{"id":2142,"date":"2020-06-17T14:30:35","date_gmt":"2020-06-17T14:30:35","guid":{"rendered":"http:\/\/gomezcornejo.com\/?p=2142"},"modified":"2020-06-23T16:02:44","modified_gmt":"2020-06-23T16:02:44","slug":"lightning-for-pandur","status":"publish","type":"post","link":"https:\/\/gomezcornejo.com\/en\/lightning-for-pandur\/","title":{"rendered":"Lightning for Pandur: Fragmentos del alma."},"content":{"rendered":"
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t
\"\u00a9\u00c1lvaro
\u00a9\u00c1lvaro Luna (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9\u00c1lvaro
\u00a9\u00c1lvaro Luna (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9\u00c1lvaro
\u00a9\u00c1lvaro Luna(Praga)<\/figcaption><\/figure><\/div>
\"\u00a9\u00c1lvaro
\u00a9\u00c1lvaro Luna (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>
\"\u00a9Ruvebal
\u00a9Ruvebal (Praga)<\/figcaption><\/figure><\/div>\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t

Lightning for Pandur: Fragmentos del alma.<\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t

EXPOSICI\u00d3N CUADRIENAL DE PRAGA 2019.<\/span><\/p>

La pieza se ha expuesto en:<\/p>

\u00a0<\/p>

  • Festival Internacional de Teatro Almagro. Julio 2019<\/span><\/p>

    Teatro Mar\u00eda Guerrero<\/span><\/p><\/li><\/ul>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

    \n\t\t\t
    \n\t\t\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\t\t

    Concepto y Dise\u00f1o: Juan G\u00f3mez-Cornejo\u00a0<\/span><\/p>

    Fotograf\u00edas: <\/span>Aljo\u0161a Revolj, Sven Jonke y Ros Ribas<\/span><\/p>

    Dise\u00f1o Audiovisual: \u00c1lvaro Luna<\/span><\/p>

    Inspirado en el espacio dise\u00f1ado para INFIERNO, LA DIVINA COMEDIA por Sven Jonke.<\/span><\/p>

    Programaci\u00f3n: Rub\u00e9n Vega\u00a0<\/span><\/p>

    Realizaci\u00f3n: INTERVENTO<\/span><\/p>

    M\u00fasica Mozart \u2013 Piano Concerto No.23 in A Major, K 488 Adagio<\/span><\/p>

    Spain Pavilion \u2013 PQ19<\/span><\/p>

    Comisario \u00c1ngel Mart\u00ednez Roger<\/span><\/p>

    Organizado: INAEM (Instituto Nacional de las Artes Esc\u00e9nicas y de la M\u00fasica \u2013 Ministerio de Cultura y Deporte), AC\/E (Acci\u00f3n Cultural Espa\u00f1ola), AECID (Agencia Espa\u00f1ola de Cooperaci\u00f3n Internacional para el Desarrollo), Instituto Cervantes, RESAD (Real Escuela Superior de Arte Dram\u00e1tico)<\/span><\/p>



    <\/p>

    Juan G\u00f3mez Cornejo participa en la Exposici\u00f3n PQ19 como artista invitado, en la secci\u00f3n de Fragmentos.\u00a0 para esta exposici\u00f3n\u00a0 crea una pieza que recoge los nueves trabajos realizados con el director de escena esloveno Tomaz Pandur. Desde su primera colaboraci\u00f3n en <\/span>Infierno <\/span><\/i>en el Teatro Mar\u00eda Guerrero en el 2005 hasta su \u00faltima colaboraci\u00f3n <\/span>King Lear<\/span><\/i> en el Festival de Atenas en el Pireo en 2015.\u00a0\u00a0<\/span><\/p>

    Esta pieza evidencia la fruct\u00edfera relaci\u00f3n art\u00edstica con el director y su equipo. Su contemplaci\u00f3n es una inmersi\u00f3n en el lenguaje est\u00e9tico panduriano. <\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

    \n\t\t\t\t\t\t
    \n\t\t\t\t\t
    \n\t\t\t
    \n\t\t\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\t\t

    The work by Juan G\u00f3mez-Cornejo is a fundamental element for comprehending the development of<\/span><\/p>

    theatre lighting in Spain as well as the organization and technical equipment in some of the most important Spanish theatre. Cornejo is responsible for the most important technological advances<\/span><\/p>

    and developments in many theatre and he is a figure that the very heart of the changes that have advanced Spain at all levels towards a completely modern theatre.<\/span><\/p>

    The artist develops daring and audacious atmospheres, giving the best of himself to dramatic texts with a power of abstraction distant from conventional lighting, entering worlds of major poetic impact and expressive force. G\u00f3mez-Cornejo\u2019s prolific body of work serves as an important school and is a major influence not only for lighting designers, but also for directors and performance designers, who, under his advice and teachings, have developed the current understanding of scenography and stage direction. As a result of his work, he has been awarded several prizes, including the Spanish National Theatre Award, the most prestigious award in Spain. For Fragments, a cube-box installation has been created that narrates and describes the lighting work that Juan G\u00f3mez Cornejo has done for the works that Slovenian Toma\u017e Pandur directed in Spain, paying homage to the career and major contribution made by both to the Spanish stage.<\/span><\/p>

    \u201cA discrete man of few words, sitting at the table along with the other members of the arts team, listens very carefully. Without making his presence felt, Juan G\u00f3mez-Cornejo will to all intents and<\/span><\/p>

    purposes bear ultimate responsibility for a major artistic and poetic creation made via light. He knows how to carefully read and capture the wishes of stage directors and so find and produce luminous spaces sublimated to beauty by design. The way Juan treats light enables spaciousness and versatility due to its substantial and formal mobility, a set of privileged conditions that thanks to games of metaphor generate extraordinary spaces of key signifiers to enable comprehension and resolution of the drama. He uses technique, abstraction and poetry to translate concepts in detail, until the<\/span><\/p>

    invisible and elusive elements of the eternal emotions and values of the theatre are captured, reached and expressed: desire, love and hope, rage, the struggle, fear, war… He can create the most disparate atmospheres at the service of the most diverse dramaturgies.<\/span><\/p>

    His work becomes the wise, elegant and courteous lead of many of the sets he designs\u201d<\/span><\/p>

    – \u00c1ngel Mart\u00ednez Roger, Curator for Spain<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

    \n\t\t\t
    \n\t\t\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\t\t

    AUDIOVISUALES<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

    \n\t\t\t\t
    \n\t\t\t\t\t
    \n\t\t\t
    <\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t
    \n\t\t\t
    <\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t
    \n\t\t\t
    <\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
    \n\t\t\t\t\t\t
    \n\t\t\t\t\t
    \n\t\t\t
    \n\t\t\t\t\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\t\t

    \u00a0<\/p>

    Lighting For Pandur. Fragmentos Del Alma<\/i><\/b><\/p>

    Installation inspired by the space designed by Sven Jonke for Infierno o El libro del alma Pictures by Aljo\u0161a Revolj, Sven Jonke y Ros Ribas<\/span><\/p>

    Construction Intervento.<\/span><\/p>

    Audiovisual Composition Alvaro Luna<\/span><\/p>

    Music Mozart \u2013 Piano Concerto No.23 in A Major, K 488 Adagio and music fragments of the plays Included in the installation<\/span><\/p>

    Spain Pavilion \u2013 PQ19<\/span><\/p>

    Curator \u00c1ngel Mart\u00ednez Roger<\/span><\/p>

    Organizers: INAEM (Instituto Nacional de las Artes Esc\u00e9nicas y de la M\u00fasica \u2013 Ministerio de<\/span><\/p>

    Cultura y Deporte), AC\/E (Acci\u00f3n Cultural Espa\u00f1ola), AECID (Agencia Espa\u00f1ola de Cooperaci\u00f3n Internacional para el Desarrollo), Instituto Cervantes, RESAD (Real Escuela Superior de Arte Dram\u00e1tico)<\/span><\/p>

    Plays Included In The Installation<\/span><\/p>

    King Lear<\/i><\/b><\/p>

    George Kimoulis, 2015<\/span><\/p>

    Author: William Shakespeare<\/span><\/p>

    Adaptation and Dramaturgy: Livija Pandur<\/span><\/p>

    Translation: George Kimoulis<\/span><\/p>

    Direction: Toma\u017e Pandur<\/span><\/p>

    Set Design: Sven Jonke<\/span><\/p>

    Costume Design: Felype De Lima<\/span><\/p>

    Music: Silence<\/span><\/p>

    Lighting Design: Juan G\u00f3mez Cornejo<\/span><\/p>

    Sound Design: Mariano Garc\u00eda<\/span><\/p>

    Cast: George Kimoulis,<\/span><\/p>

    Argiris Pantazaras, Stefania Goulioti,<\/span><\/p>

    Kora Karvouni, Pinelopi Tsilika,<\/span><\/p>

    George Gallos, Prometheus Aliferopoulos, Harry Tzortzakis, Nikoleta Faltseta, Adamandia & Zeta Mastrodouka, Zoi & Michaela Petraki, Vicky Rene Vronska Chatzilia<\/span><\/p>

    Fausto<\/i><\/b><\/p>

    Centro Dram\u00e1tico Nacional, Madrid, 2014<\/span><\/p>

    Author: J. W. Goethe<\/span><\/p>

    Adapted by: Livija Pandur, Toma\u017e Pandur,<\/span><\/p>

    and Lada Kastelan<\/span><\/p>

    Translation: Pablo Vilar<\/span><\/p>

    Dramaturgy: Livija Pandur.<\/span><\/p>

    Direction: Toma\u017e Pandur.<\/span><\/p>

    Music: Silence.<\/span><\/p>

    Set Design: Sven Jonke (Numen \/ For Use)<\/span><\/p>

    Costume Design: Felype De Lima.<\/span><\/p>

    Lighting Design: Juan G\u00f3mez-Cornejo.<\/span><\/p>

    Video Design: Dorijan Kolundzija<\/span><\/p>

    Cast: Manuel Castillo, V\u00edctor Clavijo, Roberto Enr\u00edquez, Alberto Fr\u00edas, Emilio Gavira, Aar\u00f3n Lobato, Rub\u00e9n Mascato, Pablo Rivero, Marina Salas and Ana Wagener<\/span><\/p>

    La Ca\u00edda De Los Dioses<\/i><\/b><\/p>

    (La Caduta Degli Dei)<\/span><\/p>

    Teatro Espa\u00f1ol (Madrid) with the<\/span><\/p>

    collaboration of Teatro Calder\u00f3n<\/span><\/p>

    (Valladolid) and Festival Grec (Barcelona),<\/span><\/p>

    Author: Nicola Badalucco, Enrico Medioli<\/span><\/p>

    and Luchino Visconti<\/span><\/p>

    Adaptation and Direction: Toma\u017e Pandur<\/span><\/p>

    Set Design: Numen (Sven Jonke)<\/span><\/p>

    Costume Design: Angelica Atlagi\u0107<\/span><\/p>

    Video Design: \u00c1lvaro Luna<\/span><\/p>

    Music Coordination: Antonio Moreno<\/span><\/p>

    Lighting Designer: Juan G\u00f3mez-Cornejo<\/span><\/p>

    Cast: Bel\u00e9n Rueda, Nur Levi, Manuel<\/span><\/p>

    de Blas, Francisco Boira, Pablo Rivero,<\/span><\/p>

    Fernando Cayo, Alberto Jim\u00e9nez, Emilio<\/span><\/p>

    Gavira and Santi Marin<\/span><\/p>

    Piano: Ram\u00f3n Grau<\/span><\/p>

    Rat I Mir<\/i><\/b><\/p>

    (War And Peace)<\/span><\/p>

    Zagreb, 2011<\/span><\/p>

    Coproduced by Croatian National<\/span><\/p>

    Theatre, Pandur Theaters, and European<\/span><\/p>

    Capital of culture, Maribor 2012<\/span><\/p>

    Author: Leon Tolstoi<\/span><\/p>

    Translation: Zlatko Crnkovi\u0107<\/span><\/p>

    Adaptation: Darko Luki\u0107<\/span><\/p>

    Dramaturgy: Livija Pandur<\/span><\/p>

    Direction: Toma\u017e Pandur.<\/span><\/p>

    Set Design: Sven Jonke,<\/span><\/p>

    Nikola Radeljovi\u0107 (Numen)<\/span><\/p>

    Costume Design: Danica Dedijer<\/span><\/p>

    Lighting Design: Juan G\u00f3mez Cornejo.<\/span><\/p>

    Sound Design: \u017dekjko Jedinak<\/span><\/p>

    Music: Boris Benko and Primo\u017e Hladnik<\/span><\/p>

    Cast: Livio Badurina, Goran Grgi\u0107,<\/span><\/p>

    Zriknka Cvite\u0161i\u0107, Milan Ple\u0161tina,<\/span><\/p>

    Alma Prica, Pero Kvrgi\u0107, Lana Bari\u0107,<\/span><\/p>

    Milena Zupan\u010di\u010d, Ivan Glowatzky,<\/span><\/p>

    Nera Stipi\u010devi\u0107, Franjo Kuhar, Iva Mihali\u0107,<\/span><\/p>

    Luka Dragi\u0107, Damir Markovina,<\/span><\/p>

    Bojan Navojec, Sini\u0161a Popovi\u0107,<\/span><\/p>

    Dora Lipov\u010dan, Du\u0161an Bu\u0107an,<\/span><\/p>

    Nik\u0161a Ku\u0161elj<\/span><\/p>

    Symphony of Sorrowful Songs<\/i><\/b><\/p>

    Staatsballett Berlin and Staatsoper<\/span><\/p>

    Unter den Linden, Berlin, 2010<\/span><\/p>

    Author\/Composer: Henrik Gorecki<\/span><\/p>

    A contemporary ballet based on H. Gorecki\u2019s Symphony of Sorrowful Songs<\/span><\/p>

    Direction: Toma\u017e Pandur.<\/span><\/p>

    Choreography: Ronald Savkovi\u0107<\/span><\/p>

    Adaptation: Livija Pandur<\/span><\/p>

    and Darko Luki\u0107<\/span><\/p>

    Set Design: Numen<\/span><\/p>

    Costume Design: Angelica Atlagi\u0107<\/span><\/p>

    Lighting Design: Juan G\u00f3mez-Cornejo<\/span><\/p>

    Cast: Hanna Schygulla, Soloists and corps de ballet des Staatsballetts Berlin:<\/span><\/p>

    Vladimir Malakhov, Ronald Savkovi\u0107, Nadja Saidakova, Beatrice Knop,<\/span><\/p>

    Elisa Carrillo Cabrera and Iana Balova, Elena Pris, Krasina Pavlova, Sarah Mestrovi\u0107,<\/span><\/p>

    Elinor Jagodnik, Natalia Mu\u00f1oz, Soraya Bruno, Xenia Wiest, Maria Moumpouli, Weronika Fodyma, Michael Banzhaf, Federico Spallitta, Martin Buczk\u00f3, Aymeric Mosselmans,<\/span><\/p>

    Leonard Jakovina, Dominic Hodal, Arshak Ghalumyan, Vadislav Marinov,<\/span><\/p>

    Alexander Shpak, Alexej Orlenco, David Simi\u0107, Mehmet Y\u00fcmak<\/span><\/p>

    Hamlet<\/i><\/b><\/p>

    Teatro Espa\u00f1ol, Madrid, 2009<\/span><\/p>

    Authors: William Shakespeare<\/span><\/p>

    Translation: Jos\u00e9 Ram\u00f3n Fern\u00e1ndez<\/span><\/p>

    Version and Direction: Toma\u017e Pandur<\/span><\/p>

    Set Design: Numen<\/span><\/p>

    Costume Design: David Delf\u00edn<\/span><\/p>

    Lighting Design: Juan G\u00f3mez-Cornejo.<\/span><\/p>

    Sound Design: Mariano Garc\u00eda<\/span><\/p>

    Cast: Blanca Portillo, Asier Etxeand\u00eda, Hugo Silva, Quim Guti\u00e9rrez, Susi S\u00e1nchez, Manuel Mor\u00f3n, F\u00e9lix G\u00f3mez, Nur al Levi, Aitor Luna, Eduardo Mayo, Dami\u00e0 Plensa, Santi Mar\u00edn and Manuel Moya<\/span><\/p>

    Medea<\/i><\/b><\/p>

    Festival de M\u00e9rida, 2009<\/span><\/p>

    Author: Eur\u00edpides<\/span><\/p>

    Version: Darko Luki\u0107, Livia Pandur<\/span><\/p>

    and Toma\u017e Pandur<\/span><\/p>

    Direction: Toma\u017e Pandur.<\/span><\/p>

    Set Design: Sven Jonke for Numen<\/span><\/p>

    Costume Design: Angelica Atlagi\u0107<\/span><\/p>

    Music: Silence<\/span><\/p>

    Choreography: Ronald Savkovi\u0107<\/span><\/p>

    Lighting Design: Juan G\u00f3mez-Cornejo.<\/span><\/p>

    Sound Design: Mariano Garc\u00eda<\/span><\/p>

    Cast: Alberto Jim\u00e9nez, Asier Etxeandia, Blanca Portillo, Julieta Serrano\u00a0<\/span><\/p>

    Barroco<\/i><\/b><\/p>

    Centro Cultural de la Villa, Madrid, 2007<\/span><\/p>

    Authors: Darko Luki\u0107 and Toma\u017e Pandur,<\/span><\/p>

    based on the novel Dangerous liaisons by<\/span><\/p>

    Pierre Choderlos de Laclos and the play<\/span><\/p>

    Quartet by Heiner M\u00fcller<\/span><\/p>

    Translation: \u00c1lvaro Garc\u00eda Meguer<\/span><\/p>

    Dramaturgy: Livija Pandur<\/span><\/p>

    Direction: Toma\u017e Pandur<\/span><\/p>

    Music: Silence<\/span><\/p>

    Set Design: Numen<\/span><\/p>

    Costume Design: Angelina Atlagi\u0107<\/span><\/p>

    Lighting Design: Juan G\u00f3mez-Cornejo<\/span><\/p>

    Choreography: Nacho Duato<\/span><\/p>

    Actors: Blanca Portillo, Asier Etxend\u00eda, and Chema Le\u00f3n<\/span><\/p>

    Infierno O El Libro Del Alma<\/i><\/b><\/p>

    Centro Dram\u00e1tico Nacional, Madrid, 2005<\/span><\/p>

    Authors: Dante Alighieri, Nenad Proki\u0107<\/span><\/p>

    Based on the Divine Comedy by Dante,<\/span><\/p>

    inspired by Dantes Divinus by Nenad<\/span><\/p>

    Proki\u0107 and by Works by Francesco de<\/span><\/p>

    Sanctis, Milorad Pavic and Camille Plagia<\/span><\/p>

    Dramaturgy: Livija Pandur<\/span><\/p>

    Spanish version: Luis Garc\u00eda Montero<\/span><\/p>

    Direction: Toma\u0107 Pandur.<\/span><\/p>

    Set Design: Sven Jonke, Numen<\/span><\/p>

    Costume Design: Angelina Atlaji\u0107<\/span><\/p>

    Music: Goran Bregovi\u0107<\/span><\/p>

    Lighting Design: Juan G\u00f3mez-Cornejo.<\/span><\/p>

    Cast: Asier Etxeandia, Roberto Enr\u00edquez, Charo L\u00f3pez, Sergio Peris-Mencheta,<\/span><\/p>

    Juan Codina, Ver\u00f3nica Echegui, Noem\u00ed P\u00e9rez, Dami\u00e0 Plensa, Alberto Pineda, Carlos Brau, Mikel Larrabeiti, Salvador Masclans, Gabriela Limatola, Amaya Galeote\u00a0<\/span>and Ekaterina Borok.<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

    \u00a9\u00c1lvaro Luna (Praga) \u00a9\u00c1lvaro Luna (Praga) \u00a9\u00c1lvaro Luna(Praga) \u00a9\u00c1lvaro Luna (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) \u00a9Ruvebal (Praga) Anterior Siguiente EXPOSICI\u00d3N CUADRIENAL DE PRAGA 2019. La …<\/p>\n

    Lightning for Pandur: Fragmentos del alma.<\/span> Read More »<\/a><\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,6],"tags":[],"class_list":["post-2142","post","type-post","status-publish","format-standard","hentry","category-eventos","category-ficha"],"_links":{"self":[{"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/posts\/2142","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/comments?post=2142"}],"version-history":[{"count":12,"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/posts\/2142\/revisions"}],"predecessor-version":[{"id":2339,"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/posts\/2142\/revisions\/2339"}],"wp:attachment":[{"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/media?parent=2142"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/categories?post=2142"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gomezcornejo.com\/en\/wp-json\/wp\/v2\/tags?post=2142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}