Incluimos el siguiente material a fines informativos solamente.
Intentamos por
todos los medios que la información aquí contenida
sea exacta y actualizada. Sin
embargo, recomendamos confirmar en cada caso, contactándose
con los orga-
nizadores de cada actividad. Si desea agregar o corregir algún dato,
por favor escríbanos a cnyor@mrecic.gov.ar
The following material is for information purpose
only. We try to ensure that
all the information below is accurate and up-to-date. Nevertheless,
we suggest
to contact the organizers to confirm each event. If you like to
add or correct the information below, please email us to cnyor@mrecic.gov.ar
CREATING
A MUSICAL TRADITION String Quartets by María Cecilia Villanueva,
Mario Davidovsky
Friday, February 10, 7 pm Americas Society, 680 Park Avenue, New York
Two
Argentinean composers help us explore the processes
through which they construct their musical traditions.
This concert, the second of our series investigating
this issue, will feature pieces that María Cecilia
Villanueva and Mario Davidovsky composed in response
to two of Beethoven's late String Quartets.
In
this event, the audience will hear Beethoven's Quartets
opp. 127 and 132, Villanueva's Retrato del pasado (US
premiere) and Davidovsky's Quartet Nr. 5, Dank an Op.
132 performed by members of New York's Ensemble Sospeso.
The evening will also feature a conversation with the
composers about how and why they chose this author and
these works to be a part of their musical identity.
ABOUT
THE COMPOSERS Mario Davidovsky, born in the small town of Médanos
in 1934, moved to the US in 1960 and has become a major
figure in the new music world. María Cecilia Villanueva was born in La
Plata in 1964 and lives in Buenos Aires. She teaches
and conducts research in music theory at the Universidad
Nacional de La Plata.
The
concert is FREE and open to the public and is
supported by a generous grant from Citigroup Foundation.
Americas
Society is a not-for-profit organization that promotes
understanding about the political, economic, and cultural
issues that define and challenge the Americas today.
Events
are free, open to the public, and wheelchair accessible.
Americas Society Members receive priority seating. For
more information or to reserve your seat, please RSVP
at (212) 277-8359 or culture@americas-society.org.
For information about other cultural programs, contact:
(212) 249-8950 or visit http://www.americas-society.org
Presented
in conjunction with the TRADITION AND TRANSFORMATION,
Jewish Culture in Latin America Series
UPCOMING!
UPCOMING! UPCOMING! UPCOMING!
VIS-à-VIS:
DIALOGUES BETWEEN ARTISTS AND CURATORS FROM THE WESTERN
HEMISPHERE
Thursday, February 23, 7 pm
Artist
Judi Werthein and Curator Sofia Hernández Chong
Cuy
VIRTUOSO
PERFORMERS SERIES
Thursday, March 23, 7 pm
Concert
featuring Antonio Meneses
MEMBERS
EXCLUSIVE!
Americas
Society Members! Enjoy reserve seating at our cultural
events, invitations to meet-the-artists receptions and
other special events, as well as complimentary CDs of
our featured musicians. Reservations are required. Please
contact us within 48 hours of any event at
(212) 277-8359 or culture@americas-society.org
to confirm your attendance.
For immediate release
Contact: Sue Havlish 615-343-2446
Argentine Torture Survivor To Speak
on Her Experiences as One of the "Disappeared"
Miriam Lewin (2nd from right, with the authors of
THAT INFERNO) will address topic of torture at New
York City events, May 2-8
In
1976, the Argentine armed forces overthrew the elected
government of President Isabel Perón.
A military
junta took charge and began a ruthless campaign against
liberals, leftists, and political dissidents. People
were kidnapped on the streets and “disappeared”;
the prisons overflowed, especially the Mechanics School
of the Argentine Navy (ESMA), the most notorious torture
chamber in Latin America’s history. An estimated
30,000 Argentines disappeared between 1976 and 1982,
among them journalist Miriam Lewin. She and four other
women recall their years of imprisonment and torture
in the new book, That Inferno: Conversations of Five
Women Survivors of an Argentine Torture Camp (Vanderbilt
University Press).
As Pulitzer Prize-winning New York Times editorial writer
Tina Rosenberg states in her foreword to That Inferno,
"This is a book about a hallucinatory form of torture—-unique
in the annals of repression—that took place in
the 1970s in the Mechanics School of the Argentine Navy.
. . . How this could happen is now, after Abu Ghraib,
somewhat easier for U.S. society to understand."
Last year Argentina's President Kirchner declared that
the Mechanics School would be turned into a Museum of
Memory of the atrocities of the "dirty war."
Ms. Lewin, in a visit sponsored by the Argentine Consulate,
will be speaking about her experiences at several New
York universities, in events open to all:
Wednesday, May 3 , 12:20-1:20 pm Columbia University,
International Affairs Bldg., Room 1101, 420 W. 118th
St., between Amsterdam & Morningside Avenues
Thursday,
May 4, 2:30-4:00 pm Pace University Student Media Room,
Pace Plaza, across from City Hall, 41 Park Row
Monday,
May 8, 6:00-8:00 pm The New School Wolff Conference
Room
65 Fifth Avenue (between 13th & 14th), 2nd Floor
BOOK
INFORMATION:
THAT
INFERNO
Conversations of Five Women Survivors of an Argentine
Torture Camp
By Munú Actis, Cristina Aldini, Liliana
Gardella, Miriam Lewin, and Elisa Tokar
Translated by Gretta Siebentritt
Foreword by Tina Rosenberg
320 pgs, 6 x 9, trade paper $27.95 (0-8265-1514-2)
Published April 17, 2006
by VANDERBILT UNIVERSITY PRESS
SOPRANO
ARGENTINA FABIANA BRAVO
REALIZA SU DEBUT EN EL CARNEGIE HALL
CON LA OPERA ORCHESTRA OF NEW YORK
EL 8 DE MAYO DE 2006 A LAS 8 DE LA NOCHE INTERPRETANDO
EL ROL TITULAR DE FIORA EN LA OPERA “EL AMOR DE
TRES REYES” DE ITALO MONTEMEZI.
Thursday at 8 PM May 4, 2006
MONTEMEZZI: L’amore dei tre Re
Isaac Stern Auditorium - Carnegie Hall
Eve Queler, conductor
Fabiana Bravo, Fiora
Fernando de la Mora, Avito
Sam Ramey, Archibaldo
with
Coro Lirico
Italo Marchini, conductor
Fiora
"Bravo merited a 'brava.' Sweet, but not
cloying, her lustrous voice was capable of both
strength and nuance."
San Diego Union Tribune
Avito
"a favorite with Opera Orchestra and increasingly
a presence at the met he showed a ringing tenor
and delighted the audience."
The New York Times
Archibaldo
"Its is doubtful anyone else today could
sing such extensive and demanding numbers with
such beauty of tone, interpretive acumen and
staying power."
N.Y. Daily News
FABIANA BRAVO - Soprano
Soprano Fabiana Bravo made her professional debut in
1996 at the Academy of Music in Philadelphia after winning
the 5th Luciano Pavarotti International Voice Competition.
Since then she has achieved recognition as Mimi in La
Bohème, the Countess in Le Nozze di Figaro and
Donna Anna in Don Giovanni in productions for Washington
Summer Opera; Madame Lidoine in Poulenc's Dialogues
des Carmelites at CUA and Leonora in Verdi’s Oberto
for the Opera Theater of Northern Virginia.
In 2000/01 Ms. Bravo debuted as the Countess in Le Nozze
di Figaro for Virginia Opera where she also had an outstanding
success in her debut as Tosca (considered by the Washington
Post critic Joseph McClellan as “One of the best
Tosca’s I have ever seen”). Other engagements
that season included her debut for Central City Opera
as Mimi in La Bohème and her first Cio-Cio-San
in Madama Butterfly with the Dallas Opera. In 2001-02
she joined the roster of the Metropolitan Opera where
she covered the role of Mimi in La Bohème. In
2002/03 Ms Bravo made a highly successful New York City
Opera debut as Giorgetta in Il Tabarro for the opening
of the season and with Tulsa Opera in La Bohème;
in the same season she made her debut with the San Francisco
Opera as Madama Butterfly and the New Orleans Opera
as Donna Anna in Don Giovanni. Additionally she sang
her first Norma with the Teatro de la Opera in San Juan
and returned to Virginia Opera as Amelia in Un Ballo
in Maschera The 2003-04 season saw her in Detroit with
Michigan Opera Theatre in Ballo in Maschera, in Prague
for an all Verdi concert with Sergei Leiferkus with
the Prague Symphony Orchestra, telecast in Eurovision,
and a special Gala Concert for Palm Beach with Bryn
Terfel; She performed Desdemona in Otello with Washington
Summer Opera, inaugurated the new theatre in Mendoza,
Argentina with an all Verdi Concert and covered the
title role in La Gioconda for the Opera Orchestra of
New York.
In 2004-05 she sang Mimi in La Boheme with the Palm
Beach Opera and San Diego Opera, Tosca in Shanghai,
China and a Verdi Concert in Oviedo. In 2005-06 her
engagements include a return to the Met roster for Aida,
Los Angeles Opera for covers of the Robert Wilson production
of Madama Butterfly, Norma with Virginia Opera, Leonora
in Il Trovatore with Washington Summer Opera, Concerts
in Copenhagen, the Verdi Requiem with the Charlotte
Symphony and the title role in L’Amore de tre re
at Carnegie Hall with Opera Orchestra of New York. Upcoming
engagements include Tosca with Toledo Opera and Amelia
in Un Ballo in Maschera with Opera Sta Barbara.
As a concert artist Ms. Bravo has performed in Europe,
North and South America: In Italy she appeared in several
concerts in Rome, Parma and Voghera including a recital
at Castel Gandolfo for Pope John Paul II, she also made
her debut as Mimi in a concert version, with the Orchestra
of the Teatro Carlo Felice in Genoa. In Canada Ms. Bravo
was the soloist soprano for a tour of seven performances
of Verdi's Requiem with L'Orchestre Métropolitain
of Montreal. In the Washington DC area she has participated
in several concerts at most of the major recital halls,
including a Kennedy Center debut as the soloist for
the Mozart Requiem. In South America she has participated
in festivals, recitals, and concerts in Argentina achieving
stardom recognition through the First Opera Festival
of Mar del Plata (1997), the Second Opera Festival of
Mar del Plata (1998) and several concerts in her hometown,
Mendoza, with the Mendoza Philharmonic Orchestra. For
her outstanding contribution to the arts as a young
artist, the Congress of Argentina named Fabiana Bravo
1999 Argentine Woman of the Year. In addition to being
a Pavarotti winner, she is also an Operalia Finalist,
an Opera Index winner and Regional Finalist of the Met
Competition.
U.S. Bridges to Argentine Children, Inc
te invita a pasar un buen rato con amigos, escuchar buena
música, tomar unos tragos y de paso colaborar con esta
excelente causa. Podés venir con cuantos amigos quieras!
Cuándo: Miércoles 14 de Junio a las
7.30 pm
Dónde: Novecento (la donación
mínima será de tan sólo $10).
343 West Broadway
U.S. Bridges to Argentine Children, Inc.
es una "not-for-profit organization" fundada e incorporada
en Nueva York en el año 2002 con el propósito
de promover el bienestar y la educación de chicos en
Argentina y de colaborar con entidades argentinas con similares
objetivos.
Lo recaudado ese día será destinado a financiar
la realización de una evaluación—a ser
implementada en Buenos Aires por la Asociación
Incluir—, para mejorar los proyectos educativos
de una organización comunitaria de base, a ser seleccionada
por la Asociación Civil Puentes. (U.S.
Bridges ha venido colaborando con dichas entidades desde su
fundación). Se entregará mas información
el día del evento.
At
TERRACE IN THE SKY
400 West 119th Street
(bet. Amsterdam Ave & Morningside Drive)
New York, NY 10027
http://www.terraceinthesky.com/
212.666.9490 Reservations
suggested for guaranteed seating
Sky Grille & Cash Bar. No Cover! LIVE
MUSIC 7:30PM - 9:30PM BAR OPEN LATE!
Spectacular
skyline views & river views ** Outdoor tapas & grille
Superb wines & exotic drinks ** Great networking events
August 8, 2006
ARGENTINE TANGO TRIO
Maurizio Najt, Piano
Tito Castro,Bandoneón
Nicolas Danielson, Violin
Opening
Reception:
Thursday, September 7th @ 6-8pm
"The soft
body of the old dummies on which, traditionally,
dressmakers and couturiers pin, baste and try the clothes
in the process of
being such, is the support on which the
artist works the moods, tensions and preoccupations of
the contemporary world." Alina
Tortosa, Curator
Consulate General of
Argentina in New York
12 west 56 street, New York City 10019 (212)603-0440
Gallery Hours: Monday - Friday, 11am-5pm
Pedro
Giraudo Jazz Orchestra
@ The Jazz Gallery
Thursday, September 21
Sets at 9 PM and 10:30 PM - $12 290 Hudson Street (at Spring Street) C or E train to Spring
St. or #1 train to Houston St.
RESERVATIONS: 212-242-1063
Will Vinson, Todd Bashore, Luke Batson, Carl Maraghi (reeds);
Jonathan Powell, Tatum Greenblatt, Ryan Keberle, Noah Bless (brass);
Jess Jurkovic (piano); Jeff Davis (drums); Tony de Vivo (percussion);
special guest: Sofia Tosello (vocals);
Pedro Giraudo (bass/composition/arrangement)
"...Pablo Betti is without doubt one of
the most subtle achievers of this very particular kind of work,
who thrives for a type of painting capable of penetrating the innermost corners
of matter in order to
reveal it in its most brilliant essence. His paintings are iridescent veils
inclined towards chromatic
insinuations (insinuations, because, after all, the predominance of one color
over another disappears
between one blink of the eye and the next) ..." Horacio
Safons (Honorary President of the Argentine
Art Critics Society) San Fernando, June 2006
AMERICAN
LISZT SOCIETY’S NEW YORK/NEW JERSEY CHAPTER
Founder/President: Gila Goldstein Vice-President: David Witten
PRESENT IN RECITAL:
NANCY ROLDÁN, piano JOSE CUETO, violin
PROGRAM
Béla Bartók: Six Romanian
Dances for Violin & Piano
César Franck: Sonata for Violin & Piano
Franz Liszt: Two transcriptions of Chopin’s songs & Mephisto Waltz, solo piano
Jenö Hubay: Scènes de la Csárda
AMERICAN
LISZT SOCIETY’S NEW YORK/NEW JERSEY CHAPTER
Founder/President: Gila Goldstein Vice-President: David Witten
PRESENT IN RECITAL:
NANCY ROLDÁN, piano JOSE CUETO, violin
PROGRAM
Béla Bartók: Six Romanian
Dances for Violin & Piano
César Franck: Sonata for Violin & Piano
Franz Liszt: Two transcriptions of Chopin’s songs & Mephisto Waltz, solo piano
Jenö Hubay: Scènes de la Csárda
Galería
Ramis Barquet is pleased to announce an exhibition of works by the
Spanish-Argentine pioneer of abstract art, Esteban Lisa. The works
included in this exhibition are a comprehensive selection of paintings and
drawings from the early 1930’s through the 1960’s.
Lisa’s
painting marks a long path towards the dissolution of form. His works from
the late 1930’s maintain a uniformity of surface, a transcendental
universe through the balance of opposites. By making use of long
brushstrokes and the abrupt accumulation of matter in small areas, Lisa
created unexpected textural variations. During
this period, the dark colors and the thickness of paint produce slow,
heavy surfaces where movement was still contained by form.
Intensity
and speed thus become evident in the 1940’s with the appearance of dots,
lines and curves in the interior of the surfaces, implying a major change
in his style.
The playfulness of his color planes and the constellation of marks and
signs not only communicate those forces that haunted Lisa, but also his
will to make them visible. These drawings set
up a vibration, a dynamism of form, that pushes them almost to a breaking
point. Having anticipated post-war “tachisme” was not enough for
Lisa, since it did not release him from the tight space covered by
geometrically patterned lines and signs. From
1953 onwards, the elements that created the pictorial forms would break
the limits with their vigorousness, and forms exploded in a diversity of
colors. It is movement, which surges out, torrential and untimely.
In the
1960s the picture surface lightens, the stroke effaces itself and the
entire form system disappears. The still visible brushstrokes, soon to
erase themselves, underline the trace of a lost movement. Lisa´s paintings
are fragments of an infinite and diaphanous universe: a cosmovision.
Lisa
created his own artistic lineage that almost summarizes the struggles of
abstract artists such as Otto Freundlich, Nicolas de Staël, Arthur G.
Dove, Serge Poliakoff, the Abstract Expressionists, the COBRA group, and
practitioners of early 1970’s pattern painting. The successive changes in
his paintings are either in synchrony
with international abstraction or even ahead of it.
The works
by Esteban Lisa (Cardiel de los Montes (Spain) 1895- Buenos Aires 1985),
have been widely exhibited, discussed and reviewed since they came to
light roughly ten years ago. He had one-man exhibitions in Buenos Aires,
Montevideo, New York, Madrid, London, Barcelona, as well as major
collective shows. Lisa's work was last exhibited in New York at The
Americas Society in the Abstract Art from the Rio de la Plata show
held in 2001, which traveled to the Rufino Tamayo Museum in Mexico City.
A fully
illustrated catalogue of 72 pages will accompany the exhibition with texts
by Edward J. Sullivan (New York University), Stéfan Leclercq (Collège
International de Philosophie, Paris) and César Paternosto (artist).
For more information or photographs, please contact Federica Simón at
federica@ramisbarquet.com.
A Festival of
4-English Language World Premieres Buenos Aires is renowned as the playwriting epicenter of Latin America.
Particularly over the past decade, new theatre from Argentina has captured the
attention of South America, Europe, Australasia and now, the United States. BAiT (Buenos Aires in Translation) epitomizes true international theatrical
collaboration, bringing together four of the most dynamic playwrights from
Buenos Aires and pairing them with four cutting-edge U.S.-based directors to
present a repertory program of English language world premieres. This is the
first time that any of these remarkable playwrights will have their plays
presented in the United States. BAiT will publish these plays -translated by
Jean Graham-Jones - in the winter of 2007. Subsequently, BAiT will select and
send four emerging U.S. playwrights to Buenos Aires and partner them there with
translators and similarly acclaimed experimental theatre companies - culminating
in four Spanish language world premieres.
For tickets and complete calendar of performances:
www.ps122.org
Shoshana Polanco, Creative Producer
WOMEN DREAMT HORSES by Daniel Veronese, directed by Jay Scheib
Three women and the three brothers to whom they are married play a zero-sum game
in which all will be losers. A family business has closed, and there is a
meeting to talk about it. Dinner is served, but it will never be eaten.
Approximate running time: 70 minutes
A KINGDOM, A COUNTRY OR A WASTELAND, IN THE SNOW by Lola Arias, directed by Yana Ross
In a cold country where it is always night, two sisters, Luba, young and tough,
and Lisa, older and easy prey for love, hunt and breed hares. When they end up
catching a man - Reo, a wild orphan - and bringing him home, family chaos
ensues.
Approximate running time: 75 minutes
PANIC by Rafael Spregelburd,
directed by Brooke O'Harra with her company,
The Theatre of a Two-Headed Calf http://www.twoheadedcalf.org/index.html#about
Infused with the aesthetics of low-budget horror movies, Panic follows a mother
and her two children, remnants of an unclassifiable family, as they attempt to
recover the key to their safety deposit box and the life savings within - from
the hands of the dead. Their pursuit is a fatal cocktail of desperate measures:
from legal, religious, and psychotherapeutic tactics to the paranormal.
Approximate running time: 120 minutes
EX ANTWONE by Federico Leon, directed by Juan Souki
This hyper-fragmented text imagines a dreamlike encounter with the past,
navigating a labyrinth where memories, fantasies and being overlap in an
unconscious way. Leon excavates a mental state in which reality, an ex-reality,
and a wished for reality converge.
Approximate running time: 60 minutes
BAiT is an initiative of Salón Volcán, with the support of Instituto Cervantes,
The Martin E. Segal Theatre Center, and the Consulate General of
Argentina
"Exquisite!
A dry, very funny Bunuelian social satire."
- Time Out New York
A film by Martín Rejtman
(Argentina, 90 min. In Spanish with English
subtitles)
His Renault 12 may be old, crappy and terribly un-cool, but
for 35-year-old car service driver Alejandro (played by "Vicentico,"
singer and leader of the popular Argentine rock band Los
Fabulosos Cadillacs) it's a haven of peace and his sole object
of desire — besides disco dancing, that is.
When the good-natured driver runs into fast-talking self-made
“Piraña” one evening, he begins spiraling into an adventure he
can't control. Chance encounters and new friendships with a
steadily growing number of lucid, pill-popping psychotics
present promising business opportunities. Alejandro suddenly
finds himself rich from selling one-size-fits-all "magic
gloves," which also bring porn, dog-walkers, health-spas and
anti-depressants into Alejandro's life. In this absurdist
comedy, Rejtman, a master of dead-pan humor, once again gives
life to endearingly obsessive characters, offers a unique and
un-romanticized view of Buenos Aires, and builds a poetic
coherence from apparently banal situations.
Los Guantes Mágicos is an extraordinary and rare opportunity
to enjoy the work of one of the most original and respected
filmmakers of the New Argentine Cinema.
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“Jazz
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