Vocabulario español-p'urhépecha, p'urhépecha-español

¿Te gustaría sentarte a escribir cada día y tener cientos de ideas para tus historias? ¿Te imaginas no tener que preocuparte más por el miedo al folio en blanco? ¿Quieres ser un escritor o una escritora que se lo pasa bien con su trabajo, que siente que escribir es una tarea cada vez más divertida y fácil? Entonces, te interesa Saca al escritor que llevas dentro. Descubre cómo dominar tu inspiración: Las ideas están por todas partes. Solo hay que saber cómo manejarlas. Con este libro, tú también aprenderás a hacerlo. Motívate y escribe cada día: Además de trucos y retos...

"Rida Eder introduces this fascinating compilation of 39 papers presented at the 20th Coloquio International de Historia del Arte, celebrated at the Univ. of Puebla in 1996. Themes are divided into three areas: patronage, collecting, and circulation of the work of art. The extraordinary variety of presentations centered around three activities inherent to the role of the arts, rarely the subject of any analysis in Latin America, makes this work particularly enlightening. Themes range from role of religious orders in the colonial Americas to censorship at the 1963 and 1964 Säao Paulo...

This publication, edited by Renata Cervetto (MALBA) and Miguel Á. López (TEOR/éTica), comprises twenty-one critical contributions from various artists, educators, curators, historians and activists, who reflect on their experiences and artistic, educational and curatorial projects in the last two decades in Latin America. "From a critical look at the strategies of mediation to self-organized and collaborative learning practices, the texts gathered here explore the social function of education and its possibilities of redefining the reach of public art as well as activate renewed forms of...

Cristina Iglesias (b.1956, San Sebastian, Spain) belongs to a generation of artists who since the late 80s and early 90s have brought about the expansion of the sculptural object into the realm of installation. In contrast with her "modernist" predecessors, Iglesias often evokes the female body, establishing relationships between it and commonly used objects such as furniture, rooms and architectural constructions. She also challenges the idea of representation by means of an aesthetic vocabulary based on the use of varied materials, such as concrete, resin, iron, and glass, and techniques,...