#museo 2018
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The Many Faces of Gael García Bernal
#gael garcia bernal#set to I’m that girl teaser intro!#ggbedit#deadwright#useryomira#do ppl post edits here lmao idc! i worked hard!#amores perros#y tu mama tambien#el crimen del padre amaro#diarios de motocicleta#la mala educacion#the science of sleep#rudo y cursi#the loneliest planet#no 2012#neruda 2016#museo 2018#ema 2019#cassandro 2023#then more in the quick ones but some other personal faves i couldnt fit shout out Dot the I#video#the many faces of gael garcia bernal
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Gael García Bernal in Museo (2018, dir. Alonso Ruizpalacios)
(These gifs also feature Leonardo Ortizgris and Alfredo Castro)
[other gael filmography gifsets]
#gael garcía bernal#museo 2018#ggb filmography gifs#by this point alfredo castro had already played gael's boss and his president so playing his father was the next logical step#gael's character is such an asshole#but he's not entirely wrong about everything#but he's SUCH an asshole#but you can kind of see how he got that way#gael garcia bernal#i had to watch this one specifically to gif it as i'd been saving it for christmas#museo is a christmas film
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instagram
The text says "I'm any bastard played by Gael García Bernal."
#gael garcia bernal#gael garcía bernal#werewolf by night#amores perros#museo#museo 2018#bad education#la mala educación#video#Instagram
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20180622
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Exposición "Marmor", Michel Pérez Pollo
Exposición “Marmor”, Michel Pérez Pollo
Exposición “Marmor”
Michel Pérez
29.11.2018
Museo Nacional de Bellas Artes Cuba
“Marmor simboliza todos los soportes empleados por el artista desde sus más prístinos momentos. Implica también trascendencia y, especialmente, memoria emocional, como si esculpiéramos sobre el mármol para dejar un recuerdo imperecedero. Pero recordar a la manera de los antiguos, esto es, volviendo a pasar por el…
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“From birth I was cast upon you; from my mother's womb you have been my God.
Do not be far from me, for trouble is near and there is no one to help.” - Psalm 22
1. Velázquez, Diego. Christ Crucified. 1632, Museo Del Prado, Madrid.
2. Barbieri, Giovanni Francesco. Apparition of Christ to the Virgin. 1628 - 1630, Civic Art Gallery, Cento.
3. Sassoferrato, Giovanni Battista Salvi. Madonna and Child. 1625 - 1700, Louvre Museum, Paris.
4. Story, William Wetmore. The Angel of Grief Weeping Over the Dismantled Altar of Life. 1894, Rome.
5. Bloch, Carl Heinrich. The Crucifixion. 1870, Museum of National History, Copenhagen.
6. “Mac Finds His Pride.” It's Always Sunny In Philadelphia, season 13, episode 10, FX Network, 7 Nov. 2018. Writ. Rob McElhenney and Charlie Day. Dir. Todd Bierman.
#im sure someone else has already done this#but#here's more#it's always sunny in Philadelphia#always sunny#iasip#mac mcdonald#mac sunny#mac finds his pride#there is one common theme in all the images i chose#and that is#helplessness#rob mcelhenney#rcg
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When Juan left that night, he never returned again. Someone who looked like him came back, but it wasn't him.
MUSEO (2018) dir. Alonso Ruizpalacios
#museo#filmedit#mine#fyeahmovies#dailyflicks#dailyworldcinema#uservee#tusermariah#userairam#useravalone#usersunny#userkraina#usercande
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Lotty Rosenfeld, Museo de Bellas Artes, (action, photography), 1985 [espaivisor - Galería Visor, Valencia. © Lotty Rosenfeld]
Exhibition: Fernando Bryce, Lotty Rosenfeld, C.A.D.A.: Política de gestos y de vida, espaivisor – Galería Visor, Valencia, June 29 – September 14, 2018
#art#photography#performance#exhibition#lotty rosenfeld#c.a.d.a.#cada#colectivo acciones de arte#espaivisor#1980s#2010s
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Algunos portales de cementerios, un depósito y otros proyectos que no se concretaron.
1. Saldungaray 📷2008.
2. Azul 📷2018.
3. Laprida 📷2021.
4. Balcarce 📷2013.
5. Salliqueló 📷2022.
6. Actual depósito en Alberti 📷2021.
7. Portal original del cementerio de Pilar.
8. Proyecto de portal para el cementerio de Lobería.
9. Proyecto de portal para el cementerio del hoy desaparecido Partido de General Sarmiento, en el NO del Gran Buenos Aires, donde actualmente encontramos los Partidos de José C. Paz, Malvinas Argentinas y San Miguel.
10. Proyecto de portal para el cementerio de Las conchas (actual Tigre).
⛲Imágenes de archivo:
Museo de Lobería, Arq Ignacio Fonseca, René Longoni.
El cafecito es por acá https://cafecito.app/mondosalamone
Y la tienda virtual está aquí: https://mondosalamone.empretienda.com.ar
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Gael García Bernal in Museo (2018)
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Frescoes from the Villa of Livia, second half of the 1st century BC, Rome, Museo Nazionale Romano di Palazzo Massimo.
Click photos to see full image.
credit: https://www.milestonerome.com/2018/04/the-painted-garden-from-the-villa-of-livia-for-naturemw/
#roman art#livia drusilla#villa di livia#art#fresco#painting#ancient art#Livia is a very interesting historical figure#Museo Nazionale Romano di Palazzo Massimo#ancient rome#archaeology
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On Christmas eve of 1985, more than 140 ancient Mesoamerican artifacts were stolen from the National Museum of Anthropology in Mexico City
MUSEO (2018, Alonso Ruizpalacios)
#museo 2018#museo#filmgifs#filmedit#alonso ruizpalacios#dailyworldcinema#ggbedit#gael garcia bernal#gael garcía bernal#christmas movies#heist movies#free with yt premium#cinema!#alonso PLS come back to mexico and PLEASE can people fund his films#gifs#fyeahmovies
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so earlier this week I promised I’d drop the recommended reading re: Argentina’s genocide of its indigenous population, but I wasn’t sure if I wanted to just drop the list or if I should give an explanation of its contents that I honestly was too tired to give. SO INSTEAD I made the list, a screenshot, and a meme and the rest is your problem.
are ya ready kids???????
Science Education and Indigenous Knowledge in a Decolonial Perspective: An Argentine Case (2022)
Indigenous Interference: Mapuche Use of Radio in Times of Acoustic Colonialism (2022)
Showing themselves: Indigenous people, cultural heritage promotion and community development in Northern Argentina (2021)
The Conquest of the Desert: Argentina’s Indigenous Peoples and the Battle for History (2020)
Validation of the subtle and blatant prejudice scale towards indigenous people in Argentina (2020)
Indigenous Communities of the Lhaka Honhat (Our Land) Association v. Argentina (2020)
“They Are Not Truly Indigenous People”: Social Representations and Prejudice against Indigenous People in Argentina (2020)
Restitution policies in Argentina (2020)
The First Peronists: Indigenous Leaders, Populism, and the Argentine Nation-State Get access Arrow (2019)
Affectual Erasure: Representations of Indigenous Peoples in Argentine Cinema (2018)
Making the Indigenous Desert from the European Oasis: The Ethnopolitics of Water in Mendoza, Argentina (2017)
Dispossession and Protection in the Neoliberal Era: The Politics of Rural Development in Indigenous Communities in Chaco, Argentina (2017)
Narratives about the past and cognitive polyphasia: Remembering the Argentine conquest of the desert. (2016)
Landscapes of contrast: The neo-extractivist state and indigenous peoples in “post-neoliberal” Argentina (2016)
Sweet death: indigenous labour exploitation in the San Martín de Tabacal Sugar Mill,Salta, Argentina (2016)
“The Ashes of our Ancestors”: Creating Argentina's Indigenous Heritage in the Museo Etnográfico, 1904–1930 (2015)
Our Indigenous Ancestors (2015)
Being Kolla: Indigenous Identity in Northwestern Argentina (2014)
Huarpe Archives in the Argentine Desert: Indigenous Claims and State Construction in Nineteenth-Century Mendoza (2013)
Argentina's constituent genocide: challenging the hegemonic national narrative and laying the foundation for reparations to indigenous peoples (2012)
The struggle of being Toba in contemporary Argentina: Processes of ethnic identification of indigenous children in contexts of language shift (2012)
Historical representations and conflicts about indigenous people as national identities (2011)
Discussing Indigenous Genocide in Argentina: Past, Present, and Consequences of Argentinean State Policies toward Native Peoples (2010)
‘We Have Always Lived Here’: Indigenous Movements, Citizenship and Poverty in Argentina (2010)
Racism and Discourse in Latin America (2009)
Indigenous or Criollo: The Myth of White Argentina in Tucumán’s Calchaquí Valley (2008)
This is Not an Answer to the Question “Who is Indigenous?” (2007)
The genocide of indigenous peoples in the formation of the Argentine Nation-State (2006)
Talking about others: archaeologists, indigenous peoples and heritage in Argentina (2005)
Indigenous Struggles and Contested Identities in Argentina Histories of Invisibilization and Reemergence (2003)
Current status of Argentine indigenous languages (1985)
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𝓗𝓲𝓼𝓽𝓸𝓻𝓲𝓪
La mascara del joven FARAON TUTANKAMÓN
La máscara, que representa al faraón tocado con el característico pañuelo nemes ceremonial, pesa unos once kilos y mide 54 centímetros de alto.
La pieza presenta un gran simbolismo en su composición. Es de oro, el material del que estaba hecha la carne de los dioses para los antiguos egipcios, y de lapislázuli, una piedra de un azul intenso, el color del cabello de las divinidades.
Además, la máscara de Tutankamón también lleva incrustadas piedras ornamentales como el cuarzo y la obsidiana que componen los ojos, y pasta de vidrio. La frente del rey está ceñida con el ureo, la cobra Uadyet y la diosa buitre Nekhbet, divinidades protectoras de la realeza. El rey luce además la barba ceremonial trenzada y, alrededor de su cuello, un acho collar usej, formado por doce vueltas de cuentas elaboradas con pasta de vidrio de colores. Se sujeta a los hombros con dos cabezas de halcón.
En 2018, la máscara más famosa del mundo fue adecuadamente restaurada por un equipo de expertos alemanes dirigido por Christian Eckmann, en colaboración con las autoridades egipcias.
En el interior de la barba ornamental se halló un tubo de oro que fue utilizado para acoplar la pieza a la máscara. También se ha podido conocer el material empleado para fijar la barba a la máscara: cera de abejas, el mismo material que se usaría en el proceso de restauración. El equipo de expertos se decantó para reparar la máscara por un producto natural y no por una cola sintética. Asimismo, los restauradores emplearon herramientas de madera para no rayar tan valioso y emblemático objeto, que está destinado, de nuevo, a ser uno de los protagonistas de la colección del Nuevo Museo Egipcio que pronto se inaugurará junto a las pirámides de Giza.
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Exposición "La seducción de la forma", Colectiva
Exposición “La seducción de la forma”, Colectiva
Exposición “La seducción de la forma”
José Villa Soberón / Tomás Lara Franquis / Rafael Consuegra
20.10.2018
Museo Nacional de Bellas Artes Cuba
La estructura del Museo Nacional de Bellas Artes en su edificio de Arte Cubano, de por sí, impresiona. En esta ocasión, sus amplios pasillos de la planta baja, se han reducido con la presencia de esculturas monumentales de tres grandes artistas…
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#2018#José Villa Soberón#Muestra Colectiva#Museo Nacional de Bellas Artes#Rafael Consuegra#Tomás Lara Franquis
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- "Sin título. Liliana Maresca con su obra", 1983. Fotografía de Marcos López (1958). Museo Reina Sofía, Madrid. Depósito indefinido de la Fundación Museo Reina Sofía, 2018 (Donación de Marlise y Aníbal Jozami).
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