Margot benacerraf y picasso biography

  • Oldest director to make a movie
  • James ivory
  • M night shyamalan movies

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    Coordination
    Patricia Fogelman (CONICET), Talía Bermejo (CONICET), Sabrina Fernandes Melo (UFPB)

    Description: “¡oKupa dem la calle, oKupa sektion archivo, oKupa del museo!” This epigraph echoes and transforms one of the songs of the ARDA feminist artivist collective. The original talks about occupying the street, the body and the feminine and dissident desire. We heard that röst and we want to take it to two other spaces: archives and museums. Like the streets, these constitute scenarios of contemporary culture and as such, can be read as an arena for the dispute of social representations and the rights of women and gender-sex dissidence. In this sense, we föreslå to think, from decolonial feminism, possible vanishing points in the analysis of these scenarios linked to art and artivism, in which dissidents seek to be heard and seen. Streets, archives and museums articulate spaces and experiences where important materials, sources and testimonies are generated to unders

  • margot benacerraf y picasso biography

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    SAVE THE DATE 

    Tuesday, November 19th, 2019

    Margot Benacerraf 

    &

    Julian Schnabel

    with

    The Paez Medal of Art

    2019

    Margot Benacerraf, Paris, 1959

    Julian Schnabel, Paris 2016. Photo by Louise Kugelberg.

    Tuesday, November 19th, 2018, 7:00pm

    David Rubenstein Atrium at Lincoln Center
    Broadway between 62nd and 63rd streets, New York City

    Movies as Art

    We live in the age of images and no other medium has influenced more our perception of reality than film.  The train arriving to the station captured in camera by the Lumiere brothers in 1896 has taken us into an endless voyage throughout the human creative imagination.  Since their inception in Western culture films has contributed to shape our emotions transforming the way we perceive ourselves, and the world surrounding us.  Mo

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    There’s a moment in the 1959 film Araya that resonates deeply in my mind. In it, an elderly lady and her granddaughter walk through the desert to place seashells on a grave. Flowers can’t grow in such an arid environment, yet the inhabitants of the peninsula did their best to live a life with dignity. It’s a perfect encapsulation of the themes of what is arguably one of the best films made in Venezuela. The artist responsible for it, Margot Benacerraf, died yesterday at age 97, and with her passing, Venezuelan cinema has lost one of its titans.

    Born in Caracas in 1926, Benacerraf was part of the first graduating class of Philosophy and Letters at the Universidad Central de Venezuela in 1947. She was an acclaimed writer, but her journey into the world of cinema didn’t start until 1949. After a theater script she wrote titled Cresciente earned her a scholarship to study in Columbia, she developed a profound passion for movies. This dedication only grew as she furthered her studie