Interesting Facts About Tay-sachs

Kom

The lack of familiarity with an artist in contemporary societies is not necessarily to do with censorship, rather functions as a spring that provides the institutional consecration. The poor recognition of a creator is usually the case when it comes to personalities who ignores trends art istics dominant. Or when you simply have neither the interest nor the social skills they often demand an adequate insertion in the art market. Unfortunately, contemporary artists have to invest much of their time on marketing efforts for which are not always trained, networking, partnerships and concessions, to strategize and lead to scandals that captivate achieve market representatives and cultural centers.

Cuban painter Luis Trápaga is one of those figures whose work has remained in the shadows for a little over two decades. His works have been exhibited infrequently and most of the time-Aglutinador Laboratory, the gallery that runs the creative alternative Sandra Ceballos. With all the limitations and the virtual character that has underground in Cuba, internet (through blogs, facebook and sites like YouTube) is offering opportunities to disseminate their work through other channels than the Cuban galleries and cultural centers. In the blog Habanero bewitchment, Leah Villares, I found this video entitled Kom text, made from a series of drawings of Trápaga.

In the video, very much in tune with the t heading for the series, im Agen slide as if you were flipping through a book. The preposition 'with' misspelled as 'Kom' points to two features of the drawings. The first is that the texts function as graphic elements, rather than written messages. The second is the visual violence. The bodies paths with vigorous contour lines, filled with colors visually intense, with traces of insects or birds with deformed body types, associated with incomprehensible texts or inconsistent, drawn on printed pages in the dark can be recognized scientific formulas, creating the effect of wedded life instantly, like a scream of pleasure or as a shock that makes this bearable. Trápaga manages to move the explosive sense of graffiti, usually associated with public art, to the pages of books and to the individual experience. sex scenes Kom have a powerful Text existential dimension, a stridency that makes contemporary even remember many of the grotesque figures that were in vogue during the second half of the sixties. Sex scenes linked to a sense of distress that may express, at a deeper level than many so-called critical art demonstrations, conflicts being experienced by Cuban society.

Text Kom is a criticism of this from a rather subjective, without incurring the political content that always carry the danger of sliding into the pamphlet and the obvious. It is also a celebration of sexual pleasure, exalted as a holiday enjoyment, uninhibited, orgiastic. In Kom Text, together with the cry, there's plenty of improvisation and humor, exaggeration comedy and farce.