Who is Carles Puigdemont Casamajó the 130th President of the Government of Catalonia ?

Carles Puigdemont Casamajó was born Born on December 29th 1962 in Amer (la Selva) and currently lives in Girona. He is married and has two children. He studied for a degree in Catalan philology at the University College of Girona and developed his professional career as journalist at El Punt, where he would later become the editor-in-chief and the general director of Catalonia Today, a daily newspaper in English which he helped launch.
With the exception of his time as director of Girona’s Casa de Cultura (2002-2004), his professional activity, which spans almost three decades, has always been related with the communication industry. He has been actively engaged in politics since his first nomination as a candidate for the CiU party in November 2006, when he was elected as a member of the Parliament of Catalonia in representation of the Girona region. As a Member of Parliament, he chaired the Culture and Language Commission and was member of the Foreign and EU Action and Youth Policy commissions.
Puigdemont would go on to lead Girona’s mayoral candidate list for the nationalist federation in both the 2007 and 2011 local elections. Subsequently, after his success in the polls, he was elected Mayor of Girona in the 2011 elections, becoming the first non-socialist mayor in the country’s democratic era. During his term in office he was a member of the Executive Committee of the Association of Municipalities for Independence (AMI), chairman for the Committee of Cultural-Historical Heritage, president of the Spanish Federation of Municipalities and Provinces (FEMP) and vice president of the Catalan Association of Municipalities.
In the local elections held in May 2015, he retained the results of 2011, keeping the 10 councillors he previously had and was re-elected as Mayor of Girona. From July 2015 until January 2016 he has was the president of the Association of Municipalities for Independence (AMI).
Despite his full dedication to politics, the media remains an activity he attempts to combine with his public duties. He follows closely the development of this sector and is especially interested in the cultural and social changes triggered by the ICT industry in the field of communication, while ensuring these technologies also help him in his political work. As a result of his professional contacts and this interest in the internet throughout the mid-nineties, in 1998 he designed the project for the creation of the Catalan News Agency.
He is also interested in the projection of Catalonia in the foreign media and has followed it closely since the late eighties. In 1994 he published the book Cata…què? Catalunya vista per la premsa internacional [Catalonia as seen by the foreign media] (Ed. La Campana, Barcelona). He then went on to write a weekly column on the topic in the magazine Presència.
On January 12th 2016 he was officially sworn in as the 130th President of the Government of Catalonia.

Burning Man: See how it's the craziest party in the world

Considered one of the craziest events in the world, the Burning Man, which takes place in the middle of the Nevada desert in the United States, reveals much more that the extravagant looks of the participants can show. There are 8 intense days of spiritual experiences, renewal, discoveries, music, dance and lots of art.

In Burning Man the "rules" are based on 10 basic principles described as a reminder to the participants, one of them is to leave no trace.


1. The 1st Burning Man took place in 1986 in Baker Beach, San Francisco, and was an idea of ​​two friends: Jerry James and Larry Harvey.

2. In 1991 Kevin Evans and John Law decided to take him to the Nevada desert.

3. The number of participants has grown with each edition and, since 2015, the total capacity is 70 thousand people. One ticket costs at least $ 425.

4. Burning Man has always been attended by many people who work in companies in Silicon Valley. Larry Page and Sergey Brin, co-founders of Google, Mark Zuckerberg and Dustin Moskovitz, of Facebook are some of the repeating burners in various editions.

5. But there are also famous movie, music or fashion. The Portuguese Sara Sampaio was already there and even made a point of sharing an image in the instagram, as well as Katie Perry, Cara Delevingne, or the actors Will Smith and Susan Sarandon.

6. At the festival there are only two things to buy: coffee and ice. Everything else is shared. But do not forget the essential supplies for a few days in the desert, starting with food, water and a shelter for sleeping.

7. The weather is always unpredictable. The organization even illustrates the information on the topic with a Nevada saying: "If you do not like the time will go around for five minutes he changes." Still, the worst is the temperature, which during the day can reach 40 degrees, and dust storms.

8. There are no temporary tickets to the festival just to watch one or another show. The organization understands that the festival is an experience of temporary community living and does not even consider this hypothesis. Going to Black Rock City for less than 24 hours is out of the question.

11 Female Abstract Expressionists You Should Know, from Joan Mitchell to Alma Thomas

Abstract Expressionism is largely remembered as a movement defined by the paint-slinging, hard-drinking machismo of its poster boys Jackson Pollock and Willem de Kooning. But the women who helped develop and push the style forward have largely fallen out of the art-historical spotlight, marginalized during their careers (and now in history books) as students, disciples, or wives of the their more-famous male counterparts rather than pioneers in their own right. (An exception is Helen Frankenthaler, whose transcendent oeuvre is often the only female practice referred to in scholarship and exhibitions around action painting.)

Even when these artists were invited into the members- and male-only Eighth Street Club to discuss abstraction and its ability to channel emotional states—as was the case with Perle Fine, Joan Mitchell, and Mary Abbott—their work rarely sold as well or was written about as widely or favorably. And these women received far fewer solo exhibitions than their male contemporaries. Some even changed their names, like Michael West, in an effort to combat the era’s sexism, or incorporated into their work tacit challenges to the status quo, as Elaine de Kooning did in her “Faceless Men” series.

Now in a long-overdue exhibition at the Denver Art Museum, a sizable, boundary-pushing group of female Abstract Expressionists are finally getting their due. Below, we spotlight some of the most innovative practitioners (admittedly, there are many more than 11).

Lee Krasner
b. 1908, Brooklyn, NY
d. 1984, New York, NY

Lee Krasner

Burning Candles, 1955

American Federation of Arts

Lee Krasner

Four, 1957

San Francisco Museum of Modern Art (SFMOMA) 

In 1937, after several years studying with artist Hans Hofmann at his eponymous school, Krasner painted a work that Hofmann described as “so good you would not know that it was done by a woman.” Throughout her career, Krasner, one of the earliest and most innovative AbEx practitioners, would struggle against the marginalization of women artists, even changing her first name from Lena to the gender-ambiguous Lee in the 1940s.

While she introduced her husband, Jackson Pollock, to the ideas and key progenitors of the movement for which he would become the posterboy, her relation to Pollock often superceded her own reputation as an artist. Krasner is one of the few artists on this list who saw a retrospective of her work mounted during her lifetime (in 1983, a year before her death). But her paintings, which burst with fierce, swooping lines and swollen shapes reminiscent of body parts, have only recently begun to receive their due as integral to shaping Abstract Expressionism and its legacy. Her 1957 magnum opus, The Seasons, which stretches 17 feet wide, is now the centerpiece of the Whitney Museum’s seventh-floor hanging.

Elaine de Kooning
b. 1918, Brooklyn, NY
d. 1989, Southampton, NY

Elaine de Kooning

Bacchus #3, 1978

National Museum of Women in the Arts

De Kooning was a fixture of New York’s tight-knit Abstract Expressionist cohort, which included her husband Willem de Kooning, though she set herself apart by making portraits. Her compositions were edged with the movement’s high-octane gestures, as well as her own frustration with the marginalization of female artists. Her “Faceless Men” series, for instance, obscured the features of her more famous male contemporaries, like post-war poet and art critic Frank O’Hara. They were unveiled at her first solo exhibition at the Stable Gallery in 1952.

A sense of quivering energy pervades all facets of de Kooning’s diverse body of work, which also includes ebullient abstractions inspired by landscapes, bullfights, and the Lascaux cave paintings. “I wanted a sense of surfaces being in motion,” she explained of her canvases. A frequent contributor to ARTNews, she was also a passionate and eloquent exponent of the AbEx cause, expressing the movement’s animus succinctly, with phrases like: “A painting to me is primarily a verb, not a noun, an event first and only secondarily an image.”

Perle Fine
b. 1905, Boston, MA
d. 1988, Southampton, NY

Perle Fine

Summer I, 1958-1959

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

Perle Fine

Early Morning Garden, 1957

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In the early 1940s, when Fine was in her mid-30s, she rented a small, cold water flat that doubled as her studio on Manhattan’s 8th Street, the main drag of Abstract Expressionist activity and discussion. Across the street, the Hans Hofmann School buzzed with students eager to set objectivity aside and take up pure abstraction—Fine was one of them. Around the corner, Hofmann, de Kooning, and other AbEx pioneers discussed painting and swilled booze at The Club, their members-only haunt. Fine was one of the first and very few women allowed through its doors.

After moving to East Hampton with her husband, the photographer and art director Maurice Berezov, Fine made some of her most ambitious paintings—compositions that surged with deep passages of black paint and textured areas of collage. She worked on the floor to create these, moving across them using an elevated plank. Despite her innovative exploration of Abstract Expressionism, which she fused with an interest in the pure forms of Neo-Plasticism, Fine was not included in the Whitney’s 1978 show “Abstract Expressionism: The Formative Years,” which she contested in two letters to the museum. She later became a renowned professor at Hofstra University, but stated: “I never thought of myself as a student or teacher, but as a painter. When I paint something I am very much aware of the future. If I feel something will not stand up 40 years from now, I am not interested.”

Michael West
b. 1908, Chicago
d. 1991 New York

Michael (Corinne) West

Gento Niese, 1978

Heather James Fine Art

Michael (Corinne) West

Cythera Shrine, 1979

Heather James Fine Art

Like Krasner, West was an early adopter of Abstract Expressionism and one of the movement’s boldest artists. As early as 1932, she studied with Hofmann alongside the painter-gallerist Betty Parsons and artist Louise Nevelson, but soon moved to other instructors because, as stated in her plucky style, she’d had “enough of maestros.” At the time, she made paintings that mingled elements of Cubism and Neo-Plasticism, but soon moved towards abstraction, a shift no doubt influenced by her intimate relationship with painter Arshile Gorky (she refused his marriage proposals several times, choosing independence).

In the late 1930s, they together concocted a new, masculine first name for West, who was born Corinne Michelle. She returned to New York after a stint in Rochester, and a 1945 exhibition included her work alongside the likes of Milton Avery and Mark Rothko. After the war, she responded to the fear and frustration of the atomic age with angry lashings of pigment; she often covered earlier paintings with new tangles of seething brushwork. They became thick, turbid all-over abstractions, painted directly from the tube or with a palette knife, embedded with sand and detritus, and imbued with existential titles like “Nihilism” and “Atonement.” Despite her innovations and efforts to fight the marginalization she felt as a woman (changing her name, dressing in menswear), she is largely left out of history books and exhibitions on avant-garde art of the 1940s and Abstract Expressionism.

Alma Thomas
b. 1891, Columbia, GA
d. 1978, Washington, DC

Alma Thomas

Untitled, c. 1958, ca. 1958

Vallarino Fine Art

Alma Thomas

Untitled, ca. 1958, ca. 1958

Vallarino Fine Art

While Thomas, who is featured in a solo exhibition at the Studio Museum in Harlem this summer, is best known for her geometric compositions of blazing color, her early paintings from the 1950s are rooted in the AbEx style, which unlocked her nimble experiments with hue and form. In 1924, she was the first graduate of Howard University’s fledgling Fine Art program, but she devoted the majority of her adult life to teaching high school, until she focused on her practice once again in 1950. Her all-over canvases evince a deep curiosity with color and its ability to convey emotion. Often inspired by landscapes, science, and the cosmos, they pulse with their deftly modulated palettes. Light blues bleed into darks with a sense of rushing, fluid movement.

Joan Mitchell
b. 1925, Chicago, IL
d. 1992, Paris, France

Joan Mitchell

Untitled, 1977

Cheim & Read

Joan Mitchell

Bracket, 1989

San Francisco Museum of Modern Art (SFMOMA) 

When Mitchell settled in New York in 1950, after receiving her BFA at the Art Institute of Chicago, she immediately became a mainstay on the avant-garde scene, thanks to her fiery wit and exuberant abstractions that married writhing, lyrical lines with searing colors rendered like staccato notes. She was influenced not only by her contemporary painters, but also by writers and musicians—poet Frank O’Hara was a close friend, she was infatuated with jazz, and she frequented a bar where Miles Davis and Tennessee Williams were regulars.

In 1951, Mitchell was one of a handful of women included in the history-making “Ninth Street Show,” which cemented Abstract Expressionism as a movement to watch—as well as her own place amongst older practitioners like the de Koonings, Robert Motherwell, Hans Hofmann, Krasner, Pollock, and more. She became known as one of several “Second Generation” female Abstract Expressionists, along with Helen Frankenthaler and Grace Hartigan, and earned a coveted place at The Club, where she slung her ardent, often scathing opinions in salon conversations. “I’ve always painted out of omnipotence,” she once said.

In 1952, around the time her marriage ended in divorce (Mitchell is one of the few better-known women Abstract Expressionists who was not married to a famous male painter), she made good on her bold statements and mounted her first New York solo show. It would galvanize a steady stream of exhibitions in both the U.S. and Europe until her death. 

Mary Abbott
b. 1921, New York, NY

Mary Abbott


Vallarino Fine Art

Mary Abbott

All Green, 1954

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In the early 1940s, around the time when she was modeling for Vogue and Harper’s Bazaar, Abbott began taking classes at New York’s Art Student League. After separating from her husband in 1946, she settled on 10th Street among the Abstract Expressionists and took classes at Subjects of the Artist School, founded by Robert Motherwell in his 8th Street studio. Soon, she was making towering canvases characterized by sweeping brushstrokes that often merged into dense swarms of torrid, sensuous color inspired by annual winter trips to Haiti and the Virgin Islands.

Her broad brushstrokes were informed, in part, by her then-nascent dialogue with Willem de Kooning, who would be a lifelong sounding board and friend. She, like Mitchell, was also involved in the literary community and, in the late 1950s, began embedding text into her Action paintings as part of a collaboration with the New York School poet Barbara Guest. Painting at her home in the Hamptons to this day, she often describes her objective to “define the poetry of living space” through her work.

Jay DeFeo
b.1929 Hanover, NH
d. 1989, Oakland, CA

Left: Jay DeFeo, Untitled (Mountain series – Everest), 1955. © 2016 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York; Right: Jay DeFeo, Origin, 1956. © 2016 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Images courtesy of The Jay DeFeo Foundation.

Born Mary Joan DeFeo, the enigmatic San Francisco painter assumed the nickname Jay and began making art in junior high school, mentored by an artist-neighbor named Michelangelo, while living in San Jose. She went on to study art at Berkeley, where she won a fellowship that prompted a trip to Europe and her first important series, a group of abstract paintings that fused her interests in Abstract Expressionism, Italian architecture, and prehistoric art. They also helped to introduce the use of a monochrome palette to all-over abstraction. By 1953, after a stop in New York, she was back in San Francisco and became a fast fixture on the scene, and a neighbor and friend to fellow artists Joan Brown, Sonia Gechtoff, David Getz, and others. 

Over the decade, her work became thick with gesture, impasto, and mixed media, a shift that culminated in a terrifically imposing work that was as much her crucible as her magnum opus. DeFeo spent eight years, from 1958 to 1966, working solely on The Rose, a painting-cum-sculpture measuring over 10-feet tall, almost one-foot thick, and weighing over 2,000 pounds. An eviction noticed forced her to cease work on the piece, and also induced a several-year hiatus from artmaking. She only returned to the studio in the 1970s.

While the atmosphere in San Francisco was arguably less misogynistic than in New York, DeFeo no doubt still felt the gender inequalities of her time. In his review of DeFeo’s posthumous 2012-2013 retrospective—her first—at SFMOMA and the Whitney Museum, critic Peter Schjeldahl hypothesized the origins of her obsession with The Rose: “I surmise that she was hampered by, even while being nurtured on, a scene that was dominated by men… It’s conceivable that her withdrawal into obsessively reworking The Rose amounted to a tacit protest—a standup strike—against the pressures of her milieu.”

Sonia Gechtoff
b.1926, Philadelphia, PA

Sonia Gechtoff

Red Icon, 1962

Anita Shapolsky Gallery

Sonia Gechtoff

The Beginning, 1960

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In 1951, Gechtoff moved from Philadelphia to San Francisco, where she installed her studio in “Painterland,” an affectionately titled building on Fillmore Street that was home to a bevy of abstract painters, including DeFeo, with whom she developed a friendship but also a rivalry. In this new environment, Gechtoff developed a unique approach: She coated a palette knife with several colors, then smeared them with swooping gestures onto her canvases. The lively paintings were celebrated, winning her a solo museum show at the de Young as early as 1957 and a spot in the Guggenheim’s seminal 1954 group exhibition “Younger American Painters” alongside de Kooning, Pollock, Franz Kline, and more—though it’s only recently that the historical influence of her work has been recognized and revived.

Grace Hartigan
b. 1922, Newark, NJ
d. 2008, Timonium, MD

Grace Hartigan

New York City Rhapsody, 1960

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

Grace Hartigan

Ocean Bathers, 1953

C. Grimaldis Gallery

Another second-generation New York Abstract Expressionist, Hartigan (who occasionally showed under the pseudonym “George”) assumed but also challenged the non-objective style of her forebears, like de Kooning and Pollock, the latter whose work she saw for the first time at Betty Parsons Gallery in 1948. Though filled with shards of color and active gesture, her canvases never completely relinquished content. Often, they were embedded with social commentary that questioned the traditional role of women.

A 1954 series “Grand Street Brides” interrogated the construct of marriage by abstracting bridal shop mannequins (Hartigan married and divorced a handful of times). Other series, like her “Matador” paintings, explored sexual identity or incorporated elements from urban life and popular culture, although she passionately disapproved of the burgeoning Pop Art movement. Unlike most women of the time, her work sold well, especially after her inclusion—as the only woman—in MoMA’s 1956 show “Twelve Americans,” which also featured paintings by Philip Guston and Franz Kline and resulted in the sale of her largest work to Nelson Rockefeller. But while she showed consistently in solo gallery shows and group museum exhibitions through the 1970s, interest dropped off in the mid-’70s, after which she taught and showed only sporadically until her death in 2008.

Judith Godwin
b. 1930, Suffolk, VA

Judith Godwin

Infidel, 1979

Berry Campbell Gallery

Judith Godwin

Epic, 1959

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In 1950, Godwin, who was studying art in Virginia, met and befriended dancer and choreographer Martha Graham. The fateful run-in inspired Godwin to relocate to New York, where she began painting in abstract and with a dynamism influenced by Graham. In some paintings, you can almost feel the arc of her arm as it swooped across the canvas. “I can see her gestures in everything I do,” she once said of Graham.

Godwin fused this theatrical sense of movement with Hofmann’s color theories to produce rich tonal combinations. A long-term dialogue with Japanese painter Kenzo Okada also guided her practice and bolstered her interest in Zen Buddhism, as well as her intuitive approach to abstract painting. “When I recognize an emerging form, I respond intuitively by evolving complimentary sub-forms in colors and applications which feel supportive and foster development,” she said. “In studying color and its behavior, I have learned to trust my intuition.”

—Alexxa Gotthardt / United Photo Press 2017
Cover image: Perle Fine in her studio, 1959. Image courtesy of the Denver Museum; Jay DeFeo in front of an early stage of The Rose, 1961. Photograph by Marty Sacco (San Francisco Examiner). © 2016 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Courtesy of The Jay DeFeo Foundation; Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the National Museum of American Art, Smithsonian Institution, Washington, DC.; Judith Godwin, 1977. © Judith Godwin. Courtesy of the Denver Museum; Sonia Gechtoff in her studio, ca. 1961–62. Courtesy of Sonia Gechtoff and the Denver Museum; Mary Abbott in her studio, ca. 1949–50. Courtesy of McCormick Gallery, Chicago, and the Denver Museum.

European stars set to gather for Portugal Masters

A host of Europe’s leading golfers have confirmed their participation in the Portugal Masters at Dom Pedro Victoria Golf Course from September 21-24, 2017.

Three-time Major Champion Padraig Harrington will return to Vilamoura to defend his title alongside Andy Sullivan, who took the title in wire-to-wire fashion in 2015, and 2012 winner Shane Lowry, who is returning to the scene of his first European Tour win as a professional.

2016 Masters Tournament Champion Danny Willett brings further Major-winning pedigree to the event. He is joined by two exciting young talents – both already multiple European Tour winners – in 2016 Ryder Cup team mates Matt Fitzpatrick and Thomas Pieters.

Harrington’s storied career includes victories at The Open Championship in 2007 and 2008, the US PGA Championship in the same year and six Ryder Cup appearances. The Irishman captured the 2016 Portugal Masters in impressive fashion, sealing his first European Tour title in eight years.

“I’m delighted to be returning to the Portugal Masters to defend my title,” said Harrington, who has triumphed 15 times on the European Tour.

“Last year’s win was very satisfying and I was pleased to add the title to my list of tournament victories. I felt relaxed all week and great on and around the greens. It’s an event I’m very much looking forward to.”

Sullivan is looking forward to his sixth appearance at a tournament where he has enjoyed significant success in recent years. The Englishman captured the title in 2015 – his third win of the season following the South African Open and the Joburg Open – before finishing second behind a resurgent Harrington last year.

Sullivan said: “I have some fantastic memories of this event, particularly from 2015. To win any trophy is fantastic but to take a title in Europe, in front of so many friends and family, was something special. I can’t wait come back in September.”

Lowry burst on to the scene in 2009 when he won the Irish Open as an amateur, and his victory at Dom Pedro Victoria Golf Course three years later secured his place in history as only the second player to win European Tour titles as both an amateur and a professional. He secured the biggest win of his career in 2015 at the WGC-Bridgestone Invitational.

The Irishman said: “This will always be a special event for me. I was over the moon to get my first professional win at such a prestigious event, and I’m looking forward to coming back to Vilamoura this year.”

Willett, who became the first English player since Sir Nick Faldo to don the Green Jacket when he triumphed at Augusta National last year, is returning to the Portugal Masters for the first time since 2014. The five-time European Tour winner has an impressive record at the tournament, with three top ten finishes in five appearances.

Willett said: “It’s been a few years since I’ve teed it up in Portugal and I’m looking forward to it. It’s a place where I’ve played well over the years, so I’m hoping for a good week.”

Meanwhile, his compatriot Fitzpatrick is making his Portugal Masters debut. The 22 year old enjoyed a stellar 2016 campaign, adding victories at the Nordea Masters and the season- ending DP World Tour Championship, Dubai to his maiden title at the 2015 British Masters supported by Sky Sports. He also joined fellow Ryder Cup debutants Pieters, Sullivan and Willet at Hazeltine last year.

Fitzpatrick said: “I’m excited to be playing at the Portugal Masters for the first time. It’s a tournament that I’ve heard a lot about, and I’m looking forward to a great week in Vilamoura.”

Belgium’s Pieters, a three-time European Tour winner, has been on fine form this season, with three top ten finishes on the European Tour – including fourth place at the Masters. He made history at Hazeltine when he became the first European Ryder Cup rookie to win four points, after playing every match.

Pieters said: “This will be the fourth year in a row for me in Portugal, and it’s a place that I always enjoy coming back to. I’m delighted to be teeing it up at Dom Pedro Victoria Golf Course again.”

Tickets for the 2017 Portugal Masters, including hospitality packages, are available at europeantour.com/tickets

Picture caption: Peter Adams (tournament director) 2017 / © Carlos Sousa / United Photo Press

Book shows the best typical Algarvian recipes in the south of Portugal in Europe

The Best Food in the Algarve in the south of Portugal. A guide with 20 of the best and most famous Algarvian recipes.

A book of typical Algarve recipes selected by the chef and president of ACPA (Association of Cooks and Pastry of the Algarve) Augusto Lima and accompanied by a wine suggestion by the specialist Maria João Almeida.

"The best of Algarvian food in an easy, attractive and very practical cookbook to use for your table calendar format. Ingredients can be found all over the world and entrees, soups, fish, meat and desserts cooked in 3-6 simple and uncomplicated steps, "the publisher says.

Augusto Lima, president of the Algarve Cooks and Pastry Association, develops his activity in the areas of training / consulting, cooking / catering, seminars and showcooking.Recognized for the defense of regional Algarve products and technical head of the book «Cataplana Algarvia - Traditions and Recreations», he is also a mentor of Mediterranean cuisine projects by author.

The cookbook consists of 42 pages and the pleasant price of € 8.50 + shipping worlwide available in 3 languages; Portuguese, English and German.

The finish is in ringwire, shrinking. Already available in bookstores and also on the site:Http://www.zestbooks.pt/a-melhor-alida-food

Requests for books can be made directly to the publisher:
ZESTBOOKS, Lda. Rua do Centro Cultural, 7 B
1700-106 LisbonMail: carina.carvalho@zestbooks.ptTlm. 211 321 958

Distorted 3D-Scanned Faces Are the Stuff Nightmares Are Made Of

Lee Griggs' haunting 3D scans barely look human anymore.

The canvas that is the 3D-scanned human body offers some wild visual experiences, from 3D-printed Paul McCartneys to video game avatars that look just like you, but few are as uncanny as Lee Griggs' warped digital busts. "I guess I enjoy distorting the human face," Griggs tells The Creators Project about his new, face-melting image series, Deformations. "I like to blur the boundaries between the real and the surreal, I suppose."

"Blur" is a bit of an understatement for these distorted 3D scans, which Griggs downloads from production house Ten 24 and renders in Arnold for Maya. "I feel like I'm at the early stages still with this new project," he says, despite the slew of distorted human visages in his portfolio, from the early alien masks to the grotesque textural experiments that have appeared since he started. "I think there is a lot more that can be done and I know Im going to have fun going there. My goal is to create images that are more complicated with detailed deformations and multiple layers."

The newest addition to Deformations, an ongoing series, is Blockhead, which you can see above. Check out the rest, each more artfully horrifying than the last, in the image selection below:

See the full set, and more of Griggs' work, on his website.

Swedish medieval armored combat

Swedish medieval armored combat yes it´s a sport and a training style and it´s different and sweaty.
Welcome to a different and medieval armored combat, it takes place at the Swedish sci-fi convention in Gothenburg 2017.

United Photo Press journalist Tommy Hammarsten hits a different group of people who have a different fighting and training style. They have armor in iron, helmets, swords and axes. This is no game they fight without holding back full contact.

"Behind me is a big crowd with great expectations, I think nobody really knows what's going to happen, the bells hit, and the game is now seconds with armor fighting now, full in a big mess. It hurts and shrinks in armor, those who lose a weapon get a new weapon to continue with."

The crowd applauds, and shouts well, a person takes home the battle, the others are on the side and watching.

In a few minutes everything is over, the crowd asks do not hurt to get a beat, no answer the coach we are well equipped to withstand everything.

I meet some of the guys in the team after the fight, he is sweaty but satisfied, we will soon ride and compete in Norway, he answers, okay good luck. United Photo Press has experienced a new and different sport S.M.A.C

Tommy Hammarsten 
United Photo Press 2017

Ligalismo already has a book

The first book of the current Ligalismo was presented / displayed by the director of the Conservatory of Music and several professors and holders of the UGR of different disciplines, from the anthropology to the botany, passing through the painting, drawing and Spanish language.

The event took place within the closing acts of the exhibition of Fernando Bolivar that has hosted the Professional Conservatory of Music 'Angel Barrios' of Granada for 3 months. In the morning was the last guided tour by the author who attended a TVE team to shoot a report and an interview. And in the afternoon at 6 o'clock began the presentation of the book entitled: 'Ligalismo. The current of the 21st century '. The host, Luis Vidueira, director of the Conservatory, addressed those present, expressing the good reception of the exhibition in the center and his particular interest in plastic art, science and the book and the current it represents.

Professor Bolivar then thanked the teachers and alumni who were present at the table and among the audience and gave the floor to Miguel Botella, a famous researcher on human evolution, who highlighted the personality of the main author of the book. Did not go unnoticed, neither in scientific nor in the artistic field, since the 80's that was his student in the career of biology.

United Photo Press is a partnership and media sponser from Ligalismo.
Then Pedro Sánchez Castillo intervened, which also delves into the personality of the author whose relationship begins when 25 years ago agrees to direct his doctoral thesis on botany and restoration in the Alhambra. He highlighted what the current can bring not only in the artistic-scientific but also in the cooperation between human beings. For his part, the Spanish-language professor of the UGR Esteban Montoro, confessed that initially had some reluctance with the word ligalismo, but soon realized that indeed it was a word that could provide a new and useful concept for the Language and human relations.

Also involved the painter and professor of Drawing: Jesus Conde who pointed out the historic capacity of Granada to originate numerous artists and scientists who tend to relate to each other and is related to the great weight of the University in the city.

When the author saw the number of attendees who could contribute information and interesting opinions he invited them to take part and did so several classmates and alumni, such as the medievalist professor of Romance Languages ​​Antonio Rubio Flores, a schoolmate and current member of the musical group Which shows ligalist music with the pictogenic battery of Ferbo Ligali, the painting teacher: Consuelo Vallejo; Of Drawing: Roma Contreras, also biologist Paqui Medina, the three former pupils of the author; The pharmacist Miguel Ángel García López and the musician Ernesto Baquero, also member of the group 'Los Extraños Gabinetes'.

United Photo Press is a partnership and media sponser from Ligalismo.

Art Fair Malaga 17 "The worst organizational disaster of art in Europe"

The gallery owners and artists consider the Malaga Art Fair as the worst organized in the history of art fairs in Europe.

· Lack of communication between the Argentine organizing partner Martin Gallego / Brenda Benitez and the artists
· Stands without previously approved measures and very dirty floors and without a carpet
· Digital art screens only worked at 50%
· Catalogs of the fair nonexistent
· Free admission that harms artists
· The advertising of the fair in the city of Malaga nonexistent
· Theft within the fair with the intervention of the National Police

A "total organizational disaster" is the qualification of the artists of the Malaga Art Fair. This is the final result of the Fair, in spite of the last minute performances of the Argentinean partner Martin Gallego / Brenda Benitez to camouflage many and many bad things, the opinions of the gallerists and artists follow in the same line; Lack of communication between the organization with artists, stands without previously approved measures, cleaning, free tickets, catalogs of the "only imagination", security and acoustics some of the many issues that support their criticism.

A negative balance turned into a whiting that bites its tail: before the protests of the gallery owners and artists, the organization starts again with the same process: it does not communicate, it has no capacity to solve the problems created by itself; Lack of ability to organize events with this dimension, anyone who happened to have been able to rent a stand at the rate of about 800 euros the module. If we do accounts we warn that for the organization the business becomes very very round and point ... "e now the judicial consequences turn" speak the artists "...

"Those who really enjoy ART agree that this Art Fair Malaga 17 has been the worst so far in Europe. That has been published that Art Fair Malaga is the largest fair in Europe is an invention to deceive the citizen, it will be Who do not know NORDART ... near Hamburg? I guess not ... that's why they are also incompetent.And I steal a citizen in La Féria? This is a disaster and in Europe there is no art fair worthy of its name That does not have its curators for the various arts to expose, with a pre selection, so that this mess in Malaga dea much but much more controlled ... "

The Fair is being a total mess and so this does not work next year will be the same story and every time it gets worse whenever you try to talk with the Argentine couple that organizes the Fair are not available, "explains the President of the Non-profit International Association, United Photo Press, of New York with more than 27 years of existence and with subsidiaries and European registries in Madrid and other European capitals, from where they denounce that the organization does not listen to their claims, reason why Are going to initiate a joint judicial process with the gallerists and artists for contractual, material, moral and other damages ... "

For this purpose a judicial.artfairmalaga@gmail.com email has been created to receive all the claims of gallery owners and participating artists who are going to be presented by an attorney to the Malaga court and the Court of Justice of the European Union.

. - And the robbery of the bag with its documentation to a member of a stand of the Feria?
WE WANT JUSTICE NOT REVENGE - In order to claim we have an email: judicial.artfairmalaga@gmail.com to receive all the claims of gallerists and participating artists at Art Fair Malaga 17 to be submitted by an inferior to the court in Malaga and the Court of Justice of the European Union.

WE WANT JUSTICE NO LA VENGANZA - For the effect we have created an email: judicial.artfairmalaga@gmail.com to receive all the claims of gallerists and artists participating in the Malaga Art Fair 17 to be submitted by an attorney to the Malaga court And the Court of Justice of the European Union.


NordArt – North Germany’s window to the art world

Modern art, rugged charm.

Some people may find north Germany bleak, but its beauty is undeniable. Few exhibition spaces express its unique atmosphere so eloquently as the Carlshütte, a former iron foundry operated by the first manufacturing company in the dukedoms of Schleswig and Holstein. Opened in 1827 and closed in 1997, this site in the town of Büdelsdorf is an impressive industrial monument. With its historical buildings, the colossal foundry halls, the extensive park with its old trees and an exhibition café, the Kunstwerk Carlshütte has developed over the years into a very special place for exhibitions, concerts, readings, theatre performances and film screenings.

Since 1999 the NordArt has established itself as one of the largest exhibitions of contemporary art in Europe which takes place anually in the summer months. The NordArt is an overall work of art in its own right and is designed as such each year. More than 200 international artists, selected by a jury, present a comprehensive panorama of contemporary art. Each individual work not only speaks for itself but also creates new perspectives when seen juxtaposed against the unique backdrop offered by the Carlshütte and the adjacent historical sculpture park.

Enter the virtual tour to explore the sculpture park and the halls of the Carlshütte.

Chief curator of the NordArt: Wolfgang Gramm
Co-Curator of the NordArt: Inga Aru

Hosts of Kunstwerk Carlshütte: Hans-Julius Ahlmann and Johanna Ahlmann

The Kunstwerk Carlshütte is a nonprofit cultural initiative of the internationally active ACO Group and the towns of Büdelsdorf and Rendsburg (Kunst in der Carlshütte gGmbH).

Venue: Kunstwerk Carlshütte, Vorwerksallee, 24782 Büdelsdorf, Germany

Exhibition area: the former Carlshütte foundry (22,000 sqm), the ACO Wagenremise (400 sqm) as well as the park (80,000 sqm) and public places of the town of Büdelsdorf.

Since 2011, also the Orchestra Academy of the Schleswig Holstein Music Festival (SHMF) is at home at Kunstwerk Carlshütte - in the specially converted rehearsal and concert space “ACO Thormann Hall” that can accommodate audiences of up to 1,200. NordArt and the Festival are not only good partners, who both foster the worldwide network of artists, they also forward the crossover between fine arts and music. Since 2015 the concerts take place also in the Carlshütte in the middle of NordArt.