Once the inspection is done, it coordinates with the owners of the reforested land the conditions for the maintenance of the reforested trees. This mechanism allows participants to release the stress of everyday life, since at the end there are spaces open for volunteers to express their basic social needs.Ī forestry engineer visits the land one month, six months and one year after reforestation, to evaluate the survival and the needs that he has. In this space, people meditate on the importance of well-being and set personal welfare goals. To close the reforestation, a planting space with purpose is created. In addition to explaining the appropriate methods to plant a tree, which favors to reduce the mortality rate of reforested trees. In addition to carrying prior to planting, tools and trees to the area.Īuto Mercado subsidizes the transportation costs of volunteers, tools, fertilizer and the trees.ĭuring the reforestation, volunteers are bio-literate about the importance of reforestation in the area, about the mitigation of climate change, concepts of biological corridor sustainability, about the species to be reforested. The preparation of the land is carried out, consisting in pruning the scrub and marking the land. The forestry engineer comes in contact with nurseries gardens in the area to locate the most suitable species and with the ideal sowing sizes, which go with a minimum height of 50 cm. He also determines the best species for the area, which provides the greatest eco-friendly benefits. We look for a land that is important for the environment, such as areas of biological connectivity, water recharge zones and protection of bodies of water." A forestry engineer visits the land to verify that it meets the optimal conditions for the reforestation. Seligman died in Sugar Loaf, New York, on January 2, 1962.The project begins with the search for land. Among other things, he was a mentor and master to significant artists such as Nell Blaine and Robert Motherwell, an important member of American cultural circles, and a teacher at Briarcliff Junior College and Brooklyn College in New York. Shortly after the premier of the ballet The Golden Fleece: An Alchemistic Fanstasy in 1941, the artist met Peggy Guggenheim as she was returning to New York from Europe, and thus became part of her circle. In addition to being a painter and woodcut artist, Seligmann also excelled in set design, creating costumes and scenery for Harry Holm and Geroge Balanchine. Albrecht Altdorfer, Urs Graf, Matthias Grunewald, and Niklas Manuel Deutsch, but also Johann Heinrich Fussli and Ferdinand Hodler are all sources that influenced his art, which is often rooted in a Nordic environment of the medieval variety, populated by devils, suits of armour, heraldic imagery, threatening beings, and anthropomorphic creatures. The fantastical and anguished imagery that emerges from his paintings and numerous woodcuts are a testament to, among other things, two artistic traditions: his examination of deformed and frightened visions evoked from the subconscious is typical of Surrealism, while also owing much to the rich Swiss-German figurative tradition he was exposed to as a child. Its themes are prevalent in the complex iconography of his paintings, often rich with symbolism alluding to alchemy and the Kabbalah. In 1948 he published a study on magic, the occult, and popular folklore titled The Mirror of Magic. He participated in the First Papers of Surrealism exhibition in 1941, and the Artists in Exile exhibition in 1942, and actively collaborated in the magazines View and VVV, which together helped introduce the themes and principals of Surrealism to American audiences. At the outbreak of World War II, he moved to New York, where he showed his work at the Karl Nierendorf Gallery in 1939. He moved to Paris near the end of the 1920s, where he came in contact with members of Surrealism, and susequently became a member of the Abstraction-Création group in 1937. He studied at the École des Beaux-Arts in Geneva, then at the Accademia di Belle Arti in Florence.
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