Archived entries for art

Nigel Henderson (1917-1985)

Untitled No. 8 (Shattered Glass) 1959 by Nigel Henderson 1917-1985

Chisenhale Road 1951 by Nigel Henderson 1917-1985

Collage 1949 by Nigel Henderson 1917-1985

Man in a Suitcase: Tulse Luper, Duchamp’s Boîte-en-valise, Benjamin’s suitcase and heterotopias

“As a symbol, then, the suitcase is double-edged, ambivalent in the extreme: on the one hand, it evokes travel, displacement, emigration, exile and transience; on the other, it is that part of home that travels with us, a reminder of belonging and stability, the world of things we collect around us, the promise of continuity in the midst of change, of order restored. The suitcase is a portable heterotopia, an ‘other space’ that is always there and here at the same time, a home away from home, but also offering the endless possibility of new departures, whether desired or forced. At Compton Verney, the suitcase has lost its traditional use value as a transporter of a selection of items – the tourist’s range of clothes, the travelling salesman’s range of wares – to take on other functions. By virtue of its plurality, it has become collective, is no longer the container of individual dreams or necessities, but an element in a collection that, as a whole, represents the century.”

Man in a Suitcase: Tulse Luper at Compton Verney by Bridget Elliott and Anthony Purdy.

Ugo La Pietra

ugolapietra-laconquistadellospazio

“La teoria del “Sistema Disequilibrante” applicata dal “segno” fino all’intervento urbano si colloca in una dimensione storica sufficientemente comprensibile: il rifiuto di operare nella logica del sistema e quindi l’individuazione di operazioni estetiche capaci di decodificare, provocare, dare la possibilità di rompere gli schemi precostituiti.” via

Ugo La Pietra_Commutatore -Per oggi basta

Ugo-La-Pietra-da-Per-oggi-basta-1974-video-courtesy-Archivio-Ugo-La-Pietra-

Vilhelm Hammershøi: Inner Court

vilhelmHammershoi-InnerCourt

Richard Serra: Hand Catching Lead, 1968

City Square, Alberto Giacometti (1948)

citysquare-giacometti-drawing

citysquare-giacometti-2

citysquare-giacometti-1

Disobedience Archive (The Republic)

The archive is divided into nine sections: 1977 The Italian Exit looks at the revolutionary movements in Italy in the 1970s, with a focus on 1977, year of large-scale violent confrontations with a reactionary state. Protesting Capitalist Globalization documents or comments on the new social wave against globalization. Reclaim the Streets presents proposals to create autonomous social spaces through experimental forms of education, community, urbanism and architecture. Bioresistence and Society of Control refers to Foucault’s analysis of the ways the operations of power extend beyond the institutions of state. Argentina Fabrica Social explores the political and economic crisis that stretched from the 2001 uprising to the election of Néstor Kirchner. Disobedience East brings together videos of political and activist art from post-communist Europe. Disobedience University shows alternative practices and strategies in which consumption is seen as a form of co-realization and collaboration. The Arab Dissent tries to raise questions about changes and antagonism in the Middle East. Gender Politics suggest the destruction of gender identity.

via Disobedience Archive (The Republic) – we make money not art.

Wasting Time in New York City

According to Eliasson’s National Geographic interview about his project, at the end of EXPO 1 in early September, his ice will continue on the path it started before being detoured for exhibition in New York. It will melt. It is estimated to be around 800 years old, which means it was born in the last “Little Ice Age.” Despite being relatively young in geologic terms, we think that the spectacular transformation of its form, when 800 years of materiality will soon melt away in a matter of hours, is remarkable. It’s also potentially the most interesting part of the piece, especially if its waters are “released” into the Hudson River or New York Harbor.  There, they could meet up with other glacial waters that will be flowing this way in due time.  Disappointingly, allowing audiences to view the melting doesn’t seem to be part of the exhibition plan.  And unfortunately that means the EXPO 1 installation might be remembered primarily as an eerie, repelling, air-conditioned “life-support” system for displaced Icelandic ice, rather than as a dynamic, aesthetic prosthesis for helping humans to sense and track the changes that are unfolding around us.

via Wasting Time in New York City | FOP Friends of the Pleistocene.

Journey: …to make a pair of players connect, despite those limitations, and help each other move forward…

You play a faceless, cloaked figure who glides through a vast desert towards a mountain on the horizon. Along the way, you may encounter a second player, with an identical avatar, who is plucked from the Internet through an online matchmaking system. Both players remain anonymous—there are no usernames or other identifying details—and communication is limited to varying combinations of the same, one-note chirp. No words ever appear onscreen during gameplay. The idea of the two-hour game is to make a pair of players connect, despite those limitations, and help each other move forward. Along the way, they solve puzzles and explore the remnants of a forgotten civilization.

via A Journey to Make Video Games Into Art : The New Yorker.

Post-Partum Document

Post-Partum Document is a six-year exploration of the mother-child relationship. When it was first shown at the ICA in London in 1976, the work provoked tabloid outrage because Documentation I incorporated stained nappy liners. Each of the six-part series concentrates on a formative moment in her son’s mastery of language and her own sense of loss, moving between the voices of the mother, child and analytic observer. Informed by feminism and psychoanalysis, the work has had a profound influence on the development and critique of conceptual art.

via Post-Partum Document.



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