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Ernest Hemingway

el julio 01, 2024

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Astonishing Things: The Drawings of Víctor Hugo London Royal Academy of Arts

Beyond the monumental novels that defined an era, Victor Hugo harbored a secret, parallel world spun from ink and shadow. Few knew that the same hand that penned Les Misérables and The Hunchback of Notre Dame also conjured haunting castles, spectral seascapes, and what Vincent van Gogh would later call "astonishing things" directly onto paper. This intensely private practice, a vital refuge especially during his nearly twenty-year exile, is now unveiled at London's Royal Academy of Arts in the captivating exhibition, "Astonishing Things: The Drawings of Victor Hugo." These are not mere sketches or studies for his literary work; they are soul-deep visions in their own right. Crafted with daring, experimental techniques—often using coffee, soot, or his own fingerprints—Hugo’s drawings reveal a raw, imaginative power. For over fifty years, many of these intimate works have rarely been seen in the UK. Now, until June 29th, 2025, at Burlington House, we have a precio...

VOLVÍ A LA RADIO A PILAS. APAGÓN EN ESPAÑA

Cuando un apagón irrumpe a las 12:33 pm en España y el país entero queda sumido en la oscuridad, la única vía para informarse sobre lo acontecido resulta ser una radio. Aquella olvidada radio a pilas o de onda corta, con toda su maravillosa compañía, parece haber sido desterrada de nuestras vidas como por obra de un trueno. Y si en otra época los grandes discursos históricos alcanzaron los oídos del mundo, hoy volvemos a necesitarla. Tras una conectividad absoluta en un ecosistema que nos mantiene enlazados por redes a cada instante, nos hallamos dependientes y, con frecuencia, obsesionados con revisar nuestras pantallas apenas transcurren algunos segundos o minutos. Esa mano inquieta que no consigue permanecer tranquila ante un móvil cercano. Ese dispositivo que aporta numerosos beneficios a nuestra existencia, aunque también perjuicios en otros ámbitos, nos indicó que ya no funcionaba; que había llegado el momento de dialogar, disfrutar y bailar mientras el suministro elé...

Matisse 1944–1951: A Lesson in Light — Grand Palais, Paris

Matisse: The Years 1944–1951 — A Lesson in Light There is something almost unbearable about standing in front of work made by a man who could barely stand. The exhibition Matisse: 1944–1951 at the Grand Palais doesn't announce itself with drama. It arrives quietly — and then the color hits you. Lemon yellow. Ultramarine blue. Magenta so sure of itself it feels like a declaration. These were the years after the war, after surgery, after the body began to negotiate with age. Matisse, often confined to a bed or a chair, picked up scissors instead of brushes and began to sculpt in color — his own words, and you understand them the moment you walk into the room with the gouaches découpés spread across the walls like something between a dream and a manifesto. The Jazz plates stopped me completely. A horse. A clown. Shapes so modern and rhythmic they seem to belong to right now, not 1947. And knowing they were cut by hand — slowly, deliberately — makes them feel almost defiant...

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