-
>La Biblioteca Nacional de París expone hasta el 12 de julio una serie de fotografías de las bibliotecas más bellas de Occidente, algunas de las cuales ofrecen un lujo y magnificencia digna de los grandes palacios. De Oxford a Dublín pasando por Salamanca, el fotógrafo turco Ahmet Ertug ha visitado estos enclaves rebosantes de literatura.Pregunta.- Usted se formó como arquitecto. ¿Cuál fue el camino que le llevó a la fotografía?
Respuesta.- De 1969 a 1974 estudié Arquitectura en la Association School of Architecture de Londres. Vivía cerca del British Museum y el camino más corto para ir a la escuela era atravesar esas galerías interminables. Se me abrió un espacio que comencé a explorar, y seguramente esos largos paseos matinales fueron la base de mi educación visual. Me compré una Nikon F2 a plazos y empecé a fotografiar en blanco y negro edificios históricos, demoliciones y obras en construcción. Cuando me diplomé como arquitecto, mi primer trabajo serio fue en Irán. Atravesé todo el país fotografiando bazares y monumentos. Pero el verdadero compromiso con la fotografía comenzó en 1979, cuando recibí una beca para vivir y trabajar un año en Japón. Fue así como me especialicé en la foto de arquitectura y he publicado unos 25 libros.
P.- ¿Con qué criterios eligió las bibliotecas que figuran en la exposición?
R.- Según su ubicación, sus cualidades arquitectónicas y la belleza de sus colecciones. La de Austria, por ejemplo, es verdaderamente extraordinaria. Al comienzo las bibliotecas estaban en los monasterios, eran lugares secretos, pero gracias al profesor Friedrich Krinzinger tuvimos la posibilidad de acceder a esas bibliotecas. En una ocasión estaba fotografiando la antigua biblioteca de la Universidad de Salamanca, habíamos hecho la foto, y las bibliotecarias me dijeron que había una cámara de seguridad que deseaban mostrarme. Era realmente fabulosa, habia armarios repletos de libros antiguos... Fotografiarla fue extraordinario.
'Las bibliotecas antiguas poseen un alma'
P.- Para usted, ¿en qué se diferencian las bibliotecas actuales de las antiguas?
R.- Comparadas con las bibliotecas modernas, donde los libros están en el depósito y los lectores no pueden verlos ni menos aún tocarlos, las antiguas son totalmente diferentes: poseen un alma. Yo lo comparo con el acto de comprar libros. Antes los comprábamos en una librería y hoy en Internet. Tocar los libros, hojearlos y tenerlos entre las manos, confiere un placer único a la lectura. Me gusta sumergirme con mi cámara fotográfica en esos espacios arquitectónicos extraordinarios, que son las bibliotecas antiguas, donde el tiempo transcurre lentamente.
P.- ¿Qué material utilizó para realizar esas fotografías?
R.- Desde hace años utilizo una cámara con chasis 20 x 25. La calidad de este formato supera a las cámaras digitales disponibles; la calidad de la película deja mayores posibilidades al fotógrafo: me libera del ordenador y puedo concentrarme sobre el tema. Es difícil, pero realmente vale la pena. Utilizo solamente la luz natural con largos tiempos de exposición. A veces dos e incluso cinco minutos para captar los detalles más oscuros, sólo con luz natural.
P.- ¿Esta exposición será exihibida en otras ciudades europeas?
R.- La Biblioteca Nacional de Francia ha recomendado la exposición a la Biblioteca Nacional de España, para un encuentro mundial de bibliotecarios. Espero que sea así.
P.- ¿Algún proyecto en curso?
R.- Sí, estoy trabajando sobre un libro y una exposición sobre los teatros líricos europeos. Espero fotografiar el Gran Teatro del Liceo y el Palau de la música.
http://www.elmundo.es/elmundo/2009/06/24/cultura/1245852877.html
Temples du savoir,
photographies de bibliothèques d'Ahmet Ertuğ
Bibliothèque bénédictine de l'Abbaye de Metten, Allemagne / ©Ahmet Ertuğ12 mai 2009 - 12 juillet 2009 site François-Mitterrand / Allée Julien Cain Le photographe turc Ahmet Ertuğ a sillonné l'Europe et a ramené de son périple de spectaculaires clichés des plus belles bibliothèques du monde occidental. De la Prusse profonde à l'extrémité de l'Espagne, de l'Angleterre jusqu'aux profondeurs de l'empire austro-hongrois, les peuples se sont ingéniés du XVIème au XIXème siècle à inventer et à élever, pour célébrer et accueillir la lecture, les architectures les plus élégantes et les plus stupéfiantes qui soient. Ils ont rêvé, ces demeures où se recueille et se transmet la mémoire du monde.
http://www.bnf.fr/pages/zNavigat/frame/cultpubl.htm?ancre=portail_expo.htm
Des bibliothèques baroques de monastères Autrichiens aux grandes bibliothèques laïques du XIXème siècle dont témoigne la Bibliothèque nationale par sa splendide salle Labrouste, c'est un époustouflant voyage dans l'univers polychrome et ouaté de ces bibliothèques-temples. Les très grands formats, le talent de coloriste et la technique particulière dont use Ahmet Ertuğ rendent justice à la splendeur de ces palais des savoirs
28.6.09
Las bibliotecas más bellas de Occidente
27.6.09
24.6.09
O que é Lua Vazia?
por Oscar Quiroga
Entenda o conceito de Lua Vazia, para aproveitá-lo melhor.
Nossa espécie humana ocupa, no cosmo, o lugar de pontífice, esta é nossa função, não por sermos líderes supremos de alguma religião, mas por constituirmos uma ponte entre dois mundos, um visível e concreto, e outro invisível e abstrato.
Nós, humanos, somos capacitados a perceber esses dois tipos de realidade, e não apenas intervir nesses mundos como também estabelecer uma via de comunicação entre eles.
Nós levitamos no Universo.
Por isso, o nosso bem-estar físico e emocional, que é a garantia de continuarmos funcionando como pontífices, depende da alternância constante entre as experiências objetivas e subjetivas, razão pela qual ocorre o ciclo circadiano de vigília (objetividade) e sono (subjetividade).
No entanto, essa alternância não se limita ao ciclo de vigília-sono, mesmo durante a vigília, teoricamente consagrada à objetividade, acontecem períodos subjetivos, e vice-versa.
Num momento cultural como o nosso, em que a objetividade é valorizada em detrimento da subjetividade, que é tratada como uma percepção inferior, dado não poder ser explicada racionalmente, uma parcela enorme dos sintomas patológicos, tais como depressão, ansiedade, histeria e pânico deriva desta falha.
Repito, o bem-estar físico e emocional de um ser humano normal depende da constante alternância entre as experiências
objetivas e subjetivas.
Da sábia alternância depende a saúde.
Onde entra a Lua vazia nisto?
O termo vazio não significa que a Lua deixe de brindar com alguma informação, mas sim que a informação oferecida é profundamente subjetiva, dado ela não provir dos planetas próximos, mas dos confins do infinito.
A perspectiva de relacionamento da Lua com os planetas de nosso sistema solar promove a objetividade e a realização concreta.
A Lua vazia é inútil para os empreendimentos concretos, mas extremamente funcional para as experiências subjetivas, onde se renda culto ao infinito universo.
Dicas para aproveitar os períodos de Lua Vazia.
• Valorize as coincidências.
• Se despreocupe.
• Ajude.
• Seja gentil com todo mundo.
• Respire a vida com alegria.
• Ria à toa.
• Ouça música
• Aproxime-se das crianças
• Pratique esportes leves
• Manifeste os melhores sentimentos
• Converse com as pessoas
• Ande por aí sem rumo
• Convença-se de que o tempo não falta, que o tempo é livre
• Detenha-se a apreciar algo ou alguém bonito
• Regale os sentidos com cheiros bons
• Acenda uma vela
• Eleve uma oração
• Observar a natureza sem pressa
• Faça planos
• Anote as idéias e desejos
• Reveja seus pontos de vista
• Responda com um sorriso estampado no rosto
• Realize uma tarefa de cada vez
• Leia um texto atraente e iluminador
• Cuide do corpo e da aparência
• Faça uma massagem
• Tome um banho demorado
• Tire uma soneca
• Respire profundamente
• Sinta a vida
Voltar a ser criança! Sempre na Lua Vazia.
http://onne.com.br/conteudo/2861/o-que-lua-vazia
22.6.09
16.6.09
Grey Gardens
Courtesy of HB Films
"My mother gave me a completely priceless life."
-- "Little Edie" Beale, 1917-2002
In 1973, filmmakers Albert and David Maysles entered the strange world of "Big Edie" and "Little Edie" Bouvier Beale, two charming eccentrics who were relatives of Jacqueline Bouvier Kennedy. Spending six weeks with the reclusive mother and daughter who chose to live in squalor and almost total isolation in a decaying, 28-room mansion in East Hampton, the Maysles captured their day-to-day life in its raw, uncensored, captivatingly honest moments for a documentary entitled "Grey Gardens." Little did anyone know that the 100-minute documentary would catapult the two women from virtual obscurity to cult status as their legacy grew in depth and stature over the years.
Thirty-five years later, using the documentary as a framework, director-writer Michael Sucsy's original story for GREY GARDENS offers a wry, behind-the-scenes look at the Beales and their unique mother-daughter bond.
Told over the span of four decades, the film focuses on their glamorous and well-heeled lives long before the making of the documentary and on the circumstances behind their riches-to-rags story.
Drew Barrymore stars as "Little Edie" and Jessica Lange stars as "Big Edie" in GREY GARDENS. Directed by Michael Sucsy from a story by Sucsy and teleplay by Sucsy and Patricia Rozema, this HBO Films production recounts the early years of the mother-daughter duo, as well as chronicling the making of the iconic documentary by the Maysles brothers. Malcolm Gets and Daniel Baldwin co-star, with Ken Howard and Jeanne Tripplehorn. Lucy Barzun Donnelly, Rachael Horovitz and Michael Sucsy are executive producers; David Coatsworth produces.
http://www.hbo.com/films/greygardens/synopsis/index.html
'Grey Gardens': It's style, darlings
HBO and Rialto Pictures
NEW LOOK AND ORIGINAL DRAMA:
Barrymore, far left, and Jessica Lange star as the Beales; the two Edies are shown in the 1975 documentary, right.
The new HBO film, based on the 1975 documentary and starring Drew Barrymore and Jessica Lange, delves into the lives and looks of Big Edie and Little Edie Bouvier Beale.
By BOOTH MOORE, Fashion Critic
April 12, 2009
Jacqueline Kennedy Onassis may have been a fashion icon in those perfect sleeveless sheath dresses, oversized sunglasses and triple-strand pearls, but she had nothing on her cousin Edie Bouvier Beale. The improvisational way Beale could tie a scarf -- or a sweater or a skirt -- and fasten it with a brooch at the nape of the neck or the crown of the head is still a revelation.
If she were alive today, she would definitely be a stylist.
t's no wonder that more than 30 years after the release of Albert and David Maysles' 1975 documentary "Grey Gardens" about Edie and her mother, Edith Bouvier Beale, we're still fascinated by the misfit pair who dropped out of society in the 1930s and lived the rest of their days in their decaying East Hampton estate. Even after the gas and telephone service were shut off and credit dried up at the local grocery store, they were proud relics of the upper class, feeding their pet cats and raccoons "luncheons" and diligently assembling the best "costume for the day" from whatever was on hand, even when there was nowhere to go.
The quirky, codependent love story has been a source for countless fashion designers and a subject of many glossy fashion spreads. It has inspired songs, a Broadway musical and now a new film premiering Saturday on HBO.
Directed and written by Michael Sucsy and starring Jessica Lange and Drew Barrymore, the film uses the 1975 documentary as a framework for telling the back story of how Big and Little Edie got to the point where all they had was each other.
Whereas the original documentary was filmed over six weeks in 1973, the HBO film also covers the 40 years leading up to it. By exploring Little Edie's past, and her defiant dream of becoming an actress instead of settling into the trappings of marriage, the film teases out a proto-feminist theme. "The only thing I'm looking for in a man is a dance partner," she tells Cap Krug, her married suitor.
Big Edie was a bohemian too. In stark contrast to her husband's three-piece pinstripe suits, in the 1930s she wore all manner of louche loungewear -- velvet dressing gowns, kimonos, palazzo pants, wide-brimmed hats and ethnic-looking necklaces. She defied social convention by hosting lively parties full of singing and dancing, which led to the downfall of her marriage and her isolation at Grey Gardens.
Even as their circumstances deteriorated, the Beale women never lost their vanity. By the late 1950s, Little Edie is never without a head covering -- a disorder called alopecia had resulted in hair loss. ("Just think of all the hat opportunities," her mother suggests.)
In the 1960s, when Big Edie is confined to her bed, they both dress in mourning black for John F. Kennedy's funeral, which they listen to on the radio. In the 1970s, when the Health Department comes to the door to condemn the squalid house after the neighbors complain, Little Edie tells the officials she'll be down "as soon as I put on my lipstick."
Onassis eventually comes to their financial rescue, paying to have the house repaired. Played by Jeanne Tripplehorn in the film, she visits Grey Gardens wearing jeans, a corduroy blazer with elbow patches and the Gucci bag that would eventually be renamed after her. Seeing Jackie O next to Little Edie, in her tattered mink coat and draped headgear, the difference between fashion and style comes into focus.
Getting it just so
For costume designer Catherine Marie Thomas, the task of re-creating the look of such beloved style icons was a daunting one. She began by looking at hundreds of photographs Sucsy had compiled for the project. Some costumes were vintage finds, including Little Edie's black-and-white debutante dress, and others were copies.
"In one photo of Little Edie from the 1930s, she wore a white charmeuse gown with a zipper down the front and a hood. We re-created that dress, and it became a metaphor for Edie at 18. It was a very progressive gown for that time -- zippers were new things, and the hood was another layer of decoupage, in the sense that she was hiding her hair loss and her insecurity."
Little Edie's bathing suit, which she wears not for swimming but for dancing, came from a fan of the documentary and is from the same dye lot as the original. "We didn't want anything to feel too sparkly new," Thomas says.
"Little Edie used what she had to make a very specific style for herself. We spent hours thinking about how she manipulates clothing. She is a genius draper of fabric. The things she wore on her head had a lot of weight -- sweater vests, heavy towels. How did she drape them so beautifully with only one pin? She also had this incredible sense of how to mix patterns. You would never know she had 10 pieces of clothing on."
It's true. Toward the end of the HBO film, Little Edie's black and white jacquard pants, paired with a black lace who-knows-what draped over her top and head, reminded me of Marni, the quirky Italian collection designed by Consuelo Castiglioni.
But really, this film and the documentary get at the very core of style, which is not about fitting in or following a trend, but making the most of what you've got. And in times like these, it's nice to be reminded that style doesn't cost a thing.
http://www.latimes.com/
Barrymore, far left, and Jessica Lange star as the Beales; the two Edies are shown in the 1975 documentary, right.
The new HBO film, based on the 1975 documentary and starring Drew Barrymore and Jessica Lange, delves into the lives and looks of Big Edie and Little Edie Bouvier Beale.
By BOOTH MOORE, Fashion Critic
April 12, 2009
Jacqueline Kennedy Onassis may have been a fashion icon in those perfect sleeveless sheath dresses, oversized sunglasses and triple-strand pearls, but she had nothing on her cousin Edie Bouvier Beale. The improvisational way Beale could tie a scarf -- or a sweater or a skirt -- and fasten it with a brooch at the nape of the neck or the crown of the head is still a revelation.
If she were alive today, she would definitely be a stylist.
t's no wonder that more than 30 years after the release of Albert and David Maysles' 1975 documentary "Grey Gardens" about Edie and her mother, Edith Bouvier Beale, we're still fascinated by the misfit pair who dropped out of society in the 1930s and lived the rest of their days in their decaying East Hampton estate. Even after the gas and telephone service were shut off and credit dried up at the local grocery store, they were proud relics of the upper class, feeding their pet cats and raccoons "luncheons" and diligently assembling the best "costume for the day" from whatever was on hand, even when there was nowhere to go.
The quirky, codependent love story has been a source for countless fashion designers and a subject of many glossy fashion spreads. It has inspired songs, a Broadway musical and now a new film premiering Saturday on HBO.
FOR THE RECORD: This article says "Grey Gardens" director Michael Sucsy wrote the teleplay. In fact, he co-wrote it with Patricia Rozema.
Directed and written by Michael Sucsy and starring Jessica Lange and Drew Barrymore, the film uses the 1975 documentary as a framework for telling the back story of how Big and Little Edie got to the point where all they had was each other.
Whereas the original documentary was filmed over six weeks in 1973, the HBO film also covers the 40 years leading up to it. By exploring Little Edie's past, and her defiant dream of becoming an actress instead of settling into the trappings of marriage, the film teases out a proto-feminist theme. "The only thing I'm looking for in a man is a dance partner," she tells Cap Krug, her married suitor.
Big Edie was a bohemian too. In stark contrast to her husband's three-piece pinstripe suits, in the 1930s she wore all manner of louche loungewear -- velvet dressing gowns, kimonos, palazzo pants, wide-brimmed hats and ethnic-looking necklaces. She defied social convention by hosting lively parties full of singing and dancing, which led to the downfall of her marriage and her isolation at Grey Gardens.
Even as their circumstances deteriorated, the Beale women never lost their vanity. By the late 1950s, Little Edie is never without a head covering -- a disorder called alopecia had resulted in hair loss. ("Just think of all the hat opportunities," her mother suggests.)
In the 1960s, when Big Edie is confined to her bed, they both dress in mourning black for John F. Kennedy's funeral, which they listen to on the radio. In the 1970s, when the Health Department comes to the door to condemn the squalid house after the neighbors complain, Little Edie tells the officials she'll be down "as soon as I put on my lipstick."
Onassis eventually comes to their financial rescue, paying to have the house repaired. Played by Jeanne Tripplehorn in the film, she visits Grey Gardens wearing jeans, a corduroy blazer with elbow patches and the Gucci bag that would eventually be renamed after her. Seeing Jackie O next to Little Edie, in her tattered mink coat and draped headgear, the difference between fashion and style comes into focus.
Getting it just so
For costume designer Catherine Marie Thomas, the task of re-creating the look of such beloved style icons was a daunting one. She began by looking at hundreds of photographs Sucsy had compiled for the project. Some costumes were vintage finds, including Little Edie's black-and-white debutante dress, and others were copies.
"In one photo of Little Edie from the 1930s, she wore a white charmeuse gown with a zipper down the front and a hood. We re-created that dress, and it became a metaphor for Edie at 18. It was a very progressive gown for that time -- zippers were new things, and the hood was another layer of decoupage, in the sense that she was hiding her hair loss and her insecurity."
Little Edie's bathing suit, which she wears not for swimming but for dancing, came from a fan of the documentary and is from the same dye lot as the original. "We didn't want anything to feel too sparkly new," Thomas says.
"Little Edie used what she had to make a very specific style for herself. We spent hours thinking about how she manipulates clothing. She is a genius draper of fabric. The things she wore on her head had a lot of weight -- sweater vests, heavy towels. How did she drape them so beautifully with only one pin? She also had this incredible sense of how to mix patterns. You would never know she had 10 pieces of clothing on."
It's true. Toward the end of the HBO film, Little Edie's black and white jacquard pants, paired with a black lace who-knows-what draped over her top and head, reminded me of Marni, the quirky Italian collection designed by Consuelo Castiglioni.
But really, this film and the documentary get at the very core of style, which is not about fitting in or following a trend, but making the most of what you've got. And in times like these, it's nice to be reminded that style doesn't cost a thing.
http://www.latimes.com/
Edith Bouvier Beale and and Edith Ewing Bouvier
http://en.wikipedia.org/wiki/Grey_Gardens
http://www.greygardens.com/
http://www.greygardens.com/
13.6.09
12.6.09
8.6.09
6.6.09
1.6.09
Paciência
lenine
Composição: Lenine e Dudu Falcão
Mesmo quando tudo pede
Um pouco mais de calma
Até quando o corpo pede
Um pouco mais de alma
A vida não pára...
Enquanto o tempo
Acelera e pede pressa
Eu me recuso faço hora
Vou na valsa
A vida é tão rara...
Enquanto todo mundo
Espera a cura do mal
E a loucura finge
Que isso tudo é normal
Eu finjo ter paciência...
O mundo vai girando
Cada vez mais veloz
A gente espera do mundo
E o mundo espera de nós
Um pouco mais de paciência...
Será que é tempo
Que lhe falta prá perceber?
Será que temos esse tempo
Prá perder?
E quem quer saber?
A vida é tão rara
Tão rara...
Mesmo quando tudo pede
Um pouco mais de calma
Até quando o corpo pede
Um pouco mais de alma
Eu sei, a vida não pára
A vida não pára não...
Será que é tempo
Que lhe falta prá perceber?
Será que temos esse tempo
Prá perder?
E quem quer saber?
A vida é tão rara
Tão rara...
Mesmo quando tudo pede
Um pouco mais de calma
Até quando o corpo pede
Um pouco mais de alma
Eu sei, a vida é tão rara
A vida não pára não...
A vida não pára!...
A vida é tão rara!.
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