plastic arts

photography

architecture

design

movie theater

music

dance

literature

circus

CAROLINE DENERVAUD BARO D’EVEL MELISSA ALDANA HIROSHI SUGIMOTO JULIO CORTÁZAR

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Visit us on www.3913cultura.com

3913 continues its tribute to young creators cheering this time to Caroline Denervaud dancer and painter who has created her own plastic language. To Baro d’evel a circus company which shows us throughout their productions, full of poetry, not being completely alone. Finally to Melissa Aldana saxotenor, solid artist, universal, free, innovative and unique in its proposals on the international jazz scene.

We carry on with two artists which are searching for the poetic instant, one with photography and another with his words… the perpetual present. The photographer Hiroshi Sugimoto and the writer Julio Cortázar.

The immeasurable work of Hiroshi Sugimoto, careful, minimalist and conceptual. Sugimoto elaborates series of long exposure photography pushed to the limit searching to stop the time.

Read on with Julio Cortázar, investigator of language and form. Creator of a small parenthesis of reality, alternating spaces where the reader feels the presence of something different, strange and free. Cortázar the inspiring extraordinary teacher.

We wish you a happy 3913.

Idea, concept and production Rosingui Perez and CayDesign. Tipography: Gill Sans, PMN Caecilia Contact: www.3913cultura.com / info@3913cultura.com / +34 625 056 562 / +34 644 811 429 / @treintaynuevetrece

She studies fashion-styling at the Studio Berçot – Paris – as well as the choreographic method of the London Laban Center.

After a while, due to an accident, she had to stop dancing professionally doing deep rediscovery work through plastic research at the National School of Fine Arts in Paris.

Placing large sheets of paper on the floor of his study, taking a brush and starting a dance performance on the surface of the paper, which results in a “Trace”. Abstract and radical painting to the scale of her body.

Born in 1978 in Lausanne (Switzerland), the artist begins her qualification with contemporary and classical dance. Through rhythmic gesture and improvisation, she finds a poetic and vibrant medium of expression.

Caroline dances her drawings.

“My work is about the search for balance, the search for unstable stability. Freed from all thoughts, just body language which is expressed through a painting in movement.”

Captured by the camera, this sensitive pictorial gesture combines with an intense alliance of forms, colors and materials. Most of the time made with casein on paper or canvas. The casein colour “Milkpaint”, is a binder made from milk and natural pigments. The artist creates her own colours, in an almost artisanal process.

The result is a work that echoes the new postwar Parisian school and, in particular, the work of Serge Poliakoff. A form of modernity combined with the present. Contemporary and timeless aesthetic. The gesture goes beyond the intrinsic to the extrinsic. The beat creates the line and shape the visual possibilities, playing with tension or releasing, slowness or speed, in a limited space of time.

Video Caroline Denavaud: https://www.youtube.com/watch?v=KKZ1WdpUSO4

“The gesture goes beyond the intrinsic to the extrinsic. The beat creates the line and shape the visual possibilities, playing with tension or releasing, slowness or speed, in a limited space of time.”

The use of casein dates back to prehistory in which the artists used milk (possibly human milk) in its cave paintings.

Refined casein, pure and powdered, that can be dissolved with ammonia, has been used for easel and mural paintings from the late 19th and early 20th centuries, and, more recently, casein colours in tubes already prepared have had a very wide use.

Baro d’Evel is an indisputable example of innovation and avant-garde on the grounds of the New Circus. The company was founded in 2001 by the artists Camille Decourtye and Blaï Mateu Trias. Their circus work greedily absorbs of tother arts like theater, music and dance. They are supported by the artistic direction of María Muñoz and Pep Ramis, directors of Malpelo. Who have welcomed them in their creation center L’animal a l’esquena. The artist Frederic Amat goes hand in hand with them in several of their productions.

Artistic essentialityPut themselfes in danger, willing to take risks, looking for a total art. This is the driving challenge of Baro d’Evel that guides them, crossing different influences and disciplines while seeking for excellence. It’s an arduous and daily work, mixing movement, acrobatics, voice, music and matter... Their real singularity is demonstrated in the fact that they incorporate the presence of animals in this quest.

An inner labyrinth, a lucid dream, Baró d’Evel surpasses any label.

Their performance spaces are thought like caskets where the animals bring a spontaneous and intense emotion. The audience is penetrated by the presence of the animals, another perception of the representation begins with their appearance. They like to take risks of precise writing, while being ready to improvise at every moment, and to install a layered dramaturgy, like interior poems forming a bigger one.

“We like to think of performances as ceremonies, a re-enchantments. We aim to represent all these disciplines, to bring animals, children and artists on stage. We want our shows to take the viewer into an inner labyrinth, in a waking dream.”

Creator of Baro d’evel, Camille Decourtye is the author and performer of all the company’s shows. From her childhood with horses, made of traveling in trailers and on horseback, she keeps the need to invent a way of life and research that will meet her need for movement and encounters. This led her to train in the national circus schools and to develop a work of experimentation on movement and voice. She continues to refine her bond and collaboration with the animals with which she lives based on the principles of ethology. Her need to tell the invisible, to bring to light what connects us in this damaged world, gives her the energy to question in each project how the conflicts and complex arrangements we make with the world are hidden in each of the artists and spectators. Her obsession with breaking down barriers between languages, roles and modes of experimentation makes Baro d’Evel’s writing a quest for metaphysics in motion.

Baro d’Evel imaginative and total, made of a thousand materials

Creator of Baro d’Evel, Blaï Mateu Trias is the author and performer of all the company’s shows. Born in Barcelona, he grew up in the post-Franco Catalan artistic currents, with two clown parents. With Circ Cric, tours with Tortell Poltrona and expeditions with Clowns without border, he developed a taste for the crossroads of languages. He left at the age of 16 to train in the circus arts in France and then settled there. His encounter with a new culture opened his perception of the possible but also confirmed his attachment to his original influences: Catalonia, its architecture and painters, a political relationship with the clown and his benevolent view of the world, the generosity and audacity of the street arts. His sense of rhythm and space is the basis of his research work and his obsession with the musicality of movement generates singular choreographic writings. His visceral need to experiment with materials makes him design innovative performance spaces and has allowed him to question the forms of contemporary writing with Baro d’Evel for 20 years.

Decourtye and Mateu treasure a long dozen of works, highlighting titles like Mazút, Bestias, Falaise o Là works that are characterized for approaching without restrictions, and with important doses of poetry, the thorny issue of the circus with animals from a very distant perspective of the unhealthy and spectacular practices of the traditional circus.

Videos Baro d´Evel:https://barodevel.com/ca/bestias/https://barodevel.com/ca/la/https://www.youtube.com/watch?v=WyW2CfkQL9ohttps://www.youtube.com/watch?v=AxdCH-QIpvM

After participating with different national jazz ensembles, Melissa went to study in the United States in 2007 at the prestigious Berklee College of Music in Boston. Here did she start rubbing shoulders and playing with established jazz artists such as George Garzone, George Coleman and Francisco Mela, among others. She settled to New York where she recorded her first of 4 albums, Free Fall in 2010, on saxophonist Greg Osby’s label, Inner Circle Music.

Saxophonist Melissa Aldana has become a unique artist on the national and international jazz scene. Born in Santiago de Chile in 1988, daughter of the tenor sax Marcos Aldana, her main teacher. Melissa debuted on stage when she was 9 years old with her Selmer Mark VI, a tenor saxophone, being part of a quartet of her father’s friends.

Contemporary dexterity and harmonic sophistication

“I think that is the most important thing you can do today through art: seek for honesty.” Melissa Aldana

During the same time she began to travel and perform in various parts of the world, where she played with different musicians. Melissa began to experiment with new sounds that she was fusing with her saxophone.

In 2012 she published her second album, Second cycle, a dynamic job where she innovated a new jazz sound without pianoparts. In the same year she formed her group Melissa Aldana & Crash Trio, with Cuban drummer Francisco Mela and Chilean bassist Pablo Menares.

It was in 2013 that her definitive consecration in the American and later international jazz scene came through. She won the prestigious Thelonius Monk International Competition, being the first South American and female instrumentalist to win the event. She received a $ 25,000 prize money and a contract with Concord Jazz, the Stan Getz and Ray Charles label. Together with her group they recorded a self-titled album that had great notoriety where Melissa continued to develop her personal style, a sound without piano.

Aldana offers concerts all over the world.Critics surrender to its sound giving it the adjective of being the promise of the tenor

saxophone and undoubtedly one of the most important instrumentalists of jazz today.Her latest album Visiones offers 12 songs that go through a wide range of tones, colors and

emotions.

Melissa Aldana Videos live:https://www.melissaaldana.net/media

Born in Tokyo in 1948. He moved in 1970 to the United States 1970. There he studied “the methods of Ansel Easton Adams.” Multidisciplinary artist, has not only focused his artistic work on photography. Field in which he is considered one of the key authors on the international scene. He also shows artistic skills in his sculptures, architecture works, installations, writing and theater. 3913 offers you a tour of its photographic series.

Sugimoto is a master craftsman who rejects digital technology in favor of traditional methods. As he himself affirms «I think the history of photography has ended with the incursion of digital photography. I only use it to take family photos, never for my artistic work». The combination of extreme technique and concept is what makes him a unique artist.

The results are images loaded with great visual beauty and high technical virtuosity, accentuated by the habitual use of large formats. On the whole, Hiroshi Sugimoto’s work constitutes a deep meditation on the nature of perception, illusion, representation, life and death.

Sugimoto claims that his way of taking photographic pictures is different from most photographers: first he has visions, he imagines what he wants to achieve and then he solves the technical problems.

High conceptual load

High conceptual load

We present you five great series of the artist.

The first of them, Theaters (since 1976), groups together photographs taken in classic cinemas and drive-ins. For whose realization Sugimoto left the shutter of a large format camera open during the screen projection of a complete feature film: a simple but radical procedure with which the length of the aforementioned projection is determining the exposure time of the camera.

This deliberate overexposure of the negative results in the capture of the light that accumulates on the cinema screen for the entire duration of the film. This is specified in a white rectangle, empty and bright, brimming with radiance which can be read as a representation of death. Theaters masterly captured… how immeasurable are some concepts related to time. The long duration of the film is compressed in a single instant, and the accumulated stream of fleeting animated images becomes abstract and at the same time intensely concrete.

The second, Lightning Fields (since 2006), are images created without a camera appear. His photographs record the effects of electric shocks on photographic negatives. The formal beauty of the figures sometimes suggests the outline of a river or the night sky,but it is also related to the history of abstract photography. This series reveals the artist’s fascination with science and the phenomena of nature. Putting in the foreground the link that exists between the experimentation of the scientific method and the methods of early 19th century photography. In practice, the artist recreates these experiments in the dark room, paying tribute in particular to scientist and photographer William Fox Talbot, pioneer in negative-positive photographic representation.

We go on with Dioramas (1976-2012) Photographs of prehistoric landscapes mostly taken at the New York Museum of Natural History. He captured images of embalmed animals and primitive humans that seem deceptively real. The artist achieves to challenge our perception of reality and the reliability of the photograph as evidence. Perfect examples of Sugimoto’s interest by placing the viewer on the border between the animate and the inanimate, by endowing subtly strange subjects and landscapes to contemporary imagery of disconcerting verisimilitude.

Continuing with Seascapes (since 1980) series of photographs of primeval landscapes of sea and sky that merge representation and abstraction, taken in various places around the world. Despite the romantic and almost mystical effect of the works, their titles are objective and documentary, keeping with the artist’s roots in conceptual art. As he himself has expressed, with these images he captured scenes that a primitive man could have recognized as well as reflect on what we share today with those visions.

In the end, Portraits (1994-1999), study images of historical personalities molded in wax, belonging to the famous Madame Tussaud’s Museum. The main piece portrays King Henry VIII with his six wives, but it also includes more recent political and religious figures such as Yasir Arafat or John Paul II. This works are created from highly calculated montages: in his study, Sugimoto placed the wax figures in front of a black background to give them an archetypal and magnified appearance. He also used a large format black and white negative to get sharp details and tones in the photos. which equates them with the standards of historical pictorial portraits. This tension between the counterfeit and the real, the animate and the inanimate, death and life, is what gives these effigies that peculiar sinister charge.

His work, found in collections such as the Metropolitan Museum and MoMA in New York, the Smithsonian in Washington or the National Gallery and the Tate Gallery in London, contains a high conceptual load leading to philosophical reflection, and with which, in addition, the artist has managed to reinterpret some of the most characteristic genres of classical photographic tradition.

These works are a good example of the way he understands the photographic camera: as a tool endowed with the particular ability to represent the sense of time.

Julio Cortázar (Brussels, 1914 – Paris, 1984) Argentine. He is one of the most important authors in the universal literature. Admired for his mastery of short stories and poetic prose. Appreciated for his handling of literature in all its forms and his ability to capture the beauty and every day rawness. Adored for exceptional works shaping masterpieces of literature like the highly recognized and acclaimed Rayuela the counter-novel published in 1963.

Always on the border between the fantastic and the real.

Rayuela inaugurates a new way of making literature leaving the all ways open to the reader. Inviting him to create his own adventure breaking the classic molds of storytelling. Creating a story that can be read without following temporal linearity. Opening the possibility for the reader to find different stories with different endings between the same lines.

But beyond this masterpiece, the value of the contribution to the literature of the Argentine writer and intellectual it’s immense.In fact, Julio Cortázar, also sign before and after Rayuela a long list of short stories, short prose, plays and poetry among which some titles like the following stand out and are definitely worth reading:

Bestiary (Bestiario), 1951

‘Bestiario’ is the first book of stories that Julio Cortázar published with his real name, and not with Julio Denis, his pseudonym when he was still residing in Argentina. The writer compiles in this work eight stories. They have been considered over time as small masterpieces of literature. Cortázas ability to move from treating daily objects and events to get the dimension of a nightmare or revelation in a natural and almost imperceptible way between its lines that inevitably provokes in those who read his stories a feeling of surprise or discomfort that invites for reflection.

Secret weapons (Las armas secretas), 1959

Already living in Paris, in 1959 Cortázar published “Secret weapons” another compilation of five stories in which stands out “The pursuer (El perseguidor)”. Considered one of the most important stories of the Argentine writer and poet. “Secret weapons” marks a before and after in Cortázar’s writing. With this book the writer inaugurates a new way of moving through reality using a multiple analysis of it. These stories narrated in a similar way to an intimate diary with changes of rhythm that include pauses, silences and verb tenses.

Chronopios and fame stories (Historias de cronopios y de famas), 1962 The Nobel Prize in Literature, Mario Vargas Llosa described “Chronopios and fame stories” as “the naughtiest” of Cortázar’s books. In this book written a year before “Rayuela” the writer compiles sixty-four short texts full of sarcasm, irony and a great dose of surrealism expressed in extremely clear and simple language. “Cortázar detected the unusual in the usual, the absurd in the logical, the exception in the rule and the prodigious in the banal “, indicates Vargas Llosa, who assures that no one like Cortázar in this work. It literally dignified the predictable and the conventional.

62 Buildable model (62 Modelo para armar), 1968

It started by the author’s idea to develop chapter 62 of ‘Rayuela’. In it, Cortázar experiments with the words and makes the chapters disappear. In fact, narrative segments are separated by blank spaces and the characters alternate the use of different languages going indistinctly from Spanish to English or French.

Manuel’s Book (Libro de Manuel), 1973

“Manuel’s Book”, first published in 1973, It’s known as the great political novel by Julio Cortázar. In it the writer expresses his interest in the revolutionary movements of the 1970s preserving the fantasy and ease characteristic of ‘Rayuela’, the work that raised him to fame.

Save the twilight (Salvo el crepúsculo), 1984 In the same year that Cortázar passed away, in the age of 69,‘Save the twilight’ was published, his latest book. It’s a personal anthology of poems in which the writer deals with themes such as love, Louis Armstrong’s jazz, tango, painting. As well as describing his two places of residence capturing the París rooms and the Buenos Aires magical streets.

Now dears read and enrich

your hearts!!!

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