*CANNES FILM FESTIVAL: “AVIFF Angel Oren-sanz Cannes 2012.”: The 65th Cannes Film Festival will take place this May 16-27. The Orensanz sec-tion pres¬ents a selection of 23 films with of 23 di-rectors and producers from various countries. They take advantage of the glamour of the Festival, within the autonomous direction of M. Poligo and the cre-ative inspiration of the Spanish born artist. The award will be granted by Angel Orensanz, with the partici-pation of Eric Harson, Assistant Director of the De-partment of Cultural Af¬fairs of the City of Cannes

*The Titanic that never arrived to NY is a series of sculpture installations developed by Angel Oren-sanz interpreting that world iconic tragedy. A couple depicted in James Cameron’s film drowning by the rising tide in their chamber was members of our community of Norfolk St. But what has made An-gel Orensanz come back often to this subject mat-ter is the powerful narrative that music, theatre, text, photography, and film have built across generations.

*NBC just broadcast nationwide the last chapter of the TV series “Smash”. It narrates the live of Mari-lyn Monroe from a very creative perspective. The closing chapter includes ballets staged entirely inside the building of the Angel Orensanz Foun-dation. A team of designers recreated with pre-cise detail the interiors of the Taj Mahal in India.

“(This video also features excellent usage of the Angel Orensanz Foundation building, the oldest synagogue in NY City)” Vanity Fair

“The sphere of the stock exchange; A Lost Hope”

“The Titanic that never arrived”, Angel Orensanz at Angel Orensanz Foun-dation.

Smash TV SERIES

AN INVITATION FROM ANGEL ORENSANZ

You are cordially invited to a private preview of THREE SHOWS: “Cannes Film Festival Prix Orensanz Aviv”, “The Titanic that never arrived to New York” and “Smash”. There will be an intimate party.

Tuesday, May 1st, 2012 from 5 to 9 PM. Confirmation is encouraged.

Angel Orensanz Foundation Center for the Arts172 Norfolk street New York, NY 10002 / Tel. 212.529.7194 Fax/ www.orensanz.org / orensanz@aol.com

There are three different ways of dealing with the past according to philosopher and anthropolo-gist Andres Ortiz Oses, a Deusto University professor and a contemporary Aragonese author of some sixty books. We idealize it, we stick to it trying to revive it, and we maintain it and preserve it. We fly to it selec-tively, reading it according to sequences of our current interests. These are very different ways of dealing with history: (a) we use it to fight the present, finding pos-sible alternative models of production and consump-tion of communal, precapitalist nature, for example (we then dive in ideology), (b) we extol systems of accumulation and production of a distant past to re-ject the present conditions without any plan or desire to implement them (mythology), or (c) we stress mo-ments and characters of the past that best suit the inter-pretation of our own present while ignoring the rough edges and catastrophic contours of the past and import-ing the return of those unvalidated dreams (utopia). I just had a chance to travel throughout one of the oldest territories of Aragon, one of the uppermost regions of Spain right in the border with France, be-tween the Basque country and Catalonia. I had a crash

chance of revisiting its architecture, landscape and language. I talked to many people and and trekked through valleys, villages and riverbanks. I saw every-where a rural architecture suspiciously correct, and most recent buildings sheepishly homogenized to a vernacular construction vocabulary. To my frequent surprise and delight I found myself talking right and left to individuals and whole families that end up being Bulgarian, Romanian, Slovenian and Croa-tian; this is what you would call the new Aragonese. We never sit in front of such complex phenome-na like a country for a period of several centuries, most-ly if all that happens in the distant past. We always tend to lean unobjectively on our preferences, expectations or strategies. If we give up to our present day strategies then we lean on ideology, seeing in the past a confirma-tion of our plan. If we approach the past selectively as an escape from the past and as solution to the confu-sion and noise that the present carries always with itself we operate or lean on mythology; and if we use it as a projection for our strategies or plans of intervention then we operate on a vision, a reading, an anticipation, a pre-vision of what will happen or has to happen then

Aragon: A Short Travel to a Utopian Pastby Derek Bentley

El Puente de Sabiñánigo, 1998: Museo Ángel

we operate on utopian register. We hardly approach a phenomenon as a complex as the original era of a country from an objective, unbiased point of departure. I had very recently the opportunity to visit parts the country in the Pyrenees (Northern Spain) where my ancestors were born and where I was born as well, and from where I have been completely absent for the last several decades. I had been able to see, to some extent, the physical reconstruction of its architecture. I have collected and read some of its scholarship and the bibliography produced in those three decades that I have been absent. I wonder if they have not forced upon the architecture and people a reconstruction of “local style” based on high chimneys, white chalked windows, and visible crests on windows and chimneys crowned with circled stone endings… The most refresh-ing discovery reconstruction could well be in the field of music. First was the edition of ancient manuscripts of choral, liturgical, theatrical and popular dramatic

music such as The Sybil that cut across cultures and centuries in awesome, exuberant and mysterious ways. The most successful reconstruction, I learn, has taken place in the reconstruction of the local language of the valleys of Echo, Anso and the rest of Pyrenees… This generated an ample bibliography of which I had been able to collect many samples. The closest in Spain to Scansen, the romantic rural village in the outskirts of Stockholm is this square in Puente de Sabinanigo, flanked by the Museo Angel Orensanz y Artes de Ser-rablo (opened in 1979), the Stone church, the vegetable gardens around the square, the granaries and high stapled houses around. Julio Gavin, the visionary who brought back from oblivion the churches and hermit chapels in the banks of the River Gallego (French), and Anto-nio Gudiol, who discovered The Sybil at the archives of the Cathedral of Huesca helped Angel Orensanz in the consolidation of this museum and cultural Project.

But, now, the objective of this report is not to produce a traveller’s notebook but to raise some thoughts on the use of history in our daily systems of communications. First of all, I noticed that the research establishment (University of Zaragoza, the Museum of the Cathedral of Jaca, the Departamento de Educa-cion, Cultura y Deporte del Gobierno de Aragon and other organizations) and local groups are joining ef-forts in redrawing the age, role and geography of the old Middle Ages of Spain and Europe. Aragon, the closer region to France in the central Pyrenees moun-tains reappears a stronghold of culture and arts through fresh scholarship. More and more monographs are published on architecture, trans Pyrenaic architec-ture, music trade and arts. See the recordings of very early music associated with the Aragonese monaster-ies of Siresa, San Juan de la Pena and Loarre, and the Cathedrals of Jaca and Huesca. All this outpouring was not widely available ten and even five years ago. A new map is drawn of Aragon, a national designation much older than Catalonia, Navarre, and Spain itself, as a source of European and medieval culture than was accepted a decade ago. Once again,

the periphery takes center stage. Evidently, this re-turn to the past is loaded with large doses of ideology. We entered the region coming from Zaragoza and through the Puerto de Arguis into the comarca del Serrablo (Sabinanigo). We first entered to see the Pu-ente de Sabinanigo, whose centerpiece is the Museo Angel Orensanz y Artes de Serrablo. First we meet the Museo compound, made of a master house from around 1800 with all the integrity of a baronial house and rural production self sustained entity in the Pyrenees of the end of the 18th century. This house served the center-piece for a series of buildings that recreates a village of the 18th century around the square and the church. In many ways, it reminds me a lot of the Skandia, the Swedish village recreated in the outskirts of Stockholm. While I write these pages I am listening in my office in the Lower East Side of Manhattan to the chant of The Sybil. This is a piece that mesmerized the entire Western world through the entire Middle Ages, mostly the territories of the Crown of Aragon; from Jaca to Sicily to Athens. Archived in the Cathedral of Huesca for hundreds of years. Now it is well known throughout

the territories of the Crown of Aragon. It seems that Utopia, mythology and ideology are all summarized and well and again in those territories of the old Crown of Aragon. The fast train whizzed through the plains of Central Aragon. I left the ash and mauve colored plains mesmerized and in a certain way very confused.

I took the fast train in Zaragoza that whizzed the deserted, grey lands of central Aragon to Madrid. The tourists moved bewildered from desk to desk checking their tickets to distant destinations. The workers seemed depressed and unresponsive. They operate those gi-gantic elevators, halls and screen dominated counters inside the biggest, half empty glass halls. They were planned for a utopian future that seems more distant in the evening news bulletins. The urban state planners of yesterday dreamt of endless millions of happy work-ers moving from the wet Norths to the sunny Souths. The leisure society of the European Community soci-ologists and urban planners now sell newspapers and

sandwiches in the airport dining areas for the return-ing working class masses. Ideology has given up to mythology. Manhattan is just eight hours away. And the 1849 Angel Orensanz Foundation has opened its doors of the Sistine Chapel by the East River already. We would be in Manhattan by the early evening.

“Come dressed as your favourite photograph! Come for an evening of wild hocus focus!” reads a leaflet on the wall inviting the members of the Photo League as well as the public to a crazy camera ball. The Photo League was established in Greenwich Village and was open to anyone while boasting among its members documentary photography artists like Paul Strand, Ber-enice Abbott, Eliot Elisofon, Morris Engel, Sid Gross-man, Rebecca Lepkoff, Lewis W. Hine, Arthur Leipzig, Leon Levinstein, Lisette Model, Beaumont Newhall, Arnold Newman, Ruth Orkin, Walter Rosenblum, Ar-thur Rothstein, Joe Schwartz, Aaron Siskind, W. Eu-gene Smith, Lou Stouman, John Vachon, David Ves-tal, Weegee, Dan Weiner, Max Yavno and many more. Rebecca Lepkoff grew up in the Lower East Side and her favourite subjects were shop fronts, lun-cheonettes, fruit vendors and children playing on the streets. She says in a recent New York Times interview: “I lived on the Lower East Side and everything was right there when you walked out on the street.” Her Lower East Side photographs (the ones that are not

part of the Radical Camera exhibition) are currently exhibited in the LES Tenement Museum. As a young woman she was a modern dancer and a street photog-rapher and joined the Photo League via some event or-ganised by the Young Communist League. The connec-tion is not surprising, since the Photo League had its origins in the workers’ photography movement of the early 1930’s. Its coming to existence in 1936 was a re-action to what the founders perceived as the deceits of propaganda as well as soft focus commercial photogra-phy. Its members under the direction of Sid Grossman focused on documenting life in New York city neigh-borhoods highlighting social issues at points emphasis-ing the struggles over the joys of everyday existence. The walls of the club house was always full of members’ photographs, just like several rooms on the ground floor of the Jewish Museum today. The club house was much more than an exhibition space. There were workshops, a continuous exchange of ideas in classes that revolutionised photography: it became dynamic, powerful and accessible at the same time.

Private Viewing of the Radical CameraBy: Hettie Gonzalez

Street photography was born and the influ-ence of the Photo League can be felt today as amateur and professional photographers alike take to the streets, observing their surround-ings. Their camera both exposes them and pro-vides them with perspective as they allow it to take them places near and far from home. Just as their art, the Photo League re-mained dynamic: gently moving from raw docu-mentary realism toward a higher ground of aes-thetics and metaphysics as the images become less obvious and more personal. For instance The Harlem Document (1938-40) project lead by Aron Siskind was criticised at the time for focusing too much on hardship and poverty and even League members realised that a better bal-ance should have been struck. It was around this time when they were becoming more literate in their art and began developing their own styles creating more subtle, inquisitive photography that no longer wanted to just show what’s visible. Nevertheless, its early radical working class background caught up with the League and it became a victim of the anti communist drive of the late 40’s and early 50’s. The Attorney General blacklisted the organisation in 1947 and despite the attempts of Sid Grossman, Paul Strand and others, the League ceased to exist by 1951. The Jewish Museum showcases iconic photos like the Butterfly Boy as well as a mountain of documents and information on the Photo League, giving the visitor context for what there is to view cater-ing for aesthetic as well as intellectual curiosity.

Brooklyn based Kehinde Wiley paints young, good looking urban men who strike confi-dent poses familiar from classical portraits of men of influence. You walk into the exhibition and just can’t take your eyes off the beautiful faces and bulg-ing biceps exuding confidence all against a bold background of gracefully twirling decorative pat-terns inspired by Jewish and Arabic ceremonial art. As part of his World Stage series Wiley traveled to Israel to meet young men of various backgrounds such as Ethiopian, native born Jewish and Arab Is-raeli men. He went to a Hip-hop/Reggae club in Tel Aviv and other places that represent various subcul-tures far from the mainstream. Alongside the pictures, a selection of paper cuts and ceremonial garments are displayed in dimly lit cabinets creating a flowing rela-tionship between old and new. Words of the Ten Com-mandment are assigned to the Jewish men while Rod-ney King’s famous “Can we all get along” is inscribed on the wooden frames of the portraits of the Arab Is-raeli men. Wiley took inspiration from a set of photo-graphs of young men he found on the streets of Harlem. Wiley views his models as painfully young

and present which is a completely accurate descrip-tion. He says he chose Mizrachis as well as Arab Is-raelis in order to broaden the conversation about diver-sity and also to encourage people to say yes to it. It is very hard to say no when one type of beauty is set against a background of another type of beauty painted bright, sharp and powerful, and sometimes the deco-rative background claims the foreground, competing with the portrait creating friction and excitement. The artist’s intention is that the project become a story of a story of a story that attempts to approximate a lived moment in the eyes of the viewer as they bring their own layers of values of histories and beliefs. But re-ally, you can enjoy the exhibition for what it appears to be at a first glance: a bunch of lively, larger than life paintings of beautiful men dressed in street wear pos-ing as the subjects of Velazquez and Rubens. Appar-ently the idea for this exhibition came when the Jew-ish Museum purchased “Alios Itzhak” in honor of the museum’s recently retired director, Joan Rosenbaum.

Kehinde Wiley / The World Stage: IsraelBy: Hettie Gonzalez

Method in the MadnessBy: Justin Langdon

I watched a Streetcar Named Desire for my first time last night. Both roommates were out and about and I decided to spend the precious alone time seeking inspiration for this article. Method acting was always something I’d heard about, whether it be the obsessive work of Daniel-Day Lewis, the purported cause behind Heath Ledger’s abrupt demise, or a lame excuse for Christian Bale reviling a sound technician. But never before had I watched a classic Method actor, and nor had I ever tried to consciously evaluate the technique’s merits. So I watched the 1951 adaptation of Tennessee Williams’ play with a watchful eye for Brando’s perfor-mance, as he is after all a widely praised Method actor.

There’s a saying that when a butterfly flaps its wings in one part of the world it can cause a hur-ricane in another part. Although this phrase is used in application to physics, its sociological analogues seem equally valid. A tempting case is made with Con-stantin Stanislavski, a Russian director “who flapped his wings” so to say and spurred a revolution in the realm of acting opposite of him on the globe. It is with Stanislavski that Method acting owes its genesis.

In his quest for “theatrical truth” Stanislavski de-veloped a system for infusing psychology into acting, a method of being more believable externally with its ba-sis in our most internal realm, the mind. Prior to this, the art of acting was taught through emphasis on outward action. Actors were instructed to speak eloquently, repli-cate physical gestures accurately, and generally display the sequences of a role in a convincing manner. Stan-islavski introduced a shift from simulating a character to becoming that character. The physical task of emula-tion became a cerebral one of internalizing an alter ego.

This fundamentally novel way to go about acting gained its popularity in America through the 1930s New York theater collective, The Group Theatre. Formed by Lee Strasburg, Harold Clurman, and Cheryl Crawford the group expanded upon Stanislavski’s system and formalized its own approach it called the “Method.” The goal behind a Method actor is psychological iden-tification with the adopted role and embodiment of the character’s emotional disposition. Actors are taught to refer to their own pasts to generate the emotions needed for the part, and thus in a way become able operators over their emotions. Brando gives his own take of the

Method here, “[I]t made me a real actor. The idea is you learn to use everything that hap-pened in your life and you learn to use it in creating the character you’re working on. You learn to dig into your unconscious and make use of every experience you ever had.”

Watching A Streetcar Named Desire with a concerted focus on Brando’s fervid performance was an absorbing experience. He portrays an animalistic, carnal soul who bears all before the camera. As a viewer it was easy to transcend the concomitant aware-ness that you’re viewing an actor playing a part and come to only see a brutish man natu-rally reacting to the atmosphere around him. Brando no longer existed in the film, only the violent and mercurial Stanley Kuwolski. Through film we are granted the unique and otherwise impossible vantage point onto oth-er people’s lives and drama. Before passing, David Foster Wallace struck along this vein when speaking of the voyeuristic nature of the television; we get to watch without any worry of being watched in return. In this case Brando’s performance was of such visceral truth that one could mistake their television for one way glass into a distant reality...

But I’m no critic, so perhaps I’ll leave it to Ebert to say it best: “Before this role, there was usually a certain restraint in Amer-ican movie performances. Actors would por-tray violent emotions, but you could always sense to some degree a certain modesty that prevented them from displaying their feel-ings in raw nakedness. Brando held nothing back, and within a few years his was the style that dominated Hollywood movie acting.”

All actors are in the business of bor-rowing identities, but it was only as a result of Stanislavski’s vision that the business became a psychological one. Physical ges-tures can only go so far, and as Brando’s performance serves to remind us, “theat-rical truth” requires something internal.

The speed of sound is fast, and sound is an old instrument of the world, the communication of life itself. Sound can change the life of a human being, has the po-wer to destroy, to heal and to dictate the soul’s emotions.

In the same way that sound has become an important subject of study, futurists consid-ered the restlessness of modern machines and ur-ban life to be a beautiful subject of examination.Sound produced by these machines cre-ates a new concept of music, in this way de-veloping a whole new world to be conquered.

Futurism was an Avant-garde movement born in Italy in 1910 and developed by Filippo Marinetti in his “Futurist Manifesto.” Later on, this movement would be adopted by “Russian Futurism,” a term used to denote a group of Russian poets and artists who adopted the principles of Filippo Marinetti’s “Futurist Manifesto.” Russian Futurism was initiated during Decem-ber 1912 when the Moscow based literary group Hylaea

issued a manifesto entitled “A Slap in the Face of Public Taste.” Although Hylaea is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg (Igor Severyanin’s Ego-Futurism), Moscow (Tsentrifuga, with Boris Pas-ternak among its members), Kiev, Kharkov, and Odessa.

Like their Italian counterparts, the Russian Futurists purposely sought to arouse controversy and to gain publicity by repudiating the static art of the past. The likes of Pushkin and Dostoevsky, accord-ing to them, should be “heaved overboard from the steamship of modernity.” They acknowledged no au-thorities whatsoever; even Filippo Tommaso Mari-netti, when he arrived in Russia on a proselytizing visit during 1914, was obstructed by most Russian Futurists who did not profess to owe him anything.In contrast to Marinetti’s circle, Russian Futurism was primarily a literary rather than plastic philosophy. Al-though many poets (Mayakovsky, Burlyuk) dabbled with painting, their interests were primarily literary.

“A new beauty has been added to the splendor of the world—the beauty of speed”Filippo Tommaso Marinetti, 1909

The Study of Noise in the Russian Avant-GardeBy: Sandra Garcia Martin

However, such well-established artists as Mikhail Larionov, Natalia Goncharova, and Kazimir Malevich found inspiration in the refreshing imagery of Futur-ist poems and experimented with versification them-selves. The poets and painters collaborated on such innovative productions as the Futurist opera Victory Over the Sun, with music by Mikhail Matyushin, texts by Kruchenykh and sets contributed by Malevich.

Instead of the sculptures moved by na-ture (wind, water and fire) the industrial man sub-stitutes it for the machine. And machine itself be-comes the heart, the machine that infuses us with life.

Just over 150 years ago the electric mo-tor was invented, and this is why the first manifesta-tions made by the Italian and Russian futurists re-mained as unfinished projects. It would be in the 50’s with kinetic art and the New Realists that these projects would be retaken and many works related to the autonomic movement and sound generator would appear. One of the first was the kinetic artist Nicolas Schoefer with his Kinetic Towers (1948-57). These towers were activated by exterior impulses of light, sound, temperature, etc. looking for a new ho-meostatic equilibrium between the static (entropy) and the disturbance (negative entropy) of the contemporary man, reflected in these towers with an electronic brain1.

Luigi Russolo published “ The art of noise” in Milan in the year 1913. In this manifest he expresses that the apparition of the new noises of modern life have allowed rediscovering life itself. Noise becomes the symbol of human progress in confrontation with si-lence, the symbol of the old world and attribute of the gods. Music as a consequence of that idea of sound was also different and independent to life, like a fantastic world stemming from a sacred and imagined world.

Russolo understands that this incorporation of “sound-noise,” parallel to the multiplication of ma-chines, is coherent with the evolution of the musical art from the Tetracardo system of the Greeks to the variety of timbres and dissonant accords founded in contem-porary music. Russolo expands upon this as he states, “Our ear is not satisfied and it claims for new musical emotions and experiences” and that’s the reason why we have to break with that closed circle of pure sounds 1 Alam Lamb “Journeys on the Winds of Time I”, Australian voices CD.

and to start conquering the new world of sound-noise2.

Russolo and the futurists believe in this unavoid-able evolution of the music. “Bethoven and Wagner have excited our nerves and heart for many years. Now we are full of them and we enjoy much more mixing mentally the noises of a train, of a noisy crowd or of an explo-sive motor, than listening once more to La Pastoral”3.

With that purpose, Russolo invented a new instrument call Intonarrumori or Intoners in order to be able to reproduce the sounds of noise. He created several wooden boxes that he manipulated in order to be able to reproduce the noises of a crowded street, of an explosive motor, etc. Ultimately what Rus-solo was looking for with these boxes was for a simi-lar effect that techno music from the 80’s achieved.

Today, looking back to the futurists, we can appreciate the visionary conceptions they had back in the 1900. They felt hunger for a new sound, the necessity of the exploration, and the vision to find a new music for a new world. Machines and mod-ern life have created a whole new world of sounds. Futurists were just able to foresee their evolution.

Nowadays, Miguel Molina de Alarcón, a Spanish doctor and investigator from the University of Valencia, has being studying the Russian avant-garde and is spe-cialized also in the investigation of music and noise. This combination of both specialties leads him to created an impressive masterpiece named “Symphony of Sirens.”

In this work (where you can find two CD) he creates music from Sound Experiments In The Russian avant-garde. You can listen to it here4.

2 Miguel Molina Alarcon “Arte Sonoro” article, 20063 RUSSOLO, Luigi , op. cit., pp. 9 y 104 http://itunes.apple.com/us/album/baku-sym-phony-of-sirens/id349224463

Juan Dominguez Lasierra and the Culture From the PeripheryBy: Al Orensanz

My first meeting with Juan Dominguez Lasierra was in the premises of The Living Theater on Rivington St. in Manhattan. It was new year’s eve of 2010. There were many people around and he and his friends had come to meet Angel Orensanz at the Orensanz Founda-tion around the corner. Judith Malina spoke about the Front of Aragon, a mythical boundary of world anar-chism during the 1930’s. She remembered the letters of her friend Emma Goldman in the mid 1930’s. Juan Dominguez Lasierra was vivid and reflexive at the same time. He was astonished to meet somebody of such his-torical importance in the world history of theater and political agitation enquiring about the history of An-archism. Juan Dominguez Lasierra feels extremely at-tached if not with anarchism per say, certainly with the lands of Aragon and everything pertaining to Aragon.

Most countries are made of a periphery and a capital, yet there are those countries where everything is periphery. England is a country with a disproportion-ate capital for a firm but moderate hinterland. Germany and Italy do not have a real periphery but rather many

strongly driving capitals for a disperse assortment of hinterlands. But first and foremost, the USA has no periphery; everything there is center, or becomes in-stant center of a surrounding territory. Spain, Portugal, the Scandinavian countries and many other European countries with median and small demographics are capital centered and deeply oriented towards a center, a magnetic drawing center. The problem is that most territories zealously engender their own peripheries.

While this is the case with many countries, sev-eral other possibilities exist. There are countries with two capitals and vast swaths of hinterlands. Such is the case of Spain with Madrid and Barcelona as huge capitals around which the rest of the country revolves. Moscow and Saint Petersburg exhibit the same role within Russia. Yet this all may be changing with the evolving means of transportation and communication. Now there appear new metropolises, regions, and capi-tals, consequently all with new collective understand-ings and visions of the social and environmental reality. This is the case with Aragon as an old political and Eu-

ropean medieval power, and Zaragoza its capital city.

Juan Dominguez Lasierra embodies this latter position well. He has MA in Chemistry by the Univer-sity of Zaragoza and in Information Sciences from the Universidad Complutense, Madrid. He is the editor of the journal “Cultura y Sociedad de Heraldo de Aragón.” He founded and presently coordinates the school of “Artes y Letras.” He is a member of the Asociación Es-pañola de Bibliografía and contributes to Turia maga-zine. He has published monographs about José García Mercadal, José Llampayas, Gabriel Llabrés and assort-ed articles about sculptor Angel Orensanz. He has just finished a book titled ”Diccionario de Angel Orensanz,” a dictionary of Angel Orensanz. He wrote the introduc-tion and sections of “Cuentos Infantiles Aragoneses” (1978), “Relatos aragoneses de brujas, demonios y apa-recidos” (1978), “Cuentos, recontamientos y concep-tillos aragoneses” (1979), among other monographs.

Some of his additional publications are: “Aragón legendario I y II” (1984-1986), “De Noreste a Albaida” (1988), “Ensayo de una bibliografía jarne-siana” (1988), “La literatura en Aragón. Fuentes para una historia literaria” (1991), and “Pedro Saputo en la villa de Almudévar” (1998). He received the Jerónimo Zurita Award for “Visión de Zaragoza” (1978) and the Benjamín Jarnés Centennial Essay Award (1988).

Juan Dominguez Lasierra is an author in both Aragones and Spanish with full individuality

and transcendence. His personality and output mark the role of a writer of European standing. His per-sona and production are clear signs of a new crop of artists with national and international standings, and with whom the traditional labels of “region-al” and “national” loose their value and validation.

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