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FOURTH INTERNATIONAL CERAMIC TILE TRIENNIAL (elit-tile 2009/10)



Ceramic art is the technical formulation created by the ancient peoples over six thousand years ago, providing them with a medium to express themselves throughout the ages. The history of ceramics is bound to the history of the peoples who have developed it and its study is linked to the relationships among those who have enabled the advancement of this art form.

In the Dominican Republic the Igneri Foundation/Art and Archeology has established a broad spectrum of attention, exposure, research, recovery and projection of ceramic art in the world, basically in what pertains to the production of Tile, a small piece/slab of ceramic in which the artist, through both modern and traditional methods and techniques, allows his creativity and sensitivity to flow

The Igneri Foundation has been organizing the International Ceramic Tile Triennial in the Dominican Republic since 1999, with the aim of encouraging the manufacturing, knowledge (and learning), research and use of ceramic tile as collectable art and to promote its conceptual design among its different and varied uses.

The Fourth International Ceramic Tile Triennial that began in 2009 will conclude in April 2010 with the presentation of awards to the prize-winning works and the elit-tile 2010 exhibit at the Centro Cultural Eduardo León Jimenes, Centro León, Santiago de los Caballeros.

Collaboration between these two institutions results from a shared approach to the recovery of this technique and its profound cultural and identity content, reflected in the pieces from each of more than 70 participating countries. Centro León will house this great exhibition, made up by works from different countries in Latin America, Europe, Asia and other parts of the world; parallel activities have been scheduled throughout the three months of the exhibition, in connection with this very important artistic and cultural expression.

The Fourth International Ceramic Tile Triennial elit-tile 2009/2010 is supported by Centro Cultural Eduardo León Jimenes, Fundación Cultural Altos de Chavón, The Tile Heritage Foundation, The Susana de Moya Foundation, Acromax Dominicana and Industrias Aguayo.



CENTRO CULTURAL EDUCARDO LEÓN JIMENES

Located in Santiago de los Caballeros, Dominican Republic, Centro León has strived to diffuse and make the best footprints of the past--as well as contemporary--from Dominican Republic, Latin America and the Caribbean known in the country as well as internationally. Under the slogan a place for encounter, where people come together, Centro León opened to the public on October 3, 2003. Ever since it has provided visitors a unique an innovative coming together experience, as well as coming together with oneself, which addedd to its open and participatory nature has turned it into one of the most important cultural centers in Latin America and the Caribbean.

The vision to create this cultural center dates back to 1964, to the first Eduardo León Jimenes Juried Art Exhibition. Its promoter, distinguished Dominican entrepreneur Eduardo León Asensio, envisioned the creation of an institution for the conservation and exhibition of the prize-winning works, to be enjoyed by the public at large. The idea was brought to fruition under the leadership of José León Asensio, President of Grupo León Jimenes and CEO of Fundación Eduardo León Jimenes, and a team of experts who undertook project implementation from the drawing board to its realization in a period of almost five years.

The mission of Centro León is to contribute to raising awareness on the character of Dominican identity and the projection of this image abroad, by developing and implementing cultural and educational programs that make use of creativity, identity and the environment as fundamental tools for community development.


Infrastructure

The infrastructure of Centro León has been conceived to provide for spacious areas that will favor an enabling environment to creative, participatory and dynamic activities which in turn will ellicit discerning dialogue among interlocutors. The building that houses Centro León is one of great architectural value, surrounded by gardens that are home to a diversity of indigenours plant and bird species, all of which are part of the live collections that belong to its cultural and environmental heritage.

The building's two stories comprise three halls exhibiting the permanent and temporary exhibitions that are described ahead. The gift shop and cafeteria, located on the first floor, are places of frequent encounters; they both open to the Caribbean Patio, from where visitors can access a replica of the La Aurora tobacco factory, founded by Eduardo León Jimenes over 100 years ago. The factory, where visitors can watch the artisanal manufacturing of cigars, houses in its second floor the permanent exhibition Huella y Memoria, dedicated to the history of the León Jimenes family.

The building has other spaces that can be used for multiple activities, such as the Activities Room, Creative Workshop and Classrooms for holding seminars, workshops and meetings; in addition there is an Auditorium equipped with a multimedia digital network seating 200 attendees where congresses, conferences and special presentations are held. These spaces are also available for private events.

Centro León has a Mediatheque for consultation and research from a diversity of sources, which houses, among other unique and original pieces, a collection of maps of the island of Hispaniola dating from the 14th Century.

Visual Arts Room
Containing the exhibit Génesis y Trayectoria showcasing the most relevant aspects from the last five decades of visual arts history in the Dominican Republic. This exhibit comprises part of the prize-winning works from the Eduardo León Jimenes Juried Art Exhibition as well as other works of art by Dominican masters.

Anthropology Room
The exhibit Signos de Identidad is a fascinating multisensorial tour of Domincan culture and each of its variants, showing the tangible and intangible richness of our national heritage. It is a collection of different moments in time that begins with the origins of the island, following with the evolution of its society and concluding with the confrontation of a present that highlights our mestizo heritage and our cultural diversity. Thus, the island and the contrasts that characterize the Caribbean, the biodiversity, the Creole nature and the predominance of present urban culture strongly influenced by migration is represented in the language required by the new museography.

Footprints and Memories: One Century of National Journey (1903-2003) Room
This exhibit commemorates the centennial of the foundation, in 1903, of the La Aurora cigar factory by Eduardo León Jimenes. The pioneering industry gave rise to the great entrepreneurial family of the León Jimenes Conglomerate; for over five consecutive years Grupo León Jimenes has been recognized as the "most admired corporation" not only because it is a leader in the manufacturing and marketing of cigar and beer products and financial services but more important due to its corporate social responsibility programs that promote and advance cultural, educational, artistic, environmental, health and community development projects, with a view to enhancing the quality of life of Dominicans; in other words, it lives up to its slogan: "for a better and greater nation".

Cultural Offer
Centro León is home to one of the most important biennales in the Dominican Republic for the last 45 years: the Eduardo León Jimenes Juried Art Exhibition. This competition aims at being the driving force for the development of contemporary visual arts, to stimulate Dominican creativity and to make it visible outside of the country. In its 2010 edition, the competition introduces a new format that involves accompanying those creators who have been selected by a jury of renowned experts and curators in the development of their artistic projects.

Centro León holds important exhibits of prominent national and international artists of all times. This production, meeting the highest international standards, has been accomplished thanks to an intensive effort of inter-institutional collaboration with other sister organizations, such as the Patricia Phelps de Cisneros Collection, the Louvre Museum, the Igneri Foundation, the Valencian Institute of Modern Art, MoMA, etc.

The offer of Centro León is innovative and varied, ranging from the biannual international congress Music, Identity and Culture in the Caribbean, or the panel Cross Currents: Modernist Architecture of the Caribbean, organized jointly with the Museum of Modern Art of New York-MoMA, to the tactile exhibit Feeling beauty: Beyond sight, in collaboration with the Louvre Museum and the National Art Gallery of Santo Domingo, especially addressed at individuals with disabilities.

All exhibitions are supported by an extensive educational and sociocultural community development or sociocultural animation program resulting in meetings, both at the institution and elsewhere, that follow the thematic guidelines of habitability, creativity and identity. Such educational and sociocultural animation programs are realized and implemented by the institution, resulting in guided tours throughout the exhibition rooms, creative workshops, seminars, conferences, congresses, courses, get-togethers, debates, film societies, video-cafés, competitions, trips, etc.

Artists, students, families, teachers, researchers, tourists, professionals, community groups, public and private institutions all have the opportunity to interact with the different manners of dissemination and with the important patrimonial heritage that is the visual arts, anthropolical and bibliographical collections of Centro León, thus perceiving and realizing their own cognitive and sensorial experience.

General Information
" Open to the public: Tuesday-Sunday from 10:00 am to 7:00 pm
" Specialized museum guides in different languages: English, French, German, Creole and Catalan
" Admission: RD$140 adults, RD$60 children
" Guided tour, in Spanish (by appointment): RD$260 p/p
" Guided tour, in other languages (by appointment): RD$360 p/p
" For additional information please visit our webpage: www.centroleon.org.do
" Contact:
-Address:
Av. 27 de Febrero No. 146. Villa Progreso
Santiago de los Caballeros, Dominican Republic
P. O. Box 799
-Tel.: (809) 582-2315
- Fax: (809) 724-7644
- E-mail: centroleon@centroleon.org.do

Quatrième Triennale Internationale du Carreau céramique, elit-tile 2009/2010




L'art céramique est la formulation technique crée par des peuples anciens il y à plus de six mille ans en arrière, et qui les a permis de s'exprimer a travers les temps. L'histoire de la céramique est unie à celle des peuples qui l'ont développée, et son étude est à l'origine des relations des hommes qui ont aidée à son développement artistique.

La Fondation Igneri/Art et Archéologie de la République Dominicaine, a crée un large éventail d´attention, d´exposition, recherche, sauvegarde et diffusion de l'art de la céramique dans le monde, fondamentalement en ce qui se réfère a la production du Carreau céramique (Azulejo en espagnol), une petite pièce de céramique dans laquelle l'artiste, moyennant processus techniques d'autant modernes que traditionnels, laisse la trace physique de sa créativité et de sa sensibilité.

Depuis l'année 1999, cette fondation organise la Triennale Internationale du Carreau céramique, avec siège en République Dominicaine, ayant pour objectif d´encourager la fabrication, la connaissance, les recherches et l'usage du carreau céramique comme un objet d'art de collection, et promouvoir le design conceptuel dans ce domaine et ses différents usages.

La Quatrième Triennale Internationale du Carreau céramique, initiée en 2009, doit conclure en avril 2010 avec l'adjudication des prix aux différentes œuvres présentées et la réalisation de l'exposition elit-tile 2010 au Centre Culturel Eduardo León Jimenes, Centro León, a Santiago de los Caballeros.

La collaboration entre ces deux institutions est née a partir d'une vision partagée sur la sauvegarde de cette technique et de son profond contenu culturel et identitaire, qui s'exprime dans les œuvres particulières de plus de soixante pays participants. Le Centro León accueillera cette importante exposition intégrée par un choix d´œuvres de différents pays de l'Amérique Latine, l'Europe, Asie parmi d´autres régions du monde. Au tour d´un aussi important sujet d'expression artistique et culturelle, se réaliseront des activités en parallèle pendant les trois mois de sa durée.

La Quatrième Triennale Internationale du Carreau céramique elit-tile 2009/2010 est réalisée sous les auspices et la collaboration du Centro Cultural Eduardo León Jimenes, la Fundación Cultural Altos de Chavón, The Tile Heritage Foundation, The Susana Moya Foundation, Acromax Dominicana et Industrias Aguayo.

Centre Culturel Eduardo León Jimenes
Localisé à la ville de Santiago de los Caballeros, le Centre León contribue à la diffusion nationale et internationale de multiples éléments et valeurs qui se conjuguent dans l'art et la culture historique et contemporaine de la République Dominicaine, de l'Amérique Latine et de la Caraïbe. Sous le slogan un lieu où tout le monde se retrouve, le Centre León fut inauguré le 3 octobre 2003. Depuis lors, il offre au visiteur, d´une manière innovatrice et unique, l´expérience d'un lieu de rencontre avec les l'autres et avec soi même, lequel, ajouté à sa nature ouverte et participative, est devenu aujourd'hui un des plus important centres culturels de la Caraïbe et l'Amérique Latine.

Le premier Concours d'Art Eduardo León Jimenes organisé en 1964 donne origine à la vision de ce centre culturel. A partir de ce moment là, M. Eduardo León Asensio, reconnu entrepreneur dominicain et promoteur du concours, convaincu de devoir assurer la qualité et continuité de l´événement, pronostiqua la création d´une institution pour accueillir et préserver les œuvres sélectionnées et les mettre à la portée du public. La Fondation Eduardo León Jimenes, régie par M. José León Asensio, Président du Groupe León Jimenes, matérialise cette idée, en dirigeant et donnant forme à un projet pensé et conçu par une équipe de spécialistes pendant une période de presque cinq ans.

Le Centro León a pour mission de contribuer à valoriser l´identité dominicaine et sa projection vers l´extérieur moyennant le développement de programmes culturels et éducatifs qui utilisent la créativité, l´identité et l´environnement comme des outils essentiels au développement communautaire.

Infrastructure
Les infrastructures du Centro León furent conçues pour offrir des amples espaces adaptes pour permettre la réalisation d´activités créatives, participatives, et dynamiques qui provoquent un échange critique entre les interlocuteurs. La bâtiment qui accueille le Centro León est d'une grande valeur architecturale et se localise dans un jardin intégré de diverses espèces d´arbres, plantes et oiseaux natives qu'intègrent des collections vivantes de son patrimoine culturel et environnemental.

Les deux niveaux du bâtiment contiennent trois salles d'expositions permanentes et temporaires, décrites plus bas. La boutique et la cafeteria, au rez-de-chaussée, constituent des espaces de rencontres qui donnent accès au Patio Caribéen. A partir de celui-ci et traversant une zone jardinée on arrive à la réplique de l´usine de production de tabac La Aurora, fondée il y a plus de cent ans par Mr. Eduardo León Jimenes. Dans cet atelier, au rez-de- chausse on peut assister à la fabrication artisanale des cigares et au premier étage se trouve installée l'exposition permanente Trace et Mémoire, vouée aux origines de la famille León.

Le bâtiment dispose de salles à usages multiples telles que le Salon d´activités, des Ateliers Créatifs où se réalisent des séminaires, ateliers et réunions, ainsi qu´un Auditoire avec 200 sièges; équipé d´un circuit digital multimédia utilisé lors de congrès, conférences et des présentations spéciales. Ces espaces sont aussi loués pour des activités privées. Le centre a une médiathèque destinée à la consultation et la recherche, laquelle héberge entre autres ouvrages originaux et uniques, une collection de cartes de la Hispaniola qui datent du XIV siècle.

Salle d´Arts Visuels
Reçoit l'exposition Genèses et Trajectoire qui recueille les aspects plus importants des dernières cinq décades de l´histoire des arts visuels en République Dominicaine. Les œuvres que l'intègrent constituent une grande partie des œuvres lauréats lors des Concours d´Art Eduardo León Jimenes, ainsi que d´autres grandes œuvres de la peinture dominicaine.

Salle d'Anthropologie
L'exposition Signes d'Identité réalise un fascinant parcours multi-sensoriel de chacune des variantes de la culture dominicaine, exposant la richesse tangible et intangible du patrimoine national. Elle compile les divers moments historiques de l'origine de l'ile, suivant l'évolution de sa société pour aboutir avec la confrontation d'un présent, qui met en valeur le métissage et la diversité culturelle. Ainsi, l'ile et la réalité contrastée de la Caraïbe, sa biodiversité, le créole et la prédominance de l'actuelle culture urbaine avec la forte influence des migrations, sont présentées dans un langage qui répond à la nouvelle muséographie.


Salle Empreinte et Mémoire: Un siècle sur le chemin national (1903-2003)
Cette exhibition commémore le centenaire de la fondation en 1903 de la fabrique à cigares " La Aurora " par M. Eduardo León Jimenes. A partir de cette industrie pionnière se développe à fur et à mesure la grande famille des entreprises qui conforment le Groupe León Jimenes, corporation qui, pendant cinq années de suite, a reçu le prix à " l´entreprise plus admirée".. Ce titre répond non seulement à sa position de pointe dans la production et commercialisation des produits dans le secteur des cigarettes, bières et services financiers, mais aussi du fait des innumérables programmes de responsabilité sociale corporative mis en route, ainsi que les différents projets dans les secteurs de la culture, l'éducation, les arts, l'environnement, la santé et le développement communautaire, comme un apport à l´amélioration du niveau de qualité de vie des dominicains. De là le slogan de la corporation " pour une meilleure nation ".

Offre Culturelle
Le Centre Léon héberge depuis 45 ans une des plus importantes biennales d´art de la République Dominicaine: le Concours d'Art Eduardo León Jimenes. Cet événement cherche à promouvoir le développement des arts visuels contemporains, stimuler la créativité dominicaine et la faire connaître a l'étranger. Dans l'édition 2010, le concours est présenté avec un nouveau format qu'intègre un " suivi " des différentes créateurs dans le processus de développement des projets artistiques qu'ont été sélectionnés au préalable, par un jury intégrée par des experts et commissaires reconnus.

Le Centro León réalise des importantes expositions de reconnus artistes nationaux et internationaux de toutes les périodes. Cette production exécutée avec les plus hauts standards internationaux est réussie grâce a une intense gestion de collaboration interinstitutionnelle avec des établissements comme le Musée du Louvre, la Collection Patricia Helps de Cisneros, la Fondation Igniere, l'Institut Valenciano d'Art Moderne, le MoMA de New York, entre autres.

L' offre culturelle du Centre León est innovatrice et variée : elle va depuis le congrès international biannuel Musique, Identité et Culture dans le Caraïbe, ou le panel Courants croisés: Architecture Moderniste de la Caraïbe, réalisé ensemble avec le Musée d'Art Modern de New York -MoMA-, jusqu'à l'exposition tactile Sentir la beauté : Au delà du regard, en collaboration avec le Musée du Louvre et la Gallérie Nationale d'Art de Santo Domingo, orientée cette dernière de façon spéciale pour un public malvoyant.

Toutes les expositions comprennent un large contenu éducatif et d´animation socioculturelle qui déclenchent, suivant le développement des axes thématiques de l'habitabilité, la créativité et l'identité, une grande diversité de rencontres dedans et dehors du Centre. A partir de l'institution sont conçus et exécutés d´autres programmes éducatifs et d´animation socioculturelle dirigés à des publics variés. Ses actions sont concrétisées par le biais des visites guidés aux salles d´expositions, ateliers de créativité, séminaires, conférences, congrès, cours, soirées, débats, ciné club, vidéo cafés, concours, concerts, parcours, parmi d´autres.

Des artistes, écoliers, familles, instituteurs, chercheurs, touristes, professionnels, groupes communautaires, institutions publiques et privées ont l'opportunité d´échanger dans ces différentes modalités de diffusion et en plus avec les importantes valeurs patrimoniaux qui constituent les collections d´arts visuels, anthropologiques et bibliographiques du Centro León, en réalisant ainsi, sa propre expérience sensorielle et cognitive.

Renseignements généraux
- Horaire d´ouverture au public: mardi au dimanche de 10h du matin à 19h du soir
- Service de Guides spécialises, en différents langages: anglais, français, allemand, créole et catalan
- Valeur entrée adultes RD.$ 140.00, enfants RD$ 60.00
- Visite guidée en espagnol (sur rendez-vous) RD$ 260.00 p/p
- Visite guidée en autres langues (sur rendez-vous) RD$ 360.00 p/p
- Pour plus d'information visiter notre site : www.centroleon.org.do
- Contact :
Avenida 27 de Febrero No. 146 - Villa Progreso
Santiago de los Caballeros, Republique Dominicaine
Ap. Postal 799
- Téléphone: (809) 582-2315
- Fax: (809) 724-7644
- E-mail: centroleon@centroleon.org.do





The Puerto Príncipe 2010
International Symposium
in Art Ceramics
7th Edition,
Camagüey, Cuba


EARTH, IMAGE, SCIENCE



Call for Submissions
The City of Santa María del Puerto del Príncipe (present-day Camagüey) and the Doña Iris Art Ceramics Shop call for the 7th International Symposium in Art Ceramics, to be held under the name ´Puerto Príncipe 2010´ in this City _now listed by UNESCO as a World Heritage Landmark_ from December 1 through 15 of the current year 2010 in joint sponsorship with the Provincial Council for the Visual Arts, the Ministry of Culture, the Union of Writers and Artists of Cuba, and the Government of the Province of Camagüey.
Submission Guidelines
This 7th Edition will highlight the topic Earth-image-science, that is, the interconnection of the visual image to the expressive media (art photography, video, documentary), as well as to the sciences (the beneficial properties of clays for the skin, the therapeutic uses of clays, descriptions of clay pastes) and the relationship between visual images and art ceramics.
Admission to our nonprofit Symposium is selective in nature.
The artists will express themselves through the topics and media of their choice.
Yet their artworks will in no way seem to be downgrading to human dignity.
The Hosts also welcome those gallery owners, theoreticians, promoters and specialists that wish to attend the Symposium _as long as they expect but equal treatment with regard to the rest of attendees.
Submission Requirements
Artists must make sure to complete the Application Form (herewith enclosed) and return it plus their résumé, 1 personal photograph and 3 pictures of their pieces to: lasseri@pprincipe.cult.cu
Submission Receipt Deadline: October 31, 2010.
All the documentational information being submitted with the Application Form will
be filed in the Symposium's Archives.
Candidates being admitted will be emailed a Letter of Notification.
On-site registration
Confirmed participants will pay a registration fee of CUC $ 250.00 (Cuban convertible pesos) upon arrival for accreditation. For any lodging, breakfast, dinner and shuttle expenses resulting from the Event's program, artists will be billed by the Paradiso Travel Agency for Cultural Events, to be contacted at: esme@sccm.artex.cu For other housing options, artists should consult: lasseri@pprincipe.cult.cu
Workshop sessions will last for 15 days, alternating with theoretical presentations and side cultural activities offered free-of-charge for registrants.
Fostering camaraderie and insight exchange among participating ceramists will be foremost among the goals of the Event.
What to bring
Artists eligible for participation are encouraged to bring those tools and materials of their own which they are most familiar with. Besides, they are invited not only to have information related to their work ready in whatever lecturing support (CD, DVD, magazines, etc.) but also to present it at any of the theoretical sessions. Moreover, artists are expected to contribute a small format piece (to be officially donated at the Symposium´s final exhibition) thereby serving the purpose of raising patrimonial funds for the collection of the forthcoming Museum of Contemporary Art Ceramics of our City.
Throughout the days the Symposium lasts each artist will be allowed to make up to 2 pieces that are not in excess of 40 centimeters.
The Organizing Committee is going to
. Supply clay, tools and materials;
. Guarantee that artists access lathes and electric /gas kilns that bake at temperatures up to 1060° Celsius;
. Arrange for the service of assistants;
. Cater lunch;
. Offer free guided walking tours to sightsee the City´s historic, cultural and tourist landmarks.
As part of the closing of the Event, all ceramists will be urged to lend their talents to the making of a collective mural meant to be donated to some social or humanitarian institution of our Host City. Finally, a Certificate of Attendance will be issued.
Please pass this call on to anyone that is interested in joining us at our multi-national venue!





The 7th International Symposium in Art Ceramics
PROGRAM
Date Daytime activities Nighttime activities
Wednesday, December 1 Housing opens.
Registration opens. Visit to side exhibitions.
Thursday, December 2 Workshop hours begin.
Registration hours. Visit to side exhibitions.
Friday, December 3 Workshop hours. Opening Exhibition, welcoming ceremony and briefing.
Saturday, December 4 Workshop hours.
City tour. Opening of exhibition of ceramics works by Nazario Salazar Martínez opens.
Sunday, December 5 Workshop hours. 'Noche Cubana' (theme night) at Doña Iris.
Monday, December 6 Conferences.
Workshop hours. Night of ease at one's leisure.

Tuesday, December 7 Conferences.
Workshop hours. Night of ease at one's leisure.
Wednesday, December 8 Conferences.
Workshop hours. Night of ease at one's leisure.
Thursday, December 9 Conferences.
Workshop hours. Night of ease at one's leisure.

Friday, December 10 Day off for beach rest.
Night of ease at one's leisure.
Saturday, December 11 Conferences.
Workshop hours. Night of ease at one's leisure.
Sunday, December 12 Conferences.
Workshop hours. Night of ease at one's leisure.
Monday, December 13 Conferences.
Workshop hours. Night of ease at one's leisure.
Tuesday, December 14 Workshop hours.
Workshop hours.

Wednesday, December 15 Workshop hours.
Exposition assembly and curatorship.
Closing exhibition and farewell to artists.

- The Doña Iris Art Ceramics Shop will remain open 24 hours a day, 7 days a week.
. The Vicentina de la Torre Academy of Art will host the lectures, discussion panels, and display of DVDs and videos from 10:00 a.m. to 12 noon.
. Nighttime leisure will be left to the artist's own planning. Visiting galleries that exhibit works by local artists, enjoying good Cuban music at the Casa de la Trova (Home to trovadores or romantic folk singers), or simply touring the City will feature among some of the choices.




The 7th International Symposium in Art Ceramics
´Puerto Príncipe 2010´

APPLICATION FORM

Name and last name: _____________________________________________
Sex: _____________
Nationality: ____________________
Country of residence: __________________
Profession: _________________________
Passport number: ____________________

Applicants must also send submit:
1 personal photograph
3 pictures of artworks
résumé
The application receipt deadline is October 31, 2010.

While we are striving to do our best, we would be grateful for and open to any suggestions aimed at improving the Symposium's organization and publicity.

Thank you ever so much for your interest.
We look forward to hearing from you soon

CONTACT: OSCAR LASSERIA lasseri@pprincipe.cult.cu

















"SHOA"


I grew up with the knowledge that anything was possible. That the worst, was also possible.
I lived through my father, the ability to survive and the loneliness of the human being, and in turn being this the reason to keep on living.
I guess that from that knowledge of the reality of the "Shoah", are born
these images in my mind.
I was often criticized for my work and my persistence with this topic.
I was also once told that my work had nothing to do with my father but with me. I guess that is somehow the same.
I am the daughter of a survivor, and that makes me a survivor too.
As a child I had the fantasy to go back in time and appear in the door of my grandparent's house, and save the whole family. In this childhood fantasy I wanted to change the history of mankind.
The "Shoah" has always been a latent theme in my house. In fact my sisters
and I are named after a family member that died in the concentration camps. Mine,
is the one from my grandfather Ioseph Ele. Jose Elias. Elizabeth. Ele. Elke. With everything that it entails. A man who died executed after trading himself as a prisoner to save the life of his son.
I had to do something with all of that hanging around my head and my dreams ... Such was my desire to feel I had done something for them ...
And this is the way I found to express the need of the memory. But the memory not only for my grandparents, my uncles and the 6,000,000 Jews who were massacred in the Concentration camps... the memory for the future generations.
My doomed attempt to show the indifference, the apathy and the blindness of the world before the misfortune of others. Also the fear and loneliness of the one who knows that is condemned and can do nothing.
The material, clay, is the reminder that dust you are, and to dust you shall return. The dust, the earth survives us. And in turn, has the hardness of character, the ability to adapt to the hands of who works it, the simplicity of its composition, and the combination of the four elements necessary for life, Earth, water, air and fire. And just as the Jewish people, the ability to survive the circumstances of life. Clay remains, as we do.
I always believed that art was a purely aesthetic matter. That you might like it or not, but never explained ...
And I contradict myself ... and I take it back. I want that whoever is in front of my sculptures think, remember, feel, and basically, do not forget.
I thank my father for teaching me that while life goes on; we must never lose the memory.


ELIZABETH DYCHTER
Buenos Aires, Argentina




THEODORE W. KHEEL



HONORARY DEGREE RECIPIENT


Theodore W. Kheel is one of America’s most distinguished professional mediators and one of New York City’s most influential public advocates. An esteemed lawyer and professional arbitrator, he has participated in the resolution of more than 30,000 labor disputes. His approach to identifying common ground and his ability to maintain a voice of reason amid many opposing voices have made it possible for him to settle some of the most difficult labor disputes of the 20 th century. His penchant for finding solutions, however, has extended far beyond resolving conflicts. Today he is also well known as an environmentalist with strong commitment to sustainable development and preserving biodiversity.



A lifelong New Yorker, Mr. Kheel has been a member of numerous fact-finding boards appointed by presidents, governors and mayors. He gained notice early in his career for his mediation of a strike against the New York City newspapers. His outstanding talent for getting the parties of a dispute to think in terms of solutions instead of problems has been evident to leaders in the nation’s highest offices, including President Lyndon Johnson, who enlisted his help in mediating a nationwide railroad dispute. In recognition of his long track record in conflict resolution, The New York Times declared him “the most influential peacemaker in New York City in the last half-century,” and Newsweek dubbed him the “Master Locksmith of Deadlock Bargaining.”



Finding solutions to problems such as the impact of automation on the workplace, community disputes, and protecting a sustainable environment in which mankind will flourish, to name a few, have all been the focus of Mr. Kheel’s interest, enthusiasm, and financial support. In November 1991, Mr. Kheel was invited by the Secretary General to the United Nations Committee on Environment and Development to chair the Earth Summit Conference to Promote the Pledge to Protect the Earth (Earth Summit Conference), and to create awareness of and interest in the Conference. It was then that Mr. Kheel formed the Earth Pledge Foundation (EPF), a not-for-profit foundation, to support the Conference, which was held in Rio in 1992. Since then, EPF continues to emphasize and promote economic growth and environmental protection as the twin goals of sustainable development.



Mr. Kheel has long recognized that his greatest skills are in solving problems and bringing people together, and he has excelled at both throughout his life. As co-developer of the Punta Cana Resort and Club in the Dominican Republic, a major Caribbean tourist destination, he helped create a 1,500 acre ecological reserve with the Fundacion Ecologica de Punta Cana. Recognizing the value of the area’s biodiversity, Mr. Kheel was inspired to work with his alma mater, Cornell University, to create the Biodiversity Laboratory at Punta Cana. The facility has allowed students and academic researchers from several universities to expand the scope of their biological research. Since launching that venture, Mr. Kheel’s vision and generosity, and his deep appreciation for the collaborative potential of Technogenesis through his experiences in arbitration, have made it possible for Stevens Institute of Technology to establish another important laboratory at Punta Cana in the Dominican Republic, the Stevens Chemical Ecology Laboratory. There, researchers led by Stevens Professor Athula Attygalle, are engaged in profiling the intricate chemical mechanisms insects use to communicate and ward off disease. This Stevens program, called “Drugs From Bugs,” makes use of the great biodiversity of the Dominican Republic as it explores possibilities for vital new pharmaceuticals.



Mr. Kheel is a graduate of Cornell University, A.B. 1935, and Cornell Law School, LLB 1937. He has been a member of the Bar of New York since 1937, and is a member of the American Arbitration Association and the Academy of Arbitrators. He is of counsel to the Paul, Hastings, Janofsky & Walker LLP law firm. He also is the author of the 10 volume treatise, “Kheel on Labor Law,” as well as a book on the basic principles of conflict resolution, “The Keys to Conflict Resolution.”





NEWS





"ARTISTS FROM GERMANY AT MUSEUM OF THE CONTEMPORARY CERAMICS "


Santo Domingo, May 30 2009 (DOMIPRESS)

Yesterday morning, the four German artists who are in the country taking part in the collective exhibit honoring to the centenary of the birth of the writer Hilde Domin they were made accompany by the Dominican artist Eneida de Lüecke to visit the facilities of the Museum of the Contemporary Ceramics (mcc) where they were waited by the Dominican artist
Thimo Pimentel, President of the Igneri Foundation who directs this museum.

The visitors admired in visit of more than two hours the facilities and works that there appear and received numerous memorabilia of the Fourth International Ceramic Tile Triennial (elit-tile 2010) that will be celebrated at Centro León of Santiago de los Caballeros in april of next year.
Elfie Helmich, Herrat Boström, Rita Lu y Hanneke Blessing-Erken also delivered the tiles of participation to Pimentel for the next triennial in representation of Germany.

Of equal way they stopped laid the foundations to organize in Cologne, Germany an exhibition of Dominican ceramists for the next year 2010 where they would appear also tiles and other works.

After the visit to the Museum of the Contemporary Ceramics the visitors went to enjoy the ardent sun of the Carib in Juan Dolio y Guayacanes's beautiful near beaches to the dominican capital.











MITCH LYONS IN DOMINICAN REPUBLIC



ABOUT MITCH LYONS
Mitch Lyons earned his Masters of Fine Arts Degree in Ceramics from
Tyler School of Art, and his Bachelors of Fine Arts Degree in Graphics
from the University of the Arts in Philadelphia. His clay monoprints
can be found in numerous private and public collections throughout the
United States, including the Brooklyn Museum of Art, Woodmere Museum,
American University and the University of Delaware.

Lyons has had exhibitions of his work at the Philadelphia Museum of
Art; Virginia museum of Fine Arts; Noyes Museum, New Jersey; Kalmar
Lans Museum, Kalmar, Sweden; and the Vonderau Museum, Fulda, Germany.
He is a recipient of a Pennsylvania Council of the arts Visual Arts
Grant. He has taught at West Chester University, Moore College of Art,
Rowan University, Alfred University, and the University of Delaware.
In the past 10 years he has led over 100 workshops.

About Clay Monotypes

Since 1968 he has been pioneering his image making from a slab of
clay. First a slab of stoneware clay is rolled out about 1/4" thick.
After allowing the slab to dry to a "leather hard" consistency,
colored slips are made using China clay and permanent pigments. These
colored slips are brushed on, dried and rolled into the clay slab, one
color over another, building the design with images, colors and
textures on the "matrix".

Once the slab is rolled flat, a moistened piece of paper/canvass is
placed over the slab. Pressure is applied using a rolling pin to
transfer the clay slips onto the substrate. Because China clay is
inert and the pigments used are permanent and stable, the clays remain
intact and will give pleasure for many years.




UN MUSEO QUE ESPERA



Camagüey,Cuba Abril 29,2008 (DOMIPRESS)

Con la participación de artistas de 17 países de cuatro continentes se
celebró exitosamente el Sexto Simposio de Cerámica Artística de
Camagüey, Cuba.
Este evento, el más importante en su género en nuestro continente
prestigia la plástica latinoamericana y en más de quince días presenta
conferencias magistrales,
modelados del barro en el Taller Doña Iris, intercambios teóricos en
colectivo y la apertura de exposiciones personales de Nelson Miranda,
Nazario Salazar, Oscar Rodríguez Martínez, Oscar Lasseria y otros,
fueron algunas de las múltiples actividades realizadas durante la
convocatoria .

Algunas exposiciones individuales y las charlas diarias, tuvieron por
sede a la Academia de las Artes Vicentina de la Torre, uno de los
sitios elegidos para llevar adelante las actividades que se
extendieron hasta el 30 de de abril.
Otras tuvieron por marco la ACA, donde los visitantes disfrutaron
también de una noche de música cubana.
Las presentaciones teóricas fueron de excelente calidad tocando temas
de la arquitectura camagüeyana, la arquitectura y la cerámica, la moda
y temas técnicos de la cerámica de arte.

El arquitecto y ceramista uruguayo Juan Paché demostró sus trabajos
con la técnica del soplado de arena a presión sobre piezas biscochadas
y esmaltadas (sandblasting), Silvia Stansfield de Australia mostró
trabajos cerámicos indígenas de Australia, Thimo Pimentel realizó una
presentación de la próxima TRIENAL INTERNACIONAL DEL TILE CERAMICO
(elit-tile) a celebrarse en los años 2009 y 2010 en el Centro León
de Santiago de los Caballeros, y en otra presentación ilustrada con
cientos de fotos sus trabajos muralísticos realizados en cerámica y
piedra en la zona turística de Puntacana, La Romana , así como en
residencias particulares, hoteles, su gran mural del Aeropuerto
Internacional de Puntacana y sus murales del Club de Playa de Cap Cana.

La excelencia del detalle y acabado finísimo de sus piezas pudo
advertirse en la presentación de Sibel Sevim, la ceramista de Turquía
quien en el taller hizo demostración de su depurada técnica, junto a
su esposo Semaletin Sevia también ceramista turco.

El canadiense Pierre, arquitecto y ceramista, en una conferencia muy
bien elaborada mostró sus trabajos recientes y obras realizadas en
Santiago de Cuba en meses pasados.

Mercy Nodarse destacada diseñadora de modas trabajó con el barro e
incursionó en la técnica de barro/papel para reproducir uno de sus
diseños de moda femenina.

Las representaciones de varios países que toman parte en la sexta
edición de esta bienal, recibieron la bienvenida oficial en el Comité
de la Unión Nacional de Escritores y Artistas de Cuba (UNEAC) en el
territorio .

En esta oportunidad, quedó también abierta la Exposición Inaugural del
Simposio, con un compendio de trabajos concebidos en las anteriores
versiones del evento, consolidado como de referencia dentro y fuera de
la Isla.

Al contemplar las bellas obras exhibidas producto de anteriores
convocatorias de este evento volvió a plantearse la necesidad de que
estas fueran exhibidas permanentemente en un espacio que viene siendo
anhelo de los artistas camagüeyanos y de los mismos participantes
extranjeros a los Simposios.

De nuevo aflora con fuerza la creación del Museo de la Cerámica
Artística en Camagüey un proyecto que todos quieren ver hecho realidad
y que aportará mucho a la ciudad.

"Este Museo de la Cerámica en Camagüey es algo que no debe postergarse
más -apuntó el destacado gestor cultural y artista dominicano el Dr
Thimo Pimentel quien es también un colaborador de estos eventos desde
que se concibieron hace ya una década- y añadió.
"He conversado más de una vez con las autoridades del gobierno
provincial y los encargados del turismo local sensibilizándoles para
que cos su entusiasmo habiliten una de las casas del Centro Histórico
de Camaguey y rápidamente den comienzo las labores de adecuación para
este museo que ya tiene piezas importantísimas producto de estos
Simposios."
"Este museo será de un atractivo artístico y turístico incuestionable
y en breve tiempo, el evento y la ciudad misma se harán más conocidos
y visitados."

"Nuestra Fundación Igneri está decidida y comprometida a ayudar en la
organización del mismo y también económicamente con el proyecto para
hacerlo una realidad."
"En Santo Domingo, nuestro Museo de la Cerámica Contemporánea (mcc)
está desde hace dos años especializando fondos y ampliando un fondo
bibliográfico y de obras para ser donadas al Museo de Camagüey una vez
este quede instalado. Toda la infraestructura de promoción, a través
de la Internet, producción de material promocional, etc., será donado
por nuestra organización."
"Me gustaría recibir pronto la noticia de la cesión por parte de las
autoridades provinciales de la casa que alojará este Museo de
Camagüey, y como Hijo Ilustre y Huésped de Honor de esta bella ciudad
sería para mí una satisfacción enorme que sea una realidad este sueño."
"Espero que mi próximo viaje a Camagüey sea para inaugurar el espacio"
enfatizó el Dr Pimentel

Otro de los atractivos de este VI Simposio lo fue sin dudas la
participación activa de Oscar R. Lasseria, quien no desmayó un minuto
para proveer a los artistas visitantes de todas las facilidades para
realizar sus obras y que además presentó con acierto una muestra
individual de sobrada calidad. En su taller Doña Iris, el apoyo
logístico fué catalogado de excepcional por los participantes en el
evento, destacando la labor de los maestros Yuri en el torno y Leydi
en los trabajos de herrería solicitados, así como
de la preparación de las comidas y meriendas a los artistas, labor
encabezada por Iris Martínez , esposa del maestro Lasseria con sus
asistentes.

Cabe destacar que durante el desarrollo del VI Simposio, las
autoridades de cultura facilitaron en el mismo taller el uso de correo
electrónica para que los asistentes pudieran comunicarse con sus
familiares en los diferentes países de origen.

El maestro Oscar Lasseria artista camagüeyano de la plástica,
presentó su muestra personal "Concierto Barroco S.O.S" inaugurada en
la Galería del Centro Provincial de Artes Plásticas de la capital
provincial.

Más conocido por su labor como ceramista dentro y fuera de Cuba, en
esta muestra el destacado creador aproxima a los espectadores a sus
anhelos como artífice también de la pintura. El producto se resume en
unas veinte obras concebidas mediante diferentes técnicas.

Otras expresiones como murales de placas cerámicas, ofrecen al
espectador un manejo que el mismo artista denomina barroca, donde la
impronta de la esencia latinoamericana de ese período del arte, le
sirve de instrumento eficaz y sugerente.

Oscar Rodríguez Lasseria, el eje y dínamo de estos encuentros ya
internacionalmente conocidos, refuerza su incuestionable protagonismo
en la vanguardia artística camagüeyana, la cual enriquece con su obra
y con proyectos como el Simposio de Cerámica Artística.

El mejor barro de la isla ha sido uno de los temas obligados de
conversación entre los artistas extranjeros que han quedado
sorprendidos de su calidad y que en breve tiempo supieron amoldar a
sus diferentes estilos creativos.
La tierra, la moda y la arquitectura, figuraron como tema central de
las propuestas de los participantes de alrededor de una quincena de
países, entre los que se destacan Austria, Argentina, Alemania,
Australia, Brasil, Canada, Chile, Dominicana, Dinamarca, España,
Francia, México, Uruguay, Turquía, y Cuba.

Entre las iniciativas sobresalen la realización del mural colectivo
"La Va'llena" para una instalación infantil de la provincia y la
producción de dos obras que integrarán la colección universal de cerca
de 200 piezas atesorada ya en el territorio para el futuro museo de
cerámica artística de Camagüey.
La visita a sitios históricos e instituciones de la ciudad han sido
también favorablemente comentados por los asistentes de otros países a
esta histórica villa del Puerto del Príncipe
que en su momento disfrutaron también de un día de playa donde la
interacción directa y personal entre artistas constituye la esencia de
este tipo de eventos.
La televisión y prensa escrita de Camagüey estuvieron presentes y
entrevistaron a varios artistas nacionales y extranjeros participantes
en el evento.

Los ceramistas habaneros Pastor Fumero y Raciel Feria elogiaron la
organización del evento en una entrevista de la televisión camagüeyana
,y las notas de prensa aparecidas en el periódico regional ADELANTE
calzadas con las firmas de Yanetsy León González y Mabel Guerra
García dieron cuenta de las actividades y pormenores de la sexta
convocatoria de este acontecimiento artístico.

La chilena Silvia Stansfield, radicada en Australia donde imparte
clases de cerámica artística, en una larga entrevista para esta
publicación manifestó entre otras cosas
-" El sitio es muy impresionante y tiene todas las facilidades.
Estamos rodeados de cariño. Podemos trabajar tranquilos y encontrar
nuestro rincón preferido y sobre todo tenemos la libertad de
expresarnos."

De esta manera y con diversas opiniones todos los artistas se
mostraron más que complacidos por las muestras de afecto y atención de
los organizadores.

La Agencia de Turismo Cultural Paradiso, con el arduo trabajo de
Cristina Malleta, Esmeralda Pimentel Rodríguez y su grupo,
coordinaron de manera impecable los traslados desde sus países de
origen y a lugares de interés cultural en Camaguey a los participantes
y ocupándose personalmente de resolver todos los movimientos de
confirmación de vuelos o traslado a La Habana para el retorno de los
artistas.

En sencillo y emotivo acto efectuado en el marco de la celebración de
la Noche Cubana en el Taller Doña Iris , la Fundación Igneri de
República Dominicana entregó diplomas de reconocimiento a la Unión de
Escritores y Artistas de Cuba (UNEAC), homenaje póstumo al recién
fallecido alfarero Miguel Baez correalizador en 1975 del tinajón con
el que se reanudó la producción de ese tipo de vasija en Camagüey,
luego de una interrupción que databa del siglo XIX, a quien le fuera
dedicado esta VI edición del Simposio Internacional de Cerámica
Artística Puerto Príncipe 2008.,y otros reconocimientos a figuras
claves en el Simposio, y autoridades locales.
Su Presidente el artista Thimo Pimentel agradeció particularmente a
la UNEAC y a todos los artistas participantes en el Simposio, el apoyo
que en cada convocatoria de ellos recibe.

Por otra parte las autoridades regionales de Cultura entregaron la
distinción Espejo de Paciencia, a cuatro participantes en el VI
Simposio Internacional de Cerámica Artística Puerto Príncipe 2008.

Julia González Fornés, profesora y promotora local, y la artista y
académica chilena
Cecilia Moraimez Rivas recibieron la máxima distinción de la filial
del Ministerio de
Cultura, en Camagüey, conferida a personalidades e instituciones con
relevante difusión,
enseñanza y promoción de la cultura.
También se otorgó a la matancera diseñadora de modas, Mercy Nodarse Abedo y el
investigador habanero, José Gregorio Veiga Zamora, en acto realizado
en la Galería del
Centro Provincial de las Artes Plásticas.
Una vez más finaliza con éxito incuestionable el Simposio de Cerámica
Artística de Camagüey, que en breves días reunirá a sus organizadores
en una importante Reunión de Fallas, donde aflorará la autocrítica del
evento para analizar sus puntos luminosos y sus
mínimos errores con el objeto de subsanarlos en los próximos eventos.




ART AL DIA INTERNACIONAL/ART DIRECTORY



The new ART DIRECTORY from ARTE AL DIA INTERNACIONAL is ready.
You will see some changes in the new edition.


PUNTA CANA ART CENTER/ART GALLERY




The Igneri/Art and Archaeology Foundation, the Punta Cana Group, the Punta Cana Ecological Foundation and the Punta Cana Educative Center (CEPCA), inaugurated in December 2005, the Punta Cana Art Center and its Art Gallery.

The Art Center prepares ceramic, painting, drawing, glass, sculpture, paper and crafts' courses for children and adults in coordination with the Punta Cana Educative Center (CEPCA).Through these agreements, different local and international artists will be invited to hold exhibits in the Art Gallery and manage courses in the Center.
Activities with students of the CEPCA will also be developed, including art, photography and nutritional health courses. During the past months,
the distinguished Cuban ceramists, Wilfredo Torres and Oscar Lassería, and from Dominican Republic, Thimo Pimentel, created murals in the Educative Center, and the medallions of the Virgin at the town's church. Also, the design and elaboration of quality art objects, exclusively for the area of the Punta Cana International Airport, has been left on the hands of the Argentinean ceramist Enrique Royo, who also works in conjunction with Thimo Pimentel.
From this design and work relationship, the "K-SITAS DE MI PAIS" (Homes of my Country)have emerged: A collection of the diverse types of typical houses which are all distributed around the country. A piece of the collection that has called the attention of many people is the reproduction of the
"Nuestra Señora de Punta Cana" the Church.
("Our Lady of Punta Cana"),which includes a music box that plays Schubert's Ave Maria.
These models, which nowadays exceed a dozen, will make of the collection an attractive and singular way of advertising the country.During 2007, we will presents dominican artists and in 2008 the visit of outstanding international ceramists is expected to interact with the Center.



PUNTACANA ART GALLERY WEB PAGE



Please visit the PUNTA CANA ART GALLERY/ART CENTER web page

www.puntacana-artgallery.com
www.puntacana-artcenter.com





WORKS PROGRESSING AT THE UNDERWATER IGNERI-CARIB TAINO MUSEUM
Serena Beach, PUNTACANA,R.D.
May 27th 2009

The completion of the works of the new pieces that will be placed in
an already selected space in Serena beach in addition to the first
pieces AUMATEX and ATABEIRA previously placed are in progress.

This time the sculptures will be placed less deep so the divers with
"snorkels", boat of transparent background and aquanaut can admire the
museum. Among the new elaborated pieces we have the ?Chief Cotubanamá?
the dog ?Aon?, an igneri dish, a representation of a burial of a chief
with his favorite wives buried alive next to him, the offering of the
casaba, a pair of heads of chieftains, Guabonito, behind the
beautiful, Itiba Cahubaba, offering to Mother Earth ... all placed in
an imaginary journey to the stars of the Ursa Major of great
significance to the first settlers of Quisqueya.

A brochure will prepare in several languages and a water-proof map
with the locations of each sculpture using measurements from GPS.
Replicas of the pieces will also be produced that will be submerged to
serve as souvenirs. The project also includes an underwater art
gallery where exhibitions of different ceramic pieces will be held
that may be acquired by divers.
Just the same, underwater photography competitions are projected,
which will be organized by the group PHOTOCANA 717 before being
presented in the exhibition Art Gallery of Punta Cana.

This whole project is one more achievement of the PUNTACANA Group with
the PUNTACANA Ecological Foundation and Jake Kheel its Executive
Director at the helm who is the godfather of the novel idea of a
thematic museum on the Igneris, Caribs and Tainos making it unique in
the world and who also drives an ecological recovery plan for the
entire coast restoring the coral reefs and replanting thousands of
mangrove along the coast. The Foundation takes care of the ecological
reserve springs ?Ojos de Agua? and the underground aquifers, it
conducts many studies in flora and fauna with the collaboration of
American and European universities, it develops programs of apiary
production and models of organic fertilizer production using
earthworms and it also supports the study of birds in the area where
you come to observe and photograph in their natural habitat.
The Dominican artist Thimo Pimentel author of the underwater museum is
still working on new pieces that will be placed for the rest of the
year and in early 2010 as part of the collateral celebrations of the
FOURTH INTERNATIONAL CERAMIC TILE TRIENNIAL (elit-tile 2010). Pimentel
will soon be in Buenos Aires where he will be an international jury of
the Mosaic Biennial there and give lectures about his mural work and
the underwater museum at the request of the organizers of the event.

The author of the project said that other tourism entrepreneurs of the
country, specifically in Samaná and abroad (Cuba and Puerto Rico) are
interested in similar projects to what they have already contacted the
artist.
For the historical support of the idea, the book TUREIRO from the also
artist Cristian Martinez (Crisman) who is as well a consultant for the
project, has been used.

In the upcoming months the new works will be transferred to Punta Cana
using the crane of support "The agolpiá", with the collaboration of
the always effective Manolo Despradel, another of the enthusiast
friends of the underwater museum, and the air photos with the
helicopters of the architect Oscar Imbert and friend Tony Rivera are
already being carried out.