2015 art works 2015 Exhibitions 2016 art works 2016 exhibtions Creativity / Creatividad IN ENGLISH Promoting your Art Visual Jazz What is Art


There is an old movie called Galaxy Quest, about a group of actors who, having enjoyed better days (professionally and in their personal lives), still perform together occasionally at Mall Openings and conventions. Their common bond is the fact that, long ago, they all starred in a successful TV Sci-fi show (of the same name as the title).

The movie has its moments, particularly at the start when they are kidnapped by an alien race and get embroiled in the middle of a war with a planet of lizards. It is a simple case of mistaken identity.

It seems that the aliens picked-up the TV signals in space and thought that the crappy TV show episodes were in fact historical documents about a group of invincible warriors who saved planets from extinction, while in fact we know they were a bunch of semi-retired second rate actors doing weekly shows in front of cardboard sets.

This movie always comes to mind, not because it is anything outstanding, but because almost every time I give a lecture about creativity or art I get asked by professionals, artists and university students alike, about what are in my mind the most important aspects that help in building a successful career.

Success is many things to many people, and I am not going to try to define it here. Suffice to say that I am assuming that we are talking about attaining some of what we search in life (it may be recognition, love, a family, money, power, a career, and so on).

Furthermore, I am in favor of defining success and failure in every aspect of our lives if we wish, and as we wish. In my case, I let others run races set by someone else. I run my own.


And that may be the first point. You are the master of your own life. You set your destination, and it is up to you to decide how you wish to go about it. I am a great believer that the power of “we” is far superior to the power of “me”, but I have to know where I am going before I can invite others to tag along, or join up with others in their journey.

Many concepts can be added on from there – creativity, solidarity, positive thinking, conscience, ethics, hard work, intelligence, responsibility, self-discipline, clairvoyance of sorts, and so on -, but there is one that is a must. One which to me is so important that it may help to bring you over the other side even when you lack some of those qualities.

In “Galaxy Quest” they keep repeating the catch phrase of the show, which happens to be “Never give up! Never surrender!”. In fact the whole movie is based on this very premise. Not giving up and not surrendering (no matter how ridiculous, scary, or ridiculously scary the situation may be). What they are talking about is nothing more than “resilience”.

Merrian-Webster defines the concept of resilience in general as “the capability of a strained body to recover its size and shape after deformation caused especially by compressive stress”.

That, translated to a human capacity, refers to a quality that allows some people to absorb pressure and failure, and convert it into something positive. The old fashion “taking on the knocks and coming back stronger than ever” attitude.

Some people innately have this quality. Yet for others, it is a matter of learning. Psychologists have identified some of the factors that will categorize someone as resilient.

The most common seems to be optimism. It does not mean blindness to reality. It just means having a positive attitude even after being burned down. It means doing a Phoenix like flip and rising from the ashes. It means taking on apparent failure and turning it into a lesson on the way to success. It makes people capable of adapting intelligently and quickly to change, adjusting their outlook promptly and soldiering on.


Resilience is at the essence of very successful people (whether they are at the top of the corporate heap or are just a great mum or dad). It is what keeps us going our way when everyone else is also telling us to go, but away.

Sometimes, hitting the proverbial wall has to do with schemas, pre-formatted ideas people have about how things “should” be (many companies also have them and they show up, for example, when seeking new personnel). Sometimes there are other issues and we should always revise our own attitudes as well (it is not a matter of simply placing blame somewhere else either).

But that adaptability, resistance, aptitude and attitude is what allows us to take in responses from others that feel, very often, like a slap in the face and comeback with the best scorecard we have ever done. It means jumping over, letting go by, or simply ignoring the negatives along the way so we can make it to where we want to go.

One great example of this was recently given by Jack Ma. He said: “I failed 3 times in 56192b94-62f9-4af0-90b3-f352bb938054-originalcollege. I applied 30 times to get a job but I have always been rejected. When KFC came to China for the first time, we were 24 to apply and I was the only one to be dismissed. I wanted to go into the police and out of 5 postulants, I was the only one not to be accepted. I applied 10 times to return to Harvard and I was rejected. Never give up because you failed once, twice…just understand that failure is only how we are shown another way to reach our intended route”.

Just in case you don´t know, Jack Ma is the founder of Alibaba, which together with Amazon are the two largest e-commerce websites in the world. He is also the 22nd richest person in the world with $29.8 billion dollars, according to Forbes.

So…just never give up, never surrender. Learn, adapt, spring back, and find your way to your own kind of success.

Until next time,


ignacioalperin lights4

©2016 by Ignacio Alperin Bruvera


2015 art works 2015 Exhibitions 2016 exhibtions Promoting your Art Videos Visual Jazz


formas(2015)_detail2_AlperinFormas (pronounced for-mass) in Spanish means “shapes”, but it can also mean “manners” in the way our parents kept telling us to have better manners, and  it can also mean “ways”, as in different ways of doing something.

My art encompasses the three.

I solidly work on shapes, I try to find good manners of executing and presenting my art to others, and I am always searching for new ways to do what I do.

The end result…well, the opinion on the end result I leave up to you.

In this case, it has to do with the music of Argentine “Bandoneon” maestro Dino Saluzzi.

In his 2006 album “Senderos” (ECM) with Jon Christensen, Formas is de second last song.

Written by Saluzzi and Christensen, it reminds us more and more of the great Astor Piazzola. Less jazzy in its context, but still investigative and climatic, his music transcends tango into other frontiers of sound.

So here is this brilliant álbum, and the painting inspired by “Formas”. Almost 10 years after the song saw the light of day as an important part of this inspired album.

Formas (by Dino) (2015) 45x55 IAB4show_edited.jpgUntil next time.


©2016 by Ignacio Alperin Bruvera

2015 art works EN ESPAÑOL Poetry/Poesia Visual Jazz



Cayeron solas.

Por la mañana,

como gotas

de sangre

de una herida

sin cerrar.


No había luz,

Y se encerraba

en sí misma.

Con toda la fuerza

de la noche,

y del día.


Sin pensarlo.

Sin quererlo.

Sin contarlo.

Solo sintiendo.

Como un torrente

de aguas frías,

gélidas, rebeldes,

que se unen

por fuerza mayor.

Y fluyen hacia el mar.

El mar de siempre.

El mar de lágrimas.

Que no espera por nada,

ni por nadie.


Ni por él.

Ni por ella.

Solo a Dios

y sin saberlo.

Solo por instinto

y sin fuerzas.

Solo por recuerdos

y sin ganas.

Solo por temor

A ya no ser.



Escrito por/ writen by Ignacio Alperin

©1994 by Ignacio Alperin Bruvera



2014 Art works 2015 art works 2015 Exhibitions 2016 art works IN ENGLISH Visual Jazz

That other day


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THAT OTHER DAY (2014) – Detail –

This is something like the “B side” of my previous article on this same blog (THAT DAY: and which is set to the music of Kind of Blue .

Blue in Green” is the third tune on Miles Davis’ 1959 album, Kind of Blue. One of two ballads on the LP. (the other being “Flamenco Sketches“).

As an aside here (and something that may earn you points in one of those “did you know?” kind of games), it has been said that the second ballad which appears on the record as “Flamenco Sketches” is in fact the song “All Blues” and vice versa. Yes, the argument is that somebody may have switched them by mistake and that they only realized it when the records were already printed and so were the covers, and as a result one simply became the other.

At the very least this is what Jeremy Yudkin argues (also as an aside point) in his scholarly article Miles Davis Kind of Blue, which you can read on the Oxford University Press Music Quarterly Journal. He correctly points out that “Flamenco Sketches” fits more logically with the strumming mid-tempo of the song which appears as “All Blues”, while the title “All Blues” fits much better with the last, very slow song that is known as “Flamenco Sketches” (If you ask me, the easiest thing would be to simply check the original copyright registry of both scores…but no one is asking me…I know).

In any case, the spirit behind “That other day” is a little bit more complex, and less romantic, than “That Day”.PhotoFunia TV interference Regular 2014-08-03 02 35 54

One of the most beautiful songs in that masterpiece album is “Blue in Green“, with its mainly modal melody. Recorded on March 2nd, 1959, in New York City, and in the same session where “So what” – another classic – was also recorded, it was the result of combining the talents of some of the best musicians of its time: Julian “Cannonball” Adderley, Miles Davis, Jimmy Cobb, Bill Evans on piano, and Paul Chambers on bass.

Even though the song appeared in the original record as written by Davis, it has long been speculated that pianist Bill Evans had, at the very least, a hand in it (the credits for the Evan´s trio Album “Portrait in Jazz”, in which there is a version of “Blue in Green”, attribute the song to ´Davis-Evans´)

Some go as far as to say that Evans actually wrote it. This is the case of producer Earl Zindar, whom in the Fall 1993 issue of a magazine called Letter from Evans , said that he knew perfectly well that Evans had actually penned it himself. He said “I know that it is [100-percent Bill (Evan)’s] because he wrote it over at my pad where I was staying in East Harlem, 5th floor walkup, and he stayed until 3 o’clock in the morning playing these six bars over and over.

evanswriting.jpgOn the opposite side of the street we find Miles Davis asserting, in his autobiography, that he alone composed all the songs on Kind of Blue. Confirming this is the writer and poet Quincy Troupe, co-author of one of the best know Davis biographies -, who said in an interview and in regards to this issue:

Miles talked about being back in Arkansas, and he was walking home from church. And the people in the backwoods were playing these really bad, really great gospels. He couldn’t see the people but he heard these gospels coming in through the trees and over the trees. And it was dark and he was about six years old, and he was walking with his cousin. So he said that gospel, and that music, and also he had been listening to the music from the Guinean Ballet, the finger piano, so all of that fused and came back to him with this feeling that he heard playing when he was walking through the back roads of Arkansas.

And he started remembering what that music sounded like and felt like. He said that feeling was what I was trying to get close to in Kind of Blue. That feeling had got in my creative blood, my imagination, and I had forgotten it was there. I wrote these blues to try to get back to that feeling I had when I was six years old, walking with my cousin down that dark, Arkansas road.”

The end result is that, sadly, we will never know the whole truth. Over the last 20 years the song appears mostly now as a “Davis-Evans” composition. It is sometimes difficult to know what goes on in the mind of brilliantly creative people to get stuck, at one point, over something like this and never settle the issue. I guess, it is that exception that everyone talks about when reaffirming a certain opposite rule.

The issue became so heated between both musicians that Zindar himself, in another interview conducted by Win Hinkle, recalled the 1978 Evans NPR interview in which he asserts his authorship of the song, and recalls –with certain humor and disdain – writing to Miles with the suggestion that he should be entitled to a percentage of royalties, to which Miles apparently responded with an envelope that had a check for twenty-five dollars in it.

I am no musician, but I can distinctly see Evans hand in this. Miles was also a wizard, so doubts persist. I guess the best way to go about it is to just enjoy their brilliance and accept that for once, these two geniuses showed their flaws and pettiness for all of us to see. An exceptional blemish for two men who had dazzling musical careers that no one can refute or argue with.

Here is my pictorial version of “That Other Day”. That nonetheless beautiful day – the music still moves us the same way it did before – but it is also the day in which these two egos collided. More complex than the original painting, but maintaining its spirit and stressing the superposed opinions of Bill and Miles.

I hope you enjoy it.

IAB_That Other Day_2015
THAT OTHER DAY (2014) by Ignacio Alperin


Until next time.



©2016 by Ignacio Alperin Bruvera

2015 art works 2015 Exhibitions 2016 exhibtions Creativity / Creatividad Design EN ESPAÑOL Visual Jazz

El cielo es el límite (compartiendo destrezas y acrecentando competencias)

El Universo entero es producto de un proceso de creación y modificación constante.

Mientras que nuestra civilización siempre ha intentado, de alguna manera u otra, ejercer – o aparentar ejercer- el control sobre la naturaleza y el universo mismo, la experiencia nos enfrenta con una realidad algo diferente.

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TIME REMEMBERED (2015) by Ignacio Alperin

Nuestra propia existencia como raza humana ha dependido siempre de una serie de eventos que obedecen en parte a lo que generen nuestras propias acciones, y en una importante proporción a una serie de eventos absolutamente fortuitos.

Dentro de lo que denominamos eventos fortuitos, algunos se producirán dentro de los ecosistemas familiares, profesionales y comerciales que nosotros mismos generemos, mientras otros tendrán que ver con hechos relacionados a las acciones de otros, y en la mayoría de los casos, al funcionamiento del universo mismo.

Nuestra supervivencia global e individual se basa en gran medida, entonces, en nuestra propia adaptabilidad y creatividad en cada momento de nuestras vidas, y en cómo compartimos ese aprendizaje a lo largo y ancho de las generaciones.

Aunque no nos percibamos como seres creativos y especulemos con que, alternativamente, sí hay personas específicamente creativas que han heredado genéticamente ese don, la realidad nos indica lo contrario.

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Dizzy & Duke

Mientras es innegable que hay gente diferente, tanto en lo relacionado a ciertas vocaciones individuales, como a genialidades esporádicas que sí pueden obedecer a características excepcionales, y también como producto de rasgos heredados, ya sea genéticamente o a través de mandatos familiares o sociales; es igualmente cierto que todos sin excepción tenemos la capacidad de, intuitivamente de base y constructivamente a través del aprendizaje y la comprensión, ser creativos miembros de la sociedad y de utilizar esa creatividad más allá de nuestro ámbito personal y familiar.


Fragmento de Creativos en la era de la creatividad

Arte y Jazz – Algunos Conceptos y Propuestas (Tercera Revisión)

Por Ignacio Alperín Bruvera


© 2013/2014/2015/2016 Ignacio Alperín Bruvera

2015 art works 2015 Exhibitions Creativity / Creatividad Design EN ESPAÑOL Exhibitions IN ENGLISH Promoting your Art Visual Jazz

WINE, ART, CRASH, FLASH & BOOM… what a creative afternoon!




Hacia fines de 2015 tuve la fortuna de participar del evento Wine & Art, en el marco de la semana Buenos Aires Deli & Polo en el Hipódromo Argentino de Palermo.

Organizado por Art Work, con la gentil, creativa y esmerada Ligia Janeiro a la cabeza, fui invitado a presentar , en versión acotada, uno de de mis ya clásicos seminarios titulados “The Crash Flash Boom Creative Afternoon”.

12274549_10153764471816797_306074351333647949_n (2)_editedCon una nutrida concurrencia de artistas y creativos, dedicamos un poco más de dos horas a indagar el por qué de estos procesos, y a comprender que podemos domarlos, alejándonos de lo imprevisto y de lo fortuito, convirtiéndolos así en nuestras armas de uso intensivo.

Quiero agradecer nuevamente a todos los que se acercaron, a los que tuvieron palabras muy generosas para conmigo, a todo el personal de Art Work, y particularmente a Ligia Janeiro por su generosidad y excelente buena onda.


At the end of 2015 I was generously invited to the event “Wine & Art”, held within the Buenos Aires Deli & Polo week, at the posh Palermo Racetrack in Buenos Aires.

Organized by Art Work, with Ligia Janeiro at the helm, I was invited to present one of my “The Crash, Flash Boom, Creative afternoon” seminars (in a shorter 2 hour version).

I had a wonderful time, and I was very flattered by the participation of some many artistsNew Image and creatives, for the kind words afterwards, and for Ligia´s kind invitation and superb energy and care.

Creativity does not have to be something untamed. If we understand how it works and the mental processes that make it up, we can leave behind the “fortuitous event of the creative flash” and use simple tools to get our creative reasoning and thinking to work to our own benefit, in a concerted effort with others, while capitalizing on all of its potential.

©2016 by Ignacio Alperin Bruvera



2015 art works 2015 Exhibitions 2016 art works 2016 exhibtions Creativity / Creatividad IN ENGLISH Promoting your Art Visual Jazz What is Art


In a world where information is being sent to us at incredible speed and with unconceivable depths; where we are also producing, inadvertently, data beyond our understanding; in a civilization that is advancing technologically beyond what the educational system can cope with; at a time when the knowledge of how things work is in more and more hands; and the technology which allows us to make them is in less and less hands; the role of the creative mind must evolve as well.

Now, evolving does not necessarily mean going freaky! It does not inevitably mean developing at the same speed the ability to digest all that is thrown to us, as well as rehashing it in new ways.

In fact, it may mean something completely different.

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KIND OF BLUE (AND OCHRE TOO) -2014- by Ignacio Alperin

One of the biggest misconceptions on the theory of evolution, just to bring this point forward, is that the mechanism of natural selection – central to the theory – and which may result in improved abilities to survive and reproduce, should necessarily mean that the outcome is progressive.

As it happens, this is clearly not so.

What is called natural selection under the theory, does not produce organisms perfectly suited to their environments, as it is commonly misinterpreted. What it means, really, is that these organisms through different traits and skills are “good enough” to survive.

So evolving may mean, in simple terms, adapting survival characteristics which may be new, or even reacquiring qualities and attributes that were useful before, were lost for one or more generations due to environmental or social changes, and now have become of importance once again.

So how does this translate to the information age?

Well, it means for a start that the role of a creative professional is not to keep up with the speed of change but with change itself. In sporting terms, the creative thinker may be more like a long distance runner than a sprinter.

Secondly, being creative means being open to novelty and interested in everything. I always call myself “an encyclopedia of useless information”, this said with a glint in my eye, as I know very well that I gather information that most will discard for a good reason. To me, it is never useless.

But I must learn to choose what I digest. So the other evolutive step for a XXIst Century creative mind, may be then going back rather than forward. Specifically, to XIXth Century London and perhaps pay a visit to a certain sleuth who lived at 221b Baker Street.


Sir Arthur Conan Doyle created the great detective, Sherlock Holmes, based on a doctor named Joseph Bell whom Doyle admired for his quick logical interpretation as a physician, as well as for his “Method” of deductive reasoning (“Observe carefully, deduce shrewdly, and confirm with evidence”).

Bell turned detective became, in late 1886 and thanks to the pen of Conan Doyle, none other than the great Sherlock.

The role of the creative individual is very similar to the role of the detective. It involves keen observation, careful deduction, asking the right questions, having the correct basic knowledge, and above all, connecting all the dots (coming up with a hypothesis that is not necessarily constricted by a traditional structure).

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In a world where information surpasses us, while technology seems to be speeding up way ahead, becoming like the road runner may be the wrong approach.

It may be that I enjoy going against the wave, but if everything speeds up, I usually slow down (and vice versa). Creative reasoning and creative thinking in a slow moving environment allows for swiftness. While if everybody rushes, our role is to slow down.


Like Neo in the Matrix, our advantage is that of being capable of decelerating everything down to the point where we are actually so cognitively enhanced that, in reality and for everyone else for that matter, we are indeed ahead of the curve.

And to do that, a bit of XIXth Century deductive reasoning may be the thing. Evolution may mean in this case, for example, simply slowing down; perhaps taking on a musical instrument – and not necessarily a violin -; or being involved in long periods of apparent daydreaming. In that mental estate, your mind will be doing its best detective work, and your deductive skills will allow you to see and connect the dots that no one else has managed to yet perceive.

New Image
Connecting the dots…  KIND OF BLUE (AND OCHRE TOO) – 2014 – Detail –


Until next time.



©2016 by Ignacio Alperin Bruvera

2015 art works 2015 Exhibitions 2016 exhibtions IN ENGLISH Videos Visual Jazz

It is Only a Paper Moon

Paper Moon (2015) 46x60 IABsmf
“Paper Moon” (2015) by Ignacio Alperin

Say, it’s only a paper moon
Sailing over a cardboard sea
But it wouldn’t be make-believe
If you believed in me

Yes, it’s only a canvas sky
Hanging over a muslin tree
But it wouldn’t be make-believe
If you believed in me

Without your love
It’s a honky tonk parade
Without your love
It’s a melody played in a penny arcade

It’s a Barnum and Bailey world
Just as phony as it can be
But it wouldn’t be make-believe
If you believed in me

Say, it’s only a paper moon
Sailing over a cardboard sea
But it wouldn’t be make-believe
If you believed in me

Yes, it’s only a canvas sky
Hanging over a muslin tree
But it wouldn’t be make-believe
If you believed in me

Without your love
It’s a honky-tonk parade
Without your love
It’s a melody played in a penny arcade

t’s a Barnum and Bailey world
Just as phony as it can be
But it wouldn’t be make-believe
If you believed in me

It’s phony it’s plain to see
How happy I would be
If you believed in me.


Published by
Lyrics © Warner/Chappell Music, Inc., Universal Music Publishing Group, SHAPIRO BERNSTEIN & CO. INC., S.A. MUSIC

Painting: Paper Moon (2015) by Ignacio Alperin. Done in a reverse painting technique, under acrylic cristal, with oil based paints, inks and acrylics. ©2015 by Ignacio Alperin Bruvera.

PhotoFunia TV interference Regular 2014-08-04 01 53 31