Los juegos atlantes (Crónicas de la Atlántida 2) (Spanish Edition)
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At the headquarters of the PSOE, in the Calle Ferraz, Madrid, their representatives seem to have abandoned hostile rhetoric towards this social movement. En uno de los debates emergen fugazmente dos caras. La de una joven y la de un anciano. Hace unos supposed pacts with the Basque left wing and ETA. De are not working, and they the PP esta manera, consolidan a Mariano offer the option of a change without Rajoy como aspirante a presidente trauma. Su ya marchita figura forced out of frustration. El cuento del quinto down to its worst hours. The economy has beaten him.
Now, after the hangover of the media frenzy over Camino you know the one, various Goya awards, big box office and controversial , the Madrid scriptwriter and director can breath easier. And all this without putting aside the production of commercials, the starting point of his cinema career and a media in which he has also managed to leave his mark. He managed to find a space in his diary for the photo session, while the interview was carried out a few days later via email, courtesy of modern times.
Of course. A TV series is a very attractive format but the tyranny of an immediate audience not so. I see imagination as the capacity to connect things that beforehand have nothing to do with each other, more than the art of inventing everything. With this technique you can create original and unique worlds, yet ones in which the spectator can recognize all. Tinto The Miracle of P. Tinto , for example, was a SEAT in miniature and the extraterrestrials detector, a coffee pot fixed to a light meter from the s. This has led me to invent my work, to make a lot of mistakes and, above all, to reach places that are deliciously unsuspected.
I feel I am very lucky in having such a varied and chaotic training. Al menos, tarda poco en contestar. La serie televisiva es un formato muy atractivo pero la dictadura de la audiencia inmediata no. Supongo que es la consecuencia de no haber pretendido copiar a nadie, de no buscar la originalidad por la originalidad y de haber elegido equivocarme yo solito.
El ovni de los marcianitos de El Milagro de P. Eso me ha llevado a inventarme mi trabajo, a equivocarme mucho y, sobre todo, a llegar a lugares deliciosamente insospechados. It was clear that Fesser also knew how to make serious films. And how. The film collected innumerable awards, was hailed as the major winner at the Premios Goya awards in and became one of those rare jewels that one stumbles open once in a lifetime.
The story shook a radical sector of the church in their seats and showed to the world the chilling limits of religion. But that was one of the main incentives. Also, seeing the story so precisely and clearly helped me quite a lot in taking the decisions a day that one has to when making a full-length film.
The reality is that Camino pleased many normal believers and caused discomfort to the fanatics who occupy opulent offices in the Vatican and on the boards of some big banks. It is a long process, full of doubts that are difficult for one to resolve if one is not stuck in the mire of the script right up to your waist. But there are stories that, as happened to me with Camino, require this intimacy. And a good one at that.
I believe humour is a natural form of expression in my family. In every era there have been unique directors, how ever many there are. The reality is that our generation would be nothing without the talent of the previous ones. I like to think that those to come will also learn something from our films.
Pero eso era uno de los principales alicientes. Tinto, The Miracle of P. His own surrealist imagination is peopled by sassy Martians, an eternal and unbreakable gas cylinder, a private investigator of electrical household appliances. A universe of pop-folklore sub-culture that many call the Fesser style. The hyperactive filmmaker has accepted the challenge and has established himself as one of those storytellers it is best not to lose track of.
If Hollywood has J. I mean to say, Fesser. And, above all, I love those of the Coens and all those that come from the Pixar Factory. From time to time I come across a film capable of thrilling me. Toy Story 3 was the last one. All that was small in the film, anecdotal or tangential, now gains prominence for developing in depth that parallel universe in the Camino that is very similar to our own yet, little by little, seems like pure science fiction.
When an author talks about what he knows about deeply, it usually results in a work in which that knowledge can be shared in an attractive way. Thanks to films I have been able to put myself in the shoes of a desperate Iraqi mother, of a violent adolescent from Guatemala, of a political prisoner in Angola and a misunderstood gay cowboy in deepest America. And they have also been a very intelligent and always humorous portrait of our virtues and miseries. But as they were there… I am fascinated by the device that the film makes use of to fabricate truths.
However, I have never used the effect as a spectacle. I think so. No creo que Fesser se haya aburrido en su vida. El hiperactivo cineasta ha aceptado el reto y se erige como uno de esos fabuladores a los que es mejor no perder la pista. Si Hollywood tiene a J. Digo, Fesser. Y me agradan especialmente las que no tratan de epatarme.
Lo tengo claro. Cuando un autor habla de lo que conoce profundamente, suele obtener como resultado una obra con la que compartir de manera atractiva ese conocimiento. Pero ya que estaban… Me fascina el artificio del que hace uso el cine para fabricar verdades. And if so, where was it? To reply to these two questions would, without any doubt, explain one of the greatest enigmas of history. And there have been plenty of theories drawn up since the middle of the 19th century, when finding the mythical lost civilization spoken about by Plato in his works Timaeus and Critias almost became an obsession for various archaeologists and adventurers.
Nobody knows how much could be true, scientifically speaking, in the different hypotheses that have been put forward, although the general feeling among experts is one of total scepticism. Until now mankind knows only one thing for certain: the mention of Atlantis by Plato. Fortunately, there are still real life Indiana Joneses in the world. To carry out. The results of their work have been seen in a documentary from the National Geographic Channel. This tells in detail the procedures that have been followed and how these have led them to identify a circular structure composed of a series of concentric rings that correspond exactly with what was written by Plato about the shape in which Atlantis was designed.
Todo esto son inventos humanos, leyendas maravillosas, muy bonitas. But he contradicts the theory of Professor Freund, maintaining that the remains are not part of the legend of Atlantis. All these are human inventions, marvelous legends, and very nice. People have. In the era in which Plato set the story there was no civilization in the world, not in the Mediterranean or in any other place. What there were were hunters-gatherers. Both Timaeus and Critias form part of what are considered to be authentic Plato dialogues. It is believed they could have been compiled in the period between and BC.
Or, what amounts to the same, between the two voyages that the author made to the island of Sicily. Athens lost much of its power in this era, burdened as it was by the consequences of the Peloponnesian War. That power had displaced towards the old Greek trading colonies of Italy and Sicily, although fortunately for the citizens of Athens their well won cultural prestige remained intact Plato and Aristotle lived in this Athens that was politically on the way down. The main purpose of it was to extol Athens, which, unlike other cities more or less near it, had resisted an assault from the ships of the powerful civilization of Atlantis.
It also refers to the site of the island, to the extension of its domains. To the already mentioned Athenian victory over Atlantis and, of course, the way in which such a powerful civilization disappeared under the sea. THE CITY OF ATLANTIS Solon, who made a long journey around Egypt, received all the information — which he later shared with Dropidas- from some priests who explained to him that the history of the legendary civilization dated back to the beginning of time when the gods reigned over the Earth and divided the world so that each of them governed their own dominions.
Poseidon, the god of the sea, received the island that he called Atlantis. He chose a mortal woman, Clito, and started a dynasty of kings who governed for centuries. They had five pairs of twins and each of them was given a kingdom. The eldest of them, Atlas, was given the city that carried his name and that would have power over the other nine. In this way, he was told, was founded the city of Atlantis, within the continent that carried his name. Atlantis had plenty of resources: water, all types of minerals, especially orichalcum, or mountain copper, more highly valued than gold by the Atlanteans and used for different religious practices.
Great forests provided them with huge quantities of wood and all types of animals and vegetables. Such natural riches allowed the Atlanteans to build a splen-. Plato puts the story in the mouth of Critias who is provided with the information by Dropidas — the great grandfather of Plato- who in turn had heard the story from the mouth of Solon, who had received it supposedly from some Egyptian priests from the city of Sais.
It speaks of Atlantis in the context of a reflection about how the. They also constructed a great canal to link the coast with the outer ring of water that surrounded the metropolis. Another one, smaller and covered, connected this outer ring with the citadel. O lo que es lo mismo, entre los dos viajes que su autor realizase a la isla de Sicilia. Tuvieron cinco pares de gemelos y a cada uno le dio un reino. A virtual recreation of the city of Atlantis by the National Geographic Channel; it forms part of the controversial documentary, Finding Atlantis, in which the channel has released all the details of the investigations and search being carried out by Richard Freund.
Have those that are really searching for it hit it this time? Historians and archaeologists are sceptical and still consider the accounts of Plato to be a legend that emerged from the imagination of the Greek teacher and were used by him as an excuse or example to explain his ideal model for society. The unfinished dialogue of Critias, probably envisaged as a continuation of Timaeus, expands on the previous data, all of which was provided by Solon, about the war that occurred 8, years before between Athens and Atlantis.
The text centres on this continuation of the history, geography and government of Atlantis, interrupted at the precise moment at which the gods, indignant about the immoral behaviour of the inhabitants of the empire of Atlantis, decide to castigate them in an atrocious way; the sinking of the main island, bringing about its total disappearance from the face of the earth. For the great majority of the thinkers of the ancient world both texts were true to life narrations, remnants and notes of a story based on real events. Down through the following centu-.
In spite of all this, there are thousands of enthusiasts who are convinced that sooner or later man will come across the lost continent. What happens in Spain is that we have a feeling of shame. To think that Atlantis could be here makes us ashamed and it seems to us that it is not serious enough for science to take notice of it. There are many reasons for thinking that the most realistic possibility of the many that have been considered, and the one most adapted to the texts of Plato, is in the south of Andalucia.
Could Atlantis be in. The story of Plato is possibly a mix of various influences that he had at hand and that he went on using to create a moral tale about Athens and how good the Athenians were. Here, in the south of Spain. En la historia de. The artist from Valencia has created an aseptic universe where nothing is what it seems to be.
Populated by a disquieting technical imagination, it embraces a fierce proximity to hyper-reality that science and an abusive, increasingly technical world have helped to create. As a consequence I have a love - hate relationship with the medical scientific ecosystem. That emotional ambiguity has ended up flowering in a large number of works, that also keep on growing organically, sometimes in a more controlled way and at other times escaping from my control. I like the relationship with the unexpected, as well as building up networks of new connections between the works.
However, I have to admit that painting is my main tool of expression and for giving battle, and it is present in one way or another in nearly everything, as much in the installations as with objects or with photography.
Her artistic discourse becomes a stratagem that is more exact than reality itself. Beneath a coat of apparent truth hides a whole hyperrealist declaration of principles. At a certain distance it may appear thorough and detailed, but close up one can appreciate the total simplification of the forms, great masses of colour with suave corruptions and some details that end up defining shape and volume. Reality is full of irregularities, stains, imperfections, and chromatic nuances… In my works I deliberately omit the physical texture of reality.
So, does the dream of technology produce monsters? And that uneasiness is the starting point for elaborating new conceptual and formal ideas. On one hand technology makes life easier for us, but it also has a more sinister side…and that is I think that now more than ever technology is a tool for controlling people. If it is a source of knowledge, it is also a powerful weapon with which reality loses all value. I think that scientific and technological development are used by the powers that be, and that the people, under the delusion of advance and common good, are alienated and mediatized, with their perceptions distorted and their capability for critical thought impeded by the apples from the garden of Eden.
She recreates imaginary cellular universes with an impactful halo of likelihood, the simulation of the simulation. In I started to seek out materials that would allow me to recreate science fiction with a simple mm lens. Using as a base the observation of minimal and complex structures of a microscope, I reinterpret those codes using a dimension physically visible to the naked eye, without the need for magnifying lenses.
The objective was to recreate unreal microscopic scenes that in reality belong to the land of the real and perceptible to the naked eye without any magnifying lens. Retouching the resulting image would be unnecessary and a contradiction. As Baudrillard remarked, talking of simulacra, and later Umberto Eco with their false reality, we run the risk of seeing the simulation of an idea as being something more real than the idea itself.
I think I tend to construct compositions from fast reading, and that the realism in your representation makes people identify easily with the objects that are represented. Welcome, then, to the simulacra of Tania Blanco. Recrea universos celulares imaginarios con un impactante halo de verosimilitud; el simulacro del simulacro. Bienvenidos, pues, al simulacro de Tania Blanco. Thirty five million years might seem a lot, but in astronomical terms they are hardly anything. It will allow the analysis of a planetary age that has never been studied before. Modesto Cubillas was a humble hunter from the region of Cantabria.
One day, while walking in the country, his dog diappeared among some crevices. On trying to reach him Modesto discovered the entrance to a huge cave. He spoke about his find to Marcelino Sanz de Sautuola, a paleontology enthusiast from the area. Without knowing it he had found the Sistine Chapel of cave art, the paintings of Altamira.
After several weeks of an agonizingly long journey, from the top of the mast on La Pinta was heard suddenly the awaited warning cry: Land ahoy! It was , the 12th of October. He had set sail from Spain with the aim of discovering new trade routes, and he would die without knowing that the lands he and his crew set foot upon were those of a new continent.
The discovery of the Americas, regarded as one of the most important benchmarks in world history, was by mistake. While he was casually testing the camera in the living room of their house he discovered that the infrared rays from the remote control of the television caused interference on the images he recorded. As the owner of a cinema, it occurred to him that the phenomenon could be used as an efficient means of combating piracy, stopping them from illegally copying films.
No sooner said than done. Era , 12 de octubre. Dicho y hecho. He was accompanied by 18 of his work colleagues: artists, musicians and script writers. For 10 weeks they toured South America, hunting for landscapes, characters, colours and sounds. The adventure was not an innocent one. War was devastating Europe, and the U. S was on the side of the Allies. Nazi propaganda worked efficiently in Latin America. The United States ought to do something, and President Roosevelt decided that Donald Duck was the perfect antidote to the propaganda of Goebbels.
The result of this journey was two cartoon films nominated for Oscars and an artistic treasure trove in the form of sketches, notes, musical scores and Latino inspired characters. In the spring of , the attack on Pearl Harbor was yet to come, but the U. S entry into the war was reckoned to be imminent. Finally, although some took longer than others, all of them united with the Allies. The Nazi propaganda devised by Goebbels had extended its tentacles through Latin America ever since the start of the conflict. Guillermo Pariente explains that the Nazis poured out magazines, books , radio programmes and films to influence the Latin American countries.
To counter the Nazi attempts to influence in South America, the U. The U. Walt Disney lived the adventure intensely, soaking up all the nuances of the Latin American cultures. The Second World War, financial problems and confrontations involving labour arguments between art-. The Latin American experience revived him artistically.
Many of the friendships that came out of the trip lasted for the rest of his life. She found her own voice in Latin America. La aventura no era inocente: la guerra asolaba Europa, EE. Pasaron horas en los clubes nocturnos, escuchando.
El Gobierno de EE. En el cortometraje Acuarela de Brasil, uno de los cuatro que componen Saludos amigos, vemos todos estos lugares convertidos en dibujo animado. The second film that came out of the trip, The three caballeros, is technically better and introduces effects like the combination of animation and real people. This was applied better in later films such as Mary Poppins. I In the documentary we see a 39 year old Walt Disney on top form. They drew, wrote and filled musical scores. They also received Brazilian artists there. They painted beautiful water colours of the bay, and of Sugar Loaf Mountain.
They spent hours in night clubs listening to samba, watching the Afro-American people dance.
Los Juegos Atlantes
They explored the botanical gardens, filling notebooks with sketches of exotic plants: wild orchids and giant lilies from the Amazon basin. In the short, Watercolor of Brazil, one of the four that make up Hello Friends, we can see all these places converted into cartoons. And that is how we see him in the short that the beast co-starred in with the famous hound in The scene in which Donald offers his hand to his new friend and the latter, on recognizing the famous duck responds with a huge hug, reflects the warmth which Disney felt he was shown in Brazil.
In some places the schools were closed to celebrate his arrival. Its aim was to win friends for a war. The newscast Sucesos argentinos Argentinean events of the era picked up on the event: a smiling Disney drinking mate tea and dressed as a cowboy. In the museum of the caricaturist Severo Vaccaro in Buenos Aires they have some of those drawings.
In Hello Friends we sense to what point the Disney characters acted as his alter ego: we see Goofy dressed as a cowboy, drinking mate and enjoying a barbecue. On the prairie, the artists took part in the breaking in of wild. They decided to turn it into a drawing full of strength and poetry. And they achieved it brilliantly in the sequence of Hello Friends in which Goofy tries to gallop on his horse. El Grupo flew on afterwards in a small plane to Santiago in Chile.
Crossing the skies of the Andes was for them a dangerous and memorable experience. It was precisely there, up in the air, where the plane Pedro was born, another of the characters in Hello Friends. Pedro is a baby aircraft that has to cross the Andes, carrying the mail from Argentina to Chile, exactly the same route as taken by his creators. In the film we. This cartoon was made 70 years ago, but a modern viewer still holds his breath when Pedro fights to keep aloft between the mountains.
Is that what his creators felt during their journey? Journalist Jaime Huerta explains that during his five days in Chile Disney and El Grupo interviewed the leading artists in the country. Several of them they visited in their studios. Walt Disney was a committed patriot and a fervent anti-Communist. Disney and his collaborators, with their immense talent, knew how to pan gold from their latin opportunity.
When in Hello Friends Donald Duck suffers altitude sickness at Lake Titicaca, we know that is what happened to the artists. When Goofy sits down to admire the super clear firmament above the prairies, we know that is how they lived it. Disney, in , was a young man, full of energy. However, the death of his father caught him out on the journey. And around that time there was also a strike at his studios that affected him profoundly. With the years, Walt Disney turned into a control freak.
But theDisney of shone. He was still capable of dressing up as a cowboy and doing the dances of the prairies. He was a creative sponge at the peak of his splendour. He knew how to turn a journey committed to propaganda into an artistic experience that is still remembered in the museums and archives of Latin America. El viaje de Disney no era un cuento de dibujos animados. Su fin era granjearse amigos en tiempo de guerra. Intercambia mutuas caricaturas con dibujantes argentinos.
En el museo de la caricatura Severo Vaccaro de Buenos Aires se conservan algunos de aquellos dibujos. En la pampa los dibujantes asistieron a una doma de caballos salvajes. Y lo lograron brillantemente en la secuencia de Saludos amigos en que Goofy trata de cabalgar a su caballo. Atravesar el cielo de los Andes fue para ellos una experiencia peligrosa y memorable. A varios los visitaron en sus estudios. The journey proved to be a permanent breeding ground of inspiration and talent. Walt Disney era convencido patriota y ferviente anticomunista. Disney y sus colaboradores, con su inmenso talento, supieron extraer oro de la oportunidad latina.
Pero el Disney de brillaba. Era capaz de vestirse de gaucho y de bailar las danzas de la pampa.
Gallery - Category: LPCL Holds workshop at RSZ Kabwe - Image: LPCL Holds Worskshop at RSZ Kabwe_19
These days we would probably find him in Asia. The days are now behind us, although not too far, when the average Spanish tourist cast aside holidays at home for the first time to seek adventure in Santo Domingo. What he or she does now is head off for the East: to the temples of Angkor instead of Machu Picchu, a visit to the Great Wall rather than walks around Central Park, the stag or hen party in Bangkok and not in Las Vegas.
Asia has never been so fashionable, and Hollywood seems to have taken notice. The comedy, The Hangover, the great commercial success of after pulling in million dollars around the world, has just premiered its second instalment, transferring the rave — and the headaches — of its main characters to the Thai capital. Just mention the city and the visitor thinks of sex tourism, begging elephants, insufferable traffic and bothersome peddlers of wooden Buddhas. Perhaps because of that, many Spanish people only set foot in the city long enough to jump on to one of the paradise islands that Thailand offers, or to continue on cultural visits to Vietnam, Cambodia and Burma.
Those people miss out. Bangkok has undergone a transformation in the last few years to become one of the best places in combining tradition and modernity, East and West, the latest futuristic restaurant on the roof terrace of a skyscraper and noodles downstairs on the street, markets from another era and shopping malls from this one. And, why not say it, a night life that does not do justice to its soubriquet. The City of Angels is tolerant, open and enjoyable. In no other part of the world can you eat better for less.
In few do they smile at you in exchange for so little. The trick, as always, in visiting the city is to leave at home the tourist that we all carry inside us, and which at times means we travel without having set off.
We will discover that the elevated railway and the metro have made the street traffic better, that for each erotic district there are another thousand with much more to offer, that behind the Buddha that we like to take home as a souvenir there is a more paused way of facing up to life.
And that you can pass through Bangkok, even stay there for a few days, without leaving with a hangover. Ellos se lo pierden. El truco, como siempre, es visitar la ciudad dejando en casa al turista que todos llevamos dentro y que a menudo hace que viajemos sin haber partido. The corner of any street. A man lies on the ground, propped up against a tree. He is dead. The killer can be found at his side, surrounded by an impassioned crowd. A police officer emerges from among the people and takes charge of the situation.
Of course not! And that knife? And if not, take a look at him. He is still warm and they can steal him away. The police officer approaches the dead man and checks his temperature. Where were you while I was dying of hunger? Nor money. Help arrives late, now that I am already dead. The man from forensics recognizes straight away that he is a man without ambition, without power or riches. And being so, nobody can be blamed. You can go now. The killer pulls the knife out of the dead man, cleans it with a handkerchief that is already stained with red and says goodbye to everyone. The crowd that surrounds them applauds enthusiastically.
The glassy eyes of the dead man turn moist. Satisfied that this is the end, the dead man clasps the hand of his killer. Esquina de una calle cualquiera. A su lado se encuentra el asesino, rodeado por una muchedumbre exaltada. Ni dinero. La ayuda llega tarde, ahora que ya estoy muerto.
El forense reconoce enseguida a un hombre sin ambiciones, sin poder ni riquezas. Ya puede marcharse. Y, por favor, no se olvide de la navaja. La muchedumbre que les rodea aplaude entusiasmada. Al muerto se le empapan sus ojos vidriosos. El muerto, satisfecho de que este sea el final, estrecha con fuerza la mano de su asesino. Since March, the imposing H10 London Waterloo has been operating at full steam in the British capital. Faithful to the innovative and ambitious spirit of the Spanish firm, the new hotel has a privileged location and excellent communications with the rest of the city it is situated 29 km from Heathrow air port, metres from Waterloo Station and metres from Lambeth North tube station.
It offers clients exclusive attention and specialized services, in addition to a carefully selected cuisine and top of the range installations. The new H10 hotel has. It is also well prepared for hosting work meetings and any other type of event. There are four meetings rooms and halls capable of holding up to 55 guests. The whole building is fitted up with free Wi-Fi connection. Situated in Waterloo Road, near the Houses of Parliament and Westminster Abbey, the newly built property offers comfortable and well-lit rooms.
The Eurostars Wall Street is a space for the avant-garde, technology, design and sophisticated ambiance in the heart of the financial district, in Lower Manhattan, a scenario full of attractive options for leisure and business. The hotel provides 54 modern rooms including 14 suites of the utmost comfort, with latest generation technology, queensize bed and all kind of details to guarantee the rest and the enjoy-.
The Eurostars Wall Street also offers excellent options for celebrating assortment of business events. There is a meeting room with capacity for 10 persons, ideal for small-scale business meetings. The Exchange Lounge, holding around persons, permits events of all kind: receptions, product presentations, press conferences, cocktails, etc. BVA is planning to open a new branch in September within the prestigious commercial and residential development of St George Wharf in Vauxhall.
This landmark riverside development, situated on a 7-acre plot and rising some 22 storeys, can be easily identified by the originality of its roofs and terraces. St George Wharf, on the south bank of the River Thames and next to Vauxhall Bridge, is becoming one of the more sophisticated and cosmopolitan living environments in London, with a variety of luxury apartments, shops, restaurants and small businesses. It is also ideally situated for the Vauxhall train and tube stations.
BBVA wants to take part in the regeneration of the Vauxhall area with the opening of its new branch in this vibrant environment. The presentation of Spain to the NY audience will be accompanied by a selection of his personal illustrations and photos, and will be followed by an evening of Spanish culture and film in the Plaza. Just some small, insignficant details. With the support of the Spanish Ministr y of Culture and the Spanish Consulate in New York, and further backing from cultural institutions, filmmakers, distributors, visual artists and producers, Window to Spain showcases an eclectic selection of contemporary Spanish film and art.
The objective is to broaden the ideas, notions and visions that people have of Spain and Spanish talent, and to provide a new outlet for emerging Spanish artists to present their work to a NYC audience. The Window to Spain series will run through December With competitive prices and a generous baggage allowance, the seven-weekly flights from London Gatwick via Madrid give you plenty of time to do the mambo with local Habaneros, check-out the Che Guevara iconography or a chill out at a Cuban beach festival.
With a modern fleet of efficient aircraft, Air Europa provides a comfortable and relaxing journey for its customers. Business class is available on the Havana route; ensuring passengers arrive feeling their best. In the blazing heat, a luxury hotel with a swimming pool right in the heart of Madrid and the constant movement of foreign tourists between photos.
With this backdrop, as if moving around in an apartment block, model and actress, Vanesa Romero, leaves them all dazzled by her beauty and savoir-faire in front of the cameras. Refreshing glamour at the height of summer. The accessories: necklace, rings and bracelet are from Oh My God. Vanesa relaxes on a sun-lounger with a view of Madrid. With her back to the historic centre of the Spanish capital, Vanesa has put on an orange dress from Miguel Palacio. The turquoise shoes are from Barrats.
To get away from the dryness of the summer heat in the Spanish capital, some of the photos are being taken at the glamorous rooftop pool of a central hotel. Vanesa is comfortable in front of the cameras and poses, turning her back to the historic Madrid de los Austrias district and with no sign of nervousness in front of the watchful gaze of hotel guests who from first thing in the morning are toasting themselves in the sun. Before moving on to the small screen as a presenter of programmes as varied as Los 40 principales, which looks at the hits on the current Spanish music scene, to Noche de impacto, where she looked through the most spectacular home videos on the television, the exuberant actress worked as a professional model.
She was elected Miss Alicante in and later went on to compete for a Miss Spain title.