CIEGO

https://www.youtube.com/watch?v=kf8Sf7UWD0I


VISIONS Margarito dela Guetto i Julià Panadès

https://www.youtube.com/watch?v=Zr4kc9-jZow


Noies Vol II

El cuerpo de una mujer, los cuerpos de las mujeres. Identidades perdidas y vueltas a descubrirse a través de sus figuras.

Una vez más, bajo su peculiar visión de la realidad, Margarito dela Guetto nos cuenta historias de mujeres a través de sus cuerpos, para explorar modelos expresivos. Ya que el cuerpo femenino se queda todavía transmutado en objeto para poder ser sumiso, dando vida a formas contemporáneas de dominación y creando estereotipos que extirpan su intrínseca belleza y sensualidad.

Evadir, reivindicar y afirmarse. El cuerpo femenino por su potencia puede ser un arma, pero sobretodo puede convertirse en palabras, un lenguaje que habla de nuestros roles, actitudes, personalidad y conciencia, de nuestra capacidad de entendernos a nosotras mismas y desarrollar nuestra sensualidad.

Para esta exhibición, Margarito Dela Guetto nos presenta fotos pertenecientes a tres series distintas, donde tres chicas nos permiten adentrarnos en su propia visión de intimidad. Ojo enamorado de la figura femenina, las fotografías de Margarito no son típicas fotografías eróticas: ellas - como todos los trabajos del fotógrafo - interactúan con personas dinámicas. Concretando así una lectura que va mas allá de una simple captura de la realidad objetiva, capaz de instaurar una performance con las retratadas. Una lectura que llega hasta sus almas.

(texto por: Sandy Fiocchetti )

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

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Mariafarrowar (1)

Mariafarrowar (2)

Mariafarrowar (3)

Mariafarrowar (4)

rebeka (1)

rebeka (2)

rebeka (3)

rebeka (4)


Visions

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Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
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Autosave-File vom d-lab2/3 der AgfaPhoto GmbH
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80x100 (4) 80x100 (5) 80x100 (6)

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Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

100x120 (3) 100x120 (4)VISIONS de Margarito dela Guetto con Julià Panadès
Representando diferentes disciplinas, en el proyecto "Visions" Margarito dela Guetto y Julià
Panadès entrelazan dos distintas gramáticas visuales en su terreno común Mallorca. Julià abarca
un conocimiento en un campo multiteoretico, en el cual aborda una gestión de símbolos,
imagenes y narraciones propias. Margarito enfoca su trabajo fotográfico hacia la captura de la
instantaneidad del tiempo, y en una efectiva percepción de lo "real" bajo el filtro de una
espontánea ironía.
Utilizando una dualidad de lenguajes expresivos, los artistas mallorquines establecen una
cooperación que funda su identidad en el uso de máscaras y en el sentido del humor que los
autores interpretan a partir de diferentes facetas.
Asimismo, las obras presentadas en "Visions" resultan ser una performance improvisada de Julià,
apta a desvelarnos el proceso de algunas de sus instalaciones, y al mismo tiempo una
representación visual que se concatena con la fotografía de Margarito, cuya presencia se
percibe con evidencia sin que él aparezca físicamente, a través de sus máscaras y de su lectura
fotográfica de la realidad.
Máscara para trascender el ego, este el primer punto de contacto entre los artistas. Máscaras
para esconder identidades. Bajo la forma de una severa critica a los selfies, azote desasosegante
de la época contemporánea, Margarito y Julià así interpretan paralelamente la fragilidad de un
sistema sesgado por la egolatría de sus personajes.
Sin duda alguna, desvinculándose de una perspectiva unilateral, estas obras consiguen
mantener una óptica de misticismo combinada con una visión irónica y divertida, donde los
autores construyen una continuidad entre lo real y lo ficticio; realizando así un trabajo que surge
de manera intuitiva, vital y extremadamente visionaria, inmerso en una velada atmósfera onírica.
La ironía es un trato peculiar imprescindibile que marca tanto toda la obra de Margarito como
la de Julia. Hijo de una profesora de yoga y de uno psicologo transpersonal, en sus instalaciones
Julia se centra en la reproducción de rituales de transcendencia, “lugares donde poder
trascender el ego y conectar con la naturaleza”, a través de los cuales crea un paralelismo entre
la sacralidad de los rituales religiosos y la del arte contemporáneo, y entre sus lugares de
adoraciones, los templos y los museos.
Esgrimiendo reliquias de un pasado que no permanecen fuera de las narraciones de las obras,
Margarito y Julià también plantean un discurso relativo a la apropiación y a la conservación de
elementos folclóricos mallorquines, adentrandose en un viaje que los lleva hacia sus orígenes.
Ensayando desde el punto de vista de los dos autores nuevas lecturas a sus terrenos de infancia,
los artistas nos ofrecen una revisitación más madura de los mismos lugares, donde una aura de
infantilidad permanece entre calaveras y ocultismo; revelando, por otro lado, una profunda
conexión con la naturaleza, tema repetido por Julià, como advertencia para recordarnos que “la
sociedad capitalista ha llevado a la devastación el planeta”.
Quizás, sin parar, buscamos caminos hacia algún lugar con la vana esperanza de encontrarnos
a nosotros mismos, cuando quizás, el camino correcto tenga una dirección opuesta. Mirar atrás,
volver atrás. Hacia a la infancia.
Sandy Fiocchetti


VISIONS de Margarito dela Guetto con Julià Panadès

Representando diferentes disciplinas, en el proyecto "Visions" Margarito dela Guetto y Julià Panadès entrelazan dos distintas gramáticas visuales en su terreno común Mallorca. Julià abarca un conocimiento en un campo multiteoretico, en el cual aborda una gestión de símbolos, imagenes y narraciones propias. Margarito enfoca su trabajo fotográfico hacia la captura de la instantaneidad del tiempo, y en una efectiva percepción de lo "real" bajo el filtro de una espontánea ironía.

Utilizando una dualidad de lenguajes expresivos, los artistas mallorquines establecen una cooperación que funda su identidad en el uso de máscaras y en el sentido del humor que los autores interpretan a partir de diferentes facetas. Asimismo, las obras presentadas en "Visions" resultan ser una performance improvisada de Julià, apta a desvelarnos el proceso de algunas de sus instalaciones, y al mismo tiempo una representación visual que se concatena con la fotografía de Margarito, cuya presencia se percibe con evidencia sin que él aparezca físicamente, a través de sus máscaras y de su lectura fotográfica de la realidad.

Máscara para trascender el ego, este el primer punto de contacto entre los artistas. Máscaras para esconder identidades. Bajo la forma de una severa critica a los selfies, azote desasosegante de la época contemporánea, Margarito y Julià así interpretan paralelamente la fragilidad de un sistema sesgado por la egolatría de sus personajes.

Sin duda alguna, desvinculándose de una perspectiva unilateral, estas obras consiguen mantener una óptica de misticismo combinada con una visión irónica y divertida, donde los autores construyen una continuidad entre lo real y lo ficticio; realizando así un trabajo que surge de manera intuitiva, vital y extremadamente visionaria, inmerso en una velada atmósfera onírica.

La ironía es un trato peculiar imprescindibile que marca tanto toda la obra de Margarito como la de Julia. Hijo de una profesora de yoga y de uno psicologo transpersonal, en sus instalaciones Julia se centra en la reproducción de rituales de transcendencia, “lugares donde poder trascender el ego y conectar con la naturaleza”, a través de los cuales crea un paralelismo entre la sacralidad de los rituales religiosos y la del arte contemporáneo, y entre sus lugares de
adoraciones, los templos y los museos.

Esgrimiendo reliquias de un pasado que no permanecen fuera de las narraciones de las obras, Margarito y Julià también plantean un discurso relativo a la apropiación y a la conservación de elementos folclóricos mallorquines, adentrandose en un viaje que los lleva hacia sus orígenes. Ensayando desde el punto de vista de los dos autores nuevas lecturas a sus terrenos de infancia, los artistas nos ofrecen una revisitación más madura de los mismos lugares, donde una aura de infantilidad permanece entre calaveras y ocultismo; revelando, por otro lado, una profunda conexión con la naturaleza, tema repetido por Julià, como advertencia para recordarnos que “la sociedad capitalista ha llevado a la devastación el planeta”.

Quizás, sin parar, buscamos caminos hacia algún lugar con la vana esperanza de encontrarnos a nosotros mismos, cuando quizás, el camino correcto tenga una dirección opuesta. Mirar atrás, volver atrás. Hacia a la infancia.

Sandy Fiocchetti

llibre visions 1

llibre visions 2

llibre visions 3


Calm over the horizon

Many years ago, I worked for my parents who own a video production company. Because it is a family business, you inevitably end up wearing many hats and being the czar of many different jobs. I mainly managed projects and worked as a video editor. On production, there were times that I was called on to work as an audio tech and was made to wear headphones on long production days. In those days, having a really good set of headphones that picked up every nuance of sound was essential to making sure the client got what they needed.

First impressions.

Naturally, my first impression of these headphones is based off of the look of them. They have a classic over-the-ear style that is highlighted by a blue LED light that indicates the power for the noise canceling. The padding on the ear pieces seems adequate for extended usage periods.

They are wired headphones, but the 3.5mm stereo mini-plug cable is detachable. Something else I noticed right of the bat was the very nice carrying case that comes with them. It has a hard plastic exterior with a soft cloth interior that helps to protect the surface of the headphones from scratches. I never truly appreciated cases for headphones until I started carrying them from place-to-place. Now I can’t imagine not having a case.

A perfect fit.

Once I gave the headphones a thorough once-over exam, I tried them on. As I mentioned, they have a classic over-the-ear style and just looking at them, the padding on the ear pieces seem adequate and the peak of the headband seemed to be a bit lacking, but you don’t really know comfort unless you try on the product. So, I slipped the headphones on and found them to be exquisitely comfortable.

Quality.

Now that I had the headphones on my head, I was finally ready to plug and play some music. I plugged the provided cable into the jack on the headphones and then the one on my iPhone 6. Then I called up Pandora. I tend to have a very eclectic music purview and have many stations set up for different moods. From John Williams to Fallout Boy, the sound quality of these headphones was remarkable. There is an amazing depth of sound and incredible highs and lows that make listening to music a truly breathtaking experience.

It’s safe to say that because of my unique professional experiences, I’ve tested out a lot of headphones.

In order to test how voices sounded, and the overall art of sound mixing, I pulled up Netflix on my iPad Air 2 and watched a few minutes of a movie to hear all the nuances of the film. None of them were lost. In fact, I ended up hearing sounds that I hadn’t heard before. Echoes…birds chirping…wind blowing through trees…breathing of the characters…it was very impressive what the headphones ended up bringing out for me.

I would highly recommend these to any sound mixing specialist.


Inspired by clouds

Take your time.

I’ve got a Fujifilm X100s. It runs about $1300. It’s easily the best camera I’ve ever owned. I take care of it as best as I can, but I don’t let taking care of it impact the photography. Let me elaborate on that a bit better. You’ll get better at each section of what we talked about slowly. And while you do, you’ll be amazed at how much easier it all is and how the habit forms. The best way to get better at photography is start by taking your camera everywhere. If you leave your house, your camera leaves with you. The only exception is if you’re planning for a weekend bender — then probably leave it at home. Other than that, always have it slung over your shoulder. It would probably help to get an extra battery to carry in your pocket. I’ve got three batteries. One in my camera, one in my pocket, one in the charger.

When it dies, swap them all.

For me, the most important part of improving at photography has been sharing it. Sign up for an Exposure account, or post regularly to Tumblr, or both. Tell people you’re trying to get better at photography. Talk about it. When you talk about it, other people get excited about it. They’ll come on photo walks with you. They’ll pose for portraits. They’ll buy your prints, zines, whatever.

Clouds come floating into my life, no longer to carry rain or usher storm, but to add color to my sunset sky.

— Rabindranath Tagore

Breathe the world.

I’ve got a Fujifilm X100s. It runs about $1300. It’s easily the best camera I’ve ever owned. I take care of it as best as I can, but I don’t let taking care of it impact the photography. Let me elaborate on that a bit better. You’ll get better at each section of what we talked about slowly. And while you do, you’ll be amazed at how much easier it all is and how the habit forms. The best way to get better at photography is start by taking your camera everywhere. If you leave your house, your camera leaves with you. The only exception is if you’re planning for a weekend bender — then probably leave it at home. Other than that, always have it slung over your shoulder. It would probably help to get an extra battery to carry in your pocket. I’ve got three batteries. One in my camera, one in my pocket, one in the charger. When it dies, swap them all.

For me, the most important part of improving at photography has been sharing it. Sign up for an Exposure account, or post regularly to Tumblr, or both. Tell people you’re trying to get better at photography. Talk about it. When you talk about it, other people get excited about it. They’ll come on photo walks with you. They’ll pose for portraits. They’ll buy your prints, zines, whatever.

Heavy hearts, like heavy clouds in the sky, are best relieved by the letting of a little water.

— Christopher Morley

Enjoy the morning.

The best way to get better at photography is start by taking your camera everywhere. If you leave your house, your camera leaves with you. The only exception is if you’re planning for a weekend bender — then probably leave it at home. Other than that, always have it slung over your shoulder. It would probably help to get an extra battery to carry in your pocket. I’ve got three batteries. One in my camera, one in my pocket, one in the charger. When it dies, swap them all.

For me, the most important part of improving at photography has been sharing it. Sign up for an Exposure account, or post regularly to Tumblr, or both. Tell people you’re trying to get better at photography. Talk about it. When you talk about it, other people get excited about it. They’ll come on photo walks with you. They’ll pose for portraits. They’ll buy your prints, zines, whatever. I’ve got a Fujifilm X100s. It runs about $1300.

It’s easily the best camera I’ve ever owned. I take care of it as best as I can, but I don’t let taking care of it impact the photography. Let me elaborate on that a bit better. You’ll get better at each section of what we talked about slowly. And while you do, you’ll be amazed at how much easier it all is and how the habit forms.

There are no rules of architecture for a castle in the clouds.

— Gilbert K. Chesterton

Free your mind.

The best way to get better at photography is start by taking your camera everywhere. If you leave your house, your camera leaves with you. The only exception is if you’re planning for a weekend bender — then probably leave it at home. Other than that, always have it slung over your shoulder. It would probably help to get an extra battery to carry in your pocket. I’ve got three batteries. One in my camera, one in my pocket, one in the charger. When it dies, swap them all.

I’ve got a Fujifilm X100s. It runs about $1300. It’s easily the best camera I’ve ever owned. I take care of it as best as I can, but I don’t let taking care of it impact the photography. Let me elaborate on that a bit better. You’ll get better at each section of what we talked about slowly. And while you do, you’ll be amazed at how much easier it all is and how the habit forms.

For me, the most important part of improving at photography has been sharing it. Sign up for an Exposure account, or post regularly to Tumblr, or both. Tell people you’re trying to get better at photography. Talk about it. When you talk about it, other people get excited about it. They’ll come on photo walks with you. They’ll pose for portraits. They’ll buy your prints, zines, whatever.

Photography is better shared.


Make it clean and simple

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Just the other day I happened to wake up early. That is unusual for an engineering student. After a long time I could witness the sunrise. I could feel the sun rays falling on my body. Usual morning is followed by hustle to make it to college on time. This morning was just another morning yet seemed different.

Witnessing calm and quiet atmosphere, clear and fresh air seemed like a miracle to me. I wanted this time to last longer since I was not sure if I would be able to witness it again, knowing my habit of succumbing to schedule. There was this unusual serenity that comforted my mind. It dawned on me, how distant I had been from nature. Standing near the compound’s gate, feeling the moistness that the air carried, I thought about my life so far.

This is what has happened to us. We want the things we have been doing forcefully to fail. And then maybe people around us would let us try something else or our dreams. We are accustomed to live by everyone else’s definition of success. We punish people for the things they are passionate about, just because we were unable to do the same at some point in our life.

I was good at academics, so decisions of my life had been pretty simple and straight. Being pretty confident I would make it to the best junior college of my town in the first round itself, never made me consider any other option. I loved psychology since childhood, but engineering was the safest option. Being born in a middle class family, thinking of risking your career to make it to medical field was not sane. I grew up hearing ‘Only doctor’s children can afford that field’ and finally ended up believing it. No one around me believed in taking risks. Everyone worshiped security. I grew up doing the same.

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‘Being in the top will only grant you a good life’ has been the mantra of my life. But at times, I wish I was an average student. I wish decisions would have not been so straightforward. Maybe I would have played cricket- the only thing I feel passionate about. Or maybe I would have studied literature (literature drives me crazy). Isn’t that disappointing- me wishing to be bad at academics. It’s like at times I hate myself for the stuff I am good at.

I feel like these concrete buildings have sucked our desires and our dreams. We are so used to comfort that compromise seems like a taboo. We have lost faith in ourselves. If we can make through it right now, we can do the same in the days to come. You only need a desire to survive and nothing more- not money or cars or designer clothes.

Staying locked up in four walls have restricted our thinking. I feel like our limited thinking echoes through this wall. We are so used to schedules and predictable life that we have successfully suppressed our creative side.

When you step out of these four walls on a peaceful morning, you realize how much nature has to offer to you. Its boundless. Your thoughts, worries, deadlines won’t resonate here. Everything will flow away along with the wind. And you will realize every answer you had been looking for, was always known to you.

It would mean a lot to me if you recommend this article and help me improve. I would love to know your thoughts!