Can You Buy Specialized Frames

IMAGE RIFLE WAS CRYING

The Journey (wanted to use this word for some time, I apologize if it is correct), the work IMAGE WAS CRYING RIFLE, currently in the theater lineup Del Pueblo (Sunday, 20 hours), is founded on smaller milestones, rather than (at small), which I shall elaborate.

First, this one-man, played masterfully by Gabriel Fernandez, and made a season last year in La Carbonera with very good impact with audiences and critics. http://www.lanacion.com.ar/nota.asp?nota_id=1210099 Earlier in 2007, the text of Julio Molina was part of Argentina The Butcher (editorial Inteatro), a compilation arising from team organized by Luis Cano to produce drama from facts or figures in Argentina's history. http://www.alternativateatral.com/nota214-la-carniceria-argentina But surely long before, in the head Molina had been planned since the idea of \u200b\u200bcrossing a Roberto Arlt with Severino Di Giovanni. And for that to happen, may have been decisive (or not) Osvaldo Bayer research on the life of the famous anarchist. http://www.scribd.com/doc/25006345/Osvaldo-Bayer-Severino-Di-Giovanni-El-Idealista-de-La-Violencia

And of course none of this would have happened (Arlt-Bayer-Molina), where Di Giovanni remained in the mold after the grueling punishment he received from the Italian fascist Benito Mussolini. But his conviction was stronger than any border (forbidden word for anarchist law, well, not just an anarchist law no), and address the situation of exploitation of workers in Buenos Aires, and especially those coming from beyond as he resumed his struggle against the state, earning the title role in a military trial outrageous, because the defendant was a civilian (carrying weapons, but civil at last after all), followed by summarily executing (arrested on January 29, 1931, was shot three days later, so express and tortuous as has not happened since the time of Jesus, for many the first revolutionary of history, so they say), which emerged in the social event of that year and that its witnesses had the very same Roberto Arlt, who wrote then a review for the newspaper El Mundo that would be (is) the most impressive dessert your etching now turned-prequel, prequel or prequel, whatever, of the work of Julio Molina.

next day to see mourn the gun, and had some free time, I went to the Library of Congress in search of all the newspaper accounts of the act in question. The Arlt and had managed googling. A specific text, compelling, painful (Apply the same adjectives to the version of Molina) who made me want to compare what was written by his colleagues, who dedicated Arlt the following paragraph: "I see four guys pale as dead and disfigured that bite their lips are: Gauna, La Razon, Alvarez, Last Minute, Enrique González Tuñón, Critic and Gomez of The World. " Yes, I know, I could have made the most interesting chapter in Bayer where he discusses the media coverage of the shooting, but there the four journalists named Enrique González Tuñón only appears with a chronic very picky and quite lenient with the defendant if one considers that the journal Critical often treated quite badly Di Giovanni. On the other hand, I felt the need to see everything with my own eyes, moved by a desire almost fetishistic experimenting for a while I usually feel a historian to do the job, mating day and night (yuck!) with yellow paper and black and white photos to be born (and gaona) still preserve some detail the background of the scientific community (for natural childbirth, cesarean section or forceps).

The Library building, strictly compartmentalized, has more signs that a Brechtian set. At the reception, they took my photo and my personal data stored on a PC (Communist Party "?). Then, the manager politely greeted the microfilm room and immediately, I began to read my list of needs. Below of that, also in blue ballpoint pen, had scored at lunch: "Are these three journalists have seen the same thing and González Tuñón Arlt, who, by virtue of his writers were more likely to exaggerate and embellish the facts? Severino Di Giovanni "will be faced death in the eye (ie, it is true that he refused to wear a bandage as claimed by Arlt and González Tuñón both)? "Di Giovanni will be shown at all times serene, as" a man who tends the fire while heating water for drinking mate? Could she have been proud of taking their final days? Will shouted "Long live anarchy!" (In cocoliche?), Seconds before receiving the shooting? Arlt "sympathetic to anarchism (you know that this González Tuñón yes)? "Di Giovanni was a hero (my defaulting party affirms, denies me moderate, especially considering the innocents who died in their attacks, and ultimately, growing old and bourgeois, I'm leaning so assiduously moderate)?

"From the year '31, is just to see the newspaper The Nation," said the employee. I was about to ask the same, but the frustration got the better of the tenacity and decided to go with his hands vaías {(after the way home, I regretted had not reviewed the copy of The Nation and Arlt figured I did not mention in his story to journalist that environment because, really, was not at his side, with Gauna, Alvarez Gómez and González Tuñón - looks like the front a football team of yesteryear - but actively participating in the firing squad, according to Arlt, ran a few steps back by "fear of the bullets bounce" (this detail does not appear in the chronicle of Gonzalez Tuñón) and thanks this vantage point, his chronicle, called away from dying I've seen, I ended up graduating killed ) clarified that the latter parentheses should be read always and in all cases being very present to the past: at the time, the editorial of The Nation was not entirely related to the first de facto Argentine government, but supported the coup to Yrigoyen (before the fateful 6, September, the newspaper reported the misuse of public funds by officials of the "Hairy", giving a final push to the government) understood that it was an extreme measure but necessary to regain the path of democracy - again, go and go But throughout the twentieth century the newspaper again contradictory argument hold more than one occasion, in terms of Di Giovanni, was not a character which will appeal to readers of The Nation, thus the views expressed in its pages were not exactly in favor of the struggle and the methods of the former, but recognize that other newspapers, I insist on Criticism, were much more ruthless with Italian}.

Resigned, I went through Callao, the same avenue where he tried to escape (and failed) Di Giovanni in a hail of police bullets that killed a child. Fittingly, the trial also blamed the anarchist of this tragic event trigger-happy, full and was ju (z) and liver. As I walked towards Corrientes, as I wrote down in my notebook: "not being installed audiovisual memory of the figure of Arlt, economically the actor Gabriel Fernandez made his composition without resorting to imitation and parody, adaptation de Molina is faithful to the style of etching, by passages almost telegraphic, but releasing the poetic force contained between the lines, the costumes and scenery properly recreate the thirties. " All pros, finally, I decide to add to this review without developing too. Because, really, in my opinion, the highlight of The image was crying rifle (and it would be good if all works out, huh? - Oops, the controversy was put together!) Is infinity bridges that tends to history, politics, literature and journalism in our country.

Ultimately, when you work suggested readings, and you sit in front of the computer to find information, and even gives you impetus to go and consult in a library, there is no doubt that it's worth watching.

IMAGE RIFLE WAS CRYING

Sunday 20 hours Teatro Del Pueblo

Roque Sáenz Peña 943
Admission: 40 pesos (Est and jub. 25 pesos)
Reservations: 4326-3606 / 4394-2639
www.teatrodelpueblo.org.ar

Performer: Gabriel Fernandez
Costume Making scenic Mercedes Arturo
: Edward Ramoni
Escenomontaje: Mario Alfano
Photo: Tatiana Sandoval
Graphic Design: Santiago Franzani
Press: Claudia Mac Auliffe
Sound Area: Cecilia López and Manuel Sahores
Area view: Alejandro Le Roux, Ana Laura Urso and Julio Molina
Lighting: Alejandro Le Roux
Assistant Director: Ana Laura Urso
Dramaturgy and staging: Julio Molina

Then you can read the chronicle of Roberto Arlt:

I've seen die ...

The 5 least 3 minutes. Afanasos faces behind bars. Five minus 2. Grinding the bolt and the iron door open. Men who rush as if running to take the tram. Shadows that are large jumps in the corridors lit. Rifle noise. More shadows than gallop.
We're in search of Severino Di Giovanni to watch him die.

The litany. Space

blue sky. Rustic cobblestone. Green meadow. A side chair as in the meadow. Troop. Mausers. Lamps whose light punishes the dark. A rectangle. It looks like a ring. The ring of death. An officer.
".. according to the provisions for violation of camp ... ... law number ..."
Officer under the tiled display. Opposite him, a head. A face that seems smeared in red oil. Terrible eyes fixed, coated with a fever. Black circle of heads. Severino Di Giovanni is
. Prominent jaw. Front fled to temples like the Panthers. Extremely thin, red lips. Red forehead. Red cheeks. Eyes blackened by the effect of light. Naked thick neck. Chest by the lapels edged blue blouse. The sores appear polished lips. Are opened slowly and tongue, red as a pepper, licks her lips, wet. That body burns in temperature. Relishes death.
".. item number ... of martial law superior court ... ... seen ... decant the superior court ... war, soldiers and noncommissioned officers ... "Di Giovanni
look at the officer's face. Casts on that face tremendous force of his vision and the will that keeps him calm.
" .. we're trying ... warning to Lt. ... Pattern Rizzo, vocal ... lieutenant colonels ... side ... give yourself a copy ... Fixed issue ... "Di Giovanni
licks his lips. Listen carefully, it seems to look into the clauses of a contract whose provisions are very important. Move the head nod, compared to ownership of the terms is reads the statement.
".. Take seen the Minister of War ... be shot ... signed, the secretary ... "

Talking Reo.

"I wish to apologize to the lieutenant defender ...
A voice: "You can not talk. Take him.
The convicted walks like a duck. Feet shackled to an iron bar to tie the hands wives. Go through the rustic cobblestone strip. Some viewers laugh. "Zoncera? "Nervous? Who knows!.
The defendant sits quietly on the bench. Supports the back and chest out. See above. Then he bends down and apparently abandoned his hands between his knees open, a man who tends the fire while heating water for drinking mate. Stay
and four seconds. An NCO is crossed by a rope to the chest, so that when the bullets do not kill him roll ground. Di Giovanni turns his head from right to left and left to tie. He has been the target
rifle platoon. The officer wants to sell the condemned. He yells
-Venda no. Look

stiffly to the executors. Will emanate. If you have or not is a secret. But it remains so stiff and proud.
a difficulty arises. Fear makes bullets bounce ordering the troops, perpendicular to the firing rifleman, retiring a few steps. Giovanni Di
remains straight, leaning back against the backrest. Above his head, a strip of gray wall, legs moving soldiers. Take chest. Is it to get the bullets?
-Platoon, firm. Aim. The voice of the accused
explodes metal Vibrating
- Viva Anarchy!
- Fire! Glow

sudden tumult. A stout body has become a folded sheet of paper. Bullets break the rope. The head and body falls on the grass is green with hands touching the knees.
Fireburst the coup de grace.

Dead.

The bullets have written the last word in the body of the inmate. The face remains serene. Pale. Half-closed eyes. A blacksmith at the feet of the corpse. Shackle rivets removed and the iron bar. A doctor observes. Certifies that the prisoner is dead. A man, who came in tails and dancing shoes, he retains the galley at the crown. It seems to leave the cabaret. Another says a bad word. I see four guys
pale as dead and disfigured that bite their lips are: Gauna, La Razon, breaking Álvarez, Enrique González Tuñón, Critic and Gomez, El Mundo. I'm as drunk. I think those who laughed. I think the entrance of the prison should be a sign that read: "It is forbidden

laugh. You may not attend
-dance shoes.

the anarchists STILL THERE?

Yes, there are few and are on the rise. In these pages you can find much information about the anarchist movement:

http://www.anarquia.org.ar/

http://www.libertario.org.ar/

http://www.elrefractario.com.ar/

www.ainfos.ca/ca/

http://www.redlibertaria.com.ar/

One of the biggest concerns is to achieve anarchist militants away from violent stereotype that circulates "intentionally" on anarchism, which Severino Di Giovanni would be the prototypical example. In an article published on the web The refractory can be read the following reflection: "Many people seem to think that anarchists are adept to violence, chaos and destruction, who oppose all forms of order and organization , which are nihilistic fanatics who want to end it all. Nothing is further from the truth. Anarchists are people who simply think human beings can behave in a reasonable manner without be compulsory. It is actually a very simple concept. But is the notion that the rich and powerful have always considered more dangerous. " To read the full article, click REQUEST: http://elrefractario.blogspot.com/2008/03/eres-anarquista.html

Mossy Oak Cake Supplies

6:30 p.m.:



continue in the cycle-to us-eternal time. We have just passed a long winter, colder than normal in the Mediterranean, with many highlights and some shadows (could not be otherwise.)

few days ago stunned Barcelona with a time of staggering proportions snow. I saw for the first time in 45 years what it means to walk in a snowstorm to get to the nearest bakery, harder to swim 50 m freestyle. It rained a lot, we had days and days of a longer British other thing.

But finally today, we have changed our season. In the pots of the balconies, in gardens, in the air in the morning and looked for days, but for us, loving boundaries and labels to things, has started just a while ago.

If last winter was interesting, spring brand just promises.

Baja Racer Blueprints

100 YEARS OF FAT FILE BARBOZA HERALD ARAGON COLLABORATING WITH ITS 115 YEARS

The photographic archive contains photographs from Fat Barboza 1892, from Pharmacy and Drug old Jordan in the street Cerdan, which was selling for disclosed. Santiago Ramón y Cajal to the acquired prepare plates bromide gelatin emulsion-quick, taking friends with the owners, especially with Michael Jordan Marraco pharmacist, who is also one of the pioneers of photography in Zaragoza late nineteenth century.

The other component of photographs comes from the golden ball, trading and selling photographic equipment he owned Don Joaquin Fat, one of whose sons Joseph, the more he was president of Helios, had a photographic studio and Aurelio Fat Sancho eventually became one of the largest English photographers of the first half of the twentieth century. His interest in understanding photographic technique takes from a child to practice the art of Daguerre, published in 1907 his first picture in the magazine Black and White in Madrid with 14. During the French Hispano Zaragoza Expo 1908, practiced Tick picture with the camera, leaving a document of the events of that event. And not until 1910 that he published his first two shots in the Heraldo de Aragón, No. 4851, on June 13, 1910, in which the caption reads:

Flower Show Hospice in the shelter of Zaragoza and the other mayors Borja, Agon and Bulbuente in the yard Diputación Provincial de Zaragoza.

These two pictures are the beginning of an ongoing collaboration with the Herald, becoming the first photographer for the newspaper that goes out to photograph its people and to spread its activities in Aragon and Spain, through the ABC and Black and White, ie the first photographer and journalist born in Zaragoza, who photographed the streets, no street in the city, is a curious ... ...

While serving his duties as reporter, he studied medicine in Zaragoza and still doing interviews, and in 1911 with the Joaquín Costa's funeral on 11 February. The caption says the following legend: Costa's casket at the time of being deposited in the tomb of Torrero Cemetery. Photograph obtained with light magnesium last night for the Heraldo de Aragón by Mr. Fat. This means he was using the latest photographic technology at the service of photojournalism, advanced all the time. Then in 1917 he graduated as a doctor and stop being a reporter, goes to Madrid and Paris to specialize in dermatology and radiology, and returns to install its first consultation in 1921 at the Paseo de la Independencia, 22, pral. and then in 1927 in the Calle Joaquin Costa 3 pral.

Aurelio Grasa sigue colaborando con el Heraldo, pero con temas muy puntuales como en 1919 con las fotos de Santiago Ramón y Cajal que le hizo en el Monasterio de Piedra y sobre las que el sabio reflexiona sobre la vida y la muerte ante tan bella imagen y le escribe al pie de una de las fotos: …….A mi estimado compañero el Dr. Grasa en testimonio de consideración y simpatía. S. Ramón y Cajal Madrid 25 de octubre de 1919.

En la década de 1930 publica fotos artísticas de sus viajes por Europa con sus amigos de los Montañeros de Aragón, Manuel Marraco, Luis Gómez Laguna y Joaquín Gil Marraco, which appeared in the Herald successive timetables. On June 30, 1972 Aurelio Fat dies Zaragoza and Herald devotes very beautiful articles, especially that of Michael Gay, Fat Aurelio a man of the mountains.

This whole photo archive is kept in glass plates, stereoscopic plates, celluloid clichés universal way he used Leicas and common paper originals, and his grandchildren Charles and Francis, both Industrial Engineers this wide world are digitizing images.

Curiously, Carlos Aurelio eleven, was published in the Herald in 1992, on January 20, a photo in front and two on the inside story on the procesionaria in Huesca. After the February 27, 2005, he collaborated with his teacher Professor D. Fernando Torres Leza, Chairman of SIF and specialist in the machines of Leonardo da Vinci, with an article The company in the world within a great story on the Talgo.

http://www.sif-mes.org/ descargas/Heraldo_2005-02-27. Pdf

The friendly relationship maintained by the Fat family Yarza Jordan with the family and continues to hold Mompeón by Antonio, Fernando and Pilar de Yarza Mompeón and brothers Antonio Bruned Mompeón, including me in his friendship and collaboration and in interviews and publications of my articles in the Herald. On April 6, 1978 was published the first article, techniques used by Goya engraving , continuing my collaboration in the Art section who directed Angel and Luis Garcia Bandrés Azpeitia, then in charge of Arts and letters in which I worked from the start with design and photography, with the post Juan Dominguez Lasiter and Antón Castro continues today.

Teresa and I wrote many articles in the Extraordinary del Pilar Goya text and photos which are then reproduced in color in articles for the Herald's new Sunday supplements now disappeared. All this collaboration of text and photographs of Goya culminated in a book entitled Goya on the road, which was distributed in installments with great success. It was sold in the Seville Expo in 1992 and was delivered to the Infanta Elena the day he gave the first prize in Fuendetodos Goya.

The Fat File photo Barboza is a hundred years of collaboration with the Heraldo de Aragón, because we do not stop posting pictures on sites like Arts and Letters , or in collaboration with Mariano García, when they demand the restoration of the murals in the Bayeu in El Pilar or Lucia Serrano, organized by the immense wealth of the Herald that in its 115 years dedicated to the event a Special Supplement, which contains photos of Aurelio Fat.

Carlos Barboza Vargas

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View aragon.es Herald March 21, 2010

Official Blog of artists Carlos Barboza Vargas, Teresa Fat Jord? Ny Aurelio Sanchez

Fat

Good Clean Dare Punishments

GARGALLO AND GOYA IN RODIN

Now that Rodin Zaragoza visit two other universal artistic genius born in Aragon, as are the sculptor Pablo Gargallo and Don Francisco de Goya y Lucientes The former is located in the streets and squares of the city and a museum created by her daughter Pierrette Gargallo and the city of Zaragoza, while the second is in the walls of Pilar and Aula Dei and Camon Aznar Museum of Fine Arts.

Gargallo knew the work of the books, but my confrontation with his work sculpture was in Madrid in a retrospective exhibition of 31 works exhibited at the gallery Theo. In the years 1975-77, worked as a correspondent for the newspaper El Excelsior of Costa Rica, has now disappeared, and wrote an article about this exhibition, together with further comments on the work Vassarely kinetics:

.... "Theo de Madrid Gallery, now in its new venue in the Marquis of La Ensenada 2, where they have spent contemporary art exhibitions with which one can get a good idea of \u200b\u200bwhat the twentieth-century art and its evolution. Ever, Gallery exhibitions Theo has been excellent, and have suffered some distressing vicissitudes as the destruction of the prints of Picasso's Vollard Suite .... GARGALLO: Born Maella, Aragon, in 1881 and based in Paris, where part of the Cubist movement and investigating concerns of his generation .... The Cubism art major renovation, which started all inflammatory structuralist currents of the time, completed the break with Renaissance perspective, where the deprived monocular vision. ... ... Picasso and the Cubists used biocular vision covering a wider field and mobile, where the face is represented in front, in profile and from various angles to time. All these theories are carried Gargallo sculptural practice, looking for concave, convex and rhythm where the light plays on the forms and gives us the volume ... .. ... .. There torsos and nudes reminiscent of Rodin's first time and classical sculptures of the nineteenth century, but the great contribution to sculpture Gargallo is seeking the hollow light rhythm and excelling in their highly personal sculptures such as Maternity, Kiki de Montparnasse, Circus Horse, Portrait of Marc Chagall and in his two works where it reaches the full extent of his research and his office such as The Prophet and Uranus, both in 1933 and its deep psychological portrait of Picasso.

Years later, living in Zaragoza, Gargallo Museum was inaugurated in Argillo Palace at the Plaza de San Felipe, due to the generosity of the sculptor's daughter Pierrette Gargallo, which has continued to enrich the museum with new contributions until today. Rafael Ordonez tells us in his detailed study of the Museum and the work of sculptor Maella, began restoring the building in 1980 by the architect Angel Peropadre, concluding in May 1985 and inaugurated two months later. The photographer Aurelio Fat studied in this building, which was the College of San Felipe, and living in the golden ball, street Candalija. We present two photos of the College, outside and inside, unpublished paintings have now disappeared.

In that year, Teresa and I had finished restoring the dome and the scallops of the Regina Martyrum de Goya in El Pilar and we began the restoration of the scallops of Goya in Calatayud, and came to visit the French goyista Don Pierre Gassier to see these works and was interested in the new Museum of Gargallo. There were, taking the pleasant surprise that there was Pierret Gargallo with Rafael Ordonez. Greeted with joy, and who knew Paris and Don Pierre was an admirer of Gargallo and Rodin, which wrote an extensive study for the Rodin exhibition in Switzerland, Gianadda Foundation in Martigny, in 1984.

In 1990 we commissioned the restoration of the Bandstand at El Pilar Goya, which ended in 1991, and among the many personalities who climbed the scaffolding to see the young genius closely, Pierret was Gargallo with Rafael Ordonez. We talked about this Goya youth, being very impressed with his great ability and mastery of pictorial art.

In Maella, province of Zaragoza, is the birthplace of Gargallo and sculpture "Youth on the Beach" which is missing his mate with a towel. Today, Goya, Rodin and Gargallo are enriching the air next to the Ebro Zaragoza

Carlos Barboza Vargas

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Official Blog of the artists Carlos Barboza Vargas, Teresa Fat Jord? Ny Aurelio Sanchez

Fat

Garbled Answering Machine

AIR ZARAGOZA A ZARAGOZA PARIS BY

are currently in the calle Alfonso I Zaragoza seven sculptures Auguste Rodin. Walking through this exhibition space where the characters in a whole such as The Burghers of Calais , are separated forming each subset or individuality in the street, accompanied by the public of Zaragoza, are more helpless and vulnerable to death. Only thinker, and Dante at the gate of hell, is isolated on a pedestal heights overlooking the street as a backdrop, the extraordinary building of El Pilar, a whole to reflect on Rodin and his work very closely Ebro River

as I observe, photograph and meditate with Teresa Fat sculptures, the memories do not stop and I have to crowd the streets and museums of San José de Costa Rica, was a student in drawing, in which sculpture was one of my favorite passions. First in the National Museum where he was to draw the Indian sculptures, totem filled these forms of religiosity and mystery as well as Roman sculptures. But in San Jose National Park there is a monument inaugurated in 1895 to commemorate the expiration of U.S. filibustering army by the Central American Republics represented in the figure of William Walker in 1856-60. The monument came from the workshops of the French sculptor Louis-Robert Carrière Belleuse, master of Rodin, who received it after their failed attempt to enter the College of Fine Arts in Paris and "tells the oral tradition in Costa Rica that Rodin modeled one of his figures" according to the scholar Luis Ferrero.

This contact with the European sculpture in Costa Rica prompted me to make drawings of sculptures drawing pictures of the works of Michelangelo, Rodin and Giacometti, expanding my admiration for the work of art in three dimensions. In 1968 I was in Paris, and the first thing I did was go to visit the Rodin Museum to meet with the teacher, and that meeting me was a wonder that in later years he was to the city \u200b\u200bof the Seine, now Teresa, go to the Museum to breathe the creative flair of one of the greatest sculptors in history.

Now I'm in the street Alfonso with his characters in dialogue with the public, and walk along the street as the first form of bronze is the bourgeois Andrieu d'Andres you to your destination holding the head in his hands like a man condemned by Michelangelo in the Last Judgement, which would study the sculptor in his trip to Italy in 1876. The second sculpture is Pierre de Wissant, with a gesture of hermit in the desert, it seems that preaching like John the Baptist, the reverse of Jean d 'Aire looking aggressively to death or the enemy of France, the British at the time of the year 1347, is completely naked, his hands are strong, like his back, something crooked, shows the labor force. Eustaque Saint Pierre, the eldest, is the position of accepting his fate for the common good, the spiritual power and wisdom of his head recalls the portrait of Michelangelo in the Florentine Pieta in Santa Maria dei Fiore Florence. He who carries the keys to the city for delivery to the enemy, Jacques de Wissant , and that power makes it an icon, like a Caesar or a Patrick of ancient Rome. The youngest, Jean de Fiennes , ask the destination for his youth makes him think of the future and not death, is the figure most unprotected of all, and your body young athletic your muscles will not emerge, is a poem of desolation .

Atop the pedestal The Thinker observes his peers and the public, as in the Gates of Hell , this great man who embodies all that studied by Rodin in Italy, whose torso is the same Belvedere torso of Michelangelo loved and cared so much and that Goya served for the pictorial sculpture is Colossus.

That whole drive belt sculpture ever found in the street Alfonso de Zaragoza, sponsored by the City Council and La Caixa, the program Street Art and is a marvel to see the sculptures mixed with grandparents, marriage, the lonely, young children, talking, photographing this art and this reminds me of Giacometti the phrase "I prefer life to art."

Carlos Barboza Vargas

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Official Blog of the artists Carlos Barboza Vargas, Teresa Fat Jord? Ny Aurelio Sanchez Fat