{"id":6118,"date":"2007-12-13T11:30:58","date_gmt":"2007-12-13T10:30:58","guid":{"rendered":"http:\/\/revistalabolsa.com\/?p=6118"},"modified":"2016-12-13T11:50:43","modified_gmt":"2016-12-13T10:50:43","slug":"lee-wen","status":"publish","type":"post","link":"https:\/\/revistalabolsa.com\/index.php\/2007\/12\/13\/lee-wen\/","title":{"rendered":"LEE WEN"},"content":{"rendered":"<p><strong>LEE WEN<\/strong> &#8211; Fragmentos de la acci\u00f3n en Acci\u00f3n MAD-06, Centro Cultural Conde Duque &#8211; Madrid.<\/p>\n<p><span style=\"color: #000000;\">Con la grandeza de la sencillez. Exponente de la performance m\u00edstica oriental, Lee nos regala un ejercicio de trascendencia. <\/span><\/p>\n<p><span style=\"color: #000000;\">El intercambio de roles con el objeto peque\u00f1o y castigado nos sit\u00faa en nuestra propia insignificancia, y por eso mismo nos asoma al concepto de lo divino. La sensaci\u00f3n religiosa se ve intensificada con gestos que nos trasportan a celebraciones de cultos en diferentes culturas. Un gui\u00f1o al inconsciente tribal.<\/span><\/p>\n<p><strong><span class=\"_Xbe kno-fv\">Sobre\u00a0 el autor:<\/span><\/strong><\/p>\n<p><span class=\"_Xbe kno-fv\"><strong>LEE WEN<\/strong> -1957, Singapur <span class=\"notranslate\">. M\u00e1s conocido por sus actuaciones como <i>hombre amarillo:<\/i><\/span> <span class=\"notranslate\"> Pintando su propio cuerpo con pintura amarilla brillante, exagerando su identidad \u00e9tnica como ciudadano de Singapur.<\/span> <span class=\"notranslate\">Es tambi\u00e9n un miembro de La Villa de los Artistas (TAV), y parte del colectivo teatral Mercado Negro. Gana r\u00e1pidamente el reconocimiento internacional a partir de 1993, realizando acciones art\u00edsticas en muchos lugares\u00a0 como la <i>Bienal de Kwang Ju,<\/i> en la <i>3\u00aa Trienal de Asia Pac\u00edfico<\/i> en Australia en 1999.<\/span><\/span><\/p>\n<p><span class=\"notranslate\">En 2015, Lee Wen fue preseleccionado para el \u00abJoseph Balestier Award for the Freedom of Art,\u00bb, que honra a un artista de Asia sudoriental\u00a0 cuyo trabajo est\u00e9 activamente comprometido por la libertad.<\/span> <span class=\"notranslate\">Obtuvo el premio en 2016. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>LEE WEN &#8211; Fragmentos de la acci\u00f3n en Acci\u00f3n MAD-06, Centro Cultural Conde Duque &#8211; Madrid. Con la grandeza de la sencillez. Exponente de la performance m\u00edstica oriental, Lee nos regala un ejercicio de trascendencia. El intercambio de roles con el objeto peque\u00f1o y castigado [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":6119,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[5],"tags":[65,272,273,87,271,264,85,187,274],"class_list":["post-6118","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-documento-accion","tag-accion-mad","tag-action-art","tag-centro-cultural-conde-duque","tag-labolsa","tag-lee-wen","tag-live-art","tag-madrid","tag-performance-art","tag-singapur","wpz-has-embed-code"],"jetpack_featured_media_url":"https:\/\/revistalabolsa.com\/wp-content\/uploads\/2016\/12\/607437473_295x166.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p87Up8-1AG","_links":{"self":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts\/6118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/comments?post=6118"}],"version-history":[{"count":1,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts\/6118\/revisions"}],"predecessor-version":[{"id":6120,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/posts\/6118\/revisions\/6120"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/media\/6119"}],"wp:attachment":[{"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/media?parent=6118"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/categories?post=6118"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistalabolsa.com\/index.php\/wp-json\/wp\/v2\/tags?post=6118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}