Working languages: English to Spanish
Spanish to English
| Pedro Albornoz
New York, New York, United States Local time: 10:54 BOT (GMT-4)
Native in: Spanish  | |
| Freelancer | | Translation, Interpreting, Editing/proofreading, Voiceover (dubbing), Subtitling | | Specializes in: | | Anthropology | Human Resources | | Esoteric practices | Economics | | Cosmetics, Beauty | Cooking / Culinary | | Cinema, Film, TV, Drama | Business/Commerce (general) | | Art, Arts & Crafts, Painting | Certificates, Diplomas, Licenses, CVs |
| Also works in: | | Advertising / Public Relations | Photography/Imaging (& Graphic Arts) | | Media / Multimedia | Poetry & Literature | | History | Government / Politics | | Games / Video Games / Gaming / Casino | Folklore | | Agriculture | Journalism |
More Less | | Questions answered: 4, Questions asked: 72 | | 0 entries | Sample translations submitted: 1 Spanish to English: CORPVS FEMINAH KONSTRVKTO (ERVKTO) MASCVLINUM EST o: el cuérpulo de la mujer visto por la propia mujer
General field: Art/Literary
Detailed field: Art, Arts & Crafts, Painting | Source text - Spanish
CORPVS FEMINAH KONSTRVKTO (ERVKTO) MASCVLINUM EST
o: el cuérpulo de la mujer visto por la propia mujer
varias obras realizadas por la sra. ewel, artista visual,
niegan rechazan desmienten
la mirada externa, esa omnipresente mirada
fabricada por varones en un entorno de vavarones,
construida por machos de acuerdo a sus
necesidades deseos y fantasías libinidosas de macho
y urgencias de dominio poder control de macho.
dichas piezas realizadas por la sra. ewel, artista visual,
niegan rechazan desmienten aquella ubicua
imagen de la mujer idealizada codiciada estereotipada por el hombre
a lo largo y ancho de la hipistoporipia depel apartepe
y ampliamente explotada por la industria publicitaria
que te vende baterías yuasa y cerveza paceña o
cualquier otro producto que en realidad poco tiene que ver con la mujer,
asociando visualmente la imagen del producto en cuestión
a ese eterno oscuro objeto (no sujeto) del deseo:
la imagen de la fémina.
imagen por otra parte s.u.u.u.misamente a.s.u.u.u.mida por m.u.u.u.u.chas mujeres
que acuden candorosas a los spas y gimnasios y a las instalaciones de LAIN
y hacen dieta y leen vanidades para cocinar recetas más deliciosas y más apetitosas para luego hacer más dietas (convenientemente incluídas en el mismo número de vanidades).
la negación, el cuestionamiento
de la mirada académico-romántico-erótico-comercial
se produce cuando
en sus obras, la sra. ewel, artista visual,
simplemente nos muestra el
PUN
TO
DE
VIS
TA
de la mujer respecto de su propio cuerpo de mujer
PUN
TO
DE
VIS
TA
sin ambajes ni retoques
con rollitos y con estrías
gracias al cual surgen
alejamientos del modelo establecido por la norma
surgen
distorsiones
deformaciones
desplazamientos
que a tiempo de proponer una nueva mirada,
cuestionan o al menos relativizan
nuestros (pre)conceptos de feminidad
y nuestros (pre)conceptos de belleza.
SEXVS SEMPER GENITALIS EST
varias piezas de la sra. ewel, artista visual,
incluyen formas vaginales,
vaginudas, vaginosas, vaginomorfas,
en diversos grados de iconicidad, según el caso:
en algunas oportunidades
vagina presente en forma sugerida, insinuada, implícita
y en otros, de forma más evidente o explicita.
tales formas se presentan
algúbunas veces en un “contexto geográfiko”
algúbunas otras veces en un “contexto botániko” y,
en una que otra excepcional oportunidad,
en un “contexto religioso”
en todo caso, la vagina aparece,
al igual que varios otros tópicos en la obra de la artista,
en un entorno taxonómico, analítico, científico, a menudo
acompañado de palabras o frases explicatorias,
ampliatorias del significado o delimitadoras del mismo…
tal “estética de lo científico” no pretende ser
en absoluto moderna ni futurista, sino mas bien parece ser
decimonónica, victoriana, coherente con
la primera época de la revolución industrial:
se puede constatar un carácter educativo, ilustrativo, ho.ga.re.ño
muy propio de la “divulgación científica” del paso del siglo 19 al siglo 20.
si el anterior tipo de obras
cuestionaba la mirada ajena sobre el cuerpo de la mujer,
estas piezas exploran lo femenínulo a través de lo genital
vinculado asociativamente a otros elementos
provocadores / detonadores de significación
(la metáfora cartográfica, la metáfora floral y,
en una que otra excepcional oportunidad, la metáfora religiosa)
así como también a través de una estética basada
en lo ornamental y lo delicado, aludiendo nuevamente
a atributos atribuidos por definición a lo femenino.
en general, pienso que el arte de erika ewel es
intensamente provocativo, crítiko, analitiko y delikado,
sin caer en el facilismo de lo demagógico o panfletario
ni en intelektualismos pseudo-conceptuales.
SEHNSUCHT / SAUDADE / LONGING/ NOSTALGIA
no deseo ni puedo limitar la obra de la sra. ewel, artista visual,
al tema de los géneros y sus roles imaginarios
construidos y puestos en práctica en la sociedad aktual.
la obra de la sra. ewel, artista visual,
trasciende por mucho tales ámbitos o preocupaciones.
tal vez lo más interesante de la obra de la sra. ewel, artista visual,
sean dos rasgos:
su paradójicamente sutil atrevimiento
(tengamos en cuenta el contexto conservador en el que operan)
y sus indeterminaciones, sus rasgos indefinibles.
lo más precioso del trabajo de esta notábule artístula,
es la imposibilidad de agotar sentidos,
el no poder completar significapaciones,
ni realizar una disección completa.
o, si se lograse tal cometido,
mataríamos a la obra en su conjunto
y tendríamos un exhaustíbulo análisis
…y un cadáver.
muchas de sus piézulas, incluidas las arriba mencionadas,
tienen, contienen un halo de nostalgia,
un indefinido aire de añoranza que me hace suspirahar.
en un sentido más obvio o literal,
varias de sus obras muestran imágenes, pictóricas o fotográficas,
del pasado, del ayeher: grupos de personas con atuendos
de la primera mitad del siglo pasado, antiguos barcos a vapor,
ornamentos asociables con el Art Nouveau…
en un sentido más indirecto pero no por eso meno efectivo
(el poema actuando “por debajo de la mesa”, diría Yeats)
hay un look, un feeling, una onda de
añoranza
difícil de describir pero también imposible de ignorar.
veo las obras de erika ewel,
especiapelmente las de los últimos años,
y siento…
saudade.
estoy seguro de que no es saudade por el siglo 20
ni por los barcos a vapor:
eso sería el mero síntoma.
el diagnóstico sería la constatación de algo
más amplio, más general, más profundo, más inefable.
la nostalgia de lo otro, que nos fue arrebatado el momento de nacer.
creo que tenemos que llamar a Lacan.
Territorio Creativo Libre e Independiente,
23 de Marzo del 2009
| Translation - English
Title of text: Untitled
Author of text: Roberto Valcárcel, FCT, THD
Technique: Mixed
Dimensions: Variable
CORPVS FEMINAH KONSTRVKTO (ERVKTO) MASCVLINUM EST
or: woman’s bodyfull as seen by woman herself
many of the works executed by ms. ewel, visual artist,
deny reject expose disavow
the external gaze, that omnipresent gaze
contrived by males in a world of mamales
constructed by machos according to their
libidinous macho needs desires and fantasies
and macho urges for dominion power control.
FOTO
these works executed by ms. ewel, visual artist,
deny reject belie said ubiquitous
image of the image of woman idealized coveted stereotyped by men
throughout the entire hipistoporypy ofop artap
and widely exploited by the industry of publicity
that sells you yuasa batteries and paceña beer or
any other product that really has little to do with women,
visually associating the image of the aforementioned product
to that eternal dark object (not subject) of desire:
the image of the female.
FOTO
image on the other hand s.u.u.u.bmissive a.s.s.u.u.u.med by m.a.a.a.a.ny women
who candidly rush to their spas and gyms and fat farms
and diet and read cosmo to cook the most delicious and scrumptious recipes to then diet some more (diets which are conveniently included in the same edition of the cosmo magazine).
a denial, a questioning
of the academic-romantic-erotic-commercial gaze
is produced when
in her works, ms. ewel, visual artist
simply shows us the
POI
NT
OF
VIE
W
of women regarding their own woman’s body
POI
NT
OF
VIE
W
with no euphemisms or touch ups
with love handles and stretch marks
that establish a
distance from the model established by the norm,
FOTO
emerge
distortions
deformations
displacements
that, while proposing a new gaze,
question or at least relativize
our (pre)judgements of femininity
and our (pre)judgements of beauty.
SEXVS SEMPER GENITALIS EST
many of the works of ms. ewel’, visual artist,
include forms that are vaginal,
vaginaful, vaginalike, vaginamorph,
in varying degrees of iconicity, according to the context:
sometimes
vagina is present in a way that is suggested, insinuated, implicit
and in others, it is more evident or explicit.
FOTO
such forms are manifested
somefuntimes in a “geographik context”
somefuntimes in a “botanikal context”, and,
here and there, in exceptional cases,
within a “religious context”
in each case, the vagina surfaces
as do other topics in the work of the artist,
in a taxonomic, analytical, scientific surrounding, often
associated by words or explicative phrases,
expanding the meaning or limiting it…
this “scientific aesthetic” has absolutely no intention
of being modern or futurist, but rather seems
decimononic, victorian, coherent with the
first period of the industrial revolution:
one can confirm a character that is educative, illustrative, do.me.st.ic
properly belonging to the “scientific dissemination” in the period between the 19th and 20th century.
if with the previous works
she questioned the outward gaze on the female body,
these works explore the fememeaningfule body through genitality
through a association to other elements that
provoke / detonate meaning
(the cartographic metaphor, the floral metaphor and,
here and there, in exceptional cases, the religious metaphor)
as well as through an aesthetic based
on the ornamental and delicate, once again alluding
to attributes attributed by definition to what is properly feminine.
FOTO
in general terms, i think that erika ewel’s art is
intensely provocative, critikal, analytikal and delikate,
without falling into the realm of formulaic ease of the demagogic or pseudoactivistic discourses
or pseudo-conceptual intelektualism.
SEHNSUCHT / SAUDADE / LONGING/ NOSTALGIA
i have no wish to nor can i reduce the work of ms. ewel, visual artist,
to the subject of genders and their imaginary roles
that are constructed and implemented in kurrent society.
in her works, ms. ewel, visual artist
transcends such areas or concerns.
maybe the most interesting of the work of ms. ewel, visual artist
are two characteristics:
her paradoxically subtle boldness
(let us consider the conservative context in which they operate)
and her indeterminacies, her indefinable traits.
the most wonderful aspect of this notabulous artfultist
is the impossibility of depleting the meanings,
the fact that one cannot completely establish the meaninipings
or fully dissect them.
if such a task should be accomplished,
we would have succeeded in killing the entire work
and we would have an exhaustibooble analysis
… and a corpse.
many of her worksies, included those mentioned previously,
possess, contain an aura of nostalgia,
an indefinite air of longing that make me sighghgh.
in a more obvious or literal sense,
many of her works show images, pictorial or photographs,
of the past, of yesterdaysofaraway: groups of people with outfits
belonging to the first half of the past century, old fashioned steamboats,
ornaments that can be associated to art nouveau…
FOTO
in a less direct, but not less effective, sense
(the poem acting “underneath the table”, as yeats would say)
there is a look, a feeling, an air of
longing
that is hard to describe but also impossible to ignore.
i see the works of erika ewel,
epespecially the latter ones,
and i feel…
saudade.
i am sure it is not a yearning nor longing for the 20th century
nor for the steamboats:
that would be but the symptom.
the diagnosis would be the validation of something
that is broader, more general, deeper, more ineffable.
the yearning for the other, that which was stolen from us at the moment of our birth.
i think that we have to call Lacan.
Free and Independent Creative Territory
March 23rd, 2009
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More Less | | AGRUCO DEVELOPMENT, COMPAS ACRONYMS, EDUCATION, ENDE, FUNDRAISING, Law (contracts), MANZANA UNO, MEDICINE, MULTICORP, WATER 4 PPL | | Years of translation experience: 17. Registered at ProZ.com: Feb 2007. | | N/A | | N/A | | N/A | | Adobe Acrobat, Adobe Illustrator, Adobe Photoshop, Microsoft Excel, Microsoft Word |  CV/Resume (DOC)English (DOC) | | About me Pedro Albornoz
• Has worked over ten years as an independent translator-interpreter, certified by Centro Boliviano Americano
• Has worked over ten years as translator-interpreter for Agroecología Cochabamba (Center of Excellence of the Faculty of Agricultural Sciences, Universidad Mayor de San Simón), during which he has translated more than a dozen magazines (COMPAS Magazine; Endogenous Development Magazine; diverse institutional documents; scripts for documentary videos) and books (Spanish translations of Moving Worldviews, Endogenous Development and biocultural Diversity, Ancient Roots, New Shoots, Food for Thought; these books and magazines can be freely downloaded from www.compasnet.org and www.agruco.org).
• Mr. Albornoz provided simultaneous interpretation services for many international events, such as Workshop for Endogenous Development and Biocultural Diversity (Lesjask, Poland, 2006); International Conference for Endogenous Development and Biocultural Diversity (Geneva, Switzerland, 2006)
• Has translated many editions of inflight magazines for TAM Mercosur and Lloyd Aéreo Boliviano.
Samples available at http://www.agruco.org |
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Keywords: Literature, development projects translator/interpreter, human rights, gender, glbt studies, queer studies, journalism, politics, social sciences, conference interpreter, English/Spanish proofreading, web page translation; public relations, business liaison, art, art criticism, literary criticism, education, history, media
Profile last updated
Dec 10, 2009 |
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