EXIT Autorretratos Self-Portraits Esther Ferrer John Coplans Yasumasa Morimura Jorge Molder Lucas Samaras Ryan Weideman Vito Acconci Pierrick Sorin Bruce Nauman Javier PĂŠrez Douglas Gordon Nan Goldin JĂźrgen Klauke Claude Cahun
EXIT
Exit, imagen y cultura, es una publicación trimestral de Olivares y Asociados S.L. Exit, Image and Culture is published quarterly by Olivares & Associated, S.L.
Director / Editor Rosa Olivares / editor@exitmedia.net Director adjunto / Managing Editor Seve Penelas / exit@exitmedia.net Coordinación editorial / Editorial Co-ordination Dena Ellen Cowan / redaccion@exitmedia.net Equipo Asesor / Advisory Committee Liliana Albertazzi, Susana Blas, Daniel Canogar, Marta Gili, Felipe Hernández-Cava, Juan Antonio Ramírez, Manuel Santos Diseño / Design Adrián y Ureña, S.L. Publicidad / Advertising Rocío Sánchez (Tel. 661 303 764) · Pepa Iturriaga (Tel. 669 464 248) Suscripciones / Subscriptions María Regueiro / circulacion@exitmedia.net Contabilidad / Accounting Ana Lozano Administración, redacción y publicidad / Main Office San Marcelo, 30 · 28017 MADRID · ESPAÑA. Tel. +34 91 404 97 40 · Fax +34 91 326 00 12 Email: exit@exitmedia.net - Website: www.exitmedia.net Distribución / Distribution: España: EXIT (María Regueiro) · Tel. +34 91 404 97 40 · Fax +34 91 326 00 12 · circulacion@exitmedia.net Internacional: IDEA BOOKS · Nieuwe Herengracht, 11 · 1011 RK AMSTERDAM · NETHERLANDS. Tel. +31 20 622 61 54 · Fax +31 20 620 92 99 info@ideabooks.nl • Portugal: ASSIRIO & ALVIM, Editores e Livreiros - Departamento Comercial · Rúa de Arroios, 154-B. 1150-056 LISBOA · PORTUGAL Tel. +351 21 330 06 90 · Fax +351 21 330 06 99 · assirio.antonio@clix.pt • México: Editorial GUSTAVO GILI de México, S.A. Valle de Bravo, 21 · 53050 NAUCALPAN, Edo. de MÉXICO. Tel. +52 55 60 60 11 · Fax +52 53 60 14 56 · ggili@prodigy.net.mx Suscripciones y números atrasados / Subscriptions and back Issues. EXIT · Aptdo. Postal / P.O.Box 14665 · 28080 MADRID Tel. +34 91 404 97 40 · Fax +34 91 326 00 12 · circulacion@exitmedia.net Todos los derechos reservados. Ninguna parte de esta publicación puede ser reproducida o transmitida por ningún medio sin el permiso escrito del editor All rights reserved. No part of this publication may be reproduced or transmitted by any means without written permission from the publisher. © de la edición: Olivares & Asociados, S.L. © de las imágenes, sus autores © de los textos, sus autores © de las traducciones, sus autores © de las reproducciones autorizadas, VEGAP. Madrid 2003 EXIT es miembro de la Asociación de Revistas Culturales de España, ARCE, y del Centro Español de Derechos Reprográficos, CEDRO. Impreso en España • Impreso en Gráficas Varona. Salamanca ISSN 1577-272-1 · Depósito legal: M 247- 2000
Yasumasa Morimura Sumario / Contents
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Editorial. ¿Quién soy yo? Who am I?. Rosa Olivares
17 Yo mismo / Myself
Automodelo e identidad quebrada Self-modelling and fractured identity Juan Antonio Ramírez John Coplans. John Coplans Esther Ferrer. Rosa Olivares
81 Yo y los otros / Myself and Others
Fábricas de Identidad (retóricas del autorretrato) Identity factories (self-portrait rhetoric) José Luis Brea Lucas Samaras. Catherine Francblin Ryan Weideman. Dena Ellen Cowan
Ryan Weideman
49 Je est un autre
Cómo el artista contemporáneo sueña con ser ficción autotrascendente How the contemporary artist dreams of being self-transcending fiction Luis Francisco Pérez Yasumasa Morimura. Seve Penelas Jorge Molder. Bernardo Pinto de Almeida
113 Yo en movimiento / Myself Moving Vídeo y autorretrato: ¡Encantado de conocerme! Video and Self-Portrait: Pleased to meet me! Susana Blas Vito Acconci. Carlos Vidal Pierrick Sorin. Liliana Albertazzi
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Indice de artistas Index of Artists
Claude Cahun Autoportrait, ca. 1927 Gelatina de plata sobre papel, 24 x 18 cm CortesĂa MusĂŠe des Beaux-Arts de Nantes
Yo mismo
Myself
Juan Antonio RamĂrez
Automodelo e identidad quebrada / Self-modelling and fractured identity
John Coplans John Coplans
Esther Ferrer Rosa Olivares
Je est un autre (o cómo el artista contemporáneo sueña con ser ficción autotrascendente) Luis Francisco Pérez
...esa espantosa superposición de la realidad... MALCOM LOWRY Todo espíritu profundo tiene necesidad de una máscara. FRIEDRICH NIETZSCHE En cuanto olvidamos que la ficción es ficticia incurrimos en un retorno al peor de los mitos. FRANZ KERMODE
Uno de los momentos más brillantes de toda la filmografía de Godard es cuando Jean-Paul Belmondo, en Pierrot le Fou, y mientras conduce un descapotable junto a una amiga, ésta le pregunta extrañada: ¿Con quién hablas?, a lo que Pierrot, contrariado, responde: con el espectador, ¿no lo ves?, para de nuevo girándose hacía la cámara, y mirándonos, exclamar: ya les decía yo, nunca se entera de nada... Probablemente ésta situación -por lo que tiene de desplazamiento y conquista (casi un gran angular ideológico) de los límites de la ficción en tanto que representación de una dialéctica de lo históricamente contingente- sea la más inteligente y hermosa de todas aquellas acciones que, directa o transversalmente, inciden en la idea de cómo construir una realidad afirmativa (culturalmente afirmativa, queremos decir) bajo el disfraz (divertido o grave, tanto da) de una práctica discursiva crítica, o, insistimos, “afirmativa”, aquí adoptanE X I T Nº 10-2003 50
do nosotros la concreta entonación de Marcuse al respecto cuando éste observa que todo el arte y la cultura tienden a ser afirmativos, malgré eux. No erraríamos demasiado si dijéramos que la inmensa fábrica de afeites y cosmética en que se ha convertido (transfigurado) la práctica artística contemporánea se puede resumir en una simple y banal frase expresada, paradójicamente, en una admirable y compleja película, Hiroshima, mon amour, escrita por Marguerite Duras y filmada por Alain Resnais en 1959. Así, y a lo largo de toda la filmación, escuchamos como una letanía la doble expresión, afirmativa una, acusatoria otra, que mutuamente se lanzan el superviviente japonés y la profesora francesa: “He visto todo / No has visto nada”. Cul de sac, efectivamente, de una dialéctica privada e íntima impulsada a desvanecerse en la contingencia materialista de la Historia. Con una infinita (mejor decir: insalvable) dosis menor de complejidad, gran parte del arte contemporáneo, esencialmente el que en otras ocasiones hemos definido como arte ventrílocuo, mayoritario ahora mismo, escupe al espectador el mismo y miserable argumento, no has visto nada, cuando el que mira, el sujeto en la Historia, se defiende del acoso lagrimeando: he visto todo. Y es que el arte siempre lleva las de ganar, en la medida que su arma más poderosa no es el ejercicio pueril y patético de la tiranía visual, sino la insistencia incansable en la afirmación positiva de su acción, en su voluntad irrenunciable por y hacia la autotrascendencia, en la arrogante seguridad de que siempre, siempre, nos
Claude Cahun Autoportrait, 1927 11,7 x 8,8 cm Gelatina de plata sobre papel CortesĂa The Detroit Institute of Arts
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Ryan Weideman Self-Portrait with Cowboy, 1998 Courtesy Bruce Silverstein Gallery, New York
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Ryan Weideman Self-Portrait with Passenger Allen Ginsberg, 1990 Courtesy Bruce Silverstein Gallery, New York
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Pierrick Sorin Hace años ya que en alguna que otra feria nos encontrábamos con un rincón oscurecido donde había que correr el telón para descubrir una pantalla en la que se veían ciertas acciones en vídeo que daban lugar a una escena desopilante. Es así como la obra de Pierrick Sorin se empezó a difundir en el extranjero. En ciertas ocasiones, las carcajadas eran tan inmediatas que llevaron a cuestionar la distancia entre la calidad artística y el “gag”. Para evidenciar lo que aparta a la obra definitivamente de este último, incitaremos al público a considerar la forma plástica de la mayoría de las instalaciones de Pierrick Sorin, que nunca es gratuita ni anodina. Por otro lado, nos bastaría con rememorar una tradición bien francesa donde la ostentación de la artificialidad vehicula la acción cómica. Y creo que si se tuviera que definir la categoría que distingue las obras de Sorin, se comenzaría por mencionar su forma de estigmatizar lo artificial como algo propio del arte. Seguramente la lección histórica de Méliès nos sirve como referencia: miren cómo el procedimiento es inauténtico, fíjense cómo imita al mundo y ríanse porque no hay otra cosa que hacer. Últimamente, la gran retrospectiva que ha viajado de Francia a España no deja ninguna duda sobre la diversidad y calidad artística de una obra que incluye el efecto cómico como proposición para ver las cosas de otra manera. Nos sorprende sin embargo en el catálogo que el texto de Robert Storr intenta a todo precio relacionar su obra con la escena americana, alemana o inglesa, cuando la herencia francesa es más que reconocible en este sentido. Hemos mencionado a Georges Méliès, pero Alfred Jarry y Jacques Tati no son citaciones menos oportunas. Por otra parte, se ha hablado mucho de narcisismo a propósito de su protagonismo en las obras, y en este sentido nos parece conveniente proponer otra interpretación. En su primera exposición parisina, en el Musée d’Art Moderne de la Ville (1992), se mostraban principalmente las “autofilmaciones”, datadas en 1988. La serie, muy diferente de sus obras actuales, sirve como índice de todo lo que va a venir y de todo lo que movió a una parte de su generación en Francia. A pesar de lo rudimentario del procedimiento, que consistía en filmarse con una cámara de super-8, ni bien se revelaba, la presencia de la cámara, del artefacto, cobraba una importancia particular. De hecho, el artista comienza por analizar el objeto antes de hablar de la dificultad de despertarse. De esta manera se entiende la intención manifiesta de mostrar que lo que importaba era filmar, la banalidad de la historia no es más que una consecuencia. El proyecto actual de largometraje nos lo confirma. La ausencia de decorado y de sofisticación de material contrasta con las obras más recientes donde la intención se concentra más en el relato y los dispositivos son muy elaborados. En cuanto al protagonismo, en unas piezas y otras, retoma la manera de funcionar en la soledad y autonomía del artista, y vuelve a los orígenes de lo que a partir de los años 90 será desarrollado por muchos artistas, sobre todo en Francia, “el intimismo”. En el caso de Sorin, este intimismo le permite liberarse de las constricciones y del “vis-à-vis” del equipo y nos parece una lectura mucho más adecuada que la idea de narcisismo. LILIANA ALBERTAZZI
For a number of years now in one fair or another we have been encountering a darkened corner where it is necessary to push the curtain aside in order to discover a screen upon which certain video-actions can be seen that give rise to shocking scenes. This is the way Pierrick Sorin’s work has begun to receive recognition abroad. Occasionally, the peals of laughter are so sudden that they have provoked doubts as to whether the work truly has artistic merit or is just a series of gags. The prove that the work is definitively above and beyond the latter, we shall encourage the public to consider the plasticity of the majority of the Pierrick Sorin’s installations, which is never gratuitous or anodyne. On the other hand, it would suffice to recall a rather French tradition wherein the ostentation of artificiality is a vehicle for comic action. And I believe that, if I had to define the category the distinguishes Sorin’s works, I would start by mentioning its way of stigmatizing artificiality as something pertaining to art. Certainly, the historical lesson of Méliès serves as a reference: look at the way the procedure is not authentic, notice how it imitates the world and laugh, for there is nothing else to do. Recently, the grand retrospective exhibit which has been taken from France to Spain leaves no room for doubt about the artistic diversity and quality of work that includes comical effects as a proposition for seeing things in another light. Surprisingly though, in the catalogue text, Robert Storr attempts to tie his work to the American, German and British scenes, when the French heritage is more than recognizable in this sense. We have already mentioned Georges Méliès, but Alfred Jarry and Jacques Tati are not less opportune allusions. On the other hand, much has been said about narcissism in reference to his performing the principle role in the works, and in this light it we deem it convenient to propose another interpretation. His first Parisian exhibition, at the Musée d’Art Moderne de la Ville (1992), mainly consisted of “self-filming”, dating from 1988. The series, very different from his current work, serves as an index of all to come and all that moved a part of his generation in France. Despite the rudimentary procedure, which consisted of filming himself with a super-8 camera, as soon as the footage was developed, it conveyed the presence of the camera and this artefact acquired significance. In fact, the artist begins by analyzing the object before speaking about the difficulty of waking up. Thus made manifest is the intention of demonstrating that what really matters is filming, the banality of the story being no more than a consequence. The current project of a full-length film confirms this. The absence of scenery and material sophistication contrasts with the other recent works where the intention focuses more on the tale and the devices are very elaborate. With regard to his role as protagonist, both in the earlier and later pieces, he resumes working in solitude and autonomously, returning to the origins of the ‘intimism’ developed by many artists from the 90s onward, especially in France. In Sorin’s case, this ‘intimism’ frees him from the constrictions and vis-à-vis of the equipment, which we esteem to embody a much more adequate interpretation than the idea of narcissism. LILIANA ALBERTAZZI
Liliana Albertazzi es profesora de Historia del Arte y Estética en la ENSCI, París, y comisaria de exposiciones independiente.
Liliana Albertazzi is professor of Aesthetics and History of Art at the ENSCI, Paris and a freelance curator.
E X I T Nº 10-2003 138
Pierrick Sorin C’est mignon tout ça, 1993 Sorino le magicien, 1999 Titre variable nº 2, nº 1, 1999 DVD, video-stills e instalaciones audiovisuales Cortesía Fundació ‘la Caixa’, CaixaForum, Barcelona, y Fondation Cartier pour l’art contemporain, Paris © VEGAP
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Index of artists
Vito Acconci. Bronx, New York (USA), 1940. He lives and works in Brooklyn, New York. He worked for an MFA degree at the University of Iowa. A sculptor, performer and video-artist, he initiated his creative activity by writing poetry, and was to turn toward more visual work in the late seventies. His early works consisted of actions recorded on video, super-8 film and photography. In his writings as well as his actions and videos there is usually a latent corporal aspect and an addressing of perceptive concepts, in addition to subversive social commentaries bordering on underground culture and, during the last twenty years overlapping into architectural projects and urban planning, public spaces and furniture prototypes, all of which have converted him into one of contemporary art’s most pivotal figures, as he was not only a ground-breaking pioneer of early video art but also of the conceptual currents of the so called public art. He participated in the Kassel Documenta in 1972, 1977, 1982 and 1997; in the Venice Biennial in 1976, 1978 and 1980; in the Whitney Biennial New York in 1977, 1981 and 1991 and in the Lyon Biennial in 1995 in addition to one man shows at the Stedelijk Museum, Amsterdam, 1978; Museum of Contemporary Art, Chicago, 1980; ICP, New York, 1987; MoMA, New York, 1988. Most noteworthy in Spain was his show Living off the Museum, 1996 at CGAC, Santiago de Compostela, and that which will be held in 2004 at the MACBA, Barcelona, featuring his 1970s videos. Claude Cahun. [Lucy Renée Matilde Schwob]. Nantes (France), 1894 Saint Hélier, Jersey, English Channel Islands (UK), 1954. A photographer and writer, she began to create photographic selfportraits around 1912. Around 1917 she adopted the pseudonym Claude Cahun. She moved to Paris in 1922 with her stepsister, lifelong partner and sometime collaborator Suzanne Malherbe. There, Cahun briefly engaged in theatrical pursuits, while continuing to contribute to literary journals and participating in the surrealist movement. Along with André Breton and Georges Bataille she was a founding member of Contre-Attaque, a group established in 1935 in response to the threat of fascism. In her self-portraits, Cahun frequently presented herself in costume, made up, or masked as various personae. There is no evidence that she ever exhibited any of these photographs so it is likely that they were made chiefly for her own personal use. It is only recently, through such publications as Les mystères de la chambre
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noire: Le Surréalism et la photographie, by Edouard Jaguer (1982), and the 1985 exhibition L’amour fou: Photography and Surrealism at the Corcoran Gallery, Washington D.C., that Cahun’s virtually unknown photographs were rediscovered and reconsidered within the art and avant-garde of her times. Daniel Canogar. Madrid (Spain), 1964. He studied Visual Studies at the University of Madrid and photography at the ICP, New York and New York University. His work involves an analysis of the human body, its fragments and its relation to the senses, in addition to experimentation with new technologies and their influence on shaping reality and perception. He has published several books and written critical texts for journals and catalogues. He has had shows in museums and galleries in Spain, France, Germany, Canada and USA. Gravedad cero, Centre d’Art Santa Mónica, Barcelona, 2002, and Ingrávidos, Fund. Arte y Tecnología, Madrid, 2003 were his most recent exhibitions, both exploring the phenomenon of weightlessness. He is represented by the gallery Helga de Alvear, Madrid. Patty Chang. San Francisco (USA), 1972. She lives and works in New York. She earned a Bachelor of Arts from the University of California, San Diego and L’Accademia di Belle Arti, Venice. She began gaining recognition in the New York art scene through a series of performances in which she combined body art with late nineties post-feminism to elaborate proposals in which themes such as the body, identity, sex, illness and resistance are usually present. Her artwork, whether video or performance, possesses a striking visual impact with a high level of underlying critical content. Among her most noteworthy solo shows were those held at the MNCA Reina Sofía, Madrid 2000; Fri-Art Kunsthalle, Friburg in 2001; as well as those held at the galleries Jack Tilton, New York, 1999 and 2001 and Gabrielle Maubrie, Paris, 2000 and 2002. John Coplans. London (UK), 1920. He lives and works in Manhattan, New York. Educated in South Africa and London, he served in the British army between 1938 and 1946. After the war, he studied art in London and Paris. He began as a painter and as such he was included in the first significant exhibition on British abstract art (Metavisual,
Tachiste and Abstract Art, 1957). In 1960, he moved to the United States, to San Francisco, where he taught at the University of California at Berkeley. In 1962, he was one of the founders of the magazine Artforum, which he directed in 1971, in addition to contributing to art magazines. Between 1965 and 1967, he directed the Art Gallery at the University of California, Irvine, and between 1967 and 1970, he was appointed senior curator of the Pasadena Art Museum, California, where he organized the first exhibitions by James Turrell, Robert Irwin and Richard Serra, among others. In 1978, he moved on to direct the Akron Art Museum in Ohio, where he was responsible for Brancusi’s and John Heartfield’s first photography exhibitions in the U.S. From 1980 onward, back in New York, he initiated his photography work focusing exclusively on self-portraits, with his sixty-year old body, its fragments and its details -yet never his face- becoming the object and subject of all his images. Awarded numerous prizes and scholarships, among his most outstanding exhibitions were those held at the Art Institute of Chicago, 1981; San Francisco Museum of Modern Art, MoMA New York and Fundació la Caixa, Barcelona, all three in 1988; Fundacao C. Gulbenkian, Lisbon, 1992; Centre G. Pompidou, Paris, 1994; and the retrospective at the P.S.1 New York, 1997. His most noteworthy books include Serial Imagery (1968), a compilation of articles and essays; Decisions, Decisions (with Robert Bell, 1976); Andy Warhol (with Jean Baudrillard, 1990), Provocations (1996), and A selfportrait. John Coplans (1997). Giacomo Costa. Florence (Italy), 1970. After high school, he fled to the European mountains and began to photograph the landscape. Upon his return to Florence, he opened a photo studio. He uses the computer to increase his freedom to create images. He refers to his cityscapes as “mind-trips”, or “mind-spaces, where man has no space and nature has disappeared”. His most important series are: Agglomerati, Paesaggi, Atti Violenti and Cantieri. Another feature of his work is an experimentation with portraits and self-portraits, of personae and alter-egos, in which he gives free reign to hilarity. He has exhibited mainly in Italian galleries, and also at the Lawrence Miller Gallery, New York, 2000, and Sergio Tossi Arte Contemporanea, Florence, 2002. He is represented by Photology, Milan. Esther Ferrer. San Sebastian (Spain), 1937. She studied Social Science and Journalism. In 1967, she joined the ZAJ Group founded in Madrid in 1964 by Ramón Arce, Juan Hidalgo and Walter Marchetti. Her work can be aligned with the conceptual art linked to the fluxus movement and it consists of drawing, painting, sculpture (readymades), installations, public art and photography. Her work is defined by action and the presence of the body and it has significant experimental and investigative elements. The use of everyday objects as well as the integration of irony, chance and mathematical and musical rhythm endow her works and actions with a very characteristic personality within the Spanish conceptual art scene. An artist, performer and writer, she has contributed to various journals and performed and exhibited in France, the United States, Italy, Germany and Canada, in addition to carrying out productions in Hungary, Slovakia and other countries. She represented Spain in the XLVII Venice Biennial in 1998. Alex Francés. Valencia (Spain), 1962. Heirs of performance and body art, Alex Frances’ photographs are finely honed stagings giving rise to images imbued with aesthetic intent yet not exempt of militancy or political and poetic perspective regarding the body, masculine sexuality and homo-eroticism. Representations of intimate and domestic rituals
with allegories and natural elements, channels for communication on corporal geography and masks and stigmas are the major factors composing the substratum of a body of work in which the artist plays the part of the subject portrayed. He has been represented by the gallery Luis Adelantado, Valencia since his first exhibition there in 1989. He also had shows there in 2000 and in 2001, the latter entitled Caligrafía, for which a compilation of his work since 1993 was published. This show will be traveling to the University of Salamanca. Gilbert & George. Gilbert Proerchs (Dolomites, Italy, 1943) and George Passmore (Devon, UK, 1942) met in 1967 at St. Martin’s School of Art, London, and since then have become a single artist working and thinking with one mind alone. Their first works, such as the mythical Singing Sculptures, 1969, expanded the concept of sculpture, for the artists themselves posed as living sculptures and transformed everyday activities into artistic acts by carrying them out as rituals of precision. In 1971, they started working with photographs, and later, from 1980 on, including their self-portraits and employing vivid colors into their characteristic compositions resembling the large stained glass windows of churches. In their work, they touch on aspects such as sex, religion, politics, work, corporal functions and aggressiveness. Repetition, fragmentation, texts, the use of loud psychedelic colors, and the presence of sexual aspects and the bodies of youngsters alongside the two artists are common motifs in their works. Among their many exhibitions, most noteworthy are those held at Whitechapel Art Gallery, London, 1971 and 1981; Documenta V and VII, Kassel, 1972 and 1982; Centre G. Pompidou, Paris, 1981; Guggenheim Museum, New York, 1985; Palacio Velázquez, Madrid, 1987; Kunsthalle, Zürich, 1992; Fundación Miró, Barcelona, 1993; Stedelijk Museum, Amsterdam, 1996 and Atarazanas, Valencia, 1999. Nan Goldin. Washington (USA), 1953. She lives and works both in Paris and New York. Focusing on simultaneously fragile and devastating human relationships, Goldin’s became one of the most internationally reputed bodies of work during the 1990s and one of the unquestionable references for young artists. She uses the photographic lens as a finger pointing to the wounds and the intimacy of a society marked by desolation and the effects of love and lack of love. Her close-ups, scant barriers and spurning of current morals and modesty make her photographs harsh and yet endearing documents gripping the viewers’ memory like parts of their own experiences. Her series on her friends, lovers and family members have become authentic symbols of sentimental relationships at the turn of the century. Her most outstanding works include The Ballad of Sexual Dependency, 19811996, and I’ll be your mirror, which demonstrate her way of working: in series, photographs and projections at the same time, with musical accompaniment, which in her latest series have become short and medium length videos. She has exhibited in the most important centers around the world, most noteworthy of which are the Whitney Museum, New York, the Kunsthalle, Vienna, Centre G. Pompidou, Paris, 2001, and MNCA Reina Sofía, Madrid, 2002. Miguel Angel Gaüeca. Gatica, Vizcaya (Spain), 1967. He was educated at the Fine Art School of the Basque University, where he specialized in sculpture. Beyond his objects and sculptures, his photographs depict sophisticated, glamorous and disturbing mise-enscenes influenced by design, advertising and fashion and including texts and logos. Nevertheless, there is a presence of elements which scrutinize the artist’s role as well as that of the work and the social
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E X I T Imagen y Cultura Revista trimestral / Quarterly Magazine. Año 3 - Número 10 Mayo / Junio / Julio / 2003 • PVP España: 20 Euros