Envy arrows circle me
from all directions
I can’t move
without being hurt

Evil energy surrounds me
She’s casting a spell
doing voodoo

Her needles pierce me
organ by organVoodoo

Brain, lungs, knees
neck, vagina, feet
legs, fingers, cheeks
all’s punctured

Internal organs shrink
one by one

First my stomach, liver
Then my lungs, veins
uterus, ovaries
bladder, kidneys

When my insides become
my outside starts

Eyes and nose shrink
bones brake
blood coagulates

I become powder


Except for one surviving organ

My guts
strong as fuck
remains alive
digesting needles
re-building a body
immune to witchcraft

Taking the World’s Masks Off by Removing My Own

Some days I fancy spending extra time in front of the mirror to put some makeup on. I don’t always wear makeup, but when I have the time, this feminine ritual allows me to divagate and reflect on the importance of appearances and self-worth.

When I look in the mirror and see a more beautiful me, I feel this instant boost in confidence, as if the pigments covering my imperfections had the power to erase them all. When I see less freckles, less pores, no dark circles, a more defined gaze and a colorful pout, I feel like I have more reasons to smile, pat myself on the back and say, “You go, girl! Nothing can stop you!”

Makeup does change the perception I have of myself and how others see me. Research has shown that makeup enhances women’s attractiveness, sex appeal and youthfulness as well as allows them to be seen as healthier, more confident and having greater earning potential. A social media experiment also showed that makeup makes the same woman appear more competent, likable, fun and authentic than when she is bare-faced.

I have many reasons to wear makeup, but there are some days that I just don’t have the time to do it or I simply don’t feel like it. The decision to wear makeup or not will affect how people will judge me as I go about my day. This means that, in spite the fact that makeup does not change who I am, a Renata with makeup is probably worthier than the bare-faced version of myself.


No-makeup selfie


Makeup selfie

In a world where perceptions are more valuable than truth, where people tend to believe in “alternative facts” rather than facts, where people prefer online tweet wars rather than face-to-face conversations, makeup acquires a crucial role.

And I should expand the idea of makeup not only as face paint but also as everything that hides the reality underneath. Makeup can be a complacent marriage, an over-reliance on religion as the answer for all troubles, an imprisoning relationship that prevents one from doing what they really want, the aggressions of a highly successful professional that hide the insecurities that he or she truly bears. In sum, makeup is any socially accepted mask that hides personal truths.

Like it or not, we live in a world of masked people. This blog is one of my attempts to strip myself from my own masks. I want to come here “naked,” to bear it all and be vulnerable so I can survive in a world of appearances.

I won’t take the route of Alicia Keys who decided to stop wearing makeup for good as a way feel closer to her true self. This is not my route. Sometimes I just feel good to look prettier. The way I found to remove my masks was to open myself to others, to take on a good discussion, to accept that I’m not always right, that I can change opinions sometimes.

When I take these steps and let people be whoever they want to be around me, I find that their own masks start to crumble. They just can’t stand their own lies – not because of any accusation, but when they see me vulnerable, they can’t help but confront their own vulnerability. Sometimes they open up, but sometimes they just run away to their comfort zone and hide themselves back behind their masks. And there’s nothing I can do about it.

But this does not prevent me from continuing to open myself up. I just want to be able to look at my life and see that I at least had done something to make the world more authentic, more true to itself, more makeup-free. This is what frees me.

Making the Most of My Entropy

No one, nothing will ever escape its entropic destiny. The universe is slowly moving towards its death, but despite the fate, life exists.

The earth still flourishes with order – from animal life to oceans’ currents, from forests to the weather system that sustains them, from human achievements in arts and science to the billions of microscopic events that emerge and wane unnoticeable.

There are so many mysteries to be discovered that I find it impossible to live in this planet and not be amazed. There’s beauty everywhere I look – an ant colony, the human brain, the abstractions of mathematics, the infinity of space… Life is too perplexing not to entice my curiosity!

From a cosmic perspective, human life is inordinately insignificant. But I want to make my short lifespan worth its existence. After all, nobody but myself will assess my level of happiness. It is the pleasure of searching, the thrill of discovery and the magic of awakening that drive me and will matter for me in the end.

I’ll happily fulfill my fate if I look back to my life from whatever dimension and realize that I had never taken things for granted, that I had been always driven by curiosity, wonder and search for truth.

Pope Francis’ Interview to El País – My favorite Quotes

Argentinian newspaper El País published today an interview with Pope Francis. Here are my favorite excerpts.

On the Church’s disengagement with people’s problems
  • I am more afraid, rather than of those who are asleep, of those who are anesthetized… Everything is calm, everything is quiet, when everything goes right. Too much order. When you read the Acts of the Apostles, Saint Paul’s epistles, it was a mess, there were troubles, people moved. There was movement and contact with people. An anesthetized person is not in touch with people. He protects himself against reality. He is anesthetized… It is a risk that we all have. It is a danger, it is seriously tempting. Being anesthetized is easier.uneasy
  • I am always struck by the fact that Jesus Christ, in his last supper, when he prays to his Father on behalf of his disciples, he does not ask “Look, keep from breaking the fifth commandment, keep them from killing, from breaking the seventh commandment, keep them from stealing”. No, he says: “Keep them from the evils of the world, keep them from the world”.
On the transition documents he received from Benedict XVI
  • Because here, in the Curia, there are true saints. I like to say it. We talk too easily about the level of corruption in the Curia. And there are corrupt people. But there are also many saints. Men that have spent all their life serving people anonymously, behind a desk, or in conversation, or in a study, to get… Herein there are saints and sinners.
On what concerns him about the world
  • We have a World War III in little bits. Lately there is talk of a possible nuclear war as if it were a card game: they are playing cards. That is my biggest concern. I am worried about the economic inequalities in the world: the fact that a small group of humans has over 80% of the world’s wealth, with all its implications for the liquid economy, which at its center has money as a god, instead of the human being. Hence the throwaway culture.
On Trump’s presidency
  • I think that we must wait and see. I don’t like to get ahead of myself nor judge people prematurely… Being afraid or rejoicing beforehand because of something that might happen is, in my view, quite unwise… We need specifics. And from the specific we can draw consequences.
On his role in the Church
  • The history of the Church has not been driven by theologians, or priests, or nuns, or bishops… The true heroes of the Church are the saints. That is, those men and women that devoted their lives to make the Gospel a reality. Those are the ones that have saved us: the saints. We sometimes think that a saint is a nun that looks up to the heaven and rolls her eyes. The saints are the specific examples of the Gospel in daily life! And the theology that you learn from a saint’s life is immense.
On Catholics who think there’s more focus on those who left the Church than to those who remained and obey the Church’s commandments
  • I know that those who feel comfortable within a Church structure that doesn’t ask too much of them or who have attitudes that protect them from too much contact are going to feel uneasy with any change, with any proposal coming from the Gospel.
  • The eldest child syndrome is the syndrome of anyone who is too settled within the Church, the one who has everything clear, knows what must be done and doesn’t want anyone to listen to strange sermons. That is the explanation for our martyrs: they gave their lives for preaching something that was upsetting.debating
  • They have the right to think that the path is dangerous, that the outcome may be bad, they have the right. But provided they talk, that they don’t hide behind others. Nobody has the right to do that. Hiding behind others is inhumane, it is a crime. Everyone has the right to debate, and I wish we all would debate more, because it creates a smoother connection between us. Debating unites us. A debate in good faith, not with slander nor things like that.
On the refugee crisis
  • I was passing through, greeting people, and a man had [a life jacket] in his hand and started to cry, on my shoulder, and he went on and on: “I couldn’t, I didn’t get to her, I couldn’t”. And when he calmed a little he told me: “She wasn’t over four years old, the kid. And she went down. I am giving this to you”. This a symbol of the tragedy that we are living.
  • So the problem is: welcome them, yes, for a couple of months, give them accommodations. But the integration process must start at some point. When there is not integration, they get “ghettoized”, and I am not blaming anyone, but it is a fact that there are ghettos. It may be that they didn’t realize at that time. But the young guys who committed the atrocity in Zaventem [airport] were Belgian, they were born in Belgium. However, they lived in an immigrant neighborhood, a closed neighborhood. So the second phase is the key: integration.
  • The model for all the world is Sweden… You get to Sweden and they give you a healthcare program, and documents, and a residence permit… And then you have a home, and the following week you have a school to learn the language, and a little bit of work, and you are on your way.
On the Vatican’s diplomatic role
  • I ask the Lord that he give me the grace of not taking any measure for the sake of image. Honesty, service, those are the criteria. I don’t think that getting a bit of makeup is a good idea.
  • Talk. That is the advice I give to every country. Talk, please. A fraternal conversation, if you feel up to it, or at least in a civilized way. Don’t throw insults at each other. Don’t condemn before talking.
On populism, xenophobia and Trumpism
  • After [Paul von] Hindenburg, after the crisis of 1930, Germany is broken, it needs to get up, to find its identity, a leader, someone capable of restoring its character, and there is a young man named Adolf Hitler who says: “I can, I can”. And all Germans vote for Hitler. Hitler didn’t steal the power, his people voted for him, and then he destroyed his people.hitler
  • In times of crisis, we lack judgment, and that is a constant reference for me. Let’s look for a savior who gives us back our identity and lets defend
    ourselves with walls, barbed-wire, whatever, from other peoples that may rob us of our identity. And that is a very serious thing. That is why I always try to say: talk among yourselves, talk to one another.
  • Each country has the right to control its borders, who comes and who goes, and those countries at risk —from terrorism or such things— have even more the right to control them more, but no country has the right to deprive its citizens of the possibility to talk with their neighbors.
On violence against women and women’s role in the Church
  • In Italy, for instance, I have visited organizations that rescue female prostitutes who are being taken advantage of by Europeans. [The abusers] tell her: you have to earn such and such today, and if you don’t bring it in, we will beat you… In the house that I visited, there was a woman that had had an ear cut off… When they don’t earn enough, they torture them. And they are trapped because they are frightened, the abusers tell them that they are going to kill their parents.
  • One very good thing this association does is that they go down the streets, approach the women and, instead of asking how much do you charge, how much do you cost, they ask: How much do you suffer? And they take them to a safe community so that they may recover.
  • My concern is that women give us their thinking, because the Church is female, is Jesus Christ’s wife, and that is the theological foundation of women. When they ask me, I say yes, but women could have more. But what was more important on Pentecost, the Virgin or the apostles? The Virgin.


The poem below is by a friend who was too shy to reveal their identity, but were happy to know that their poem could reach other human beings through this blog. I hope you enjoy it as I did!


It moves in a zig-zag form,
Defying all the science of the norm.
It grows up from defeat,
A flower in the wretched heat.
It’s fertilized and prized among the swarm.

It’s promised in the shiny distant light,
Teased from the disease of left and right.
A silent beacon in our heart,
That can pull the world apart,
It’s the oscillating curve of day and night.

We like to see a comeback,
So we cast ourselves behind.
A vote against our interests,
A grievance in our mind.
We’re inching up to heaven,
Where the wicked come to play.
Progress is the purpose,
It’s the way.

It copulates in spaces found between,
The knowing glowing faces on our screen.
Its circuit is complete,
With every status, every tweet.
A million tiny deaths in the machine.

It scares the squares beneath their broken sphere,
It engages all the changes that they fear.
They’ve fought it for so long,
But the resistance makes it strong.
It helps the blind to see, the deaf to hear.

We like to be heard,
So we raise our voices loud,
In the friendly echo chamber,
Of a complimentary crowd.
We try to fight the impulse,
But protests ricochet.
Progress is the purpose,
It’s the way.

My Life’s Mission

  1. Discover and make others discover
  2. Wonder and be wondered
  3. Find beauty and create beauty
  4. Excel in what I do, be proficient. Reject mediocrity
  5. Be passionate for what I do
  6. Work collectively, never alone. Find lasting partnerships
  7. Be open to new friendships
  8. Be grounded on values, family and faith
  9. Accept vulnerability; be open to fail
  10. Learn from others, always be open to learn, learn with wonder


The horizon line is no longer flat
It’s rippled
By forces underneath

I slide through water
As mold grows on my skin

I have no shelter.
Currents thrust me
To where they see fit

I live in the home of whales
And breathe
The oxygen of fish

My food, salt water
Sunlight, seaweed

I’m one with my mother
The Ocean

Rough, powerful
Loving, deadly
Mother of all life

Womb from which I came
And to which I return

As my soul finds its place
Somewhere above or below
My body remains
Is shared among creatures
Becomes soil, food, water
Gives back
Becomes mother

Review: Paper Dance

Even before Donna Isobel (Aluminum Siding) and Matthew Smith (mattisonthemove) started performing “Torn” at On the Boards’ NW New Works Festival this weekend, I knew what to expect. I had watched earlier versions the choreographers’ joint piece in two different instances, and was convinced nothing could be dramatically different this time.

I later realized that I was not giving the artists the appropriate credit for outdoing themselves.

The piece started with Isobel dancing solo in front of the closed curtains throwing A4 sheets to the air. Then the curtains opened, expanding the tight, unadorned dance floor into an elaborate composition of whites and blues. Stalactites and stalagmites of stacked white paper spread across the stage while paper-made icebergs rested on the back. The blue lighting over the glaring whites transformed the setting into an oversized ice cave.

Smith’s entrance to the dance was a surprise element not present in previous versions. A few minutes after the opening of the curtains, while Isobel was fighting with gravity to keep papers from hitting the floor, viewers would notice one of the icebergs slowly move. They would later realize that Smith was underneath it, slithering his way into the choreography. He would then perform leaps and inversions until the paper could no longer accompany his movements. His stealthy appearance enticed the audience to wonder if there was anyone else underneath the other paper mountains.

The dancers then engaged in a synchronous choreography with paper being the element that held them together. They grabbed paper with toes, neck, feet, knees and elbows, and used each other as props to prevent paper from falling. The chemistry between both dancers was visible as they moved fluidly across the stage and transported paper from one to the other with ease and grace. Smith and Isobel’s moves demonstrated the seriousness of their training. They performed headstands, plank poses and stretched their limbs to the limit in a spectacle of strength, control and preparedness.

Torn is one of the few local contemporary pieces that depart from the modern aesthetic that dominates the dance scene in Seattle. The use of paper as a key choreographic element – plus the execution of highly controlled movements as opposed to the loose contortions and spasms frequently seen in local performances – makes Torn one of Seattle’s most innovative dance pieces. Aside from all the trees killed to make the piece possible, Torn is the kind of dance you long for seeing more often.

A Ride to the Top

Whitney Lyman and William (Bud) Ransom remember vividly the first time they played together to a big audience. The PONCHO Concert Hall at the Cornish College of the Arts was full of students, faculty and community members to watch the Scores of Sound Student Music Festival, a non-curricular recital for Cornish students who choose to present their work to a crowd outside the classroom.

The Elderly at Columbia City Theater on June 10. Picture taken from a cell phone camera.

Lyman and Ransom performed four songs they wrote together. Both nervousness and excitement occupied their thoughts as they showed the public the fruit of months of rehearsals.

“When we got off the stage, there was this huge thrill,” Lyman recalls. “People were telling us they really liked what we were doing, and that was a good sign.”

Good signs of success are what bands like Lyman and Ransom’s are looking for on the journey toward broader acclaim. The duo started playing together in 2007 as music students at Cornish, and in 2010, they officially formed their neo-folk band, The Elderly. The story of The Elderly is an example of what local musicians go through to break out of the pack and gain recognition outside the Seattle area.

While Ransom writes the songs, plays the guitar and sings, Lyman creates the harmonies, sings, and plays the banjo and the percussion. The mix of string acoustic instrumentation and light tambourine beats creates an unhurried, rustic sound. The Elderly’s songs abound in vocal harmonies, and lyrics communicate idyllic settings. Occasional claps bring playfulness and reveal the easiness of the duo’s songwriting style, which always seems to arise from a walk in the park.

American folk-rock from the 1960s and ’70s inspired the band, and the name The Elderly is a nod to that influence. The band sounds like a male and female version of Simon and Garfunkel, with deft guitar playing and carefully placed banjo arrangements.

“In the 70’s, my mom and her four sisters had a folk music band,” Lyman said. “That was the first music I grew up listening to – folk music inspired by the times of the 70’s, but I was listening to it when I was a kid in the 90’s.”

“All the music I listen to is old,” Ransom added. “Don’t think of ‘the elderly’ as old people; think of it as sepia photograph.”

While the band’s influences ooze from the past, its drive to create music and perform is very present. In the last few months, three new musicians joined the band: Judd Wasserman (bass and vocals), Nick Ptacek (guitar and vocals) and Devin Anderson (drums).

“The new band members open up a lot of options,” Lyman said. “They bring their own ideas – which would have never been created if it was just the two of us. Musically, the sound is different, but it’s the vision Bud and I had from the beginning.”

In addition to drawing more members, The Elderly has been an active participant in Seattle’s music community, a must-have pass for gaining local influence.

“Being part of the community is how you get people to find you,” Lyman said. “It feels like it’s a group of friends – having this personal connection is important because people go to your shows because they like you as a person.”

Bassist Judd Wasserman added: “There are different circles interconnecting. When there’s a show of any band inside one of these circles, everybody from this circle goes to the show because they know they are going to get good music.”

This community environment makes it easier for the success of one band to prompt the success of another. When folk band The Head and the Heart signed to record label Sub Pop last November, the entire local music scene got a boost of visibility. With its origins in the Seattle independent circle, The Head and the Heart now tours across the country – as well as in Europe – playing shows and expanding its fan base.

Wasserman is friends with the folks on The Head and the Heart. “Just seeing what happened to them over the past year is unbelievable,” he said. “The Head and the Heart opened a big door for a lot of acoustic music.”

Wasserman believes the band reached national success for a mix of reasons including its members’ business savvy, smart use of social media, honest chemistry between band members and the public, entertaining live shows, and personal connections with influential people.

“The Head and the Heart was the first to stand out,” he said. “I’m sure there will be many other local bands that will break because of them.”

As The Head and the Heart attracts new fans in distant places, The Elderly has been enjoying a period of fair visibility among local concertgoers and press. The Seattle Weekly recently reviewed the band’s show at the High Dive on March 29 calling Lyman and Ransom an “intriguing couple” who clearly has “the tools both lyrically and musically to distinguish themselves from the flock with an infusion of texture, variety, and risk.”

Although getting a review on the paper is a required checkbox for any band that wants make it big, it is certainly not enough for a band to secure national prominence. The Elderly – as most independent bands – is not a profitable enterprise. All band members have day jobs that allow them to reconcile their strenuous rehearsal schedule with their need for money.

“We want to play music for living,” said Ransom who bartends part time. “It’s a way of going through life; to do music as a lifestyle.”

Lyman, who cooks pizza in a restaurant in Capitol Hill, added, “Our goal is not fame or money, but to share what we create. It’s communicating without talking. If this could be our job, we’d do it.”

While fame and money may not be the band’s main goal, these themes constantly permeate its members’ thoughts.

“Of course we’re not close to there yet,” Ransom said. “I worry a lot about my band members. As we’re are trying to make it, tons of bands are doing the same.”

“Choosing a music career is an emotional roller coaster,” Lyman said. “There are the extreme highs and the extreme lows. You get really excited about something, but it doesn’t happen. The challenge is to keep your motivation going. You have to remember the wonderful high moments to help you carry through.”

As The Elderly’s ride continues, the band matures and its dreams grow. “We want to reach as many people as possible, affect people in a positive way,” Lyman said. “Maybe the next step is doing a full-length album, or get on tour.”

On Friday June 10, the Elderly will play at the much-hyped Columbia City Theater. For many bands, playing there is a steppingstone to shows in festivals and broader visibility.

Although the band feels it’s moving in the right direction, all members know the unspoken truth: making it nationally is for a lucky few.

“The challenge is to convince myself that it doesn’t matter if we make it or not,” Ransom said. “It’s hard to stop and let go of the fear of not having done everything we have to do. I have to convince myself that we all have jobs, we all love each other and playing music together, and that’s what matters.”

A Place to Live, Love and Leave

Cracked walls, unlevelled floors and virtually no assistance from the landlord – this is not what you expect to get when you pay the rent. Unless you are an artist who lives or works in the 619 Western building in Pioneer Square.

A wall like many others in 619 Western

Built as a multi-purpose warehouse in 1910 at the corner of Western Avenue and Yesler Way, the building has collected over the century serious structural flaws. Cracks are as wide as a tennis ball; the building’s east face leans forward and its foundation is slowly dissolving into the earth. When converted into an all-arts building in 1981, the deal was simple: owners would do minimal to no upkeep, and in return, artists would get cheap rent.

Visual artist Edd Cox, 63, was one of the first to move in. “We cleaned the space up, built walls, and put a new toilet in,” Cox says. “That’s the way every floor in 619 was done: not to code; just by people pooling their cash and building a little bit more.”

“There was a lot of hammering, a lot of sawdust, and this construction energy going on,” he remembers. “It took us three years to get everything finished.” And by “finished” he means having access to hot water.

Since 1981, Cox hasn’t lived anywhere else. His studio is a two-room space at the southeast corner of the building’s fifth floor. The bigger room, facing south is the living room, office and painting studio. The smaller area, facing east, is the kitchen and bedroom. Paintings, tapestry and 2-D mixed-media art fill the space’s few walls, while ceramic sculptures and pottery lie on tables. The bathroom – which has a toilet, a shower and a double-utility sink – is outside of his apartment, part of the floor’s common area.

The building doesn’t have central heating – portable heaters are Cox’s source of warmth. To do his laundry, Cox has to take the bus to Capitol Hill, but he doesn’t mind. “It’s my great achievement for the day.”

In spite of the lack of amenities, Cox has a view only luxury downtown condos offer. From the eight-foot-tall windows of his studio, he can see the Smith Tower, the Pioneer Square Pergola and Elliott Bay (although obstructed by the Alaskan Way Viaduct). From these same windows he used to amuse himself watching the homeless sleep in the station wagon he used to own and use its roof as a dance floor. “If I could just record it,” he muses.

On first Thursdays, when Pioneer Square holds its art walk, Cox opens his studio to all visitors. In addition to this monthly appointment, Cox’s place has been the great room for artist gatherings, meetings and carouses.

On a New Year Eve in the late 1980’s, Cox threw a party in his studio. “Three other parties were happening in the building and all of a sudden, the parties started to mix and 30 more people would arrive.”

Letting in uninvited guests was part of the game, but he didn’t expect that one of the gatecrashers would be a one-year-old crying baby.

“My friend comes up in her high heels with this little boy in diapers and says, ‘I heard this crying, went downstairs and saw this little boy at the door’.” They later found out that the baby was the son of one of the partygoers on the floor below, who thought it was okay to leave his son in the hallway while having a couple of drinks inside.

The party continued until after midnight when all guests were drunk, and to move from one space to the other meant walking over the people who passed out. “There was so much beer I actually surfed… I slid over the floor to get a drink at the bar,” he says.

In all parties Cox has had in his place, guests (invited or not) inevitably mingle with multi-thousand-dollar-worth works of art hanging on the walls. “You’re not in control, but I’ve never had any real damage,” he says.

Although social gatherings have been part of the essence of Cox’s studio, it was the more intimate events that captured his fondest memories.

“When you fall in love, it changes everything; magnifies everything.” Cox is talking about the love of his life, a physician assistant named Susan who he met at a friend’s party. He was about 46 years old when a common friend took Susan to his studio for the first time. “As they were leaving and saying goodbye, I took Susan by the waist and kissed her.” Cox and Susan kept their relationship for 14 years. They broke up a few years ago.

“Every time I fall in love in my studio it helps my art; it helps me dealing with the people in the building; it helps my teaching.”

But Cox won’t be able to fall in love in his studio any more. Because the building won’t withstand the commotion of the Alaskan Way Viaduct replacement project, all artists living and working in the building will have to leave by March 2012.

“One thing that stuck to my mind was that I had to leave; I had to pack up,” Cox says about the moment he heard the news. “I just went out, and on the first ‘For Lease’ sign I saw, I phoned them up and met the next day with a real-estate agent.”

The Washington State Department of Transportation announced on March 3rd a proposal to spare 619 Western from demolition. The former plan had been to tear the building down, but the City Council, historic preservation groups and the community of artists strongly opposed it. Even with the decision to retrofit the property, the building needs to be vacant by next spring.

As Cox and the other 90 plus tenants of 619 Western plan their departure, the building slowly changes its mood. “It’s still there, but there’s a shadow growing taller,” Cox says. “We feel like we’re saying goodbye to each other, we’re breaking up. We have a distance to go, and every day we get closer to that destination.”

Cox will enjoy the view from his windows until his lease expires on December 31st. “When I’m working at my computer, I can look at the winding clouds, the seagulls, the buildings turning golden in the sunset. I’ve had 30 years of beautiful sky, and that’s a miracle.”

Update: Although Cox still lives in 619 Western, he recently moved his studio to another Pioneer Square location (313B 1st Ave S). From 6:00 to 8:30pm today, gallery visitors will be able watch a performance by Oleaje Flamenco.