 ore più sessioni disponibili e altamente consigliate


“Mi piacerebbe fare piccoli collages (estrapolando sullo sviluppo della mia busta Collages e cartone

Collages) utilizzando buste, tessuti, bottoni, cartoni, oggetti trovati, foto, pagine strappate da libri,e

lettering, stampaggio, attacando fili a maglia, matite, disegni a carboncino e dipinti con acrilico come

sfondo o sovrapponendo elementi di collage. Mantenersi focalizzati sul libero flusso di energia … fare

collage per divertimento.”

Heyward :

“Il collage trova il senso nel caos che ci circonda”

… in ogni oggetto, pezzo di carta, note scartate, fotografie dimenticate e pacchi di prodotti commerciali c’

è un confronto con i valori della nostra cultura, la sovrabbondanza di informazioni disponibili è travolgente

e rappresenta una sfida alla semplice lineare comprensione; Chissa’ che il lavoro di arte a tecnica mista

non offra l’opportunità per mettere ordine in maniera quasi meditativa nel caos dentro e fuori…

Collage e material trovato rappresentano il fulcro: carta da giornale, foto , immagini rivista … A qualsiasi

cosa che abbia un significato si puo’ aggiungere una valenza maggiore, la somma del materiali puo’

essere manipolata per creare opere d’arte che raccontino osservazioni personali sull’ arte, sulla cultura,

sulla politica e storie personali.


foto, scritture, libri scartati, libri vuoti, oggetti di carta trovati, colla stick, matita, materiale a colore: colori

acrilici e pastelli a olio , pennarelli ecc

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<


con l’artista giapponese Akiko Suzuki

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>


Creazione di una piccola trapunta astratta utilizzando antichi kimoni giapponesi come punto di partenza

Creazione di una trapunta composta da abiti dipinti

Creazione di una trapunta che combini kimono giapponese e abbigliamento dipinto con l’uso di cucito a


Il materiale sara’ forniti incluso il ferro da stiro.

* NOTA per PARTECIPANTI: siccome questo è un workshop altamente elaborato e intenso chiediamo

ai partecipanti di essere pronti a investire un’intera giornata o sessioni di mezza giornata e di prendere in

considerazione la possibilità di sessioni giornaliere multiple per completare queste trapunte.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>

artista israeliano

Vered Gerzstenkorn:

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<<

Il suo approccio alla pittura offre completa libertà agli impulsi del bambino nell’ artista.

“La maggior parte dei miei collages (se non tutti) sono fatti di miei disegni/dipinti,

difficilmente utilizzo materiale trovato per crearli. Ho intenzione di utilizzare il mio modo di lavorare in

workshop insieme con l’uso di tecniche acriliche.”

Il Workshop di Vered si rivelerà estremamente innovativo e sperimentale, mettendo il partecipante

possibilmente in un territorio sconosciuto, quindi inaugurando indietro con la pittura muro ad occhi prima

chiusi e poi aperti; estrapolando disegni e dipinti in formati e giustapposizioni insolito ed inaspettate.

Materiali necessari :

pastelli a olio, vernice da casa, matite, tutto ciò che sia in grado di lasciare un segno.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>


facilitato da artista americano

Joan Stennick

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<

… è una classe ad alta energia basata sugli strumenti essenziali del disegnare tranedo ispirazione

dalla vita, dagli oggetti e dalla fantasia accompagnata da musica e sotto direzione e incoraggiamento

di Stennick il cui approccio sara’ in grado di ospitare tutti i livelli di abilità. Lei esplorarera’ nuovi metodi

di mark -making risvegliando nuovi rapporti di lavoro con materiali attraverso un approccio intuitivo alla

pratica artistica.


Get every new post delivered to your Inbox.

Join 3,085 other followers