Vida y obra del artista canario Carlos Morón

[ES] El presente trabajo de investigación responde a la demanda social de revitalizar y dar a conocer a las generaciones actuales la polifacética personalidad artística de Carlos Morón. Para ello, se pensó que lo más conveniente era la realización de un trabajo monográfico sobre su peculiar biografía y heterogénea obra que abarcó el retrato, la pintura mural, la de historia, el paisaje, bodegones, costumbrista, escenografía, escultura y el grabado.

Con la venia de Carlos III. El castigo ejemplar de Olavide, consecuencia de la venganza de Grimaldi contra el conde de Aranda

[ES] Los inquisidores castigaron a Pablo de Olavide en 1776, pero fueron Grimaldi, ministro de Estado, y Carlos III los que le eligieron como castigo ejemplar para responder a la agitación política provocada por el conde de Aranda en su deseo de volver al poder. Como no podían tocar a un grande de España como Aranda, se vengaron en su protegido Olavide y lo llevaron a las cárceles secretas de la Inquisición. Todo se acordó con Su Majestad. [EN] Inquisitors punished Pablo de Olavide in 1776, but Grimaldi, Minister of State, Inquisitors punished Pablo de Olavide in 1776, but Grimaldi, Minister of State, and Charles III were the ones who chose his case as an exemplary punishment to respond to the political turmoil caused by the Count of Aranda after an attemp to return to power. As they could not punish a grandee of Spain such as Aranda, they took revenge on his protégé Olavide and took him to the secret prisons of the Inquisition. Everything was agreed with His Majesty.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Transacciones, delegación o unilateralidad. Un análisis de los equilibrios de poder en las relaciones ejecutivo-legislativo durante los primeros gobiernos de Álvaro Uribe en Colombia y Carlos Sa��l Menem en Argentina.

El presente trabajo analiza las relaciones entre poder ejecutivo y legislativo en los sistemas presidenciales, concentrándose específicamente en los casos de los primeros gobiernos de Álvaro Uribe Vélez en Colombia [2002-2006] y de Carlos Sa��l Menem en Argentina [1989-1995]. Lo hace desde de una perspectiva analítica denominada neomadisoniana. Ubicada bajo el paraguas del neoinstitucionalismo, ésta utiliza como punto de partida el pensamiento de los padres fundadores de la democracia americana, particularmente el de James Madison, concentrándose en el estudio de como los arreglos institucionales constriñen el comportamiento de los actores a través del establecimiento de incentivos mediante los que se distribuyen distintos recursos de poder, proporcionando, además, una estructura estable, aunque no necesariamente eficiente, para la interacción humana. De este modo, el enfoque posee un particular interés por el análisis de la organización de los gobiernos, ya sea en términos de jerarquía o de transacciones entre actores instituciones [poderes ejecutivo y legislativo] que, de acuerdo al caso, gozan de distintos niveles de simetría y, consecuentemente, de capacidad de impactar sobre el proceso de toma de decisiones. Dentro de este marco, se intentarán identificar en el análisis de los casos patrones de regularidad y diferencia en relación a las características asumidas en el proceso de separación de poderes y el efecto que ejercen sobre él los poderes constitucionales y partidarios de los presidentes.

Un applicativo Web con tecnologia single-page AJAX, servizi REST e grafica X3D, per la configurazione di modelli CAD tridimensionali

In questa tesi è stato realizzato un sistema web-based, per la configurazione di modelli meccanici tridimensionali. L’intero software è basato su architettura multi-tier. Il back-end espone servizi RESTful che permettono l’interrogazione di una base di dati contenente l’anagrafica dei modelli e l’interazione con il CAD 3D SolidWorks. Il front-end è rappresentato da due pagine HTML ideate come SPA (Single Page Application), una per l’amministratore e l’altra per l’utente finale; esse sono responsabili delle chiamate asincrone verso i servizi, dell’aggiornamento automatico dell’interfaccia e dell’interazione con immagini tridimensionali.

Carlos Martí Arís e i suoi eteronimi. Vocazione all'anonimo

Questa ricerca indaga la prospettiva investigativa di Carlos Martí Arís. È stato assunto il campo d’azione da lui prediletto, ovvero l’articolato rapporto che in architettura si instaura tra teoria e pratica, comprensivo delle svariate ricadute nel mondo dell’arte e della produzione umana in genere, che fanno del progetto architettonico un campo disciplinare complesso. La sua figura è però assunta in modo strumentale, come grimaldello per addentrarsi in un articolato ambito culturale, che se da un lato coincide con la sua città, Barcellona, dall’altro la trascende grazie a quei “ponti della conoscenza��� che CMA interrottamente ha teso al suo intorno. Ci riferiamo alla sua costruzione teorica destinata a consolidare la storica reciprocità tra Italia e Spagna, le cui tematiche urbane e tipologiche ne sono la base, Milano e Barcellona ne sono gli estremi. Ci riferiamo al suo sguardo sull’esperienza del Movimento Moderno e il relativo tema della residenza. Ci riferiamo alla sua naturale vocazione al silenzio, che si oppone al fragoroso rumore della contemporaneità e affianca la discreta parola del mestiere: un modo per porsi all’ascolto. All’ascolto dell’altro e del mondo. Ci riferiamo, insomma, alla sua idea di architettura intesa come «territorio dissodato da tempi remoti»; come trama di corrispondenze sincroniche tra terre, tempi, fatti, uomini, vicini e lontani: condizione ideale per chi voglia disciogliere il proprio lavoro nei labirintici sentieri del mondo, indifferente al rischio di perdersi nell’oblio. Oggi, in cui il progetto architettonico risulta sempre più spesso veicolo di soggettive e arbitrarie sperimentazioni formali, la lezione di CMA indica una via d’uscita: un mo(n)do condiviso che all’arroganza opponga la discrezione, che persuada a celarsi nella tradizione e a porsi umilmente all’ombra dei maestri. Tradizione e Maestri, Eteronimi e Nomi, complementarità a cui CMA affida il suo progetto di anonimato, sovrapersonale e ostinatamente teso a rilevarne le relazioni inedite.

Montaigne, Lying and Early Modern Self-Fashioning: A Discursive Dialogue with Lope's El perro del hortelano on the Page and on Stage

A shared code of connection arguably exists between two plays by Lope de VegaEl mayordomo de la duquesa de Amalfi and El perro del hortelanoand the work of Michel de Montaigne. Nevertheless, one cannot but ask: how it can be that in two works produced so close in time, the same situation is resolved so differently? Montaigne can be said to provide an answer in his Essays, explaining that a similar situation can produce wholly different results: how in the first, one is saved', and in the second, one is destroyed. One might imagine, too, that Belflor's countess and her ennobled secretary, who together sustain a lie in a society that lived by the lie, would have been likewise consoled' by a set of interlocking tropes and similitudes' in the words of Stephen Greenblatt, which linked two contemporary and complementary fashioners of human nature, Lope and Montaigne, in a discursive dialogue on how otherwise honest women and men were subject to the vice of lying in their process of self-fashioning, as well as potentially enslaved' by it.