International Photography Festival photoalicante opens next Tuesday at MUA exhibitions senile And darkness of lightof photographers J. Tomas Lopez and Jeff Larsonboth professors miami universitythat the photography festival has maintained ties to over the past few years.
Both shows are on March 14at 19:00 in the Multi-Purpose room of the Alicante University Museum, where they will stay until the end of April. As an act before the opening, J. Tomás López a conference at 18:00.
J Tomas Lopez He is a professor and former director of the Department of Art and Art History at the University of Miami. known for photos of passengers in the subway portraits in cities around the world blindfolded artists and his recent work on dead flowers. López presents the exhibition at MUA senile (aging) a term describing how natural cells and tissues deteriorate. Photographer seeking beauty This separation process dead flowersto focus on the composition, structure and texture of the color palette.
Jeff Larson He is a photographer, artist and teacher. He lives and works in South Florida and currently teaches as a tenured professor at the University of Miami. His work explores the idea of everyday objects as art resources. Darkness of Light It’s a reaction to their policies. insulation for the last two years coronavirus pandemic and talking about it light as a symbol of life and developmentthe darkness associated with chaos and death and how the two can exist in harmony.
audiovisual at Las Cigarreras
On the other hand, digital intervention is already installed in Las Cigarreras Random, random from Baltasar, related to Raphael Guijarro (Córdoba, 1991) was included in the festival by the Consorci de Museus. blackAudiovisual programming project for Caja Blanca de Las Cigarreras.
Pebble shows a run audio-visual allowance what episode of the iconic french movie Au Hasard Balthazar, related to Robert BresonIn the exhibition, which is considered one of the best cinematographic works of the 60s, the artist digitally interferes with the film and tear it apart until it becomes undefined in narrative terms. Although the feature film is still there, its footage, now converted into standalone clips and subjected to a computer algorithm, follows one another completely randomly on the screen, forming an endless rhizome.