150:(CUEC) at UNAM. As a student, she worked in broadcast television, specifically with Televisa and the state-owned Canal 13. Defying institutional policies, Weiss presented, for the first time in the history of UNAM, a thesis in the format of a videotape. Despite this, in 1975, Weiss graduated receiving her degree in mass communication and journalism. Thereafter, she began to produce works for public and commercial television. Later coining the term “teleasta” to describe herself. It derived from a similar word “cineasta” meaning filmmaker, but instead alluded to television. Similarly, scholars such as Dante Hernández Miranda agree that Weiss's playful and creative nature was evident through the continuous wordplay of her own name. For example, she used
177:. Both were influential artists of the late 1960s that experimented with videography. Paik was a principal exponent of the Fluxus movement and pioneer of video art famously known for his experimentation with televised images. Kubota pioneered North American and European video sculpture and continuously embedded feminist discourse in her works. At this time, artists experimented with sound and image through technology for creative zeal because no platforms for the distribution and exhibition of this type of work existed. Therefore, Weiss sought to use television as a possible medium for artists to display their artwork. Weiss founded the
314:
piece, Weiss conveys her social concerns and artistic interests. However, she does not invoke a formal ecological discourse, but rather a poetic one by employing narrative qualities typical of cinematography. Furthermore, the movements of the woman suggest freedom, sexuality in their nakedness, ease, enjoyment, and delight in physical exercise. Her silhouette of flesh tone contrasts with the extravagant and iridescent colors of the background (lemon yellow, green, light pink, and bluish). Through a seductive dance, the woman contorts her body through sinuous, erotic, and cathartic gestures.
337:
at full speed, she pans to different planes abruptly. It is noted that the images lack technique due to bad framing and the lack of a steady hand as Weiss did not use a tripod. Moreover, in one part of the video there is a text in dialect without a translation or description of its significance. In another scene, we see a woman throw things at Weiss' camera. She includes this to demonstrate her alternate vision for video and broadcast television. Weiss believed that by using different visual strategies a new role could be ascribed to the audience such that they become active participants.
310:
played by the actress Vivian
Blackmore. The image of the woman dancing, to the melody or exclamations of the voice-over (by Weiss herself), dissolves as shots of Mexico City, its people, and surrounding pollution are shown. As the successive language of images and effects are presented, sounds of birds and laughter are heard in the background as well. The video also pans to the domes of a church, to the naked woman driving an imaginary car in the periphery, and to the dance of the woman which invades the "suffocating" space with her pubis.
249:, Weiss describes her conceptualization of video as a negotiation between its personal depictions and relationship to mass media and the public sphere. She used broadcast television as a frame that allowed her to access a large and diverse public that was not found in artistic institutions such as galleries and museums. However, Weiss carefully used television to the extent that it provided a platform in which she could exhibit her work but refrained from working under the uniform and commercial practices of television and cinema.
356:"Autovideoato" means video self-portrait. Therefore, Weiss makes this piece in the style of an autobiography where she shows a short visual essay. Weiss incorporates a nude, dancing, female body to mock Mexican media censors. At the time, the difference between pornography and eroticism was identified as whether a nude female body was shown moving or still. She also blends images of herself through chroma key and layering effects.
269:
the audience internalizes her body. Author, Dante Hernández
Miranda, in an interview about his book on Weiss, discusses that while Weiss performed dances, contortions, and other unusual movements, she, simultaneously, traversed different spaces to learn more about her identity. Ultimately, she redefined “auto-representation” as being an in-depth process of understanding oneself by focusing on one’s interior.
412:, of 1903. Weiss enters the hospital and the word fetus is written on a skull. Weiss illustrates an intersection between her personal imaginary and scenes of the earthquake in Mexico. Then the word Mexico emerges. A naked Weiss stretches and dances on a background of the ruined city. The fragments of another Klimt painting, Life and Death, of 1911 overlap. The specter of a skull with a
257:
vision was to use video as a medium that reinvented communication through the media distinctly from how it was being done by television. Mainly, her works stemmed from feminist perspectives that she demonstrated through the presentation of body, identity, and emotions. Weiss employed a combination of documental and fictional styles in her videos. For example,
253:
media portrayals and depict realities. In avoiding the unilateral conventions of television and media, she employed an interdisciplinary form of art in which she used a combination of intimate perspectives and emotions to convey her vision of “the Other” and evoke a subjective experience among viewers.
359:
In this production, Weiss includes a text that shows an incredibly emotional and intimate exchange between her father and her. She confides in her father about her life at the time and the new changes she is experiencing. Weiss writes that she believes she has found her calling in video art. Although
313:
Weiss draws parallels between the city and the woman; in other words, the artificial and the natural. She uses the theme of water. The woman represents the earth and city that is thirsty because they have "cut" (tubed) their rivers and the only way the city has to create water is by crying. With this
336:
This work features images of indigenous women in the busy streets of Mexico City. Weiss references the kind of lifestyle the women lead amidst the noise and smog of the city. She employs saturated colors and psychedelic forms. Through sudden camera approaches, using the zoom component of her camera
268:
Weiss used her body as a vessel to illustrate her lived realities in her world. She used psychedelic qualities, like optical illusions, to explore herself within her surroundings. Additionally, she utilized her body in a form of “auto-representation.” Namely, she chooses how to view herself and how
309:
In this 18-minute video, Weiss creates a world utilizing chroma key, color saturations and psychedelic effects. The geometric configurations of strong colors give way to panoramic views of mountains, skies, and rivers and
Mexican urban areas which are interspersed with the naked body of a woman,
256:
Weiss used the formal structure of video and conceptual nature of television to engage viewers with art. She realized this by using projection-identifications; meaning that, she included and illustrated images using real-life to cause some sort of stimulus in the audience. As Weiss explained, her
252:
Weiss attempted to redefine the uses of video and television through her productions to form a connection between an artist and their audience. She bridged media and real life to emphasize a relationship between media and art. Furthermore, she sought to use this bridge to reject the falsehoods of
181:
production company, in 1977, with the objective of providing a space that facilitated the creation of audiovisual productions. In an interview, Weiss stated that television served as the mother of video and could be conceived as a form of art. For this reason, she named her artistic productions
395:
movement and the internal convulsion within herself due to the loss of her baby. Beats of a living heart are heard and, simultaneously, she makes references to menstruation through a flower that drips blood. As she twists and dances, Weiss' figure acquires a greenish tint. Flashes of an
189:(Cosmic Flower), in the 9th Encuentro Internacional del Videoarte at the Museo Carrillo Gil in Mexico City. Additionally, this is the same year that, as a professor of UNAM, Weiss founds the first educational space for the production and research of video,
297:
plays in the background. The images open to yellow, violet, and pink lights leading to the formation of a flower. The tonalities turn towards yellow, red and blue hues and depict a combination of feminine, organic and notoriously sexual connotations.
1004:
Although Weiss never received any awards, her most notable recognition happened in 1987, during the
Festival Internacional de Video, in Montpellier, France. A homage is made recognizing Weiss as the most important video artist of Latin America.
360:
she recognizes her father's hesitance and disapproval, she explains to him that she has had many triumphs and would like to share these with him. Furthermore, she states that she has found a new way of perceiving the world through video.
244:
In the late 1970s, video as a medium of art in Mexico was relatively new. As Weiss began to experiment with videography, scholars agree she developed a kind of performance relationship with her camera. In a special issue of the magazine
130:
in 1947 to a father of
Alsatian descent and Mexican mother. She grew up, at a time, when television was rising as a dominating platform of mass communication. Her younger sister, Kitzia, recalled that Weiss had always been attracted to
416:
announces death. She positions herself in a V, face down, with a red and alive heart in the background that is beating. Her body, then, collapses, suggesting the death of her child due to a spontaneous abortion.
344:
of indigenous women and the poverty surrounding their community within Mexico City. Like one scholar explains, her videos serve as an "archive" that depicts how everyday situations are placed on female bodies.
390:
She continues to say “mi ojo es mi corazón" which means my eye is my heart. In doing so, she is reinstating her belief that seeing is equivalent to feeling. She, also, presents a new allegory between the real
378:
In 1985, Mexico City suffers from a catastrophic earthquake devastating its people. In this ten-minute video, Weiss draws on the relationship between the body and the city again like she had done in
2414:
325:(MAM) in Mexico City and was scheduled to be televised. However, due to the frontal female nudity recorded, it is censored for commercial television and shocks the artistic community.
147:
193:
in the
Facultad de Ciencias Políticas at UNAM. From the time of her first release until her death in 1990, Weiss embarked on multiple projects and exhibitions throughout the
371:
Many scholars, like Dante
Miranda Hernández (author of a book on Weiss), agree that while it is difficult to name a single work as representative of Weiss' entire legacy,
996:
Most of Weiss's works are owned by Fondo Pola Weiss, at the center of documentation, Arkehia, at the Museo
Universitario de Arte Contemporaneo (MUAC), and TV UNAM.
139:
1938:
Aceves Sepúlveda, Gabriela (2017). "The
Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
1312:
Aceves Sepúlveda, Gabriela (2017). "The
Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
1266:
Aceves Sepúlveda, Gabriela (2017). "The Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
1194:
Aceves Sepúlveda, Gabriela (2017). "The Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
2399:
340:
In this production, Weiss attacks gender, class, and racial structures found within urban spaces which marginalize women. She highlights a concern for the
1650:
Weiss, Pola. "El video como posibilidad contestataria de la comunicación social." Unpublished essay. Doc. 440, Fondo Pola Weiss, Centro de Documentación
2144:
2314:
2265:
Weiss, Pola. 1975. Diseño para una unidad de producción de material didáctico en video tape. BA thesis, Universidad Nacional Autónoma de México.
1693:
MAC MASTERS, M. “El Videoasta Dante Hernández estudió la vida de Pola Weiss”. En: La Jornada. Edición Digital. México, 11 de junio de 2001.
236:
It is believed that after her father's death, Weiss fell under deep depression and committed suicide in front of her camera, in 1990.
2394:
2127:
2103:
1947:
1635:
1601:
1362:
1321:
1275:
1203:
1099:
1070:
1038:
973:
1910:: (En)gendering Regimes of Media and Visuality in Post-1968 Mexico. PhD dissertation, University of British Columbia. pp. 12-13.
161:
movement which emphasized the process of creating art rather than the finished product. She was also influenced by the works of
2419:
2098:]. Translated by Fraga, Christopher Michael. Mexico: MUAC, Museo Universitario Arte Contemporáneo, UNAM. pp. 43–44.
2031:: (En)gendering Regimes of Media and Visuality in Post-1968 Mexico. PhD dissertation, University of British Columbia. p. 400.
2379:
1630:]. Translated by Fraga, Christopher Michael. Mexico: MUAC, Museo Universitario Arte Contemporáneo, UNAM. p. 22.
1596:]. Translated by Fraga, Christopher Michael. Mexico: MUAC, Museo Universitario Arte Contemporáneo, UNAM. p. 21.
1094:]. Translated by Fraga, Christopher Michael. Mexico: MUAC, Museo Universitario Arte Contemporáneo, UNAM. p. 35.
285:
This was the first video production Weiss created and exhibited in the 9th Encuentro Internacional del Videoarte at the
2240:
Aceves Sepúlveda, Gabriela. 2015. Imagining the Cyborg in Náhuatl: Reading the Videos of Pola Weiss Through Haraway’s
2367:
2295:
968:(in Spanish). México, D.F: MUAC, Museo Universitario Arte Contemporáneo, Universidad Nacional Autónoma de México.
142:(UNAM). Although her intended major was political science (which she would later change), Weiss enrolled in
1622:
Hernández, Aline; Murphy, Benjamin (2014). "Matters of a Teleaste". In Álvarez Romero, Ekaterina (ed.).
1588:
Hernández, Aline; Murphy, Benjamin (2014). "Matters of a Teleaste". In Álvarez Romero, Ekaterina (ed.).
322:
286:
2280:
2409:
2404:
939:, Museo Universitario Arte Contemporáneo (MUAC), Universidad Autónoma de México (UNAM), Mexico City
397:
2168:
Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
1963:
Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
1881:
Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
1788:
Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
1378:
Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
1228:
Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
1667:
Pech, Cynthia (2006). "Género, representación y nuevas tecnologías: mujeres y video en México".
1218:
Torres, Edna. 1997. El videoarte en México. BA thesis, Universidad Nacional Autónoma de México.
2309:
2219:
2196:
2191:
Hernández Miranda, Dante (2000). "Segunda parte del retrato: una venusina llega a la Tierra".
2173:
2123:
2099:
2046:
1994:
1989:
Hernández Miranda, Dante (2000). "Segunda parte del retrato: una venusina llega a la Tierra".
1968:
1943:
1886:
1843:
1793:
1770:
1729:
1676:
1631:
1597:
1545:
1522:
1383:
1358:
1317:
1271:
1233:
1199:
1095:
1066:
1034:
979:
969:
118:). She also worked as a television producer and instructor of film, video, and television.
2290:
1925:
Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
1833:
1760:
1719:
1512:
1486:
Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
1466:
Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
1448:
Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
1296:
Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
2373:
2340:
2011:
Lasane Octavio (1994). "Pola Weiss: Primera dama del video independiente (primera parte)."
1065:. Los Angeles; New York: Hammer Museum, University of California; DelMonico Books/Prestel.
341:
132:
2300:
174:
166:
143:
1838:
1821:
1765:
1748:
1724:
1707:
1694:
1517:
1500:
2388:
2285:
1564:
1058:
194:
170:
162:
405:
290:
1865:
1675:(197). Distrito Federal, México: Universidad Nacional Autónoma de México: 95–104.
2275:
401:
294:
206:
127:
1401:
1353:
Aceves Sepúlveda, Gabriela (2017). Beauchesne, Kim; Santos, Alessandra (eds.).
2358:
1183:(in Spanish). Mexico: Universidad Nacional Autónoma de México. pp. 22–47.
705:
1977 IX Encuentro Internacional del Videoarte, Museo Carrillo Gil, Mexico City
289:
in Mexico City. The video is about five minutes long and presents a kind of
115:
2223:
2200:
2177:
2050:
1998:
1972:
1890:
1847:
1797:
1774:
1733:
1680:
1549:
1526:
1387:
1237:
983:
404:
tears are presented. Weiss makes an analogy between her pregnant figure and
386:. As the video begins, the camera focuses on Weiss' mouth as she spells out
230:
198:
151:
1422:
1251:
Giunta, Andrea (2013). "Feminist Disruptions in Mexican Art, 1975-1987".
857:, Instituto Latinoamericano de Comunicación Educativa (ILCE), Mexico City
102:. She is also remembered for her experimental videos in which she merged
75:
Flor cósmica, Ciudad-Mujer-Ciudad, Somos mujeres, Autovideato, Mi Corazón
2305:
2064:
1565:"Electronic Traces: Archaeological Perspectives of Media Art in Mexico"
392:
222:
210:
2315:
MUMA The Loving Ritual of the Electrical Witch: Pola Weiss (1947-1990)
964:
Weiss, Pola; Hernández, Aline; Murphy, Benjamín; Torres, Edna (2014).
761:, Unidad Azcapotzalco, Universidad Autónoma Metropolitana, Mexico City
1115:
1031:
The Age of Discrepancies: Art and Visual Culture in Mexico, 1968-1997
1027:
La era de la discrepancia: Arte y cultura visual en México, 1968-1997
413:
226:
218:
214:
202:
158:
99:
83:
639:
A foreign video production in which Pola Weiss is an invited artist.
2260:
Fantasmas en tránsito: prácticas discursivas de videastas mexicanas
2253:
Women Made Visible: Feminist Art and Media in Post-1968 Mexico City
1176:
829:, Akademie voor Beeldende Kunst, Sint Joost, Breda, The Netherlands
778:
Centro George Pompidou, Musée National d´Art Moderne, Paris, France
154:
such as POLArizado, POLAca, POLAina, POLAr, POLAnco, POLAque, etc.
107:
103:
2214:
Hernández Miranda, Dante (2000). "Sin TV-líneas de resolución".
915:
1983 MonteVideo Art Gallery Festival, Amsterdam, the Netherlands
293:. It features black and white images that transform as music by
261:(Cosmic Flower) featured a changing kaleidoscope; in contrast,
836:, Akademie voor Beeldende Kunst AKI, Enschede, The Netherlands
819:
1980 Seminario de Economía, Universidad de Montevideo, Uruguay
2334:
2329:
2324:
2319:
1033:]. Universidad Nacional Autónoma de México. p. 302.
98:, was widely recognized as the first pioneer of video art in
1341:
Artes Visuales: Revista Trimestral del Museo de Arte Moderno
110:, becoming a pioneer in what is now known as screendance or
2045:. Mexico: Comunidad Morelos S.A. de C.V. pp. 129–138.
1544:. Mexico: Comunidad Morelos S.A. de C.V. pp. 100–102.
822:
1980 Seminario de Economía, Universidad de Cracovia, Poland
795:, Dirección de Presupuesto por Programas, UNAM, Mexico City
451:
Freud I (Introducción al pensamiento psicoanalítico actual)
2218:. Mexico: Comunidad Morelos S.A. de C.V. pp. 95–115.
2122:. Mexico: Museo de Arte Contemporáneo de Monterrey. 2008.
1822:"Pola Weiss, registrando cuerpos, movimientos y desbordes"
1749:"Pola Weiss, registrando cuerpos, movimientos y desbordes"
1708:"Pola Weiss, registrando cuerpos, movimientos y desbordes"
1501:"Pola Weiss, registrando cuerpos, movimientos y desbordes"
909:
1983 Video Cankarjev Dom de Liubliana Festival, Yugoslavia
182:“arTV” for their ability to engage in mass communication.
2195:. Mexico: Comunidad Morelos S.A. de C.V. pp. 44–68.
2172:. Mexico: Comunidad Morelos S.A. de C.V. pp. 35–40.
1993:. Mexico: Comunidad Morelos S.A. de C.V. pp. 62–65.
1967:. Mexico: Comunidad Morelos S.A. de C.V. pp. 41–42.
1860:
Carrasco, Jorge. 2011. Pola Weiss: la cineasta olvidada.
1792:. Mexico: Comunidad Morelos S.A. de C.V. pp. 26–29.
864:, Escuela Nacional de Artes Plásticas (ENAP), Mexico City
169:. After a trip to New York, she came into contact with
1885:. Mexico: Comunidad Morelos S.A. de C.V. p. 30.
1826:
Cuadernos de Música, Artes Visuales y Artes Escénicas
1753:
Cuadernos de Música, Artes Visuales y Artes Escénicas
1712:
Cuadernos de Música, Artes Visuales y Artes Escénicas
1505:
Cuadernos de Música, Artes Visuales y Artes Escénicas
1382:. Mexico: Comunidad Morelos S.A. de C.V. p. 12.
1232:. Mexico: Comunidad Morelos S.A. de C.V. p. 13.
930:
Historia de mujeres: Artistas en México del Siglo XX,
2120:
Historia de Mujeres: Artistas en México del Siglo XX
850:, MonteVideo Art Gallery, Amsterdam, the Netherlands
809:, Museo Michoacano, INAH, Morelia, Michoacán, México
785:
MonteVideo Art Gallery de Amsterdam, the Netherlands
2262:. México: Universidad de la Ciudad de México, 2009.
1695:
http://www.jornada.unam.mx/2001/06/11/05an1cul.html
1423:"REVISIÓN GENERAL SOBRE LA VIDEOCREACIÓN EN MÉXICO"
752:
Encuentro Internacional de L'arte della Performance
79:
69:
61:
53:
41:
25:
18:
2341:"Pola Weiss, Artist in distribution, Mexico, 1947"
885:, Musée d'Art Moderne de la Ville de Paris, France
461:Introducción al pensamiento psicoanalítico actual)
1669:Revista Mexicana de Ciencias Políticas y Sociales
764:1979 Fideicomiso Puerto Vallarta, Jalisco, México
731:Introducción al Pensamiento psicoanalítico actual
148:Centro Universitario de Estudios Cinematográficos
932:Museo de Arte Contemporáneo de Monterrey, México
562:There is no video documentation; only presented.
2415:National Autonomous University of Mexico alumni
1940:Performing Utopias in the Contemporary Americas
1866:http://www.etcetera.com.mx/2000/399/jcv399.html
1355:Performing Utopias in the Contemporary Americas
1314:Performing Utopias in the Contemporary Americas
1268:Performing Utopias in the Contemporary Americas
1196:Performing Utopias in the Contemporary Americas
57:Universidad Nacional Autónoma de México (UNAM)
1923:Escobedo Contreras, Teolinda Isadora (2015).
1662:
1660:
1484:Escobedo Contreras, Teolinda Isadora (2015).
1446:Escobedo Contreras, Teolinda Isadora (2015).
1294:Escobedo Contreras, Teolinda Isadora (2015).
897:Toma el video abuelita (y enséñame tu ropero)
890:Toma el video abuelita (y enséñame tu ropero)
740:, Universidad Central de Venezuela, Venezuela
557:Toma el video abuelita (y enséñame tu ropero)
8:
2363:(Pola Weiss Re-connaissance) Chalton Gallery
2246:Platform: Journal of Media and Communication
1063:Radical Women: Latin American Art, 1960-1985
951:Radical Women: Latin American Art, 1960–1985
918:1983 Video/Culture Festival, Toronto, Canada
747:, Kansas City Art Institute, Kansas City, US
2375:Yonatan Gad's playlist of Pola Weiss videos
2301:Pola Weiss, la madre del videoarte mexicano
2216:Pola Weiss: Pionera del Videoarte en México
2193:Pola Weiss: Pionera del Videoarte en México
2170:Pola Weiss: Pionera del Videoarte en México
2043:Pola Weiss: Pionera del Videoarte en México
1991:Pola Weiss: Pionera del videoarte en México
1965:Pola Weiss: Pionera del Videoarte en México
1883:Pola Weiss: Pionera del Videoarte en México
1790:Pola Weiss: Pionera del Videoarte en México
1569:Archée: cyberart et cyberculture artistique
1542:Pola Weiss: Pionera del Videoarte en México
1380:Pola Weiss: Pionera del Videoarte en México
1230:Pola Weiss: Pionera del Videoarte en México
1142:Screendance: Inscribing the Ephemeral Image
966:Pola Weiss : La TV te ve = TV sees you
317:This video was presented in the exhibition
1927:. Mexico: Universidad de León. p. 53.
1488:. Mexico: Universidad de León. p. 48.
1468:. Mexico: Universidad de León. p. 47.
1450:. Mexico: Universidad de León. p. 15.
1298:. Mexico: Universidad de León. p. 45.
1177:"La videodanza: otra imagen para la danza"
878:, Museo de Arte Moderno (MAM), Mexico City
726:, Museo de Arte Moderno (MAM), Mexico City
15:
1837:
1764:
1723:
1516:
1175:Benhumea, Nayeli; Lachino, Hayde (2012).
1155:Lachino, Hayde; Benhumea, Nayeli (2012).
712:, Foro de la Librería Gandhi, Mexico City
375:is the most reflective of who Weiss was.
157:Her works were largely influenced by the
953:, Hammer Museum, Los Angeles, California
843:, Galería Chapultepec, INBA, Mexico City
185:In 1977, Weiss presented her first work
2145:"Pola Weiss: Performing with the video"
2090:Álvarez Romero, Ekaterina, ed. (2014).
1815:
1813:
1811:
1809:
1807:
1086:Álvarez Romero, Ekaterina, ed. (2014).
1014:
912:1983 Videosud de París Festival, France
834:Artes plásticas y videos con Pola Weiss
827:Artes plásticas y videos con Pola Weiss
816:, Auditorio Nacional, INBA, Mexico City
140:Universidad Nacional Autónoma de México
2023:
2021:
1984:
1982:
1918:
1916:
1902:
1900:
1479:
1477:
1475:
1464:Escobedo Contreras, Teolinda Isadora.
1459:
1457:
1335:
1333:
1307:
1305:
1289:
1287:
1181:Videodanza: de la escena a la pantalla
1157:Videodanza, De la Escena a la Pantalla
1876:
1874:
1862:Etcétera, política y cultura en línea
1617:
1615:
1613:
7:
1170:
1168:
1166:
1052:
1050:
1020:
1018:
788:1980 Athens Video Festival, Ohio, US
719:, Canal 10, Arts Intermix, New York
2400:20th-century Mexican women artists
2027:Aceves Sepúlveda, Gabriela. 2014.
1906:Aceves Sepúlveda, Gabriela. 2014.
946:, Chalton Gallery, London, England
906:, Galería Chapultepec, Mexico City
754:, Palazzo Grassi de Venecia, Italy
84:http://polaweiss.mx/index_eng.html
14:
2041:Hernández-Miranda, Dante (2000).
1839:10.11144/javeriana.mavae13-1.pwrc
1766:10.11144/javeriana.mavae13-1.pwrc
1725:10.11144/javeriana.mavae13-1.pwrc
1540:Hernández Miranda, Dante (2000).
1518:10.11144/javeriana.mavae13-1.pwrc
733:, Palacio de Minería, Mexico City
1942:. Springer Nature. p. 291.
1357:. Springer Nature. p. 292.
1316:. Springer Nature. p. 284.
1270:. Springer Nature. p. 287.
1198:. Springer Nature. p. 286.
2255:. University of Nebraska Press.
904:Se ExtraPOLA se InterPOLA WEISS
771:, Galería Pecanins, Mexico City
2281:Historia de Mujeres Exhibition
1025:Debroise, Oliver, ed. (2006).
899:, Museo del Chopo, Mexico CIty
892:, ACTV, Canal 7, Austin, Texas
871:, Air Gallery, London, England
738:I Video Festival de Caracas 79
265:can be seen as a documentary.
1:
2251:Aceves Sepúlveda, G. (2019).
925:, Centro de la Imagen, México
769:Juegos y mugritas, Pola Weiss
191:Taller Experimental de Video,
1820:Lucero, María Elena (2017).
1747:Lucero, María Elena (2017).
1706:Lucero, María Elena (2017).
1499:Lucero, María Elena (2017).
1343:, no.17 (Spring 1978): 19-20
1339:Weiss, Pola. "La TV te ve,"
807:La venusina renace y reforma
745:International Art Exhibition
545:La venusina renace y reforma
1402:"Pola Weiss Álvarez | IDIS"
1140:Rosenberg, Douglas (2012).
800:Northwest Chicano Community
2436:
2361:Pola Weiss Re-conocimiento
2296:The Influential Generation
1144:. Oxford University Press.
1061:; Alonso, Rodrigo (2017).
485:Videodanza viva videodanza
2355:Has 11 of Wiess's videos.
2029:Mujeres que se visualizan
1908:Mujeres que se visualizan
944:Performing with the Video
2395:Artists from Mexico City
2291:Radical Women Exhibition
1563:Vergara Vargas, Erandy.
793:Anthology Films Archives
92:Pola Maria Weiss Álvarez
30:Pola Maria Weiss Álvarez
2286:Pola Weiss: La TV te ve
2096:Pola Weiss: TV Sees You
2092:Pola Weiss: La TV te ve
1628:Pola Weiss: TV Sees You
1624:Pola Weiss: La TV te ve
1594:Pola Weiss: TV Sees You
1590:Pola Weiss: La TV te ve
1092:Pola Weiss: TV Sees You
1088:Pola Weiss: La TV te ve
1057:Fajardo-Hill, Cecilia;
937:Pola Weiss: La TV te ve
2420:Mexican video artists
2242:Manifesto for Cyborgs
1120:Pola Weiss, Biography
592:Palenque y ¿Pola qué?
323:Museo de Arte Moderno
65:Video art, videodanza
45:May 6, 1990 (aged 43)
1159:. Mexico City: UNAM.
814:Abriendo espacios...
759:Videos de Pola Weiss
710:Pola Weiss, Teleasta
604:Las tasas de interés
503:Cuilapan de Guerrero
240:Focus of videography
2335:Ciudad-Mujer-Ciudad
783:Pola Weiss, Mexico,
669:Videoklip de Duerme
645:Videorigen de Weiss
539:Santa Cruz Tepexpan
509:Los muertos en Etla
433:Ciudad-Mujer-Ciudad
380:Ciudad-Mujer-Ciudad
303:Ciudad-Mujer-Ciudad
263:Santa Cruz Tepexpan
138:Weiss attended the
36:Mexico City, Mexico
2306:Pola Weiss Álvarez
287:Museo Carrillo Gil
126:Weiss was born in
2143:Haberman, Shani.
942:2016 Pola Weiss:
776:Pola Weiss, arTV,
724:Nuevas Tendencias
421:Video productions
398:electrocardiogram
319:Nuevas Tendencias
89:
88:
2427:
2376:
2364:
2354:
2352:
2351:
2228:
2227:
2211:
2205:
2204:
2188:
2182:
2181:
2165:
2159:
2158:
2156:
2155:
2140:
2134:
2133:
2116:
2110:
2109:
2087:
2081:
2080:
2078:
2076:
2061:
2055:
2054:
2038:
2032:
2025:
2016:
2015:. no. 2. México.
2009:
2003:
2002:
1986:
1977:
1976:
1960:
1954:
1953:
1935:
1929:
1928:
1920:
1911:
1904:
1895:
1894:
1878:
1869:
1858:
1852:
1851:
1841:
1817:
1802:
1801:
1785:
1779:
1778:
1768:
1744:
1738:
1737:
1727:
1703:
1697:
1691:
1685:
1684:
1664:
1655:
1648:
1642:
1641:
1619:
1608:
1607:
1585:
1579:
1578:
1576:
1575:
1560:
1554:
1553:
1537:
1531:
1530:
1520:
1496:
1490:
1489:
1481:
1470:
1469:
1461:
1452:
1451:
1443:
1437:
1436:
1434:
1432:
1427:
1418:
1412:
1411:
1409:
1408:
1398:
1392:
1391:
1375:
1369:
1368:
1350:
1344:
1337:
1328:
1327:
1309:
1300:
1299:
1291:
1282:
1281:
1263:
1257:
1256:
1248:
1242:
1241:
1225:
1219:
1216:
1210:
1209:
1191:
1185:
1184:
1172:
1161:
1160:
1152:
1146:
1145:
1137:
1131:
1130:
1128:
1126:
1112:
1106:
1105:
1083:
1077:
1076:
1054:
1045:
1044:
1022:
987:
675:Ejercicio con Mo
598:Bidé o Eskultura
94:, also known as
72:
16:
2435:
2434:
2430:
2429:
2428:
2426:
2425:
2424:
2385:
2384:
2374:
2359:
2349:
2347:
2339:
2276:Nace Pola Weiss
2272:
2258:Pech, Cynthia.
2237:
2235:Further reading
2232:
2231:
2213:
2212:
2208:
2190:
2189:
2185:
2167:
2166:
2162:
2153:
2151:
2149:Chalton Gallery
2142:
2141:
2137:
2130:
2118:
2117:
2113:
2106:
2089:
2088:
2084:
2074:
2072:
2071:. 31 March 2017
2063:
2062:
2058:
2040:
2039:
2035:
2026:
2019:
2010:
2006:
1988:
1987:
1980:
1962:
1961:
1957:
1950:
1937:
1936:
1932:
1922:
1921:
1914:
1905:
1898:
1880:
1879:
1872:
1859:
1855:
1819:
1818:
1805:
1787:
1786:
1782:
1746:
1745:
1741:
1705:
1704:
1700:
1692:
1688:
1666:
1665:
1658:
1649:
1645:
1638:
1621:
1620:
1611:
1604:
1587:
1586:
1582:
1573:
1571:
1562:
1561:
1557:
1539:
1538:
1534:
1498:
1497:
1493:
1483:
1482:
1473:
1463:
1462:
1455:
1445:
1444:
1440:
1430:
1428:
1425:
1420:
1419:
1415:
1406:
1404:
1400:
1399:
1395:
1377:
1376:
1372:
1365:
1352:
1351:
1347:
1338:
1331:
1324:
1311:
1310:
1303:
1293:
1292:
1285:
1278:
1265:
1264:
1260:
1250:
1249:
1245:
1227:
1226:
1222:
1217:
1213:
1206:
1193:
1192:
1188:
1174:
1173:
1164:
1154:
1153:
1149:
1139:
1138:
1134:
1124:
1122:
1114:
1113:
1109:
1102:
1085:
1084:
1080:
1073:
1056:
1055:
1048:
1041:
1024:
1023:
1016:
1011:
1002:
994:
976:
963:
960:
883:Bienal de París
717:Antología POLAr
702:
657:Romualdo García
515:Todavía estamos
423:
369:
354:
342:marginalization
334:
307:
283:
275:
242:
207:The Netherlands
146:courses in the
133:motion pictures
124:
70:
49:
46:
37:
34:
32:
31:
21:
12:
11:
5:
2433:
2431:
2423:
2422:
2417:
2412:
2407:
2402:
2397:
2387:
2386:
2383:
2382:
2371:
2356:
2337:
2332:
2327:
2322:
2317:
2312:
2303:
2298:
2293:
2288:
2283:
2278:
2271:
2270:External links
2268:
2267:
2266:
2263:
2256:
2249:
2236:
2233:
2230:
2229:
2206:
2183:
2160:
2135:
2128:
2111:
2104:
2082:
2056:
2033:
2017:
2013:Revista Visión
2004:
1978:
1955:
1948:
1930:
1912:
1896:
1870:
1853:
1803:
1780:
1739:
1698:
1686:
1656:
1643:
1636:
1609:
1602:
1580:
1555:
1532:
1491:
1471:
1453:
1438:
1413:
1393:
1370:
1363:
1345:
1329:
1322:
1301:
1283:
1276:
1258:
1243:
1220:
1211:
1204:
1186:
1162:
1147:
1132:
1107:
1100:
1078:
1071:
1059:Giunta, Andrea
1046:
1039:
1013:
1012:
1010:
1007:
1001:
998:
993:
990:
989:
988:
974:
959:
956:
955:
954:
947:
940:
933:
926:
919:
916:
913:
910:
907:
900:
893:
886:
879:
872:
865:
858:
851:
844:
837:
830:
823:
820:
817:
810:
803:
796:
789:
786:
779:
772:
765:
762:
755:
748:
741:
734:
727:
720:
713:
706:
701:
698:
697:
696:
690:
684:
678:
672:
666:
660:
654:
648:
642:
641:
640:
631:
625:
619:
613:
607:
601:
595:
589:
583:
577:
571:
565:
564:
563:
554:
548:
542:
536:
530:
524:
518:
512:
506:
500:
494:
488:
482:
476:
470:
467:Cuetzalán y yo
464:
454:
448:
442:
436:
430:
422:
419:
368:
362:
353:
347:
333:
327:
306:
300:
282:
276:
274:
271:
247:Artes Visuales
241:
238:
175:Shigeko Kubota
167:Shigeko Kubota
144:cinematography
135:as a child.
123:
120:
87:
86:
81:
77:
76:
73:
67:
66:
63:
62:Known for
59:
58:
55:
51:
50:
47:
43:
39:
38:
35:
29:
27:
23:
22:
19:
13:
10:
9:
6:
4:
3:
2:
2432:
2421:
2418:
2416:
2413:
2411:
2408:
2406:
2403:
2401:
2398:
2396:
2393:
2392:
2390:
2381:
2377:
2372:
2369:
2365:
2362:
2357:
2346:
2342:
2338:
2336:
2333:
2331:
2328:
2326:
2323:
2321:
2318:
2316:
2313:
2311:
2307:
2304:
2302:
2299:
2297:
2294:
2292:
2289:
2287:
2284:
2282:
2279:
2277:
2274:
2273:
2269:
2264:
2261:
2257:
2254:
2250:
2248:6 (2): 46–60.
2247:
2243:
2239:
2238:
2234:
2225:
2221:
2217:
2210:
2207:
2202:
2198:
2194:
2187:
2184:
2179:
2175:
2171:
2164:
2161:
2150:
2146:
2139:
2136:
2131:
2129:9789686623734
2125:
2121:
2115:
2112:
2107:
2105:9786070256448
2101:
2097:
2093:
2086:
2083:
2070:
2066:
2060:
2057:
2052:
2048:
2044:
2037:
2034:
2030:
2024:
2022:
2018:
2014:
2008:
2005:
2000:
1996:
1992:
1985:
1983:
1979:
1974:
1970:
1966:
1959:
1956:
1951:
1949:9781137568731
1945:
1941:
1934:
1931:
1926:
1919:
1917:
1913:
1909:
1903:
1901:
1897:
1892:
1888:
1884:
1877:
1875:
1871:
1867:
1863:
1857:
1854:
1849:
1845:
1840:
1835:
1831:
1827:
1823:
1816:
1814:
1812:
1810:
1808:
1804:
1799:
1795:
1791:
1784:
1781:
1776:
1772:
1767:
1762:
1758:
1754:
1750:
1743:
1740:
1735:
1731:
1726:
1721:
1717:
1713:
1709:
1702:
1699:
1696:
1690:
1687:
1682:
1678:
1674:
1670:
1663:
1661:
1657:
1654:, MUAC, UNAM.
1653:
1647:
1644:
1639:
1637:9786070256448
1633:
1629:
1625:
1618:
1616:
1614:
1610:
1605:
1603:9786070256448
1599:
1595:
1591:
1584:
1581:
1570:
1566:
1559:
1556:
1551:
1547:
1543:
1536:
1533:
1528:
1524:
1519:
1514:
1510:
1506:
1502:
1495:
1492:
1487:
1480:
1478:
1476:
1472:
1467:
1460:
1458:
1454:
1449:
1442:
1439:
1424:
1421:Sedeño, Ana.
1417:
1414:
1403:
1397:
1394:
1389:
1385:
1381:
1374:
1371:
1366:
1364:9781137568731
1360:
1356:
1349:
1346:
1342:
1336:
1334:
1330:
1325:
1323:9781137568731
1319:
1315:
1308:
1306:
1302:
1297:
1290:
1288:
1284:
1279:
1277:9781137568731
1273:
1269:
1262:
1259:
1254:
1247:
1244:
1239:
1235:
1231:
1224:
1221:
1215:
1212:
1207:
1205:9781137568731
1201:
1197:
1190:
1187:
1182:
1178:
1171:
1169:
1167:
1163:
1158:
1151:
1148:
1143:
1136:
1133:
1121:
1117:
1111:
1108:
1103:
1101:9786070256448
1097:
1093:
1089:
1082:
1079:
1074:
1072:9783791356808
1068:
1064:
1060:
1053:
1051:
1047:
1042:
1040:9789703238293
1036:
1032:
1028:
1021:
1019:
1015:
1008:
1006:
999:
997:
991:
985:
981:
977:
975:9786070256448
971:
967:
962:
961:
957:
952:
948:
945:
941:
938:
934:
931:
927:
924:
920:
917:
914:
911:
908:
905:
901:
898:
894:
891:
887:
884:
880:
877:
873:
870:
866:
863:
859:
856:
852:
849:
845:
842:
841:ExtraPOLAción
838:
835:
831:
828:
824:
821:
818:
815:
811:
808:
804:
801:
797:
794:
790:
787:
784:
780:
777:
773:
770:
766:
763:
760:
756:
753:
749:
746:
742:
739:
735:
732:
728:
725:
721:
718:
714:
711:
707:
704:
703:
699:
694:
691:
688:
685:
682:
679:
676:
673:
670:
667:
664:
661:
658:
655:
652:
649:
646:
643:
638:
637:
635:
632:
629:
626:
623:
620:
617:
614:
611:
608:
605:
602:
599:
596:
593:
590:
587:
584:
581:
578:
575:
574:Extrapolación
572:
569:
566:
561:
560:
558:
555:
552:
549:
546:
543:
540:
537:
534:
531:
528:
527:Caleidoscopio
525:
522:
519:
516:
513:
510:
507:
504:
501:
498:
495:
492:
489:
486:
483:
480:
477:
474:
471:
468:
465:
462:
458:
455:
452:
449:
446:
443:
440:
439:Somos mujeres
437:
434:
431:
428:
425:
424:
420:
418:
415:
411:
408:'s painting,
407:
403:
399:
394:
389:
388:mi co-ra-zón.
385:
384:Somos Mujeres
381:
376:
374:
366:
363:
361:
357:
351:
348:
346:
343:
338:
331:
330:Somos mujeres
328:
326:
324:
320:
315:
311:
304:
301:
299:
296:
292:
288:
280:
277:
273:Notable works
272:
270:
266:
264:
260:
254:
250:
248:
239:
237:
234:
232:
228:
224:
220:
216:
212:
208:
204:
200:
196:
195:United States
192:
188:
183:
180:
176:
173:and his wife
172:
171:Nam June Paik
168:
164:
163:Nam June Paik
160:
155:
153:
149:
145:
141:
136:
134:
129:
121:
119:
117:
113:
109:
105:
101:
97:
93:
85:
82:
78:
74:
68:
64:
60:
56:
52:
44:
40:
28:
24:
17:
2378:playlist on
2360:
2348:. Retrieved
2345:www.li-ma.nl
2344:
2320:Flor cósmica
2259:
2252:
2245:
2241:
2215:
2209:
2192:
2186:
2169:
2163:
2152:. Retrieved
2148:
2138:
2119:
2114:
2095:
2091:
2085:
2073:. Retrieved
2068:
2065:"Pola Weiss"
2059:
2042:
2036:
2028:
2012:
2007:
1990:
1964:
1958:
1939:
1933:
1924:
1907:
1882:
1861:
1856:
1829:
1825:
1789:
1783:
1756:
1752:
1742:
1715:
1711:
1701:
1689:
1672:
1668:
1651:
1646:
1627:
1623:
1593:
1589:
1583:
1572:. Retrieved
1568:
1558:
1541:
1535:
1508:
1504:
1494:
1485:
1465:
1447:
1441:
1429:. Retrieved
1416:
1405:. Retrieved
1396:
1379:
1373:
1354:
1348:
1340:
1313:
1295:
1267:
1261:
1252:
1246:
1229:
1223:
1214:
1195:
1189:
1180:
1156:
1150:
1141:
1135:
1123:. Retrieved
1119:
1116:"Pola Weiss"
1110:
1091:
1087:
1081:
1062:
1030:
1026:
1003:
995:
965:
958:Publications
950:
943:
936:
929:
922:
903:
896:
889:
882:
875:
868:
862:Escultura 81
861:
854:
847:
840:
833:
826:
813:
806:
799:
792:
782:
775:
768:
758:
751:
744:
737:
730:
723:
716:
709:
692:
686:
680:
674:
668:
662:
656:
650:
644:
633:
627:
621:
615:
610:La Buceadita
609:
603:
597:
591:
585:
579:
573:
567:
556:
550:
544:
538:
533:Sol o Águila
532:
526:
520:
514:
508:
502:
496:
490:
484:
478:
472:
466:
460:
456:
450:
444:
438:
432:
427:Flor Cósmica
426:
409:
406:Gustav Klimt
387:
383:
379:
377:
372:
370:
364:
358:
355:
349:
339:
335:
329:
318:
316:
312:
308:
302:
291:kaleidoscope
284:
279:Flor Cósmica
278:
267:
262:
259:Flor cósmica
258:
255:
251:
246:
243:
235:
190:
187:Flor cósmica
186:
184:
178:
156:
137:
125:
111:
95:
91:
90:
71:Notable work
2410:1990 deaths
2405:1947 births
2075:February 1,
992:Collections
876:Polarizando
700:Exhibitions
473:Autovideato
410:Esperanza I
402:crystalline
350:Autovideato
295:Chick Corea
128:Mexico City
33:May 3, 1947
2389:Categories
2350:2018-05-12
2330:Mi Corazón
2154:2019-02-17
2069:Pola Weiss
1574:2019-02-21
1407:2019-02-09
1009:References
935:2014-2015
855:Pola Weiss
848:Pola Weiss
802:, New York
681:Mi Corazón
628:La Carrera
616:Toti amiga
568:El eclipse
521:Amante set
497:Xochimilco
373:Mi Corazón
365:Mi Corazón
152:neologisms
116:videodance
112:videodanza
96:Pola Weiss
20:Pola Weiss
2224:651319235
2201:651319235
2178:651319235
2051:651319235
1999:651319235
1973:651319235
1891:651319235
1848:2215-9959
1832:(1): 49.
1798:651319235
1775:1794-6670
1759:(1): 48.
1734:1794-6670
1718:(1): 45.
1681:0185-1918
1550:651319235
1527:2215-9959
1511:(1): 45.
1388:234134742
1253:Artelogie
1238:651319235
984:903226718
923:Intimidad
231:Argentina
199:Venezuela
54:Education
1431:March 2,
1255:(5): 15.
1125:March 7,
663:Videopus
491:Papalotl
479:El avión
457:Freud II
445:Versátil
2380:YouTube
2368:YouTube
1652:Arkheia
693:Inertia
636:(1983)
634:David I
622:arTVing
586:Navideo
559:(1982)
393:seismic
321:at the
223:Belgium
211:Uruguay
80:Website
2325:Merlín
2222:
2199:
2176:
2126:
2102:
2049:
1997:
1971:
1946:
1889:
1846:
1796:
1773:
1732:
1679:
1634:
1600:
1548:
1525:
1386:
1361:
1320:
1274:
1236:
1202:
1098:
1069:
1037:
1000:Honors
982:
972:
869:Exoego
695:(1989)
689:(1987)
687:Merlín
683:(1986)
677:(1985)
671:(1985)
665:(1985)
659:(1985)
653:(1985)
651:Weegee
647:(1984)
630:(1983)
624:(1983)
618:(1983)
612:(1983)
606:(1983)
600:(1983)
594:(1983)
588:(1983)
582:(1983)
576:(1982)
570:(1982)
553:(1981)
551:Exoego
547:(1980)
541:(1980)
535:(1980)
529:(1979)
523:(1979)
517:(1979)
511:(1979)
505:(1979)
499:(1979)
493:(1979)
487:(1979)
481:(1979)
475:(1979)
469:(1979)
463:(1978)
453:(1978)
447:(1978)
441:(1978)
435:(1978)
429:(1977)
414:scythe
367:(1986)
352:(1979)
332:(1978)
305:(1978)
281:(1977)
227:Brazil
219:Canada
215:Poland
203:France
159:Fluxus
100:Mexico
48:Mexico
2094:[
1626:[
1592:[
1426:(PDF)
1090:[
1029:[
949:2017
928:2008
921:1995
902:1982
895:1982
888:1982
881:1982
874:1982
867:1981
860:1981
853:1981
846:1981
839:1981
832:1981
825:1981
812:1980
805:1980
798:1980
791:1980
781:1979
774:1979
767:1979
757:1979
750:1979
743:1979
736:1979
729:1978
722:1978
715:1978
708:1978
580:Salto
108:video
104:dance
2310:IMDb
2220:OCLC
2197:OCLC
2174:OCLC
2124:ISBN
2100:ISBN
2077:2019
2047:OCLC
1995:OCLC
1969:OCLC
1944:ISBN
1887:OCLC
1844:ISSN
1794:OCLC
1771:ISSN
1730:ISSN
1677:ISSN
1632:ISBN
1598:ISBN
1546:OCLC
1523:ISSN
1433:2019
1384:OCLC
1359:ISBN
1318:ISBN
1272:ISBN
1234:OCLC
1200:ISBN
1127:2015
1096:ISBN
1067:ISBN
1035:ISBN
980:OCLC
970:ISBN
400:and
382:and
229:and
179:arTV
165:and
122:Life
106:and
42:Died
26:Born
2366:on
2308:at
1834:doi
1761:doi
1720:doi
1513:doi
2391::
2343:.
2244:.
2147:.
2067:.
2020:^
1981:^
1915:^
1899:^
1873:^
1864:.
1842:.
1830:13
1828:.
1824:.
1806:^
1769:.
1757:13
1755:.
1751:.
1728:.
1716:13
1714:.
1710:.
1673:48
1671:.
1659:^
1612:^
1567:.
1521:.
1509:13
1507:.
1503:.
1474:^
1456:^
1332:^
1304:^
1286:^
1179:.
1165:^
1118:.
1049:^
1017:^
978:.
233:.
225:,
221:,
217:,
213:,
209:,
205:,
201:,
197:,
2370:.
2353:.
2226:.
2203:.
2180:.
2157:.
2132:.
2108:.
2079:.
2053:.
2001:.
1975:.
1952:.
1893:.
1868:.
1850:.
1836::
1800:.
1777:.
1763::
1736:.
1722::
1683:.
1640:.
1606:.
1577:.
1552:.
1529:.
1515::
1435:.
1410:.
1390:.
1367:.
1326:.
1280:.
1240:.
1208:.
1129:.
1104:.
1075:.
1043:.
986:.
459:(
114:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.