Saucer, 2010
Walk, 2010
Untitled, 2010
Anthill Man, 2010
Sugar Bowl, 2010
martedì 27 aprile 2010
domenica 25 aprile 2010
venerdì 23 aprile 2010
Jindřich Štyrský
XV
Dream of Butterflies
(1932 — nearly the same dream in 1937)
I’m lying on a grassy balk (in Čermná?). Suddenly I see butterflies landing on the flowers around me (cabbage whites), their tiny bodies pierced by long pins as if they had flown away from a collection. Before I could even realize it, an entire swarm suddenly flew to me and landed on my hands and face, until they completely covered me, sticking me with their pins. I woke up in pain, and also: they would have SUFFOCATED me.
Jiří Kolář
Papillons,1968
Papillons, 1967
Papillons,1968
Papillons,1969
Renoir,1968
Toulouse-Lautrec,1968
mercoledì 21 aprile 2010
Michel Blazy
"Comment faire avec les crabes, les coléoptères, les fourmis, les lézards, les oiseaux et les souris?"
"Comment faire avec les crabes, les coléoptères, les fourmis, les lézards, les oiseaux et les souris?"
(installation view)
Tessa Farmer
Swarm
2004
Mixed media
Dimensions Variable
Tessa Farmer’s miniscule sculptures reinvigorate a belief in fairies: not the sweet Tinkerbell image in popular conscience, but a biological, entomological, macabre species translating pastoral fable into nightmarish lore. Constructed from bits of organic material, such as roots, leaves, and dead insects, each of Farmer’s figures stand barely 1 cm tall, their painstakingly intricate detail visible only through a magnifying glass.
Hovering with rarefied, jewel-like beauty, Farmer’s tiny spectacles resound with a theurgist exotica: their specimen forms borrow from Victorian occultism to evolve as something alien and futuristic. Playing out apocalyptic narratives of a microscopic underworld, Farmer’s manikin wonders rule with baneful fervour: harnessing mayflies, battling honey bees, attacking spindly spiders. Presented as wee preternatural discoveries, Farmer’s sculptures conjure a superstitious premise, dismantling the mythos of fantasia with evidence of something much more gothic, sinister, and bewitching.
martedì 20 aprile 2010
Mounir Fatmi
Feast tribute to William Burroughs
How can you get out of the trap ? How can you fight that monster of need, that makes you lose all human form, that monkey that eats out the back of your neck and makes you dependent, a prisoner of consumption, a slave of the artificial paradise? All those questions can be extracted from the works of William Burroughs, who was a drug addict until age forty-five, when he finally escaped from the horrors of addiction. In his foreword to "Naked Lunch", Gérard-Georges Lemaire writes of him : "...he was wildly interested in techniques of control in the broadest sense, from the Mayan codex, that he discovered when he arrived in Mexico, down to the manipulations operated by the mass media, the CIA or various American sects. William Burroughs is the indefatigable champion of free will and of the "infrailty" of the human being, who is submitted to coercive systems of all kinds, some totalitarian, others more subtle, more sophisticated too, which take possession of the human being through pernicious and intimate ways – desire, for instance.
Katherine Liberovskaya
TAKE-OFF
2005, 24 minutes
video: Katherine Liberovskaya
music: Al Margolis
Take-off originated with a musical work-in-progress that composer Margolis proposed to video artist Liberovskaya as a point of departure for a collaborative piece. Margolis's drone evoked for Liberovskaya a series of images which she shot and began to put together. From this point on, over some 12 months, both the music and video evolved in additions and substractions, at times in reaction to one another, at times on their own. The piece is thus the result of a back-and-forth dialogue between image and sound where flying machines flutter and flying creatures rumble in flickering bombinating juxtaposed layers.
Katherine Liberovskaya is a Canadian video and media artist based in Montreal and New York. She has been working predominantly in experimental video since the late eighties. Over the years, she has produced many single-channel videos and video installation works, some of which have earned awards and mentions in Europe and North America. Her works have been presented at a wide variety of artistic venues and events around the world. She has held numerous grants and arts awards in Canada and in France where she studied media arts. In addition to her art practice she has concurrently been involved in the programming and organization of diverse media art events, notably with Studio XX in Montreal (of which she was programming coordinator from 1996-98 and president from 2001 to 2003), Espace Videographe, Montreal, Experimental Intermedia, NY (Screen Compositions 2005 & 2006). In recent years her work mainly revolves around collaborations with new music composers, notably Phill Niblock ('Babel-On', 2004, 5-channel video-audio installation, 'Painting the Painting', 2003, single-channel video, 'Topolo: de Passato a Avvenire', 2005, multiple projection & sound installation), as well as Al Margolis/IF BWANA, Margarida Garcia and David Watson. In 2003 she began exploring live video mixing, using MAX/MSP and Jitter, in improvisation with live new music/sound. Since, she has performed live video at a variety of venues in NY, Montreal and Europe with a number of music/sound artists including: o.blaat, Toshio Kajiwara, Shelley Hirsch, David Watson, Margarida Garcia, Barry Weisblat, Vortex (Satoshi Takeishi + Shoko Nagai), Mary Halvorson, Tiziana Bertoncini, Thomas Lehn, Urkuma, Angelica Castello, Micheal Delia, Antonio Della Marina, Giuseppe Ielasi, Renato Rinaldi, Martine Crispo, TV Pow, Boris Hauf, Matt Pass, Richard Geret, Gil Sanson, Gill Arno, Ben Owen, Andre Goncalves...
Al Margolis was one of the prime movers in the legendary cassette underground scene of the 1980s (between 1984 and 1991 his Sound Of Pig label released over 300 cassettes of music by the likes of Merzbow, Costes, Amy Denio, John Hudak and Jim O'Rourke) and is the eminence grise behind twenty years of music under the name If, Bwana. He is the man behind the Pogus label, as well as label manager for Deep Listening, XI Records, and Mutable Music. He has recorded and/or performed with Pauline Oliveros, Ione, Joan Osborne, Adam Bohman, Ellen Christi, Fred Lonberg-Holm, Jane Scarpantoni, Ulrich Krieger, David First, Dave Prescott, Hal McGee, Sarah Weaver, Hudson Valley Soundpainting Ensemble, and Amoeba (Raft) Boy, among others.
A recent review of MargolisÕs work says: "Let it be declared that Al Margolis/If, Bwana is some sort of evil genius working with raw materials which are never adapted to a genre or a context, because they create one in that very moment. Those sources are radically altered up to an utterly unrecognizable state, anarchic manifestations moving in compact determination." (Massimo Ricci, Touching Extremes)
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