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Georgie Henley and Will Poulter in "Blue Peter"

Here are some screenshots of Georgie Henley and Will Poulter in British show "Blue Peter" on Thursday (30 December).

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New Interview Skandar Keynes in New York

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Ben, Georgie and Skandar say goodbye to future Narnia films The Chronicles of Narnia

While the series may continue for a few cast members it's time to say goodbye. course, as William Moseley, Anna Popplewell, there could be room for cameos in future Narnia films, and some of them do come back for more important roles much later. However, at this time, Georgie Henley, Skandar Keynes and Ben Barnes are bidding farewell Narnia.

Ben Barnes - King Caspian:

Asked if there is a possibility that there may be more of the ; movie "Narnia" in the future, Ben joked, "I went to producers in the after party, after watching very carefully how many glasses of champagne they had. I made sure that had at least three before addressed the issue. ( In The Silver Chair), Caspian is a 70 year old, so will have to bring Howard Berger (artist of the series of makeup) and her team and I'm going to wake up very early in morning or they will get someone else ". " But after the champagne glasses above, they were talking about flashbacks maybe doing, because in the last Chapter of 'Dawn Treader ", Caspian and Liliandil are getting married. There are few times when the potential we can do flashbacks, however. If you do a quick search of the text, you'll find many times that there are some moments of the last mentioned. could also be used to build the character of the public Rilian ". A newcomer who was soon to the fore when he took the lead role in" The Chronicles of Narnia: Prince Caspian " Ben said: "I had more confidence in the whole of this time, because we had the break in the middle, while the studies debate among themselves what they would do with all of our careers . I was able to go out and do other films and get their confidence ".

" A simple job required of me this time and I'm not playing the title character ", said Ben. " Michael Apted asked me to perform a simple task, only to be more authoritarian than the adult, rather than engage with the quartet of teenagers in the film above. I who resigned, and I was happy to walk on the team and make the crew learn a little about who I was. helped me to reach the air of authority to play a real character ".

Georgie Henley - Lucy Pevensie:

Georgie, who is blossoming into a beautiful young woman actually said, "I'll have to pass the franchise of 'Narnia', because I'm not part of the upcoming films, which is a shame. However, all good things must come to an end. I would definitely pursue acting. Also I have to concentrate on school for the time you can find balance. Then, hopefully, I'll have a happy teenager ". " There are some fragments of the Pevensie in some of the books that adults or young adults, so I'm not sure how you will succeed "," she said about the possibility of being thrown back into the potential of the franchise terms . "Maybe if the opportunity arose and went left, and the franchise not continue. Maybe I would consider returning for a cameo .

there life for Georgie away from the "Narnia" series: "I've been going to a regular school for five years . I would go to college, ".

Skandar Keynes - Edmund Pevensie:

Skandar Keynes was feeding a bad cold, but bravely continued with the interview. Skandar internal, "I have no acting projects lined up this time. I'm focusing on my four-year degree in Arabic and Middle Eastern history. Many things can change in that time, and I'm not going to jeopardize that. I'll see what happens in four years ".

What will you miss about their days in Narnia?, Skandar responded quickly. "When we were in some strange places in the middle of nowhere or if we making the rare footage, people were always very good! They are the ones who will miss ". " I'm ready to move on " he admitted. " I had a great experience. I've met amazing people. is sad to say goodbye, but at the same time, I'm ready to move on, do other things and get my degree! ".

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3 tops the U.S. most-watched movies New interview

"The Chronicles of Narnia 3: Voyage of the Alba, "the third installment of the franchise, won the number one box office in the U.S. and Canada with $ 24.5 million, a figure lower than initial estimates.

" The Prince Caspian, "the title of Part Two, opened in 2008 with 55 million dollars." The Lion, The Witch and The Wardrobe ", the original film, did $ 65.6 million in its first weekend exhibition, in 2005.

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The study took the reins of the series after the second part would result in a minor failure compared to Walden Media to $ 745 million entered by the original film.

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Georgie Henley & Will Poulter to NarniaWeb

During his stay in London for the premiere of The Chronicles of Narnia 3, Tirian of "NarniaWeb" had the opportunity to interview Georgie and Will. Check out the interview below.

Cred. GeorgieLatino

Does A Jeep Have Shocks Or Struts?

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"These are the drawings of a walker." The words of Melquiades Álvarez (Gijón, 1956) are probably the easiest way to describe what it contains Roads, title which means a exquisite book edited by Trea, the exhibition that will accompany his presentation on Sunday at 13 pm in the museum Evaristo Valle Gijon and, above all, the artistic distillate of many hours of walking receptive. A walk to the painter calmly has deployed both to their feet with their hands-armed charcoal and coal, and with his mind, which ultimately is the true inner landscape which have been adapting and recreating - this time by conscious and unconscious memory, their unique experience of walking.

Traces of all these forms of traffic have resulted in a series of fifty papers in which Melquiades Alvarez, true to the spiritual by the landscape that unifies his work has sought to "follow the path of secret music." At that music which has been equally attentive ear in familiar and far: marine, forest, eastern suburbs recognizable Gijón, towns, villages, parks, whose common feature is to appear split by the unmistakable marks of human discourse . On some occasions, the road is a lack of drawing white in the center of the drawing, in others it is barely visible through the tangle of lines that reproduce the tangle of weeds and branches, or nearly erased by the densification of carbon night or stump of the fog, the distance or the snow on some pictures is winding mountain road and other asphalt puddle, bridge or invisible path, denounced by the procession of figures that human travel. Even the sky, as in the final drawing, No way, roads, in which the free flight of a bird and its invisible path symbolize the opening of all possible routes.

But in all cases, the road is part of the same deep symbolism (the actual practice and suggested physical space and escape ") and runs through landscapes deeply assimilated by the person who ran then evoked with licenses, omissions and revelations granted memory. The Transcriber is a tool to trace the pure alternating flashing nervous with more elaborate plot, shade or incision barely suggested in the paper, but in all cases works for the author as "a live recording of the spirit of seismology , a handwriting of the soul. "

Therefore, in the precise and beautiful text that opens the book, Drawings of a walker, the painter speaks of "a mixture of realism and subjectivism" set the same technique, usually applied good wanderer: the wandering and exploration as fines en sí mismas. “Me he aproximado a la realización de los dibujos siguiendo el camino del tanteo”, escribe Melquiades Álvarez; “con pasos que avanzan y retroceden”. Como en sus orígenes etimológicos el método acaba por ser el camino mismo, y el dibujo se convierte en la prolongación de la ruta por otros medios.

El vigor literario que muestra Álvarez en su texto tiene seguramente mucho que ver con las excelentes compañías que se ha procurado para estos itinerarios; empezando por la del poeta y ensayista gijonés Jordi Doce, que cierra la marcha con un inteligente texto titulado Conjeturas, inminencias. It stands out precisely "an attitude of searching, of inquiry, which can only adjectives of spiritual" Twelve that relates to three traditions: Eastern and essentialist stripped, the Nordic and metaphysics of romantic attachment, and a third, tied "late modernism" sensitive to "the poetry of the province" in declaring also unequivocally Gijon affiliation of Melquiades Álvarez.

But these roads are also villages of voices: conversations in itinere that explain the excellent literary form of the painter. The drawings appear faced with transcribed texts handwritten by Melquiades Álvarez, so as to make another record of his handwriting soul. From the East Lao Zi, Basho, Kobayashi or Soseki to contemporaries as Antonio Colinas or Julio Llamazares; from wanderers of nature as Thoreau or the Spaniard José Ramón Lueje, to literary travelers as Cela, Handke or Sebald; and poets -San Juan de la Cruz, Novalis, Yeats or Machado- philosophers-Rousseau- and even illustrious fellow workers, as Van Gogh.

However, as noted by Jordi Doce, "Roads" is after "a solo album," the profession of "a love that seeks to be among the things without possessing" and almost self-possessed. Another poet, Vallejo, drew the landscape in his most famous sonnet: "With all my way, to me alone."

(New Spain, supplement Culture, 12/16/1910)

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Anna Katherine Popplewell ( December 16, 1988), better known as "Anna Popplewell" is an English actress, known for his role as "Susan Pevensie "in The Chronicles of Narnia 1, 2 and 3.

Personal Life:

is the daughter of Dr. Deborah and attorney Andrew Popplewell , making it the largest of the three brothers actors: Laura - known as Lulu, and Freddie, who played Michael Darling in Peter Pan. His paternal grandfather Sir Oliver Popplewell, the former judge who was one of the founders of High Court Judge.

Career:

began acting at age 6 (1994), studied in Allsorts Drama School and began his career in television production Frenchman's Creek (1998) and made his film debut in Mansfield Park (1999). Since then, he has been appearing in supporting roles how, for example, in "The Little Vampire" (2000) and "Girl with a Pearl" (2003).

Although it is known worldwide for her roles in The Chronicles of Narnia: The Lion, The Witch and The Wardrobe (2005), The Chronicles of Narnia: Prince Caspian (2008) and The Chronicles of Narnia: The Voyage of the Dawn Treader (2010), which is one of the stars along with William Moseley, Georgie Henley, Skandar Keynes and Ben Barnes.

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Happy birthday Anna Popplewell New scan of Georgie Henley for "W Magazine"

The young actress of 15 years, looks just adorable with a totally natural look when she poses for the British magazine "W Magazine" .

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still A piece of video of Jaime Rodriguez for Prereq & AL
It is not uncommon

contemporary art, in an effort to analyze himself and trephining the work in pursuit of their essence, leaving behind the link ends with the sensitivity of the viewer (and the viewer, with her). Esenç & aL, the suggestive project these days occupies the exhibition hall of the Historical Building of the University of Oviedo try to see (and hear and read) many other things that do not need to sacrifice the feelings of the concept, more Quite the contrary. And besides, it does appeal to the hybridization of artistic expression, in a no man's land "where they mix and unify the material and immaterial image, sound, the literary text and of course, the concept and body. The carefully coordinated efforts of artists Jaime Rodriguez and Begoña Muñoz, Jaime and Luis Martín, poet and art critic for THE NEW SPAIN, under curator Klaus van Damme, has created a unique piece that is also an environment: a territory in which the reflection is produced by pure immersion. The performer Christian Herrera was the first to inhabit this rich environment stimuli, which will remain open until November 13 to encourage, according to its creators, to "analyze how they have changed the notions of time and space as a consequence of interactive systems and mergers that have been developed in more recent artistic practice. " But saying so, rather than the brain, body and senses.

(New Spain, supplement Culture, 12/02/1910)

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Second Pecha Kucha Night in Gijón

Pecha Kucha Night - devise and shared by Klein Dytham Architecture

Days have gone as bullets, today is December 2, quotes the second Pecha Kucha Night organized in Gijón. Will be in La Merced 3-Vintage and Funny Things (La Merced, 3), the 20.30. the (many) that was in the Sonotone on 22 September and you know that the first PKN Gijon was a real success for the presentations, assisted by the public, the environment and especially clear evidence that it is possible to implement new formats for the dissemination of ideas and direct relationship between creative people and interested in everything that has to do with creation.

In principle, unless last minute changes, the list of speakers scheduled for tonight compress their ideas, their words and images in a 20x20 meter stimulant (20 images discussed a maximum of 20 seconds per image) are:

- Germain + Marta (The case of the mad)

- Helena Exquis + Cecilia Arias

- Ivan Tobalina
- Isabel Permuy

This time the flyer has designed Daniel Acevedo. In La Merced 3 we.

Flip Mino Difference Generation

line and Javier del Río

Photo: Luisma Murias

Javier del Río left behind, despite his early death, one of the most personal works - and also more varied and dispersed-recent Asturian art. Gijón painter died at age 52 in April 2004, inherited from painters or Aurelio Valle a tradition of heterodoxy and shyness, and grew all sorts of languages \u200b\u200band formats. It is therefore interesting to engage with any incursion of clarifying and, as it were, transverse the legacy of Del Rio, who review claims or suit you. In this case, under curator Luis Feás , is the Gran Hotel Regente Oviedo which has become unexpected scenario for a sample of the artist in proposing a common thread between his paintings, sculptures, prints and drawings; or, rather, a line. Since this element is that, according to Commissioner, creates unity and structure to all disciplines that Del Rio grew with his characteristic creative passion. Javier del Río, in line is the playful title of the exhibition. A game that certainly would have been amused by the artist Gijón.

(New Spain, supplement Culture, 11/25/1910)

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Reynold Reynolds, the CCAI

Secret Life from reynold.reynolds on Vimeo .

human bodies that fall, burn or explode, left at the mercy of natural forces and abandoned the scrutiny of foreign researchers, urban and domestic environments are not able to preserve their inhabitants of the essential fragility, threatened by the exuberance (or decay) of nature and the aggressiveness of mechanisms which are not all organic, choreography shared by a woman's body, growing vegetation and a watch whose line drag point eyes of the beholder ... experimental images Reynold Reynolds (Alaska, 1966) have in their infinite loops bushed from the last day 20 in Room 1 of the Antiguo Instituto Jovellanos, as invited to 48 International Festival Gijon Film in a battery of four facilities contain one of the most enchanting art shows in recent months in Asturias.

The experimentalism of Reynolds goes well beyond that of most artists these days display their work in sections of the contest Gijón, though his sense of narrative and planning and many of its tools are fully films are integrated in facilities that, in turn, are in the service of exploration of some of the obsessions of its author: philosophical considerations about time, lapse, privacy, the fragility of the human mind and the stubborn resistance of the body reduce to mechanics left ... And, aside from any of these readings more subtle, impact the audience with his strength and his twisted and sickly beauty, which aims to hit Reynolds in the subconscious of the beholder. Four

theater installations includes two parts of the multi Secrets Trilogy (the stunningly beautiful life Secret Secret and machine), Sugar, the more narrative and more air tight time four, and Seven days till Sunday, a collection of films on Super 8 in collaboration with Patrick Jolley Reynolds shows where bodies burn, explode, lie or fall from bridges, stairs or buildings in urban settings that just are not able to protect most basic forces of nature, but sometimes seem to become unleashed.

(New Spain, supplement Culture, 25/11/1910)

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Canogar, back

Days Gijon Film Festival. Now, therefore, projections from sunrise to sunset (or so we believe in the interior of the rooms: the sun is still there), some nachtwatch (few, gone the bodies ...) and almost total neglect of any other obligation or devotion. Including the log. I will update little by little, not too whore. First, Rafael Canogar to exhibit at Van Dyck; addition to the review appeared in New Spain just over a week, here's the text I wrote for the show's catalog.

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Basa. Oil on canvas (162x130 cm.)

Of all the panelists El Paso, Rafael Canogar (Toledo, 1935) has been one of the most restless and given to the exploration of new languages \u200b\u200band formats in an ongoing attempt to tune with the times (the historical and artistic) that has often led to overflow beyond the painting itself. Now, half a century after the movement English art has reconciled with the spirit of the avant-Canogar his work opens in a new phase that is at once a return: the return to the territory of pure painting and formal autonomy values \u200b\u200bthat sustained the adventure of informality. So proclaims the work compiled in the individual areas of painting, which is, in turn, return the artist to the Art Gallery Van Dyck, four years after his first exhibition at Gijon.

"I think you touched upon to rescue the space of painting, regain their poetic and metaphorical dimension, their ability to delude ourselves, to fall in love, to vibrate again," says Canogar, which, perhaps drawing energy of nostalgia and even a certain weariness, reformulate the statement of principles into a pictorial language unprecedented in it: a formula that keeps an eye on its own past performance and put another in some records contemporary European painting. Thus, the components, the flat color and rough textures and irregularities of the previous stage are occupied or deleted by the presence of creamy masses of hair oil in which chance determines finally mixtures of color: a painting establishes a tense dialogue between intellectual rigor and sensuality of expression and in formats such as paper derives to an almost mystical spirituality. Canogar-all-states to "pick up the thread of the discourse of pure painting, nothing more than painting and communication skills."

(New Spain, supplement Culture, 18/11/1910)

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fold. Oil / DM (162x120 cm.)

CANOGAR, BACK

"Despídeme and my beloved country, because my mind wants return " / Odyssey

The history of the human imagination is filled with impossible comebacks. The Gilgamesh, that of Odysseus, that of Alonso Quijano, that of Leopold Bloom, the Ethan Edwards in The Searchers; thousands of others. The inability of all is emblematic of both physical and metaphysical question as biographical, but get back to the starting point, but we learned to reverse time, we can not and could erase the experience has passed, the only restores forgotten raw canvas each life at the cost of disease and devastation. Hence, in whom is aware of this, returning will be provided, while, another way forward, not stand still, by prohibiting their inertia or immobility. It

remember all this with the amazing and intense work that brings Canogar Rafael Gijón possible return-east, and compliment to Van Dyck, four years after his first solo exhibition in the gallery. And it should be noted that what she is not surprising intensity-that, as the spirit of adventure has been the custom in each of the many searches for this artist genetically uneasily but the way in which the painter has settled her back to the territories from which his journey began half a century ago.

And I stress: a painter. As he makes clear in the expressive text included in this catalog, the painting that went Canogar Ithaca also happens to be where you want to return this artist, like Odysseus, wandering and ingenuity multiforme. There may be understandable in its statement nostalgia for origins, and also stop reading between the lines a certain weariness of crossbreeding, ruptures generic expansions and thongs that avant-garde art and Canogar with him in the historical section correspondence that has been tested over the past century-plus. During this period, under the sign of anxiety exploratory painting itself has left in search of the three dimensions of sculpture or theatrical, is left to be invaded by the external world objects and attach prosthetics and extensions, has dispelled the aura and multiplied like any other consumer icon, has evaporated or has imploded to reduced the immateriality of the concept. And in some or perhaps all of these processes, I think that's what he wants to remind Canogar-is no longer painting and refused the gains that his generation won for the twentieth-century English art. Although what really counts in the case, regardless of written manifestos and possible interpretations, is how the play itself declares Canogar similar language in their own willingness to return to field laboriously won from the Impressionist revolution: a sovereign territory of plastic qualities, pure form, feelings and emotions encrypted and self-referential materiality of paint and its properties.

course that makes returning laden with the experiences of the journey. And who knows that, as is the case, also knows that any return is chimeric because our experiences not only change us, but change the past and make us strangers in it. While it is true that Rafael Canogar want today only paint and painting, the fact remains that his way of doing this features evidence completely unprecedented in its history, traits that denounce their attention to the different ways that you can return to painting in the early twenty-first century. It is not, therefore, to try and imposed, a nostalgic reunion with the informality and the English deep underground in El Paso, with the referrals of American roots lyrical abstraction, figuration urged by the pressures of history, the radical nature Support-Surface paint, or a mixture of expressionism and constructivism with which Canogar tightened his paintings in the hot eighties. This is a reunion with the painting itself from new positions. A new land use paint available. And a reminder (surely a self-reminder) that the soil still there, open, autonomous, available to the painter.

The shape Canogar to resettle in the native soil is based on the coexistence of two basic elements: space monochrome, naked and cold, and creamy stripes of hair and dragged oil whose sensual and random mixtures displayed color arranged in horizontal or vertical occupy, usually only part of the surface. In most cases, the relationship between these two elements are respectively the background and figure, medium and presence in other, share the canvas in a tense balance or reverse those roles, so that the dense expressiveness of oil is interrupted raked across the width of empty table for uniform color, hiatus of silence reminiscent of the strong building component of the previous stage of the artist. This dialectic leads to the minimum-and maximum stress at the edge of an almost mystical spirituality-on paper with black background scratched by the spectral traces of white oil.

A fund controlled, sober, carefully reduced to a uniform color, a strip of paste applied on it with childlike joy and energy in motion a long unpredictable results: these are the components of the new synthesis undertakes Canogar in this stage of its production with gestures that could well evoke those who first disciplined and thoroughly prepared the ground for planting and then with a sweeping gesture, release and spread the seeds in the hope that prosper in this case seeds fall between the rows of oil and paste between the lines of a plastic writing whose message is very similar to an "I'm back", but "I'm back" to build something new about the old and much-missed homeland. Because, as Rafael Canogar is aware, all Ithaca is always, inevitably, in some unreachable place of the future.

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Inciting madness Sixteen

The one that you should follow- be-my collaborations weekly supplement of Culture New Spain this week you will have noticed a change in the structure and information processing: more exposure, more concise text and a somewhat lighter tone. Although it has not been possible to implement it until today, I decided a month ago, in the belief that the artist, the gallery owner or organizer makes them more service, and above all justice, a mention in the press, even if brief, silent, and as the latter is becoming usual in the art coverage of Asturias, the decision fell on its own: more coverage at the expense depth, current information and less cultural mediation, although I personally believe that the role of a weekly culture should reverse those proportions. In other words, despite the efforts of recent times to fit a couple of exhibitions this page when I have been able, "the information was left behind, the more often sunk to the rhythm of a newspaper and in a region where program is a lot of art and interest.

precisely this latter circumstance, it is likely that even with the best will each week be leaving some behind, but now be much easier to catch up and play-offs. In short, it's a mix between the brief and guide current art, but will try to squeeze the format to be not without more on the latter.

hope I have not messed up and that the new treatment is not displeased.

Incitement to madness

Fernando Gutierrez. Lubber Das (fragment).

was a matter of time (and affinities) that Fernando Gutierrez, one of the artists with the greatest personal and national art young Spaniard, engage public Bosch. The quarrying of madness, the classic XV table in which the Dutch master an allegory about human stupidity and gullibility is the origin of Lubber Das, action video and animation that sets Gijón on Liquid Space and taking the name of the character who embodied the idiocy in Dutch folklore, a central figure in the table. As shoots emerged from the same head of Das Lubber , the walls are filled with child imagery, animal and botanical through which Gutiérrez notes "the look of innocence and stupidity, not be ruled out that it is the artist himself, and invites to both the viewer's eyes adjust to the same innocence that a lot has to do with children and tell stories that we were leaving childhood. The mastery and accuracy of your drawing, always imaginative, spontaneous and poetic, makes music for the eyes to be pulled into a dance childish as reiterating encourages the child of his video installation.

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Juan Fernandez. The argument (2010). Oil on canvas. 130x89 cm.

the human figure and also games, this time representing a dramatic sense as pictorial-employ Juan Fernández in Play, the sample that returned to Caicoya Guillermina. foot never losing his love confessed (and obvious) by the old masters and the exercise of the painting itself, Fernandez explores his personal research into the genre of portraiture through a collection of paintings and drawings in portrayed that are not people, but characters. His figures, many of these references or very recognizable movie icons, there are means to the search for identity, authenticity psychological under the mask of the subject, but a new layer mask system: an exploitation of the potentialities of the painting to raise possible histories by actors painted tablets in the scenery of the box.

annual Probe

(Photo by Miki Lee)

But, speaking of young talent, the event par excellence of the annual schedule awaits, almost dividing to dividing with Play in the room Blur, showcasing the twenty- Arts Exhibition of the Principality, more consolidated (and endorsed by the facts) as a useful annual survey to gauge what they're younger creators of Asturian art. The Gijon Alicia González-Lafita occupies the center of the selection of this year with the award-winning piece, which staged by the effects of light mechanical installation that reveals his training as an architect the scientific battle between Isaac Newton and Robert Hooke way, precisely, of his theories on light. The other jobs, so varied in form, technique and approach as expected (and desirable) to combine the firm emerging authors along with others in his early manhood, Noah Baranda, Adrian Cuervo, Manuel Griñón, Noemi Iglesias, Santiago Lara, Iraida Lombardy and Lucia Rivero.

"Souvenirs" from Portugal

Vicente Pastor, PT, delivered to your Portuguese experience last summer.

always close to the ground and always sensitive to all stimuli of the landscape-a landscape inhabited, lived intensely single-nature, Vicente Pastor recorded the summer of last year, the effect of that immersion in a corner of the southern coast of Portugal. They were born out in paintings angle titled Dus: a collection that claims to have returned "to the pleasure of painting-painting." While Pastor always do much more than that. In this case, he held almost intervened and became a installation, a few boats beached near Tavira in which he worked with complete spontaneity using the same pure pigments used in the architecture of the area. The result: a vibrant atlas maps painted on dozens of small territories this landscape and the feelings that resulted in the Asturian artist.

Double serving of poetry

Rocío Pinin. Parángelas (2010). Mixed media. 42x59, 4 cm.

The delicacy, lyricism and a certain melancholy notes are common to the two exhibitions, as always, share the space Texu: Birds, Rocío of Pinin, and Worlds of silence in Javier Valles. 's own biography and a tribute to singer Tino Casal mingle in the work of the former, which relies on new technologies, computer printing, then intervened, and video-translucent to build a world in gray, red and black, populated by birds and angels. For its part, the worlds of silence Valleys alternating small porcelain sculptures and olive wood with a high concentration of poetry, which also emerge in organic quality stoneware reliefs, inspired by New York architecture, and bristling with tiny buds, symbolizing the survival of something natural, and perhaps something human in urban toughness.

(The New Spain, supplement Culture, 10/11/1910)