18.01.2018 PWT 03-2018 Doris Ulmann

Doris Ulmann’s position in history of photography keeps improving.

Born in 1882 in the Upper East side of Manhattan, she received intellectual and artistic formation from Felix Adler and Clarence White.

She was so rich and educated, she wound finally find harmony in her life frequenting the poor and the remote Southern communities with her camera after the mid 1920s, visiting South Carolina swamps in the Great Depression days on some luxurious chevrolet.

An independant character, she build her artistic life in then virgin directions, long before public surveys of the Farm Security Administration (FSA) , but was invited for dinner at the White House in March 1934 to show and report to the President and Mrs Roosevelt her work together with her companion John Jacob Niles.

Before she passed away in August 1934, she wrote her will in favor of institutions, communities and companions, for the great concern of her wealthy family who accepted nevertheless to negociate a fair agreement.

PWT 03-2018 Doris Ulmann

Niles on Youtube : https://www.youtube.com/watch?v=6YIp0h7PIlo&list=PLA8pF1W70izQfW0c8PKJ88CmHVVdi7dj5&index=9

11.01.2018 PWT 2-2018 ETERNAL RETURN OF COLLECTING


Eternal return, also known as eternal recurrence, is a concept that the universe and all existence and energy has been recurring, and will continue to recur, in a self-similar form an infinite number of times across infinite time or space. The concept is found in ancient philosophy and was subsequently taken up by the Pythagoreans and Stoics (see Heraclitus).

Eternal Return of Collecting,

The action of collecting and transmitting can be explored through Deleuze postmodernist interpretation:

« According to Nietzsche the eternal return is in no sense a thought of the identical but rather a thought of synthesis, a thought of the absolutely different. — It is not the ‘same’ or the ‘one’ which comes back in the eternal return but return is itself the one which ought to belong to diversity and to that which differs.

The eternal return within collecting is surely not the recurrence of the same.
“…it is the recurrence of difference, of difference itself. The future will reveal itself to be the eternal return; and in the return will be found the affirmation of difference that is Deleuze’s Nietzschean spirit. Deleuze’s definition of the eternal return is obscure: “Return is the being of that which becomes. Return is the being of becoming itself, the being which is affirmed in becoming”. (Cf. Milan Urošević, Gilles Deleuze-An Introduction).

The “List of collectables” article on English wikipedia is a pleasant reading, we shoud add an old Greek quote: “If you do not expect the unexpected you will not find it, for it is not to be reached by search or trail.” (Heraclitus)

PWT 01-2018 Eternal Return

 

04.01.2018 PWT 1-2018: Last Chance to Square the Circle of the Art Market ?

“Squaring the circle is a problem proposed by ancient geometers. It is the challenge of constructing a square with the same area as a given circle by using only a finite number of steps with compass and straightedge.

In 1882, the task was proven to be impossible, as a consequence of the Lindemann–Weierstrass theorem which proves that pi (π) is a transcendental, rather than an algebraic irrational number; that is, it is not the root of any polynomial with rational coefficients. Approximate squaring to any given non-perfect accuracy, in contrast, is possible in a finite number of steps, since there are rational numbers arbitrarily close to π.

The expression « squaring the circle » is sometimes used as a metaphor for trying to do the impossible.” (Wikipedia)

178 years ago, the invention of photography opened the way to create images and also to reproduce art, giving access to the multitude, promoting the frame of a market. Photography also gave more and more freedom to the artists, allowing pictorial documentation and proof of ephemeral installations.

Now we are engaged in a great technological revolution, testing whether photography and art on paper or any archive so conceived and so dedicated, can long endure… (follow on page 25)


PWT 01-2018 Squaring the Circle

A modest 2018 New Year address (Tribute to the 1863 Gettysburg Address)

Eight scores and eighteen years ago our fathers brought forth on this world, a new invention, patiently conceived on several occasions and in several locations, and dedicated to the proposition that all men can create images.

Now we are engaged in a great technological revolution, testing whether those archives on metal and paper or any archive so conceived and so dedicated, can long endure.

We have reached a great battlefield of that revolution.

We have come to a situation where libraries and museums, many, will soon close or deaccess their collections soon after they have been digitally preserved.

For many in charge, it is altogether fitting and proper that they should do this.

But, in a larger sense, we can not control—we can not organize—we can not understand—the consequences of that dematerialization of our culture.

The brave artists and curators, living and dead, who struggled here, have created this grand legacy, far above our poor power to add or detract.

The world will little note, nor long remember what we say here, but it can never forget what they did here.

It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced.

It is rather for us to be here dedicated to the great task remaining before us — that from these honored creators we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these pictures shall not have been created in vain —that this material baggage, shall have a future — and that the cultural heritage of the people, by the people, for the people, shall not perish from the earth.

28.12.2017 PWT 52-2017 Albumen Metamorphosis: Ink Wash Drawings of Victor Hugo Replicated

Weekly transmission 52-2017 presents:


Toilers of the Sea (Les Travailleurs de la mer), a novel by Victor Hugo

After Napoleon Bonaparte’s coup on 2 December 1851 and his failed attempt to organize the Republican resistance, Hugo escaped on 11 December by train from Paris to Brussels, dressed as a printing house worker with fake ID papers under the name of Lanvin. On 9 January 1852, his name is on the main list of “Procrits”.

On 5 August 1852, Hugo arrived from Brussels to Jersey, after a transit in London.

“Les Travailleurs de la mer », The Toilers of the Sea is a novel by Victor Hugo published in 1866. The book is dedicated to the island of Guernsey, where Hugo spent 15 years in exile. Hugo uses the setting of a small island community to transmute seemingly mundane events into drama of the highest calibre. Les Travailleurs de la Mer is set just after the Napoleonic Wars and deals with the impact of the Industrial Revolution upon the island.

The story concerns a Guernseyman named Gilliatt, a social outcast who falls in love with Deruchette, the niece of a local shipowner, Mess Lethierry. When Lethierry’s ship is wrecked on the Roches Douvres, a perilous reef, Deruchette promises to marry whoever can salvage the ship’s steam engine. Gilliatt eagerly volunteers, and the story follows his physical trials and tribulations (which include a battle with a Pieuvre, an octopus), as well as the undeserved opprobrium of his neighbours.”

This unpublished group of ink wash drawings replicas in albumen prints were made by Charles Michelez during Hugo’s life time, after his return to Paris, and after the celebrated illustrated edition of the Toilers of the Sea by François-Nicolas Chifflart (1869), with Deluxe copies where the drawings are reproduced in albumen prints.

More studies will precise what was the purpose of this “edition of one” of Hugo personal illustrations for his work, a few years before the gift of all his manuscripts and drawings to the BNF (1881) and the publication of the engravings by Fortuné Méaulle (1882).

PWT 52-2017 VICTOR HUGO

21.12.2017 PWT 51-2017 THE RICH ALSO CRY – LES RICHES PLEURENT AUSSI – LOS RICOS TAMBIÉN LLORAN

Barbara Hutton was dubbed the « Poor Little Rich Girl »“Barbara Woolworth Hutton (November 14, 1912 – May 11, 1979) was an American debutante, socialite, heiress and philanthropist. She was dubbed the « Poor Little Rich Girl, » first when she was given a lavish and expensive debutante ball in 1930, amid the Great Depression, and later due to a notoriously troubled private life.Heiress to the retail tycoon Frank Winfield Woolworth, Hutton was one of the wealthiest women in the world.

PWT 51-2017 HUTTON. Les riches pleurent aussi

19.12.2017 Troisième exposition de la Galerie du Palace : Les Scaphandriers — I Palombari, dessins et céramiques de Luca Caimmi

INAUGURATION MARDI SOIR au Théâtre du Palace 8 rue du Faubourg-Montmartre le 19 DECEMBRE DE 19 a 21 heures, en présence de l’artiste.

Concert de la contrebassiste-interprète albanaise Linda Rrukaj.

Luca Caimmi est un un artiste marchigiano, natif de la province italienne des Marches. Il est né en 1978 à Fano, près de Senigallia, patrie de Mario Giacomelli. Il obtient ses premiers prix en 1998 à Urbino.

Quant aux céramiques, il bénéficie des initiatives exceptionnelles et du renouveau créatif animé par Gian Carlo Bojani, directeur passionné des Musei Civici de Pesaro.

Sono in spiaggia attirato da un getto d’ acqua verticale che ho intravisto dalla mia finestra.
Continuer la lecture de « 19.12.2017 Troisième exposition de la Galerie du Palace : Les Scaphandriers — I Palombari, dessins et céramiques de Luca Caimmi »

08.12.2017 GALERIE DU PALACE AGNES GEMINET VOUS ACCUEILLE de 14H à 18H POUR PRESENTER SES DESSINS

Ce vendredi est le dernier jour de l’exporistion « Mes Ethiopiques », Théâtre du Palace, 8 rue du Faubourd Montmartre (metro Grands Boulevards)

Les videos du vernissage sont en ligne (il suffit de cliquer)

Jean Dominique Penel : Parler autrement de Rimbaud (Présentation du film de Jean-Marc Boutonnet, 4 décembre 2017, extrait)

Fin de soirée : Vil Gilatte chante les voyages, les aventures des marins et en particulier Henri de Monfreid (Rock, guitare sèche).

Continuer la lecture de « 08.12.2017 GALERIE DU PALACE AGNES GEMINET VOUS ACCUEILLE de 14H à 18H POUR PRESENTER SES DESSINS »

IN FEBRUARY 2018 GALERIE DU PALACE GOES TO MEXICO

ZONAMACO MÉXICO ARTE CONTEMPORÁNE O7-11 FEBRUARY 2018 Fifteenth edition with the presence of Galerie du Palace

« Frontiera hipnótica de la conciencia » (English presentation)

Serge Plantureux presents three young French artists under the age of thirty, who articulate their reflection around hypnosis guiding to the border of consciousness, aiming to modify time and space perception. This is a resolutely contemporary notion. Our post-truth era reveals a multitude of fields in which, trough creation, imaginary and reality are mixed-up. To such a point further than what is « possible » or « improbable », opening perspectives on bottomless chasms.

Lyes Hammadouche questions the limits and boundaries of time contemplation trough moving mirrors filled with universes, guiding the gaze to an altered state of consciousness.

Théophile Bouchet draws bodies flirting with waves, floating on the surface of awareness. The eyes are invited towards optical boundaries.

Colin Lusinchi realizes Martian surface samples from possible coring for mining and colonization without limits. These Martian cores testify to the impacts of meteorites and invite the passerby to the cosmic journey,

A seismograph records the vibrations of the space trough the living presence of visitors.


Lyes Hammadouche, Narcisse-Narcos, 2016 (Aluminium, send, mecanism, 42×42 cm)

« Frontiera hipnótica de la conciencia »

Serge Plantureux presenta a tres jóvenes artistas franceses menores de treinta años:

Colin, Lyes y Théophile articulan su reflexión alrededor de la noción de la frontiera hipnótica de la conciencia, una noción resueltamente contemporánea. La creación en el momento de la verdad post-verdad y la realidad aumentada explora una multitud de campos en los que imaginario y real se confunden, incluso más que lo posible e improbable, abriendo perspectivas sobre abismos sin fondo.

Lyes Hammadouche cuestiona los límites y límites de la contemplación consciente, sus espejos en movimiento — llenos de universos — guian la mirada a un estado alterado de conciencia.

Théophile Bouchet propone dibujos donde los cuerpos flotan en la superficie de la conciencia. La mirada esta invitada hacia los bordes ópticos.

Colin Lusinchi hace que las muestras de la superficie marciana provengan de un posible núcleo para extracción y colonización sin límites. Estos núcleos marcianos dan testimonio de los impactos de los meteoritos e invitan al transeúnte al viaje cósmico,

Un sismógrafo registra las vibraciones de las obras y del público en vivo.


Théophile Bouchet, Vénus Noire, 2017 (Pencil on paper, 115×70 cm)

« Frontière hypnotique de la conscience »

Serge Plantureux présente trois jeunes artistes français âgés de moins de trente ans :

Colin, Lyes et Théophile articulent leur réflexion autour de la notion de frontière hypnotique de la conscience, notion résolument contemporaine. La création à l’époque de la post-vérité et de la réalité augmentée explore une multitude de champs dans lesquels imaginaire et réel se confondent, plus encore que possibles et improbables, ouvrant des perspectives sur des gouffres sans fond.

Lyes interroge les limites et les frontières de la contemplation consciente, avec des miroirs mouvants remplis d’univers, guidant le regard vers un état altéré de conscience.

Théophile propose des dessins où les corps flottent à la surface de la conscience. Le regard est invité vers des frontières optiques.

Colin réalise des échantillons de surface martienne nés du possible carottage en vue d’une exploitation minière et d’une colonisation sans limites. Ces carottes martiennes témoignent des impacts des météorites et invite le passant au voyage cosmique,

Un sismographe enregistre en direct les vibrations des œuvres et du public.


Colin Lusinchi, Carotte martienne, 2017

« Гипнотическая граница сознания »

Серж Плантюро представляет трех молодых французских художников моложе тридцати лет:

Колен, Лиес и Теофил представят свои идеи касательно гипнотической границы сознания, концепции, присущей современности. В эпоху пост-правды и дополненной реальности творчество исследует множество областей, в которых смешивается воображаемое и реальное, вероятное и невероятное, открывая перспективу на бездонные пропасти.

Лиес исследует границы осознанного наблюдения с движущимися зеркалами, заполненными целыми мирами и уводящими взгляд в направлении измененного состояния сознания.

Теофил предлагает рисунки, где тела плавают на поверхности сознания. Приглашается посмотреть на оптические границы.

Колен показывает образцы марсианских поверхностей, получившихся в результате неограниченной добычи полезных ископаемых и колонизации. Эти марсианские образцы свидетельствует об ущербе, наносимом метеоритами, и приглашают зрителя отправиться в космическое путешествие;

сейсмограф регистрирует в прямом эфире вибрации произведений и зрителей.

ZONAMACO CONTEMPORANEO

04.11.2017 LUNDI DU PALACE : PROFIL ETHIOPIEN D’ARTHUR RIMBAUD

Dans la galerie du théatre du Palace seront exposées pendant toute la semaine du 4 au 8 décembre (14-18 heures) les planches originales et les crafts inédits d’Agnès Geminet. « Mes Éthiopiques » et Rimbaud photographe.

Agnes aime pour se présenter reprendre la formule de T E.Lawrence : rêveuse diurne….

« Tous les hommes rêvent, mais inégalement. Ceux qui rêvent la nuit dans les recoins poussiéreux de leur esprit s’éveillent au jour pour découvrir que ce n’était que vanité ; mais les rêveurs diurnes sont des hommes dangereux, car ils peuvent jouer leur rêve les yeux ouverts, pour le rendre possible. C’est ce que j’ai fait. »

Lundi 4 décembre sera projeté en avant-première un film de Jean-Marc Boutonnet. (à 18.00 et 20.00).

Jean-Marc habite entre Paris, l’Aveyron et Addis-Abeba. Son épouse ethiopienne tient une boutique parisienne, leur fils tient un étonnant hotel-restatrant-cinema centre culturel à Adis Abeba : le Louvre Grand Hotel. Son premier film est consacré aux aventures éthiopiennes d’Arthur Rimbaud racontés par les descendants même de ses amis du Harrar et d’Abyssinie (durée 54 minutes).

30.11.2017 PWT 48-2017 OLYMPE FACETIOUS COUNT AGUADO

« Descended from a noble Spanish banking family, Count Olympio-Clémente Aguado de las Marismas began to photograph about 1849. As one of the early practitioners who « welcome[d] the new art and who devoted to it not a little energy and money, but their fortunes and their lifetimes, » Aguado made both daguerreotypes and calotypes and may even have exhibited his paper negatives. Eventually turning to collodion-on-glass negatives, he made enlargements by projection, which was highly unusual in the 1850s. As a testament to his technical skills, Aguado once successfully printed 20,000 francs in counterfeit money for a friend’s single night of high living. In addition to making nature studies and landscapes, he also indulged in theatrical tableaux vivants involving friends and family.” (Getty Museum)

Weekly drawing by Theophile Bouchet : Le Comte Facétieux

José de San Martin was Olympe Aguado’s mentor.

 

PWT 48-2017 Aguado

23.11.2017 PWT 47-2017 DEGAS RESORTS TO ANOTHER USE OF PHOTOGRAPHY

Degas recourt à un autre usage de la photographie en 1910.

Cet ensemble de huit grands tirages argentiques d’époque présente un indice tout à fait officiel sous la forme d’une taxation à 3frs 75 par l’administration française au titre du droit d’affichage, matérialisé par deux “timbres mobiles de dimension” et un tampon. La date du 8 avril 1910 précède de quelques jours l’inauguration du 20eme Salon de la Société Nationale des Beaux-Arts au Grand Palais.

La biographie d’Edgar Degas indique l’année 1910 comme une année de retour d’activité que la modèle Alice Michel décrira comme activité plus commerciale qu’artistique (voir son texte étonnant pages 9 et suivantes). Degas, âgé de 76 ans et presque aveugle conçoit de savantes mises en scène dans son atelier poussiéreux pour vendre à de riches banquiers des variantes colorées de toiles plus anciennes. L’appel à la photographie en noir et blanc peut être un usage assumé de ce processus de commercialisation de multiples.

Continuer la lecture de « 23.11.2017 PWT 47-2017 DEGAS RESORTS TO ANOTHER USE OF PHOTOGRAPHY »

16.11.2017 PWT 46-2017 Le Bœuf à la mode des Incroyables. Une enseigne de restaurant du Directoire

Le restaurant « Le Boeuf à la mode » fut fondé peu avant la Terreur, en 1792, 6 rue de Valois, par deux marseillais, les frères Meot. Les historiens de la gastronomie le considère comme le premier restaurant « à la carte » de Paris. Il connut plusieurs décennies de gloire par sa cuisine provençale et colorée autant que par son enseigne représentant un boeuf habillé d’une robe, d’un châle et coiffé d’une toque à plumes. La Revue de Paris le moque ainsi en 1835 : “Le Boeuf à la Mode justifie son nom vulgaire et de mauvais goût par une peinture qui lui sert d’enseigne Les Méridionaux (…) qui d’ailleurs sont fort entichés par leur cuisine odorante viennent en foule au Boeuf à la mode, qui a fait fortune depuis que Paris est envahi par le département des Bouches-du-Rhône.”

PWT 46-2017 Boeuf a la mode

02.11.2017 PWT 44-2017. ART COLLECTORS FACING TAXES: RENDER UNTO CAESAR

Modern researchers have interpreted the parable as permitting tax resistance.

These researchers claim Jesus was referring to Caesar as Mammon, god of money, because it was Caesar who claimed to be a god on his tax coin — the god of money.

PWT 44-2017 Caesar

The fragmentary Egerton Papyrus reads:

“ They come to him and interrogate him as a way of putting him to the test.

They ask — Teacher Jesus, we know that you have come from God, for what you do testifies beyond all the prophets. Therefore tell us, is it lawful to pay to kings the things which benefit their rule? Shall we pay them or not?

Jesus knew what they were up to, and became indignant.
Continuer la lecture de « 02.11.2017 PWT 44-2017. ART COLLECTORS FACING TAXES: RENDER UNTO CAESAR »

26.10.2017 PWT 43-2017 AGUSTIN PERAIRE PICTURE EDITOR OF THE EXECUTION OF EMPEROR MAXIMILIAN

We know very little about Agustin – Auguste or Augustin – Peraire, we do not know if he winessed the events or even went to Queretaro. More likely, he acted as a studio photographer and an editor, who could access and reproduce the photographs of François Aubert. We know his address in the year of the dramatic events: 1, San Jose el real and the name of his partner, Manuel Murghía y Romero (1807-1860), with whom he published an important iconographic source for the historians, the Album Maximiliano.
The albumen prints reproduced here belong to the personal album of Philippe de Massa (1831-1910) who arrived in Mexico in the Summer 1866 as the young “aide-de-camp” of general Bazaine, already on the move to leave Maximilien.

PWT 43-2017 Agustin Peraire 1867

PWT 42-2017 “À LA GARSON” A TRIBUTE TO HENRYK BERLEWI (INVITATION TO 26 OCTOBER COCKTAIL AND PRESENTATION)

On 27 October 2017, an Oger-Blanchet auction in Paris will present a single-owner collection of 200 paintings related to the “Ecole de Paris” and a group of unusual and fragile works on paper from Henry Berlewi’s studio. With some potential discoveries !

Exhibition with a noturne, cocktail on Thursday 26 October 2017 at 6.30 pm, presentation of the collection by the Paris-based galerist Raphael Chicheportiche, 2015 student of the “Ecole de Drouot” .

Direct access to Auction catalogue : www.drouot.com

PWT 42-2017 Berlewi

Invitation au cocktail et à la Conference de Raphael Chicheportiche

“Au début du 20e siècle et Paris connait un printemps de l’art, une sorte de renaissance. Les codes de l’art ont déjà été brisés avec les impressionniste et se poursuit. En France règne un climat particulier tenant du régime de libertés publiques créé par la Troisième République dans les années 1880.

Entre 1900 et 1950 la capitale française ne comptait pas moins de 130 galeries d’art tandis que s’y tenaient une vingtaine de salons annuels où un bon millier de 60.000 peintres et sculpteurs réputés y vivait (dont un tiers d’étrangers). Ces chiffres suffisent à eux seuls à qualifier d’exceptionnelle la position de Paris en matière artistique à cette époque. Et c’est bien évidement ce qui attire des artistes du monde entier et de toutes disciplines. Ces artistes recherchent également un art moderne et vivant et Paris était considéré comme le foyer de l’art actif et progressiste.

C’est en 1925 qu’André Warnod utilise l’expression « École de Paris » pour la première fois en France, Continuer la lecture de « PWT 42-2017 “À LA GARSON” A TRIBUTE TO HENRYK BERLEWI (INVITATION TO 26 OCTOBER COCKTAIL AND PRESENTATION) »

12.10.2017 PWT 41-2017 Who Are You, Eugene Atget ?

On 9 November 2017, a photography auction in Paris will present 46 albumen prints by Eugène Atget. They are proposed on auction for the first time, and the description process was an occasion to revisit the little group of biographical elements about Eugène Atget.

The last view, Versailles, rue de l’Orangerie give the occasion to investigate the field of Atget’sportraits and reflections. With some potential discovery !

(Clic to access)

1931. Walter Benjamin publishes his famous and short History of Photography, enlightening Eugène Atget’s body of work in the fundamental position between tradition and modernity. His text has now a decisive inflence on the French History of Photography.

… ce qui demeure décisif en photographie, c’est toujours la relation du photographe à sa technique. Camille Recht l’a caractérisé dans une belle métaphore : « Le violoniste, dit-il, doit d’abord créer la note, il doit la chercher, la trouver en un éclair, tandis que le pianiste frappe sur une touche : la note retentit”. Le peintre comme le photographe ont un instrument à leur disposition. L’usage du dessin et du coloris correspondent à la création du violoniste ; le photographe partage avec le pianiste l’aspect mécanique, soumis à des lois contraignantes auxquelles échappe le violon.

CLIC: PWT 41-2017 Atget

05.10.2017 PWT 40-2017 TAPETUM LUCIDUM, LOOKING AT VALLOU’S PAPER NEGATIVES

Vallou de Villeneuve studied with Jean-François Millet, and started his career as a painter at the Paris Salon of 1814, exhibiting images depicting daily life, fashion, regional costumes and already nude studies… He published in the 1820s lithographs of Types des Femmes…


From 1842 de Villeneuve took up photography, not long after its invention, as an adjunct and aid to his graphic work, producing some daguerreotypes but predominantly softly toned salted paper prints from single-surface paper negatives that enabled the retouching he employed for artistic effect. Following the method of Humbert de Molard, he fixed his prints with ammonia which avoided the bleaching of highlights caused in salt prints by hypo, and thus incidentally ensured the archival permanence of his prints, which survive today.

PWT 40-2017 Vallou de Villeneuve

28.09.2017 PWT 39-2017 Looking at Auratic Portraits

« Walter Benjamin first speaks of aura in his Little History of Photography (1931), where he tries to explain why it is that, in his eyes, the very earliest portrait photographs — the incunabula of photography — have auras, whereas photographs of a generation later have lost them.In The Work of Art, the notion of aura is extended rather recklessly from old photographs to works of art in general. The end of aura, says Benjamin, will be more than compensated for by the emancipatory capacities of the new technologies of reproduction. Cinema will replace auratic art.Even Benjamin’s friends found it hard to get a grip on aura… »

PWT 39-2017 Auratic Portraits

21.09.2017 PWT CANCELLED FOR MEXICO SEPTEMBER 19 EARTHQUAKE

The earthquake happened just six hours after the  commemorations of 1985 Mexico earthquake. We recommand the article published in Spanish language by El Semanario by Manuel Ramiro Hernández

Los temblores del 19 de septiembre, similitudes y diferencias

« Este recién pasado 19 de septiembre, poco después de un simulacro que además de recordar, conmemoraba el sucedido en 1985, sentimos en la Ciudad de México un sismo que desde el principio supusimos como de enormes consecuencias. El que crea en ellas podría pensar que es toda una casualidad, 32 años y seis horas después, un tremendo sismo abate al entonces Distrito Federal ahora la Ciudad de México.

Continuer la lecture de « 21.09.2017 PWT CANCELLED FOR MEXICO SEPTEMBER 19 EARTHQUAKE »

14.09.2017 PWT Preparing Zonamaco Anticuario in Mexico (20-24.09.2017)

Zona Maco is an art fair that takes place twice annually during February and  September with three different events in Mexico City. Each event focuses on specific sectors: Zona Maco Arte Contemporáneo showcases contemporary and modern artworks and design, Zona Maco Foto features vintage, modern and contemporary photography and video and Salón del Anticuario hosts antiquarians.

In addition, the fairs offer a program of lectures and a program with activities in museums, galleries and exhibition sites across Mexico City.

We will exhibit on stand B-111

Access to our Catalogue in pdf