Barbie?? Dina Goldstein against princesses

From tiny, the girls are wrapped in stories whose protagonists are princesses waiting for an honest and kind gentleman willing to let them live a love story whose happy ending hanging about around a world of dreams, full of servants and castles everywhere. What nobody tells you is that these stories are part of a utopian life selling Barbie dolls and Disney. Victims of a consumerist social stereotype, succumbing to the end of the road of no return empty minds. Promises of eternal love, prosperity and partridges as a main dish.

Unfortunately, many of those stories have touched the lives of countless people who believe in this fiction. Some are waiting for the prince charming-although over the years fade-or handsome young muscular backstage-that our proven studs-not to mention the long-awaited appearance of the fairy godmother with a simple touch magic solve their problems

Environment that perspective, photographer Dina Goldstein, born in Tel Aviv in 1969 and based in Canada since he was seven, breaks the aesthetics of frivolous world that sells Barbie and Disney version of fairy tales and princesses, to face viewer with human miseries of each of the characters.

Issues such as obesity, cancer, homosexuality, alcoholism, and cosmetic surgeries are some of the scenarios that transit the beautiful princesses. Goldstein, are encouraged to set aside based on the culture of consumerism metamessage hidden behind fairy godmothers, magic makeover and unbridled struggle for love Prince, to tell a new version of their stories within the framework of a real, everyday life and human context.

Thus Canadian photographer offers the viewer ship in stories based on real events inviting women to stop dreaming of Prince Charming or sexy muscular which Johnny Bravo, with small brains and less intelligent than Homer Simpson answers.

The "Fallen Princesses" ("Princess falls"), Goldstein, series paintings situation arises where there is no room for typical fairytales, eternal loves and happy endings. We'll see Snow White changing his diaper sweet songs, the princess from Beauty and the Beast as a scalpel addict who steals Rapunzel and her long hair victim of Cancer. Meanwhile, Cinderella spend your days in bar bar provided with strangers and the Little Mermaid, separated from his love, as the main attraction of an aquarium.

Barbie, does not escape the critical gaze of Goldstein. In "In the Dollhouse" series ("The Dollhouse"), blond and sexy doll legs eternal discover her beloved Ken the perfect shopping companion. Undoubtedly, a controversial look whose message transcends cultural barriers and hits the viewer.

Real life differs greatly from the tales and stories that give us the wonderful world of Disney and Barbie. Not all endings are happy. Nor passes through the city streets kissing frogs hoping to be delighted princes. It is worth stopping a moment and recognize the significance of the meta-message hiding fairy tales, princesses and barbies.

 The open question is what will our children stories. What encourage imagination. What do imagination and fable. Does not it can be combined with the harsh reality tender illusion?



BY. MARIA FERREYRO

ANOTHER VIEW OF REALITY

Feelings ranging from hostility to admiration, hyperrealism awakens in viewers loves, hates and loyal fans. An artistic movement that has no doubt play with high fidelity the reality which surrounds us every day, and invites the viewer to free your mind and doubt whether this work is literally appreciating a painting or a photograph.

It all starts in the 60s. In those years, art, culture, music and customs give a radical turn. Entrenched traditional structures break down, to make way for new and varied sources of inspiration. The main idea was to provoke shock and awaken a dormant company after classic. It is a time to develop without taboos, where nobody wants to be off-axis change starting with the fashion world with the rise of the miniskirt to the music scene with the emergence of the Beatles.
With regard to art, the early 60s, takes us back to Andy Warhol and Pop Art But this was not the only radical tendency, which arise in those years. A late 60's, flowering in the United States hyperrealism movement characterized by a realistic painting that aims at capturing the reality more accurately than the photograph.

The hyperrealism seeks to provoke. It is a movement that not only what we find in the paint (Linnea Strid, Bill Caro, Jorge Dager, Diego Gravinese, etc..) But also in sculpture, such as the work of Ron Mueck; Marc Sijan, Carole Fuerman, among others. The hyper-realist artists seek to portray reality, using the technical means at their disposal and handling of images in order to achieve in his oil paintings and sculptures, the same details and frames featuring photograph.

This movement was born in North America, managed to expand throughout the globe, clearly differentiating point of inspiration for artists from every continent. The Hyperrealism has two different branches: In the United States, is characterized by following the guidelines of Pop Art, criticizing the mass culture. The works of artists from the land, played the cult objects of consumption and culture of the image, identifying mass civilization. While in Europe, the movement is imbued with an almost surreal lyricism, a clear example is the work of Spanish artist Antonio López García.

Meanwhile, Latin American artists take both trends versatile way to achieving a new essence to hyperrealism. His works exhibit: still lifes, nudes, objects, walls and all those moments that are part of everyday life ...

In Venezuela, Jorge Dager, winner in 2002 of the International Prize Salvador Dalí, develops the composition of his works on still life. His works present a forced close-up approach in which you can appreciate the details that make the strokes, radical shades, plastic or glass containments fruit.

In Brazil, we find the works of Eduardo Fiel. This artist was born in 1975, played female nudes, combining his oil paintings with works of classic artists such as Botticelli or the surrealist Dali. In addition, plasma in great detail decorative objects like clocks, vases and flowers. Following the line of naked, female, found the Mexican artist Omar Ortiz, who characterizes his work, by carrying out a hyper minimalist trend where white, the human figure and superb work on fabrics predominate.

While, Argentina, is represented in hyper motion, Diego Gravinese, emerging artist of the aesthetic landscape of the 90s, developing a comprehensive pictorial production influence of Pop Art, combining the world of advertising, consumption and drawings animated, with photographs taken from their own history.

The work of this Argentine artist, like their international peers, is of great visual impact. But unlike, other Latin American artists mentioned above, works Garvinese have a predilection towards Pop Art In his paintings, painted with acrylics, pencil and oil on canvas (the medium used in his later works), reflect everyday but from a spontaneous hue.

Undoubtedly, hyperrealism is a movement that is not afraid to exhibit, critically, the reality around us and immersed in mass culture. Reflects ironically, those elements that arise from mass production, forming a civilization based on aesthetic consumption

FOREIGN RELATIONS

The history of this article, arises with the commemoration of the International Day for the Elimination of Violence against Women. The main idea is not to address the violence, but its origin, after a brief absurdity and dark world that surrounds analysis sexist doctrine. On that view, the idea to analyze Latin American cinema as reflected in his films, sexist feminist tendency in some cases. 

             Machismo, promotes male dominance and female inferiority, considered women as taxable and undervalued in the labor and cultural activity. A clear definition of this doctrine is by Eduardo Galeano, who criticizes the sexist tradition and argues: "(...) The man is afraid of the woman without fear" While, Feminism, invokes a critique of inequality. between women and men, proclaims the promotion of the rights and interests of women and their theories question the relationship between gender, sexuality, social, political and economic power. 

             From this thematic line with feminist trend director Albertina Carri Argentina, from his film "Gemini", builds the female lead character, based on a dominant woman, who is accompanied by a male figure weak and submissive character. In contrast, Mexican film "La mujer del puerto" (1994), directed by Arturo Ripstien, where on the contrary, it appears the sexist doctrine to develop a dominant male figure, accompanied by a woman, which is characterized by one weak and submissive personality. 

             All part of the presentation of two different families, different cultures and social levels. But despite all their asymmetries, have something in common, the same problem: Incest. Based on this theme, Mexican cinema and Argentina, were encouraged to cinematically controversial expose a social problem, a relationship between two brothers. Both stories are constructed based on power relations in a couple, but presented from the perspective of social doctrines like Feminism and Machismo. 

             While both stories, found his inspiration in the same theme of relationships (incest), differ in the approach they provide, in building the social area, which surrounds the lives of its protagonists and mainly in the characterization of the dominant figure in the incestuous relationship. 

             The Argentine film "Gemini", directed by Albertina Carri, shows the image of a strong and confident woman that outshines the figure of the man, is moving to the background and taking little part in the film. Carri, along "Gemini" gives much prominence to the image, character and presence of women, overshadowing the male figure, both the father and the woman discuss incest. That is why we can conclude that the director of the film, shown in "Gemini" a trend towards feminism 

             In contrast, Mexican film is "The Woman of the Port." Here, unlike the story presented in "Gemini", its director Arturo Ripstein, presents a traditional look to build a relationship from the aspect of a male character as a figure of ultimate power, accompanied by a submissive woman, who lives on the order . We can see that the figure of the man in "The Woman of the Port," Ripstein, has a much stronger and dominant image as explained in the film Gemini. So clearly, we get a message macho characteristics. 

             Two films whose innovative look and controversy, invite you to be with open eyes and reflect upon the domain of couples in relationships and delve a little more in the doctrines that differentiate men from women mind.

"A BUDDHA"

A Buddha is an Argentine film, which invites us to explore the mind of a Tomas (protagonist of the story) after his father's mind and accompany him on his journey to meet her inner self. 

A Buddha character Tomas, losing his father so small makes an idealization of his image, which leads him to practice the same religion as him, the Buddhist. Trying and find the way to meet his own identity. 

            You can see that Tomas, you have a defense mechanism when his father, which is the identification abruptly lost. As defined by the books of general psychology, this mechanism enhances the self-estimation of an individual, leading him to behave like a different person. 

         Identification is a mental process by which an individual consciously or not, tends to assimilate own constituent characters of another, assuming their attitudes, characteristics, and acting accordingly. The child tends to identify with their parents and the teen heroes he admires. It is undoubtedly one of the important mechanisms in the development of personality, and subject until he becomes conscious of his personality is different and requires either own development. (1) Ndolo to behave as if it were another person. 

This process is already suffering archive as an adult. Having failed to close with its idealization, lack of her father, decides unconsciously cling to the Buddhist religion. 

The live cross with religion and know all their strengths and weaknesses, let him close that stage, break with his identification with his father to start building your own personality. 

The memories of childhood, are always present but so fleeting. Certain moments were scored, such as seeing his father praying and Buddhist elements throughout the home. That was also another reason that led him to devote himself to religion. 

The absence of his father occurs at the stage where the child idealizes things, and to that seen in the superhero who can help. For that reason, its disappearance marks the memory of the child, leading to more than hold his memory through religion, in order to avoid forgetting 

TECHNICAL 

A Buddha (2005); Address: Diego Rafecas; Writer: Diego Rafecas; Release Date: July 14, 2005; Performers: Agustin Markert (Thomas); Carolina Fal (Laura); Diego Rafecas (Rafael); Julieta Cardinali (Sol); Tina Serrano (Lucy); Kelly Prince (Lela); Boy Olmi (Father); Paula Siero (Mother); Vera Carnevale (Laila); Luis Ziembrowski (Rat); Juan Manuel Tenuta (John); Iván de Pineda (Carlos); Paula Montero (secretary); Toshiro Yamauchi (Master); Fabian Bril (Claudio); Ian Rafecas (Rafael child); Shahir Jaller (Thomas child); John Fessler (Monk Buenos Aires); Horacio Tomasello (Monk temple) Crew Executive Producer: Diego Rafecas and Ricardo Parada Production Design: Daniel Werner Assistant Director: Nicolás Batlle Photo: Marcelo Iaccarino Camera: Daniel Mendoza (II) Art Director: Cristina Nigro Mounting: Marcela Saenz Music : Diego Vainer direct Sound: Jesica Billordo Federico Suarez and Sound: Jesica Suárez Production Manager: Cynthia Babiacki Berguer 

  Synopsis

A Buddha tells the story of two brother who are children of the disappeared. The younger one archive, clings to the image of his father, Buddhist religion, adopting their lifestyle. One day he decides to go to tap the Cordoba shut, where the headquarters of the temple, that trip is done with his girlfriend laura. His older brother decides to go look, thinking that this trip would join them even more. Both brothers decided to return to the city, but before the Master will deliver them a photograph of him with their father.