s pinyol web

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	<title>s pinyol web</title>
	<link>https://spinyol.com</link>
	<description>s pinyol web</description>
	<pubDate>Sat, 14 Feb 2026 14:05:51 +0000</pubDate>
	<generator>https://spinyol.com</generator>
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	<item>
		<title>Desktop</title>
				
		<link>https://spinyol.com/Desktop</link>

		<pubDate>Fri, 03 Jan 2020 11:09:39 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/Desktop</guid>

		<description>
&#60;img width="800" height="648" width_o="800" height_o="648" data-src="https://freight.cargo.site/t/original/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" data-mid="57615670" border="0" data-draggable alt="what has not been lost" data-caption="what has not been lost" src="https://freight.cargo.site/w/800/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" /&#62;
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&#60;img width="800" height="648" width_o="800" height_o="648" data-src="https://freight.cargo.site/t/original/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" data-mid="57615670" border="0" alt="a river plus a river are not two rivers" data-caption="a river plus a river are not two rivers" src="https://freight.cargo.site/w/800/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" /&#62;
&#60;img width="800" height="648" width_o="800" height_o="648" data-src="https://freight.cargo.site/t/original/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" data-mid="57615670" border="0" data-draggable alt="unexpected neighbors" data-caption="unexpected neighbors" src="https://freight.cargo.site/w/800/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" /&#62;
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&#60;img width="800" height="648" width_o="800" height_o="648" data-src="https://freight.cargo.site/t/original/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" data-mid="57615670" border="0" alt="original soundtrack" data-caption="original soundtrack" src="https://freight.cargo.site/w/800/i/98dbb9064f4684fbc3feac6b8a5204d0f7396641a5b715e85d53ce3a8989e0db/folder.png" /&#62;
&#60;img width="626" height="626" width_o="626" height_o="626" data-src="https://freight.cargo.site/t/original/i/914cf68ab0408caeadc77e3c7bd359327d1016466a574398f1418a711ad40658/chocolate-bar-candy-icon-isolated_18591-82190.png" data-mid="229819754" border="0" alt="the international day of no abstraction" data-caption="the international day of no abstraction" src="https://freight.cargo.site/w/626/i/914cf68ab0408caeadc77e3c7bd359327d1016466a574398f1418a711ad40658/chocolate-bar-candy-icon-isolated_18591-82190.png" /&#62;
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	<item>
		<title>before everything disappears</title>
				
		<link>https://spinyol.com/before-everything-disappears</link>

		<pubDate>Fri, 03 Jan 2020 11:09:41 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/before-everything-disappears</guid>

		<description>
	before 
everything 
dissapears


	SGR Gallery 
Bogota 2018


&#60;img width="5219" height="3479" width_o="5219" height_o="3479" data-src="https://freight.cargo.site/t/original/i/568ac2f2ebdc0cd53bd68f6bd241e7e4bc03ae4428d1ce0e12617d86de3bf432/SPINYOL-SGR-2018-GENERALES-2.jpg" data-mid="57616772" border="0"  src="https://freight.cargo.site/w/1000/i/568ac2f2ebdc0cd53bd68f6bd241e7e4bc03ae4428d1ce0e12617d86de3bf432/SPINYOL-SGR-2018-GENERALES-2.jpg" /&#62;
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	Spaces or urban infrastructures are usually thought of as a collection of static volumes and objects that do not act. This is especially true for art spaces that supposedly function as anonymous places that offer only a background structure that disappears in the light of the works it hosts. In spite of the efforts to neutralize the differential characteristics of these spaces to guarantee the “adequate” visibility (and sale) of the works, their organization is active. There, grammars, codes and distribution logics are articulated that, far from being neutral, imply dispositions that exert a power and determine a behavior.
These spaces are in themselves media or technologies that carry information, and that presuppose specific gestures and relationships between the bodies articulated therein. Pinyol refuses to maintain the idea of that supposed neutrality of the gallery that seeks to “disappear” to fulfill its function. Instead of occupying the space with objects, ready for sale, they carry out operations that emphasize that this space is not empty of meaning, and that from its volumes and distribution, information that has to do with its history can be made visible, on the one hand; and with its dynamics of power, institutionality and visibility on the other.
Pinyol intervenes minimally the space and, rather, activates it through game and the event, as a way to show the ways in which space hides its forms of power, in the same way that technology tries to become invisible inside of everyday life to be more effective. In the case of technology, its invisibility also generates the illusion of neutrality, which makes it easy to believe that its codes, algorithms and processes are not mediated and impartial. As if they were not connected with human and non-human bodies, and ecological, political and economic systems.

	Through the exercise of emptying the space to transform it into a basketball court, and of inserting balls that are tattooed with theories and norms occupy the place of the body, those power relations that are established between the interface (the screen or the space) and bodies becomes more evident. The body that plays in space, which adapts to its conditions and rules, which is limited by borders and borders, as well as by the rules of sport itself, which is molded and transformed to accommodate technology and generate efficient choreography and productive between human and machine.
But, perhaps, by proposing this space as a place of visibility, play and encounter, and not as a space that focuses on the object and its fetishization, a crack is also opening for technology to fail, for subversion to appear and the indiscipline; and new corporalities, choreographies, and forms of contact are generated that confront the naturalization processes of the norms and instrumentalization of the bodies.
Throughout the exhibition there was a series of actions in which this basketball court was activated through games, classes and discussions.
Alejandra Sarria
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	<item>
		<title>gone are the days</title>
				
		<link>https://spinyol.com/gone-are-the-days</link>

		<pubDate>Thu, 28 Apr 2022 08:32:29 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/gone-are-the-days</guid>

		<description>
	gone 
are 
the 
days(the best way to teach art)


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1 painting as living dead


There is an awkward relationship between reproduction and experience in art history and how it is taught in Latin America. It is a relation based on distance, reproductions in art books of masterpieces, works with which one never comes in contact beyond a discursive relationship, primordially textual. Curiously, we also witness a time when historical painting, and history in general, is being “revived” in an immersive experience through a “symphony of light and sound” from “a new way of experiencing art.” This fact can reveal both bureaucratic problems in the displacement of a historical work (permits, insurance, conservation, etc.) and an updating and mediation of the pictorial experience towards a contemporary, measured, calculated and, never better, spectacular phenomenology. This phenomenon can be seen represented in Van Gogh Alive, whose page can also read the following review “Gone are the days when the only way to appreciate art is by the work hanging on the wall of an art gallery … “


2 parenthesis (After “Critique and Experience” by Bernardo Ortiz)


John Baldessari’s The Best Way to Do Art reproduces a photograph of an airplane, a Boeing 747. Under the photograph a caption says: “A young artist at the arts faculty idolized Cézanne’s paintings. He looked and studied all the books he could find on Cézanne and copied all the reproductions of Cezanne he found in them. He visited a museum and for the first time saw a painting of Cézanne in real life. He hated it. It looked nothing like the Cézannes he had studied in books. From that day, he made all his paintings the size of the reproductions and painted them in black and white. He also painted the captions and the explanations that the books offered about his paintings. Many times he used only words. And then one day he realized that very few people, on the other hand, see books and magazines as he did, and also like them, they receive them by mail. The moral of this history: It is difficult to introduce a painting in a mailbox. “ 

(Lippard, Six Years 254)


	3 distance and exclusion&#38;nbsp;

Our relationship with art history as a discursive process can be deployed in terms of exclusion, as a distance that can not be salvaged, and at the same time as a starting point. The effects of this distance can be seen in how art education is structured in Colombia: an&#38;nbsp; inherited idea of practice and academy that has little to do with our reality.
4 the best way to teach artThe visit of the Prado Museum to Bogota highlighted many of these points. Comprised of only 1 original painting and 53 reproductions, shown at 1:1 scale, even if this meant only showing a fragment of the whole. The visit was symbolically installed at the very center of the Plaza de Bolivar, sieging the sculpture of the Libertador. A heavy handed neocolonial didactic gesture. 
In various visits I documented the site and guided tours of the exhibition as well as the work with a group of art students from El Bosque University. The visit was a performative reenactment of a scene you encounter in european museums; young art students learning by drawing copies from the masters. 


</description>
		
	</item>
		
		
	<item>
		<title>unexpected neighbors</title>
				
		<link>https://spinyol.com/unexpected-neighbors</link>

		<pubDate>Wed, 16 Feb 2022 20:44:19 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/unexpected-neighbors</guid>

		<description>
	unexpected 
neighbors


	growing space&#38;nbsp;
rotterdam&#38;nbsp;
2020


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When I arrived in the Netherlands two years ago one of the things that immediately caught my attention were some little green flying aliens. Soon it became clear to me that they represented how I felt. A little bit like the Bororos, the indigenous people of Brazil that fascinated european anthropologists and ethnographers, who proclaim “we are red parakeets”. And no, they don’t mean it metaphorically. But rather in a way of being in the world in a way in which the instruments of Western reason are lacking.

At the same time in asking questions to others about them I realized that most narratives surrounding the parakeets are informed by a combination of urban myths and colonial tropes, complicit with exoticist world-views throughout history, revealing the connections between ecology, coloniality, and representation. 
The response to the growing numbers of parakeets in Europe has been uneven and contradictory; some governments and municipalities have gone as far as total eradication, laws to forbid feeding them, while some are “still studying the situation”. But they are also considered an example of successful synurbanisation; an evolutionary process whereby animals adapt to living in urban areas, a process that could, in turn, be applied to endangered species according to dutch ornithologist Roelant Jonker. Parakeets went from pets to pests, as some articles describe, leaving them trapped in a dichotomy that only allows for domesticación or erradicación mirroring extrativists view of nature.&#38;nbsp; 
	
This discourse has normalized into one of politized ecology and of natural purism, which understand ecosystems as closed systems that fit into notions of landscape mired in the anthropocentrism characteristic of the nation state model. These new cases of non-human migration into urban centers have given way to the concept of ‘Eco-xenophobia’, which designates ill informed judgments and segregation of non-human actors marked by cultural ideas of what is native, what is alien, what is welcome and what is not.

This view is historically linked to the colonial practice of classifying nature and everything in it, a fundamental part of processes of expansion and domination. When a species is categorized as exotic, it automatically creates a center and a periphery, and inside and an outside, that configures colonial power relations. The construction of the exotic is also exemplified in the history of institutions such as the Zoos, Botanical Gardens, and incipient Museum collections.&#38;nbsp; 
In addition to these large ideological configurations, non-human animals lost their voice and political rights through this categorization. Perhaps now is a unique moment to act from “the importance of listening to animal voices, introducing ways to help us bridge the divide between the human and non-human world (...)” as Eva Meijer proposes in her groundbreaking work When animals speak: Toward an interspecies democracy.
</description>
		
	</item>
		
		
	<item>
		<title>unstilling life</title>
				
		<link>https://spinyol.com/unstilling-life</link>

		<pubDate>Sat, 14 Feb 2026 14:05:51 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/unstilling-life</guid>

		<description>
	unstilling life


	ongoing


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“Unstilling life” is inspired by the presence of rose-ringed parakeets in Dutch cities to explore the entangled histories of colonialism, species classification, and ecological politics. Why are parakeets still labeled “invasive” in the Netherlands, when their presence here is a direct result of colonial extraction and the European desire for the exotic?

The project unfolds from the premise that these birds are not pests, but living remnants of a long colonial history. I examine their political status through the lens of historical justice and what Eva Meijer calls “political animal voices” (2019). My aim is not to speak for the parakeets, but to create conditions for interspecies exchange, to explore how we might co-author meaning, memory, and resistance.

To ground this, I am looking back to 17th-century Dutch genre painting. These works were instruments of soft imperial propaganda and catalogues for the exotic: depicting parrots, exotic fruits, spices, and imported luxuries as status symbols. I am researching archival paintings and catalogues across the Netherlands to build a timeline that reframes these birds not as “escaped pets,” but as colonial subjects whose current “invasive” status is both biologically reductive, politically loaded, and historically short-sighted.

I am making a series of open-air still-life installations outside my studio and garden, constructed feeding grounds designed for interaction with a local community of parakeets and other birds I’ve developed a sustained relationship with. These installations incorporate symbolic elements drawn from colonial trade, ecology, and contemporary global life. Objects change over time in response to the parakeets’ behavior, following a process shaped by deliberation, not control.


Feeding, in this context, is reimagined as a “language game”, a concept from Wittgenstein, expanded by Meijer to describe interspecies communication rooted in practice rather than grammar. By framing this daily exchange as dialogue, I challenge the assumption that animals are politically or linguistically mute. The birds’ choices of what they eat, when they arrive, how they disturb or ignore the still-life arrangements become acts of agency beyond instinct.
The process is being documented audiovisually, capturing the birds’ interruptions as formal disruptions. In contrast to historical paintings where parrots are caged, silenced, and ornamental, these scenes are alive. The work questions dominant systems of classification of “native,” “invasive,” “domestic,” “feral” and argues for a more nuanced ecological ethics based on shared futures.
At a time when politics in the Netherlands and elsewhere increasingly frame both human and nonhuman border-crossers as threats, this project proposes an alternative politics of attention, cohabitation, and reimagination. It is not a symbolic gesture but a lived, situated practice of listening and responding, one that insists parakeets are already speaking. 
With the kind support of Amarte Fonds
</description>
		
	</item>
		
		
	<item>
		<title>what has not been lost</title>
				
		<link>https://spinyol.com/what-has-not-been-lost</link>

		<pubDate>Fri, 03 Jan 2020 11:58:08 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/what-has-not-been-lost</guid>

		<description>
	whats 
not 
been 
lost


	ENRIQUE GUERRERO GALLERY
CDMX 2019


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&#60;img width="5045" height="3345" width_o="5045" height_o="3345" data-src="https://freight.cargo.site/t/original/i/85a78983485c30d7c40695fbb72ed065b79455ee09d7966b567073a0bad52aa0/SPINYOL-GUERRERO-2019-6-0.jpg" data-mid="57620664" border="0"  src="https://freight.cargo.site/w/1000/i/85a78983485c30d7c40695fbb72ed065b79455ee09d7966b567073a0bad52aa0/SPINYOL-GUERRERO-2019-6-0.jpg" /&#62;
&#60;img width="5271" height="3514" width_o="5271" height_o="3514" data-src="https://freight.cargo.site/t/original/i/c66ccc5bca0fadd20df204f21c57d158669b015696bbe38499712a7d4b3cebdc/SPINYOL-GUERRERO-2019-6-1.jpg" data-mid="57620665" border="0" alt="mariana Murcia " data-caption="mariana Murcia " src="https://freight.cargo.site/w/1000/i/c66ccc5bca0fadd20df204f21c57d158669b015696bbe38499712a7d4b3cebdc/SPINYOL-GUERRERO-2019-6-1.jpg" /&#62;
&#60;img width="5268" height="3512" width_o="5268" height_o="3512" data-src="https://freight.cargo.site/t/original/i/250fd880459e97a4aa8cdcae68f55ad7322159398a9b11ca071507559265bb8d/SPINYOL-GUERRERO-2019-14.jpg" data-mid="57620667" border="0"  src="https://freight.cargo.site/w/1000/i/250fd880459e97a4aa8cdcae68f55ad7322159398a9b11ca071507559265bb8d/SPINYOL-GUERRERO-2019-14.jpg" /&#62;
&#60;img width="5210" height="3473" width_o="5210" height_o="3473" data-src="https://freight.cargo.site/t/original/i/8a0ef3a6140bd65836b6f9919e0412a8686e43a0e8626044f791c4db61db79c9/SPINYOL-GUERRERO-2019-16.jpg" data-mid="57620669" border="0"  src="https://freight.cargo.site/w/1000/i/8a0ef3a6140bd65836b6f9919e0412a8686e43a0e8626044f791c4db61db79c9/SPINYOL-GUERRERO-2019-16.jpg" /&#62;
&#60;img width="5261" height="3507" width_o="5261" height_o="3507" data-src="https://freight.cargo.site/t/original/i/ae64b1982614bb2fc239df26fcfd855809e3514a684f30c7c7ad4f1986c2cd7e/SPINYOL-GUERRERO-2019-20-1.jpg" data-mid="57620671" border="0" alt="maria angelica madero " data-caption="maria angelica madero " src="https://freight.cargo.site/w/1000/i/ae64b1982614bb2fc239df26fcfd855809e3514a684f30c7c7ad4f1986c2cd7e/SPINYOL-GUERRERO-2019-20-1.jpg" /&#62;
&#60;img width="5173" height="3449" width_o="5173" height_o="3449" data-src="https://freight.cargo.site/t/original/i/2f6150730d0b544f377029cdf70718589fff84d5ee26bbcf9a7f7b6693f4392e/SPINYOL-GUERRERO-2019-20-0.jpg" data-mid="57620670" border="0"  src="https://freight.cargo.site/w/1000/i/2f6150730d0b544f377029cdf70718589fff84d5ee26bbcf9a7f7b6693f4392e/SPINYOL-GUERRERO-2019-20-0.jpg" /&#62;
&#60;img width="5241" height="3494" width_o="5241" height_o="3494" data-src="https://freight.cargo.site/t/original/i/ce18b7ec296998a9286e083b6585842fb3000f4eb3390ee7391f36680a492b31/SPINYOL-GUERRERO-2019-23.jpg" data-mid="57620673" border="0"  src="https://freight.cargo.site/w/1000/i/ce18b7ec296998a9286e083b6585842fb3000f4eb3390ee7391f36680a492b31/SPINYOL-GUERRERO-2019-23.jpg" /&#62;
&#60;img width="5268" height="3512" width_o="5268" height_o="3512" data-src="https://freight.cargo.site/t/original/i/a00dca9fea5fe5f28cc878ada913fefa6feeb09fdf09d7cb2d277409696049b2/SPINYOL-GUERRERO-2019-22.jpg" data-mid="57620672" border="0"  src="https://freight.cargo.site/w/1000/i/a00dca9fea5fe5f28cc878ada913fefa6feeb09fdf09d7cb2d277409696049b2/SPINYOL-GUERRERO-2019-22.jpg" /&#62;

	The death of God as the sole observer and regulator of the body, through the notion of soul or second body, has involved the construction of other places of validation and social construction of the body. The eye is now precisely in society itself, whose gaze validates or rejects, codifies and regulates. This validation is no longer ethical but erotic, it is not a must be because the body wants the validation and acceptance of the desire of others, wants to be desired, which does not cease to have a deep anguish in the face of mortality and safe extinction of the species that also stimulate desire. In the background there is also a technological framework for the production of validation images, codes of behavior that regulate the spaces and moments of production of subjectivity. Sport is one of those spaces.
Sport is first and foremost an idle activity, the temple of self-design and the factory of desire, it is the space where there is the time necessary for the formation of subjectivities. Idleness is precisely the time necessary for the formation of the subject as a civic, observant and critical being, not only operative and functional according to the Kantian distinction in which selfless contemplation in the contemplative life was the highest expression of the spirit.In the work of Santiago Pinyol, poetic intervention actions go beyond physical spaces to really intervene in their codes and in the invisible mechanisms of subjectivity production. The invisibility becomes evident precisely by pointing out the limit that separates the codes of the bodies. That limit is identified on the screen on which symbols of a waiting state or throbbers appear: the throbber is the previous symbol in the production of recognizable images, throb is pulpit, but more than a constant rhythm is an acceleration as a result of a stimulation. Precisely in place with sport, the moment of acceleration in the production of stimulating images.

	Pointing out the limit is a well-known resource of sacred architecture, composed of places that symbolize boundaries and thresholds between chaos and order. A sacred place is where you can see the divine or cosmic order that regulates us. The spaces for the sport fulfill a similar function, they are spaces of construction of subjectivities from codes of regulation and validation, perhaps the sport has always been a sacred space, Delphi testifies.
Finally, the body is also constructed by overcoming it, not insisting on its corporality but on the opposite, on a condition of post-humanity or transhumanity. This path was opened by Lyotard when he asked if thought could exist without a body. The body exists before and after in language, it is part of a code or a technique, and the place of concrete poetry in the intervened objects is relevant here: poetry is an indirect way of accessing knowledge, even if it seems otherwise Due to the apparent deformation of conventional language, poetry, like the sphere, hides but does not deform.
Alejandro Piñol
</description>
		
	</item>
		
		
	<item>
		<title>screaming @ the screen</title>
				
		<link>https://spinyol.com/screaming-the-screen</link>

		<pubDate>Thu, 07 Jul 2022 19:13:27 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/screaming-the-screen</guid>

		<description>
	screaming 
@ the 
screen


	ENRIQUE GUERRERO GALLERY
HOUSTON 2017 


&#60;img width="5027" height="3351" width_o="5027" height_o="3351" data-src="https://freight.cargo.site/t/original/i/5100d41315c9c8594cbba315a7dc6b5d55900c8776c78bd3442d36bceaacb82a/SPINYOL-GUERRERO-6.jpg" data-mid="147350171" border="0"  src="https://freight.cargo.site/w/1000/i/5100d41315c9c8594cbba315a7dc6b5d55900c8776c78bd3442d36bceaacb82a/SPINYOL-GUERRERO-6.jpg" /&#62;
&#60;img width="4170" height="2780" width_o="4170" height_o="2780" data-src="https://freight.cargo.site/t/original/i/4e4668e6e42fa76e6b8a682355c236c678e639319bf8c2e1722fe2aa6039f65b/SPINYOL-GUERRERO-4.jpg" data-mid="147350338" border="0"  src="https://freight.cargo.site/w/1000/i/4e4668e6e42fa76e6b8a682355c236c678e639319bf8c2e1722fe2aa6039f65b/SPINYOL-GUERRERO-4.jpg" /&#62;
&#60;img width="4527" height="3018" width_o="4527" height_o="3018" data-src="https://freight.cargo.site/t/original/i/228d399c9d4f6ef3c5aa3a1535e675a606a1eb6de664817bc7392fc6ce50d905/SPINYOL-GUERRERO-2.jpg" data-mid="147350372" border="0"  src="https://freight.cargo.site/w/1000/i/228d399c9d4f6ef3c5aa3a1535e675a606a1eb6de664817bc7392fc6ce50d905/SPINYOL-GUERRERO-2.jpg" /&#62;
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&#60;img width="3406" height="5109" width_o="3406" height_o="5109" data-src="https://freight.cargo.site/t/original/i/4a27b80a7122de55cd6fa3467b0884d49b6f7b7dad86aa39e8a8e907bd9f7e41/SPINYOL-GUERRERO-11.jpg" data-mid="147350711" border="0"  src="https://freight.cargo.site/w/1000/i/4a27b80a7122de55cd6fa3467b0884d49b6f7b7dad86aa39e8a8e907bd9f7e41/SPINYOL-GUERRERO-11.jpg" /&#62;
&#60;img width="5210" height="3473" width_o="5210" height_o="3473" data-src="https://freight.cargo.site/t/original/i/5a34906f1d631aeb925f49ce494609681cdf31e1242d8d4962bd75e08c4f6360/SPINYOL-GUERRERO-14.jpg" data-mid="147351188" border="0"  src="https://freight.cargo.site/w/1000/i/5a34906f1d631aeb925f49ce494609681cdf31e1242d8d4962bd75e08c4f6360/SPINYOL-GUERRERO-14.jpg" /&#62;
&#60;img width="3327" height="4991" width_o="3327" height_o="4991" data-src="https://freight.cargo.site/t/original/i/6689d68cc68ab0f034682fc633f41fecf1999736b6e8cd9c778a6e7dc07eb00b/SPINYOL-GUERRERO-16.jpg" data-mid="147351212" border="0"  src="https://freight.cargo.site/w/1000/i/6689d68cc68ab0f034682fc633f41fecf1999736b6e8cd9c778a6e7dc07eb00b/SPINYOL-GUERRERO-16.jpg" /&#62;
&#60;img width="4846" height="3231" width_o="4846" height_o="3231" data-src="https://freight.cargo.site/t/original/i/52f7c79a4e397bada526d7212d475def4ddb8690983f4d4a88227f5e780b97cb/SPINYOL-GUERRERO-12.jpg" data-mid="147351812" border="0"  src="https://freight.cargo.site/w/1000/i/52f7c79a4e397bada526d7212d475def4ddb8690983f4d4a88227f5e780b97cb/SPINYOL-GUERRERO-12.jpg" /&#62;
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&#60;img width="5188" height="3459" width_o="5188" height_o="3459" data-src="https://freight.cargo.site/t/original/i/0fc94c09904c29d26c967bce0b796ed19fcaa5fd81549acb24a46497c66741b4/SPINYOL-GUERRERO-19.jpg" data-mid="147351350" border="0"  src="https://freight.cargo.site/w/1000/i/0fc94c09904c29d26c967bce0b796ed19fcaa5fd81549acb24a46497c66741b4/SPINYOL-GUERRERO-19.jpg" /&#62;
&#60;img width="3278" height="4917" width_o="3278" height_o="4917" data-src="https://freight.cargo.site/t/original/i/1fc236410a66ccc9c2b197fc864cfa16a584f69e388aaba9447c73279d75229d/SPINYOL-GUERRERO-20.jpg" data-mid="147351819" border="0"  src="https://freight.cargo.site/w/1000/i/1fc236410a66ccc9c2b197fc864cfa16a584f69e388aaba9447c73279d75229d/SPINYOL-GUERRERO-20.jpg" /&#62;
&#60;img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/7ace2228b3ae964f2ac4de49759c454a4b29653a4b619bd81da0b77b96e19e5a/SPINYOL-GUERRERO-21.jpg" data-mid="147351838" border="0"  src="https://freight.cargo.site/w/1000/i/7ace2228b3ae964f2ac4de49759c454a4b29653a4b619bd81da0b77b96e19e5a/SPINYOL-GUERRERO-21.jpg" /&#62;
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&#60;img width="3347" height="5020" width_o="3347" height_o="5020" data-src="https://freight.cargo.site/t/original/i/1434909c9686980e849fb6211d8bc8c17b56b57fcf7f7fe45e1d32462c63cd1b/SPINYOL-GUERRERO-17.jpg" data-mid="147351275" border="0"  src="https://freight.cargo.site/w/1000/i/1434909c9686980e849fb6211d8bc8c17b56b57fcf7f7fe45e1d32462c63cd1b/SPINYOL-GUERRERO-17.jpg" /&#62;

	
Scrying is the practice of looking into a suitable medium in the hope of detecting significant messages or visions. The objective might be personal guidance, prophecy, revelation, or inspiration, but down the ages, scrying in various forms also has been a prominent means of divination or fortune-telling. It remains popular in occult circles, discussed in many media, both modern and centuries old.


Examples of names coined for crystal gazing include ‘crystallomancy’, ‘spheromancy’, and ‘catoptromancy’. As an example of the looseness of such terms, catoptromancy should refer more specifically to scrying by use of mirrors or other reflective objects rather than by crystal gazing. Other names that have been coined for the use of various scrying media include anthracomancy for glowing coals, turifumy for scrying into smoke, and hydromancy for scrying into water. There is no clear limit to the coining and application of such terms and media.


	Scrying has been practised in many cultures in the belief that it can reveal the past, present, or future. Some practitioners assert that visions that come when one stares into the media are from the subconscious or imagination, while others say that they come from gods, spirits, devils, or the psychic mind, depending on the culture and practice. There is neither any systematic body of empirical support for any such views in general however, nor for their respective rival merits; individual preferences in such matters are arbitrary at best.

Wikipedia
</description>
		
	</item>
		
		
	<item>
		<title>our knowledge of the inner world</title>
				
		<link>https://spinyol.com/our-knowledge-of-the-inner-world</link>

		<pubDate>Wed, 31 Aug 2022 13:58:42 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/our-knowledge-of-the-inner-world</guid>

		<description>
	our 
knowledge 
of the 
inner 
world


	2015-ongoing


&#60;img width="903" height="1080" width_o="903" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8b25d60dcc10ef275c38b2ca729e99b56d303512cf4e588b184db62da30b71e2/EL-MUNDO-EXTERIOR-1.jpg" data-mid="151732113" border="0"  src="https://freight.cargo.site/w/903/i/8b25d60dcc10ef275c38b2ca729e99b56d303512cf4e588b184db62da30b71e2/EL-MUNDO-EXTERIOR-1.jpg" /&#62;
&#60;img width="720" height="1080" width_o="720" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e664508cade63327b3c250693a2a8d49e25797ff2f67ad5d54bbf0d7a8a3c331/EL-MUNDO-EXTERIOR-2.jpg" data-mid="151732161" border="0"  src="https://freight.cargo.site/w/720/i/e664508cade63327b3c250693a2a8d49e25797ff2f67ad5d54bbf0d7a8a3c331/EL-MUNDO-EXTERIOR-2.jpg" /&#62;

	
How fast are you moving when standing still? The first thing to consider is the earth’s rotation. The earth is 24,900 miles in circumference at the equator. The earth takes 24 hours to make one rotation. So: 24,900 / 24 = 1,037 MPH. As you move toward the poles that number decreases. At the north pole the speed is zero and you are simply rotating in place at one rotation every 24 hours. So let’s assume you are sitting somewhere in South Florida moving at about 1,000 miles per hour. The Earth orbits around the sun every year. The Earth is roughly 93 million miles (150 million km) away from the sun, giving its orbit a circumference of 584 million miles. That works out to 66,666 MPH. Our solar system itself is also moving in an orbit around the galactic core. The solar system is something like 25,000 light years away from the center of the galaxy, and the galaxy makes one rotation every 250 million years or so. That gives the solar system a speed of something like 420,000 MPH . So there is speculation that the galaxy is moving through the universe at a speed of 1,000 km/s, which means 2,237,000 MPH.


Adding it all up, you get: 1000 + 66,666 + 420,000 + 2,237,000 = 2,724,666 MPH


In other words, you are hurling through space at 2.7 million MPH even though it feels like you are sitting still while you read this text accompanying some pictures.


</description>
		
	</item>
		
		
	<item>
		<title>the space in between</title>
				
		<link>https://spinyol.com/the-space-in-between</link>

		<pubDate>Wed, 31 Aug 2022 13:42:56 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/the-space-in-between</guid>

		<description>
	&#38;nbsp;the&#38;nbsp;&#38;nbsp;space&#38;nbsp;&#38;nbsp;in-between&#38;nbsp;&#38;nbsp;stuff&#38;nbsp;


	&#38;nbsp;MIAMI Contemporary Practices&#38;nbsp;&#38;nbsp;Bogota 2015&#38;nbsp;


&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/7741cac28a38844c502c8345c7cd6ce7c7c233bef45d8557b8575be382bccf5b/SPINYOL_MIAMI-1.jpg" data-mid="151730793" border="0"  src="https://freight.cargo.site/w/1000/i/7741cac28a38844c502c8345c7cd6ce7c7c233bef45d8557b8575be382bccf5b/SPINYOL_MIAMI-1.jpg" /&#62;
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&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/280d70c83ef52be696d40b0e0757cb7d781380a162e67ad74d5305c1d65a6458/SPINYOL_MIAMI-4.jpg" data-mid="151730795" border="0"  src="https://freight.cargo.site/w/1000/i/280d70c83ef52be696d40b0e0757cb7d781380a162e67ad74d5305c1d65a6458/SPINYOL_MIAMI-4.jpg" /&#62;
&#60;img width="720" height="1080" width_o="720" height_o="1080" data-src="https://freight.cargo.site/t/original/i/eafc9445f3e276acf2083fa2db81285e2247b2de00a5efe96117882943a3bb0b/SPINYOL_MIAMI-8.jpg" data-mid="151730796" border="0"  src="https://freight.cargo.site/w/720/i/eafc9445f3e276acf2083fa2db81285e2247b2de00a5efe96117882943a3bb0b/SPINYOL_MIAMI-8.jpg" /&#62;

	
Art is a knowledge concerned industry. This concern is supposed to result in products that respond to processes of experimentation, research and materialization in order to build meaning or give value. There seems to be a latent need to talk about something, to rescue, to relocate content. In this exhibition, or in all of Pinyol, we see finished products, symptoms of art, striking, turning, crucified, glued, framed and serialized. Objects that also reveal a recognizable, current, fresh and accessible origin, we see monochromes, new creatures, many options, but we miss the motive, the engine or initial impulse of its author. There is a noisy silence, an effective trick, a macabre mosaic; perhaps an excuse to commune, to produce, to make an exhibition, to continue in the game, to enter the arena, to greet the friend.


Adriana Martínez, MIAMI


</description>
		
	</item>
		
		
	<item>
		<title>no abstraction</title>
				
		<link>https://spinyol.com/no-abstraction</link>

		<pubDate>Tue, 15 Apr 2025 09:26:19 +0000</pubDate>

		<dc:creator>s pinyol web</dc:creator>

		<guid isPermaLink="true">https://spinyol.com/no-abstraction</guid>

		<description>
	the international day of no-abstraction !


	SGR Gallery
 Bogota 2024&#38;nbsp;


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The international day of non-abstraction 
Imagine a world where a holiday with this name would be possible, where for one day it would not be possible to exchange with money, but only by barter. Where money would be worthless. It would be a holiday to reflect on the value and abstraction of the economy, making evident the fragility of monetary systems and the transactions we take for granted. Even if only for a day.

In this exhibition some “chocolate bars” were not what they seemed: made of plaster, these pieces were an invitation to barter: in exchange for a real chocolate bar, you could take one of these sculptures. With some humor, the exhibition played with the irony of assigned values, reflecting that abstraction is not only a matter of art, but of our economies and historical narratives. 
From sphere to bar

Cocoa has been consumed in Abya Yala for at least 5,000 years. The cocoa tree is native to the Amazon, from where it began its journey to other territories, passing through many hands and cultures. For the Mayas and Aztecs, cocoa that was not immediately used to make a beverage was turned into a solid for transportation and storage in spheres. In this form it also served as currency, one that could perish. Circulation on accumulation

Cocoa was introduced in Europe at the beginning of the 16th century, possibly already in its solid form. At first it was consumed mainly by the aristocracy for its aphrodisiac properties. It is not known with certainty when and by whom the first chocolate bar was made, but it was around the 19th century. The manufacturing processes of a modern chocolate bar were developed independently by chocolate manufacturers in different countries.

At that time cocoa goes from liquid to solid, from sip to bite, from sphere to flat, from cocoa to chocolate. A process of abstraction. Likewise, a fundamental part of modern chocolate bars is the aluminum that protects/suggests them. It represents that promise of “something more” that objects hide, of an unfathomable enjoyment whose true location is fantasy.


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