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News ::
Censorship in the Institute of secondary Education of Celanova (Ourense. Spain)
16 Aug 2001
To send e-mails to the IES of Celanova: (ies.celanova (at) xunta.es) requesting the resignation of director Camilo Ogando. To the delegation of provincial Educatión of ourense to the attention of Jose Fisteos Suances (inspector of educación): (webmastr (at) xunta.es) pidiendo the resignation of the director of the institute of Celanova Camilo Ogando.
To the provincial delegate of education of Ourense Jose Luis: (webmastr (at) xunta.es) pidiendo the resignation of director Camilo Ogando. To conselleiro of Education Celso Currás (webmastr (at) xunta.es) requesting the resignation of the mentioned director.
To the president of xunta of Galicia Manuel Fraga Iribarne (presiden (at) xunta.es) pidiendo the resignation of the mentioned director and in aim to where it happens oneself to you. A greeting to which it reads this and thanks beforehand.



The director of the Institute of secondary education of Celanova,
Camilo Ogando, has censured drawings of plastic in 3º and 4º of
obligatory secondary education (15 and 16 years) and the author of I
articulate takes to the drawings censured to house of Fernando Arrabal
to Paris and there he agrees with Darío Fo, Umberto Echo, Jean
Baudrillard, Jack Vanarsky... and all agree in requesting the
resignation of the censorious one.
The director of the Institute of secondary education of Celanova,
Camilo Ogando, has censured drawings of plastic in 3º and 4º of
obligatory secondary education (15 and 16 years) and the author of I
articulate takes to the drawings censured to house of Fernando Arrabal
to Paris and there he agrees with Darío Fo, Umberto Echo, Jean
Baudrillard, Jack Vanarsky... and all agree in requesting the
resignation of the censorious one.
The director of the Institute of secondary education of Celanova,
Camilo Ogando, has censured drawings of plastic in 3º and 4º of
obligatory secondary education (15 and 16 years) and the author of I
articulate takes to the drawings censured to house of Fernando Arrabal
to Paris and there he agrees with Darío Fo, Umberto Echo, Jean
Baudrillard, Jack Vanarsky... and all agree in requesting the
resignation of the censorious one.
Intellectuals as He watches over, Fo, Eco or Baudrillard are named sátrapas in the house of Fernando Arrabal in Paris. (the director of the IES of Celanova Camilo Ogando censures drawings of third and plastic quarter of of the THAT and professor Jose Rivela Rivela takes the drawings censured to the house of Arrabal in Paris and there it
agrees with new sátrapas and it requests his opinion to them on the censorship)
The homenajeados ones animated to the students of Celanova to follow the passages of Picasso and demand the resignation of the censorious one.
Jose RIVELA/París. - I am in the forest, single, lost, terrified. An enormous storm has untied and blood wells glimpse. With much cruelty the men and women eat to the children of the others, but something rare happens here, because all are almost related. That vision lasts a little while atrocious and finally I leave to a clear one. A train march and running itself with himself to reach it. I am
with a good hombrecito and intelligent and I ask to him: why you go away? And from its height to the Charlie Chaplin it says to me: but it do not give account you? That man, who also looks itself a little like Micky Ronnie, says to me: I have a memory of when he was a boy who with himself not to clear to me of the head: A man caresses the feet to me in a beach of Melilla, with a great tenderness, and later he disappears. Everything has been a nightmare since then. Now I am 23 years old and I go away to leave the nightmare. I put myself to think about which this Charlot says to me and remembering I realize that alive also in that nightmare. But this Charlot is 23 years old and I only am zero years old, that is months. And I take leave of him. I see tears of blood in its eyes and mine. I remain in the nightmare and he escapes in the train of the “Emperador of the Perú” (precious film of Fernando Arrabal in that Micky Ronnie works). It takes a full parchment suitcase in which it has garabateado many signs. My eyes glimpse spots of blood in their lungs. Now I do not see more it.
The time has happened and I become to find with him. Now it comes with a woman, her Dulcinea, and we spent days in a pueblecito together. It, by day, continues garabateando in parchments. At night we slept. In the town a poor teacher lives. That teacher with time will become a great poet. A day we go to the bar of the town and the man who takes care of to us says to us: They must change of district! At
first we do not understand and we asked: what means? Then he is very simple, it says the tabernero, in the part where you live you live the poor men and here we lived the rich ones. Ah, we had not fallen of the sour cherry. We always lived without falling of the sour cherry. At night, while we slept, to the light of the oil lamps, a great ventolera unties, and a great flying animal introduces itself in our
cave. The man of the spot of blood in the lung rises of the bed and with a blanket he manages to hunt to the tiny beast and he leaves it put in the blanket underneath the bed, after striking it against the ground violently. We managed to sleep and when amanece we left to breathe to the window and watched towards the bar from the house of the teacher (the poor man). When we discovered the blanket to see the
tiny beast we took a surprise: it is a tiny bat. (the teacher is called Antonio Fernandez Molina and with the passage of time he will get to be secretary of Camilo Jose Cela. Today she is a great poet and it lives in Zaragoza).
He has spent the time and the man who looks itself like Charli Chaplin falls in one encerrona of the regime of Franc in Murcia. A boy, in Madrid,requests an autograph to him and he says to him that something writes hard. And Arrabal writes:“Me cago in the MOTHER COUNTRY and..”
In Murcia they stop it and they take it to Madrid. In the judgment Camilo witnesses and Vicente Aleixandre appear like to defend it Writers worldwide defend it: Ionesco, Beckett, Octavio Peace, Naguib Mafuz... In short, after months it manages to leave the jail. Despite he will be one of the last ones to that Carlos I. Ahora allows itself them the entrance in Spain with the monarchic restoration of Juan already we located itself in the 2001.
To Fernando Arrabal I have been going it to visit with Pastor Outeiral (a pair of times), with Placid Romero and Andrés Rodriguez again, and finally with Pilar Abella. And we make a great discovery. Arrabal falls in love with the work of the painter of the Peares, Manuel Vázquez Ribada (alias Don Chiflado). It says that “Don to me Chiflado” it is a genius, in a letter that it sends to me from Paris. He compares it with Van Gogh and I send little by little panels to him of this great painter.
Lately and in the occasion of an act in its house of Paris to name sátrapas of School of Patafísica to Darío Fo, Umberto Echo, Jean Baudrillard and Camilo, it invites me to the act. I take drawings to him of Don Chiflado (Vázquez Ribada) and I do new delivery to them to sátrapas of the drawings. (Camilo José Cela could not attend and Arrabal said me that would be given personally it to him in another occasion). They are surprised all of the quality of this painter. They behaved with important genius and modestia. To a patafísica actress the Nobel prize appeared thus: “Soy Darío Fo, comediante”. Arrabal (just operated) remained in the so single ceremony one hour “assis” but not in the sense that it gave to this Rimbaud word. The School had changed the disposition of the floor (but without touching to the essential: A panel of Don Chiflado “Adán and Eva” it presided over the ceremony). All we drank and we ate patafisicamente (in honor to Arrabal nobody smoked)
until the two of the dawn while bed-ridden Fernando (to fifty meters, at heart of the floor) tried to decipher the panel that gave Fo (three naked pairs to him of foot, copulando?, or saying?, or dancing?)between visionary dreams.
On the following day, Jack Vanarsky, Thieri Foulc, Darío Fo, Umberto Eco, Jean Baudrillard, Lucia Moreau (the Dulcinea de Fernando), Isabel Echarri and Lelia Arrabal take to see the exhibition to me of “Picasso erótico” in the Jeu de Paume. It lodges 335 works full of tails, yards, falos, vaginas, vulvas and one long gallery of masculine and feminine personages being used thoroughly in the exercise of the sexual act; of the sexual acts, because there is variety of approaches, positions and number of participants.
In a while dice says Darío to me Fo: perhaps it lacked to see with as much detail how it offers this exhibition the more bold privacy of a dirty genius, its fantasies and their nimiedades of alcove, the side machote, exhibitionist and predator of that without a doubt considered to throw a good dust like one of the applied arts. I comment to all
whom she would not be strange to me that the sexista studies were multiplied erasing to him, machista, maltratador and taken advantage of onlooker. Nobody has had in the world of the art falócrata than Picasso. Somebody more vaginócrata than he?
Now Umberto Eco says to us: One tells that a day the historian and museista Jean Leymarie, personal friend of the painter malague6no, did this question to him in the middle of a visit: “Tengo that to give to a conference on art and sexuality; what digo?”. “Que is mismo” Picasso responded to him. Beyond the happy phrase and the legend of his many loves, his youth of great prostibulario, his maintained viril capacity until ages of miracle, there is in the answer to Leymarie a truth. What Picasso wanted was
to paint and to follar all the day, every day (that obsession to date the panels, the drawings, the engravings, the notes, the sex). To paint like follar, follar for being able to paint better. These prodigious smaller works have something of the graffitti that the left ones leave to their passage by the services.
When I finished visionary it I exclaimed in front of all (one “boutade” that the French say): But if chicos/as of Celanova paints like Picasso! (It is necessary to defend the one Earth). And I commented to them that the director of the institute of Celanova Camilo Ogando had censured
drawings of plastic. Then it is necessary to animate them (to the students) so that they follow, answer to me. And between all they gave the catalogue of the exhibition so that was taught it to my students of Celanova. It was pleasant to see the French children (from primary in ahead) with its professors seeing the exhibition of the great teacher.
P.d.: One is going away to celebrate a exhibition in Celanova next, with the aid of the City council, the works of plastic of the students. In the drawings enchanté has collaborated Fernando Suburb (! it said to me) and they
will be sold (10000 pesetitas) in order to collect bottoms to fix a monument of the Galician historical-artistic patrimony.
(They participate in a good work)
Jack Vanarsky also was in the act of satrapas and agrees with the valuation of the other writers on Manuel Vazquez Ribada (alias chiflado gift) and also agrees with them in the one of the censorship Vanarsky is an artist
franc-Argentinean, born in General Roca, Argentina, in 1936. It study of architecture in the University of Buenos Aires, frequents plasticas factories of arts and it exerts the media. From 1962 it resides in Paris. In 1972 it collaborates with architect Vladimir Kalougine in the conception of a inovante assembly of habitacion in Angers
(France). In 1968 it creates his first animated sculptures, in you laminate, that expose since then in art centers, galerias and international fairs of France and others paises of Europe and America. Their works have been presented/displayed in the Center the Georges Pompidou (Paris), in the Center Queen Sofia, Madrid, etc. Author of "
Livremonde ", sculpture of the Pavilion of France of the Universal Exhibition of Seville, also makes other monumental works in the urban space. Selection Prize Monumental Art, The Ivry-South-Seine. Fortabat-Maison
prize of l'Amérique latine (1994). Member of the OuPeinPo group(Ouvroir de Peinture Potentielle).

See also:
http://www.acontrafio.com/hemeroteca/reportaxe_rivela.htm
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