La Fundación Pollock-Krasner de Nueva York convoca sus prestigiosas becas anuales destinadas a artistas visuales internacionales en cualquier disciplina. Podéis enviar vuestra solicitud online hasta el 31 de diciembre.
Purpose The Pollock-Krasner Foundation’s dual criteria for grants are recognizable artistic merit and demonstrable financial need, whether professional, personal or both. The Foundation’s mission is to aid, internationally, those individuals who have worked as professional artists over a significant period of time.
Application Guidelines The Foundation welcomes, throughout the year, applications from visual artists who are painters, sculptors and artists who work on paper, including printmakers. There are no deadlines. The Foundation encourages applications from artists who have genuine financial needs that are not necessarily catastrophic. Grants are intended for a one-year period of time. The Foundation will consider need on the part of an applicant for all legitimate expenditures relating to his or her professional work and personal living, including medical expenses. The size of the grant is determined by the individual circumstances of the artist. Professional exhibition history will be taken into consideration. Artists must be actively exhibiting their current work in professional artistic venues, such as gallery and museum spaces.
Grant Restrictions The Foundation does not accept applications from commercial artists, photographers, video artists, performance artists, filmmakers, crafts-makers, computer artists or any artist whose work primarily falls into these categories. The Foundation does not make grants to students or fund academic study. The Foundation does not make grants to pay for past debts, legal fees, the purchase of real estate, moves to other cities, personal travel, or to pay for the costs of installations, commissions or projects ordered by others.
Selection Process The Officers and Directors are advised in the selection process by a distinguished Committee of Selection comprised of recognized specialists in the fields of the Foundation’s concern. Artists are required to submit a cover letter, an application, and images of current work. Professional exhibition history will be taken into consideration. All completed applications will be promptly acknowledged and considered. If further information is required after the completed application has been received, the artist will be contacted directly by the staff. Further information including financial data may be requested at any time during the review process. The application process could take from nine months to a year.
Reapplication Procedure Applicants may reapply to the Foundation. All reapplicants must send images of work not previously submitted. The procedure requires that grantees who reapply must wait 12 months from the end of their grant period. Reapplicants who were previously declined must wait at least 12 months from the date of their application letter to reapply. The 12-month waiting period may be waived for reapplicants applying under emergency circumstances.
Past recipients of our grants should understand that the Foundation does not wish to become an instrument of extended or permanent support for particular individuals. Recipients who reapply must have either circumstances so changed as to warrant further support or have a genuine emergency situation.
Foundation Governence The Directors reserve the right to review and redefine Foundation program guidelines according to the donor’s original intent and their determination of how artists will be best served. It is not the policy of The Pollock-Krasner Foundation to release the names of grantees without the artist’s permission; however, the law requires disclosure of this information and of taxable income to the Internal Revenue Service, which in turn, has the obligation of making such information publicly available.
Més de 200 ‘performances’, en una mostra a la carta a la Fundació Tàpies
Des dels anys seixanta la performance és una de les pràctiques artístiques més transversals i actives. Un dels temes que sobretot han tractat més les dones artistes, però també els homes, a través de l’accionisme artístic és el feminisme i la crítica de gènere utilitzant el cos. La Fundació Tàpies de Barcelona s’ha proposat fer una revisió d’aquestes pràctiques però amb un format gens convencional respecte a l’exposició tradicional. Conformat com una senzilla mediateca, el projecte re.act.feminism #2-a performing archive és una mena d’exposició a la carta en la qual l’espectador pot triar visionar entre més de dos-cents vídeos i consultar directament fotografies i documents deperformances feministes d’arreu del món, sobretot dels anys seixanta, setanta i vuitanta però també alguns d’actuals. Són peces produïdes per més de 160 artistes de més de quaranta països. “No és només un format expositiu, sinó que és un format de treball”, diu Laurence Rassel, directora d’activitats de la Fundació Tàpies.
Arxiu itinerant
Aquest arxiu va començar a gestar-se el 2007 en l’associació Cross links e.V., formada per professionals de l’art i acadèmics de Berlín. El projecte d’investigació ja ha viatjat a cinc ciutats europees –va començar fa un any a Vitòria– i s’acabarà l’estiu vinent a la capital alemanya.
El projecte ha servit no només per fer una revisió històrica de performances conegudes (es poden veure algunes accions mítiques com les de Marina Abramovic i les de Yoko Ono, quan, per exemple, els espectadors li tallen el vestit que porta), sinó també per incloure’n d’altres de menys vistes, com la imatge xocant de la israeliana Sigalit Landau fent moure un hula-hoop de filferro amb punxes, en al·lusió a la situació del seu país. Més en l’estètica queer, l’alemanya Antonia Baehr ridiculitza en el seu vídeo un dandi sense diners que no vol fer cap activitat “femenina”. El projecte es nodreix d’un programa de performancesen què participaran artistes com la històrica Esther Ferrer i La Ribot, entre la Fundació Tàpies i el Mercat de les Flors. Trobareu el programa complet al web de la Fundació Tàpies.
Tercera edición de este evento científico internacional que reúne a investigadores e investigadoras cuyos intereses se sitúan en la intersección entre etnografía y educación, y con propuestas que reflejan una concepción amplia de la educación y los espacios educativos más allá, aunque sin excluir, del estudio de la enseñanza- aprendizaje en contextos formales-escolares.
La visión sobre la etnografía de la que parte esta reunión tiene sus raíces en la investigación antropológica, pero mantiene una mirada contemporánea de ésta y reconoce la naturaleza interdisciplinar de la etnografía. Por ello, el comité organizador espera recibir aportaciones desde la Antropología Social, la Comunicación, la Educación, la Geografía, la Lingüística, la Psicología o la Sociología, entre otros campos de las Ciencias Sociales. No obstante, en la selección de presentaciones se dará prioridad a propuestas de carácter empírico, más que meramente programáticas y/o conceptuales. Igualmente, se valorará especialmente la presentación de propuestas de investigación etnográfica que reflejen el carácter holístico y multi-técnico del trabajo de campo y, por tanto, incluyan una variedad de fuentes de información derivadas de observaciones, entrevistas y análisis de documentos, entre otras evidencias.
En la literatura sobre el tema, los autores han coincidido que los objetivos básicos en el arte terapia con jóvenes víctimas de abuso sexual es la restauración y reafirmación constante de los límites debido a la transgresión de la totalidad de los límites de la persona. “Los límites necesitan ser reconstruidos trabajando en pos de que sean confiables y que automáticamente protejan al niño. (…)
Estado del Arte en Reparaciones para las mujeres víctimas del cpnflicto armado en ColombiaEl presente documento es el resultado de una aproximación realizada a organizaciones sociales colombianas relevantes que trabajan con víctimas y aspectos de la justicia transicional, desde una perspectiva feminista o un enfoque de mujeres. El objetivo de dicha aproximación ha sido conocer el estado del arte en reparaciones para las mujeres víctimas del conflicto armado en Colombia.
PhotoTherapy Techniques: Exploring the Secrets of Personal Snapshots and Family Albums is the most comprehensive introduction to the field of PhotoTherapy available (and is also a great alternative to taking an introductory training workshop!).
Written by psychologist, art therapist, consultant, instructor, trainer, and PhotoTherapy pioneer Judy Weiser, this book explains and demonstrates each of the major techniques, and provides theoretical rationale from both psychology and art therapy contexts. It also includes many photo-illustrated client examples, case transcripts, and practical experiential «starter» exercises so that readers can immediately begin using these techniques in their own practice.
… about the «why» of your photographs and the feelings and stories they create…
«Photographs are footprints of our minds, mirrors of our lives, reflections from our hearts, frozen memories that we can hold in silent stillness in our hands — forever if we wish. They document not only where we have been, but also point the way to where we might perhaps be heading, whether or not we realize this yet ourselves…» — Judy Weiser, R.Psych., A.T.R, Founder/Director of the PhotoTherapy Centre
The Secret Lives of Personal Snapshots and Family Photographs. Every snapshot a person takes or keeps is also a type of self-portrait, a kind of «mirror with memory» reflecting back those moments and people that were special enough to be frozen in time forever. Collectively, these photos make visible the ongoing stories of that person’s life, serving as visual footprints marking where they have been (emotionally, as well as physically) and also perhaps signaling where they might next be heading. Even people’s reactions to postcards, magazine pictures, online images, or snapshots taken by others can provide illuminating clues to their own inner life and its secrets. The actual meaning of any photograph lies less in its visual facts and more in what these details evoke inside the mind (and heart) of each viewer — including the person who took it or who appears in it. While looking at a snapshot, people actually spontaneously create the meaning that they think is coming from that photo itself, and this may or may not be the meaning that the photographer originally intended to convey. Thus, its meaning (and emotional «message») is dependent upon who is doing the looking, because people’s perceptions and unique life experiences automatically frame and define what they see as being real. Therefore, people’s reactions to photographs they feel are special can actually reveal a lot about themselves, if only the right kinds of questions are asked.
How Therapists Use Photos to Help People Heal. Most people keep photographs around, without ever pausing to really think about why. But, because personal snapshots permanently record important daily moments (and the associated emotions unconsciously embedded within these), they can serve as natural bridges for accessing, exploring, and communicating about feelings and memories (including deeply-buried or long-forgotten ones), along with any psychotherapeutic issues these bring to light. Therapists find that their clients’ photos frequently serve as tangible symbolic self-constructs and metaphoric transitional objects that silently offer inner «in-sight» in ways that words alone cannot as fully represent or deconstruct.
Under the guidance of a therapist who has been trained in PhotoTherapy techniques, clients explore what their own personally meaningful snapshots and family albums are about emotionally, in addition to what they are of visually. Such information is latent in all personal photos, but when it can be used to focus and precipitate therapeutic dialogue, a more direct and less censored connection with the unconscious will usually result.
During PhotoTherapy sessions, photos are not just passively reflected upon in silent contemplation, but also actively created, posed for, talked with, listened to, reconstructed, revised to form or illustrate new narratives, collected on assignment, re-visualized in memory or imagination, integrated into art therapy creative expressions, or even set into animated dialogue with other photos. This allows clients to better reach, understand, and express parts of themselves in ways that were previously not possible.
PhotoTherapy — The Bigger Picture
As explained in the book, PhotoTherapy Techniques — Exploring the Secrets of Personal Snapshots and Family Albums, PhotoTherapy is best viewed as an interrelated system of photo-based counseling techniques used by trained mental health professionals as part of their therapeutic practice while helping clients consciously probe, and subsequently cognitively reintegrate, their photo-precipitated insights in order to better understand and improve their life.
Therefore, it is not the same thing as «Therapeutic Photography» (which is sometimes also confusingly called «Photo-Therapy», particularly in the U.K.), as those are self-conducted activities done outside any formal counseling context. People use Therapeutic Photography for their own personal self-discovery or artistic statement purposes, whereas therapists use PhotoTherapy to assist other people (their clients) who need help with their problems. While the results of doing photo-based self-exploration (photography-as-therapy; i.e., photography used for personal insight purposes, but with no therapist involved or guiding the process) often ends up being serendipitously «therapeutic» on its own — especially when using the camera as an agent of personal or social change — this is not the same as activating and processing such experiences while under the guidance and care of a trained counseling professional (photography-in-therapy; i.e., using photos and people’s interactions with them, during the therapy process, as an integral part of it).
Since PhotoTherapy is a collection of flexible techniques, rather than fixed directives based upon only one specific theoretical modality or therapeutic paradigm, it can be used by any kind of trained counselor or therapist, regardless of their conceptual orientation or preferred professional approach. This is one of the many ways that PhotoTherapy is both similar to, yet distinct from, Art Therapy — as well as the reason it can be used so successfully by a variety of other mental health professionals who are not trained in Art Therapy specifically. (Those who do have special additional training in Art Therapy, use a sub-set of PhotoTherapy techniques called «Photo Art Therapy).
The specific definitions for PhotoTherapy, Therapeutic Photography, and Photo Art Therapy are shown on the «Entry page» of this website; however these are repeated below for readers who did not enter this site from that first page:
PhotoTherapy techniques are therapy practices that use people’s personal snapshots, family albums, and pictures taken by others (and the feelings, thoughts, memories, and associations these photos evoke) as catalysts to deepen insight and enhance communication during their therapy or counseling sessions (conducted by trained mental health professionals), in ways not possible using words alone.
(Photo Art Therapy techniques are art therapy practices based on a specialized adaptation of PhotoTherapy techniques that are used only by those with postgraduate training in Art Therapy, who actively use photos as one of their art media of choice)
Therapeutic Photography techniques are photographic practices done by people themselves (or their helpers) in situations where the skills of a trained therapist or counselor are not needed — for example, where photos are used to increase people’s own self-knowledge and awareness, improve family and other relationships, activate positive social change, lessen social exclusion, assist rehabilitation, strengthen communities, deepen intercultural relations, reduce conflict, bring attention to issues of social injustice, sharpen visual literacy skills, enhance education, promote well-being, expand qualitative research and prevention methodologies, and produce other kinds of photo-based personal/emotional healing and learning.
Since PhotoTherapy is about photography-as-communication, rather than photography-as-art, NO prior experience with cameras or the photographic arts is necessary for effective therapeutic application!
And finally, since PhotoTherapy involves people interacting with their own unique visual constructions of reality (using photography more as an activating verb than as a passive/reflective noun), these techniques can be particularly successful with people for whom verbal communication is physically, mentally, or emotionally limited, socio-culturally marginalized, or situationally-inappropriate due to misunderstanding of nonverbal cues.
Therefore PhotoTherapy can be especially helpful, and usually very empowering, in applications with multicultural, disabled, minority-gender, special-needs, and other similarly-complex or marginalized populations — as well as beneficial in diversity training, conflict resolution, divorce mediation, and other related fields.
As the general public becomes increasingly comfortable with using electronic technology and digital imagery, more exciting possibilities continue to emerge for using photos as counseling tools with clients who have scanners, digital cameras, photo-manipulation software, family websites, and/or those who are able to participate in online cyber-therapy.
kdm;) tv, Cuenta las aventuras de un grupo de adolescentes que intentan montar su propio canal de televisión por internet. En este primer capítulo podrás conocer a los personajes que le dan vida. La interculturalidad está presente. Ellos quieren tener su propio canal, ¿lo conseguirán?.
Cuando se dice de una persona que padece autismo, lo habitual es que se asocie con alguien que vive en su mundo, del que no quiere o no sabe salir. También se utiliza con ligereza el término ‘estar autista’ referido a quien parece estar ausente. Pero la complejidad de los trastornos del espectro autista, del autismo, es difícil de imaginar hasta que se hace un acercamiento profundo al tema. Las mil caras del autismo Lo más sorprendente en un primer momento es comprobar el amplio y variado abanico de perfiles que están incluidos en ese trastorno. Los especialistas hablan de las mil caras del autismo porque entre ellas se encuentran, desde casos con una gran discapacidad, entre el 20 y el 30 por 100 de los afectados no llegan a desarrollar el lenguaje, hasta personas con altas capacidades y unos cocientes intelectuales extraordinarios.
En cualquiera de los casos, independientemente del desarrollo del lenguaje y de las capacidades intelectuales, para llegar a un diagnóstico de autismo se tienen que dar comportamientos autistas, es decir alteración en la sociabilidad, en la comunicación, tanto verbal como no verbal, y la existencia de intereses restringidos. En ‘El laberinto autista’ se hace perfectamente visible esa variabilidad. Adrián no habla y su familia tiene que utilizar pictogramas para informarle y para intentar saber lo que quiere en cada momento. Su primo Sergio, va a un colegio ordinario y, con apoyos, aprueba el curso. Virginia tiene una discapacidad grave y es totalmente dependiente, mientras que Jorge, de su edad y compañero de residencia, puede salir acompañado a trabajar en una cafetería. Síndrome de Asperger El síndrome de Asperger es un trastorno autista en el que no existen problemas intelectuales, cognitivos o de lenguaje tempranos. Se puede decir que las personas con autismo no tienen inclinaciones sociales y sin embargo, las que padecen síndrome de Asperger sí, aunque sufren dificultades para relacionarse socialmente. El diagnóstico sigue los mismos principios de los trastornos del espectro autista: las dificultades sociales, el no comprender el lenguaje complejo, la ironía, la utilización de los dobles sentidos, las situaciones sociales o la corriente emocional o social que está sucediendo en un determinado momento. Se calcula que el síndrome de Asperger es menos de la cuarta de los trastornos del espectro autista.
Para Alberto es más fácil entender cómo funciona una central nuclear que a los niños de su edad En el documental sorprenden las reflexiones de dos hermanos, de 19 y 11 años con síndrome de Asperger. Cristina, la mayor, estudia Administración de Empresas en la Universidad de Oviedo. Tiene altas capacidades intelectuales, pero es incapaz de ir sola a la facultad, le cuesta superar sus crisis de ansiedad y no soporta el contacto físico. Alberto, tiene un cociente intelectual todavía más alto que su hermana, pero no entiende lo que le dicen sus compañeros. Para él es más fácil entender cómo funciona una central nuclear que a los niños de su edad. La importancia de un diagnóstico precoz Otra cuestión sorprendente es el espectacular aumento en la prevalencia del autismo entre la población general. Se calcula que el 1% es diagnosticado de este trastorno. Las razones que dan los especialistas son: que cada vez se hace una detección mejor y más temprana, que se realiza una búsqueda más activa de estos casos y que ahora se tiende a hacer un diagnóstico de autismo en casos que antes se consideraban de discapacidad intelectual.
Cada persona con autismo sufre unos problemas y unas limitaciones diferentes Después de permanecer durante semanas rodeada de personas con autismo, de sus familias, de los profesionales que los cuidan, que los diagnostican y que los estudian, hay dos conclusiones claras: que no se puede hablar de ‘autistas’ porque no existe un patrón, sino que cada persona con autismo sufre unos problemas y unas limitaciones diferentes que, además, van cambiando a lo largo de su vida; y que la detección temprana es fundamental, porque hemos podido comprobar cómo mejoran los comportamientos y la calidad de vida de los niños que reciben un diagnóstico precoz y una pronta intervención.
Data:Del 23 d’octubre al 4 de juny de 2013
29 pel·lícules que posen el focus en el món de l’art, des de prismes molt diferents. Per amor a l’art: cinema i pintura és el fruit de la col·laboració entre la Filmoteca i el Museu Nacional d’Art de Catalunya, un treball conjunt, inèdit fins ara, que respon a l’obertura a nous públics i noves disciplines per part de les dues institucions.
Amb un ampli ventall temàtic i cronològic —de 1932 a 2011—, al programa trobareu films d’alguns dels grans directors de la història del cinema, pel·lícules per reflexionar sobre el sentit de l’obra d’art o sobre el procés creatiu, i d’altres que us submergiran en les vides d’artistes universals. Totes les projeccions comptaran amb una presentació a càrrec d’un especialista en cinema, art o de l’àmbit acadèmic.
Sessions al MNAC (3): Sala de la Cúpula, a les 19 h
Entrada gratuïta
Sessions a la Filmoteca (26): Sala Chomón, a les 17 h
Entrada individual: 4 €; reduïda*: 2 €
Abonaments: Anual (carnet personal): 90 €; 20 sessions (no nominal): 40 €
Tarifes vàlides fins al 31.12.2012
*Amics del MNAC, estudiants, aturats, jubilats, persones amb discapacitat legalment reconeguda, títols de família nombrosa o monoparental, Carnet Jove i carnet de la Xarxa de Biblioteques Públiques
La Fundación Pollock-Krasner de Nueva York convoca sus prestigiosas becas anuales destinadas a artistas visuales internacionales en cualquier disciplina. Podéis enviar vuestra solicitud online hasta el 31 de diciembre.
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