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JavaScript is disabled for your browser. Some features of this site may not work without it. The corollary to this, of course, is that public policy can play a pivotal role in creating a growth-oriented environment and in promoting change. Not surprisingly, the major thrust of the structural reforms of recent years has been in creating a more effective State that can work in partnership with the private sector for the public good. An appropriate regulatory and institutional framework is critical to the functioning of both the financial and real sectors. In this context, one of the most powerful instruments at the disposal of the State is the tax system which not only provides the government with the resources needed to carry out its functions, but can also be used to achieve economic and social objectives, such as growth, employment and equity.

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Nature-Inspired Computation and Machine Learning

Representations and disseminatio While the first was created and exhibited in Buenos Aires, the second was, by contrast, produced and presented in Paris. A first version of this text was presented as "Representaciones y represiones de la sexualidad. The access to Lea Lublin archives later on that year, thanks to her son Nicolas Lublin, allowed me to get not only the unknown photography of Blanco sobre blanco and of its display at the industrial fair in , but also the documents concerning the trial, and therefore improve and refine my analysis.

The press reported it more or less in this way when it echoed the news about the political censorship of the piece. By she had given up painting, and began orienting her work toward disassembling visual representation. She focused on widely circulated preexisting images, which she intervened through painting and different participatory exhibition devices and, at least until , she coordinated a majority of these projects between Paris and a few South American capital cities.

Such is the case with the series Ver claro Seeing clearly, , with which she inaugurated this new stage of her artistic production. In this sense, Lublin conceived both, her iconographic selections for the Ver Claro series and her proposals of institutional critique, and as site-specific projects. Her work was particularly sensitive to the institutional panorama and the public profile of the space where this project was carried out. Imagen 2 — Lea Lublin, Ver claro series, Reproduction of the Mona Lisa , painting on glass, rubber bulb with water and motorized windshield wiper.

Her trajectory also spotlights the imbalance between, on one hand, a visual culture shared between cities separated by the Atlantic Ocean, and on the other the asymmetries of these distant institutional and cultural contexts.

We have defended in previous studies the trans-local 1 character of her artistic investigation of the visual representation and the cultural institutions during the sixties. We argued that with projects like Cultura : dentro y fuera del museo , Lublin developed her own way to the questioning of cultural institutions, introducing into her work what could be called the geopolitical density of institutional critique.

In works like Ottocritique and Blanco sobre blanco , the pictorial surface unfolded in two acrylic boards superimposed with a certain distance between them. When the spectator moves while fixating his sight on the work, the superposition of the drawings varies and he or she has the illusion that the image is moving. But unlike kinetic art, Lublin applied this optic device to recognizable figures to distort less visual perception as a neurological and cognitive process, than representation as a semiological and cultural phenomenon.

The phonetic play-on-words suggests that the painted image was presented, at the same time, like a portrait and an auto-critique. The opacity of the painting was lost and it became a transparent box: the strokes that delineated the face were divided between the outer and inner panes in such a way that the painting was comprehensible only when straightforwardly seen, becoming illegible from any other angle.

In addition, the face represented in profile view, projected shadows onto the background something done usually by bodies and not flat images ; so that the painting turned into a tridimensional entity that involved the body of the spectator, who in contrast with kinetic art, must stay still in front of the work so that it functions as a representation.

The privileged central point of view of the Renaissance perspective construction appears placed in evidence by means of a pictorial device that had the effect of giving life to the painting, giving it movement according to the angle from which it was seen.

Months later, Nicolas would become part of — together with his portraits painted on double acrylic boards — Mon fils My Son , the work that she presented at the Parisian May Salon in Imagen 4 — Lea Lublin, Blanco sobre blanco , gliserofthalic painting on acrylic panes, sheet, x cm. The figures were outlined twice with glycerophtalic paint over two superimposed transparent acrylic panes of x cm. The feminine figure could be seen on her back with a masculine figure on top of her and between her open legs.

Once again, Lublin used acrylic panes with certain distance between them. Employing optical patterns of interference combined with figuration, the artist experimented with visual possibilities of nudity and eroticism. Between desire and prohibition, the imagination of sensuality and the nude figure became part of the repertoire of sexual modernization in Argentina.

Various young artists who sought to articulate a renewed visual language addressed these themes. Roll around and live! Imagen 6 — Dalila Puzzovio, La esfera del tiempo Installation at the Premio Nacional Di Tella This censorship reached unprecedented levels for that time and it affected the press, cinema, theatre, rock and even classical music.

That privileged moment had happened in another place at another time, and the spectator only experienced its index or traces. In this sense, as we will see, Blanco sobre blanco with its image of two lovers enlivened by a kinetic device was too explicit in the new context of censorship. Due to this police censorship and the seizure of the work, an obscenity charge was brought up and the resulting sentence of three months jail time was attained in The forcefulness of the response to this work seemed to have been due to a series of reasons.

Regarding the depicted issue, certainly. We should add to this active willingness required from the spectators, the high public visibility of the work, given that Blanco sobre blanco was not shown in an exhibition space visited by a more or less restricted public, but a massive fair.

This was how both Lublin and those who carried out police censorship understood them. Such a powerful reaction to publicly exhibiting this piece on an erotic theme testified to the potency of both visual representation and the kinetic devices in general, and also certain genres such as the erotic image or national emblems. Additionally, the artist included an ironic allusion to the censorship she had undergone: over a white background she mounted a two sets of acrylic panes that tightened white sheets fig.

Carmen Waugh gallery, Buenos Aires. Thus, in her interpretation, it was the kinetic character of Blanco sobre blanco , the illusion of the swaying and rocking that stimulated the erotic image, what had been unacceptable to the authorities.

In a letter from September 11, written to the French critic Pierre Restany, a regular visitor to Buenos Aires since the mid-sixties that wrote about the South American artistic scenes, 26 the artist warned him:. You should be aware of the violence and the outbreak of urban warfare in which we live […] In this situation and despite everything, or you enter in direct action of urban guerilla, or continue questioning the cultural system by means of an investigation that goes to the very bottom of these structures.

Pointing out the breakup but also making the spectator enter in the heart itself of the structure of language so that the active reflection is in the end an opening towards a new way of living and thinking. The escalation had arrived at its climax with the kidnapping and murder, organized by the Montoneros in May of , of General Pedro Eugenio Aramburu, the leader of the coup that had overthrown Peron fifteen year earlier, in From there, a severe penal legislation was introduced that included the death penalty by firing squad.

She depicted her lover and the father of her son in Ottocritique , exhibited her infant son in the Parisian Salon de mai in with Mon fils , and showed an erotic themed work in a massive industrial exhibition during moments when the Argentine dictatorship was strengthening its control. It was an ensemble of photos, official documents and press clippings that referred to the Argentine censorship of Blanco sobre blanco , arranged on a panel. Collage of photographs and photocopies.

One of these photos stood out among the others due to its central position and larger size. This same image of the police officer and other very similar ones were repeated with a smaller size in the press clippings. Like a display case or a dissecting table, various visual and written representations of the erotic themed piece were arranged in an orderly way but without any explanation.

These representations showed to the eyes of French spectators the censored work; at the same time, they documented the very concrete effects of the reception of this erotic image in Argentina, and its paradoxical proliferation in the form of press and courtroom descriptions. File of the case for violation of article of the penal code obscenity.

Imagen 11 — Photographs of Blanco sobre blanco censorship. Imagen 12 — Photographs of Blanco sobre blanco censorship. Imagen 13 — Press clip concerning Blanco sobre Blanco censorship.

Said painting, according to the position of the stand, can be seen from any angle in the pavilion, which is dangerous to the numerous children that come to see the exhibition, not being understood as art by either experts or at plain sight. In this sense, even if the Argentine trial had the intention of keeping the erotic image out of public sight, it paradoxically multiplied the discourses on Blanco sobre blanco and therefore on sexuality, inside and outside the courtroom. Foucault demonstrated that, by means of different forms of confession, sexuality had actually proliferated as religious, medical, psychoanalytic, even legal discourses.

Understanding sexuality as a dispositive led him to consider it less as a subterranean urge than as a social construct, a network that joins together physical sensations and pleasure, the incitement to discourse, the formation of specialized knowledge, and political controls and resistance May be that is why she decided to use the photos, press clipping, and even the justice files in another piece. One that would link the act of reading by the police officer with his speech act, the incitation to discourse that an erotic image brings together with a carnal incitation.

Moreover, how those discourses about sexuality could inform not only knowledge about pleasure but also about control, as Foucault would put it. They testified about the artistic trajectory and the lack of pornographic intention of the accused in a work that limited the image sensuality by using plastic material, synthetic sketches and no color. The case file also preserves reproductions of erotic themed works from the Argentine National Museum of Fine Arts library and collection.

Together with the kinetic character that questioned the modern parameter of the autonomy of art by involving the body of the spectator , this question of style was central to the esthetic interests of Lublin. Unlike the Argentine police and censors, the French critic optimistically saw that the press, cinema, fashion and publicity were filled with eroticism, and even that art produced towards the end of the sixties was on an equal footing with other products of visual culture.

The ritual became spectacle. The search for the aforementioned sexuality ignores, from here on, the taboos, the deviations, the secrecy. Lecture implied an analytic operation concerning the specificity of the means of representation writing, painting, photography produced in different qualities , in a censorship case that brought to the forefront the links between representation, imagination and libido. These images and bodies activated a new visuality linked to new experiences.

This was precisely what cultural producers that worked with iconography from mass culture saw. For those like Lublin who thought about visual culture in terms of material, perceptive, rhetorical and semiotic processes, the central position that the visual seems to have acquired in the sixties did nothing more than confirm the importance of exploring the powers of image and visual representation.

At least until , she artistically capitalized her various trips between European and South American metropolises. As a migrant artist she created artwork that was particularly sensitive to political circumstances, intellectual traditions and also cultural backgrounds of the people from different cities. Her work operated with these asymmetries between South America and Europe, incorporating them into her analysis of the rhetoric of culture.

Parcours Antwerp, Internationaal Cultureel Centrum, Since , for almost 30 years, he was responsible for L'Express magazine's art pages. He also collaborated with Arte International, Art press and Connaissance des arts.

Interview conducted by the author, May 18, Parcours , op. Parcours conceptuel , op. I am grateful to Stephanie Weber, curator of Lea Lublin's retrospective in at the Lenbachhaus und Kunstbau, Munich, for this information.

Nueva Historia Argentina. Buenos Aires, Sudamericana, , p. Experiencia La industria de la historieta argentina. London, Departamento de Historia. VV, Foucault philosopher. Barcelona, Gedisa, , p. MNBA files. Paris, Folio,

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It is the first factory of its kind in the Andean Community and one of its main objectives is to sow technology in the country. Hence the name Tarpuq, which is related to the Kichwa word tarpuc, meaning sower. With an initial investment of USD 7,,, this company from Cuenca that produces electronic circuit boards opened on January Their first customers are the cell phones, televisions and car audio assemblers. Eighteen months ago the project, which seeks to add more Ecuadorian component to electronics products emerged, says another partner, Cristian Crespo. The 40 employees opened a shed with a design that fuses contemporary architectural style with the production needs. It is located in Challuabamba parish, at north side of Azuay capital.

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Aaron Serfaty was born in Caracas, Venezuela. He began playing drumset professionally at age seventeen. He did extensive work as a session and touring drummer from until with local artists. Aaron has played with the L.

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