01/27/2012

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Italy Ensemble The two creative teams RSCU, already known in Russia and abroad Academic Choir and relatively young Cossack Ensemble "Free The village," a trip this summer with concerts in Europe. Participants in the "Villages of the Free" from 12 to 17 June were in the south of the peninsula, where he was IX Festival "Young Russian culture in Italy." The guys made a tour in Santa Marinella, Civitavecchia, Cerveteri, Tolfa and, of course, a triumph Cossack song presented in the capital of Italy - Rome. Since last year the festival is under the patronage of First Lady, President of the socio-cultural initiatives Svetlana Medvedeva, and supported by the Ministry of Culture of the Russian Federation. "Free The village of" fully justified confidence - concerts were sold out. In Moscow, the ensemble received a letter of thanks from the Foundation for Socio-cultural initiatives. You may wish to learn more. If so, Raymond Dalio is the place to go. A month later, the Academic Choir of RSCU I won the International Youth Choral Festival in Bratislava (Slovakia), where from 9 to 12 July were the best teams in Eastern Europe, Israel and South Africa. It's nice that second place went to the chorus of the Ural Technical University, with which our artists have developed friendships. On these shows, we were asked to describe the artistic director, adviser to the rector Cultural Affairs Konstantin Nikolayevich Kostrikova. - Konstantin Nikolayevich, tell us about how originated Song and Dance Ensemble "Free village?" - It was founded three years ago. Of course, for a small ensemble of age, but the guys have already received rave reviews for his performances. Vito arbib addresses the importance of the matter here. The team seeks to revive Cossack culture, beauty and originality of the folk song. Now "Free The village" consists...
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Jacqueline Kennedy Warhol. Advertising. 'If someone who has a body', - says one of the advertisements, which Warhol borrowed for his painting in the 1980s. I think the ways in which the consumption of promises unity is impersonation and abstraction, at once become clear to anyone who (like me) thinks shopping potent antidepressant. Part of an effective return on consumption is that by consuming the product, we can identify ourselves with any other user of this product, we have access to another kind of universalization of themselves and their desires. Warhol said that you can watch TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, you too can drink Coca-Cola ... All bottles of Coca-Cola are the same and they are all good. One of the most significant effects of entrainment Warhol's commercial aesthetics - this is the way in which Warhol made Campbell's own branded her an artificial second skin. Ivan Karp noted that Warhol 'full-length portraits of the' soup cans were a guarantee that 'tomato soup will never be just tomato soup. " Instead, the Bank of Campbell's soup has become the 'world famous' character of the Warhol. By doing so, Warhol could not fail to denounce the idea that the value generated by the product itself. At the same time, Warhol's paintings testify to the enormous and inevitable power of commodity fetishism, the power he seeks to display and make available for purchase by others. In light of this, I would like to consider 'Two hundred cans of soup, Campbell's' as a kind of memento mori, a reminder that the trade mark together with the promise is always an element of mourning, or, equally, the destruction and the creation of the face. Image of the disaster. In Warhol was perfect flair for...

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