30.3.10

"A delight from beginning to end"

Ishrat Hyatt, "Art Historian delivers Lecture at IFWA Fundraiser," International The News, Pakistan, March 30, 2010, City News, p. 20.


Art historian delivers lecture at IFWA fundraiser (International The News).


Our correspondent
Islamabad

Fundraising coffee morning of the International Foreign Women’s Association (IFWA) featured an art-appreciation lecture by art historian Mariano Akerman.

Akerman revealed the originality of a select group of Belgian masterpieces, examining their style and meanings, historical context, aesthetic qualities and raison d’etre, appreciating them from new and unexpected perspectives. He has lectured on this topic at renowned institutions such as the Museo Nacional de Bellas Artes in Buenos Aires and the National Museum of the Philippines in Manila.

The function was well attended and held at the residence of [...] of Belgium [...]. The event began with IFWA president Isun Choi thanking the hostess for her kind gesture and introducing the speaker. The hostess [wife of the Belgian ambassador to Pakistan] welcomed everyone [...].

Mariano Akerman's talk was a delight from beginning to end — he has the knack of catching the interest of his audience as soon as he introduces his topic. It is certain that students who attend his lectures must be richer for the experience. With a lot of facts, sprinkled with humour and anecdotes, he kept the ladies attention — something not easy to do as far as a diverse group of women from different nationalities goes and that to at a relaxing coffee morning!

For those of us who are not that clued up about art and its intricacies it was something to assimilate and add to our knowledge — to those who know art it must have been a real pleasure to hear the opinion of an expert. I think he won the hearts of all the women present when he said, "Women have the strength to change the world," in some context to his lecture.

In conclusion he said something to the effect that if art does not communicate, it’s not good but you can [still] find beauty in art [and sometimes even] without explanation. There was a few questions and answers; some announcements about future events were made and the ladies were served lunch which they enjoyed in the beautiful garden in a relaxed atmosphere — a bonus treat as usually this part of the morning is 'refreshment' time with snacks.

Mariano Akerman was born in Buenos Aires in 1963. He studied at the School of Architecture of Universidad de Belgrano (Argentina), completing his formation with a prized graduation project on the limits and space in modern architecture (1987). Living abroad from 1991 onwards, he studies modern art and researches the paintings of Francis Bacon and the architectural projects of Louis Kahn.

He develops the educational series of lectures In the Spirit of Linnaeus; Discovering Belgian Art and Raisons d’être. Specializing in visual communication, Akerman is an experienced educator and lectures on modern art at renowned institutions. A painter himself, Akerman has exhibited his artwork solo or in group in Argentina, Spain, Japan, Philippines and Sweden since 1979 onwards. He has been awarded with more than twelve major international prizes.

He has given a series of lectures in Pakistani schools, colleges and universities since 2008 and has a busy schedule in the next two months. An exhibition of his paintings was up at the residence for the ladies to look at and buy if they so desired. [Select Pakistani handicrafts were also on display that day. Most of them were real masterpieces.]



Lecture, Pakstudy, Pakistan, 30 March 2010, Education News

29.3.10

Art from Belgium

Today a very big event took place at the Belgian Residence in Islamabad as ninty-five women from Pakistan and many other countries attended Mariano Akerman's lecture "Art from Belgium."



The lecture took place immediatly after the opening of Akerman's solo exhibit of paintings and drawings at the Residence.



The ladies learnt the facts and figures of Belgium, a bit about its geography and history, the diversity of its population, the ties between Belgium and its neighbours, and the strong affinities shared by Brussels and Paris.



While contemplating a select number of Belgian masterpieces, they were fascinated with their precision and lucidity. They discovered the Belgian contribution to the visual arts, this including the observation of nature and the development of an unprecedented realism and oil painting techniques. The women were particularly fond of the interplay between reality and fantasy that characterizes numerous Belgian masterpieces. Women were themselves introduced as important sources of inspiration throughout the history of Belgian art as a whole.


Brochures from Akerman's lectures on Belgian Art, Asia 2005-10

Opportunely, the lecturer was requested to say some words about his own pictures. Akerman spoke about some influences in his imagery, to relate them to the spirituality which typifies the Asia. He also paraphrased the words of André Maurois, art will give man that which the world denies him: the union of contemplation and peace.


Catalogs from Akerman's art shows and special programs, Asia 2005-10

18.3.10

Vers l'art libre et moderne - L'art pour tous

Conférence par Mariano Akerman. Raisons d’être, cycle de conférences éducatives. Évènement organisé avec les auspices de l'Alliance Française au Pakistan. Semaine de la Francophonie, Department de français, NUML (National University of Modern Languages), Islamabad, 18.3.2010.



L’art moderne doit beaucoup à la France dans la mesure où c’est dans ce pays qu’il est apparu et s’est développé. Sous la devise française « Liberté, Égalité, Fraternité », beaucoup d’artistes ont pu s’exprimer avec originalité. À Paris, des artistes locaux et d’autres d’origines diverses travaillent ensemble et créent un art libre, au point où le vocable d’art moderne est presque devenu synonyme d’art français. L’expression française raison d’être signifie autant une « raison pour laquelle vivre » qu’une « raison pour laquelle exister ». Mais dans l’art cohabitent tant de raisons. Aussi, le cycle conférences de Mariano Akerman parle-t-il des Raisons d’être, au pluriel.







Prix en Communication Visuelle et pour la Promotion des Arts NUML 2010 offert à Mariano Akerman


Certificat de Mérite accordé à Mariano Akerman, Fête de la Francophonie 2010

17.3.10

Les raisons d’être - Art Exhibition

.
A collection of 25 paintings, collages and drawings by Mariano Akerman is exhibited at the Residence of the Royal Embassy of Belgium in Islamabad from today to the end of the month.
The paintings are watercolours and mixed media, mostly executed in Buenos Aires, Manila and Islamabad.
The works belong to the MAC Itinerant Collection. In these days, other six collages from the Collection were shown at various academic institutions in Islamabad as part of Raisons d’être, a series of educational lectures, and the I+E Writing and Collage Competition. Such activities come from Akerman's personal initiative. They have the auspices of Alliance Française and the Belgian Embassy in Islamabad.

Les raisons d’être - Artworks by Mariano Akerman
1. Of the Importance of the Authentic, 1988
2. Your Honour, 1989
3. Three Figures by the Window, 1989
4. The Way I love You, 1989
5. En Movimiento, 1990
6. Life Supporter, 1990
7. A Sky of Projects, 1990
8. Centaur, 1990-1
9. Microcosm, 1991, 2005
10. Dead Sea I, 1991
11. Dead Sea II, 1991
12. Sheba, 1995
13. Gold and Ashes, 2001
14. Land, 2003
15. The Magician, 2003
16. Ceibo Flower, 2004
17. Recollection, 2005
18. Constellation A, 2004-5
19. Constellation B, 2004-5
20. Innerscape, 2005
21. The Age of Wisdom, 2005
22. Constellation A5, 2005
23. History, 2009
24.The Things You tell Me, 2010
25. The Things I tell You, 2010
26. Prickly Matters 1, 2009
27. Prickly Matters 2, 2009
28. Nine Candles, 2000-5
29. Remembrance, 2002-4
30. Friendship, 2001-4
31. Among the Nations, 2005
32. Channel No.5, 2005
33. Francophonie et Cie., 2005






16.3.10

Exploring Pictures is Cool

Lecture and Workshop at School in Islamabad

We had an art workshop today. Contrary to all expectations the meeting with the students of the International School of Islamabad started early this morning. The theoretical issues of the day included art fundamentals and the story of modern painting. Among other things were discussed the notions of point, line, spot, color and texture. Students also tried to define the ideas of figure, background, motif, pattern, and composition.

While discussing some slides showing selected masterpieces, students showed a particular interest in pictures such as Rigaud's Portrait of Louis XIV and Max Ernst's collage She.

They detected Roman soldiers in David's Oath of the Horatii, the presence of two lions in Delacroix's Hunt, the sketchy nature of Monet's Impression, the imagination that fuels Lacombe's Seascape, and even a divided being in Matisse's Portrait of the Green Strip.

Although some students took Luis XIV for a woman and Mme. Matisse for a man, others pointed out the subtle similarity of pose between Rigaud's king and Ernst's hybrid.



After having considered the historical process through which artists became increasingly free in modern times, students learnt the meaning of the term collage. They were invited to look at a series of six collages by Mariano Akerman. Strategically chosen, the works in exhibition presented various technical aspects that one may take into account at the time of making a collage.



A last step took place as each student made a collage of his own, to participate in the I+E Competition.



The results were exhibited and evaluated by the students themselves. They will write their seven-sentences compositions in the coming days.



Akerman received a Certificate of Appreciation from the authorities of the International School in the Pakistani capital. He also received, via e-mail, the following lines by Mrs. Joan Lewin, Ed. M.,

"Mr. Mariano Akerman presented a workshop entitled “Exploring Pictures is Cool” to our students on Tuesday, March 15th, 2010.
The quality of the lecture, slide presentation, questions and answer sessions as well as the discussions that ensued were not only professional, they were enjoyable in a way that helped all of us extend our exploration of art to other areas of learning. Mr. Akerman knew exactly what slides to choose and the number to choose that would encourage ‘thinking and reflection’ without being heavy-handed.
He has a talent for relating to children that is easy-going, honest, open and respectful of their developmental needs, talents and personality. He was able to present his material in a variety of ways that met the intellectual and social-emotional concerns of the children.
The hands-on workshop; making a collage was well-organized, presented so that all of the children could participate and one in which allowed them a chance to explore materials in different ways. I thought Mr. Akerman’s choice of this particular activity corresponded ‘spot on’ with the slide show that he presented. His ability to connect one activity to the other and extend the level of knowledge to other areas of learning was phenomenal.
At the end of the 7 hours that Mariano Akerman spent with us, the children asked if he couldn’t/wouldn’t come back again. What better evaluation of success could there be!"

11.3.10

Festejos en Ultramar: Arte y Español


En la Universidad Nacional de Lenguas Modernas (National University of Modern Languages), Islamabad, quedó inaugurado hoy Raisons d’être (Razones de ser), el ciclo de conferencias educativas sobre arte, libertad y modernidad que Mariano Akerman dedica a los estudiantes pakistaníes. El ciclo evoca la universalidad de los valores emanados de la Revolución Francesa (Libertad, Igualdad, Fraternidad) y celebra en simultaneidad el bicentenario de la Gesta de Mayo con el centenario del reencuentro y reconciliación de España con América.



La conferencia de apertura contó con las cálidas palabras de Rosana Alessandro, directora del Departamento de Español. Al encuentro asistieron estudiantes, docentes, ex-alumnos e hispanohablantes.



En su conferencia titulada Variante: cambia todo cambia, Akerman presentó al arte plástico como un lenguaje expresivo con elementos y rasgos propios (punto, línea, mancha, color, textura, composición, etc.). El disertante introdujo imágenes de su propia producción y que ponen en evidencia estos aspectos y la idea de cambio. Se refirió luego a quince obras maestras de la pintura universal, señalando la evolución de la libertad artística en los tiempos modernos y la transformación del arte y sus movimientos desde el siglo XVII hasta mediados del siglo XX. Los estudiantes mostraron un particular interés en el contenido de las imágenes seleccionadas, acerca de las cuales Akerman habló en español. En un contexto asiático, la conferencia y el diálogo académico fueron desarrollados en castellano en su totalidad.



Akerman señaló que destacada en la evolución del arte moderno fue la intervención de Pablo Picasso, quien incorporó los papeles pegados en su obra cubista para cultivarlo luego en otras tantas oportunidades. Señalada fue también la sutil adaptación que hizo del collage Max Ernst en su obra surrealista. Significativamente, tanto Picasso como Ernst no nacieron en Francia y, con todo, desarrollaron lo mejor de su obra en esa nación, indiscutible cuna del arte moderno.





Leitmotif de la conferencia, la idea de que todo cambia encontró eco en una serie de collages exhibidos por Akerman en el Auditorio Japonés de la NUML. El autor comentó sus trabajos e invitó a los asistentes a la muestra y a participar en el Concurso de Escritura y Collage I+E (Inspiración y Expresión).



El evento culminó con una emotiva interpretación musical del poema Todo cambia (Julio Numhauser, 1982), cantada por un grupo estudiantes cuyas lenguas maternas no son otras que urdu, hindi, pashto, punjabi, sindhi, saraiki, dari, turco, bengalí y chino. World News Press



Emotive Overseas: Art & Spanish. Today at the National University of Modern Languages in Islamabad was inaugurated Raisons d’être (Reasons for Being), a cycle of educative lectures on art, freedom and modernity, presented by Mariano Akerman to Pakistani students. The series of lectures evokes the universal nature of the French Revolution and its chief values (Liberty, Equality, Fraternity), celebrating simultaneosly the bicentenary of Argentinean independence and the centenary reconciliation between Spain and the Latin-American countries.
The initial lecture was introduced by Prof. Rosana Alessandro, Head of the Spanish Studies Department. Among the public were students, teachers, ex-alumni and a number of other Spanish speaking personalities.
During a lecture entitled Variante: cambia todo cambia (Variant: Everything Changes), Akerman introduced the art of painting as an expressive language, with elements and features of its own (point, line, spot, color, texture, composition, etc.). The lecturer showed images made by himself, which illustrate these aspects and so the idea of change as such. He then talked about fifteen masterpieces, indicating the evolution of the artistic freedom process and the transformation of art and its trends from the seventeenth century up to the mid-twentieth century. Students were particularly interested in the contents of the selected images, about which Akerman spoke in his native Spanish. In a totally Asean context, the lecture and subsequent academic dialogue was held in the Spanish language all the time.
Akerman indicated the importance of Pablo Picasso's contribution to the genesis of modern art, as that artist was the first to incorporate pasted papers in his cubist works. Indicated was also the subtle adaptation Max Ernst made of that technique in his surreal collages. Significantly, neither Picasso nor Ernst were born in France, yet they both developed the best of his production in that nation to which modern art owes so much.
Leitmotif of the lecture, the very idea that everything changes was echoed by a number of collages exhibited by Akerman at the NUML Japanese Auditorium. The author described his own artwork and invited the students to participate in The I+E Writing and Collage Competition.
The event was closed with a moving musical interpretation of the poem Todo cambia (Julio Numhauser, Everything Changes, 1982), sang by the NUML chorus, integrated by students whose mother tongue are no other than Urdu, Hindi, Pashtun, Punjabi, Sindhi, Saraiki, Darih, Turkish, Bengali and Chinese. World News Press

9.3.10

I+E Competition • Concurso I+E

.
I+E • Letters and Collage Competition
Raisons d’être - Art, Freedom and Modernity

1. What's I+E ?

"I" stands for inspiration. It refers to the three components of the lectures - art, freedom and modernity. They are your theme and sources of inspiration. When thinking about inspiration consider the material that can be found HERE (right-click on the link to see it). There, you will find images and vocabulary.

"E" stands for expression. Your own expression. When considering expression think about your personal response to the above-mentioned things.

2. What I need to do to participate?

- You need two sheets size A-4, one for "I" and the other for "E".

- Sheet 1 is for "I" (inspiration). There you WRITE and let us know about the things that interest you the most. Tell us why they are important. Write seven sentences.

- Page 2 is for "E" (expression). There you make a COLLAGE. This can include figures, textures, colors, words, text, etc. Here are some examples of collage. Make your own one and express yourself.

- On the back of each sheet write:
1) the name of your school or institution
2) your full name (Latin characters)
3) your age
4) your email (or the email of somebody close to you, family or friend)

- Put the sheets inside one big envelope, without folding or clipping them.

- Write on the envelope the name of your school or institution.

- Close the envelope and give it to your teacher.

- The material is to be given to Mariano Akerman by Wednesday, April 7th, 2010.

3. What happens afterwards?

- Your teacher will let us have all the material.
- The material will be evaluated.
- Best works will be selected.
- There will be a special meeting.
- Prizes will be given to the best works.

GOOD LUCK !



Concurso de letras y collage I+E
Raisons d’être - arte, libertad y modernidad

1. ¿Qué es I+E?

"I" indica inspiración. Se refiere a las cosas del encuentro que llamaron tu atención y que más te interesan. Esas cosas pueden servirte como fuente de inspiración para realizar un trabajo. Al pensar en inspiración, considera todo lo aprendido durante nuestro encuentro. Concéntrate en algún aspecto en particular. Parte de las cosas presentadas durante los encuentros se hallan en AQUI (pincha el enlace para verlas). En ese documento puedes encontrar un poema, vocabulario e imágenes.

"E" se refiere a expresión. Tu propia expresión. Al considerar expresión, piensa en tu respuesta personal respecto a las cosas presentadas durante el encuentro.

2. ¿Qué debo hacer para poder participar?

- Necesitas dos hojas de tamaño A-4, una para "I" y otra para "E".

- En la hoja 1 (inspiración), ESCRIBES acerca de las cosas del encuentro que llamaron tu atención (y que más te interesan). escribe por qué son importantes. Emplea siete oraciones.

- La hoja 2 es para tu propia expresión. En ella tú presentas tu respuesta personal al encuentro mediante un COLLAGE, en el que puedes incluir lo que tu desees (figuras, texturas, colores, palabras, texto, etc). Estos son algunos ejemplos de collage. Realiza el tuyo propio.

- Del otro lado de cada una de las hojas escribe:
1) el nombre de la institución a la que perteneces
2) tu nombre y apellido
3) tu edad
4) tu dirección de correo electrónico (o la de algún familiar o conocido).

- Coloca ambas hojas dentro de un sobre grande, sin doblarlas ni engancharlas.

- Escribe sobre el sobre el nombre de tu institución.

- Cierra el sobre y entrégaselo a tu profesor/a.

- El material debe ser entregado a Mariano Akerman el miércoles 7 de abril de 2010 a más tardar.

3. ¿Qué sucede luego?

- Tu profesor/a nos hace llegar tu trabajo.
- El mismo es evaluado.
- Se seleccionan los mejores trabajos.
- Se organiza un encuentro especial.
- Se entregan premios a los mejores trabajos.

¡BUENA SUERTE!

3.3.10

Raisons d’être

Mariano Akerman, Islamabad, Pakistan, 2010


Cycle de conférences éducatives : art, liberté et modernité
Educational lectures series: Art, Freedom and Modernity
Ciclo de conferencias educativas: arte, libertad y modernidad

Contenu | Content | Contenido
Art, liberté et modernité
Art, Freedom and Modernity
Arte, libertad y modernidad
Chefs d'œuvre | Masterpieces | Obras maestras
Vocabulaire | Vocabulary | Vocabulario
Todo cambia
Collage

Art, liberté et modernité

Santayana a dit : "l’art offre à la contemplation ce que l’homme ne trouve guère dans l’action : l’union de la vie et de la paix" (André Maurois, revue Le Courier de l'Unesco, 1961).

L’art moderne doit beaucoup à la France dans la mesure où c’est dans ce pays qu’il est apparu et s’est développé. Sous la devise française « Liberté, Égalité, Fraternité », beaucoup d’artistes ont pu s’exprimer avec originalité. À Paris, des artistes locaux et d’autres d’origines diverses travaillent ensemble et créent un art libre, au point où le vocable d’art moderne est presque devenu synonyme d’art français. L’expression française raison d’être signifie autant une raison pour laquelle vivre qu’une raison pour laquelle exister. Mais dans l’art cohabitent tant de raisons. Aussi, le cycle conférences de Mariano Akerman parle-t-il des Raisons d’être, au pluriel.

Art, Freedom and Modernity

Santayana once expressed, "art offers to contemplation that which man cannot find out in action: the union of life and peace" (André Maurois, magazine Le Courier de l'Unesco, 1961).

Modern art has a lot to do with France, for it was born and developed there. In the country of “Liberty, Equality, and Fraternity” many artists expressed themselves with unusual inventiveness. Local and foreign artists worked together to create original, modern art. Because of their success, modern art has become some kind of synonym with French art today. The French expression raison d’être refers to a “reason for being” or a “reason for existing.” Yet, in art there are many of them. Today thus we need to talk about Raisons d’être, in plural.

Arte, libertad y modernidad

Santayana alguna vez expresó: "el arte brinda a la contemplación aquello que el hombre no encuentra en la acción: la unión de la vida y la paz" (André Maurois, revista Le Courier de l'Unesco, 1961).

El arte moderno no poco le debe a Francia, en tanto que nació y se desarrolló precisamente en ese país. Bajo el lema “Libertad, Igualdad, Fraternidad”, muchos artistas lograron expresarse con originalidad. En París, artistas locales y otros de orígenes diversos trabajaron conjuntamente y crearon así un arte libre, y libre a tal punto que la expresión arte moderno se ha vuelto hoy casi un sinónimo de arte francés. El expresión francesa raison d’etre significa “razón de ser” o “razón de existir.” Pero en el arte coexisten numerosas de ellas. Es por ello que hoy es necesario hablar de Raisons d’etre, en plural.

Chefs d'œuvre | Masterpieces | Obras maestras

Hyacinthe Rigaud, Louis XIV de France | Louis XIV of France | Luis XIV de Francia, 1701
Musée du Louvre, Paris

Jacques-Louis David, Le Serment des Horaces | The Oath of the Horatii | El juramento de los Horacios, 1784-5
Musée du Louvre, Paris

Eugène Delacroix, La chasse aux lions | Lion Hunt | La caza del león, 1861
Art Institute of Chicago

Jean-François Millet, La cuisson du pain | Woman baking Bread | Mujer horneando pan, 1854
Rijksmuseum Kröller-Müller Museum, Otterlo

laude Monet, Impression, soleil levant | Impression, Sunrise | Impresión, sol naciente, 1872
Musée Marmottan Monet, Paris

Georges Seurat, Printemps | Springtime | Primavera, 1888
Musées Royaux des Beaux-Arts de Belgique, Bruxelles

Vincent Van Gogh, Champ de blé avec cyprès | Wheat Field with Cypresses | Trigal con cipreses, 1889
National Gallery, London

Paul Gauguin, Autoportrait | Self-Portrait | Autorretrato, 1889
National Gallery of Art, Washington DC

Georges Lacombe, Marine bleue, Effet de vagues | Blue Seascape, Waves Effect | Marina azul, efecto de olas, c. 1893
Musée des Beaux-Arts de Rennes

Henri Matisse, Portrait à la raie verte | The Green Strip | La raya verde, 1905
Statens Museum for Kunst, Copenhagen

André Derain, Pont Charing Cross, Londres | Charing Cross Bridge, London | Puente Charing Cross, Londres, 1906
National Gallery of Art, Washington DC

Pablo Picasso, Autoportrait | Self-Portrait | Autorretrato, 1907
Narodni Gallery, Prague

Robert Delaunay, La tour rouge | The Red Tower | La torre roja, 1911
Art Institute of Chicago

Amedeo Modigliani, Jeanne Hébuterne à la Cloche | Jeanne Hébuterne with Necklace and Hat | Jeanne Hébuterne con collar y sombrero, 1917

Max Ernst, Elle resemblait légèrement à un cheval | She looked a little bit like a horse | Ella se parecía ligeramente a un caballo, collage, 1937 (Leonora Carrington, La maison de la peur, Paris: 1938, p. 2).

Vocabulaire | Vocabulary | Vocabulario
peinture – painting – pintura
point – punto
ligne – line – línea
couleur – color – color
texture – textura
motif – motivo
figure – figura
fond – background – fondo
composition – composición
portrait – retrato
autoportrait – self-portrait – autorretrato
paysage – landscape – paisaje
beauté – beauty – belleza
Mouvements artistiques | Art Movements | Movimientos artísticos
Rococo – Rococó
Néoclassicisme – Neoclassicism – Neoclasicismo
Romantisme – Romanticism – Romanticismo
Réalisme – Realism – Realismo
Impressionisme – Impressionism – Impresionismo
Pointillisme – Divisionism – Puntillismo
Post-impressionisme – Post-Impressionism – Postimpresionismo
Symbolisme – Symbolism – Simbolismo
Fauvisme – Fauvism – Fauvismo
Expressionisme – Expressionism – Expresionismo
Cubisme – Cubism – Cubismo
Surréalisme – Surrealism - Surrealismo


Todo cambia

Cambia lo superficial
Cambia también lo profundo
Cambia el modo de pensar
Cambia todo en este mundo

Cambia el clima con los años
Cambia el pastor su rebaño
Y así como todo cambia
Que yo cambie no es extraño

Cambia el más fino brillante
De mano en mano su brillo
Cambia el nido el pajarillo
Cambia el sentir un amante

Cambia el rumbo el caminante
Aúnque esto le cause daño
Y así como todo cambia
Que yo cambie no es extraño

Cambia todo cambia
Cambia todo cambia
Cambia todo cambia
Cambia todo cambia

Cambia el sol en su carrera
Cuando la noche subsiste
Cambia la planta y se viste
De verde en la primavera

Cambia el pelaje la fiera
Cambia el cabello el anciano
Y así como todo cambia
Que yo cambie no es extraño

Cambia todo cambia
Cambia todo cambia

Pero no cambia mi amor
Por más lejos que me encuentre
Ni el recuerdo ni el dolor
De mi pueblo y de mi gente

Y lo que cambió ayer
Tendrá que cambiar mañana
Así como cambio yo
En esta tierra lejana.

Cambia todo cambia
Cambia todo cambia.


A translation

The superficial changes
And so does the profound
The way of thinking changes
Everything changes in this world.

The weather changes with the years
The shepherd changes his flog.
And as everything changes,
It isn't strange that I myself change.

The most refined brilliant changes
The way it shines as it passes from one hand to another.
The bird changes its nest.
A lover changes his emotions.

The walker changes direction
Even when this becomes a disadvantage
And as everything changes,
It isn't strange that I change.

Changes. Everything changes.
Changes. Everything changes.
Changes. Everything changes.
Changes. Everything changes.

The sun changes its position
While the night still pervades
The plant changes and dresses
In green as the spring arrives.

The beast changes its fur
The elder changes his hair
And as everything changes
It isn't strange that I change.

Changes. Everything changes.
Changes. Everything changes.

But my love doesn’t change
Although I am far away
Neither change my memories nor the pain
Of my town and my people

And what changed yesterday
Will have to change tomorrow
As I myself change
In this remote land.

Changes. Everything changes.
Changes. Everything changes.



Texte | Text | Texto

Lewis Carroll, "The Mouse's Tale," poem for in Alice in Wonderland, 1865


Collage

16

17

18

19

20


Sur le travail présent | About the present work | Acerca del presente trabajo
Raisons d’être. Idée, recherche et organisation | Idea, research and design | Idea, investigación y diseño: Mariano Akerman, 2010
Version initiale | Initial version | Versión inicial : Knol, 3.3.2010
Dernière modification | Last modified | Última modificación : Knol, 10.3.2010

Sources | Recursos
L'art en France au XVIIIè siècle, B&S Encyclopédie, France, 2007-9 (4.3.2010)
L'art en France entre 1800 et 1850, B&S Encyclopédie, France, 2007-9 (4.3.2010)
L'art en France entre 1850 et 1900, B&S Encyclopédie, France, 2007-9 (4.3.2010)
L'impressionnisme, B&S Encyclopédie, France, 2007-9 (4.3.2010)
Musée national des Beaux-Arts d'Argentine, Larousse, France, 25.4.2009
Museo Nacional de Bellas Artes, Argentina (Knol, 24.4.2009), Documenta, 10.3.2012
Pintores, El poder de la palabra, Barcelona, 1998-2009

Images | Imágenes. 1. Rigaud | 2. David | 3. Delacroix | 4. Millet | 5. Monet | 6. Seurat | 7. Van Gogh | 8. Gauguin | 9. Lacombe | 10. Matisse | 11. Derain | 12. Picasso | 13. Delaunay | 14. Modigliani | 15. Ernst | 16-21. Akerman


Mariano Akerman

Né à Buenos Aires, en Argentine, en 1963, Mariano Akerman a étudié à l’École d’Architecture de l’Universidad de Belgrano et y a validé sa formation en 1987 avec un projet sur les limites et l’espace en architecture moderne. À l’étranger, depuis 1991, il a orienté ses recherches sur l’oeuvre du peintre Francis Bacon et sur celle de l’architecte Louis Kahn. Par ailleurs, Mariano Akerman a présenté une série de conférences éducatives l’une sur l’oeuvre du naturaliste suédois Carl Linné (2007) et deux autres intitulées À la découverte de l’art belge et Raisons d’être (2008-10). Spécialiste en communication visuelle, Akerman est un éducateur expérimenté s’intéressant particulièrement à l’art moderne au sujet duquel il a donné des conférences dans des institutions renommées telles que le Museo Nacional de Bellas Artes à Buenos Aires et le National Museum of the Philippines à Manille. Également peintre, Mariano Akerman expose ses peintures et collages depuis 1979. Il a reçu plus de douze prix et distinctions internationales.

Born in Buenos Aires, Argentina, in 1963, Mariano Akerman studied at the School of Architecture of Universidad de Belgrano, completing his formation with a prized graduation project on the limits and space in modern architecture (1987). Abroad from 1991 onwards, he studies modern art and researches the paintings of Francis Bacon and the architectural projects of Louis Kahn. He develops the educational series of lectures In the Spirit of Linnaeus (2007), Discovering Belgian Art and Raisons d’être (2008-10). Specializing in visual communication, Akerman is an experienced educator. He lectures on modern art at renowned institutions such as the Museo Nacional de Bellas Artes in Buenos Aires and the National Museum of the Philippines in Manila. An artist himself, Akerman exhibits his paintings and collages since 1979 onwards. He has been awarded with more than twelve major international prizes.

Nacido en Buenos Aires, Argentina, en 1963, Mariano Akerman estudió en la Facultad de Arquitectura y Urbanismo de la Universidad de Belgrano, completando su formación en 1987 con un proyecto de graduación acerca de los límites y el espacio en la arquitectura moderna. En el exterior desde 1991, se dedica a investigar la obra del pintor Francis Bacon y aquella del arquitecto Louis Kahn. Mariano Akerman presenta varias series de conferencias educativas, una sobre la obra del naturalista sueco Carlos Linneo (2007) y dos otras tituladas Descubriendo el arte belga y Raisons d’être (2008-10). Especializado en comunicación visual, Mariano Akerman es también un educador experimentado y se interesa particularmente por el arte moderno, tema acerca del que ha dado conferencias en renombradas instituciones, tales como el Museo Nacional de Bellas Artes à Buenos Aires y el National Museum of the Philippines en Manila. Pintor además, Mariano Akerman exhibe sus pinturas y collages desde 1979. Ha recibido más de doce premios y distinciones internacionales.

Mariano Akerman, Automatisme pour la Liberté | Automatism to Life | Automatismo para la Libertad, 1990 © MAC. Tous droits réservés | All Rights Reserved | Todos los derechos reservados (Artwork).

Acerca del presente trabajo
Inicialmente publicado en Knol, versión 1: 3.3.2010
Akerman, Mariano. "Raisons d’être: Art, liberté et modernité - Art, Freedom and Modernity - Arte, libertad y modernidad" [Internet], versión 70, Knol, 9.11.2010
http://knol.google.com/k/mariano-akerman/raisons-d-être/
Transferido a Asterisk: 3.3.2012
Última modificación: 9.11.2010

Advertencia legal
El material compilado es propiedad intelectual de sus respectivos autores y se incluye en el presente trabajo con objetivos educativos exclusivamente; todos los derechos intelectuales y de publicación del presente trabajo son propiedad del autor.

Copyright © Mariano Akerman. Todos los Derechos Reservados. La presente nota no ha de ser reproducida ni republicada sin el previo consentimiento por escrito de su autor.