The Committee of World Heritage of Unesco has resolved this Sunday, in the framework of its 42nd summit – which is celebrated until July 4 in Manama (Bahrain) -, to register Archaeological Ensemble of Medina Azahara ( Córdoba ) in the World Heritage List . […]
The Spanish actor Quim Gutiérrez will make the jump to Hollywood with the Disney movie Jungle Cruise which will be directed by his compatriot Jaume Collet-Serra, as reported by specialized means Variety . Gutiérrez (Barcelona, 1981) will join the cast of this film in which […]
A collection for the censored art . The withdrawal in the last edition of the fair Arco de Madrid of the work Political prisoners of Santiago Sierra motivated the co-founder of the production company Mediapro Tatxo Benet to buy it. It had a starting price of 80,000 euros. Benet described as "intolerable, scandalous and inexplicable that in a democratic state and with freedom of expression that work had been censored". Now, as he has learned La Vanguardia Benet is carrying out a larger operation: create a censored art collection without temporal or geographical limits. And, for the time being, it has already acquired a piece that has given a lot to talk about in recent years and that took the entire management team to the 2015 Museu d'Art Contemporani
of Barcelona : the sculpture of the Austrian artist Ines
Doujak in the exhibition The Beast and the Sovereign a piece entitled Not dressed for conquering ] (Not dressed for the conquest) in which a Bolivian feminist peasant was seen sodomizing the king emeritus.
The collection that begins at this moment Tatxo Benet has ambition – and the financial backing of his fortune – and works of course they will not miss to integrate it. What pieces could be part of a museum, a collection of censored art ? The artist Francesc Torres (Barcelona, 1948) has some answers. After all, at the end of last year he mounted the fabulous exhibition The Entropic Box in the MNAC in which he showed art censored in the worst way: attacked, destroyed, other times hidden to save it. There were femicides -during the celebration of the Barcelona Eucharistic Congress in 1952 someone entered the Museu d'Art Modern at night and ruthlessly ripped all the female nudes he found in his path- and also burnt art, such as the paintings by Sert that burned at Vic Cathedral in the Civil War . At the end of that same struggle, the Museu d'Art Modern decided to hide within the center the art of the republican period to avoid losing "from the year 1939 to the year 1986, which is said soon", stresses.
' Piss Christ ', by Andrés Serrano, caused controversy in the USA. and was attacked in France
Of course, Torres is clear that what he would most like to see in a censored art collection is the large sample of degenerate art that the Nazis carried out in 1937 in Munich. "More forceful, impossible, orchestrated by the State, censorship art but also to people who did it by the mere fact of how they thought, some because they were Jews, others because they were communists. Many of those works were lost: what the Nazis could not auction in Switzerland to get money to buy art that Hitler liked for the German Art Museum that was to be made in Linz. When they realized that they could take out pasta selling in Switzerland what they thought was crap, they sold it. And that was saved. "
Torres would also be interested to see the Russian artists Komar and Melamid," who worked together as Equipo Crónica here in the seventies and eighties, are not very well known, but they are fantastic. , they had to leave the USSR. " In fact, in 1974 they were stopped during a performance and at the end of that year they destroyed their double self-portrait – in which they parodied Lenin and Stalin – in what is known as a bulldozer exhibition, because the artists' show in the Belyayevo forest was devastated by a police force that included bulldozers and water cannons. Torres would include in the museum The origin of the world, the foreground of a female sex painted by Courbet, "a painting that has not stopped since the first day, has been explosive at all times, place it where you put it, it is a bomb" . In fact, Facebook has gone to trial in France for censoring it.
The Nazi exhibition of 'degenerate art' ended up auctioned off in Switzerland or lost …
Torres lived in the United States the world of Reagan and the artistic censorship that He brought the time. It was the presidency of Reagan, which loads the National Endowment for the Arts, and Senator Jesse Helms is doing his thing, as if it were McCarthy and messing with the artistic and anti-patriotic left. He says that it is not constitutional or fair to use public money to do works that call into question the integrity of the American way of life. The first that the cavalry is thrown at is a young boy who, in an exhibition at the Chicago Art Institute, creates an installation that, in order to reach the end, has to step on an American flag. "He had to withdraw and returned the money for the piece," he recalls. Helms attacked Andrés Serrano's 1987 Piss Christ photograph – a plastic crucifix immersed in urine – that has been vandalized in France Australia. Serrano was threatened with death and lost scholarships. The explicit sexuality of the photographs of Robert Mapplethorpe, whose 1989 exhibition at the Corcoran in Washington was canceled, was also attacked.
Torres clarifies that "there is art censored by us from what we consider bad. Nazi art In Germany it can not be shown. There is National Socialist art confiscated in Washington, in the funds of the armed forces. I have photographed there Hitler's watercolors from when I was a student. It is a collection of Nazi art that you do not finish and you can only see it with special permits. In Germany, the same thing happens. "
… and now it is Nazi art that remains locked in the USA. o Germany
Professor Antonio Monegal adds a reflection: "We are all against censorship, but there are forms of tolerance that are signs of social irrelevance. One of the things that censorship demonstrates is that art continues to matter and has the capacity to impact certain sectors. All artists and creators who try to make some kind of political statement would be concerned that their art does not generate irritation. But the freedom of creation is different from that of expression, which may have limits. Art needs a particular freedom. To the extent that you want to generate conflict, you must have that space of relationship and dialogue with the people. The ability of art is to influence the space of symbols, it must provoke a reaction. It is normal that there is, what should seem wrong to us is that people have political and judicial instruments to repress. "
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Fame came as a result of his successful participation in Operación Triunfo, which will culminate with the participation this Saturday along with Amaia Romero
will represent Spain in the Eurovision festival . But long before the television euphoria Alfred García that was already popular in his city, El Prat de Llobregat . Implicated in the cultural fabric of the municipality, the musical origins of Alfred are closely linked to this Barcelona town of 63,897 inhabitants in which he was born, grew up and took his first artistic steps.
"It began with us, as a child, "recalls Benjamí Company, secretary of the Unió Filharmònica de El Prat . "He studied musical language and the trombone, but in the end he ended up playing different instruments," says Company, who is a friend of his family and has known him since he was a tadpole.
At that time, El Prat did not have a municipal music school and this entity worked to "make the study of music accessible and reach the population," says the secretary of the Unió Filharmònica de El Prat. That's why Alfred started there and did not have to move, with the disincentives it entails, to neighboring municipalities. "He played with the band, although sometimes he was also singing," says Company. "What he likes most is the stage, acting, but not because he is exhibitionist or pretentious, rather because he has it inside, he is very humble," he adds.
"Alfred was already special from small he conveyed that he had the music inside ," says one of the people who followed him closely in its infancy. He carries it in his blood: "His uncles had a band that was quite well known in the 70s, the Rumba Brava; In his house he has had access to musical instruments out of the ordinary, "says Benfamí Company. Alfred has already defended in some occasion that was not a television product and that rejects this typecasting.
The young man grew up "involved in the associative fabric" of his city, which is why "in El Prat many people knew him long before he appeared on television". For example, it collaborated with various entities, such as the La Capsa initiative, which is a "cultural project that works, from music, to build an active and critical cultural citizenship, favoring the development of people's creative abilities", as defined its impellers.
In this nursery of young artists, which has eight rehearsal rooms and a multitude of cultural promotion activities and concerts, Alfred continued to be trained. He was also part of the Combo Tito Juane charanga, which animated various popular festivals, and participated in projects such as the Meló_dia, Cocoon or #Almeuritme festival.
Giant screen at the Altraveu Festival
"One of the first scenarios he set foot on Alfred was the one of the Festival Altraveu ", says Núria Arlanez, one of its organizers. Precisely, this festival takes place this weekend in El Prat de Llobregat. It will connect live with Lisboa to see, through a giant screen, the performance of Alfred and Amaia.
"The Altraveu is a meeting point for the young people of the city, Alfred was part of the motor group that chooses the activities every year and acted twice," recalls Arlanez. "Alfred is a young man with many musical interests," he adds. The initiative is managed halfway between the City Council and different youth associations. "At this festival, we offer emerging artists the chance to perform on stage under professional conditions," says Arlanez, who worked side by side with the young singer.
But the Altraveu goes beyond music: this year's edition, which takes place in the Jardins de la Ribera, as well as concerts by local bands, will offer alternative activities from morning to night, like a skateboarding championship , urban dance exhibitions such as hip hop, presentations of projects of local associations and popular culture with the diables .
In mid-April, the City Council awarded Alfred one of the Premis Ciutat de El Prat. For all this, this municipality of Baix Llobregat will turn to Alfred during the festival . In Lisbon he will be applauded by thousands of spectators from all over the world, but from a distance in El Prat he will be surrounded by his people.
The borders that serve as background on these pages correspond to wallpapers that can still be seen in modern homes. And yet they were designed in the mid-nineteenth century. Its creator, William Morris (1834-1896), was a Brit who wanted to contribute to making the lives […]
On March 27, 1938, the troops of legionaries and Moroccans commanded by General Yagüe entered in the morning at Barbastro and Fraga and towards the Massalcoreig the first Catalan town occupied by the Francoist army. Yagüe had broken the republican defenses and after crossing the Cinca was very clear about his next goal, to conquer Lleida for Franco's Spain. Tomorrow, April 3 is the 80th anniversary of that battle that meant the irruption by force of the arms of a new political regime. The fall of Lleida meant for the republican side the certainty that the war could not be won. The Francoists would soon reach the sea by Vinaròs and isolate Catalonia, from the left bank of the Segre on the west and the Ebro on the south. According to historians, Yagüe wanted to cross the Segre and move towards Barcelona, but Franco prevented it. The war would still last another year.
On the same day, March 27, the Italian and German planes bombed Lleida mercilessly, action that they repeated on the 30th with the intention of weakening combative morale. A large part of the civilian population chose to leave the city, and of these, many took refuge in neighboring towns or in towers of the huerta. Lleida was deserted and with large columns of smoke and dust, without water, or light, destroyed many official buildings and in practice, uninhabitable in much of the historic center. When the bombs stopped falling, came the 46th Division commanded by Valentín González known as El Campesino which had been commissioned, along with other battalions , the defense of Lleida.
Italian and German aircraft had bombed the city before intensely
The Republican resistance in the fields around the capital managed to stop the advance for five days, at the cost of many casualties caused by the national artillery , aviation and also units of tanks. Yagüe concentrated his forces on the road to Zaragoza and so on April 2 managed to take the hill of Gardeny at the same time that other columns infiltrated the road of Huesca.
According to the historian Joan Sagués , author of La Lleida vençuda i ocupada of 1938 (Pagès Editors), "the fights were very intense, street by street, house by house, and the republicans were already prepared for the worst, as well They burned down several houses in the center and with the Tabor Ifni Sahara and the 43rd Legion Banner on their heels they went to the left margin of the Segre and dynamited the Pont Vell although there are other versions that say they only dynamited the one of the Railroad ".
The fall meant for the republican side the certainty that the war could not be won
The blast occurred half an hour after the Francoist soldiers hoisted the red flag lda in the Seu Vella and will unfold through the historic urban center. The river was the no man's land that divided the war front. The Republicans went from defending the city to shooting at it. The Republic had lost Lleida, but the Franco occupation did not bring peace, since the front would still remain active for another nine months, until Christmas.
On the afternoon of Sunday, April 3, General Yagüe took possession of the Comissaria de la Generalitat in Lleida, the current Provincial Council, and after raising the flag on the balcony, gave a speech to the few Lleidans who had left their shelters. "I come in the name of the Caudillo to give you bread, peace and justice."
The fall of Lleida was considered a "heroic resistance" by the republican press, while the newspapers of the national zone highlighted that "Lérida returned on Sunday to be from Spain ", according to Sagués in his book. The strategy followed by El Campesin was criticized even by communist comrades, such as José del Barrio, who, in his memoirs, accuses him of leaving his post, hiding behind the fact that he was sick. It is confirmed that Valentín González left Lleida long before the bombing of the bridge and that he was transferred to Barcelona by ambulance.
The streets of Lleida were filled with soldiers and the day after the occupation, the civilian population began to get along with the conquistadores. Behind the General Staff of Yagüe traveled a large delegation of journalists, Spaniards and foreigners. These include the tandem formed by Víctor Ruiz Albéniz, who signed under the pseudonym El Tebib Arrumi, grandfather of former mayor of Madrid Alberto Ruiz Gallardón, and photographer José Demaría, better known as Campúa. The chronicle of El Tebib Arrumi describes a city "with very few people" and destroyed by the "iracundia" of the enemy "over all the churches and the magnificent cathedral". He also explains that some areas are dangerous because of the republican shooting from the other side of the river and refers to El Campesino, who "escaped yesterday afternoon at six, crediting himself as a disciple of Prieto at the cost of as much fugue as he is practicing."  In turn, the photos of Campúa show corpses through the streets, houses opened by bombs and the meeting between the population that greets its arm high, as well as many soldiers with guitars and bottles of wine. A fellow of fatigue of Ruiz Albéniz and Campúa following the campaign of Yagüe is the bartender Perico Chicote, who is in charge of the intendancy of the journalists and the general himself. Campúa photographs him walking through a city and drinking wine, celebrating the victory.
Despite Franco's occupation, the front would still be active for another nine months
The normalization of civic life and public services was very difficult. to be the city in the first line of fire and the return of the neighbors was staggered. At the same time, a harsh repression was initiated that led to the use of several religious buildings and the Seu Vella itself as prisons, the space before the summary trial and in its majority to the firing squad. According to Joan Sagués, "the nine months after the occupation were hard fights on the entire Segre front, like the Merengue massacre, at the head of the Balaguer bridge, where hundreds of soldiers from the so-called Quinta del Biberón fell killed by the machine guns of a Falangist column ". It is quite possible that the fall of Lleida was one of the warlike events that led Màrius Torres to compose perhaps his most famous poem, La ciutat llunyana, an intimate reflection on the defeat and destruction of "la ciutat d'ideals que volíem" Bastir ", and how to rebuild it with hope. "Ja no ens remains quasi cap més consol que creure i wait for the new architecture amb què braços més lliures puguin ratllar el teu sòl".
With a piece of Catalunya in his hands, Franco signed the day 5 of his handwriting the repeal of the Statute of Autonomy and three days later he shot Manuel Carrasco i Formiguera. Juan Negrín had to form a new government with a thirteen point program to negotiate peace. "Resisting is winning."
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