miércoles, 14 de febrero de 2018

You are basically good: benefits of contemplative psychotherapy

You’re Basically Good — The Benefits of Contemplative Psychotherapy

Karen Kissel Wegela on therapy that starts with your basic sanity, not your neuroses.

Illustration by Nolan Pelletier.
Illustration by Nolan Pelletier.
Elliot knew from our first session together that I saw him as basically a good person. As he remembered it later, he had told me his personal saga of relationship and work failures, and he expected I would conclude, as he had, that he was pretty hopeless. Instead, I said something like, “Oh, you’re not so bad.” I don’t remember saying that, but, as he told me, he had understood that I really did believe in his goodness.
“That’s why I kept coming back,” he said.
I’m often asked by clients like Elliot what to expect from someone who describes herself as a “contemplative psychotherapist.” Here are some of the key principles of contemplative counseling and psychotherapy that I would outline for a potential client. As I have studied and practiced mostly in the Vajrayana tradition of Buddhism, what I say here reflects that school’s approach.

Brilliant Sanity

Contemplative Psychotherapy is based on the view that all of us, no matter what our problems, are fundamentally awake and healthy. In some schools of Buddhism this is called our buddhanature, and in the Shambhala teachings it’s called our basic goodness. In the Contemplative Psychotherapy program here at Naropa University, it’s referred to as brilliant sanity.
The contemplative approach is an optimistic one, because it points to our capacity for clarity, compassion, mindfulness, and awareness.
The premise of Contemplative Psychotherapy is that we already have what we need to connect with our inherent wisdom and compassion. Therefore, a contemplative therapist is concerned primarily with helping clients reconnect with and develop confidence in their own inherent sanity. We are not, of course, always in touch with it—we have only to look around us to see there is much suffering, confusion, and violence in the world. Yet the contemplative approach is an optimistic one, because it points to our capacity for clarity, compassion, mindfulness, and awareness.

Catching a Glimpse

The experience of brilliant sanity cannot be completely captured in words. Instead, we tend to glimpse it in moments of clear-seeing and tender-heartedness. We might have a sense of being fully present when something surprises us. We might experience it in a time of unexpected joy, or in a period of intense grief or fear.
In such moments, we are simply right there with an open heart. Such glimpses have qualities of sharpness, tenderness, and letting go of thoughts. They might last just a few seconds, or they could last a lot longer...

sábado, 10 de febrero de 2018

Who are The Guerrilla Girls? Tate Gallery. ¿ Quien son las Guerrilla Girls?


Guerrilla Girls are an all female collective who remain anonymous by wearing gorilla masks and naming themselves after famous dead women. In 1998 the Guerrilla Girls’ new book, The Guerrilla Girls’ Bedside Companion to the History of Western Art, they wrote:
We are a group of women artists and art professionals who fight discrimination. We’re the conscience of the art world, counterparts to the mostly male traditions of anonymous do-gooders like Robin Hood, Batman, and the Lone Ranger. We have produced over 80 posters, printed projects, and actions that expose sexism and racism in the art world and culture at large… We use humor to prove that feminists can be funny… We could be anyone; we are everywhere.

Este colectivo de mujeres  anónimas,  que llevaban máscaras de gorila y  utilizaban los nombres de famosas mujeres ya fallecidas, analizó las principales colecciones de arte en los Museos y encontraron que las cifras eran dignas de ser  difundidas y puestas en cuestión. Su objetivo era  exponer  el sexismo y el racismo en el mundo del arte y la cultura en general, utilizando un particular y ácido sentido del humor. 

Menos del 5% de los artistas eran mujeres pero el 85% de los desnudos allí representados sí  eran imágenes de mujeres. 

Por eso su ya famosa pregunta  ¨tienen las mujeres que estar desnudas para entrar al Museo Metropolitan? puso en cuestión muchas cosas en el mercado del arte hace más de 20 años y contribuyó a que esta polémica siga vigente aún. 


miércoles, 7 de febrero de 2018

Derain, Balthus, Giacometti. Una amistad entre artistas

Una exposición en la que vemos como Deran, antiguo fauvista, se relaciona con otros artistas mucho más jóvenes que él y que no parecen tener mucho en común con su estilo, como Giacometti y Balthus.

Es una pena que no haya ningún trabajo de otra amiga común de todos ellos, la pintora Isabel Lambert,  que posó como modelo para muchos de los grandes artistas en los años 30 (incluyendo a Picasso)  pero cuya obra es muy poco reconocida.

Parece que resulta más fácil ser recordada como musa que como artista. Las Guerrilla Girls tenían esa frase sobre que las mujeres para poder estar en las paredes de un museo tenían que estar desnudas. Parece que algo de razón sí que tenían aunque aquí Derain la retrató bien tapada.

                                             la pintora Isabel Lambert vista por Derain

La cornamusa

jueves, 1 de febrero de 2018

Love after love. Derek Wilson

“Love after Love”

                                                        Georgia O´Keefe

The time will come
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror,
and each will smile at the other’s welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.

viernes, 26 de enero de 2018

Relax into the feeling of being alive - Leo Babauta

Relaxing Into the Feeling of Being Alive

There’s a practice so simple that many people will discount it as not worthy of trying.
They’ll miss out on the transformative power of that very simplicity.
The practice is this: Sit still for a moment, and just feel what it feels like to be alive. Then relax into that feeling.
Yes, I know, sitting still for a moment isn’t something we want to do right now. We got things to do, man! But just try it, for a minute. Sit still and feel what it feels like to be alive, for you, right this moment. There’s never been another moment like this particular one, and never will be again.
Let me repeat that: There’s never been another moment like this particular one, and never will be again.
That means that at this moment, we have the opportunity to fully appreciate the miracle of this moment, and how it came to be from the infinite number of causes that created it from preceding moments. We are alive in this moment because of millions of other people who have supported us, because of everything on this planet, which just happened to be the perfect conditions for creating the person we are right this moment. What a freakin’ miracle!
So tune in, and notice what it feels like to be alive right now:
  • What sensations do you notice in your body?
  • What is the energy of those sensations? Does the energy change, or move?
  • What is the texture of your breath?
  • Do you notice pain, discomfort, tenderness, tightness?
  • Get curious and explore, investigate, look even closer.
  • Take in the totality of your sensory input, all at once, holding it in your awareness.
  • Stay with this feeling, instead of moving on. Then stay a little more.
Now that you’ve become curious, investigated, and stayed with your experience … try this:
  1. Relax into the feeling. That means if there’s any tightness around your experience, just relax that tightness. Relax into your experience. Often we have some kind of aversion to what we’re experiencing, or an urge to get away from it, and I’m suggesting we relax and just be with it, just as it is, not needing it to be different.
  2. Find gratitude for the feeling of being alive, even if there’s pain, tightness, discomfort. Be grateful for the miracle you are lucky enough to witness right now.
  3. Find love for everything you hold in your awareness, from everything around you to your own experience, your body and breath. It’s all one thing, and all held in your love.
Before you dismiss any of this, try it. Experience even the sensation of your resistance. And then email me personally (l@zenhabits.net) and tell me what your experience was like. I won’t respond (nor will I send you marketing material), but I’d love to hear about it.

martes, 23 de enero de 2018

Chema Lumbreras y el arte urbano en Malaga

En el centro de Malaga, muy cerca de la peatonal calle Larios, el paseante se encuentra con un par de obras de un artista y profesor malagueño. 

Los protagonistas de las sorprendentes esculturas son humanos y animales que juegan, hacen equilibrios en el aire o tratan de mover un pesado banco en el que se sienta a veces alguien que quiere tener una foto con un conejo y un hombre rata. 

El primero simboliza la prisa del conejo de Alicia en el Pais de las Maravillas y el segundo representa la muerte. 
En una ciudad llena de museos y de artistas se agradece encontrar muestras de arte urbano contemporáneo de artistas locales tan originales y atractivos. 

Y que otras ciudades se planteen esos pequeños y necesarios cambios para humanizar nuestro entorno cotidiano.   

jueves, 11 de enero de 2018

Giorgio De Chirico: vidas silenciosas.

Las obras que podemos ver en la exposición de Caixaforum de Madrid nos acercan a un mundo silencioso, enigmático,  que evoca sueños, tiempo suspendido, mundos ya perdidos. 
Un artista que vivió tiempos convulsos y violentos y que inspiró a otros artistas como Max Ernest, Dalí, Magritte pero que siempre siguió su propio estilo sin perder su sonrisa y su pasión por el mundo clásico. Aunque sus padres eran italianos  él nació en Volos (Grecia) y se formó tanto en Florencia, Milán, Turín como en París. 

Las entrevistas que podemos ver en la exposición, una realizada  en Grecia y otra en Venecia nos acercan a la persona amable, sensible, bromista  y educada que hay detrás de la imagen pública del artista cuya Fundación es la depositaria de las obras que se exponen aquí.