lunes, 21 de marzo de 2011

Los nudos de las neuronas

Las emociones cobijan en sus entrañas lazos complejos. Como un laberinto de cables informáticos, los nudos atrapan a las neuronas juguetonas. Ser libre tiene peaje. La creación, el amor, la libertad, la memoria, mi palacio en la azotea. Ser son nudos, los nudos del génesis, de la razón, de la muerte.

Bird On The Wire (Leonard Cohen - Imágenes de Los olvidados de Luis Buñuel)
http://www.eduardoruigomez.com/contactoyenlaces.html

Une las tres neuronas de arriba con las tres de abajo sin cruzarse ni salirse del plano.  
Ayuda: ya hay una con las tres conexiones. Pista: sólo lo imposible es interesante.


Fotografía de Eduardo Ruigómez







Bird On The Wire

Like a bird on the wire, 
like a drunk in a midnight choir, 
I have tried in my way to be free. 
Like a worm on a hook, 
like a monk bending over the book, 
it was the shape of our love twisted me. 
If I have been unkind, 
I hope you can let it go by. 
If I have been untrue, 
it`s just that I thought a lover had to be some kind of liar too. 
Like a baby stillborn, 
like a beast with his horn 
I have torn everyone who reached out for me. 
But I swear by this song, 
I swear by all that I have done wrong, 
I will make it all up to thee. 
I saw a beggar, he was standing on his wooden crutch. 
He cries out to me, "Hey, you must learn not to ask for so much." 
Another pretty woman, waiting there in her darkened door, 
she cries out to me, "Hey, why not ask for just a little bit more?" 

Like a bird on the wire, 
like a drunk in some old midnight choir, 
I have tried in my way to be free. 















jueves, 17 de marzo de 2011

Lamu

El proyecto principal de la Fundación Pablo Horstmann es el Hospital Pediátrico Pablo Horstmann de Lamu, Kenia (http://www.fundacionpablo.org), inaugurado en abril del 2008, que está dando cobertura sanitaria gratuita a toda la población infantil del distrito de Lamu. A este Hospital dedicamos la mayor parte de nuestros recursos, ya que nos hemos comprometido con su financiación y la dirección médica. El funcionamiento de este Hospital es posible gracias a la labor de nuestros socios en Kenia, (http://www.anidan.org/), responsables de la supervisión local y la administración del Hospital.

Lamu es un archipiélago situado en la costa noreste de Kenia, con escasos recursos sanitarios y una mortalidad infantil del 11,1%. Las prestaciones sanitarias son escasas y sólo el 30% tiene acceso a medicación. Nuestro objetivo es asistir a la población del distrito (unos 35.000 niños) con una atención sanitaria de calidad y totalmente gratuita.

Anualmente se atienden en el hospital 12.500 niños. Los casos graves son derivados a otros hospitales en Kenia, haciéndose cargo de los gastos la Fundación P.H. En algunos casos, incluso, hemos derivado niños a España para poder salvar su vida.

El hospital fue ampliado en 2010 y ahora cuenta además con una segunda sala de ingresos, un nuevo ala con un laboratorio y una farmacia, una unidad de vacunaciones, una unidad de HIV, unaunidad de ecografía, una unidad de renutrición y un taller óptico. La nueva consulta multidisciplinar permite organizar campañas de subespecialidades (de cirugía general, oftalmológica, odontológica, dermatológica, etc.).

Para poder llegar a las poblaciones más marginales del distrito sanitario, nuestro equipo realiza visitas sanitarias mensuales en las que, aparte de revisiones pediátricas, realiza campañas de prevención de malaria, vacunaciones, desparasitaciones y campañas de prevención de la ceguera infantil. También se dan ayudas para la renutrición de los malnutridos y se dan charlas de educación sanitaria. 


Hospital Pediátrico Pablo Horstmann de Lamu, Kenia



martes, 15 de marzo de 2011

Diseño la crisis que me destruya...

... con la ayuda de mis neuronas glotonas. Afortunadamente, una placentera miopía intelectual protege mi paz divina: la muerte, la pobreza, los desastres naturales son cosa de otros. Mi héroe es Monsieur Arpel*, precursor de la modernidad y elegancia por encima de la vulgaridad reinante. Asumo las crisis (¿qué crisis?) con optimismo, y como el ave Fénix, sé que renaceré más fuerte, grande y sabio. Cuando me enfrento a una crisis, la rodeo y sigo adelante, siempre adelante. Mirar hacia atrás es de débiles. Si hay crisis económica, debemos realizar los pequeños ajustes y reforzar el modelo imperante. Si nuestras necesidades crecen, podemos buscar la forma de satisfacerlas. Nuestra capacidad de adaptación y avance no tiene límite, porque los recursos del planeta son infinitos. No entiendo a los que quieren volver atrás y restringir el consumo-loop, el asfaltado de los campos yermos o la fabricación de armas y centrales nucleares. No entiendo a los teóricos que siempre se salen del plano para ver con distancia las cosas y revisarlas desde cero. ¡Vaya pérdida de tiempo! Desde mi trono, atalaya visionaria, proclamo que el progreso es un lobby infinito.

(Memorias encontradas en una silla de ruedas, del Doctor Strangelove)

*Mi tío: http://www.youtube.com/watch?v=gkvtE1AS6Qo
Doctor Strangelove: http://www.youtube.com/watch?v=E49bWwDK4w0

Fotografía de Eduardo Ruigómez - Crisis, 2009

jueves, 10 de marzo de 2011

Los genes de la Torre de Babel son de cuero, madera y cachivaches

Un lugar entretenido para potenciar la arqueología de nuestros deseos interpretados como necesidades se encuentra en la Calle Bretón de los Herreros 56, en Madrid: La Almoneda de Gabriela. En la periferia del local, un entramado de negocios tradicionales dan calor a la vida. Un buen barrio para vivir. Y a pocos pasos de los cachivaches podemos descargar la conciencia de sueños frustrados o realizados, da igual, con Rocío en la Librería La Modesta, en la Calle Modesto Lafuente 31.


La Torre de Babel - Pintura al óleo sobre lienzo de Pieter Brueghel el Viejo


Fotografía de Eduardo Ruigómez - La Almoneda de Gabriela
Imágenes de la web de Librería La Modesta

martes, 8 de marzo de 2011

Del cabaré a los charcos de Central Park

TOM WAITS: I was trying to imagine myself as a real New Yorker, and I was having a hard time. My wife was pregnant with our second child; we were living down on 14th Street over a Cuban-Chinese restaurant. But at that moment, I was busting at the seams that Robert Frank was photographing me. I just thought, Shoot me now. The record was called “Rain Dogs,” so we were expecting to find a rainy day, which we did not find. But we found the one rain puddle in the whole park, and I’m kind of down there like a dog. Maybe that was the idea: I’m gonna get down on the dog’s level, and then Robert would get there at a dog’s level with me. Anyway, I don’t know why people in music seem to want to squat down. Maybe we just want to feel close to the earth. I’m still down there, actually. I’m squatting right now.
ROBERT FRANK: I think he saw that puddle, and it was his idea to sit there. Tom’s comfortable that way, and it’s a good angle. I think he’s very aware when he’s being photographed — the stance he takes, the way he moves and the way the picture is going to be. That’s one of his favorite positions anyhow. When he comes in the room, he sits like that.
TED BARRON:I lived on the Lower East Side and was out walking in the neighborhood. I was just cutting through Tompkins Square Park and walked up to this scene, and I immediately recognized Robert Frank, because at that point I was probably looking at his photographs every day. I realized who he was photographing, and I made a few photographs while I was watching. I didn’t want to be in the way, and I didn’t want to become part of what was going on.

The New York Times Magazine

Fotografía de Ted Barron - Tom Waits y Robert Frank - Nueva York 1985
... y el lobo se enternece con los años: Hold On (Mule Variations - Tom Waits, 1999)

Hold On

They hung a sign up in out town
"if you live it up, you won't
live it down"
So, she left Monte Rio, son
Just like a bullet leaves a gun
With charcoal eyes and Monroe hips
She went and took that California trip
Well, the moon was gold, her
Hair like wind
She said don't look back just
Come on Jim

Oh you got to
Hold on, Hold on
You got to hold on
Take my hand, I'm standing right here
You gotta hold on

Well, he gave her a dimestore watch
And a ring made from a spoon
Everyone is looking for someone to blame
But you share my bed, you share my name
Well, go ahead and call the cops
You don't meet nice girls in coffee shops
She said baby, I still love you
Sometimes there's nothin left to do

Oh you got to
Hold on, hold on
You got to hold on
Take my hand, I'm standing right here, you got to
Just hold on.

Well, God bless your crooked little heart St. Louis got the best of me
I miss your broken-china voice
How I wish you were still here with me

Well, you build it up, you wreck it down
You burn your mansion to the ground
When there's nothing left to keep you here, when
You're falling behind in this
Big blue world

Oh you go to
Hold on, hold on
You got to hold on
Take my hand, I'm standing right here
You got to hold on

Down by the Riverside motel,
It's 10 below and falling
By a 99 cent store she closed her eyes
And started swaying
But it's so hard to dance that way
When it's cold and there's no music
Well your old hometown is so far away
But, inside your head there's a record
That's playing, a song called

Hold on, hold on
You really got to hold on
Take my hand, I'm standing right here
And just hold on.

viernes, 4 de marzo de 2011

El horizonte es un círculo afilado

Mar roca azul negra sol puesta niño grande papel lápiz ajuar mirada síntesis círculo línea horizonte alumbramiento inspiración abstracción transcendente instante rota ola muda avance silencio ruidoso gaviota blanco nube ya está y enciso jacobo costa pérez impasible creador poderoso ajo círculo línea ya está.

http://web.me.com/jacoboperezenciso/Sitio_web_5/blog/blog.html
http://www.estudioperez-enciso.com/
http://www.eduardoruigomez.com/laolarota.html

Paisaje Nieve - Pintura de Jacobo Pérez-Enciso

jueves, 3 de marzo de 2011

Timebank y los márgenes de la eternidad

Timebank puede ser una página interesante para muchos de vosotros. Creada por E-flux, especializada en noticias de arte, pone al alcance de todos la posibilidad de entrecruzar trabajos y ayudas. Acabo de insertar una petición y espero los resultados. Es la entrada nº 25 en la sección Arte.
http://www.e-flux.com/timebank



Entrada 25 en la sección Arte de Timebank

martes, 1 de marzo de 2011

Suze Rotolo, musa ya eterna de Dylan, tiene frío

"Susan Elizabeth Rotolo (November 20, 1943 – February 24, 2011), known as Suze Rotolo (pronounced Soo-zee), was an American artist, but is perhaps best known as Bob Dylan's girlfriend between 1961 and 1964. She is the woman walking with him on the cover of his album The Freewheelin' Bob Dylan. In her book, A Freewheelin' Time: A Memoir of Greenwich Village in the Sixties, Rotolo described her time with Dylan and other figures in the folk music scene in Greenwich Village, New York. She also discussed her upbringing as a "red diaper" baby—a child of radicals during the McCarthy Era. Later as an artist Rotolo specialized in artists' books and taught at the Parsons School of Design in New York City.

Rotolo's political views were widely regarded as having triggered Dylan's topical songwriting. The influence of Bertolt Brecht on Dylan's songwriting and performing has been acknowledged by Dylan as stemming from her participation in Brechtian theater during their relationship. Dylan's interest in painting can also be traced back to his relationship with Rotolo. According to her autobiography, Rotolo became pregnant in 1963 by Dylan and had an abortion." (Wikipedia).

"Empezamos a hablar y mi cabeza comenzó a girar." comenta Dylan en su autobiografía Chronicles.

Bob Dylan's Dream (The Freewheelin', 1963)

While riding on a train goin' west
I feel asleep for take my a rest
I dreamed a dream that make me sad
Concerning myself and the first few friends I had.

With half-damp eyes I stared to the room
Where my friends and I spent many an afternoon
Where we together weathered many a storm
Laughin' and singing 'till the early hours of the morn'.

By the old wooden stove where our hats was hung
Our words were told, our songs were songs
Where we longed for nothin' and were satisfied
Joking and talking about the world outside.

With haunted hearts through the heat and cold
We never thought we could ever get very old
We thought we could sit forever in fun
Our chances really was a million to one.

As easy it was to tell black from white
It was all that easy to tell wrong from right
And our choices they were few and the thought never hit
That the one road we traveled would ever shatter and split.

How many a year has passed and gone
Many a gamble has been lost and won
And many a road taken by many a first friend
And each one I've never seen again.

I wish, I wish, I wish in vain
That we could sit simply in that room again
Ten thousand dollars at the drop of a hat
I'd give it all gladly if our lives could be like that.

http://lacomunidad.elpais.com/ruta-norteamericana/posts
http://en.wikipedia.org/wiki/Suze_Rotolo
http://www.youtube.com/watch?v=HC5sO6cpA-Y


Portada del disco The Freewheelin' de Bob Dylan