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Pola Weiss Álvarez

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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.
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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.
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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,
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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.
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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
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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
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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
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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
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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,
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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
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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
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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
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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.
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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.
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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.
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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
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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
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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.
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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.
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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
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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
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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,
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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.
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Aceves Sepúlveda, Gabriela (2017). "The Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
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Aceves Sepúlveda, Gabriela (2017). "The Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
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Aceves Sepúlveda, Gabriela (2017). "The Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
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Aceves Sepúlveda, Gabriela (2017). "The Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)". In Beauchesne, Kim; Santos, Alessandra (eds.).
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In this production, Weiss attacks gender, class, and racial structures found within urban spaces which marginalize women. She highlights a concern for the
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Weiss, Pola. "El video como posibilidad contestataria de la comunicación social." Unpublished essay. Doc. 440, Fondo Pola Weiss, Centro de Documentación
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Weiss, Pola. 1975. Diseño para una unidad de producción de material didáctico en video tape. BA thesis, Universidad Nacional Autónoma de México.
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MAC MASTERS, M. “El Videoasta Dante Hernández estudió la vida de Pola Weiss”. En: La Jornada. Edición Digital. México, 11 de junio de 2001.
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It is believed that after her father's death, Weiss fell under deep depression and committed suicide in front of her camera, in 1990.
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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
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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.).
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Hernández, Aline; Murphy, Benjamin (2014). "Matters of a Teleaste". In Álvarez Romero, Ekaterina (ed.).
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Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
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Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
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Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
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Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
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Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
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Hernández Miranda, Dante (2000). "Primera parte del retrato: De una Flor cósmica a Autovideato".
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Pech, Cynthia (2006). "Género, representación y nuevas tecnologías: mujeres y video en México".
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Torres, Edna. 1997. El videoarte en México. BA thesis, Universidad Nacional Autónoma de México.
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Hernández Miranda, Dante (2000). "Segunda parte del retrato: una venusina llega a la Tierra".
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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
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Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
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Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
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Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
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Historiografía del videoarte mexicano a través de un recorrido de tres décadas de producción
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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
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in Mexico City. The video is about five minutes long and presents a kind of
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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)
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Weiss, Pola; Hernández, Aline; Murphy, Benjamín; Torres, Edna (2014).
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The Age of Discrepancies: Art and Visual Culture in Mexico, 1968-1997
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La era de la discrepancia: Arte y cultura visual en México, 1968-1997
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A foreign video production in which Pola Weiss is an invited artist.
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Fantasmas en tránsito: prácticas discursivas de videastas mexicanas
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Women Made Visible: Feminist Art and Media in Post-1968 Mexico City
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Centro George Pompidou, Musée National d´Art Moderne, Paris, France
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such as POLArizado, POLAca, POLAina, POLAr, POLAnco, POLAque, etc.
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Hernández Miranda, Dante (2000). "Sin TV-líneas de resolución".
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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
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Cuadernos de Música, Artes Visuales y Artes Escénicas
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Cuadernos de Música, Artes Visuales y Artes Escénicas
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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,
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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. 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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: 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