Cities are constituted of a few remarkable places and an interminable quantity of normal spaces. The idea is that this continuum of ordinary space is more important for the beauty of a city than the unicum of the special, deliberately aesthetic, space.
The destiny of No Man’s Land (NML) which extends from street number 300 to 328 on Via Baldo degli Ubaldi (from now on plain “Baldubaldi”) in Rome, is essentially that of hosting commercial activities between the windows of a branch of CHE BANCA! (Housing Division) and those of a FIAT DEALER (owned by one A. Fiori). The first thing a flaneur coming from below, that is from the North-East or from the valley bordering the Vati ... more
Michele Manfellotto, autore della rubrica Heaven Is Knowing Who You Are, ha cominciato una raccolta di materiale video e fotografico relativo a tutti gli eventi di Maxximalism. Il progetto, provvisoriamente intitolato Eye Of The Beholder, mira alla composizione di un'opera collettiva. Se sei interessato a collaborare clicca qui.
The new single from Cosmic Metal Mother echoes back from the cosmic sound that might accompany a flight into the void. Rat’s poem is one of the most beautiful pieces that we have heard lately.
Here is an extract from Rat’s Poem:
One year later the label Panacustica delivers a slamming second twelve inch “Rat’s poem”, an original work from Cosmic Metal Mother followed by a brilliant Prins Thomas remix, plus a Detroit inspired instrumental by Stay gold, Argento’s alter ego. The record opens with a dreamy version where a plucked string intro and Rat’s voice drive you into a deep, cinematic, adult dance groove. This laid back, psychedelic track flows well beyond your usual dance floor act into Eno-esque territories. Prins Thomas‘s mix is faster, happier and jumpier. It’s an amazing balearic trip with a live warm feel to it in which a guitar plays along the melody, accentuating the spaced out feel of the track, lifting it into higher states. Stay gold gives the listeners a techno version where sparse, mechanical drums and a minimized melody take us to the motor city (citta’ dei motori) for a night drive in the dark. Own it, feel it, play it loud.
The labyrinth as a construction and a symbol is present in many cultural traditions. As explained by Eco (author of the foreword to the exhibition catalogue), the thousands of years of history of this figure reveal the fascination it has always held for humankind, representing as it does an aspect of the human condition: there are countless situations that are very easy to get into, but more difficult to extract oneself from.
This exhibition, scripted by Ramon Espelt, curated and designed by Oscar Tusquets, with Jorge Wagensberg as advisor, reviews the concept and representation of the labyrinth throughout history, making a clear distinction between single-path labyrinths and mazes, labyrinths with a choice of paths, and reflecting on the relevance of this element and different practices and uses today.
The exhibition comprises a series of very varied spaces illustrated by works with a variety of different sources, formats, authors and periods, such as archaeological pieces, engravings, photographs, maps, screenings and models, plus specially created audiovisual, animated and interactive pieces.
Artist: Michael Ayrton, Jorge Luis Borges, Antonella Bussanich, Randoll Coate, Nick Coombe, Friedrich Dürrenmatt, Umberto Eco, Michele Emmer, Terry Fox, Martha Graham, Richard Long, Luis Longhi, Robert Morris, Lika Mutal, Ben Nicholson, Brian O’Doherty/ Patrick Ireland, Pierre Rosenstiehl, Ramón de Soto, Saul Steinberg, Josep Maria Subirachs, Oscar Tusquets, Jorge Wagensberg, Teri Wehn-Damisch.
Tomorrow, Friday 3 September 2010, Galleria Lorcan O’Neill Rome will open the third edition of “Street View” in the gallery’s secondary space, with the project History by the English artist Eddie Peake.
On display are fourteen of the artist’s photographs, printed on A5 paper in high-octane colours, which are arranged in the form and spectrum of a rainbow. The photographs’ candid physical imagery is sugarcoated by these bright hues – the ambiguous psychology behind them inhabiting a saccharine world of luminous, acidic colours that only truly exists within the artificial confines of Peake’s painterly language.
Peake’s interest in the surface is mirrored in a set of small, perfectly crafted oil paintings, also exhibited here. These paintings on board are full of bright candy colours, with delicately graded horizon effects and unexpected details that play with what is real and what is not; what is in the world and what is fantasy. Their surfaces are glossy to the point of flawlessness, becoming themselves a subject of Peake’s work.
In 1995, during an interview, Mike Kelley claimed to be contrary to public art saying “I’ve always had an aversion to public art, which I feel is too often imposed upon the viewer.” Maybe, after 15 years, Kelley has changed his opinion. If he did, there might be a good reason why.
Mobile Homestead is the first installment of a major new work by Mike Kelley – both a public sculpture and a private, personal architecture – based on the artist’s childhood home on Palmer Road in Westland, a neighborhood of Detroit. On Saturday 25 September 2010, Mike Kelley’s Mobile Homestead makes its maiden voyage from its new home in Midtown Detroit (on the grounds of MOCAD) to return to the original Kelley home in the suburbs.
The motion picture Academy has spent almost 24 frantic hours trying to reach the iconoclastic filmmaker (”Breathless”) to inform him he’s getting an honorary Oscar — and by late Wednesday they still hadn’t been able to find him.
Godard, a Swiss citizen born in Paris, is notoriously anti-Hollywood. He’s also anti-flying and has avoided long plane flights, one insider said, because he’s not allowed to smoke.
This means Godard, 79, could be one of the rare no-shows for an honorary award. Audrey Hepburn died in 1993 before her prize could be presented.
“We’ve been attempting to reach him since 7 o’clock Tuesday evening and we have as yet had no confirmation,” Bruce Davis, the Academy’s executive director, said late Wednesday afternoon. “We have tried by telephone, by fax, by emails to various friends and associates. We have sent a formal letter by FedEx. But we have certainly not been told he will show up at this point.”
For I Will Be With You Shortly Garcia Torres conceived a project rooted in themes of time, silent, the unsaid and the forgotten, all concerns that have been central to his practice. The artist exposes the various actions that lie behind the production of each work and sets out a space for waiting, for reading, for creating and for writing.
The starting point of the exhibition is Unspoken Dailies (2003-2009), a feature film that will be screened only once during the run of the exhibition June 26 at Cinema Spazio Oberdan. The film is based on an essay by Garcia Torres about the work of Bas Jan Ader. The main character – actor Diego Luna (Milk, 2008; Mister Lonely, 2006; Y tu mama también, 2001) – silently reads Garcia Torres’s text to himself. Only the actor has read the essay, which was destroyed right after the shooting. The memory of the artist’s words is in the care of the actor only. Composed of a 66 minutes tracking shot, the film becomes an “essay” on the concept of real time and cinematic time. Read more »
