Lihie Talmor — Artista venezolano-israelí–Venezuelan-Israelí Artist — “Serrefugio”/”Being-Refuge” — “Falla inducida”/”Inferred Fault”

Lihie Talmor

Lihie Talmor nació en 1944 en Tel-Aviv, Israel. Recibe un B.Sc. en Arquitectura y Planificación Urbana de Technion, Haifa, Israel. Completa su B.A. en Poética y Literatura Comparada en la Universidad de Tel-Aviv en 1971 donde enseña hasta 1974. Estudió pintura en el estudio de Pinchas Abramovitz en Tel-Aviv. En 1980 se traslada a Caracas, Venezuela, y allí ingresa al Centro de Estudios de Artes Gráficas (CEGRA) de 1981 a 1983, y estudia pintura en el estudio de Walter Margulis. Desde 1984 ha trabajado en proyectos de arte, impartido y participado en cursos en centros culturales y talleres en Italia, Bélgica, Estados Unidos, Israel, Colombia y Venezuela. Trabaja en los campos del grabado, la escultura y la instalación. Talmor vive y trabaja en Israel y Venezuela.

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Lihie Talmor was born in 1944 in Tel-Aviv, Israel. Receives a B.Sc .in Architecture and Urban Planning from the Technion, Haifa, Israel. She completed her B.A. in Poetics and Comparative Literature at the University of Tel-Aviv in 1971 where she taught until 1974. Studied painting at Pinchas Abramovitz’ studio in Tel-Aviv. In 1980, moves to Caracas, Venezuela, and there enrolled at the Center of Studies for the Graphic Arts (CEGRA) from 1981 to 1983, and studied painting at Walter Margulis’ studio. Since 1984 she has worked on art projects, taught and participated in courses in cultural centers and workshops in Italy, Belgium, the United States, Israel, Colombia and Venezuela. Works in the fields of printmaking, sculptures and installations. Talmor ives and works in Israel and Venezuela.

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Lihie Talmor:

“”Mi intención no es una aproximación histórica ni periodística, ni un testimonio ni una ilustración de los conflictos. Por el contrario, los espacios que (re)creo en mi obra son más simbólicos que geográficos. En un camino serpenteante entre la fotografía, el grabado, la pintura y otras técnicas, creo ficción”.

“My intention is neither a historical nor a journalistic approach, neither testimony nor illustration of conflicts. On the contrary, the spaces I (re)create in my work are symbolic rather than geographical. On a meandering path between photography, etching, painting, and other techniques, I create fiction.”

Lihie Talmor – Website 

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Obras de Lihie Talmor/Works by Lihie Talmor

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SERREFUGIO_1, 2015

Fotograbado, aguafuerte, aguatinta y punta seca

Dos planchas de color

33,5×49,5   (tamaño imagen)

58x78cm     (tamaño papel)

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BEING-REFUGE_1, 2015

Photo-etching, aquatint and dry point

Two color plates

33,5×49,5 (image size)

58×78 cm      (paper size)

SERREFUGIO_2, 2015 BEING-REFUGE

Fotograbado, aguafuerte, aguatinta y punta seca

Dos planchas de color.

33,5×49,5  (tamaño imagen)

58x78cm    (tamaño papel)

SERREFUGIO_3, 2015 BEING-REFUGE

Fotograbado, aguafuerte, aguatinta y punta seca

Dos planchas de color

33,5×49,5  (tamaño imagen)

58x78cm    (tamaño papel)

SERREFUGIO_4, 2015 BEING-REFUGE

Fotograbado, aguafuerte, aguatinta y punta seca

Dos planchas de color

33,5×49,5  (tamaño imagen)

58x78cm    (tamaño papel)

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Falla inducida_1, 2021

Fotograbado, aguatinta

Dos planchas de color

70×98 (paper size) 

50×74 (image size)

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Inferred fault_1, 2021

Photo-etching, aquatint

Two color plates

70×98 (paper size) 

50×74 (image size)

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Inferred fault_2, 2021

Photo-etching and aquatint

Two color plates

70×98 (paper size) 

50×74 (image size)

Inferred fault_3, 2021

Photo-etching and aquatint

Two color plates

70×98 (paper size) 

50×74 (image size)

Inferred fault_4 2021

Photo-etching and aquatint

Two color plates

70×98 (paper size) 

50×74 (image size)

Inferred fault_5, 2021 El mar muerto/The Dead Sea

Photo-etching and aquatint

Two color plates

70×98 (paper size) 

50×74 (image size)

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Más Obras de Lihie Talmor/More Works by Lihie Talmor

Videos:

En español:

En inglés:

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Arte/Arte

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Libro de Lihie Talmor/Book by Lihie Talmor

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“The Departure”

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Grandes obras de escultura de seleccionadas de este blog/Grandes obras de escultura escolhidas de este blog/Great Works of Sculpture Selected from the Blog

Un jardín de esculturas/Um Jardim de Escultura/A Sculpture Garden

Leonardo Nierman – México

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Feliza Burszstyn – Venezuela https://wordpress.com/post/jewishlatinamerica.wordpress.com/15388

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José Sacal – México https://wordpress.com/post/jewishlatinamerica.wordpress.com/10249

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Neomí Gerstein – Argentina https://wordpress.com/post/jewishlatinamerica.wordpress.com/6382

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Leonardo Nierman – México

https://wordpress.com/post/jewishlatinamerica.wordpress.com/4748

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Ferruccio Polanco – Argentina https://wordpress.com/post/jewishlatinamerica.wordpress.com/4610

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Martin Blaszko – Argentina https://wordpress.com/post/jewishlatinamerica.wordpress.com/4045

Frans Weismann – Brasil https://wordpress.com/post/jewishlatinamerica.wordpress.com/12071

Gyula Kosice – Argentina https://wordpress.com/post/jewishlatinamerica.wordpress.com/3940

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Gego – Venezuela https://wordpress.com/post/jewishlatinamerica.wordpress.com/3720

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Frans Krajcberg – Brasil https://wordpress.com/post/jewishlatinamerica.wordpress.com/3473

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Arte Maestra/Masterpieces of Art: https://wordpress.com/post/jewishlatinamerica.wordpress.com/15116

Sitio web de arte de Steve Sadow

http://www.jewishlatinart.com

Silvio Fischbein — Artista visual judío y director cinematográfico-argentino/Argentine Jewish Artist and Film Maker — Obras de papel y tejido, de colores fuertes/Works of paper and weaving, in strong colors

Silvio Fischbein

Silvio Fischbein, 1949, artista visual y director de cine, vive y trabaja en Buenos Aires. Recibió los títulos de Arquitecto, año 1974 y Urbanista, año 1980, de la Universidad de Buenos Aires. Es Profesor Consultor de la Universidad de Buenos Aires. Participó en la creación y dirigió las Escuelas Audiovisuales de ORT, Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires, Facultad de Arte de la Universidad Nacional del Centro. Como guionista y director, realizó 30 cortometrajes, 5 largometrajes y 2 videoarte. Obtuvo el Premio George Meliès del Gobierno de Francia en 1984. Desde 1965, en las artes visuales, ha realizado 40 exposiciones individuales en el país y en el exterior, y ha participado en salones y exposiciones colectivas. Fue becado en varias ocasiones por los Gobiernos de Canadá y Francia. Entre otras distinciones, obtuvo la Beca Pollock – Krasner Foundation, 2015 y 2018. En 2021 obtuvo el 1er. Premio en la 26 Bienal de Arte Textil, Argentina. Presidió en repetidas ocasiones la Asociación Iberoamericana de Escuelas Audiovisuales y perteneció al comité ejecutivo de la Asociación Internacional de Escuelas de Cine y TV, CILECT. Actualmente preside AAVRA, Asociación de Artistas Visuales de la República Argentina.

Adaptado de su sitio web: http://www.silviofischbein.com

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Silvio Fischbein, 1949, visual artist and film director, lives and works in Buenos Aires. He received the titles of Architect, year 1974 and Urban Planner, year 1980, from the University of Buenos Aires. He is Consulting Professor at the University of Buenos Aires. He participated in the creation and directed the Audiovisual Schools of ORT, Faculty of Architecture, Design and Urbanism of the University of Buenos Aires, Faculty of Art of the National University of the Center. As a screenwriter and director, he made 30 short films, 5 feature films and 2 video art. He obtained the George Meliès Prize from the Government of France in 1984. Since 1965, in the visual arts, he has held 40 individual exhibitions in the country and abroad, and has participated in salons and collective exhibitions. He was awarded scholarships on several occasions by the Governments of Canada and France. Among other distinctions, he obtained the Pollock – Krasner Foundation Scholarship, 2015 and 2018. In 2021 he obtained the 1st. Award at the 26th Biennial of Textile Art, Argentina. He repeatedly presided over the Ibero-American Association of Audiovisual Schools and belonged to the executive committee of the International Association of Film and TV Schools, CILECT. He currently chairs AAVRA, Association of Visual Artists of the Argentine Republic.

Adapted from his website: http://www.silviofischbein.com

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Es arte de Silvio Fischbein/The Art of Silvio Fischbein

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El arte maestra en este blog/Masterpieces of Art on this Blog — Argentina, México, Uruguay, Paraguay, Brasil, Perú, Ecuador, Colombia, Costa Rica

Ana Wein — Costa Rica
José Gurvich — Uruguay
Lasar Segall – Brasil
Yenta — Argentina

Moico Yaker- Perú –Santiago con casco del Sephirot de la Cábala/Saint James carrying a shield with the Sephirot de la Kabbalah
Noé Katz — México, Estados Unidos
Kurt Levy — Colombia
Trudy Sojka – Bolivia
Leonor Caplan — El primer hombre – Argentina
Eva Olivetti Paisaje, óleo sobre cartón, 1966
Martín Blaszco Movimiento Madi –Argentina
Iliana Pizck — Madre azul — Costa Rica
Perla Bajder — Argentina
Livio Abramo –Paraguay
Gunther Gerzso — Amarillo-Verde-Rojo-Azul, 1975
oil on masonite — Argentina
Linda Kohan – Uruguay
Osvaldo Romberg – Argentina
José Luis Fariñas — Patriarca — Cuba
Manuel Kantor – La Boca – Argentina
Rubén Kukier – Argentina, Israel
Zoma Baitler -Uruguay
Víctor Chab – Argentina
Patricia Krasbuch — Argentina
Rubens Gershmans — Brasil
Pedro Roth – Argentina
Gyuaya Kosice — Argentina
Hugo Golge. — Argentina
Andrés Levy Memun — No Title, acrylic on canvas, 20 x 20 cm Sin título, acrílico sobre tela, 20 x 20 cm
Luis Filcer — Mexico
Roberto Aizenberg – Argentina

Danilo Danzinger (1958-2013)– Escultor judío-argentino/Argentine Jewish Sculptor — Arte de lo prehistórico/Art from the Prehistoric

Danilo Danzinger

Danilo Danzinger nació en Buenos Aires en 1956 y falleció allí en 2013. Con su obra participó en importantes espacios de Buenos Aires: el Premio Braque, Joven Generación del Centro de Arte y Comunicación, Espacio Giesso, Harrods y en la Fundación San Telmo a inicios de los años 1990. Obtuvo una beca de la fundación Antorchas en 1996, una Mención en el Salón de la Sociedad Hebraica Argentina en 1982, y el Primer Premio en 1993, el Premio Banco Ciudad en el Museo de Arte Moderno de Buenos Aires en 1996 y Mención en el Salón Nacional en 2000. Si bien participó en muestras colectivas, desde 2002 hasta 2012, no hizo presentaciones individuales. Invitado a exponer en Río Gallegos, viajó a Tierra del Fuego, adonde volvió 27 veces más. De esta experiencia nació Paleobotánica Australis, su última muestra.

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He was born in Buenos Aires in 1956 and died there in 2013. He participated in important spaces in Buenos Aires: the Braque Award, Young Generation of the Center for Art and Communication, Espacio Giesso, Harrods and the San Telmo Foundation in the early 1990s. He received a scholarship from the Antorchas Foundation in 1996, a Mention in the Argentine Hebraic Society Hall in 1982, Third Prize in the Quinquela Martin Hall in 1989 and First Prize in 1993, the Second Prize at the Manuel Belgrano Municipal Hall in 1994, the Banco Ciudad Award at the Museum of Modern Art in Buenos Aires in 1996 and Mention at the National Hall in 2000. Although he participated in group shows, from 2002 to 2012 , did not have individual presentations. Invited to exhibit in Río Gallegos, he traveled to Tierra del Fuego, where he returned 27 more times. Paleobotánica Australis was born from this experience, his last exhibition.

María José Herrera , historiadora del arte argentino

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La prehistoria es algo más que un tema en la obra de Danziger: es el testigo inexorable del paso del tiempo y los procesos de la vida. Por eso, a sus ojos, los misteriosos fósiles eran esculturas naturales. Piedras “talladas” por el reemplazo mineral de una antiquísima vida orgánica, la transformación de esa energía. Danilo contaba que solía visitar los jardines botánicos y que uno de sus lugares predilectos eran los museos de ciencias naturales.

María José Herrera , Historian of Argentine art

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Prehistory is more than just a theme in Danziger’s work: it is the inexorable witness to the passage of time and the processes of life. Therefore, in their eyes, the mysterious fossils were natural sculptures. Stones “carved” by the mineral replacement of an ancient organic life, the transformation of that energy. Danilo used to say that he used to visit the botanical gardens and that one of his favorite places was the natural science museums.

Y una pintura: “Dos tramas selladas por un solo corazón de mujer “- Óleo sobre papel.

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Baruj Salinas — Artista judío-cubano-norteamericano de renombre internacional/Internationally Respected Cuban American Jewish Artist — “El proyecto de la Torah” y “El lenguaje de las nubes” “The Torah Project” and “The Language of the Clouds”

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Baruj Salinas (La Habana1935pintorescultorgrabador y ceramista cubano de origen judío, nació en La Habana, Cuba en 1935.​ La carrera de Salinas se inició en el campo de la arquitectura. Se graduó de la Universidad de Ohio con un título de arquitecto y emigró de Cuba a Miamia, Fla. de forma permanente en 1959. Salinas estableció en Miami y más tarde se trasladó a Barcelona, donde estudió junto a artistas Joan Miró y Antoni Tàpies. Aunque la arquitectura informó a sus primeros trabajos, poco a poco se trasladó hacia una expresión puramente abstracta. Su obra se asemeja a cuadros de espacio, donde el color es más importante que la forma y la misma se convierte en un tema principal. Hay rastros, también, de las tradiciones judías, pero haber nacido en Cuba ha hecho su impacto. Para él, Cuba es el trópico y la caña de azúcar, también es el sol y la luz. Él nunca dejará de ser cubano. Las pinturas de Salina se puede ver en las colecciones importantes de todo el mundo, como la Fundación Joan Miró, de Barcelona, el Museo Nacional de Catalunya, Barcelona, el Instituto Nacional de Bellas Artes, México DF, el Uri Museo Beit, Israel, el Museo de Fort Lauderdale de las Artes, Florida, el Museo de Bellas Artes, Budapest, el Instituto de Arte de Chicago y el Museo de Arte de Phoenix, Arizona.


Baruj Salinas (Havana, 1935) Cuban painter, sculptor, engraver and ceramicist of Jewish origin, was born in Havana, Cuba in 1935. Salinas’s career began in the field of architecture. He graduated from Ohio University with an architecture degree and immigrated from Cuba to Miami, Fla. permanently in 1959. Salinas settled in Miami and later moved to Barcelona, ​​where he studied alongside artists Joan Miró and Antoni Tàpies. Although architecture informed his early work, he gradually moved towards a purely abstract expression. His work resembles paintings of space, where color is more important than form and form becomes a main theme. There are traces, too, of Jewish traditions, but being born in Cuba has made its impact. For him, Cuba is the tropics and the sugar cane, it is also the sun and the light. He will never stop being Cuban. Salina’s paintings can be seen in important collections around the world, such as the Joan Miró Foundation, Barcelona, ​​the National Museum of Catalonia, Barcelona, ​​the National Institute of Fine Arts, Mexico City, the Uri Beit Museum, Israel, the Fort Lauderdale Museum of the Arts, Florida, the Museum of Fine Arts, Budapest, the Art Institute of Chicago, and the Phoenix Art Museum, Arizona.

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El proyecto de la Torah/The Torah Project


El Proyecto Torá Humash contiene los cinco libros de Moisés en hebreo, which is the original language. The Hebrew text is accompanied by commentaries, from recognized personalities in the arts and biblical studies, written in four languages. English, Spanish, Italian and German.There are 27 unique paintings from the Jewish Cuban artist – Master Baruj Salinas, which were beautifully reproduced in the technique of litho-seriagraphy from the original paintings by the printing house Santa Chiara in the City of Urbino, Italy. This special Torah Project Humash has been printed on 100% cotton paper in 160 gr. which was supplied by the Magnani House, an Italian paper mill in Pescia, Italy. There are 126 editions of the Torah Project Humash and each one has a wooden cover (called the Jerusalem Book Cover), made by La Casa Gentili, in the small town of Fossombrone, Italy. All the books are numbered from 1 to 126 and signed by the artist Baruj Salinas and the publishing house ACC Arte Scritta, this aims to identify each book as authentic

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The Torah Project Humash has 372 pages and it contains all of the five books of Moses in Hebrew, which is the original language.The Hebrew text is accompanied by commentaries, from recognized personalities in the arts and biblical studies, written in four languages. English, Spanish, Italian and German.There are 27 unique paintings from the Jewish Cuban artist – Master Baruj Salinas, which were beautifully reproduced in the technique of litho-seriagraphy from the original paintings by the printing house Santa Chiara in the City of Urbino, Italy. This special Torah Project Humash has been printed on 100% cotton paper in 160 gr. which was supplied by the Magnani House, an Italian paper mill in Pescia, Italy.There are 126 editions of the Torah Project Humash and each one has a wooden cover (called the Jerusalem Book Cover), made by La Casa Gentili, in the small town of Fossombrone, Italy.All the books are numbered from 1 to 126 and signed by the artist Baruj Salinas and the publishing house ACC Arte Scritta, this aims to identify each book as authentic.

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El proyecto de la Torá
Torah
Génisis
Exodus
Leviticus
Numbers
Deuteronomy
Parte de la tapa/part of the cover

The Youtube is In English:

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El lenguaje de las nubes/The Language of the Clouds

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Roberto Burle Marx (1909-1994) — Arquiteto de paisagem e pintor brasiliano-judaico/Arquitecto de paisaje y pintor judío-brasileño/Brazilian Jewish Landscape Architect and Painter — Plaças, parques e pinturas/Plazas, Parks and Painting –Copacabana!

Roberto Burle Marx

Roberto Burle Marx fue paisagista, arquiteto, desenhista, pintor, gravador, litógrafo, escultor,tapeceiro, ceramista, designer de jóias, decorador. Durante a infância vive no Rio de Janeiro. Vai com a família para a Alemanha, em 1928. Em Berlim, estuda canto e se integra à vida cultural da cidade, freqüenta teatros, óperas, museus e galerias de arte. Entra em contato com as obras de Vincent van Gogh (1853-1890), Pablo Picasso (1881-1973) e Paul Klee (1879-1940). Em 1929, freqüenta o ateliê de pintura de Degner Klemn. Nos jardins e museus botânicos de Dahlen, em Berlim, entusiasma-se ao encontrar exemplares da flora brasileira. De volta ao Brasil, faz curso de pintura e arquitetura na Escola Nacional de Belas Artes de Rio de Janeiro, entre 1930 e 1934.onde é aluno. Em 1932, realiza seu primeiro projeto de jardim para a residência da família Schwartz, no Rio de Janeiro. Entre 1934 e 1937, ocupa o cargo de diretor de parques e jardins do Recife, Pernambuco, onde passa a residir. Nesse período, vai com freqüência ao Rio de Janeiro e tem aulas com Candido Portinari (1903-1962) e com o escritor Mário de Andrade (1893-1945), no Instituto de Arte da Universidade do Distrito Federal. Em 1937, retorna ao Rio de Janeiro. O final da década de 1930 arca a integração de sua obra paisagística à arquitetura moderna, época em que o artista experimenta formas orgânicas e sinuosas na elaboração de seus projetos. Sua paixão por plantas remonta à juventude, quando se interessa por botânica e jardinagem, mas é em 1949 que Roberto Burle Marx organiza uma grande coleção, quando adquire um sítio de 800.000 m², em Campo Grande, Rio de Janeiro. Em companhia de botânicos, realiza inúmeras viagens por diversas regiões do país, para coletar e catalogar exemplares de plantas, reproduzindo em sua obra a diversidade fitogeográfica brasileira. Adaptado de https://www.guiadasartes.com.br/roberto-burle-marx/biografia

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Roberto Burle Marx was a Landscaper, architect, draughtsman, painter, engraver, lithographer, sculptor, upholsterer, potter, jewelry designer, decorator. During his childhood he lived in Rio de Janeiro. He went with his family to Germany in 1928. In Berlin, he studied singing and became part of the city’s cultural life, frequenting theaters, operas, museums and art galleries. He came into contact with the works of Vincent van Gogh (1853-1890), Pablo Picasso (1881-1973) and Paul Klee (1879-1940). In 1929, he attended the painting studio of Degner Klemn. In the gardens and botanical museums of Dahlen, in Berlin, he is excited to find specimens of Brazilian flora. Back in Brazil, he studied painting and architecture at the Escola Nacional de Belas Artes (Enba), Rio de Janeiro, between 1930 and 1934. In 1932, he carried out his first garden project for the Schwartz family’s residence in Rio de Janeiro. Between 1934 and 1937, he held the position of director of parks and gardens in Recife, Pernambuco, where he took up residence. During this period, he went frequently to Rio de Janeiro and took classes with Candido Portinari (1903-1962) and with the writer Mário de Andrade (1893-1945), at the Art Institute of the University of the Federal District. In 1937, he returned to Rio de Janeiro. The end of the 1930s saw the integration of his landscape work into modern architecture, a time when the artist experimented with organic and sinuous forms in the elaboration of his projects. His passion for plants dates back to his youth, when he became interested in botany and gardening, but it was in 1949 that Roberto Burle Marx organized a large collection, when he acquired an 800,000 m² site in Campo Grande, Rio de Janeiro. In the company of botanists, he made numerous trips to different regions of the country to collect and catalog plant specimens, reproducing the Brazilian phytogeographic diversity in his work. Adapted from: https://www.guiadasartes.com.br/roberto-burle-marx/biografia

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Auto-retratos/Self-portraits

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Arquitetura de passagem/Landscape Architecture

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Arquitetura/Architecture

Pintura/Painting

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Feliza Burzstyn (1933-1982)– Una escultora de arte cinético de metal descartado judío-colombiana/Colombian-Jewish Sculptor of Kinetic Art from Discarded Metal

Feliza Bursztyn

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Feliza Bursztyn, la escultora colombiana, nació en Bogotá en 1933 de inmigrantes judíos polacos. Bursztyn estudió, primero en Bogotá, luego en la Art Students League de Nueva York y finalmente en la Académie de la Grande Chaumière de París. Tomó una decisión temprana de trabajar con chatarra y otras piezas de material desechado. Cuando Bursztyn presentó la primera de once chatarras (esculturas hechas con chatarra) en 1961, recibió duras críticas. En 1964, con motivo de su segunda exposición individual, los críticos de arte habían reconsiderado las posibilidades de la chatarra como medio artístico. en 1967, un nuevo cuerpo de obra, realizado en acero inoxidable y con un componente cinético, se titula Las histéricas. Estas esculturas motorizadas se presentaban ocasionalmente en entornos inmersivos que incluían no solo un fuerte sonido mecánico, sino también un cortometraje titulado Hoy Feliza. Las camas, 1974 y El baile mecánica, 1979— abrazaron por completo las posibilidades del arte cinético en un entorno multimedia. Creó figuras que “bailaban” al ritmo de la música con una iluminación dramática para completar la presentación escénica. Algunos vieron estos trabajos como comentarios políticos contra el estado y la iglesia. En 1981, luego de dos viajes a Cuba, fue detenida e interrogada por militares. Pidió asilo político en México y luego se instaló en París, donde en 1982 murió de un infarto a la edad de cuarenta y nueve años. Su obra ha sido coleccionada de forma privada y también por instituciones públicas, como el Museo de Arte Moderno, el Museo Nacional de Colombia y el Banco de la República, todos en Bogotá, y la Tate Modern, Londres.

Adaptada de Marcela Guerrera, Hammer Galleries

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Feliza Bursztyn, the Colombian sculptor, was born in Bogotá in 1933 to Polish Jewish immigrants. Bursztyn study, first in Bogotá, then at the Art Students League in New York, and lastly at the Académie de la Grande Chaumière in Paris. She made an early decision to work with scrap metal and other pieces of discarded material.. When Bursztyn presented her first of eleven chatarras (sculptures made from scrap) in 1961, she received a harsh reviews. By 1964, on the occasion of her second solo show, art critics had reconsidered the possibilities of junk as an art medium. in 1967, a new body of work, made of stainless steel and with a kinetic component, was entitled Las histéricas (The hysterical ones). These motorized sculptures were occasionally presented in immersive environments that included not only a loud mechanical sound but also a short film titled Hoy Feliza (Today Feliza.) Las camas (The beds, 1974) and La baila mecánica (The mechanical dance, 1979)—fully embraced the possibilities of kinetic art in a multimedia setting. She created figures that would “dance” to music with dramatic lighting to complete the stagelike presentation. Some saw these works as political commentaries against the state and the church. In 1981, after two trips to Cuba, she was detained and questioned by the military. She sought political asylum in Mexico and then settled in Paris, where in 1982 she died of a heart attack at the age of forty-nine. Her work has been collected privately and also by public institutions, such as the Museo de Arte Moderno, Museo Nacional de Colombia, and Banco de la República, all in Bogotá, and Tate Modern, London.

adapted from de Marcela Guerrero, Hammer Galleries

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Obras de Feliza Bursztyn

Oro/Gold – Obras cinéticas/Kinetic Works

Metal con colores/Colored Metal

Metal pintado/Painted Metal — Obras cinéticas/Kinetic works

Escultora de metal afuera/Outdoor metal sculpture

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Moico Yaker — Artista visual judío-peruano/Peruvian Jewish Artist — “Ese enganche entre los Andes y Jerusalén”./”That union between the Andes and Jerusalem.”

Moico Yaker

https://wordpress.com/post/jewishlatinamerica.wordpress.com/5880

Moico Yaker nació en Arequipa, Perú in 1949. Estudió Arquitectura en la University of Miami (EEUU), También estudió literatura, filosofía e historia en la Universidad Hebrea de Jerusalem, Israel. Asistió a la Escuela de Dibujo y Pintura Byam Shaw, Londres, Inglaterra y a la Ecole Nationale Supérieure des Beaux-Arts, París, Francia. En 1982 vuelve a Perú con treinta y tres años de edad y un largo y accidentado periplo por Estados Unidos, Europa, Israel y Venezuela. Empieza entonces a definirse como «una curiosa mezcla», un artífice «sudamericano-oriental-arequipeño y judío», en busca siempre de «ese enganche astral entre los Andes y Jerusalén». Cuenta en su haber numerosas exposiciones individuales y colectivas, tanto en el Perú como en México, Brasil, Argentina, USA. Ha participado en las bienales de La Habana, Cuenca, Lima, Panamá, Sao Paulo y Venecia. Moico Yaker vive y trabaja en Lima. Adaptado de https:/cosas.pe

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Moico Yaker was born in Arequipa, Peru in 1949. He studied Architecture at the University of Miami (USA), He also studied literature, philosophy and history at the Hebrew University of Jerusalem, Israel. He attended the Byam Shaw School of Drawing and Painting, London, England and the Ecole Nationale Supérieure des Beaux-Arts, Paris, France. In 1982 he returned to Peru at the age of thirty-three and after a long and eventful journey through the United States, Europe, Israel and Venezuela. Then he begins to define himself as “a curious mix”, a “South American-Eastern-Arequipa and Jewish” architect, always looking for “that astral connection between the Andes and Jerusalem.” Account to his credit numerous individual and collective exhibitions, both in Peru and in Mexico, Brazil, Argentina, USA. He has participated in the biennials of Havana, Cuenca, Lima, Panama, Sao Paulo and Venice. Moico Yaker lives and works in Lima. Adapted from de https:/cosas.pe

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Moico Yaker busca <<Ese enganche entre los Andes y Jerusalén>>

Moico Yaker searches for “That union between the Andes and Jerusalem.”

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Pinturas/Paintings

Judaica

Judíos/Jews
Se trata del “árbol sefirótico”, considerado el principal símbolo metafísico de los cabalistas./The “Tree of life” with the ten Sefirot and the 22 Hebrew letters de los cabalistas
Detalle de Santiago Matamoros con escudo cabalita/Detail of Santiago Matamoros with a Kabbalist shield (St. James)
Santiago Matamoros a lo judío/A Jewish Version of Santiago (St. James)
Archángel Miguel/Archangel Michael

Peruano/Peruvian

Algo muere como historia pero renace como mito en estos cuadros.
Inkas y Conquistadores
Aborígenes/Aborigines
Fetiches/Fetishes
Moico Yaker habla en un español que es fácil entender/Moico Yaker speaks in a Spanish that is easy to follow.

La presencia judía de Costa Rica/ The Jewish Presence in Costa Rica

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Costa Rica es el hogar de aproximadamente 4000 judíos, la mayoría de ellos descendientes de los más de 300 inmigrantes de Zelechow, Polonia, que llegaron a principios de la década de 1930 en busca de oportunidades económicas y huyendo de las primeras señales de advertencia del gobierno nazi. El Museo de la Comunidad Judía de Costa Rica de San José presenta la historia de esa inmigración, así como los primeros años de los hombres como vendedores de puerta en puerta, cuando se ganaron el apodo yiddish de “clappers” por el sonido que hacían tocando puertas—se desarrolla a través de una serie de fotografías de archivo, paneles informativos y artefactos rituales. Valiosos shofars, tallits e instrumentos de brit milah atestiguan la adhesión de los primeros pobladores a la vida religiosa. El museo es parte del Centro Israelita Sionista de Costa Rica, un extenso campus inaugurado en 2004. Con 2.500 miembros, esta es la dirección principal ortodoxo para gran parte de lo judío en el país: servicios de adoración diarios, certificación de kashrut, mikvehs, educación escolar diurna, programas para personas mayores y sociedad funeraria. Hay una sinagoga reformista. Los judíos ocupan un lugar elevado y enrarecido en la sociedad costarricense. Operadores turísticos usan misma palabra: “elegante”, utilizada con reverencia en lugar de como un insulto—cuando lucha en inglés para describir a los judíos locales, muchos de los cuales son dueños de importantes concesionarios de automóviles, franquicias de comida rápida y otros negocios exitosos.

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Costa Rica is home to approximately 4,000 Jews, most of them descendants of the 300-plus immigrants from Zelechow, Poland, who arrived in the early 1930s looking for economic opportunity and fleeing the early warning signs of Nazi rule. In San José’s Museo de la Comunidad Judía de Costa Rica, the story of that immigration as well as the men’s early years as door-to-door salesmen—when they earned the Yiddish sobriquet “klappers” for the sound they made knocking on doors—unfolds through a series of archival photographs, informational panels and ritual artifacts. Treasured shofars, tallits and brit milah instruments testify to the earliest settlers’ adherence to religious life. The museum is housed in the Centro Israelita Sionista de Costa Rica, a sprawling multi-acre campus opened in 2004. With 2,500 members, this is the main address for most things Jewish in the country—daily Orthodox worship services, kashrut certification, mikvehs, day school education, senior programs and burial society. There is one Reform congregation. Jews inhabit a lofty, rarified place in Costa Rican society. Tour leaders use the word “fancy,” with reverence rather than as a slur—when struggling in English to describe local Jews, many of whom own prominent car dealerships, fast-food franchises and other successful businesses.

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Literatura/Literature

Samuel Rovinski https://wordpress.com/post/jewishlatinamerica.wordpress.com/1914

“Las naranjas de pascua”

“Pero sí te prometo, mi dulce Janche, que, para Pésaj, en nuestra

mesa habrá manzanas, peras, uvas, avellanas, ciruelas, pasas, un buen

vino Manischewitz y todas las frutas del trópico. ¿Y sabes por qué,

Janche? Porque en este Pésaj vamos a cumplir diez años de haber llegado

a Costa Rica”.

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“The Oranges of Passover”

“But if I promise you, my sweet Janche, that, for Passover, on our table there will

be apples, pears, hazelnuts, cherries, raisins, a good Manischewitz wine and all the

fruits of the tropics. And you know why, Janche? Because at this Passover, we are

going to celebrate ten years of our arrival in Costa Rica.”

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Rosita Kalina https://wordpress.com/post/jewishlatinamerica.wordpress.com/4084

SOY DE LA TRIBU DE YEHUDÁ

Soy de la tribu de Yehudá

La de mis abuelos y bisabuelos.

La de Salomón, de Jesús y Einstein.

Por no citar a Freud,

cuyo valioso secreto cabalístico

saltó a la silla del terapeuta.

No perdono los miles de holocaustos

que en nombre de fementidas verdades

se urdieron contra mi pueblo,

contra otros pueblos antiquísimos,

más sabios que la ley del blanco.

Me horroriza el hombre integrado

a religiosas guerras.

Que somos uno en la inmensa nave

madre tierra, que nos transporta

a ilimitadas dimensiones.

Que todos respiramos un mismo destino.

Soy universal. Simplemente una mujer

que se atreve a soñar con una hermandad

de almas y de alas.

Precisamente por mi origen,

comprendo bien la tristeza de otros

venidos a menos por color o ángulo de los ojos.

¡Que venga la era del hombre,

maravilloso ser que puebla la existencia!

En él veo único, irrepetible,

mi orgullo de ser mujer.

También amo al animal y a las plantas

que vivan mis soledades.

Soy judía. Tersa hasta la caricia.

Amorosa hasta el éxtasis.

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I AM OF THE TRIBE OF JUDAH

I am of the tribe of Judah.

That of my grandparents and great-grandparents.

That of Solomon, of Jesus and Einstein.

Not to mention Freud

whose valuable Kabbalistic secret

leaped to the therapist’s chair.

I don’t forgive the thousands of Holocausts

that in the name of false truths

were devised against my people,

against other extremely old peoples.

wiser than the law of the powerful.

I am horrified by the man who takes part in religious wars.

That we are one in the immense ship

Mother Earth, that transports to

unlimited dimensions.

That we all breathe a like destiny.

I am universal. Simply a woman

who dares to dream of a brotherhood

of souls and of wings.

Precisely because of my origin,

I well understand the sadness of others

brought down by color or angle of eyes.

Let the era of man come,

marvelous being who populates existence!

In him, I see as unique, unrepeatable,

my pride of being a woman.

I also love the animal and the plants

that live my solitudes.

I am Jewish. Smooth even to the caress.

Loving even to ecstasy.

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Luis Kleiman

III LÓGICA

a Samuel Rowinski, amigo de las letras

La oposición de los magnetos,
dividos, separados,
amparados en sus polos disidentes,
causa la anulación de las fuerzas.

Y en el núcleo,
equilibrado el movimiento,
por inercia,
decrece hasta la muerte,
la multiplicación de los verbos.

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III LOGIC

to  Samuel Rovinski, friend of literature

The opposition of the magnets,

divided, separated,

in its dissident poles,

cause the annulment  of the forces.

And in the nucleus

the movement balanced

by inertia,

decreases to its death,

to the multiplication of the words.

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Historia familiar/Family History

Yanina Rovinski https://wordpress.com/post/jewishlatinamerica.wordpress.com/4084

“La montaña de aserrín”

“Paz y amor” celebra no solamente la sobrevivencia de Sarita y su familia, sino la recepción que recibieron de los judío costarricenses y la solidaridad de esa comunidad. Trata de la adaptación de Sarita a su vida nueva en Costa Rica. También, es una historia de amor entre Samuel Rovinski que llegará a ser un escritor importante y su querida Sarita.

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“The Mountain of Saw Dust”

“Peace and Love’”celebrates not only the survival of Sarita and her family, but also the reception they received by the Costa Rican Jews and the solidarity of that community. It deals with Sarita’s adaptation to her new life en Costa Rica. Also, it is adolescent love story between Samuel Rovinski, who would become an important writer, and his beloved Sarita.

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Ana Wien https://wordpress.com/post/jewishlatinamerica.wordpress.com/3338

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Ileana Piszk https://wordpress.com/post/jewishlatinamerica.wordpress.com/969 y otros

Rosita Kalina, una impresión la madre de Ileana Piszk/An Impression by Ileana Piszk

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Sinagogas y Museos/Synagogues and Museums

https://wordpress.com/post/jewishlatinamerica.wordpress.com/7279

Centro israelita Sionista de Costa Rica – Ortodoxo
Congregación B’nei Israel – Reformista

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Museo judío de Costa Rica

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Parque de la Vida – en honor de los 190 sobrevivientes del Holocausto que hicieron sus vida en Costa Rica/ Life Park – in honor of the 190 Holocaust survivors who made their lives in Costa Rica — Velma Faingerziedt, directora

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Noé Katz–Artista visual y escultor judío-mexicano, radicado en EEUU/ Mexican Jewish Artists and Sculptor, living in the United States-“Yom Kippur” y otras obras/”Yom Kippur” and other works

Noé Katz

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Noé Katz nació en la Ciudad de México en 1953 de padres judíos. Se inició como diseñador gráfico luego de estudiar en la escuela del INBA, en la Ciudadela, y continuó su formación en la academia de Bellas Artes de Florencia, con una beca de la embajada de Italia en México y de la Secretaría de Relaciones Exteriores.Ha incursionado en el dibujo, la pintura, la escultura y la obra mural, además de dedicarse al diseño editorial. Su obra forma parte de las colecciones del museo de arte moderno de México y otros museos del extranjero.Entre sus premios se puede mencionar el premio en el Museo Carillo Gil con el tema “Sobre el humor”. El premio de la Cámara Nacional de las Artes Gráficas en México, el premio de la revista Escala de Aeroméxico a la mejor portada con motivo del Mundial Francia ’98, el premio de la Cámara de Artes Gráficas de Brasil por su obra “El Ángel”, y quizá uno de los más representativos: El premio por su timbre postal conmemorativo a los 100 años de presencia judía en México. Adaptado de Enlace Judío de México

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Noé Katz was born in Mexico City in 1953 to Jewish parents. He began as a graphic designer after studying at the INBA school, in the Ciudadela, and continued his training at the Academy of Fine Arts in Florence, with a scholarship from the Italian embassy. in Mexico and the Ministry of Foreign Affairs. He has ventured into drawing, painting, sculpture and mural work, in addition to dedicating himself to editorial design. His work is part of the collections of the Museum of Modern Art in Mexico and other museums abroad. Among his awards we can mention the award at the Carillo Gil Museum with the theme “On humor”. The award from the National Chamber of Graphic Arts in Mexico, the award from Aeroméxico’s Escala magazine for the best cover on the occasion of the France ’98 World Cup, the award from the Brazilian Chamber of Graphic Arts for his work “El Ángel” , and perhaps one of the most representative: The award for its commemorative postage stamp for 100 years of Jewish presence in Mexico. Adapted from Enlace Judío de México

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“My imagination leads me to design three-dimensional ideas. Sometimes I create on a smaller scale, imagining them being built in a much larger scale such as public spaces. Besides sculpture, I’m a full time painter who loves to let my imagination flow and I take pride in my technique as well. I enjoy the use of colors and smooth surfaces. I think that a person who wants to feel alive has to read, travel, love, and let himself be loved.” Noé Katz

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“Mi imaginación me lleva a diseñar ideas tridimensionales. A veces creo en una escala más pequeña, imaginando que se construyen en una escala mucho mayor, como los espacios públicos. Además de la escultura, soy un pintor a tiempo completo al que le encanta dejar fluir mi imaginación y también me enorgullezco de mi técnica. Disfruto el uso de colores y superficies lisas. Creo que una persona que quiere sentirse viva tiene que leer, viajar, amar y dejarse amar”. Noé Katz

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Pintura/Painting

Yom Kippur
Lazos 1996
Transferencja, 2001
Negocios
Mucho tráfico 2002
Afiche/Poster
Man on Horseback
Serpientes y escaleras 2002

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Escultora/Sculpture

Kurt Levy (1911-1987)– Artista visual alemán-colombiano/German Colombian Artist — “La aventura de la pintura”/”The Adventure of Painting”

Kurt Levy

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Kurt Levy nació en Alemania en 1911, pero pasó la mayor parte de su carrera pictórica en Colombia. Es célebre por sus paisajes en acuarela del campo colombiano. “Encontré la luz del Caribe como una ocasión espléndida para la gran aventura de la pintura”, dijo Levy en una exposición en Bogotá en 1959. El pintor judío huyó de Europa en 1935 y se estableció en Colombia, donde apoyó sus actividades artísticas trabajando como litógrafo. La carrera pictórica de Levy despegó en 1947 con su primera exposición individual en la Biblioteca Nacional de Bogotá. Aceptó un puesto para trabajar como profesor de dibujo y acuarela en la Universidad de Barranquilla, en el norte de Colombia, en 1956. El artista también vivió en Medellín durante varios años, trabajando como instructor de pintura y dibujo en el Centro Colombo Americano. Los paisajes colombianos de Levy, que describió como concisos y nada sentimentales, se han exhibido en todo el país.

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Kurt Levy was born in Germany in 1911, but spent most of his painting career in Colombia. He is celebrated for his watercolor landscapes of the Colombian countryside.“I found the light of the Caribbean a splendid occasion for the great adventure of painting,” Levy said at an exhibition in Bogotá in 1959. The Jewish painter fled Europe in 1935 and settled in Colombia, where he supported his artistic pursuits by working as a lithographer. Levy’s painting career took off in 1947 with his first solo exhibition at the Biblioteca Nacional de Bogotá. He accepted a position to work as a professor of drawing and watercolor painting at the University of Barranquilla, in northern Colombia, in 1956. The artist also lived in Medellin for several years, working as a painting and drawing instructor at Centro Colombo Americano. Levy’s Colombian landscapes, which he described as concise and unsentimental, have been exhibited all over the country.

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Esther Vainstein — Artista visual multimedia judío-peruana/Peruvian Jewish Multimedia Artist — “Vivo frente del mar”/”I live facing the sea”

Esther Vainstein (

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Su obra ha sido un intento por encontrar su lugar en el mundo. Si bien Esther Vainstein nació en Lima en 1947, sus orígenes están en Polonia y Rumania, de donde vinieron sus padres antes de estallar la Segunda Guerra Mundial. Eso los salvó del exterminio nazi. Sin embargo, la mayoría de su familia judía en Europa pereció en los campos de concentración. Actualmente, ella tiene una hermana y dos hijas que viven desde hace buen tiempo en Estados Unidos. Por eso, dice: “Soy la primera y la última generación de mi familia en el Perú”.Esto la llevó a buscar sus raíces a través de sus proyectos artísticos, y decidió adoptar el desierto costeño como su patria. “Yo no conozco Polonia ni Rumania y tampoco tengo ganas de ir porque no quiero visitar los campos de concentración. Esto es como una búsqueda de raíces en un país que no es el mío, como tampoco lo son Polonia ni Rumania. Yo estudié cine y trabajé nueve años en la BBC de Londres haciendo documentales sobre el Perú, viajé mucho y descubrí el desierto que para mí resulta fantástico. Es un tema recurrente en mi obra desde hace 40 años”, dice.Y el desierto costeño está conectado con lo precolombino, con culturas como Chancay, Paracas y Nazca, temas que Esther Vainstein ha desarrollado en pinturas e instalaciones como la realizada en 2007, en el ICPNA, titulada Ofrendas de Barro y Viento / Cadencia y variaciones, una exposición antológica de su obra, donde construyó una huaca enorme en la sala miraflorina. “Ese año ocurrió el terremoto en Pisco —cuenta— y se derrumbó una casa hecha de adobes en Chorrillos. Uno de los obreros que estaba trabajando conmigo me avisó del hecho y esa noche mandamos un camión a recoger esos adobes y con ellos construí la instalación de la huaca. La hice con arena negra como símbolo de la muerte causada por el terremoto. . . Fue toda una experiencia”.Lo que a ella le interesa contar es eso que se esconde y revela en la aparente inercia del desierto. “El desierto está vivo —dice— las arenas se mueven constantemente, tapan y destapan las cosas. En Paracas, en Nazca, en Palpa, por ejemplo, los vientos cambian mucho, y existen cosas que recién se han ido descubriendo, como las líneas Paracas, porque antes estaban ocultas”. Se queda en silencio y segundos después, agrega: “Hace más de 40 años, vivo frente al mar y creo que este es equivalente al desierto. Las mareas cambian, nunca nada es igual, todos los días el mar es distinto, lo mismo sucede con el desierto, por eso cada persona tiene una visión distinta de él”.

El Comercio, Lima

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His work has been an attempt to find his place in the world. Although Esther Vainstein was born in Lima in 1947, her origins are in Poland and Romania, where her parents came from before the outbreak of World War II. That saved them from Nazi extermination. However, most of his Jewish family in Europe perished in the concentration camps. Currently, she has a sister and two daughters who have long lived in the United States. For this reason, she says: “I am the first and the last generation of my family in Peru.” This led her to seek her roots through her artistic projects, and she decided to adopt the coastal desert as her homeland. “I don’t know Poland or Romania and I don’t feel like going because I don’t want to visit the concentration camps. This is like a search for roots in a country that is not mine, and neither are Poland or Romania. I studied film and worked for the BBC in London for nine years making documentaries about Peru, I traveled a lot and discovered the desert, which for me is fantastic. It has been a recurring theme in my work for 40 years ”, he says. And the coastal desert is connected with the pre-Columbian, with cultures such as Chancay, Paracas and Nazca, themes that Esther Vainstein has developed in paintings and installations such as the one carried out in 2007, at the ICPNA, entitled Offerings of Clay and Wind / Cadence and Variations, an anthological exhibition of her work, where she built a Huge huaca in the Miraflorina room. “That year the earthquake occurred in Pisco,” he says, “and a house made of adobes collapsed in Chorrillos. One of the workers who was working with me told me of the fact and that night we sent a truck to collect those adobes and with them I built the installation of the huaca. I made it with black sand as a symbol of death caused by the earthquake. . . It was quite an experience. ”What she is interested in telling is what is hidden and revealed in the apparent inertia of the desert. “The desert is alive,” he says, “the sands are constantly moving, covering and uncovering things. In Paracas, in Nazca, in Palpa, for example, the winds change a lot, and there are things that have only recently been discovered, such as the Paracas lines, because before they were hidden ”. He remains silent and seconds later, he adds: “For more than 40 years, I have lived in front of the sea and I think it is equivalent to the desert. The tides change, nothing is ever the same, every day the sea is different, the same happens with the desert, that is why each person has a different vision of it ”.

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La obra de Esther Vainstein/Work of Esther Vainstein

El desierto

Instalaciones/Installations

Pinturas/Paintings

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Escultora/Sculpture

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Trude Sojka (1909-2007) Artista visual y sobreviviente de la Shoá judío-checo-ecuatoriana/Czech Ecuadorian Jewish Artist and Holocaust Survivor

Trude Sojka

Gertrud Herta Sojková Baum nació en 1909 en Berlín de padres judíos checos. Su padre, Rudolf Sojka, era ingeniero y tenía tratos comerciales con el presidente ecuatoriano Eloy Alfaro relacionados con el sistema ferroviario ecuatoriano. Pronto la familia se mudó a Praga, Checoslovaquia. Se matriculó en la Academia de las Artes de Prusia en Berlín. Su talento como pintora la llevó a exponer en Berlín; Con el ascenso al poder de Hitler y la invasión de Checoslovaquia por el Tercer Reich, la familia judía de Sojka se vio amenazada. En 1938, Sojka se casó con Dezider Schwartz. En 1942, la pareja fue transportada al campo de concentración de Majdanek, luego al campo de trabajo de Sered y luego, en 1944, al campo de concentración de Auschwitz. Trude es trasladado al campo de concentración de Gross-Rosen, liberado por los rusos. Nunca volvería a encontrar a Dezider Schwartz. Pero encontró en la Cruz Roja un periódico de su hermano mayor, Waltre, que buscaba a su familia. Vivía en Ecuador desde 1938. Waltre había sido invitado a Ecuador para dar conferencias de química en la Universidad Central del Ecuador y, decidió quedarse allí. Trude decidió unirse a ellos. “Cuando llegué al puerto de Guayaquil , mi hermano me esperaba con los brazos abiertos.” “Solo que cuando salí del barco, fui corriendo directo a abrazar un racimo de plátanos”, solía bromear Sojka. Sojka estaba fascinado por la cultura, los pueblos indígenas y el paisaje. Ella descubre es el arte autóctono y aborigen , que comienza a estudiar cuanto antes: una fuente de inspiración para sus propias obras. Sojka comienza a trabajar para su hermano y su esposa, tanto en su fábrica como en su tienda de artesanías, llamada AKIOS, (Sojka escrito al revés), en el Centro Histórico de Quito. Cuando Sojka llegó a Guayaquil, conoció a un buen amigo de su hermano Hans Steinitz, también sobreviviente del Holocausto, quien logró huir del campo de concentración de Sachsenhausen. Se casaron. Luego, la artista se dedica casi por completo a su arte. Por estos tiempos conoce a grandes artistas ecuatorianos como Gilberto Almeida, Víctor Mideros, Manuel Rendón o, durante los 90, o Pilar Bustos. Incluso llega a enseñar escultura a Oswaldo Guayasamín. Sus primeras pinturas en Ecuador, creadas en 1950, representan sus experiencias en Auschwitz. También trabajó mucho en torno al significado de su apellido: Sojka, un pájaro que deambula por los bosques del este de Europa. Posteriormente, volvió a estudiar, pero esta vez profundamente, el arte precolombino, especialmente el arte indígena tradicional ecuatoriano y sus diferentes divinidades. Por eso, introdujo a muchas de sus figuras en su forma de pintar expresionista europea, que es única. Mientras tanto, sus pinturas se volvieron más alegres: la naturaleza, el universo, las oraciones, los recuerdos nostálgicos de su amada Checoslovaquia se convirtieron en sus temas principales. A finales del siglo XX pintó muchas más figuras tiernas. Las obras de Trude Sojka también se consideran muy especiales debido a su técnica. La artista utilizó cemento, un material muy duro y de secado rápido, para realizar sus pinturas, al igual que haría sus esculturas, dando una segunda dimensión a la superficie generalmente plana. Se le ocurrió la idea porque le encantaba trabajar con arcilla, pero el cemento era más barato y desafiante. Para fijar el cemento a la superficie de madera o cartón, utilizó un pegamento que su hermano Walter Sojka, un químico, inventó solo para ella. Además, fue pionera en Ecuador, y probablemente también en América Latina, en utilizar materiales reciclados dentro de sus obras de arte, como vidrios rotos, piezas de metal, estructuras de ruedas, tejas, tapas de cubos de basura. Con motivo del 90 cumpleaños de Sojka, la Casa de la Cultura Ecuatoriana ” Benjamín Carrión ” le rindió homenaje, nombrándola “Artista emérita” y se realizó una exposición retrospectiva de sus obras. En 2001, Sojka sufrió un derrame cerebral. Logró superarlo con un mínimo de pérdida de memoria. Continuó haciendo pinturas y esculturas pesadas con cemento y materiales reciclados hasta los noventa y cinco años. Cuando sus manos se volvieron demasiado frágiles, dejó de trabajar con cemento. Sin embargo, nunca dejó de pintar y dibujar. Se murió en 2007.

Adaptado de: https://stringfixer.com/es/Trude_Sojka

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Gertrud Herta Sojková Baum was born in 1909 in Berlin to Czech Jewish parents. His father, Rudolf Sojka, was an engineer and had business dealings with Ecuadorian President Eloy Alfaro related to the Ecuadorian rail system. Soon the family moved to Prague, Czechoslovakia. He enrolled at the Prussian Academy of Arts in Berlin. Her talent as a painter led her to exhibit in Berlin; With Hitler’s rise to power and the Third Reich’s invasion of Czechoslovakia, Sojka’s Jewish family was threatened. In 1938, Sojka married Dezider Schwartz. In 1942, the couple were transported to the Majdanek concentration camp, then to the Sered labor camp, and then, in 1944, to the Auschwitz concentration camp. Trude is transferred to the Gross-Rosen concentration camp, liberated by the Russians. She would never see Dezider Schwartz again. But he found in the Red Cross a newspaper of his older brother, Waltre, who was looking for his family. He had lived in Ecuador since 1938. Walter had been invited to Ecuador to give chemistry lectures at the Central University of Ecuador and decided to stay there. Trude decided to join them. “When I arrived at the port of Guayaquil, my brother was waiting for me with open arms.” “Only when I got off the boat, I ran straight to hug a bunch of bananas,” Sojka used to joke. Sojka was fascinated by culture, indigenous peoples and the landscape. She discovers indigenous and aboriginal art, which she begins to study as soon as possible: a source of inspiration for his own works. Sojka begins to work for his brother and his wife, both in their factory and in their handicraft store, called AKIOS, (Sojka written backwards), in the Historic Center of Quito When Sojka arrived in Guayaquil, she met a good friend of her brother Hans Steinitz, also a Holocaust survivor, who managed to escape from the Sachsenhausen concentration camp. They married. Later, the artist devotes herself almost entirely to her art. During these times he met great Ecuadorian artists such as Gilberto Almeida, Víctor Mideros, Manuel Rendón or, during the 90s, or Pilar Bustos. He even taught sculpture to Oswaldo Guayasamín. His first paintings in Ecuador, created in 1950, depict his experiences at Auschwitz. He also worked hard around the meaning of his last name: Sojka, a bird that roams the forests of eastern Europe. Later, he returned to study, but this time deeply, pre-Columbian art, especially Ecuadorian traditional indigenous art and its different divinities. For this reason, he introduced many of his figures in his European Expressionist way of painting, which is unique. Meanwhile, his paintings became more joyful: nature, the universe, prayers, nostalgic memories of his beloved Czechoslovakia became his main themes. At the end of the 20th century he painted many more cute figures. Trude Sojka’s works are also considered very special due to their technique. The artist used cement, a very hard and fast drying material, to make her paintings, as she would her sculptures, giving a second dimension to the generally flat surface. She came up with the idea because he loved working with clay, but cement was cheaper and more challenging. To fix the cement to the wooden or cardboard surface, she used a glue that her brother Walter Sojka, a chemist, invented just for her. In addition, it was a pioneer in Ecuador, and probably also in Latin America, in using recycled materials within its works of art, such as broken glass, metal pieces, wheel frames, roof tiles, and garbage can lids. On the occasion of Sojka’s 90th birthday, the Ecuadorian House of Culture “Benjamín Carrión” paid tribute to her, naming her “Emeritus Artist” and a retrospective exhibition of her works was held. In 2001, Sojka suffered a stroke. She managed to get through it with minimal memory loss. She continued to make heavy paintings and sculptures with cement and recycled materials until he was ninety-five years old. When his hands became too fragile, she stopped working with cement. However, he never stopped painting and drawing. He died in 2007.

Adapted from: https://stringfixer.com/es/Trude_Sojka

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Obras de arte hechas de materiales reciclados y cemento/Artworks made of recycled materials and cement

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Escultura por Trude Sojka/Sculpture by Trude Sojke

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En español con fotos
In English

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Un Libro sobre la obra de Trude Sojka/A Book about Trude Sojka’s Work

Español-English

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Amazon

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Lene Schneider-Keiner (1885-1971) Artista visual judío-austraco-boliviana/ Austrian Bolivian Jewish Artist — Viajera del mundo/World Traveler

Fotos de Lene Schneider-Keiner como actriz, pintora,fotógrafa y viajera/ Photos of Lene Schneider-Keiner as a actrice, painter, photographer and traveler

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Lene Schneider-Keiner nació en 1885, en Viena, Austria, en una familia judía. Estudió pintura en Viena y en Munich. La suya es la historia de una mujer judía creativa, independiente y rompedora de fronteras que se adelantó a su tiempo. Lene Schneider-Keiner fue una pintora y diseñadora de moda en Berlín en la década de 1920 que navegó por el escándalo, se vistió de hombre para dedicarse a su arte, se divorció de su marido y viajó por partes poco visitadas de Asia y Oriente Medio en el camino de Marco Polo. De 1926 a 1928, participó en una expedición a Asia, que la llevó a ella y al autor Bernhard Kellermann a Irán, Ladakh (Klein-Tibet), India, Tailandia y China. Luego se trasladó a Berlín, donde fue apoyada por la Academia de Bellas Artes de Prusia y la Villa Másimo en Roma. Tras una estancia en España en la década de 1930, se instaló en Nueva York y más tarde en Berlín. Ella escapó y se mantuvo unos pasos por delante de los nazis, y finalmente se dirigió a la ciudad de Nueva York, luego a Cochabamba, Bolivia, donde en 1954 se había mudado para encontrarse con familiares que se establecieron allí después de huir de los nazis. En Cochabamba, Bolivia, donde se hizo conocida como Elena Eleska, murió en 1971.
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Lene Schneider-Keiner was born in 1885, in Vienna, Austria, to a Jewish family. She studied painting in Vienna and Munich. Her’s is the story of a creative, independent and border-breaking Jewish woman who was ahead of her time. Lene Schneider-Kainer was a painter and fashion designer in Berlin in the 1920s who navigated scandal, dressed as a man to pursue her art, divorced her husband, and traveled through little-visited parts of Asia and the Middle East. on the road to Marco Polo. From 1926 to 1928, she participated in an expedition to Asia, which took her and author Bernhard Kellermann to Iran, Ladakh (Klein-Tibet), India, Thailand, and China. She then moved to Berlin, where she was supported by the Prussian Academy of Fine Arts and the Villa Másimo in Rome. After a stay in Spain in the 1930s, she settled in New York and later in Berlin. She escaped and stayed a few steps ahead of the Nazis, eventually making her way to New York City, then Cochabamba, Bolivia, where in 1954, she moved to meet relatives who settled there after fleeing the Nazis. In Cochabamba, Bolivia, where she became known as Elena Eleska, she died in 1971.

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Pinturas de sus viajes inmensos sobre la ruta de Marco Polo y más visitas del mundo/Paintings from her enormous journeys following the Route of Marco Polo and other visits around the world

Una mujer ladok de la Himalayas/A Laddock woman from the Himalayas
Un lama de las Himalayas/A lama from the Himalayas
Mujer china con bebé/Chinese Woman with Baby
Una mujer del Golfo de Persia/A Woman of the Persian Gulf
Attork
Bailarina de Siam/Siamese Dancing Girl
Una madre jóven de Persia/A Young Mother from Persia
Una mendiga en Persio/A Woman Beggar in Persia
Dos hombres de la India con frutas/Two men from India with fruit
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El mercado de Peking/The Pekin market
Pueblo en las montañas Altas de Moroco/A Village in the Atlas Mountains of Morocco

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Escenas de Amsterdam

Amsterdam
Amsterdam

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Mujeres de Amsterdam/Women of Amsterdam

Ilustraciones de un libro erõtico/Illustrations for a book of erotica

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Abstracción/Abstract Art

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Autorretratos de Lene Schneider-Keiner

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Franz Weissmann (1911-2005) — Escultor do espaço brasileiro judaico/Escultor del espacio judío-brasileño/Brazilian Jewish Sculptor of Space — “Fuera e adentro”/”Afuera y adentro”/”Outside and Inside”

Franz Weissmann

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Franz Weissman (1911-2005) Escultor, desenhista, pintor e professor. Veio para o Brasil em 1921. No Rio de Janeiro, entre 1939 e 1941, frequenta cursos de arquitetura, escultura, pintura e desenho na Escola Nacional de Belas Artes (Enba). De 1942 a 1944, estudou desenho, escultura, modelagem e fundição com August Zamoyski (1893-1970). Em 1945, muda-se para Belo Horizonte, onde dá aulas particulares de desenho e escultura. Três anos depois, Guignard (1896-1962) o convida a lecionar escultura na Escola do Parque, que mais tarde recebe o nome de Escola Guignard. Inicialmente, desenvolve um trabalho baseado no figurativismo. A partir da década de 1950, vai elaborando gradativamente uma obra de cunho construtivista, valorizando as formas geométricas, submetendo-as a cortes e dobras, utilizando chapas de ferro, fios de aço, alumínio em dintel ou chapa. Ingressou no Grupo Frente, em 1955. No ano seguinte, voltou ao Rio de Janeiro e participou da Mostra Nacional de Arte Concreta, em 1957. Foi um dos fundadores do Grupo Neoconcreto, em 1959. Nesse ano, viajou para a Europa e Extremo Oriente, retornando ao Brasil em 1965. Na década de 1960, expôs a série Amassados, feita na Europa com chapas de zinco ou alumínio trabalhadas com martelo, clava e instrumentos de ponta, aliando-se temporariamente ao informalismo. Depois, volta aos aspectos construtivos. Na década de 1970, recebeu o prêmio de melhor escultor pela Associação Paulista de Críticos de Arte (APCA), participou da Bienal Internacional de Escultura ao Ar Livre, em Antuérpia, na Bélgica, e da Bienal de Veneza. Realiza esculturas monumentais para espaços públicos de várias cidades brasileiras, como a Praça da Sé, em São Paulo, o Parque da Catacumba, no Rio de Janeiro e o Palácio das Artes, em Belo Horizonte.

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Franz Weissmann (1911-2005) Escultor, dibujante, pintor y maestro, llegó a Brasil en 1921. En Río de Janeiro, entre 1939 y 1941, asistió a cursos de arquitectura, escultura, pintura y dibujo en la Escuela Nacional de Bellas Artes ( En BA). De 1942 a 1944 estudió dibujo, escultura, modelado y fundición con August Zamoyski (1893-1970). En 1945 se trasladó a Belo Horizonte, donde impartió clases particulares de dibujo y escultura. Tres años más tarde, Guignard (1896-1962) lo invitó a enseñar escultura en la Escola do Parque, que más tarde recibió el nombre de Escola Guignard. Inicialmente he desarrollado un trabajo basado en el figurativismo. A partir de la década de 1950, poco a poco elaboró ​​una obra de carácter constructivista, valorando las formas geométricas sometiéndolas a cortes y pliegues, utilizando planchas de hierro, alambres de acero, aluminio en dintel o chapa. Ingresó al Grupo Frente, en 1955. Al año siguiente, regresó a Río de Janeiro y participó en la Exposición Nacional de Arte Concreto, en 1957. Fue uno de los fundadores del Grupo Neoconcreto, en 1959. En ese año, viajó a Europa y Extremo Oriente, regresando a Brasil en 1965. En la década de 1960 expone la serie Amassados, realizada en Europa con láminas de zinc o aluminio trabajadas con martillo, maza e instrumentos afilados, alineándose temporalmente con el informalismo. Más tarde, volví al estilo constructivo. En la década de 1970, recibí el premio por mejor escultor de la Asociación de Críticos de Arte de São Paulo (APCA), participó en la Bienal Internacional de Escultura al Aire Libre, en Amberes, Bélgica, y la Bienal de Venecia. Creó esculturas monumentales para espacios públicos en varias ciudades brasileñas, como Praça da Sé, en São Paulo, Parque da Catacumba, en Río de Janeiro y Palácio das Artes, en Belo Horizonte.

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Franz Weissmann (1911-2005) Sculptor, draughtsman, painter and teacher, came to Brazil in 1921. In Rio de Janeiro, between 1939 and 1941, he attended courses in architecture, sculpture, painting and drawing at the National School of Fine Arts (Enba). From 1942 to 1944, he studied drawing, sculpture, modeling and casting with August Zamoyski (1893-1970). In 1945, he moved to Belo Horizonte, where he taught private lessons in drawing and sculpture. Three years later, Guignard (1896-1962) invited him to teach sculpture at Escola do Parque, which later received the name Escola Guignard. Initially, he developed work based on figurativism. From the 1950s onwards, he gradually elaborated a work of a constructivist nature, valuing geometric shapes, submitting them to cuts and folds, using iron plates, steel wires, aluminum in lintel or sheet. He joined Grupo Frente, in 1955. The following year, he returned to Rio de Janeiro and participated in the National Exhibition of Concrete Art, in 1957. He was one of the founders of Grupo Neoconcreto, in 1959. In that year, he traveled to Europe and the Far East, returning to Brazil in 1965. In the 1960s, he exhibited the Amassados ​​series, made in Europe with zinc or aluminum sheets worked with a hammer, club and sharp instruments, temporarily aligning himself with informalism. Later, he came back to the constructive style. In the 1970s, he received the award for best sculptor from the São Paulo Association of Art Critics (APCA), participated in the International Biennial of Outdoor Sculpture, in Antwerp, Belgium, and the Venice Biennale. He created monumental sculptures for public spaces in several Brazilian cities, such as Praça da Sé, in São Paulo, Parque da Catacumba, in Rio de Janeiro and Palácio das Artes, in Belo Horizonte.

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O vazio sempre foi uma grande obsessão minha, o vazio ativo e não o vazio morto. O vazio está activo em relação ao conjunto de elementos de que dispõe [ao conjunto de elementos que ele tem]. Sempre tive a obsessão de não fechar portas, de abrir as janelas para ver, através delas, o mundo. Mesmo nas minhas figuras já trabalhei com o vazio, perfurei as figuras em argila e papel.”

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El vacío fue siempre una gran obsesión mía, el vacío activo y no el vacío muerto. El vacío es activo en relación con el conjunto de elementos que tiene [ao conjunto de elementos que ele tem]. Siempre tuve la obsesión de no cerrar puertas, de abrir las ventanas para ver, a través de ellas, el mundo. Incluso en mis figuras ya trabajé con el vacío, perforé las figuras en arcilla y papel.

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The void was always a great obsession of mine, the active void and not the dead void. The void is active in relation to the set of elements that it has [ao conjunto de elementos que ele tem]. I always had the obsession of not closing doors, of opening the windows to see, through them, the world. Even in my figures I already worked with the void, I pierced the figures in clay and paper.”

Franz Weismann

Renato Rodrigues da Silva (2021) The (neo)concrete sculptures of Franz Weissmann: between heaven and earth, World Art, 11:1, 41-70, DOI: 10.1080/21500894.2020.1737213

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Escultura exterior/Escultura de afuera/Outdoors Sculpture

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Escultura e arte plastica/Escultura y arte visual /Sculpture and Art

Uma escultura em MOMA/A sculpture in MOMA

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Franz Weissmann

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Livros/Books

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Harry Abend (1937-2021)– Un homenaje/An Homage — Escultor, arquitecto y orfebre judío-venezolano/Venezuelan Jewish Sculptor and Architect and Goldsmith– “Lo inesperado”/ “The Unexpected”

Harry Abend. Arquitecto, escultor y orfebre judío-polaco-venezolano. Su obra, se expuso en Caracas, Valencia, Brasil, Londres y Nueva York. Y en ella usó bronce, madera, cemento y otros.Nacido en Yaroslau, Polonia en 1937, llegó a Venezuela a los 11 años de edad. Comenzó a trabajar como escultor a partir de 1958, cuando estudiaba en la Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela. Abend inició su actividad expositiva en 1961 y, en 1963, obtuvo el Premio Nacional de Escultura con la obra “Forma”. Un año después trabajó en Caracas junto con el escultor inglés Kenneth Armitage y artistas jóvenes venezolanos. En 1967 egresó de la Facultad de Arquitectura y Urbanismo de la UCV. A finales de esta década realizó relieves que fueron integrados a la arquitectura de varios edificios caraqueños, entre ellos la Sinagoga de la Unión Israelita (1969) y el Hotel Caracas Hilton, hoy Hotel Alba Caracas (1969). También la Sala Plenaria de Parque Central (1974) y la Sinagoga de la Asociación Beth-El (1974-1975). Pero fundamentalmente destacado su trabajo en el Teatro Teresa Carreño (1980-1982). Luego, en 1976, el artista se mudó a Londres donde continuó desarrollando sus trabajos en madera y metal. Allí expuso en galerías como la Roundhouse Gallery y la Hayward Gallery. Pero en la capital británica vivió hasta 1982, cuando volvió a Venezuela. En los últimos años Harry Abend continuó trabajando y exponiendo. En 2019, como parte de la exhibición “Harry Abend: lo inesperado”, de la Sala Mendoza, lanzó un libro retrospectivo de su obra .

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Harry Abend. Polish Venezuelan Jewish architect, sculptor and goldsmith. His work was exhibited in Caracas, Valencia, Brazil, London and New York. And in it he used bronze, wood, cement and others.Born in Yaroslau, Poland in 1937, he came to Venezuela at the age of 11. He began working as a sculptor in 1958, when he was studying at the Faculty of Architecture and Urbanism of the Central University of Venezuela. Abend began his exhibition activity in 1961 and, in 1963, he won the National Sculpture Prize with his work”Forma.” A year later he worked in Caracas together with the English sculptor Kenneth Armitage and young Venezuelan artists. In 1967 he graduated from the UCV Faculty of Architecture and Urbanism. At the end of this decade he made reliefs that were integrated into the architecture of several Caracas buildings, among them the Synagogue of the Israelite Union (1969) and the Hotel Caracas Hilton, today Hotel Alba Caracas (1969). Also the Central Park Plenary Hall (1974) and the Beth-El Association Synagogue (1974-1975). But his work at the Teresa Carreño Theater (1980-1982) was outstanding. Then, in 1976, the artist moved to London where he continued to develop his works in wood and metal. There he exhibited in galleries such as the Roundhouse Gallery and the Hayward Gallery. But he lived in the British capital until 1982. In recent years, Harry Abend continued working and exhibiting. In 2019, as part of the exhibition “Harry Abend: the unexpected” by Sala Mendoza, he launched a retrospective book of his work.

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Arte público/Public art

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Universidad Central de Venezuela

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Escultura /Sculpture

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Arquitectura/Architecture

Sinagoga de la Asociación Beth-El

Interior

Sinagoga de la Unión Israelita

Hotel Alba Caracas, antes el Hilton Caracas

Fachada del Teatro Teresa Carreño

Sala Plenaria del Parque Central

Oficinas corporativas en Caracas

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Livio Abramo (1903-1993)– Gravador e aquerelista judeu-brasileiro-paraguaio/ Grabador y acuerleista judío-brasileiro-paraguayo/Brazilian Paraguayan Jewish Engraver and Watercolorist — Maestro em dois paises/Maestro en dos países/Master Artist in two countries

Livio Abramo

,Livio Abramo foi um desenhista, gravador e aquarelista paraguaio nascido no Brasil. Abramo nasceu em Araraquara, Brasil, filho de pais ítalo-judeus de origem sefardita. Ele descreveu seu pai como um liberal e seu avô paterno como um anarquista. Apesar de ter nascido no Brasil, adotou o Paraguai como nação e foi neste país que produziu grande parte de suas obras. Ele é considerado “um jogador-chave no desenvolvimento da arte moderna paraguaia”. Em seu livro Estágios de um itinerário: grabados, dibujos, acuarelas de Livio Abramo Abramo, Abramo afirmava que suas habilidades artísticas eram totalmente autodidáticas e que muitas de suas criações eram inspiradas em suas visões políticas. Os estudiosos consideram-no influenciado por Oswaldo Goeldi e por expressionistas alemães como Käthe Kollwitz.

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Livio Abramo fue un grabador y acuarelista paraguayo, nacido en Brasil. Abramo nació en Araraquara, Brasil, hijo de judíos italiano de origen sefardí. Describió a su padre como liberal y a su abuelo paterno como anarquista. A pesar de haber nacido no Brasil, adoptó a Paraguay, como nación y en este país produjo gran parte de sus obras. Es considerado “un jugador clave en el desarrollo del arte moderno paraguayo”. En su libro Etapas de un itinerario: grabados, dibujos, acuarelas de Livio Abramo, él afirmó que sus dotes artísticas fueron completamente autodidactas y que muchas de sus creaciones se inspiraron en sus opiniones políticas. Los estudiosos consideran que fue influenciado por Oswaldo Goeldi y por expresionistas alemanes como Käthe Kollwitz.

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Livio Abramo was a Brazilian-born Paraguayan sketcher, engraver, and aquarellist.
Abramo was born in, 1903, in Araraquara, Brazil to Italian-Jewish parents of Sephardic background. He described his father as a liberal and his paternal grandfather as an anarchist. Although born in Brazil, he adopted Paraguay as his nation and it was in this country that he produced much of his work. He is considered to be “a key player in this development of Paraguayan modern art.” In his book Etapas de un itinerario: grabados, dibujos, acuarelas de Livio Abramo ,Abramo claimed that his artistic skills were entirely autodidactic, and that many of his creations were inspired by his political views. Scholars consider him to be influenced by Oswaldo Goeldi and by German expressionists such as Käthe Kollwitz.

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Livio Abramo

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Stella Sidi — Artista visual judío-bulguro-argentina/Bulgarian Argentine Jewish artist– “La vuelta al mundo en 270 días” y otras obras esenciales/”Around the World in 270 Days” and Other Essential Works

Stella Sidi

Stella Sidi nació en Sofía, Bulgaria, junto a sus  padres  iniciaron un éxodo por la persecución nazi,  un largo viaje hasta Buenos Aires. Argentina, donde tenían parientes.

Allí se establecieron. Através de un cuaderno, bitácora de viaje de su mamá se generó una gran muestra sobre la epopeya familiar, en Argentina y en  Bulgaria, auspiciada por la Vice-presidente de su país de nacimiento  (2016/2019)

Estudió en las Escuelas Nacionales de Bellas ARTES obteniendo el título de profesora. Completó sus estudios con diferentes seminarios. Coordina su estudio de enseñanza artística desde el año 1983. Participó en numerosas Ferias Nacionales e Internacionales. Concursó en gran cantidad de Salones Nacionales e Internacionales,  también por Internet. Integró muchas muestras colectivas en el país y el exterior. Obtuvo 20 Premios. Columnista de Artes Plásticas desde 1995. A partir de 1999 dirige y produce  su propio programa dedicado a las Artes Visuales. Actualmente en www.conexionabierta.com.ar, sábados de 4 a 5 pm hora argentina.

Su sitio web es: http://www.stellasidi.com.ar

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Stella Sidi was born in Sofia, Bulgaria, together with her family, made an exodus from Nazi persecution and a long voyage to Buenos Aires. Argentina, where they had relatives.

They settled there. Through a notebook, the travel diary of her mother, a great exhibition was created about the family epic, in Argentina and in Bulgaria, sponsored by the vice president of his country of birth (2016/2019)

She studied at the National Schools of Fine Arts obtaining the title of teacher. She completed her studies with different seminars. Since 1983, She has coordinated her workshop for art study since 1983. She participated in numerous National and International Art Fairs. She participated in a large number of National and International Salons and also online.She joined many group exhibitions in the country and abroad. She obtained 20 Awards.Stella Sidi has been an Arts Columnist since 1995. Since 1999 he directs and produces her own program dedicated to the Visual Arts. Currently at www.conexionabierta.com.ar , Saturdays from 4 to 5 pm Argentine time.

website http://www.stellasidi.com.ar.

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Anuncio/Announcement

 Con motivo del 90 aniversario del establecimiento de relaciones diplomáticas entre Bulgaria y Argentina por invitación del Instituto Estatal de Cultura al Ministro de Relaciones Exteriores Fondo Nacional de Endowion “13 Siglos Bulgaria” presenta la exposición “Tour del Mundo por 270 Días” de Stella Sidi en el Ministerio de Relaciones Exteriores. La exposición forma parte de la colección de NDF “13 Siglos Bulgaria”. Se presenta por primera vez en 2019 bajo el patrocinio de la Sra. Iliana Yotova, Vicepresidenta de la República de Bulgaria, en el Salón “Prof. Dr.Sc.(Econ.) Vasil Gerov” del Fondo.

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On the occasion of the 90th anniversary of the establishment of diplomatic relations between Bulgaria and Argentina at the invitation of the State Institute of Culture to the Minister of Foreign Affairs National Endowion Fund “13 Centuries Bulgaria” presents the exhibition “World Tour for 270 Days” by Stella Sidi in the Ministry of Foreign Relations. The exhibition is part of the NDF collection “13 Centuries Bulgaria”. It is presented for the first time in 2019 under the patronage of Ms Iliana Yotova, Vice President of the Republic of Bulgaria, in the “Prof. Dr.Sc. (Econ.) Vasil Gerov” Hall of the Fund.

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La vuelta al mundo en 270 días/Around the World in 270 Days — Libro de artista/Artist’s Book

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Proyecto de valorización de la memoria vivida y recreada con el presente en forma cinematográfica, mixturando soportes,técnicas, hechos y palabras no lineales. Un cuaderno, bitácora de viaje escrito en francés, del viaje de 9 meses de Sofía (Bulgaria) a Buenos Aires que realicé junto a mis padres en época de crisis causada por la guerra mundial, es el disparador. bordamos países como Turquía, Irán, Irak, India, China Japón, Hawaii, Estados Unidos. Atravesamos desiertos, mares, en barcos colmados de soldados, transcurriendo días en distintos puertos hasta conseguir nuevos destinos, sin pasajes definitivos. El viaje fué concebido a través del océano Pacífico y no del Atlántico. . . Una aventura emprendida con ansias de arribar a un destino seguro y esperanzador. Un reconocimiento al país cobijador,Argentina, y sobre todo revalorizar una epopeya moderna desde un objetivo simple como vivir en paz.

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A project of that valued the lived and recreated memory and with the present in cinematographic form, mixing supports, techniques, words and words in linear format. A notebook, a travel booklet written in French, of a 9-month trip from Sofia, Bulgaria to Buenos Aires, held together by my parents during the crisis caused by the World War, is the trigger. We touch on countries like Turkey, Iran, Irak, India, China Japan, Hawaii, United States. We cross deserts, seas, in the thatched boats of soldiers, spending days in different ports until we reach new destinations, without definitive passages. The journey was conceived across the Pacific Ocean, and not in the Atlantic. . . An adventure undertaken with the desire to arrive at a safe and hopeful destiny. A recognition of the coveted country, Argentina, and above all, giving new value to a modern epic from a simple objective like living in peace.

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Pinturas/Paintings

La nave va. . ./The Ship Leaves. . .50 x 150
Visceral – técnica mixta 30 x 30
Guerra en el mar/War at sea – técnica mixta 40 x 40
Llegada/ Arrival – 100 x 70 técnica mixta.jpg

Libro de artista/Artist’s Book

La vuelta al mundo en 270 días
La vuelta al mundo en 270 días-detalles

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Obras esenciales/Essential Works

Afodita

Afodita-esgrafiado-y-lápiz-sobre-bastidor-100-x-80-980×779

Pandemia

De la serie en pandemia. Tramando -técnica mixta sobre papel- 50 x 70
De la serie Pandemia. Resurgimiento-tinta-lapiz-remolacha-sobre-bastidor-con-fondo-semi-cubierto-con-acrilico-blanco-100-x-70

Costuras y Suturas/Sewing and Sutures

Costuras-y-suturas-técnica-mixta-80-x-100
Costuras-y-suturas–tinta sobre bastidor – 100 x 120
costuras-y-suturas-lápiz sobre papel – 100 x. 80

De varias series/From different series

Besos-brujos/Kiss-Wizards-tinta-50×50
De-la-serie-MACROME/,-Paternidad/Paternity-70-x-100-lápiz-sobre-papel.
De-la-serie-celulas/cells-4-remolacha-te-mate-lapiz-color-acrilico-collage-en-papel-para-acuarela-antiguo-70-x-50
de-la-serie-piel/skin-técnica-mixta-sobre-papel-35-x-70-677×1024

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Tova Schvartzman — Poeta y artista visual judío-argentina/Argentine Jewish Poet and Artist– “De Grietas y Entretantos”/ “Of Fissures and Meanwhiles” — páginas seleccionadas con obras de arte/selected pages with artworks

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Tova Schvartzman

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GRACIELA SHVARTZMAN (TOVA) es Licenciada en Sociología por la Universidad de Buenos Aires y Licenciada en Historia Judía por el Instituto de Ciencias Judías de Buenos Aires. Ha sido profesora universitaria en Psicoanálisis en la Universidad de Buenos Aires, y otras Universidades, Ha ocupado cargos de dirección en la comunidad judía en Argentina, así como en programas nacionales y de Naciones Unidas (PNUD). Ha colaborado activamente en el tratamiento de las víctimas del atentado a la Embajada de Israel en Argentina, y de las víctimas del atentado de Amia en Buenos Aires y ha formado parte de la Comisión de Investigación de la DAIA sobre los judíos desaparecidos durante la dictadura. Ha impartido conferencias en Madrid, Jerusalén, Tel Aviv, etc. y ha escrito artículos sobre cultura y mitos judíos. Ha publicado “De Grietas y Entretantos” (libro de poesía). Ha realizado libros de artista (“En cualquier aquí”, “Evanescencia”) y aún investiga este campo. Ha sido parte de LABA BA desde el principio, enseñando fuentes judías.

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GRACIELA SHVARTZMAN (TOVA) has a degree in Sociology from the University of Buenos Aires, and a degree in Jewish History from the Institute of Jewish Sciences of Buenos Aires. She has been a university teacher in Psychoanalysis in the University of Buenos Aires, and others Universities, She has held positions of direction in the Jewish community in Argentina, as well as in national programs and the United Nations (UNDP). She has actively collaborated in the treatment of the victims of the attack on the Israeli Embassy in Argentina, and of the victims of the Amia attack in Buenos Aires and has been part of the DAIA Commission of Investigation on the disappeared Jews during the dictatorship. She has given conferences in Madrid, Jerusalem, Tel Aviv, etc. and has written articles on Jewish culture and myths. She has published “De Grietas  y Entretantos” (poetry book). She has made artist´s books (“En cualquier aquí”, “Evanescencia”)  and still investigates this field. She has been part of LABA BA from the beginning, teaching Jewish sources.  

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De Grietas y Entretantos/ Of Fissures and Meanwhiles

To My Father

I copy you without knowing it

in my eyes raw

with dampness.

In your painful chest

In your silence.

You see,

that there I copy you poorly.

I let you be alone.

I note down in the calendar

the days for grieving.

So that you can understand me

I write you words

without letters.

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Shiva

I grief for you,

papa,

in the covered mirrors

of my eyes.

In each of the seven days

and the seven nights

of still to come.

I miss you,

papa,

in the echo of your last word

In my daughters.

I grief for you

seated under the warm ashes.

There in Gan Eden

I grieve for you,

papa.

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a

When they gave me birth.

it was carnaval season in Buenos Aires.

They named me first,

And my father

gave my mother

a camelia.

They softly bound me.

The cloth still kept me rigid.

At times I stuck out an arm,

rebelled with a foot.

I raise my head

but the knot stays there

without untying.

My father told me that

in the carnival season in Buenos Aires

there were marionettes

when they gave me birth.

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Mi madre y yo

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b

What did I do with the fire?

I taught it to behave itself

around people,

to conceal the slights,

to sit up straight

I spoke into its ear

quieting it.

I told it:

“Quiet, it’s dangerous.”

Later. After a while.

not now,

slowly.

And the fire paid attention to me.

I domesticated its flames

and I restrained my hands.

What did I do with the fire

when the others lit their torches,

they were experts in fires?

I kept it the same,

small,

with the necessary coal.

And I lost the flames

the true sparks

of love and hate.

Now, with the years

I’m extinguishing myself.

Let the fire do what it wants.

I no longer want to educate it.

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I Walk Home

I walk home

I knew my mother’s moods

and my father’s silences.

I glimpsed hats of rabbis,

neighbor ladies on the block

and shadows of the fig tree.

I walk home

I come upon the agonies of others

and the half open light the of the sexes.

I walk home

I walked

old friends

in piled up letters.

And arriving home

I stumbled over myself.

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Mi bobe/My Grandmother

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Prophet’s scent in the room.

Little kids, sons and daughters, patriarchs.

And in the cup of wine

A delay…

The door is opened

and a vision enters.

(It’s not the same invisible being

which is nothing.)

Let’s see, a place,

a little place!

The visitor is so light

and his burden so heavy.

(It’s not the same to be invisible

as to be nothing.)

Poor Elijah

He becomes undone.

There is someone who doesn’t

believe in prayers.

There is a grandchild

ready for adventure

and a grandfather’ voice

holds him back.

Elijah makes himself comfortable

and arrives in time for the glass of wine.

A breeze in the eyes.

an aroma in the soul.

And for the incredulous,

nothing…

To Jordana

My daughter springs forth from her hair

like an almond-colored

siren.

She gives me a kiss

and I become cotton

to wrap her up in.

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To Lara

A bell to the air.

She is music in my mouth

though I may not call her so.

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c

She spins around,

crouches down to hide.

She places her smile among my fingers;

dances,

complains about her hair

and draws whirlwinds

with her voice.

While I write nonsense,

she invents what is important:

a very serious song,

a question,

a glossy paper

that is lost.

On the rug,

she plays with photos

and laughs about the past

… .still.

Little Lara,

my fruit that didn’t fall from the tree.

… I fear life.

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a

Once I was yours.

You possessed me among the threads

of your spidersweb,

You were a man

dressed in secrets,

that was lost.

who taught me the skin’s wine

that doesn’t deceive.

I could have died

but I didn’t do it.

Life needed me.

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That Mann Moses

I looked for him in Rome

San Pietro in Víncoli empty.

I kneeled down,

Christianly alone.

The furrow of the Law

reached for an instant

a draw with death.

Shemah

I pronounced,

fettered to the cold stone

of the desert.

But he,

looked in another direction.

And then,

I got up and walked

denying miracles.

I don’t know who abandoned whom.

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We Women, Those of Us Now,

Are No Longer the Same

Since December

of nineteen seventy-seven,

the river has carried away

the broken docks,

some of our fathers

and all our adolescences,

The river has brought children

to the new docks,

that, fortunately,

come reaching

the banks.

Our men are those who

built the village.

And the fire is, almost always,

our task,

At times we can predict the storms.

And when they pass,

we count up damages and wounds,

we look over every palmful of earth.

The town doesn’t yet

have a cemetery.

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Ex-Nihilo

July 18, 1994

December 18, 1991

In the end,

those who believe themselves

to be gods

destroyed the heavens

and the earth.

The land was

like the men,

in a reasonable disorder;

And the spirit rested

covering the Eternal Darkness.

And those who believed themselves to be gods said:

That it be Evil,

And it was Evil.

And the night profaned the second day.

And they said:

“Let the abysms rise to the surface

and life die buried.”

And night prepared the altar

on the second day.

And they said:

“That those who see solace

find only remains

among the rubble.”

And night officiated

on the third day.

And they said:

“Let the exhorbitent men

go crazy while waiting.”

And the night

cursed the forth day.

And they continued saying:

“That the name of God

be unpronounceable

among the dead and the ruins.”

And the night

sacrificed the fifth day.

And those who believed themselves to be gods

celebrated the destruction

that they created with their own hands.

And it was the emptiness

the night

the sixth day.

On the seventh day

those who believed themselves to be gods

called the satanic angels to be silent,

And the men

covered the mirrors of their houses

and went out to seek the Day.

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Because the Years Turn

Because the years turn.

In the beginning.

they are ony

drums and noise.

Later on, some soldiers

on foot,

nothing serious.

Later, a cloud of galloping

dust.

Death, with a general’s cap,

There, yes,

one realizes

that they are coming on the attack.

You can stay in the fort

and let panic kill you.

Or go out to mix it up with them.

It’s all an art.

The years don’t come alone.

They are laden with loves,

children,

quick-moving stones.

If one leaves the fort

and is able to hold onto

to what the years bring,

it seems they are destroyed.

Death, with a general’s cap,

then.

He sleeps a little.

And doesn’t go to battle.

One,

only has a life

like a weapon.

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Translations by Stephen A. Sadow

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Perla Bajder — Artista visual judío-argentina/Argentine Jewish Artist — “Y mañana serán árboles”/ “Tomorrow, They Will Be Trees” — Obras nuevas de pluma y tinta/New works in pen and ink

Perla Bajder

Perla Bajder’s Website

Perla Bajder es licenciada en las artes visuales y es especialista en la administración cultural.  Estudió en la Escuela Nacional de Bellas Artes y la Universidad de Barcelona. Exhibió su obra y dio clases en Córdoba, Mendoza, Río Negro (Argentina), Barcelona, Biesko Biala, Krackow and Torun (Polonia), Boston, Washington, D.C. (USA), Cappadocia (Turquía), Edinborough, Essex (Reino Unido), Florencia, Urbino (Itaia), Kazakhstan México D.F., La Havana, Quito, Santiago Transylvania (Romania), Y Vilnius (Lituania). Museos en muchos es esos lugares guardan sus obras. En 2018 fue invitada para dar seminario con  producción  en el instituto de Bellas Artes y una exhibición en la galería Meiki Meghara de Tetuán y presentar mi libro Un país de maravillas en la Universidad de Tetuán  en el marco del XIII Encuentro Internacional de escritoras homenaje a Fatima Mernisi. Ese libro fue presentado en el mismo año en el Museo del Libro y de la Lengua por las escritoras Susana Cella Silvia Martinez de Delucchi y el académico Dr Emilio José Burucua.2019 invitada a exhibir “The Other, The Same” en el Museo Grebocin de la ciudad Medieval de Torun, Polonia,Estaba programada la muestra en la galería de la Universidad de Poznan.En 2020 fue seleccionada mi serie “Familia de Bacterias Eróticas Americanas para participar de la exhibición art week organizada por la Universidad de POZNAN y la Universidad de GRANADA. En 2021 envié pequeños trabajos sobre Diversity; y el Small Graphic Bienal para Interart Foundation, Aiud, Rumania. Participaré con ellos en el programa artista en residence August 2021.

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Perla Bajder earned a degree in visual arts and is a specialist in  cultural administration. She studied at the National Schools of Fine Arts and at theUniversity of Barcelona. She exhibited her work and gave classes in Córdoba, Mendoza, Río Negro (Argentina), Barcelona, Biesko Biala, Krackow and Torun (Poland), Boston, Washington, D.C. (USA), Cappadocia (Turkey), Edinborough, Essex (United Kingdom), Florencia, Urbino (Italy), Kazakhstan México City., Havana, Quito, Santiago (Chile), Transylvania (Romania), Y Vilnius (Lithuania). Museums in many of these places show her Works .In 2018 she was invited to give a seminar with production at the Institute of Fine Arts and an exhibition at the Meiki Meghara Gallery in Tetuan and present my book A country of wonders at the University of Tetuan in the framework of the XIII International Meeting of Writers homage to Fatima Mernisi. That book was presented in the same year at the Museum of the Book and Language by the writers Susana Cella Silvia Martinez de Delucchi and the academic Dr Emilio José Burucua. 2019 invited to exhibit “The Other, The Same” at the Grebocin Museum of the Medieval city of Torun, Poland, The exhibition was scheduled in the gallery of the University of Poznan. In 2020 my series “Family of American Erotic Bacteria was selected to participate in the art week exhibition organized by the University of POZNAN and the University of GRANADA.In 2021 I sent small papers on Diversity; and the Small Graphic Biennial for Interart Foundation, Aiud, Romania. I will participate with them in the artist program in residence August 2021.

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Introducción

La Torá dice: El hombre es un árbol del campo. Como el árbol arraigado a la tierra, son las emociones las que expresan nuestra profundidad . Asegurar al igual que los árboles nuestro arraigo en el sustento espiritual depende de nuestra conexión profunda con nuestra esencia. Al igual que el árbol, tenemos  raíces, tronco y frutos. Las raices  no son visibles y están profundamente enterradas, son las que dan vida al arbol.

Tenemos una parte invisible: la fe,  es la que nos sostiene y le da sustento a nuestra vida. El tronco y las ramas son visibles, asi como los frutos que contienen la semillas a través de las cuales el árbol se propaga. El tronco es el intelecto y las emociones y los frutos el producto de nuesra existencia que se propaga después de nuestra desaparición física. Las ramas son ideas y raíces en acción. El que tiene mas sabiduría que acción es como un árbol frondoso que tiene pocas raíces, cualquier viento lo voltea. El que tiene acciones mas que sabiduría es capaz de resistir todos los vientos- Rabino Shemtov  Shoftim

 El tiempo suspendido, en que la incertidumbre y la ansiedad nos envuelven,  los valores del espíritu  son los que pueden darme  respuesta. Mi cuerpo pierde material en la comunicación virtual  y me alejo del corazón de las cosas simples . Se me están cerrando los sentidos . Me siento como un golem ciego a las huellas, como las piedritas que dejaban Hansel y Gretel con la esperanza de ser rescatados en el bosque.

 Aunque parezca que miro de lejos el sentimiento de orfandad que sintieron Hansel y Gretel me recuerda el tiempo de las noches de verano, cuando la luna iluminaba los fragmentos de mi memoria confundidos al sonido del follaje que respiraban las hojas, los olores frescos , la manzana  que  caía para unirse al suelo, entonces escuchaba  la voz de  mi  madre …no lejos cae la manzana del árbol.  Ahora  en la necesidad  de  volver a conectarme con lo que he dejado allí fabrico paisajes de mar de tinta para poder estar. En esa necesidad de encontrar las huellas  mi relación con el árbol se vueve emocional Contemplarlo,  buscar cobija,inundarme de su esencia para descubrir seres y cosas  y volver a las huellas.

Prof. Perla Bajder/ Lic. en Artes Visuales/ Universidad Nacional de las Artes/ Buenos Aires/Argentina

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Introduction

The Torah says: Man is a tree of the field. Like the tree rooted in the ground, it is our emotions that express our depth. Ensuring like trees our roots in spiritual sustenance depends on our deep connection with our essence. Like the tree, we have roots, trunk and fruits. The roots. They are not visible and are deeply buried, they are what give life to the tree.

We have an invisible part: faith, It is what sustains us and gives sustenance to our life. The trunk and branches are visible, as well as the fruits that contain the seeds through which the tree propagates. The trunk is the intellect and the emotions and the fruits the product of our existence that spreads after our physical disappearance. Branches are ideas and roots in action. He who has more wisdom than action is like a leafy tree that has few roots, any wind will turn it over. He who has actions more than wisdom is able to resist all winds- Rabbi Shemtov Shoftim

The suspended time, in which uncertainty and anxiety surround us, the values ​​of the spirit are the ones who can give me answer. My body loses material in virtual communication and I get away from the heart of the simple things. My senses are closing. I feel like a golem blind to footprints, like the pebbles left by Hansel and Gretel hoping to be rescued in the forest.Although it seems that I look from afar the feeling of orphan that Hansel and Gretel felt reminds me of the time of summer nights, when the moon illuminated the fragments of my memory confused by the sound of the foliage that the leaves breathed, the fresh smells, the apple fell to join the ground, then listened the voice of mother … not far falls the apple from the tree. Now in need; to reconnect with what I have left there, I make landscapes of sea of ​​ink to be able to be. In that need to find the traces, my relationship with the tree becomes emotional Contemplating it, seek shelter, flood myself with its essence to discover beings and things and go back to the tracks.

Prof. Perla Bajder / Graduate in Visual Arts / National University of the Arts / Buenos Aires / Argentina

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DIBUJOS DE TINTA SOBRE PAPEL/ PEN AND INK DRAWINGS

Y mañana serán árboles/And Tomorrow They Will Be Trees

La imagen de mis padres casándose y navegando en un pequeño bote hacia la Argentina/The picture of my parents getting married and travelling in a small boat toward Argentina

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La rebelión de los árboles/The Rebellion of the Trees

Y la mañana grande/And the Great Tomorrow

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Patricia Indij — Artista y curadora judío-argentina/Argentine Jewish Artist and Curator — ” Una experiencia debordante”/ “An Exuberant Experience “

Patricia Indij

Sitio Web de Patricia Indij

Patricia Indij nació en Buenos Aires, Argentina en 1961. Arquitecta, Universidad de Buenos Aires.
Su formación artística fue adquirida en talleres de pintura de los maestros Heriberto Zorrilla, Helena Distéfano y clínica de obra con Marino Santamaría.

Estudió teoría del arte, materias de posgrado de Especialización en curaduría en arte. Trabaja en sus producciones de curaduría, realiza curadurías de arte en instituciones y dicta clases de pintura en su taller en Buenos Aires.

Muestras individuales en Argentina: Colegio Pestalozzi 2019; Universidad UNLam, 2018, Teatro Nacional Cervantes 2016, Multiespacio de arte, Gral Pico, La Pampa 2015, Bolsa de Comercio de Bs As, 2015; Museo del Holocausto 2014, Consejo profesional de Ciencias Económicas 2014, Centro Cultural Borges 2012, Honorable Senado de la Nación 2009, Museo de la mujer 2009, Museo Manzana de las Luces “La noche de los Museos“2009, Museo Municipal de Bellas Artes de Luján 2008, Galería Bonenkamp Revale 2008, Espacio arte Aeropuertos internacional Jorge Newbery, Buenos Aires, Mendoza, Jujuy y Resistencia

Muestras colectivas: Museo Marítimo de Ushuaia 2012, Museo Metropolitano 2010, Bolsa de comercio de Buenos aires 2015, Crucero MS Bs. As, Punta del Este, Río de Janeiro 2009/2010.Galerías de Arte en Buenos Aires, y Uruguay, ferias de arte Eggo 2015, Expotrastiendas 2006/2007/2010.

En el exterior, Muestras individuales: La Maison de l`Amerique Latine 2013, Embajada Argentina en Berlín 2012, Casa Argentina en París Ciudad Internacional Universitaria.

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Patricia Indij was born in Buenos Aires, Argentina in 1961. Architect, Universidad de Buenos Aires.
Her artistic training was acquired in the painting workshops of the masters Heriberto Zorrilla, Helena Distéfano and work clinic with Marino Santamaría.

She studied art theory, postgraduate courses of Specialization in curatorship in art. She works on her curaturial productions, conducts art curatorships in institutions and teaches painting classes in her workshop in Buenos Aires.

Individual Exhibitions in Argentina : Colegio Pestalozzi 2019; UNLam University, 2018, National Cervantes Theater 2016, Multiespacio de arte, Gral Pico, La Pampa 2015, Buenos Aires Stock Exchange, 2015; Holocaust Museum 2014, Professional Council of Economic Sciences 2014, Borges Cultural Center 2012, Honorable Senate of the Nation 2009, Museum of Women 2009, Manzana de las Luces Museum “The Night of Museums” 2009, Municipal Museum of Fine Arts of Luján 2008, Bonenkamp Revale Gallery 2008, Jorge Newbery International Airports Art Space, Buenos Aires, Mendoza, Jujuy and Resistencia

Collective exhibitions : Maritime Museum of Ushuaia 2012, Metropolitan Museum 2010, Buenos Aires Stock Exchange 2015, Cruise ship MS Bs. As, Punta del Este, Rio de Janeiro 2009/2010. Galleries of Art in Buenos Aires, and Uruguay, Eggo art fairs 2015, Expotrastiendas 2006/2007/2010.

Abroad, individual exhibitions : La Maison de l`Amerique Latine 2013, Argentine Embassy in Berlin 2012, Argentine House in Paris International University City.

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El anuncio de esperanza/The Announcement of Hope
Atrapando sueños/Trapping Dreams
Una experiencia desbordante/An Exuberant Experience

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Obras de tinta sobre papel/Works of Ink on paper

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“INOCENCIA EN FUGA…BERLIN Y SUS FANTASMAS”  (selecciones de una exhibición sobre Berlín y el Holocausto)

una sucesión de imágenes que  en cámara lenta hablan  de destrucción, de guerra, de una ciudad inmersa en el humo y los escombros,  en donde  se vislumbran siluetas solitarias, oscuras, quemadas, perdidas, caminando bajo el ensordecedor ruido de aviones rasantes o el crujir de estructuras de rascacielos a punto de caer”.

Irene Jaievsky. ex-curadora Museo del Holocausto.

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“INNOCENCE ON THE RUN … BERLIN AND ITS GHOSTS” (selections from an exhibition on Berlin and the Holocaust)

“A succession of images that in slow motion speak of destruction, of war, of a city immersed in smoke and debris, where lonely, dark, burned, lost silhouettes are glimpsed, walking under the deafening noise of low planes or the creak of skyscraper structures about to fall ”.

Irene Jaievsky, Former Curator of the Holocaust Museum, Buenos Aires

Prófugos de la esperanza/ Fugitives of Hope

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Leonor Coifman — Artista visual judío-argentina/Jewish Argentine Visual Artist — “Arte espiritual judía”/ “Jewish Spiritual Art”

Leonor Coifman

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Leonor Coifman,  ha cursado estudios en las Escuelas Nacionales de Arte Manuel Belgrano y Prilidiano Pueyrredón, estudió Historia del Arte con Córdova Iturburu, Crítica Plástica con Moraña y perfeccionamiento plástico con Juan Muñeza, habiendo realizado labor docente en escuelas de la Municipalidad de la Ciudad de Buenos Aires y en su taller de Libre Expresión para niños.

Ha realizado numerosas exposiciones colectivas e individuales en conocidas instituciones tales como el Fondo Nacional de las Artes, el salón Isidoro Steimberg, Universidad de Belgrano, Ateneo Popular de la Boca, Sociedad de artistas Plásticos, Círculo Hebreo Argentino, Teatro Municipal General San Martín, Manzana de las Luces, Planetario Galileo Galilei, etc.Ha expuesto en las ciudades más importantes del Perú, en la Ciudad española de Vigo, en México (Primera Bienal Iberoamericana de Pintura).

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Leonor Coifman, has studied at the Manuel Belgrano and Prilidiano Pueyrredón National Art Schools, studied Art History with Córdova Iturburu, Art Criticism with Moraña and advanced art with Juan Muñeza, having done teaching work in schools of the Municipality of the City of Buenos Aires and in its Free Expression workshop for children.

He has made numerous collective and individual exhibitions in well-known institutions such as the National Arts Fund, the Isidoro Steimberg room, the University of Belgrano, Ateneo Popular de la Boca, the Society of Plastic Artists, the Argentine Hebrew Circle, the General San Martín Municipal Theater, Manzana. de las Luces, Planetarium Galileo Galilei, etc. He has exhibited in the most important cities of Peru, in the Spanish City of Vigo, in Mexico (First Ibero-American Biennial of Painting.)

La obra entera de Leonor Coifman

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Pinturas, Grabados, Arte Digital/Paintings, Engravings and Digital Art

Grabados con la técnica de Coolagraf/Prints made with Coolagraph techniques

Jai (Vida)
Pintura con base serigráfica/Painting on Serigraph
La entrega de las diez mandamientos IThe giving of the ten commandments
Obra digital sobre originales/Digital works over originals
La zarza ardiente/The Burning Bush Obra digital sobre originales/Digital works over originals
Mandala Judía
Obra digital sobre originales/Digital works over originals
Creación
Obra digital sobre originales/Digital works over originals
Malkut (Princess)
Obra digital sobre originales/Digital works over originals
Al fin/At the end of times — Arte digital
Contacto
Grabado, monocopia intervenido/Print, a monocopy in which the artist employs several techniques
Banderas sobre diversidad/Flags over Diversidad

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Libro Artista: Tema de Luz/ Artist’s Book: Theme of Light

The candle burns in my window/I, Leonor Coifman, about to turn/eighty-one follow it’s dance, hoping that it with/ it’s light dissipate my shadows and illuminate my world/ and the whole world. /And while the story comes to my memory of the Rabbi and his teaching in “While the Candle Burns” life/ there is still time to repair, to reinvent one’s self, to begin again, to return to make mistakes again and/ to get up again, despite the/shadows that accompany us,/While a candle burns in my window, the light shines, I have life. — Leonor Coifman
On Shabbat, Genie lights the additional/candles, in honor of the many grandmothers, that she found to be Jewish/but had never/been able to light the Sabbath candles./On lighting these candles/Genie imagines them/standing at her side/sharing that/sacred moment. — After centuries,/her Jewish condition. — Genie
What appears to be an act of faith/to light the candles to welcome Shabbat/ to thank life, is a gift to the soul./while two doves wait to take off,/ carrying a message of light. — Martha Wolff
What signs are there in the sky,/I can’t decipher from them/what mystery is hidden in my being/that I can’t decipher (find.) I walk in my soul/move blindly looking for signs./figuring out day by day/what I live (or what I dream)/Knowing that the first road/ is for the inside and that later/I will be able fly off through the world. — Leonor Coifman
A candle, lit, chalice of fire,/between the sky that says goodbye to the day,/its clarity dying in order to give itself/ to the penumbra of the night. small among the immensity that surrounds it/is for Shabbat, the little universe./that prays thanking the Divine Light. — Martha Wolff
Bits of Time Lived — Life is not delivered with/an expiration date, and when that date/approaches us, with serenity and fear,/ we look at ita course and like a puzzle, we begin to put together the times live/with pressure and with love. — Leonor Coifman
Questions and Answers — November 19, 2014,/at nightfall, whenever we have the courage/to ask our being what it needs,/dawn will break and on our pillow/will be the answer./Our life cannon be lived by others, life has to be lived with a passion/so intense, that it hurts./To know that it was fought for/cried over, laughed over and that/is the only way that I know about, to know/that I am here, doing it. Deserving of being Alive.
Two candles brighten, two doves/ pairing with the believer and with the Creator/ creating an invisible union of love/ and celebration. — Martha Wolff
Building Dreams — History speaks of our wisdom/ among the nations and it is necessary ro remind then/ again. Everyone of us, will be a/ bastion with a common front against/ discrimination, hatred and ignorance./ Let us be the dignified transmitters of our legacy/ for future generations, so the Miracle of Light is not lost. – Leonor Coifman
I am fertile earth, which has been seeded/ since a time without history, Seeds of Faith./ My soul conserves deep roots from/ immemorial time, of epopeyas/of vast passages which tenuous threads unite/ with infinite skies, whirlwinds of light and darkness,/that populate the spiralled trip/ in lapsus of life and death. — Leonor Coifman

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