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redlenai · 3 years

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Argentinan painter plagiarises anime for $$$

So, a few weeks ago in my country, Argentina. It was discovered on social media that a painter (because calling her an artist feels a bit too humble) called Fatima Pecci Carou had an exhibition on Museo Evita, a public museum in which, her curator, Eva Grinstein won a grant of $50.000 argentinian pesos (around $500 USD) however, the news mostly went about Carou's peculiar choice of topic, not only works related to the icon of the Museum, Eva Perón an activist of the peronist party and first lady of Argentina from June 1946 until her death in July 1952 (But depicted as a feminist despite, the actual Eva Perón wasn't one) and anime.... You've heard right, anime, politics and a museum. But the problem wasn't the fact that a peculiar combination arised and was exhibited and even won a grant. It was not long ago that a digital artist while watching a Podcast talking about the woman noticed that the main work of the exhibition, called "Evita Ninja" was in fact, a plagiarized (also knock-off) version of a skin of Alice from the game SINoAlice. In specific Kimono Alice. The artist mention this to the Youtuber (TipitoEnojado), host of the podcast, and decided to work together to find out more about the works of this woman, maybe believing it was just a single one plagiarized work, a mere coincidence, or something intentional...

Tipito Enojado then, makes a video on June 13th called "Feminist scams a National Museum?" where, he first mentions the relationship of Fatima Pecci Carou's with the Museum, which herself in an interview mentions that: "Last year a girl from the museum Evita, an educator called Marcela, called me because she was interested in one of my works she saw online (Which was an "Evita Montonera", plagiarized from an illustration by SoundlessWind) and talked to me about making an exhibition!" https://www.youtube.com/watch?v=5Td1JIhqrbI

So, with that as a starting point. Tipito began to dig even more on the issue, he not only discovered that Fatima was in fact friends with judges, art critiques, and the fact that she collaborated with Eva Grinstein (her curator) for the grant of $50.000 argentinian pesos... but said grant was mentioned to be for Artists and curators that were affected negatively by the pandemic, were struggling to get incomes and did not get support from the State neither worked for the Minister of Culture. (Which, if you investigate a bit, there were several articles before the accusations began, that claimed that Fatima won the grant, not Grinstein... And when people began to talk about the issue, they claimed that Fatima winning the grant was missinformation, but seems that if it was under a positive and supportive lights, nobody cared about the mistake)

The relationship between Fatima's militance and both the Minister of Culture and Museum Evita, originates from the fact that Tristán Bauer was put in the position of Minister in 2019 by the current president Alberto Fernandez, while Aída Ocaranza, the director of Museum Evita, is an ex-deputy. Which, leads that if you're in favour of the current government, and if you make stuff involving both politics and activisim... it makes us believe that knowing someone with good connections its better than polishing your portfolio on your own. After the accusations went viral, 11 works were found, some artists were also contacted... Fatima, on her defense, claimed that she was only taking "references" that "art is all about taking other people's work, it has been done all along art history", "they put my work in comparison to a girl from Japan's, which she in fact is making artwork from My Little Pony (AgavoArt), then, she is also plagiarising"

Her curator, Eva Grinstein and even the art historian, Andrea Guinta, used examples such as Mona Lisa's reinterpretations, Andy Warhol, Roy Lichtenstein, and more... yet, it seems these 3 womans lack the fact that certain movements from Contemporary Art were in fact from a specific era, and specific topics, not to mention, that some of the examples they attempted to use from, were in fact works that common sense would say "This is reference because the general public knows about it" like the Campbell cans, Marilyn Monroe, Lichtenstein, etc. Let's not forget that in some cases some works are of free domain, like Mona Lisa. Or that said artists who based their work on plagiarism where sued, had to pay for the rights to use their reinterpretations, give royalties to the affected artists, or even, some of the affected ones made strips and narrated their situation and how negatively affected they were thanks to these appropriationists.

However, some of the original artists began to complain and show their disgust not only for the plagiarism but the fact that it is unbelievable that a Museum accepted this, that this woman managed to post these knock-off works on Artsy and even sold them, which in a technical level aren't even the great thing. We argentinians know we can't do anything against a woman that takes advantage of her privileges as a militant of both feminism and peronism party (Which, to be honest, there are way greater artists who are part of the movement or are militants), its an employee of the Minister of Health, she even works for the Federal Administration of Public Revenue (where all Fatima's information is public, in case someone asks about the ""doxxing"", not to mention she had her ID documentation and even more in public on her own FB page which is no longer visible, same her instagram) and is friends with people such as the curator, the Museum administratives and such.

Here is a Google Doc providing all the plagiarised works found so far, which are 36... there is also screenshots of her profile on Artsy regarding said stolen works being for sale or sold, which are no longer available on her profile as she immediatly deleted them after being accused. Not to mention some tweets of some of the affected artists like AgavoArt, SoundlessWind and Batusawa. https://docs.google.com/document/d/1HOHPqUK36d6720oMvYX0gqsVepIy1KRubopTLJtalEE/edit?usp=sharing The issue is mostly in spanish, which was addressed by the YouTuber TipitoEnojado (little angry guy) in 4 videos. Of course other spanish youtubers addressed the issue as well, and even some art oriented youtubers too. There were people who only came from the anti feminist/peronist party, but, not only they took advantage of the art theft to insult Fatima, but she herself, took advantage of that to victimize herself and claimed that the accusations were made by "facists otaku juveniles", that is only a thing regarding macho men and that they want to move her away because of the message/topic she touches with her "work", and as we know, she even attempted to accuse the original artists because she doesn't know the difference between fanart and plagiarism... and the fact that most of the independent/professional artists she took works from are mostly women, the rest, were works stolen from editorials, animation houses, videogames and such. Tipito Enojado's videos (Only in Spanish): Feminist scams a National Museum? https://www.youtube.com/watch?v=dFr2XbeP7Lc Critique of Feminist Art with a famous artist https://www.youtube.com/watch?v=TcrFgMYRyEI This is not art - Interviewing Avelina Lesper https://www.youtube.com/watch?v=F2FpH5hdRak All against all - Feminism "defends" Fatiam Pecci Carou https://www.youtube.com/watch?v=0PbU_86oCsk Then, some english videos came after bilingual anime fans, artists and people in general began to talk about the issue at a greater scale: Japanese artists have a terrible situation going on... by Hero Hei https://www.youtube.com/watch?v=ldm9AL6LeEE

The Worst Professional Artist Ever Is Selling Stolen Art For $$$ by Mohammed Agbadi https://www.youtube.com/watch?v=9J7SSJTUiOE Artist Accused of PLAGIARISING Anime Fan Art and Selling it for THOUSANDS! by ClownFish TV https://www.youtube.com/watch?v=-ub5SC3cLJ0&list=LL&index=24 As an Argentinian, digital artist and freelancer myself I honestly don't know what to feel despite anger, as I'm also an acquaintance of Batusawa, one of the artists plagiarised by Carou, which I've been translating the issue to her after she was contacted by TipitoEnojado and yes, we cannot believe all the stuff that has been said. These contemporary, militant artists... seems to don't know that we no longer live on the 60's, that we are connected with different people around the globe, that copyright laws are a thing, intellectual property is a thing, you and I are wondering now... Why this woman thought no one was going to notice? The answer must be simpler than we thought: Just as she targetted people, the affected artists and other art connoisseurs of ignorants, she assumed the general public of Argentina were ignorants too and that no one was going to notice her highly-referenced knock-offs... Fun thing, the few people that originally defended Fatima without knowing about the issue, saw her paintings and said "well maybe she doesn't know about anything, based on her works, she must be pretty young" and once they discovered that in fact this woman is 37 years old, damn they went nuts and couldn't believe this. Let's not forget now that there are individuals who claim that the whole issue is nothing but "jealousy" because the original artists couldn't achieve the same as Fatima and that this is nothing but boosting her fame... I hardly doubt it. Archive by HoannSetrid of Fatima’s Website before takedown https://archive.is/84mYQ

https://archive.is/ZM8c8

https://archive.is/GQYJV

https://archive.is/S2qkN

Her profile on Artsy is still there, but all the works were deleted after she was exposed. Some of the plagiarized works were on sale on between $2.000 to $5.000 USD https://www.artsy.net/artist/fatima-pecci-carou/works-for-sale

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kaanbaltlak · 3 years

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Okay, so, I saw this on Twitter 'cuz my couple send it to me and after seeing that here this hasn't been talked about it's my chance to welp, sharing something that's absolutely hilarious.

Fátima Pecci Carou is an argentine artist, her paintings are labeled as feminist art and recently people discovered that she was plagiarizing anime illustrations. Yep. This gave me so much Butch Harman vibes 'cuz Fátima not only sell his paintings oh no, they were put in a museum (Museo Evita en Buenos Aires, Argentina) as well. This was called out fistly in this video and then in a Twitter thread. (Both are obviously in Spanish.)

Here are some “pretty” examples of her plagiarism. Funny as hell. All of her plagiarized art can be found on her web archive [here, here, here and here].

(Original by Wildtono / Fatima's “Stop Violence”).

(Original by Kaze-Hime / Fatima's “Practice”)

(Original by Unknown - Fatima's “King Kong Theory”)

Also a Japanese artist (@agavoart on Twitter) called the plagiarism out.

Someone made two google drive folders where Fatima's plagiarized art and the original illustrations can be found. [Here].

She first apparently privated her Instagram account because of the backlash. Some comments on the linke video before said that she's winning 'bout being called out, but I can't prove that. But now, when you try to get to her account says that can't be found.

Shared this just because why not. Feel free to reblog and share your opinions.

(Hoping that any link is broken.)

#plagiarism #fatima pecci carou #anime girl #wild shit #my little pony #please read the reblogs for more important info

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pennys-th0ughts · 4 years

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Robert Gray. The Origin Of Pennywise 🤡 - Final Chapter

I was sitting in the second row looking nervously to both sides waiting almost impatiently for the next number to start. Carou’s number. Finally the lights went out and the spotlight shed its light on a thin but beautiful figure. Her hands began dancing, first slowly, keeping up with the soft music in the background as if they were a couple of doves flying in slow motion. When the hands were about to conclude their act the feet stepped in and followed the rhythm marking a faster pace. And there is when a bright red ribbon started to dance, making curls and waves, as if it was a blood droplet making its way across the blackness of the space.

I was so deeply captivated by Carou’s dance that for a moment I got lost in time, but the best part was about to start. Suddenly the lights went out for a second time and when they got turned back on again Carou was sitting on a ring in the air. She looked like a fire bird, balancing backwards and forwards, defying gravity with such confidence that made me feel goosebumps in all over the back of head. She let herself go and remained hanging upside-down like a rag doll, lifeless and yet full of mystery and mystic energy. Her golden eyes got fixed in me for a second and in that precise moment I felt overwhelmed by them.

Her look pierced my chest like a burning ray of sun. I was literally hypnotized with every movement she was making and by the time her number finished I was already nervous to go and say hi. I sneaked out towards her dressing room carefully so nobody could see me and waited. Carou didn’t take long to show up and when she did she got surprised when she saw me with a small but colorful bouquet of flowers in my hand. Carou was such a sweet woman that instead of shaking my hand she directly hugged me and kissed my cheek.

– ¡I'm so glad you could make it! – She practically shouted her excitement.

I nodded with a smile feeling lucky to be able to be around this lovely girl. She discretely invited me to come inside so we could talk without being interrupted and more privately. I took my top hat off and sat on the stool; she put my things on a curvy sofa and sat next to me while still removing her makeup.

– I must say, you were stunning out there – I praised her-. It has been a long time since the last time I went to a circus.

– We are planning on staying in Derry for a couple more months since we have been having a very warm response from the people here – she revealed me-. You can come by whenever you feel like it.

We kept on talking for more than two hours about how the circus worked and the people that lived in it until early hours of the morning. We drank some vodka and ate some caviar she had stashed in a very peculiar place and would only offer it to her special guests. It was the first time I tasted such strange food and yet it was kind of addictive. Carou managed her way to get me drunk that night and not only that; her persuasive and seductive ways of talking and moving were already intoxicating and I bet she even didn’t know it.

Carou sat down on my lap, white and red paint on hand, and began coloring my face. The soft hairs of the brush were coming and going, up and down caressing my skin gently. She applied a white base and waited for it to get dry and once it was dry she took a thinner brush and soaked the tip with the red paint.

Red lines begin to form and traced their paths vertically along my eyebrows and cheeks crashing right against my lips. Carou was turning my face in to some kind of work of art, quite abstract to be more precise. I didn’t know much about art however I was very satisfied with the outcome when I could finally look myself into the mirror. Carou chuckled when she saw the expression on my face.

– ¿What am I supposed to be? – I asked her making weird faces in front of the mirror.

– You can be a clown – she said raising the bottle of vodka to the air as if it was some kind baptism- or better yet, you can be my clown.

She spilled some of the liquid on my lips and without warning she smashed her mouth against mine. My first reaction was to move her away, I wasn’t the type of man that takes advantage of a drunken woman, but in this particular case I decided to enjoy her naughtiness encouraged by the booze. I kissed her back tasting the sweet notes of cherry in her lipstick. For a moment I thought she had her mind made up in taking my breath away because the way she was wrapping her tongue with mine.

Fire brought more fire and when we less expected it we were both ashes. While we were laying down catching our breath Carou told me that her nickname inside the circus was Carousel, very appropriate given that her very name sounded quite alike to one of the main fair attractions. We kept talking and debating about an imaginary name if I ever were part of the circus. After long minutes discussing the subject we agreed that Pennywise would sound very fitting.

A sharp pain crossed my chest like an arrow waking me up roughly. I was covered in sweat and everything around me was spinning fast. I was surrounded by darkness and faces I could barely distinguish. I tried to find Carou looking desperately to every corner of the room and when I finally saw her she was being hold back by a person I couldn’t see the face, only a macabre mask made with leather or something like it.

My hands and feet were strongly tied up and I couldn’t speak but to mumble fragments of words because the gag in my mouth. Carou was fighting hard to release herself until someone hit her head leaving her unconscious. Tears of desperation began rolling down my cheeks feeling so powerless and unable to help her. Then something disturbing caught my attention completely making me look forward. It seemed to be a woman given the complexity and shape of the body despite she was all covered with a black tunic which only part of her body that I could clearly see was her eyes.

The woman came closer and crutched over me holding what apparently was some kind of a dagger. The handle of the sharp object was adorned with little rubies and the metal was dark. I was so mad at these people, especially to this woman, that the mere contact with her body forced me to twist and shake mine with violence. She suddenly whispered something that I couldn’t understand, the language sounded odd as if it was an old ancient dialect, and then I froze. I began feeling my limbs getting paralyzed and heavy, nonetheless, my breathing was still erratic to the point of having the sensation that my heart would burst at any minute.

Helpless I watched the mysterious woman put a metallic piece in her finger and started to carve the lines Carou painted on my face earlier. Blood began flowing out of my freshly cut flesh spoiling the rest of the makeup. When the woman was done torturing my face she went further down and opened my shirt exposing my chest pearled with sweat.

She ripped off the fabric making the few buttons fly through the air. Someone standing behind her that was assisting the ritual handled the woman a big white spider she later put on my chest and forced the creature to sting me right where my heart was. The stinger reached my vital organ and injected the poison so fast that I began feeling the pain but a couple of minutes later and how my beating increased considerably fast.

I felt myself dying so painfully that my whole body was almost begging for that merciful dagger to pierce my heart and end my suffering, and so it happened. The woman in black took the sharp object between her hands and without further warning she stabbed me. The shiny blade cut my flesh as if it was butter. She didn’t stop there and slipped the dagger down until it got to my belly button and once there she pulled it out. Terrified I watched how her hand began getting inside my chest and rummaged for something. The moment she found what she was looking for, she grabbed it and ripped it out with all her strength.

I couldn’t believe my eyes when I saw my own heart giving its last beats in the hand of this woman who was holding it like some kind of a trophy. In its hollow she placed three small amber-like stones and whispered those ancient words again. Later she would sew my skin using a black needle and one of Carou’s white hairs while she was still alive. Before she closed my eyes and left, the woman lit up a red candle and spoke to my ear.

– When the flame of this candle dies, you shall live again and all this will seem to be a nightmare.

Time passed and I remained dead for who knows how long. When the candle finally was consumed, then and only then, I began breathing, blinking and being able to move. My mind was completely blank and the memories I could have had before that entire nightmarish event were blurry as if I was recovering from a rough hangover. I sat down and looked around still feeling a little lightheaded and slightly disoriented, but slowly fragments of what I thought might happened started to take form in my head.

I stood up, looked straight to the wardrobe and saw an outfit hanging from one of its doors. I got dressed and fixed my makeup for the last time. Something was telling me that I needed to be ready but I still didn’t know why so I just followed my instinct. When the makeup was almost perfect I moved on to my hair and brush it giving it a more peculiar shape by also cutting the ends. I looked myself in the mirror for the last time and felt satisfied with my appearance so I got ready to go out but in that moment I got an awkward sensation in the back of my head. I looked back but nothing seemed to make sense so I shrugged and left the dressing room.

Inside the main tent, the one that hold the magic tricks, the stunts and freak shows, there is where I belonged now. I was patiently waiting behind the red curtains, waiting for my name to be called. Adrenaline and excitement were now the only ones rushing in my veins and the thrilling feeling inside my guts left no space for any other emotion. I put my white gloves on and checked my shoelaces to be properly tied; I took a deep breath and exhaled it all out.

I closed my eyes and waited…

Then I heard the presenter shouting out my name and introducing my number: “¡And now ladies and gentleman, with you Pennywise, The Dancing Clown!”

I opened my eyes and the spotlight fell on me…

And then I smiled and danced and danced and danced…

Image: Andy White (@deviantart )

#pennys thoughts #pennywise #short story

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adribosch-fan · 3 years

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Estafa feminista en el Museo Nacional: el extraño caso de la 'Evita Perón ninja'

Estafa feminista en el Museo Nacional: el extraño caso de la ‘Evita Perón ninja’

NUEVO PAPELÓN INTERNACIONAL DEL GOBIERNO DE FERNÁNDEZ El kirchnerismo financia y promociona con dinero público la obra de una ‘pintora’, Fátima Pecci Carou, que plagia obras de otros artistas. Karina Mariani Un nuevo papelón internacional se cierne sobre la gestión de Alberto Fernández, esta vez en el mundo del arte. Resulta que la militante kirchnerista, integrante del colectivo feminista…

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#&039;Evita Perón ninja&039;#&039;pintora&039;#Estafa feminista #Fátima Pecci Carou #Financiada por el gobierno #Karina Mariani #Museo Nacional #Periodista #Video

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ghostlycarousel · 3 months

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bonk

#carou's art #art #carou's ocs #digital art #artists on tumblr #wlw art #lesbian art #sapphic art #carou oc salem #carou oc maxine

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carous-curio-shop · 1 year

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polaris, the northern lights moose!

always makes me laugh that when you choose which pet to play as it says pick me like that. ur such a pick me girl polaris

#webkinz #webkinz art #kinzblr #webkinz gijinka #gijinka #webkinz northern lights moose #carou oc polaris

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guadalupegomezverdi · 4 years

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“Políticas del deseo: para todes, tode.”

Centro Cultural Kirchner, marzo 2020.

Una celebración de la soberanía de los cuerpos, la diversidad de género y las disidencias

La exhibición Políticas del deseo: para todes, tode reúne obras de más de 250 fotógrafas, poetas, compositoras, músicas, cantantes, bailarinas y diseñadoras de todo el país. Desplegada en doce salas del cuarto, quinto y sexto piso del Centro Cultural Kirchner, cuestiona las categorías identitarias, celebra la soberanía de los cuerpos y otorga un lugar central a la diversidad de género y las disidencias. Kekena Corvalán, curadora de la exhibición, propone un diálogo entre las artes visuales y las artes vivas; incluyendo obras de carácter tradicional, artes domésticas, instalaciones, intervenciones performáticas, artivismos y propuestas ecofeministas, entre otras manifestaciones.

Artistas

Eje: Somos las Hijas Abril Barrado ,City Bell Ana Payro, CABA Andrea Passut, CABA Cecilia Teruel, Santiago del Estero Cristina Piffer, CABA Cristina Schiavi,CABA Germaine Derbecq Diana Aisenberg, CABA Diana Dowek, CABA Elba Bairon, CABA Fátima Pecci Carou, CABA Gabriela Halac, Córdoba Lucia Von Spragher, Córdoba Marcia Schvartz ,CABA María Elena (Ñahuis), Santiago del Estero María Martorell, Salta Mariana Olivares, San Juan Marina Curci, Lanús Mildred Burton, Entre Ríos Roxana Toledo, Chaco Sarina Cano (Ñahuis), Santiago del Estero Silvana Lacarra, Santa Fe Silvia Lucero, La Plata Guadalupe Fernandez, CABA Andrea Brunotti, CABA Azul Blaseotto,CABA Evangelina Aybar, Salta Guadalupe Garriz , Buenos Aires Marina Olmi, CABA Moma Mozetich,Bariloche Nosotras Proponemos, todo el país Escuelas de Arte América López Ailen Possamay Cami Márquez Camila Castro Carolina Chorolque Jimena Morales Lorena Franco Lucía González Maia Rosario Maciel Micaela González Pañuelazo Sofía Monzón Victoria Avella Eje Vivas y Deseantes Constanza Ruibal, Córdoba Debora Kirnos, CABA María Torrallardona, La Plata Mariela Paniagua, San Luis Patricia Hakim,CABA Soledad Dahbar, Salta Susana Sanabria, Palomar- Buenos Aires Valeria Anzuate, Misiones Amalia Boselli (arteMA) Maria Laura Vazquez (arteMA) Caro Guiña (arteMA) Jimena Fuertes, CABA Adriana Albi,CABA Agustina Scliar ( Proyecto Petra), CABA G.R.A.S.A, distintos lugares Daniela Rubio (Proyecto Petra), CABA Eleonora Ghioldi, CABA Inés Alicabe, La Plata Laura Nieves (Electrohacedoras) Luisa Lerman (Proyecto Petra), CABA Luli de Pedro (Proyecto Petra), CABA Mariela Becker (Proyecto Petra), CABA Marlin Velasco (Electrohacedoras) Melisa Aller, CABA Piren Benavidez (Electrohacedoras) Rocio Inmensidades, Ituzaingó Roma Vaquero Díaz, CABA Silvana Solari, Cipolleti- Río Negro Verónica Padín, Neuquén Camila Barcellone, CABA Manuela de la Cruz, Salta Yuliana Balmaceda (Fansine Heliográfico), San Juan Sofía Manrique (Fansine Heliogáfico), San Juan Melisa Díaz (Fansine Heliográfico), San Juan Mariana Arias (Fansine Heliográfico), San Juan Emilia Coll (Fansine Heliográfico), San Juan Claudia Vilela Luco (Fansine Heliográfico), San Juan Ana Contreras (Mutágenas artistas feministas del Conurbano) Carla Lucila Alvarez (Mutágenas artistas feministas del Conurbano) Cecilia Acuña (Mutágenas artistas feministas del Conurbano) Cristyn Gonzalez (Mutágenas artistas feministas del Conurbano) Daiana Rose (Cromoactivismo) Diana Guzmán, La Rioja Elena Blasco, CABA Guillermina Mongan (Cromoactivismo) Laura González Vidal, Buenos Aires Lidia González,CABA Malena Leal (Mutágenas artistas feministas del Conurbano) María Celeste Destéfano (Mutágenas artistas feministas del Conurbano) María de los Angeles Capelli (Mutágenas artistas feministas del Conurbano) María Florencia Venditti (Mutágenas artistas feministas del Conurbano) María Pichot, CABA Mariela Scafatti (Cromoactivismo) Marina de Caro (Cromoactivismo) Michelle Rozen,CABA Miriam Peralta,CABA Natalia Forcada,CABA Natalia Iñíguez (Mutágenas artistas feministas del Conurbano) Nilda Rosemberg, Río Gallegos- Santa Cruz Pamela Neme Scheij (Mutágenas artistas feministas del Conurbano) Paula Senderowicsz, CABA Romina Di Pietro (Mutágenas artistas feministas del Conurbano) Rosana Cassataro, Mar del Plata Silvana Lanchez, Buenos Aires Silvana Spagnotto, San Luis Valeria Dincoff (Mutágenas artistas feministas del Conurbano) Valeria Venditti (Mutágenas artistas feministas del Conurbano) Victoria Mussotto (Cromoactivismo) Victoria Palacios (Mutágenas artistas feministas del Conurbano) Violeta Capasso, CABA Vivas nos queremos, CABA Majo Malvarez, CABA Adriana Lestido, CABA Eleonora Korsatz, Salta Guada Piqué Patricia García Adriana Flores (Altar Siglo XXI) Alejandra Latino (Altar Siglo XXI) Alicia Calegaro (Altar Siglo XXI) Angeles Baudevin (Altar Siglo XXI) Aurora Gagliolo, Catamarca Ayelén Guarino (Altar Siglo XXI) Bar Hassen, CABA Beatriz Sobuá (Altar Siglo XXI) Carmín Micheli (Altar Siglo XXI) Cristina Rocha, Bariloche Daniela Zacur (Altar Siglo XXI) Debora Kirnos (Río Memoria), CABA Taller Flotante -Orilleras. Proyecto Rio Feminista, Entre Ríos Dora Morgen, CABA Duli (Altar Siglo XXI) Elia Gasparolo (Altar Siglo XXI) Estela Torres (Altar Siglo XXI) Florencia Breccia, Mendoza Gabriela Olivieri (Altar Siglo XXI) Gisele Jazmín Gabriel (Altar Siglo XXI) Gladys Silva, Buenos Aires Gloria de Paola (Altar Siglo XXI) Gloria Polo, Formosa Greta Saavedra (Altar Siglo XXI) Irma Cacia (Altar Siglo XXI) Ivana Ponzio (Altar Siglo XXI) Karina Ruiz (Proyecto Emilia), Azul Liliana Straini (Altar Siglo XXI) María Fernanda Medina (Altar Siglo XXI) Maria Paula Doberti (Río Memoria), CABA Marisa Rossini, Tucuman Marta Brizuela (Altar Siglo XXI) Mónica Ocampo (Altar Siglo XXI) Nadia Antoun, CABA Nadia Puentedura, Santiago del Estero Natalia Romano, Río Gallegos Paola Ferraris, CABA Patricia Domínguez (Altar Siglo XXI) Rosa Latorre (Altar Siglo XXI) Sandra Soto (Altar Siglo XXI) Silvia Barrios (Altar Siglo XXI) Silvia García, Mar del Plata Sofía Korol (Altar Siglo XXI) Sonia Tortosa (Altar Siglo XXI) Susana Babot, Tucumán Virginia Corda (Río Memoria), CABA Virginia Rodríguez (Altar Siglo XXI) Ximena Pereyra, Santa Fe Andrea Brunotti (Acciones Buenalistas) Carolina Moncada (Acciones Buenalistas) Celina Yohai (Acciones Buenalistas) Silvia García (Acciones Buenalistas), Mar del Plata Paula Doberti, CABA Alejandra Faiazzo, Neuquén Trinidad Metz Brea, CABA Carlota Beltrame, Tucumán María Rocha, Santiago del Estero Bandera Warrior Amanda Bustamante Daniela Zapata Evangelina Acuña Georgina González Juliana López Mara Ailén Zeballos Maria de la Paz Castiñeira María del Mar Gelabert Victoria Zapata Eje Rematriadas Ana Gallardo, México Claudia Fontes, Brighton Liliana Porter, Nueva York Magdalena Beccarini, Milán Marie Orensanz, París Nora Ancarola, Barcelona Eje El deseo cuerpifica Monserrat LLao Y Mariu Fernandez, Salta Majo Prieto, Coronel Suárez Valeria Fornes, CABA Paola Lunch, Neuquén Mar Díaz, CABA Graciela Rodriguez, Río Gallegos Victoria Ipas, Florencio Varela, Buenos Aires Bettina Muruzábal, Río Gallegos Licha Bernal, Chaco Carolina Grillo, Salta Luciana Bertellys (Las Guarangas), San Luis Laura Elgueta (Las Guarangas), San Luis Azucena Orozco (Las Guarangas), San Luis Andrea Imberti (Las Guarangas), San Luis Neda Olguin (Las Guarangas), San Luis Vicky Freire, CABA Romina De Gioia, CABA Laura Elgueta, SanLuis Bordando disidencias Alejandra Fenocchio, La Boca Alina Percovich, CABA Mecha Falke CABA Valentina Rivas Robles, La Plata Vicky Power, Bahia Blanca Rocío Corbera, Olivos Alana Rodriguez (Vejez Lésbica), CABA Alejandra Barrientos (Marronas) Alma Gonzalez, CABA Ana Wahren (S.A Oficina de Estampas) , CABA ByWacha (Marronas) Clara Barnes, CABA Emmanuel Franco (Marronas) Felicitas Quispe (Marronas) Flora Nómada (Marronas) María Sofía Larroca (S.A Oficina de Estampas), CABA Mariposa Kountaras, Buenos Aires Noelia Mercanzini (Estampa Feminista), CABA Parafinas Doradas, Buenos Aires Paula Colavitto (Vejez Lésbica), CABA Paulx Castex (Estampa Feminista), CABA Soledad Apaza (Marronas) Eje: Eticas del Cuidado Ana Copto (Colectivo Viento Negro), Río Gallegos Bomba de lana, Rafaela Adriana Bustos, Buenos Aires Celina Galera, Catamarca Alicia Esquivel, CABA Eva Dolard, La Pampa Federica López, Rosario Fernanda Bonill (Colectivo Viento Negro), Río Gallegos Gabriela Juarez, Buenos Aires Guadalupe Gómez Verdi, Buenos Aires Jael Caeiro, Ituzaingó, Buenos Aires Lucía Bianchi, CABA Rosana Linari, Puerto Madryn María Inés Guantay, Tucuman Monica Alvarado, Ushuaia Mónica Millán, Posadas Mara Paz, Córdoba Gabriela Sol Morales, Córdoba Roxana Ramos, Salta Silvana Castro, San Clemente Silvana Torres, Río Gallegos Valentina Mariani, Corrientes Eleonora Filippi

https://cck.gob.ar/eventos/politicas-del-deseo-para-todes-tode_3783#:~:text=La%20exhibici%C3%B3n%20Pol%C3%ADticas%20del%20deseo,dise%C3%B1adoras%20de%20todo%20el%20pa%C3%ADs.&text=Esta%20definici%C3%B3n%20es%20la%20que,proyectos%20art%C3%ADsticos%20que%20se%20exponen.

#politicasdeldeseo paratodestode cck curaduriaafectiva vergel kekenacorvalan

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redlenai · 3 years

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Almost 4 months after Fatima Pecci Carou has been exposed, 4 months that the affected artists have been ignored and didn't get proper answers, support or an apology.

#plagiarism #plagio #fatimapeccicarou #arttheft #artistsbeware #fatima pecci carou #stop plagiarism #art theft #artists beware #anime artist #contemporary artist #art thief #trace #corrupt system #corrupción

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mwangolenews · 4 years

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Jay Monsta renasce em "Olhos de Janaya" um EP carregado de nostalgia, derrotas e conquistas. Com 12 faixas musicais, @jaymonsta0 , membro do grupo B-Ünik, lança o seu novo EP, contando com participações de 2Young, Carou, Yankei, Heyci, A'Aires, Rikas, FatBoy6.3, Fábio Santos, Aifos e Naomy Lélis. Após tanto tempo a colecionar vivências, amores, mágoas e anos de estrada, Jay Monsta sentiu-se na necessidade de mostrar um pouco mais do que realmente ele é, a sua e essência. A história de cada letra esta carregada de nostalgia, arrependimentos, conquistas, derrotas, perdas e acima de tudo verdades. No dia 02 de junho, Jay Monsta nasceu de novo em um novo corpo, numa outra pele, num novo sorriso semblante, em um novo rumo e novo sentido para a vida. "Aproveito para agaradecer a todos que estiveram comigo, directa ou indirectamente de forma incansável , durante esse trajecto rodeado de obstáculos, um brinde aos meus amigos, familiares e fãs que sempre acreditaram na minha arte, um só destinatário para vários remitentes, desde as glândulas, só quero lágrimas de orgulho, de mim, para vocês. Aos Olhos de Janaya", disse Jay Monsta O EP está disponível em todas as plataformas digitais, a masterização e mixagem do EP foi feita por Axel YKZ$ e Age Panelas que também são membros do grupo "B-Ünik" e a imagem ficou sob responsabilidade de Rodrigo Monteiro e Tatiana Texeira. Jay Monsta - Agredecimentos (Skit) Jay Monsta - Vida Jay Monsta - Enemies Jay Monsta - Cash & Feeling Jay Monsta - Me diz Só Jay Monsta - L.U.V Jay Monsta - Solidão Jay Monsta - Shake The Room Jay Monsta - Nanana Jay Monsta - Onde é que tu estás Jay Monsta - Sorry Jay Monsta - Real Nigga @heycioficial @gostvbeatz @yankei_unik @agepanelas @tatianateiraenriques @fatboy6.3 @carounte @rodrigomonteiro.unik @rikasdanz @antonioaires @2young.unik @eclatedson_trx @b.unik_official @d_felix @maryj.unik @yankei_unik @ainfos.unik https://www.instagram.com/p/CFUTHPRHr5O/?igshid=o293p6nd4saj

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lixofiel · 5 years

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paréntesis, gpn (parte 1)

Decíamos la otra vez sobre la obra de Fátima Pecci Carou que de alguna manera se abre hacia la sociedad y que la propia microescena porteña del arte no la reconoce o la resiente, por motivos más o menos comprensibles (cosas que me dijeron después del posteo: "no se dedica a trabajar la pintura", "su arte depende demasiado de un contexto político externo", "hay un giro formal en su obra que nunca termina de concretarse", "pedagogía" y otros etcéteras fáciles de prever).

Podemos pensar en las obras hechas por mujeres en México y Colombia durante mediados de los 90 y principios de los 00, susceptibles a recibir el mismo trato y a contribuir a los mismos debates, pero en Pecci Carou prima una especie de espíritu proletario, de servidora pública; un algo rocanrolero y compinche que la vuelve más paladeable para la sensibilidad nacional.

Más allá de haber sido curada tiempo atrás por Claudia del Río, Santiago Villanueva o de ilustrar la tapa de algún libro ideado por Claudio Iglesias (lo que nos lleva a pensar si efectivamente la obra responde a un relato curatorial/de época o si más bien algunos relatores tantearon la obra y la fueron a buscar en algún momento), hoy por hoy es un arte que sale al encuentro de la sociedad y que la sociedad recibe sin fricciones: es el arte de la Argentina por razones, digamos, históricas (la dilución del semblante utopista, relacional y socialmente comprometido de fines del siglo 20 hasta hacerse doxa; por otro lado, el feminismo es algo real).

Lo que le da cohesión a este extracto cívico multiculti que recibe el trabajo de Pecci Carou -compuesto por los medios de comunicación y las unidades de rosqueo, el "público en general", la intelectualidad de izquierda y la militancia no intelectual- es el efecto gratificante que la obra proyecta sobre ellxs.

Algo parecido sucede también con obras como la de Max Gómez Canle, que fue reseñada con entusiasmo y en términos llanamente afectivos tanto por Juan Laxagueborde como por Pola Oloixarac.

Si nos inclinamos hacia la caracterización de “pedagógicas”, podríamos decir que son obras que te hacen sentir que las podés capturar, que en su transparencia encierran una lección importante en términos estéticos o morales o políticos y que unx está capacitadx para atender y desencriptar esa lección.

Pedagógicamente funcionan como "drogas de entrada", aunque después, como las drogas de entrada, en realidad fracasen en generar una adicción estropeante y destructiva al arte.

Gómez Canle llama a ser contemplado, Pecci Carou llama a la acción, pero en algún punto y más allá de la retórica -o de la falta de retórica-, interpelan al mismo espectador, con política o sin política.

el artista Max Gómez Canle viendo un libro

Si la obra de Pecci Carou responde a un contexto puntual que podría definirse como "la actualidad sociopolítica" y se hace difícil calcular su sobrevida una vez que ese contexto se encuentre desdibujado, lo que hizo el colectivo Geometría Pueblo Nuevo, también en Piedras y apenas unos meses antes, responde a lo contrario: al anacronismo, a 1925; demuestra la vigencia de ciertos recursos de la modernidad para interpelar a una microsociedad hecha enteramente de artistas.

Se da una inversión curiosa sin embargo sobre la tipificación del “artista para artistas” que Marcelo Galindo podría encarnar. Digo esto porque Galindo es cada vez menos un artista a través de cuya obra lxs demás se reconocen y cada vez más un sistema funcional para que el arte de lxs demás aparezca. O sea, no es un artista de artistas sino que hace que los artistas hagan arte.

Galindo es como una beca, una vitamina, un caporal.

Una muestra buena, si tenemos la suerte de cruzarnos con alguna, funciona como una especie de déjà vu hacia el futuro: te hace ver en tiempo real el impacto que va a tener esa misma experiencia sobre tu subjetividad. No pasa muy a menudo la verdad, pero tampoco tiene por qué pasar tanto.

En un contexto de comodificación es natural sentir a las muestras como simples relevos de la actualidad productiva de tal artista, total, a diferencia de una película, son más o menos baratas: estoy trabajando en esto, lo muestro, vemos si hay que pasar a otra cosa o si tengo que seguir por acá,

vendo algo,

no vendo nada,

tomamos un vino,

nos vemos las caras.

Otras veces las muestras funcionan como un chiste que se dice para tapar un silencio incómodo, son parecidas a hablar por hablar.

Por eso despiertan interés principalmente en lxs propixs artistas, porque son ellxs lxs que se ven reflejadxs en los procesos, en el hecho de exhibir, en las burocracias de trastienda, en imágenes pequeñas e ideas aun más pequeñas; acá en Argentina podría decirse que las muestras son ante todo hechos comunitarios y mensajes comunales, por eso el público ideal de una muestra siempre está compuesto por artistas, lxs incondicionalmente interesadxs, lxs que pueden llegar a entender algo de las mil cosas que hacen a una exhibición.

Un crítico le presta momentáneamente su atención a las muestras, no sangra al arte como le gustaba decir a Suárez. Uno no tiene arte en la cabeza todo el tiempo, en la cabeza tiene repostería, la historia de las telecomunicaciones, fantasías suicidas barrocas, el trabajo que hace de día para poder solidarizarse con una pobre obra a la noche. Quizás en la pared blanda del cerebro el crítico también tenga los interiores nocturnos de las iglesias góticas belgas que pintaba Pieter Neefs el Viejo.

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