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plastic arts
photography
architecture
design
movie theater
music
dance
literature
circus
TCHABALALA SELF GERARD MAS GASTOacuteN JOYA
CU
LT
UR
AL
CO
NT
EN
T
OBJETTROUVEacute
3913
mo
nth
ly m
agaz
ine
of
cult
ura
l co
nte
nt
No
7
Jun
e 20
21
Gra
tis
CONSTANTIN BRAcircNCUȘI PHILIP GLASS
Visit us on www3913culturacom
The applause continues in 3913 to the young creators
who with all their energy give us know-how and wisdom
In this installment we introduce you to Tchabalala Self
an extraordinary colorful plastic proposal of strong social
criticism to Gerard Mas a sculptor who with his high
technique gives a disturbing sweet appearance to his
always irreverent works and to the genius Gastoacuten Joya our
first review of Cuban music
3913 carry on with two renowned two infinities who
through repetition go with us on the way to touch the sky
Constantin Bracircncusi with the subtlety of his sculptures
and Philip Glass with his music based on transitions and
constant arpeggios They two immerse us in a timeless
atmosphere
We wish you again a happy 3913
Idea concept and production Rosingui Perez and CayDesign Tipography Montserrat PMN Caecilia Contact www3913culturacom info3913culturacom +34 625 056 562 +34 644 811 429 treintaynuevetrece
After raduating from Bard College with a BA in 2012 Self completed her MFA in painting and printmaking at the Yale School of Art Self has also held residencies at the American Academy in Rome the La Brea Studio T293 in Naples Italy and Red Bull House of Art in Detroit
Tschabalala builds a singular style from the syncretic use of both painting and printmaking to explore ideas about the black female body The artist constructs exaggerated depictions of female bodies using a combination of sewn printed and painted materials traversing different artistic and craft traditions The exaggerated biological characteristics of her figures reflect Selfrsquos own experiences and cultural attitudes toward race and gender
Originally from Harlem Tshabalala Self explores the history of African Americans through black beauty
Uninhibitedexuberant style
Tschabalala Self creates collages of various elements that
she has collected over time andshe sews them to represent
black female bodies
Tschabalala tells us about her work
ldquoMy current body of work is concerned with the iconographic significance of the Black female body in contemporary culture My work explores the emotional physical and psychological impact of the Black female body as an icon and is primarily devoted to examining the intersectionality of race gender and sexuality Collective fantasies surround the Black body have created a cultural niche in which exists our contemporary understanding of Black femininity My practice is dedicated to naming this phenomenon
The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice and through this disorientation new possibilities arise I am attempting to provide alternative and perhaps fictional explanations for the voyeuristic tendencies towards the gendered and racialized body a body which is both exalted and abject
Her particular artistic style gravitates to embrace independence and endurance leaving a strong and fierce presence
httpswwwyoutubecomwatchv=ax5PpkVw8zUhttpswwwyoutubecomwatchv=6DBg8di0FCQ
Videos
I aspire to hold space and create a cultural vacuum in which these bodies can exist for their own pleasure and self-realization Free from otherrsquos assertions and the othering gaze I hope to correct misconceptions propagated within and projected upon the Black body Multiplicity and possibility are essential to my practice and general philosophy My subjects are fully aware of their conspicuousness and are unmoved by the viewer Their role is not to show explain or perform but rather ldquoto berdquo In being their presence is acknowledged and their significance felt My project is committed to this exchange for my own edification and for the edification of those who resemble merdquo
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
The applause continues in 3913 to the young creators
who with all their energy give us know-how and wisdom
In this installment we introduce you to Tchabalala Self
an extraordinary colorful plastic proposal of strong social
criticism to Gerard Mas a sculptor who with his high
technique gives a disturbing sweet appearance to his
always irreverent works and to the genius Gastoacuten Joya our
first review of Cuban music
3913 carry on with two renowned two infinities who
through repetition go with us on the way to touch the sky
Constantin Bracircncusi with the subtlety of his sculptures
and Philip Glass with his music based on transitions and
constant arpeggios They two immerse us in a timeless
atmosphere
We wish you again a happy 3913
Idea concept and production Rosingui Perez and CayDesign Tipography Montserrat PMN Caecilia Contact www3913culturacom info3913culturacom +34 625 056 562 +34 644 811 429 treintaynuevetrece
After raduating from Bard College with a BA in 2012 Self completed her MFA in painting and printmaking at the Yale School of Art Self has also held residencies at the American Academy in Rome the La Brea Studio T293 in Naples Italy and Red Bull House of Art in Detroit
Tschabalala builds a singular style from the syncretic use of both painting and printmaking to explore ideas about the black female body The artist constructs exaggerated depictions of female bodies using a combination of sewn printed and painted materials traversing different artistic and craft traditions The exaggerated biological characteristics of her figures reflect Selfrsquos own experiences and cultural attitudes toward race and gender
Originally from Harlem Tshabalala Self explores the history of African Americans through black beauty
Uninhibitedexuberant style
Tschabalala Self creates collages of various elements that
she has collected over time andshe sews them to represent
black female bodies
Tschabalala tells us about her work
ldquoMy current body of work is concerned with the iconographic significance of the Black female body in contemporary culture My work explores the emotional physical and psychological impact of the Black female body as an icon and is primarily devoted to examining the intersectionality of race gender and sexuality Collective fantasies surround the Black body have created a cultural niche in which exists our contemporary understanding of Black femininity My practice is dedicated to naming this phenomenon
The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice and through this disorientation new possibilities arise I am attempting to provide alternative and perhaps fictional explanations for the voyeuristic tendencies towards the gendered and racialized body a body which is both exalted and abject
Her particular artistic style gravitates to embrace independence and endurance leaving a strong and fierce presence
httpswwwyoutubecomwatchv=ax5PpkVw8zUhttpswwwyoutubecomwatchv=6DBg8di0FCQ
Videos
I aspire to hold space and create a cultural vacuum in which these bodies can exist for their own pleasure and self-realization Free from otherrsquos assertions and the othering gaze I hope to correct misconceptions propagated within and projected upon the Black body Multiplicity and possibility are essential to my practice and general philosophy My subjects are fully aware of their conspicuousness and are unmoved by the viewer Their role is not to show explain or perform but rather ldquoto berdquo In being their presence is acknowledged and their significance felt My project is committed to this exchange for my own edification and for the edification of those who resemble merdquo
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
After raduating from Bard College with a BA in 2012 Self completed her MFA in painting and printmaking at the Yale School of Art Self has also held residencies at the American Academy in Rome the La Brea Studio T293 in Naples Italy and Red Bull House of Art in Detroit
Tschabalala builds a singular style from the syncretic use of both painting and printmaking to explore ideas about the black female body The artist constructs exaggerated depictions of female bodies using a combination of sewn printed and painted materials traversing different artistic and craft traditions The exaggerated biological characteristics of her figures reflect Selfrsquos own experiences and cultural attitudes toward race and gender
Originally from Harlem Tshabalala Self explores the history of African Americans through black beauty
Uninhibitedexuberant style
Tschabalala Self creates collages of various elements that
she has collected over time andshe sews them to represent
black female bodies
Tschabalala tells us about her work
ldquoMy current body of work is concerned with the iconographic significance of the Black female body in contemporary culture My work explores the emotional physical and psychological impact of the Black female body as an icon and is primarily devoted to examining the intersectionality of race gender and sexuality Collective fantasies surround the Black body have created a cultural niche in which exists our contemporary understanding of Black femininity My practice is dedicated to naming this phenomenon
The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice and through this disorientation new possibilities arise I am attempting to provide alternative and perhaps fictional explanations for the voyeuristic tendencies towards the gendered and racialized body a body which is both exalted and abject
Her particular artistic style gravitates to embrace independence and endurance leaving a strong and fierce presence
httpswwwyoutubecomwatchv=ax5PpkVw8zUhttpswwwyoutubecomwatchv=6DBg8di0FCQ
Videos
I aspire to hold space and create a cultural vacuum in which these bodies can exist for their own pleasure and self-realization Free from otherrsquos assertions and the othering gaze I hope to correct misconceptions propagated within and projected upon the Black body Multiplicity and possibility are essential to my practice and general philosophy My subjects are fully aware of their conspicuousness and are unmoved by the viewer Their role is not to show explain or perform but rather ldquoto berdquo In being their presence is acknowledged and their significance felt My project is committed to this exchange for my own edification and for the edification of those who resemble merdquo
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Tschabalala Self creates collages of various elements that
she has collected over time andshe sews them to represent
black female bodies
Tschabalala tells us about her work
ldquoMy current body of work is concerned with the iconographic significance of the Black female body in contemporary culture My work explores the emotional physical and psychological impact of the Black female body as an icon and is primarily devoted to examining the intersectionality of race gender and sexuality Collective fantasies surround the Black body have created a cultural niche in which exists our contemporary understanding of Black femininity My practice is dedicated to naming this phenomenon
The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice and through this disorientation new possibilities arise I am attempting to provide alternative and perhaps fictional explanations for the voyeuristic tendencies towards the gendered and racialized body a body which is both exalted and abject
Her particular artistic style gravitates to embrace independence and endurance leaving a strong and fierce presence
httpswwwyoutubecomwatchv=ax5PpkVw8zUhttpswwwyoutubecomwatchv=6DBg8di0FCQ
Videos
I aspire to hold space and create a cultural vacuum in which these bodies can exist for their own pleasure and self-realization Free from otherrsquos assertions and the othering gaze I hope to correct misconceptions propagated within and projected upon the Black body Multiplicity and possibility are essential to my practice and general philosophy My subjects are fully aware of their conspicuousness and are unmoved by the viewer Their role is not to show explain or perform but rather ldquoto berdquo In being their presence is acknowledged and their significance felt My project is committed to this exchange for my own edification and for the edification of those who resemble merdquo
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Tschabalala tells us about her work
ldquoMy current body of work is concerned with the iconographic significance of the Black female body in contemporary culture My work explores the emotional physical and psychological impact of the Black female body as an icon and is primarily devoted to examining the intersectionality of race gender and sexuality Collective fantasies surround the Black body have created a cultural niche in which exists our contemporary understanding of Black femininity My practice is dedicated to naming this phenomenon
The fantasies and attitudes surrounding the Black female body are both accepted and rejected within my practice and through this disorientation new possibilities arise I am attempting to provide alternative and perhaps fictional explanations for the voyeuristic tendencies towards the gendered and racialized body a body which is both exalted and abject
Her particular artistic style gravitates to embrace independence and endurance leaving a strong and fierce presence
httpswwwyoutubecomwatchv=ax5PpkVw8zUhttpswwwyoutubecomwatchv=6DBg8di0FCQ
Videos
I aspire to hold space and create a cultural vacuum in which these bodies can exist for their own pleasure and self-realization Free from otherrsquos assertions and the othering gaze I hope to correct misconceptions propagated within and projected upon the Black body Multiplicity and possibility are essential to my practice and general philosophy My subjects are fully aware of their conspicuousness and are unmoved by the viewer Their role is not to show explain or perform but rather ldquoto berdquo In being their presence is acknowledged and their significance felt My project is committed to this exchange for my own edification and for the edification of those who resemble merdquo
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Her particular artistic style gravitates to embrace independence and endurance leaving a strong and fierce presence
httpswwwyoutubecomwatchv=ax5PpkVw8zUhttpswwwyoutubecomwatchv=6DBg8di0FCQ
Videos
I aspire to hold space and create a cultural vacuum in which these bodies can exist for their own pleasure and self-realization Free from otherrsquos assertions and the othering gaze I hope to correct misconceptions propagated within and projected upon the Black body Multiplicity and possibility are essential to my practice and general philosophy My subjects are fully aware of their conspicuousness and are unmoved by the viewer Their role is not to show explain or perform but rather ldquoto berdquo In being their presence is acknowledged and their significance felt My project is committed to this exchange for my own edification and for the edification of those who resemble merdquo
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
I aspire to hold space and create a cultural vacuum in which these bodies can exist for their own pleasure and self-realization Free from otherrsquos assertions and the othering gaze I hope to correct misconceptions propagated within and projected upon the Black body Multiplicity and possibility are essential to my practice and general philosophy My subjects are fully aware of their conspicuousness and are unmoved by the viewer Their role is not to show explain or perform but rather ldquoto berdquo In being their presence is acknowledged and their significance felt My project is committed to this exchange for my own edification and for the edification of those who resemble merdquo
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
It is precisely this dialogue between the classical world and the contemporary world past and present reality and fiction the transcendent and the comic the anthropomorphic and the zoomorphic which produces surprising images thanks to the paradox the lsquoenigmatisme contradiction and irony Although his work has many aesthetic affinities with tradition the anti-conformist attitude of deconxtextualization gives it a very personal stamp that gets noticed by anyone A figure of a classical style and with a monumental will but configured by unexpected juxtapositions it leads us to an ironic and at the same time dreamlike interpretation
Ironic subversion Closely linked to the transgression of reality the sculpture by Gerard Mas (Sant Feliu de Guiacutexols 1976) proposes uncomfortable coexistence of elements that belong to different worlds Some work show imposing coexistence that disconcert and disturb the recipent a proposal that bets on the rupture of the established morphologies
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Between the classic and the modern the sacred and the profane often irreverent and between the
beautiful and the sinister the work of Gerard Mas is like this
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
The different formal concerns have at all times been focused on the expression of the materials (marble wood and resin) being the real protagonists precisely because it discovers their essential characteristics The range of intervention of each of the materials and their handling is subtle careful and perfectionist at all times in order to achieve a tactile and sensual voluptuousness
With an academic background Gerard Mas re-read paintings from the late Gothic and Renaissance that he turns into imaginary portraits with the aim of provoking exchanges and visual metaphors The representation asks to leave the canvas so that its visual traps acquire three-dimensionality and corporeity He practices sculpture conceived as one more form of appropriation posing dialogues between tradition and modernity Educated quotes translated and reinvented with an important touch of irony Mas is interested in the image understood from the point of view of visualization emptied of historical meaning such as a paradigm of current knowledge in which the image replaces the content The linguistic exercise that consists of offering a new version of an existing image changing its code and altering its system is the main principle of his current work The repertoire of visions of the past through expressive dislocations and the incorporation of disparate elements serves to establish a dialogue with art from art breaking any historical reading
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
His undisguised lookcriticises the human cultureas a differentiating featureof our kind
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
The titles of his works are completely eloquent and especially the Ladies series is a good example of the representation of absurd attitudes and grotesque situations pieces of a totally anachronistic aesthetic ostentation While the ladiesrsquo faces are sweet and lovely soft and delicate with pearly white skin rather awkward wasps in Wasp Lady a thermometer hanging from her lips in Thermometer Lady a bubble gum in the Mouth in Lady of Chewing Gum or dental orthodontics in Lady of Orthodontics break the perfectionist idealization of its crystalline and diaphanous beauties to contrast it with reality ugliness and human misery
One of the most impressive pieces is Lady of the Rat This is a rereading of the Lady with the Ermine (a mammal of the mustelidae family) the work of Leonardo da Vinci who instead of holding and caressing in his hands this animal ndash a symbol of purity due to its white fur ndash holds a rat a disinherited and cursed animal
In short associations correspondences and displacements to Gerard Mas create situations of contrast and shock that surprise the viewer and force him to seek new formal and significant relationships in the evocation of each proposal
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
His realistic works are made of marble alabaster wood and bronze
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Despite of his youth Gastoacuten Joya has traveled half the world defending the sound repertoire of the Buena Vista Social Club project and also performing jazz with Chucho Valdeacutes
ldquoIt is a very personal music which came alone I simply try to be an instrument for itrdquo says Joya who comes from a family of musicians and it can be seen easily With his father also a double bass player he learned the secrets of the instrument and the piano before he was seven years old when he entered the conservatory
Anyone who likes Afro-Cuban jazz concert music or popular Cuban music at the same time please get ready On an island that has given to us names such as Ernesto Lecuona Ignacio Cervantes Benny Moreacute Bebo Valdeacutes or Cachao it is not uncommon to find musicians who master these three styles and even some more But it is difficult to be a virtuoso of 31 years who is already considered a master of the double bass
Son + jazz to the rhythm of the double bass
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
ldquoI play around there only for me I listen to my instrument and I force it to transmit moods and that is really what attracts me to music I can communicate feelings and establish different climaxesrdquo
Gastoacuten Joya videos
httpswwwyoutubecomwatchv=AaAMaqHrmbghttpswwwyoutubecomwatchv=WX5VWDCcoEYhttpswwwyoutubecomwatchv=lH37k9YvELI
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
At the age of 18 he was already the first double bass player of the Philharmonic Orchestra of the Gran Teatro de La Habana where he learned the repertoire of ballet and opera A school that he assures was ldquofundamentalrdquo to ldquoopen the horizons and the mindrdquo by dedicating his art to a world apparently as different as that of jazz to which he has long been entrusted
Mama Ina his latest album is a tribute to his people ldquoMama Ina is my grandmotherrsquos name and it is an album that tells a bit of my story where I
am from how my training as a musician has been ndash from home to academia ndash and at the same time describes the music I listened toand the environment where I started playingrdquo The album which won several awards in Cuba contains songs of his authorship but in addition to Cuban composers that he has always admired From Martha Valdeacutes to Silvio Rodriacuteguez passing through a monumental version of Carlos Gardelrsquos ldquoThe Day You Want Merdquo ldquoAlso songs of traditional Cuban music such as La Sitiera which my grandmother listened at home with the voice of Barbarito Diezrdquo Joya played this song many times with Omara Portuondo on his tours and one day he decided to do it with the double bass taking the song to ldquohis concept in the most organic way possiblerdquo The result is that the four strings of his instrument speak at times they cry ldquoSitiera miacutea Tell me what you have done From our sweet home Cradle that one day It was the joy Of all that seatrdquo
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Together with the songs of tha album Mama Ina Gastoacuten Joya and the famous Cuban pianist Rolando Luna bring to Cafeacute Central (July 18-21) and Berlin (July 25) some works from Fusioacuten de Almas A recent album made with four hands in which they show a dazzling and erudite journey through Cuban and Latin American music from the late nineteenth and early twentieth centuries always in the way of jazz ldquoWe interpret the music of great Cuban composers such as Alejandro Garciacutea Caturla Manuel Samuell or the Brazilian Ernesto Nazareth and the Argentines Alberto Ginastera Juliaacuten Aguirre and Carlos Loacutepez Buchardordquo Very special for him is the song that gives the album its title by Maria Cervantes teacher of his great-uncle the concert pianist and teacher Alberto Joya who has lived in Madrid for 30 years and brought him close to that music in a very intimate way ldquoWe want to play part of this repertoire at concerts see the reaction of the people For us the fact to have connected all this music with our generation is a fantastic result I think the audience is going to feel that energyrdquo In their Madrid concerts Joya and Luna will be accompanied by the singer Aacutengela Cervantes Ariel Bringuez on sax and Zhayan Fathi on drums
To reach certain breaking points in music you have to get wet enough and then look at your soul
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
In his hands wood stone and bronze were true Cosmic elements glided geometrically through A tragic feeling of life emanated from those materials
Bracircncusi (Hobitza Romania 1876 ndash Paris 1957) relates matter to the eternal In his sculptures the object begins to be investigated in its deepest state until what slumbers in it as a possibility awakens It is in the process that all of Brancusirsquos work acquires an almost religious character
Artist craftsman worker ndash mysterious brilliant modern
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Brancusi appears as the incarnation of the artist-craftsman-worker perfectly consciousand actor of his image
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
He arrived to Paris in 1904 after abandoning a life of poverty and having traveled a good part of Central Europe by foot After that painful but very happy journey in which he would receive the help of the peasants many times that according to his own words laquo they immediately recognized him as one of their own raquo the effervescent delirium of Montparnasse awaited him Modigliani ndash whom he taught to carve ndash the ldquocustoms manrdquo Rousseau the difficult Soutine and the funny livers Picabia and Duchamp
The music of chance brought young Brancusi out of his misery A simple wooden violin that he managed to make as a result of a bet while working as a waiter in an inn in Bucharest he made all his work resonate for the future towards infinite forms It allowed him to learn to read write and study the technique and tradition of the ancient masters This instrument was so perfect that it attracted the attention of a rich factory owner who sent Brancusi to the Craiova School of Arts and Crafts
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Alongof his career he made numerous versions of the
same work with different
materials
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Brancusirsquos work deals with that almost mythical sense that links his work with the ancestral past and with the concept of infinity which is generous in inviting the viewer to use their imagination His eternal search for the illusionist non finite of the material as conceived by Rodin in The Kiss (1901)These two figures that seem to emerge from the rock where they are sitting had a response conceptual in the sculpture The Kiss (1908) in the Montparnasse cemetery funerary monument for the grave of Tania Rachevskaia A young Russian anarchist who committed suicide for love
That eagerness to conquer the absolute (the divine) that led to the paroxysm in the endless column (Endless columns 1937 erected in Tirgu-Jiu near his hometown) Marcel Duchamp already sensed it in 1912 during a visit to the Annual Aviation Show in Paris when as he walked silently between engines and propellers he suddenly turned to Brancusi and said ldquoPainting is over Is there anyone who can do better than this propeller Would you knowrdquo The answer was given seven years later by the Romanian to his patron John Quinn regarding the Maiastra ldquoI do not sculpt birds but their flightrdquo
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
In the kiss you can see the search for the essence and the simplification of the form Represents the values of abstraction lack of description or narration and gesture reduced to the minimum expression
Constantin Bracircncusi working video httpswwwyoutubecomwatchv=embcSPEAzVQ
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Through his operas his symphonies his compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg Leonard Cohen to David Bowie Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times
Melodic sequences obsessively repeated
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
The operas ndash ldquoEinstein on the Beachrdquo ldquoSatyagrahardquo ldquoAkhnatenrdquo and ldquoThe Voyagerdquo among many others ndash play throughout the worldrsquos leading operas and rarely to an empty seat ndash always sold out
Glass has written music for experimental theater and for Academy Award-winning motion pictures such as ldquoThe Hoursrdquo and Martin Scorsesersquos ldquoKundunrdquo While ldquoKoyaanisqatsirdquo his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble may be the most radical and influential mating of sound and vision since ldquoFantasiardquo
His associations personal and professional with leading rock pop and world music artists date back to the 1960s including the beginning of his collaborative relationship with artist Robert Wilson Indeed Glass is the first composer to win a wide multi-generational audience in the opera house the concert hall the dance world in film and in popular music ndash simultaneously
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Video Philip Glass Ensemble
httpswwwyoutubecomwatchv=BQ1v3f527Nk
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
He was born in 1937 and grew up in Baltimore Studied at the University of Chicago the Juilliard School and in Aspen with Darius Milhaud Finding himself dissatisfied with much of what then passed for modern music he moved to Europe where he had been taught by the legendary music-pedagogue Nadia Boulanger (who also taught Aaron Copland Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar
He returned to New York in 1967 and formed the Philip Glass Ensemble ndash seven musicians playing keyboards and a variety of woodwinds amplified and fed through a mixer The new musical style that Glass was evolving was eventually dubbed ldquominimalismrdquo Glass himself never liked the term and preferred to speak of himself as a composer of ldquomusic with repetitive structuresrdquo
In the 21st century his music continues to be a reason for admiration and criticism with works such as the Seventh Symphony (Toltec) inspired by the music of the indian mexican people the Eighth Symphony full of melodic and harmonic variations and the American Civil War opera Appomattox
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Many of his early works were based on the extended reiteration of brief elegant melodic fragments that wove in and out of an aural tapestry Or to explain it in another way it immersed a listener in a sort of sonic weather that twists turns surrounds and develops
There has been nothing ldquominimalistrdquo about his output In the past 25 years Glass has composed more than twenty five operas large and small twelve symphonies thirteen concertos soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morrisrsquos documentary about former defense secretary Robert McNamara nine string quartets a growing body of work for solo piano and organ He has collaborated with Paul Simon Linda Ronstadt Yo-Yo Ma and Doris Lessing among many others He presents lectures workshops and solo keyboard performances around the world and continues to appear regularly with the Philip Glass Ensemble
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
Worldwide fame and something like genius statuscame to him through the experimental film Koyaanisqatsi
Videohttpswwwyoutubecomwatchv=v6-K-arVl-U
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
New contact+34 625 056 562
infocay-designcomwwwcay-designcom
facebook-caydesign
Graphic and editorial designCorporate Identity BrandingGraphic and audiovisual communicationTypography amp LetteringDesign Interface Devices amp AppsMarketing strategiesPackagingWeb design and developmentOnline amp offline advertisingCopywriting NamingCommunity Management
