Veo las imágenes que se repiten. Aquí y alrededor del mundo, las cuarentenas van generando resistencia. Y comprendo el fastidio de muchos, que en parte también es el mío.
Por algo la sociedad ha dispuesto que la pérdida de la libertad y del movimiento es posiblemente una de las mayores penas que como civilización humana, y a través de la justicia, le podemos dar a aquellas personas que decidan no respetar las reglas de convivencia sociales, así como a quienes no respetan a otras personas, o la propiedad ajena, el bien común, y por supuesto, la vida.
Entonces, en algún punto, nos sentimos como frente a una terrible injusticia, porque consideramos que no hemos hecho nada para merecer esto.
Pero una pandemia como la presente, y particularmente el método que nos permita controlarla y atravesarla sin mayores costos en vidas humanas -y más allá de las causas que la hayan producido-, no pasa por culpabilidades, sino por solidaridades.
El que hemos iniciado a nivel planetario, es un camino que emprendemos juntos, para tratar de protegernos entre todos.
Si ensayamos una simple analogía, esto sería como estar en un avión y enterarnos que el aparato se va a estrellar y como resultado, la predicción es que posiblemente nos matemos casi todos.
Eso será así a no ser que, sepamos cómo se hace o no, nos pongamos todos el paracaídas que está situado debajo de cada uno de nuestros asientos y nos lancemos al vacío. O sea, hacia a un futuro incierto, pero posiblemente menos dudoso -y con claras probabilidades de llegar a un final feliz- que quedándonos todos en el avión que sabemos se va a estrellar.
De la agitación del salto, y la primera caída rápida, sentimos cómo se abren de pronto los paracaídas, y el descenso se nos hace lento y suave. Y eso nos permite generar esperanzas que, cuando finalmente logremos apoyar nuestros pies sobre la tierra, estaremos todos mayormente a salvo.
Ese proceso conlleva paciencia, fe, apoyo mutuo, y toda la tranquilidad que podamos invocar.
Es probable que en este momento de nuestra cuarentena, estemos casi todos ahí, flotando lentamente, y todavía sin poder ver con nitidez nada bajo nuestros pies. Y como resultado, estemos sufriendo mucha ansiedad. Es nuestro primer salto después de todo!
Por eso, tal vez, este es el momento de confiar, unos en los otros, de sentirnos acompañados pero separados, cada uno con su paracaídas, pero sabiendo que somos muchos flotando hacia la vida y alejándonos, si Dios quiere, de un potencial final trágico.
Aquellos que hoy, bajo un lógico stress psicológico y financiero, o por simple aburrimiento, insisten en que esto “ya fue”, o que ” al final no pasó nada”, o “es un cuento engendrado por villanos obscuros y debemos resistir”, y por lo tanto es hora de volver a nuestra vida como era antes, me hacen pensar en que esto sería como que compañeros de viaje en nuestra virtual aventura con el avión, y ante la lentitud del descenso, nos empiecen a gritar a la distancia -tratando de convencernos-, de que ya que estamos descendiendo tan lentamente y claramente pareciéramos estar mayormente a salvo, nos quitemos todos los paracaídas de una buena vez así llegamos a tierra más rápido….
Paciencia, consciencia, fe, y solidaridad.
Si me permiten la sugerencia, de esos materiales deberían estar hechos cada uno de nuestros “paracaídas” personales. No vamos a aterrizar a salvo lanzándonos al vacío sin protección.
Sigamos en este descenso controlado, y sigamos cuidándonos, que la tierra firme, lentamente, ya se va acercando a nuestros pies.
Un fuerte abrazo a todos.
Nacho
Ignacio Alperin nació en Argentina, creció en Australia y vivió temporariamente en varios países alrededor del mundo. Posee una experiencia internacional extensa, y diversa, obtenida en una carrera profesional alejada de lo lineal. Hoy en día es Profesor de Entrepreneurship en los MBAs de la Universidad Católica Argentina (UCA), Profesor de Creatividad e Innovación (Grado) en UCA Internacional, es un Emprendedor serial, consultor, orador en eventos nacionales e internacionales, y artista plástico.
Ignacio Alperin was born in Argentina, grew up in Australia and lived temporarily in several countries around the world. He has extensive and diverse international experience, obtained in a professional career far from the linear. Nowadays he is Professor of Entrepreneurship in the MBAs of the Argentine Catholic University (UCA), Professor of Creativity and Innovation (Degree) in UCA International, a serial Entrepreneur, consultant, speaker in national and international events, and an artist.
© 2020 Ignacio Alperin
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Published by Ignacio Alperin Bruvera
ABOUT IGNACIO
Ignacio was born in Buenos Aires, Argentina, grew up in Australia and lived in several countries around the globe until his return to his country of origin 15 years ago.
At a very young age and with the help of his mother, a talented artist herself, and his father, an engineer internationally renowned for his creativity and innovation, he took his first steps in the world of art. Surrounded by drawing tables, technical pens and architectural influences he began to create his own path.
His early influences were very eclectic and mature for his age. They included great masters like Rembrandt, Monet, Van Gogh and Picasso, as well as modern masters like Kandinsky, Pollock, de Kooning and Rauschenberg. Drawing, painting, and a great deal of reading took an important place in his life.
During his early 20s he develops a love affair with jazz, becoming an avid follower of the local Australian jazz scene and as a result, his painting begins to show signs of this inspiration. Complex rhythms, intertwining melodies, and a great deal of improvisational skills are developed in his art.
That slow and jazzy pace also helped him mature his own approaches and techniques while freeing himself from classical ties, finding stimulus in unusual places and developing a unique and sensitive voice.
Added to that, his artistically applied synesthesia –condition which he shares with Kandinsky-, adds to his work an unusual share of musicality and innovation. The artist admits the complexity of combining his artistic imprint with the possibilities this "gift" generates while always underlining that it is a constant exploration, full of achievements as well as challenges.
The result is a fusion that explores the limits of colors and shapes within a marked abstraction. An expressive path without reservations strongly anchored on his individuality and unique experience.
This exploration has not only been applied to his painting. He has also pursued his vision into other forms of artistic expression, including smaller architectural and design projects, and graphic design assignments applied to advertising and marketing.
VISUAL JAZZ
IGNACIO ALPERÍN BRUVERA
The works presented in his Blog are a fraction of the main series developed by the artist and which has been travelling around different cities around the world since 2010. The artist’s "Visual Jazz Tour" encompasses works aided by his synesthesia and based on a visual interpretation of melodies, mainly from traditional and avant-garde jazz, soul, Motown and the American songbook, expressed in shapes and colors.
Fascinated by this musical genre, Alperín has created his own visual language through the same methods of inventiveness and spontaneity as musicians. We find in his paintings spectacular spiral lines and longitudinal strokes which glide through the canvas, outlined by an energetic use of the primary palette, extracting from these colors unthought-of shades and gradations that have become a signature and a characteristic of his bold and powerful style.
In this way he has built its own movement filled language to communicate and engage in a dialogue with the public; mostly divorced from figurative representation, he constructs a visceral abstraction that stimulates the imagination and turn on the viewers’ inner sensations.
Ñ magazine (South America´s largest selling arts and culture magazine), in its issue of September 11, 2010, under the title "IGNACIO ALPERIN in NEW YORK – an Argentine visual Jazz show" went further than that, drawing a parallel between the love of jazz from the great Argentine writer Julio Cortazar and his incorporation of this musical form into literature, with the work of Alperín and his intention to assimilate this same musical form, this time in the realm of visual art.
Many subsequent articles in La Nación and Clarin newspapers (Argentina´s best- selling newspapers), as well as specialized magazines such as the above mentioned Ñ, ADN and Maleva Mag –just to mention a few - have also constantly highlighted his originality and constant growth.
The artist has conceptualized his art in a term that expresses the musicality of his work together with the movement that he seeks to impose on it.
The viewers are thus encouraged to become emotionally involved, transcending everyday reality in a process without space, age or time, towards a more universal, melodic and harmonious view of everything that surrounds them.
The work of Alperín has movement, rhythm, coolness and a degree of visual improvisation that is meant to hide a very well studied score. The result is constant dynamism and exceptional use of color in a never ending search for beats and counterpoints.
This synthesis of Art and music, or "Visual Jazz" as an American journalist baptized it a few years ago, it is almost a trademark of Alperin´s work with a strong track record and exhibitions in New York, Miami, London, Melbourne, Zurich, Lisbon and in Argentina.
Currently, the artist discloses the development of his work and research, and how it applies to corporate and professionally applied creativity in academia, as professor of Creativity and Innovation at the Universidad Católica Argentina (The Argentine National Catholic University in Buenos Aires), and gives seminars on the subject in the context of workshops and events for individuals, companies and artists both in Spanish and English. View all posts by Ignacio Alperin Bruvera
