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Numa panela derreta a manteiga. Refogue as cebolas. Enquanto mexe, vá adicionando o alface. Continue cozinhando até estar bem macia.Misture o arroz, as ervilhas e o caldo. Tempere com endro, sal, pimenta, noz-moscada e as raspas do limão. Coloque para ferver. Cubra. Em fogo baixo, cozinhe por 20 minutos.No liquidificador, faça um pure da mistura e despeje na panela. Torne a aquecer. Misture levemente o creme de leite. Decore com rodelas de limão. Sirva. Composição: limoleno, citral, geraniol, citronelol, pineno, cadineno, bisaboleno, canfeno, dipenteno, felandreno.  Traits, LH 2009  Traces, LH 2009  Drawing, LH 2009 I am working my way through direction the subject “thoughts”. A key question raised up: How is one’s state of mind when travelling? How is your state of mind when travelling, walking or wandering? Can you sketch a picture for me?
Hi Dani. Now I am back. A quick business trip to London and now I am back with a dark blue thumb nail. But I needed that, I mean the trip. I thought a little bit about our ideas and I very much like the rebirth by fire that you posted last week. There is something about fire that fascinates me, which at the same time is a very important part of jewellery and goldsmithing. But fire also makes me think about transformation, energy, the stepping from one form into another, death and cremation. The gray area that (experimental) jewellery finds itself in is also a platform for rebirth, I think, where traditions no longer fit and new ideas are continuously given birth to. Recycling is another point. And even though I think that the word ‘recycling’ is somewhat cheesy and guilt-inspiring (if you don’t recycle), I have broken the word down into re and cycle and that lit up my mind. Everything happens in cycles, stages and steps. I feel that a lot what we have blogged about as to do with these things. I also feel that I am somehow at the end of one cycle now, and another is beginning. Again, relating this to jewellery, a lot of precious metals are recycled (I just sold some gold the other day because I needed money and I was also thinking about ancient Egypt, where grave robbers kept on taking the gold out of the tombs to resell it). So these are only some overall concepts. No ideas yet, but I could begin some experiments based on this. The question is, do these ideas inspire you to work? Do you feel that you can/want to work with this? I did these “drawings” with my hair and some material found on the street … recycling … Dear Kajsa, It is so different how people interact with objects. Look at my flickr to see how I have photographed all the material I sent you before closing the box and how differently you photographed them! http://www.flickr.com/photos/mirlaf/sets/72157622803354562/ I am really curious to know what have you been doing with the things I sent you. More than that: I am eager to know you better through the things of your box! I am still waiting for it!!! In case you have lost my address, I leave it here the address of my atelier for you to send me: MIRLA FERNANDES RUA ALVES GUIMARAES, 1437 CEP 05410-002 - SAO PAULO /SP – BRASIL
Dear Eduardo, -Apart from living a year in the south of Germany during my studies I have been living in the Netherlands all my life. First in Leiden, where I grew up, then in The Hague and presently Amsterdam. I like this city very much, it is more of a large town in my opinion. Although it lacks the grandeur of the cities and capitals of most other European countries, there is a lot to see and do here, also culturally. The atmosphere is quite liberal, something I really missed living in the south of Germany. Here is a picture of me and a travel guide, just before it got dark and my brother and I got lost in a forest of mountaineous La Gomera, one of the Canary Islands. So here the tourist is still smiling.  gomera
a+b D.S. 2009 A few weeks ago, during a State visit to Mexico, Prince Willem Alexander from the Netherlands, was heard saying in Spanish: Camarón que se duerme se lo lleva la chingada (sic). He was addressing an audience of politicans and bussiness people, in an official speech about water technologies. After the explosion of laughter from the audience, his facial expression indicated that he did not seem to grasp the full meaning of the word he naively used (the Mexican proverb he quoted says literally: A shrimp that sleeps is washed away by the tide.) La chingada (as a femenine noun) is imbued with cultural significance. Whatever the linguistic meanings, which run the full gamut from fuck to sick, great joy to deep sadness, the term is never used in the media or public speech, especially not by power brokers. The word and its countless variatons do appear in the movies, novels, poetry, visual arts and popular crafts. La chingada is part of the people´s language, the street wise resource to name something that otherwise is hard to grasp. Although the Dutch media reported the incident as a curiosity or the clumsiness of burocracy, a minority focused on the intricacies of cultural translations. this is the point I would like to make here. The translation of the prince´s speech was adorned by a piece or rethoric in a language that nobody understood, but they thought they knew the meaning of La Chingada , in the end turning a prince into the laughing stock of the gentiles. As I was reading the posting by Christoph Zellweger in WGA dedicated to Jorge, I thought again about that problem. Christoph argues that Jorge Manilla assumes that people will understand the subtleties of his images or objects, by referreing to the cultural background that informs them. Having worked in exhibitions for years now, I found myself more often than not puzzled by the ways people interpret what they see. Communication or transmission of information is indeed complicated by the fact that people who communicate assume that the others, the receivers, will understand their meanings passively. The usual is the opossite: people interpret all the time, but they do it from a cultural and personal platform unbeknown to the speaker. As artist and cultural communicators, I believe that we should take for granted the impossibility to translate the experience of art as such or language as metaphor. Or to put it in Cristoph Zelleweger words: art is tool for people without language. Literal meanings do not exist in art. Obviously politicians and people in places of power depend on interpreters and translations, and when these fail they become aware of the communication dilemma: it is risky to try to use a word or a sentence which is deeply embeded in a regional significance. Artists do seem to have the gift to apropiate meanings; they can change them to their own interest and transform their meaning. But not always… how many times you found yourself baffled by people who think that your works are something completly opossite to what you intended them to be, even at the point of become insulting or degrading? Misunderstanding and its consquences are our daily bread, trying to work around them or even leave the door open to build it into your work can be a healthy attitude.
Hi Sebastián! Do you have some starting point?
Dear All, There are more images of this workshop that had also Tore Svensson, in the site www.njoia.com Dear Sam, Parma… I visited a few times in my youth. My parents loved to travel each may to Italy visiting all roman places, and my sister and I had to join each year. At that time I was a bit bored about this holidays but while I look back, it was very good for my raising process. I have seen ALL churches in Italy…. Parma left a memory. I bought a perfume, violet. Viola. Perhaps my jewelry/flower must have this colour, LILA Italy left a big memory. Nevertheless I went almost never back. Amsterdam is far away. When I lived in Switzerland it was so easy to go there. Do you have family in Caracas? Are you going visiting them? It must be great to be born in such an exotic land!!!! WAX its nice to sculpt. I use it for the motherform in casting. I’m so curious what you are making, please send me some images if you have some prototypes, try outs. CIAO, until a next time, have to have dinner now  Piero della Francesca this has been much more fun to talk in real-time – with a real person – we finally met – on SKYPE !!!!!
after a good FOUR hours talk while seeing you and listening to a real voice it feels much better. Actually it has been a pleasure and we talked about a lot of important stuff. … and here comes the best… without the public listening in !!!!!
if you want to exchange UNFINISHED THOUGHTS, the old fashioned way of talking while looking at each other is still the way. Just a pity I didn’t have the chance to offer you a chilled beer. We will both be away next week, so I hope we meet thereafter on skype again and try to also do some ‘to the point’ blogging… enjoy the rest of the evening… Christoph dear Jorge, yes, great picture, but also an image impossible to fully appreciate if you are NOT Mexican. I like the iconography, the irony too and the huge amount of object-symbols used and I think I can also see all the references to popular culture, Hollywood etc. … however, without what you call ‚cultural references’ this image/artist is difficult to fully ‘read’ by someone with another cultural background – and if I comment this image, it may or may not reveal a big misunderstanding. The artists’ intention may be far away from the onlooker’s interpretation… Jorge, is this important to you? Is it important to you that your pieces are talked about the way you thought about them? When I look at your work I see the work of a storyteller, I see layers of narration and I make up my own story about these relics. So I fall for the myth you create… but strongest I feel ‘a million years of Catholicism’, yes, to me quite a few pieces of your work I saw radiate these cultural references. So it is not Mexico alone but this European religion-export that has lead to the myth I felt when I recently saw the pieces you exhibited in Stockholm. We talked about migration and where we are from, I now think that it is not just nationality but the past religious history that have strongly defined our cultural identities … and lead to all the misunderstandings you felt when talking in another language, now, that you are living in Belgium. I worked in the French part of Switzerland and struggled to make myself understood. For 12 years I lived in England and learned to believe that language is ‘just’ a tool. But it is a tool one has to sharpen and use with creativity and wit. So misuse and abuse of the tool is ok too – if it serves a purpose. Misunderstandings may sharpen the thinking. The misleading use of words can be an attractive strategy to work with when creating a formal vocabulary as an artist. I like to think of language in such a slightly subversive way. As an artist I enjoy the imaginative and often improper use of language. For me it is important that my work keeps people wondering and talking and I don’t think this happens when the work is too vague and arbitrary or too direct or didactic. I am still surprised when people talk about my work the way I thought about it when making it. It feels great when someone can really unveil the various aspects of thoughts and feelings that made up my work. Very rarely I get strange feedback, usually by people untouched by any form of art education, … … which leads me to the predictable conclusion, that Art is a universal cultural phenomena and that any culture can be studied. The discourse about Art needs to be practiced and learned: Therefore … four thoughts … - Art is a language – the artist can choose to talk in a regional, national or universal language. - Art is a tool for people without language - Art is a perfect tool for dis-paced or mis-placed people, for migrants and refugees, for homeless and cultural nomads - Art can become a mother tongue, regardless where you are Christoph “In my best moments I think, ‘Life has passed me by’ and I am content. Walking seems to cover time and space but in reality we are always just where we started. The ocean is deathless I wish the idea of time would drain out of my cells and leave me quiet on this shore.” I loved what you wrote!! Bye!! Hi. Thanks for the box in advance, I look forward to receiving it! I will let you know when it has arrived. I know that there are themes going on here, but I feel that I would like to work with you on something that matters to us, something that is meaningful, if you see what I mean. We are global (mobility is part of our lives, so whatever we do, make, say, think, etc, probably contains a good degree of this already, whether we are aware or not). We all have identities (unfortunately, as I am learning). And we make jewellery! There are probably a million ways to integrate this, but I want fire and exuberance burning inside of me to ignite my creative exploration within this project…… I will be in London until next week, so maybe we can do some thinking/sketching/etc…..until then, all the best….B Y E Hi!!! I am so sorry that i have been so silent lately. About my “big project”, how you called, is not going to happen…i have some complications and i lost it, so, the things haven´t been easy so far, anyway, things happen and the time will help. And after all this, i have been thinking, in the feeling that generates the “emptiness of the missing part”, and all the questions that we can find from that…somehow i find it linked with your walls…when you see them…due to our “reason”…there is something missing, and makes us wonder or maybe make us wanted to go deep or behind. How was your trip? i hope that you enjoyed it a lot… keep in touch Hi, Sebastián! This is the box that I sent to you today…
Your photo is so beautiful… Yes! I agree with you about the idea of recycling – ideas, objects and feelings… How do we insert this in the context proposed by the WGA ( “This is a blog where 40 artists and jewellery makers from Latin American and Europe carry out a dialogue about global mobility, identities and contemporary jewellery.”)? Um abraço! Dani Hi Dani!!! Recycling and rebirth both sound very good and I am into that (especially your rebirth through fire). We should use that for our piece (which perhaps we should start soon-ish). I am making some new work now and I am recycling some old jewellery I made, also a kind of rebirth through recycling. I love that. There is too much waste everywhere and it makes me sad to see the precious Earth scattered with the incidental product of pointless mass consumerism and consumption…. What do you think????
Hola Sussane!! Everyday I try to read the blog and I have to confess that I get nervous at times when I try to process all of the information I read, but anyways… I pay lots of attention to your writings and I think about them a lot. First of all, I have a lot of different ways to work and approach a piece of jewelry that I’m creating, sometimes the pieces are well structured, such as the necklace that we already talked about, one can really perceive my architectural background and the school of thought that influenced me while developing that piece. But other times, it is purely about feelings, stories, dreams that belonged to me or others. I understand how you work at times and I would love to know more, you know? I had seen your work prior to meeting you and when I saw some of your work; it reminded me of the pieces I had seen of you to perfection. I find your work very strong and subtle at the same time, I hope one day my pieces can achieve the subtleness I see in your work. You have been in so many places around the world!!!!! I have not been in as many places as you have, but the one thing I can share is that Barcelona has been the place where I have spent the most time and were my feelings have evolved and changed the most. This is the place that has made understand what an outsider feels like, what being an immigrant really means. This is the list of the places I have been. I was born and raised in Caracas. Caracas is colors, the tropic, diverse vegetation and exotic fruits!! MY HOME!!! At the end of the day, this is home base. Mexico short trip during my childhood, I have a few images in my brain as a result of this trip. New York is a city in constant transformation. One can reinvent that place every time is visited (my sister and my nephew live there) I have visited other places in the US and Canada. I have been in Boston, Washington, Miami, Montreal, and Chicago. I spent six months in Chicago which I used to enjoy the city’s architecture and urban design. In Europe I have traveled as a tourist and visited places such as London, Madrid, Bilbao, Granada, Zaragoza, Toledo, and San Sebastian amongst others. I have also been to Paris, Roma, Milano, and Parma. I was fortunate enough to have the opportunity to work in Parma, which was the city I loved the most while being in Italy, it is such a gorgeous and elegant city. Athens and the Greek islands are very familiar and special to my heart because a very good friend of mine resides there. Istanbul!! I would go back there if I had the time to let the city take me without the constraints of being a tourist. Geneva, Amsterdam, and Toulouse, amongst others that I can’t reacall at the moment. Ahhh and there will always be a special place in my heart for a small Caribbean island named Aruba which will always bring me peace, that was my family and some of my closest friends vacation place during my teenage years. I read how your piece came about and it summarizes all the feelings inspired by a place. I like that! I have an idea, but it is still without any form, and what I want to express is a particular feeling that sometimes I get and is that of “no place at all”. It is complicated it is like feeling that you belong no where but yet all those places make you who you are. I intent to deepen my thoughts on this on future writings. Ahhh!!!I have been experimenting with resins and silicone molds. Recently though, I am working with wax for special orders from clients. Regards Sam |
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