Monday, February 28, 2011

Diaper And Keg Party Ideas

Biutiful: Barcelona is a good place to die sex



Barecelona is a city with many inhabitants, extends to left and right between two rivers (the river Besos and Llobregat north to south) limited the sea on the east and the west Collserola .. . In this space, crossed by plains, low hills, ancient streams, villages near the walled city have been gradually swallowed by the metropolis, the Mexican director Alejandro González Iñárritu tells a story.

A servant, who lives in this city for 46 years and kicking every day the streets, smell her perfume and suffers the consequences, saw the story and found it tremendously. A Tale of probable and possible beings inhabiting the Mediterranean area.











Uxbal is a father struggling to raise her two children, with the added problem of his wife bipolar, you have to stand up to a serious problem health that may determine the future of their children.




















is an ordinary man has no history that anyone will remember, does not stand out at all, is ... someone who takes life where it leads. It may seem a tough guy, and he certainly is, but it is a gift: he has not lost the ability to love, or their children or others. In its own way and within the ruthless, corrupt, that the law has established immigrants who land in the city, tries to maintain an "in-kind of" justice. This justice is hard to understand, both for immigrants to whom they give work to the police friend or even brother, business partner unorthodox. First

Uxbal is a deeply lonely man, who has no dip. The circumstances are making their heavier and heavier burden: children to be educated, couple that can barely tell and neither can take care of itself his ailing health ... and the few gestures of kindness toward others trying to turn against him. Fight like a samurai, and know you have to lose ...





















I will not give details of the argument, if you have not seen, because I went to see it with certain prejudices and the reality of the film passed me.

not pretty attend the reality of immigration are most disadvantaged in Barcelona, \u200b\u200bpeople who make their living in illegal, if not total outside the law. These paraditas of blanket tops we sell pirated CDs, imitation Tous handbags at great prices, enclose another reality that we all refused to recognize. We care a damn if that man of color depends on the murky business, which in turn is unfair competition for that another shopkeeper who opens his shop every morning and pay high taxes for it. Buy cheap, and that purchase, full of double standards, annoying the shopkeeper, can survive without papers can not do much more and get rich with an intermediary or a corrupt cop who is left to do, in exchange for a percentage. Is a zero sum game: everyone wins.

Does everyone win? Nobody stops to think about the consequences of what you buy someone in these conditions? I think to pretend everything ingorancia disturbed and upset. Not this complicated. Someone told me long ago not think it hurts to see things as they are, too. So we anesthetize the silliest rationales for not recognizing as what, to not address under what situations.

not much talk about these issues. Raids are made regularly in certain parts of my city "for cleaning" of immigrants and illegal sales, dismantling some sweatshop where people without documents are forced to work in conditions that no union would approve (and our beloved and reviled Constitution). We took the illegal vendors on one side and get into another so that not "see much." Sometimes we escape the mossos . Last summer witnessed a threat of flight, boarded the bus in which I was returning home from the hospital. I realized that people helped camouflage, to go unnoticed. I felt sorry. They do not want them here, but we buy their goods cheaper, we pay taxes but no jobs for unskilled labor so qualified. So give with one hand and removed with the other.

On more than one occasion I am ashamed. Own and others' shame.

And this is what you get, and one of the things that has this movie. All The story takes place in the city of Barcelona, \u200b\u200bin a location near my house I know. I have the honor of attending the Hospital del Mar to people who, as Uxbal, you have to deal with complicated situations and do so with a dignity so simple and natural. The beaches of Barceloneta, a school of the Raval, Gothic Quarter streets, even some location in the mine, appear alongside the Barcelona skyline, to make credible the story of Uxbal.

other hand, there are moments of brutal tenderness in the film, which shows the blurred image Uxbal own thinking. Those moments are especially exciting for me, walk in the same places the protagonist. View dawn near the sea, in the short streets of Barceloneta, is a small privilege in which only some children's souls and unconscious, repair ... look at the sky and see flocks of birds fluttering, sniffing the morning air in the neighborhoods of Barcelona who play the sea, watching the crazy town wakes up every day and goes to sleep every night ... I am not all that strange. Nor is foreign to me the vague feeling that I get the main character in this story: he tired of life, and at the same time, want to live hard.

I am told that reading stories is something you just bored, or simply interested to hear on people's lives, real or fictional. I still interested in the stories that some are determined to have, whether in the light of the moon, one night in the forest or on a desktop or hand of confidence, like a fable, concentrated in a good book or engaging film.

The stories are ... reflections and pieces of ourselves and others, through them pretend to live a life that is not ours and they, in turn, feed on our ghosts. The storyteller has something magical hands and the words that weaves its narratives. Now, with the film, too, are images.


Only a more detailed comment: the title of the film, which arises from a question Uxbal's daughter, while he does his homework. Things, then, should be such as they sound right?

Sunday, February 27, 2011

Queen Size Bed Fit In Cargo Van

recommended

Recommended formats (well, a lie, I spent all of the famous 140 characters):

Where do they go (side B) , new of Krapp / A no-show on own lively death / DEAD SPACE, Thursday and Friday 21 pm.

AM DEW , Veronica Schneck / lucid reconstruction of what destroyed us both / revival Saturday 5-3, 23.15 pm, HOST THEATRE.

Matambre I no longer think YOU AFRAID OR VACUUM , Patrick Abadi / the obscene and scatological treated with the (sun) structure / Saturday 23 pm, Teatro La CLAC.

EACH OF THE SAME THINGS , Alberto Ajaka / Fresco generation procedures educational policy at all / Monday 21 pm and Friday 22 pm, ROOM CLIMBING.

Thursday, February 24, 2011

How Do I Get A Doctor To Prescribe Me Quanapin

GOYA TIME AND Charterhouse of Aula Dei Open Letter to the DGA and the Heraldo de Aragón




It is becoming a general trend the proliferation of companies Restoration of Cultural Property, where such activity has become a business and want justify higher budgets that come over the work and restored, making alarming statements, as is the case of Regina Martyrum del Pilar de Zaragoza and now in the Cartuja de Aula Dei painted by Goya in 1774. Both reports speak of them deteriorated, showing graphic and verbal representations before the last restoration, giving the press inaccurate and outrageous.


say this, of an article Heraldo de Aragón on Tuesday February 15, 2011, page 43 , entitled "The Betrothal", the work in worse Goya in Aula Dei, already restored. Following the introduction, subtitled: Interventions unfortunate. In this section, read as follows: An additional difficulty is the lack of documentation about the work, both as regards the request that was made to Goya, as the interventions that have experienced ... ..


We do not know what interventions are concerned, because our work in 1978-79, on the work of Goya, is well documented, commissioned and endorsed by the Central Institute for Restoration of Madrid, and the College of Fine Artes de San Fernando in Madrid, the Technical Director was D. Gonzalo Perales of the Institute and Professor of Restoration School, D. Francisco Nunez de Celis, who moved monthly to monitor the works. At this point, Teresa served as Professor of Chemistry applied to restoration in the Institute and the College of San Fernando in the same specialty. The famous architect of the Certosa, D. José Romero, advising us on issues of architecture. We favorable opinion to the work of major catalogers in the work of Goya, D. José Gudiol and D. Gassier Pierre, who knew very well the previous state of the paintings of Goya, as the historian D. Nigel Glendinning, who was on the scaffold accompanied by Professor D. Gonzalo Borrás.

We
bills of materials used to notificábamos Mr. Perales, as the ratio of time spent in work, paying off and the assistants final payment invoice, dated September 11, 1979. All documentation must be kept by the Central Institute for Restoration of Madrid. As for our intervention was followed by the press and English Television in Aragon, there is more to resort to the newspaper archives of newspapers, especially the Herald of Aragon, who has now published this article.

respect to books published prior to our restoration, is an important monograph of Goya in the Cartuja de Aula Dei , written in 1975 by historian D. Julian Gallego, in which can see perfectly state in which the paintings were. Don Julian also visit us on the scaffold and was glad to see the work of Goya recovered since suffering for their previous state. Another Professor who was outstanding and his book Goya in Aragón 1971, published graphic documentation before our restoration and was the engine for being received was D. Antonio Beltran Martinez, who requested the Institute of Madrid restoration of the work of Goya. Also continued our work step by step.

then we have continued to disseminate our intervention and in 1982 published the Goya written by Professor D. José Camon Aznar, published by Ibercaja, and the 4 th volume, D. José Luis Morales y Marin, includes an appendix with a detailed text and photos of the figures in Aula Dei and Regina Martyrum , page 342 et seq. In 1986, Teresa filed Thesis entitled "Contribution to the study of wall paintings of Francisco de Goya in the Charterhouse of Aula Dei in Zaragoza " to get the recognition the Title of Professor of Drawing for the Bachelor Fine Arts, and its Director, D. Francisco Nunez de Celis. Another book that is available is to The Charterhouse of Aula Dei in Zaragoza , edited by Caja de Ahorros de la Inmaculada, 1986, page 476, which published a comprehensive report with pictures before and after our work in the paintings of Goya. In 1996, the Diputación de Zaragoza we edit, Goya against the wall, where gathered all our work and research on the paintings of Goya in Aragón.

article in the Heraldo de Aragón above, Ms. Morales and Mr. Mendez, state: .... "A of them, made sure to "revive" the original colors, damaged: it was a solution of linseed oil and resin and it was so hot, the slip, was dissolving the paint. "We do not know when it was or why ..."

The various operations on the paintings of Goya are documented in the book about the monastery above, published by the ISC 1986, and the loss of pigments and powder of the same state in some areas, was due to neglect, after the confiscation, which suffered the fabric of the Church, causing bulges, salt efflorescence, cracks, water fall through roof and windows, which dissolved both the plaster and the pigment onto the skin. The Carthusians, Charterhouse recent buyers, worried about their state, called the Brothers Buffet who, due to the complete destruction of the paintings located in the wall of darkness, new scenes painted and restored the rest. The Father Superior Misassignments, painter, could save the rest of the work of Goya and other works of art from the Cartuja , we published data, studying the archives of the monastery, as well as the dates of their execution.

The five works, The Betrothal, The Visitation, The Circumcision, The Magi and the Presentation, had a thick layer of varnish that had held the paint and water losses. The Buffet in some areas over the original painted by Goya, to match the color of the area enclosed by them redone. We eliminate the repainting in oil, thinned the most of this thick old paint, and did not intervene on the original as Goya also left red transparent background, and if it is tweaked, the end result can be detrimental to the whole.

Ms. Mora talks about the crack of betrothal, and says: "opened, removed the fill material that was inside and was changed to inert material ... does not say is that our intervention consolidate all the crack and its surroundings, about a meter on each side, along the surface of paint lifted from the wall, and apply the crack inert material, a special silicone, which was the first time you used in Spain for these jobs. Thus says with surprise, "that we have concluded in a couple of months" ... . The work was done. We find this quite surprising if they speak of many previous studies on the wall. hope that on this occasion have been used not only inert materials, but reversible, as we do in our interventions, according to UNESCO standards, as expressed by saying easily have eliminated our interventions to be next intervention facilitates the materials used today older. Do a good job now, and stop casting doubt on previous performances were met with worse conditions than today. What remains is thanks to them, and why can continue working in his office and paid for it the hefty fees they are paid today for the Autonomy.

So our previous restoration interventions are documented, you just have to research in libraries, publications, the Institute of Restoration of Madrid, Escuela Superior de Bellas Artes de San Fernando and our blog entry December 1, 2009, see Goya in the Cartuja de Aula Dei and its restoration and 19878-79 in picasa images, which are before and after graphic references of our work, and Barboza vimeo can watch programs published by TVE Aragón. www.barbozagrasa.com



Fat Teresa Jordan Carlos Barboza Vargas
Restorers
Faculty of Fine Arts of San Fernando, Madrid. ICCROM-UNESCO, Rome.


Saturday, February 5, 2011

Patricia Montorola Wedding

FEATURE PHOTO OF THE BURIAL OF COSTA JOAQUIN BY AURELIO FAT, 1910-1914.

Press on HD stands for high resolution.

When the polygraph Aragón Joaquín Costa died on Wednesday February 8, 1911 in Graus, the young photographer and student of 2 nd of Medicine Aurelio fat, about to turn 18, is working as a photojournalist for the Heraldo de Aragón , ABC and Madrid Black and White. Given the importance of intellectual and political personality, Madrid want to receive the remains of Coast to be buried in the capital of Spain. But the people of Aragon, after a huge outpouring of grief, gets to be buried in Zaragoza. Fat Aurelio takes a photo essay of the event, over the days that follow the events, from his exhibition at the Red Room of City Hall until his burial in the cemetery Torrero and his grave covered with flowers, bearing witness graph their stay in Aragon.

retain on file the collection of 16 plates of 13 x 18 cm. he made with his camera Goerz, including a portrait signed by Costa, and 9 pictures of plates of 9 x 12 cm. illustrating the different designs for the mausoleum after his death was planned, including the winning sketch the same, because Bescós and Lafuente, and Assemblymen groups visiting the monument and ended in 1914. The series is completed with a plate of 13 x 18 cm. which shows the first sketch made by the sculptor José Bueno, and published in the Herald of Aragon on October 30, 1911, but was not carried out, and various tests of the time on paper, all autographed Aurelio explaining itself acts reflected. That is, Aurelio, from its beginnings as a photographer and reporter is fully aware of the importance of image and background, knowing that portrays a moment that will be historic.

The series starts on 11 February, with the photograph Burial Joaquín Costa in Zaragoza. Authorities and Commissions around the coffin of eminent upon his arrival in Zaragoza, published on the cover of ABC in Madrid on February 12, 1911. That same day, in the Heraldo de Aragón published Rows were visitors from the Council to the second door Pilar. On Monday 13 February, continues to portray the popular event, parading Mourning D. Street Alfonso I, far right of his funeral, at night, Costa 's casket at the time of being deposited in the grave in the cemetery of Torrero. Photograph obtained last night magnesium light for Heraldo de Aragon, by Grease. also realize Freudenthal and Cortes event for Heraldo de Aragón. In Black and White photographs published Alfonso Madrid, Capella and Cortes.

addition to these photos posted, the article describes at various times to the gravediggers preparing the grave, tucked into her, torrero Cemetery and the grave covered with flowers, the crown of the Children Graus, Corona del Centro Aragonés de Madrid, and ends in .... Zaragoza. Costa's tomb crowns cover the feast of All Saints, published Heraldo de Aragón, 3 November 1911. In 1914 continues to report graphically the construction of the Mausoleum of Costa, with several photographs published in the Herald of Aragon on June 12, 1914.

The premise of this collection of photographs relating to Fat Aurelio Burial Joaquín Costa in Zaragoza, MP4 format is presented in HD, at the headquarters of the Royal Photographic Society of Zaragoza, Calle Luis del Valle, 2 - 4-6, local. Was carried out by Francisco Barboza Fat. On March 7, 2011, in the Field of Culture of the English Court of Zaragoza, Paseo de la Independencia, another version will be presented, including the mausoleum projects first contest of 1912, highlighting the two works presented by the sculptor José Bueno, a friend of Aurelio, which are unpublished to date.

Fat Teresa Jordan Carlos Barboza Vargas
Photo Gallery Barboza Fat
Zaragoza, February 5, 2011 Fat

Wednesday, February 2, 2011

How To Decorate Camouflage Cake

brown brown tweets

do all things theater
acting workshops
theater classes by Jurberg and Luz Marina Lassizuk

inscription is now open for theater workshops 2011: Level

Initial
Thursday from 20 to 22 hours.
Open Class - Classes Start
Thursday March 31, 2011

Advanced
Wednesday 20 to 22hs. Classes start

Wednesday April 6, 2011 Order
previous interview.

Adult classes are held in Palermo.

For information and registration:

4822 6473 / / 15 5 796 8678 / / 15 6 955 2385

hacerteatrodetodaslascosas@gmail.com

www.hacerteatrodetodaslascosas.blogspot . com