{"id":198,"date":"2020-05-25T13:51:36","date_gmt":"2020-05-25T17:51:36","guid":{"rendered":"http:\/\/portfolio-pre.uqac.ca\/constanzacamelo\/?page_id=198"},"modified":"2020-06-01T10:20:39","modified_gmt":"2020-06-01T14:20:39","slug":"dossier-de-presseweb","status":"publish","type":"page","link":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/dossier-de-presseweb\/","title":{"rendered":"Dossier de presse\/Web"},"content":{"rendered":"

Entretien de Nuria Carton de Grammont avec Esther Bourdages<\/em>. OPTICA. Avril 2020.\u00a0https:\/\/soundcloud.com\/user-432657356\/entretien-de-nuria-carton-de-grammont-avec-esther-bourdages<\/a>.<\/p>\n

Pour mes camarades et moi<\/em>. Camille B\u00e9dard, Vie des arts, #258, Printemps 2020, p.165-168<\/p>\n

Contes et combats latino-am\u00e9ricains<\/em>. J\u00e9r\u00f4me Delgado. Le Devoir. 11 janvier 2020.<\/p>\n

Vues transversales. Panorama de la sc\u00e8ne artistique latino-qu\u00e9b\u00e9coise<\/em>. Tatiana Navallo. (sous la dir. de Mariza Rosales Argonza). 2018.<\/p>\n

\u00c9ditorial<\/em>. Guillermo Vanegas. https:\/\/www.reemplaz0.org\/editorial-10\/<\/a>.<\/p>\n

Hacia una po\u00e9tica del desplazamiento circunstancial<\/em>. Tatiana Navallo. Revista Artedise\u00f1o, FAD-UNAM, #5, feb-jul, 2018.<\/p>\n

El multiculturalismo canadiense ante el arte y los testimonios de Constanza Camelo Su\u00e1rez<\/em>. Alexandre Beaudouin Duquette. Revista de estudios e pesquisas sobre as Americas. Vol.11, #1, 2017.<\/p>\n

Mas alla de las fronteras. Desplazamientos po\u00e9ticos en territorio hispanocanadiense<\/em>. Tatiana Navallo. in<\/em> L\u2019identita canadense tra migrazioni (S. Serafin, A. Ferraro, D. Forza). Oltreoceano 11, 2016.<\/p>\n

Cuerpos, territorios, exilios. Acciones realizadas por Maria Evelia Marmolejo y Constanza Camelo<\/em>. Emilio Tarazona. https:\/\/www.academia.edu\/10253739\/<\/a>.<\/p>\n

Raconter autrement<\/em>. Technologies et vivre ensemble. Mus\u00e9e de la civilisation, C\u00c9LAT et UNESCO. 2014. https:\/\/www.youtube.com\/watch?v=hFKaKYZZYjM<\/a>.<\/p>\n

Finale nomade – La performance \u00e0 la conqu\u00eate de l’espace<\/em>. Jonathan Lamy. 2014.\u00a0https:\/\/zoneoccupee.com\/finale-nomade-la-performance-a-la-conquete-de-lespace\/<\/a>.<\/p>\n

Compte rendu tr\u00e8s personnel d’une journ\u00e9e de r\u00e9flexion sur la m\u00e9diation culturelle<\/em>. Christine Martel. 2014.\u00a0https:\/\/zoneoccupee.com\/compte-rendu-tres-personnel-dune-journee-de-reflexion-sur-la-mediation-culturelle\/<\/a>.<\/p>\n

Quema de miedos, una intervencion en espacio publico<\/em>. Une entrevue avec Constanza Camelo et Emilio Tarazona. Radio La Otra. 2013.\u00a0https:\/\/laotrabienal.com\/audio<\/a>.<\/p>\n

Christine Palmi\u00e9ri.\u00a0Du bleu ou l\u2019abc de l\u2019art.<\/em>\u00a0Nudit\u00e9. Revue ETC, 2012.<\/p>\n

Constanza Camelo Suarez. Une pr\u00e9sentation de James Partaik, 2010, https:\/\/fr.scribd.com\/document\/368848178\/Vol-38-no-1<\/a>.<\/p>\n

Dilater ou contracter l’univers<\/em>. Une entrevue avec Constanza Camelo, Helena Martin.<\/p>\n

Revue DPI #12. Studio XX. \u00c9t\u00e9 2008.<\/p>\n

Translating violence into exilic cultural performance<\/em>. Kinga Araya. Revue Parachute,\u00a0#124, 2006.<\/p>\n

Vita activa. <\/em>Sonia Pelletier.<\/em>\u00a0Revue Spirale, #211, Nov. \/ D\u00e9c 2006.<\/p>\n

Ojo de artista sale pintado: La estrecha relacion del arte y la realidad colombiana<\/em>. Santiago Echeverry. https:\/\/www.ciudadaniasx.org<\/a>.<\/p>\n

El performance en Colombia a finales del siglo XX. Apuntes sobre una investigaci\u00f3n de una generaci\u00f3n olvidada<\/em>. In Reflector, Hibridaciones en el arte contemporaneo. Edicion 2.0. Ricardo Arcos Palma.<\/p>\n

https:\/\/www.reflector.unal.edu.co\/elperformance.pdf<\/a><\/p>\n

Translation.\u00a0<\/em>Johanna Householder.\u00a0<\/em>https:\/\/www.performanceart.ca\/traduction\/johanna.html<\/a>.<\/p>\n

Presentan D-espejo<\/em>, Expresion, Oaxaca, 29-12-03.<\/p>\n

Inter\u00e9s migratorio en videastas canadienses.<\/em>\u00a0Yendi Ramos Ojeda. El Imparcial, Oaxaca, 29-12-03.<\/p>\n

Para-Para.<\/em>\u00a0Andr\u00e9 L. Par\u00e9, 2003.<\/p>\n

Espaces \u00e0 occuper.<\/em>\u00a0Marie-\u00c8ve Charron. De Visu, Le Devoir, 28 septembre 2002.<\/p>\n

Rencontre Internationale d’art performance.<\/em>\u00a0Mariette Bouillet. Revue Inter, #80, 2002.<\/p>\n

EXIT International festival of unusual live-performances<\/em>. www.exitfestival.org<\/a>.<\/p>\n

Symposium de sculpture et d’installation in situ.<\/em>\u00a0Barrachoa, catalogue. Jacques B\u00e9rub\u00e9 et Carl Johnson, Vaste et vague, 2000.<\/p>\n

AttrAction\/Ap.Art<\/em>, Anita Raymond, Yves O’Reilly. Inter, #75, 2000.<\/p>\n

FA3<\/em>, Sonia Pelletier. Revue Inter, #75, 2000.<\/p>\n

Post Attraction.<\/em>\u00a0Sylvie Cotton. Revue Esse, #38, 2000.<\/p>\n

48 heures, 48 chambres.<\/em>\u00a0Mariette Bouillet. Revue Inter, #74. 1999.<\/p>\n

Propos d\u2019artistes.<\/em>\u00a0Catalogue. Galerie Articule, 1999.<\/p>\n

Art des villes et art des champs.<\/em>\u00a0Guy Sioui Durand, Revue Inter, #72, 1998.<\/p>\n

Egresados recientes 3.<\/em>\u00a0Catalogue, Museo de Arte Universidad Nacional.<\/p>\n

Propos d’artistes.<\/em>\u00a0Catalogue. Galerie L’Oeil de poisson, 1998.<\/p>\n

Barrachoa.<\/em>\u00a0Fran\u00e7ois Cliche. Revue Esse, # 33, 1998.<\/p>\n

Barrachoa.<\/em>\u00a0L\u00e0 o\u00f9 les artistes choisissent.<\/em>\u00a0Fran\u00e7oise Charron. Revue Inter, #70, 1998.<\/p>\n

On nettoie la place.<\/em>\u00a0Sylvie Tr\u00e9panier. Journal de Qu\u00e9bec, 22 Septembre 1996.<\/p>\n","protected":false},"excerpt":{"rendered":"

Entretien de Nuria Carton de Grammont avec Esther Bourdages. OPTICA. Avril 2020.\u00a0https:\/\/soundcloud.com\/user-432657356\/entretien-de-nuria-carton-de-grammont-avec-esther-bourdages. Pour mes camarades et moi. Camille B\u00e9dard, Vie des arts, #258, Printemps 2020, p.165-168 Contes et combats latino-am\u00e9ricains. J\u00e9r\u00f4me Delgado. Le Devoir. 11 janvier 2020. Vues transversales. Panorama de la sc\u00e8ne artistique latino-qu\u00e9b\u00e9coise. Tatiana Navallo. (sous la dir. de Mariza Rosales Argonza). 2018. … Continuer la lecture de Dossier de presse\/Web<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":256,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"tags":[],"_links":{"self":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages\/198"}],"collection":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/users\/256"}],"replies":[{"embeddable":true,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/comments?post=198"}],"version-history":[{"count":7,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages\/198\/revisions"}],"predecessor-version":[{"id":287,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages\/198\/revisions\/287"}],"wp:attachment":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/media?parent=198"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/tags?post=198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}