AUDRE LORDE

AUDRE LORDE (GAMBA ADISA)


Quién dijo que era simple


Tiene tantas raíces el árbol de la rabia
que a veces las ramas se quiebran
antes de dar frutos.
Sentadas en Nedicks
las mujeres se reúnen antes de marchar
hablando de las problemáticas muchachas
que contratan para quedar libres.
Un empleado casi blanco posterga
a un hermano que espera para atenderlas primero
y las damas no advierten ni rechazan
los placeres más sutiles de su esclavitud.
Pero yo que estoy limitada por mi espejo
además de por mi cama
veo causas en el color
además de en el sexo
y me siento aquí preguntándome
cuál de mis yo sobrevivirá
a todas estas liberaciones.




Who said it was simple


There are so many roots to the tree of anger
that sometimes the branches shatter
before they bear.
Sitting in Nedicks
the women rally before they march
discussing the problematic girls
they hire to make them free.
An almost white counterman passes
a waiting brother to serve them first
and the ladies neither notice nor reject
the slighter pleasures of their slavery.
But I who am bound by my mirror
as well as my bed
see causes in color
as well as sex
and sit here wondering
which me will survive
all these liberations.

SARA FACIO

IRIS

JULIO

Julio Cortázar dijo: "Sara ha fotografiado Buenos Aires con un soberano rechazo de temas insólitos; sus imágenes nacen de algo que participa de la caricia, de la queja, de la llamada, de la complicidad, de la amarga denuncia, todos los gestos interiores de una sensibilidad coincidiendo con la razón estética".
Finalmente, María Elena Walsh escribió: "Sabiduría de ojo, suma de un don innato, una larga paciencia y el sentido de la revelación. Saber ver es amar la vida, capturar el gesto fugaz sin congelarlo, sorprender a la gente sin agredirla ni profanar su privacidad. Sara Facio se siente en profundidad —sin alarde ni recogimiento— es hija de esta ciudad de Buenos Aires, donde va imprime su singular carácter, una melancólica complicidad, una manera de aludir, una especie de entrega de soslayo, sin estridencias, características que Borges definiría
como una suerte de pudor propio de estas latitudes".

LOUIS ARMSTRONG (SACHTMO)

WHAT A WONDERFUL WORLD
(George Weiss / Bob Thiele)

I see trees of green, red roses too
I see them bloom for me and you
And I think to myself, what a wonderful world

I see skies of blue and clouds of white
The bright blessed day, the dark sacred night
And I think to myself, what a wonderful world

The colours of the rainbow, so pretty in the sky
Are also on the faces of people going by
I see friends shakin' hands, sayin' "How do you do?"
They're really saying "I love you"

I hear babies cryin', I watch them grow
They'll learn much more than I'll ever know
And I think to myself, what a wonderful world
Yes, I think to myself, what a wonderful world

Oh yeah

The sculpture "Laocoön," at the Vatican Museums, was unearthed in 1506, but a new theory says it is a forgery by Michelangelo

Lynn Catterson




Hiroko Masuike for The New York Times

Lynn Catterson, the Columbia art historian who has suggested that the sculpture "Laocoön" is a forgery perpetrated by Michelangelo.


Dr. Catterson has suggested that "Laocoön," a fabled sculpture whose unearthing in 1506 has deeply influenced thinking about the ancient Greeks and the nature of the visual arts, may well be a Renaissance forgery - possibly by Michelangelo himself.

LEONARDO DA VINCI, MULTIDIMENSIONAL THINKER

In addition to being just about the smartest person ever, Leonardo is reported to have been a strikingly handsome man with great strength and a fine singing voice. And unlike his fellow 15th-century Italians, he was a vegetarian and followed strict dietary rules. In fact, he loved animals so much that he would often buy caged animals at the market just to set them free.

Legend has it that young Leonardo was asked by his father to paint a round shield. Like many teenagers, he thought it would be cool to paint a really creepy head, so he brought in all sorts of vermin -- lizards, bats, maggots, etc. -- and painted a disgusting monster exhaling smoke and poison gas. He was so engrossed in his painting that he failed to notice that his animal specimens had begun to rot, and when he finally allowed his father to see it the man was so startled by its realism that he knew his son could only be an artist.


In an era when left-handedness was considered the devil's work and lefties were often forced to use their right hand, Leonardo was an unrepentant southpaw. It has been suggested that this "difference" was an element of his genius, since his detachment allowed him to see beyond the ordinary. He even wrote backwards, and his writings are easily deciphered only with a mirror.

NOBEL LITERATURE 1999 - 1995

Günter Grass, José Saramago, Dario Fo ,
W. Szymborska, S. Heaney

PREMIOS NOBEL LITERATURA 2004-2000

Elfriede Jelinek, John Maxwell Coetzee, Imre Kertész , Vidiadhar Surajprasad Naipaul , Gao Xingjian

FIRENZE

VENEZIA

HANS CHRISTIAN ANDERSEN

A DOSCIENTOS AÑOS DE SU NACIMIENTO

JULIO VERNE

A 100 AñOS DE SU MUERTE

TAORMINA , I LOVE YOU FOREVER AND EVER

TROPEA, BELLISIMA...

IO TE AMO!!

BELLA ITALIA!! - BEAUTIFUL ITALY - SICILIA - SICILY

IL TEATRO DEI DUE MARI



Teatro Antico - Taormina

Il teatro sorge a 214 m slm, su una delle acropoli tra i due versanti della riviera: fu realizzato seguendo l'andamento della collina. In posizione apertissima e panoramica è il simbolo del mediterraneo.

Attualmente possiamo vedere la seconda edizione dell'impianto, di matrice romana; fu originariamente realizzato dai Greci durante il III secolo a.C. e ciò è provato tra l'altro da un'iscrizione sui sedili con il nome della moglie del siracusano Ierone II, Filistide.



Teatro Greco - Tindari