Cali bajo la lluvia

Da vinci el genio

¡El Genio ha llegado a Colombia!

Entertainment Marketing Solutions, Parque Explora y Sístole S.A. invitan a una exposición sin igual: Da Vinci, el genio. Por tres meses, esta exhibición –reconocida mundialmente como la muestra representativa de la creación del personaje italiano del Renacimiento- estará recorriendo las ciudades de Medellín, Bogotá y Cali, ilustrando al público con las obras del más grande genio de todos los tiempos.

“Da Vinci el Genio” es la exposición más completa en su género que muestra las diferentes facetas de Leonardo Da Vinci como inventor, filósofo, pintor, científico, ingeniero, escultor, anatomista, biólogo, músico y arquitecto.

Además, por primera vez, los colombianos verán cerca de 150 piezas –réplicas a tamaño real, máquinas a escala y piezas interactivas – de bocetos que Leonardo jamás logró finalizar, reconstruidas por artesanos florentinos para la Fundación Anthropos, siguiendo las instrucciones y la técnica de la época.

La exposición cuenta con visitas guiadas, conferencias con afamados Davinciólogos, actividades lúdicas para niños, cenas Mona Lisa para empresas (experiencias culturales que evocan el Renacimiento) y visitas programadas de colegios de escasos recursos para que vivan de cerca la pedagogía y el entretenimiento.

Semanas Temáticas

4 semanas, 4 temáticas diferentes para explorar la genialidad de Da Vinci. Semana a semana, se desarrollarán diferentes temáticas en donde los seguidores y amantes de las grandes obras de Leonardo podrán poner a prueba sus destrezas: La aviación y el transporte, las ciencias y las matemáticas, la innovación y la inventiva, semana del arte y la escritura.

Además… ¡descubra los secretos de la Mona Lisa!

¿Se oculta algún misterio tras la obra más famosa de Leonardo Da Vinci? Bastantes teorías se han lanzado frente a los enigmas de esta maravillosa pintura, enigmas que han cuestionado y fascinado a eruditos por mucho tiempo y que ahora se desvelan en esta exposición gracias al estudio del científico, ingeniero y fotógrafo francés Pascal Cotte.

Adicionalmente, cuenta con presentaciones en 3D del Hombre de Vitruvio, La Última Cena y El Caballo de Sforza que permiten entender la perfección y genialidad de las obras de Leonardo Da Vinci.

¡Viva esta experiencia! Compre sus entradas en la taquilla del lugar.
Estudiantes $ 15.000
Adultos $ 20.000
Adultos fin de semana $ 25.000

Exhibición abierta de domingo a domingo
Público general: 8 a.m. – 7 p.m
Visitas nocturnas (VIP): 7 p.m. – 9 p.m.

Medellín
La Caja de Madera (Plaza Mayor)
4 de Septiembre a 4 de Octubre de 2009

Bogotá
Claustro la Enseñanza
Cl. 72 # 7-51
17 de Octubre a 22 de Noviembre de 2009

Cali
Museo La Tertulia
Cra 1 Oeste # 5-105
5 de Diciembre a 3 de Enero de 2010

fuente: davincielgenio.com

Patricia Cronin, “Harriet Hosmer, Lost and Found”

For her first New York show in seven years, Patricia Cronin has become an art historian, recuperating the career of Harriet Hosmer, a 19th-century American sculptor who achieved fame in her own time but has been largely forgotten. Cronin’s deft watercolors depicting 24 of Hosmer’s works in glorious black and white amply demonstrate the talent and range that brought the latter success—from the smooth, translucent flesh of The Sleeping Faun to the massively draped and intricately ornamented figure of Zenobia. The 3rd-century queen who expelled the Romans from Egypt must have appealed to Hosmer (and Cronin) as a powerful woman who competed against the odds in a man’s world.

For the works by Hosmer known only through written descriptions, Cronin has produced “ghosts,” nebulous, glowing forms that recall both the outlines of the missing sculptures and spirit photography of the Victorian era. These serve as elegiac placeholders for a woman’s work lost to history.

Complementing the exhibition, an artist’s book in the form of a complete accounting of Hosmer’s works features reproductions of 36 watercolors as bookplates, leading one to wonder why the Brooklyn Museum didn’t exhibit Cronin’s conceptual project in full. Moreover, the works are squashed on a single wall, hung in a row in the triangular gallery that is otherwise devoted to a timeline accompanying Judy Chicago’s The Dinner Party—that historic but cringeworthy icon of 1970s art, installed in the room next door. Curiously, the effect is rather like the museum’s Center for Feminist Art giving short shrift to two women artists—Cronin and Hosmer—as well.—Joseph R. Wolin

Ree Morton: At the Still Point of the Turning World

In 1968, housewife-turned-artist Ree Morton wrote out two lists, one headed I LIKE, the other I HATE. The first hints at a passion for embellishment and includes Byzantine mosaics, Sumerian idols and (good) liars. The second appears to encompass anything smacking of self-importance, from Abstract Expressionism to rectangle paintings to good taste. For the next nine years, until her death in 1977, Morton pursued art-making with much the same decisiveness and irreverence, both expanding on and upending the artistic conventions of her time.

This exhibition, which comprises both drawing and sculpture, traces Morton’s rapid progression from Process-oriented art to work that infused the formal and conceptual language of Postminimalism with more unruly elements of personal narrative, theater, ritual and decoration.

A gorgeous early drawing, Pink Numbers (1971), begins systematically enough, but heads off into dangerously candy-colored territory. Abstract maps conjure the nonhierarchical spaces of memory and dreams. An obscure 1917 botanical text is the inspiration for an extensive body of work that flirts with language, jettisoning orderly taxonomies in favor of archaic common names and odd snippets of plant lore. The series culminates with Devil Chaser (1975–76), a wonderfully unregulated tangle of wire wrapped in colorful Celastic, a plastic-infused fabric with which Morton also created rococo bows, swags, flowers and trailing ribbons for her sculptural installations.

Part of the slight disconnect when looking at Morton’s oeuvre is a result of how cerebral it is, in spite of its outward immediacy. Anticipating subsequent developments in painting, performance and installation, her work—at once intellectual and affective, confounding, peculiar and occasionally even beautiful—still feels contemporary.—Anne Doran

Rashaad Newsome

Fifteen years after “The Black Male,” curator Thelma Golden’s era-defining exhibition at the Whitney Museum, and eight since she coined the term post-black in the catalog for “Freestyle” at the Studio Museum in Harlem, the art world still demands that African-American artists make work about being African-American. In his solo debut, Rashaad Newsome gives us exactly what we asked for, creating “Status Symbols,” a series of collages of bling—jewels, chains, watches, grills, bottles of Cristal, Mercedes sports cars, even bikini-clad babes—arranged as heraldic coats of arms. They amusingly equate ghetto fabulousness with aristocratic pomp, but with images snipped from magazine ads mounted on heavy cream-colored paper, they seem more to embody naive ideas about the conventions of “art” than any material correspondence to their subject.

Two videos, The Conductor (Fortuna Imperatrix Mundi) and The Conductor (Primo Vere, Omnia sol temperat), set clips of gesturing hands taken from rap videos to movements from Carl Orff’s Carmina Burana, overlaid with hip-hop beats. Newsome cleverly syncs sound and image so we can imagine those ever-changing hands directing the unseen orchestra and singers, yet his technical wizardry adds up to little more than a trite rehearsal of street cred. Considering that Kehinde Wiley has had Kelis’s “Milkshake” performed as an aria by a costumed diva, Paul Pfeiffer has edited multiple basketball games to keep the ball spinning magically in midair, and Damien Hirst has encrusted a platinum skull with real diamonds, Newsome’s efforts feel too little, too late.—Joseph R. Wolin

JAY-Z feat ALICIA KEYS – Empire state of mind

Shawn Corey Carter, más conocido como Jay-Z ha sido uno de los raperos más prolíficos y exitosos durante el final de la década de los 90 y principios de siglo. Conocido por su hábil empleo de las metáforas, sus capacidades de freestyle, su astuto juego de palabras y la combinación del hip hop callejero con el comercial, Jay-Z se convirtió en uno de los raperos más respetados de la industria. Se dice que compone las canciones de memoria, sin necesidad de usar papel y lápiz.

Pacha Massive – All good things

Straight from the boogie-down Bronx comes Pacha Massive. Already the darlings of indie radio, Pacha Massive (from ‘Pachamama’ meaning “Mother Earth”), is the creative collaboration between Dominican-born Nova (keys / guitar/ writer/ producer) and Colombian-born Maya (writer/bass).

Empire of the sun – walking on a dream

Empire of the Sun es un dúo australiano de música electrónica originario de la ciudad de Perth y formado en 2007. El grupo ésta conformado por Luke Steele de The Sleepy Jackson y Nick Littlemore de Pnau. El grupo ha adquirido cierta popularidad en muchas partes del mundo gracias a su característico sonido y a la temática un tanto mística y alternativa de su imagen.

Week of November 19-25

OBAO
Michael “Bao” Huynh (Baoguette, Bar Bao) introduces his latest restaurant, this one reinterpreting Southeast Asian noodle and barbecue dishes. Thailand’s pad si-ewe gets an upgrade with the addition of short-rib meat, green-mango kimchi and a fried egg, and Singapore mai fun’s thin rice noodles are enhanced with crispy lard, Chinese sausage, shrimp and golden chives. Coming from the grill, meanwhile, is a small selection of items like whole red snapper. 222 E 53rd St between Second and Third Aves (no phone yet)

Cocoa V
This vegan chocolate haven from the owner of Blossom pairs the dairyfree confections with wine. A boutique will carry truffles, bonbons, bars and bark (they’re making “silk chocolate” to please vegans who miss the milk variety), while an intimate, 28-seat café will feature a list of roughly 15 complementary wines, along with desserts like brownies and chocolate mousse. 174 Ninth Ave between 20th and 21st Sts (no phone yet)

Lucy’s Whey
Chelsea Market welcomes its first cheese shop, where manager Amy Thompson (a Murray’s alum) fills her counter with American artisanal selections. Chelsea Market, 425 W 15th St between Ninth and Tenth Aves (212-463-9500)

MXco
John Dempsey and Maren Powell, who own the Midtown West restaurants Hell’s Kitchen, Vynl and El Centro, unveil their latest Mexican eatery, a graffitied spot on the UES. Upmarket versions of familiar foods will feature tacos stuffed with beer-and-chili–battered sea bass, and hanger steak glazed with pomegranate juice. Wash it down with margaritas: You can mix a variety of fruit purees to make your own flavor. 1491 Second Ave at E 78th St (212-249-6080)

The Nut Box
The Chelsea Market location of this Smith Street dried-goods emporium features walls lined with premium nuts, dried fruit, and other delicacies. Chelsea Market, 425 W 15th St between Ninth and Tenth Aves (347-689-9948)

Roman’s
Marlow & Sons owners Andrew Tarlow and Mark Firth have reopened their Fort Greene Mexican restaurant, Bonita, as this farm-to-table New American eatery. The meal is modeled after traditional Italian dining (appetizer, followed by pasta, and then a protein with sides of your choice), but portion sizes are small enough, and prices low enough, that you won’t bust your gut or your bank account. The menu changes daily, and features plates like taleggio croquettes and acorn-squash salad, along with two cocktails of the day. 243 Dekalb Ave between Clermont and Vanderbilt Aves, Fort Greene, Brooklyn (718-622-5300)

Spot Dessert Bar
Having shuttered Batch and P*ong this past year, pastry whiz Pichet Ong makes his return as the consulting chef at this East Village dessert bar. Ong will meld Asian and Western traditions in creations like a white-miso semifreddo. Other sweets, such as cupcakes (mocha, green tea), cookies (ginger oatmeal raisin) and ice creams (toppings include lime curd and vanilla-poached persimmon) can be eaten in or carried out. 13 St. Marks Pl between Second and Third Aves (212-677-5670)

Compiled by Daniel Gritzer and Jeanne Hodesh

Travertine

What does it take to get noticed in this town? If you’re a novice restaurateur, networking your way into the spotlight is a great way to begin. Danae Cappelletto, a fashionable young Australian, scored a profile last year in The New York Observer, when her Nolita restaurant was still a dream.

Travertine finally opened this fall after a bureaucratic ordeal (the community board offered its grudging support, having opposed three earlier venues planned for the space). The place, like its owner, has lofty ambitions—and a yen for attention. Cappelletto, who has experience running nightclubs and restaurants in Sydney, has opened a neighborhood spot with a velvet-rope sensibility.

The polished travertine slabs from which the restaurant takes its name cover the walls inside and out—and are the dramatic foundation for the dark and opulent club-style decor. Although the space is small, design tricks create the illusion of vastness, with curtains in one corner wrapping the ceiling like a bedouin’s tent; an enormous black-crystal chandelier over the stairs to the basement; and leather banquettes so huge, you may need a booster seat to reach the table.

While Cappelletto, a charming host who works the door nightly, didn’t team up with a celebrity chef, she snagged what may be a more appropriate fit—a striver who shares her spotlight aspirations. Manuel Trevino, a soft-spoken contender from season four of Top Chef (he was axed early on), signed on as head toque after losing his post running the midtown Dos Caminos. A veteran of the Mario Batali machine, he’s devised an upmarket Mediterranean menu that’s grounded mostly in Italy. Capitalizing on his 15 minutes, he works the dining room like the star he aims to be.

While so many restaurants these days are scaling back on propriety, Travertine amps it up. A waiter in a quirky bow tie (more Alex P. Keaton than Jeeves) delivers an amuse-bouche (silky butternut squash soup) to begin and petits four (house-made truffles) to finish. Trevino has exacting aesthetics that are aligned with this brand of pretense; though the food’s pretty simple, his presentations are intricate. In one starter, two perfect triangles of pig’s-head terrine are precisely shingled beside hunks of grilled country bread and assertive condiments (pickled fennel, pickled cipollini, watermelon-rind mostarda) in precious bundles. Supremely tender calamari bellies, expertly seared on the plancha in another fine starter, are scored with such exacting crosshatching, there may well be a food stylist in the kitchen.

Service is attentive, if a bit overzealous. An up-selling waitress one night urged an excessive pasta midcourse. While fresh garganelli with shiitakes, brussels sprouts and an extra-rich brown-butter sauce is one of the menu’s high points, Trevino’s riff on linguine with clams is a disconnect from the rest of the food, with gritty cockles and chewy pancetta in a standard-issue tomato ragù.

Entrées are so generously portioned, you’ll regret sopping up that brown-butter sauce. Tender quails, marinated in balsamic and quickly grilled, are splayed on top of each other like an avian napoleon, with mascarpone-and-mushroom polenta underneath. Monkfish tail, roasted then sliced thick, is technically flawless, with delicious red cabbage braised with apples and guanciale. Pork loin, rubbed with porcini powder and cooked just the right shade of pink, is served with white beans and wisps of fried artichoke.

One night, as we tackled a pair of impressive desserts—steamed sweet-corn budino as light as soufflé, plum crostata with a fine flaky crust—a DJ took up residence near the dining room. The bar was packed, and it seemed as if the place might shift from restaurant to nightclub. But, instead of amping up the beats, he maintained the ambient soundtrack that had been the backdrop all night. Travertine may look like a nocturnal hot spot, but at prime dinner hour it’s (thankfully) a restaurant first.

Cheat sheet

Drink this: The one-page wine list features a bottle or two in every price point. The least pricey red on the list, a primitivo from Piana del Sole ($45), is a lush and rustic choice.

Eat this: Calamari bellies, pig’s-head terrine, garganelli, quail with polenta, monkfish with braised cabbage

Sit here: Avoid the uncomfortable banquettes and request a secluded corner spot under the canopy.

Conversation piece: The namesake building material featured at the restaurant is like a cross between marble and limestone. Popular among architects both modern and ancient, it was used for both the Colosseum in Rome and the Getty Center in L.A.

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