Jorge pardo tequila

Spanish flautist and saxophonist

For other people named Jorge Pardo, see Jorge Pardo (disambiguation).

Jorge Pardo is a Spanish flautist and saxophonist born 1 December 1956 in Madrid, known for the albums he released for Milestone Records in the 1990s. He has been a side musician of famous flamenco guitarist Paco de Lucia and also with American jazz legend Chick Corea.^[1] He occasionally joins the Al andalus ensemble for performances.^[2]

Discography

Albums

• 1982: Jorge Pardo (Blau)
• 1984: El canto de los Guerreros (Linterna)
• 1991: In a Minute (Milestone)
• 1991: Las cigarras son quizá sordas (Milestone)
• 1993: Veloz hacia su sino (Milestone)
• 1995: 10 de Paco (Milestone) (with Chano Dominguez)
• 1997: 2332 (Nuevos Medios)
• 2001: Mira (Nuevos Medios)
• 2005: Vientos Flamencos (Manantial de Músicas)
• 2009: Vientos Flamencos 2 (Flamenco World Music)
• 2012: Huellas
• 2013: Puerta del Sol
• 2014: Historias De Radha Y Krishna
• 2016: Djinn
• 2020: Brooklyn Sessions (with Gil Goldstein)

Contribut

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Jorge Pardo (artist)

Cuban-American artist and sculptor (born 1963)

For other people named Jorge Pardo, see Jorge Pardo (disambiguation).

Jorge Pardo (born 1963, in Havana) is a Cuban-American artist and sculptor.^[1][2][3][4] Pardo's artwork explores the intersection of contemporary painting, design, sculpture, and architecture. In 2010, he was awarded a MacArthur Fellowship.^[5]

He lives and works in Mérida, Mexico.

Life and career

Pardo was born in Havana but his family relocated to Chicago when he was six. His father worked at a staple factory and his mother was a bookkeeper. He attended the University of Illinois at Chicago, originally to study biology. After taking courses in painting recreationally he was encouraged to change direction by a teacher, and received his BFA from the Art Center College of Design in Pasadena,^[6] where he was a student of Stephen Prina^[7] and Mike Kelley.^[2]

Works

Pardo's work has always dealt with the intersection of sculpture, architecture

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In 1997, FWM commissioned Jorge Pardo to redesign the entrance to the museum, including a new reception area and a video lounge/café. Over the course of one year, Pardo radically transformed these public spaces, designing every element of the interior—from the floor to the ceiling and everything in between.

An architectural as well as an artistic under taking, the Untitled project began with Pardo’s design of two fabrics. Inspired by 1950s and 60s-era textile design, these fabrics were printed on linen, cotton sateen, and Swiss cotton, and were made into room dividers, wallpaper, and window curtains. He then designed the usual elements of a museum entrance space—a reception desk, light fixtures, shelving, doorways, and a table for educational pamphlets—as well as upholstered chairs and ottomans, countertops, and teacups with saucers for the café/video lounge.

Jorge Pardo’s work navigates the territory between art and what is usually identified as architecture or design. The installation may appear at first as pure architecture and interior design, but its limits in this realm