remember, if you want publish something, whether related to the projects please send an email to
torcilia@libero.it
I hope you manage to send the material for projects ...
Friday, June 29, 2007
Where Can I Buy Kronenbourg Blanc
Write ...
remember, if you want publish something, whether related to the projects please send an email to
torcilia@libero.it
I hope you manage to send the material for projects ...
remember, if you want publish something, whether related to the projects please send an email to
torcilia@libero.it
I hope you manage to send the material for projects ...
How To Tell If Ur Audio Capacitor Is Bad
a post (or) to clarify ...
CONTEXT OF IN-Chrysostome Quatremère ANTOINE DE QUINCY AND WALTER BENJAMIN
More than a question, a consideration.
The text follows that of Sherman, the field intensity - for me here in question - the term in Quatremère context, and in Benjamin.
From Consideration sur les arts du dessin of 1791, Sherman points out that the movement for Quatremère, it blocks the production of art it's great, that is morally good. Tear off a work from its context - from the place of a connection between objects, memories, local traditions - is to deprive it of its ancillary impressions: impressions of those that can be received from the surrounding work and that all combine to make this same ring harmonies of an absolute beauty. The look of the eighteenth century it runs Quatremère promotion of classical beauty and binds only the context in which it resonates, the communication of a clear moral message. The gesture of
Quatremère nell'estraneazione lies in identifying the context, a decisive point, the cause of the cold sosituirsi critical to the pleasure of sense and spirit, the place of interruption of a message. As the critical point of his analysis this is precisely the uniqueness of the message that the work can resonate.
The same violent movement of contextualization, now freed from the ideal eighteenth century, is heavily involved in the thought of Walter Benjamin, in Sherman, however, recalls rather the reflection on the loss of the aura in the age of mechanical reproduction of images. In the essay
Eduard Fuchs, collector and historian Benjamin inividua the destructive gesture of the collector that movement through which an object that seemed to stop now the shelves of history is torn from its context: the determination holding him in a larval state, the apparent absence of life, that is, through this gesture, returned the ability to exist in society from which it was detached. This is a movement from revolutionary character, called destructive continuum of history in Theses on the Philosophy of history, and that is the same kind of gesture that in Brechtian theater, through the technique of estrangement, is interrupted in its course. In interrupting that, in this same sets. Torn from context, interompere, destroying a continuum is Benjamin, how to cite. In What is epic theater , indefatigable writes: "Quoting a text implies interrupting the context in which it falls. [...] 'Making quotable gestures', this is an essential outcome of the epic theater. "Cut to show, quote, that gesture is being done to sue, to take a text, a work object, hour of his ability to know, that this appointment was with us. What, we, we dimenicato. It is at this hour is the hour of an after-life, that whale for us the historical image. That offered to us as a constellation, like a crystal image.
Whether Quatremère that Benjamin is the central relationship to the context. Different, the marks that are attributed to the movement of an object gashes. Otherwise it can not be, since the intention is to safeguard the first one specific ideal, the second a gesture to indicate that the ideals which hypostatized the speeches of the winners, specifically, can also liberarci.Vicina the idea of \u200b\u200ba resonance between the elements of context: which are the classical harmony of which sounded the work stolen from Rome's speech Quatremère, which identify the new combination in which it is possible for us to give a report contemporary things, in Benjamin's gesture.
important, probably, is to emphasize that the context is primarily to tear, in Benjamin, the ability to keep connected with the subject, or, equally, to ensure the object relations possible. It is certainly not, that is, the creation of islands with no time or lost over time.
Giorgio Agamben's analysis of the nature of the Messianic time it contained The time remaining identifies, in the condition of a life in the Messiah, the ability to make use of their condition.
context-free way Benjamin is back in use that work which can resonate for us, a new aggregation.
THE GHOST OF PRINCE
A consideration about ghosts ...
It has been said in class that the attraction for the prince is as now as then, in a voice or in its echo, and tells us said to cross the threshold of the museum. It was discussed, particularly in relation to the glow of prestige that the presence of the prince - for him or his ghost - the fascination exerted on us from where we came once kidnapped and today, by its very absence, suggests to us. Prince
especially one who is above all others is free. Ab solutum , in fact: it is dissolved, ie, a relationship of obedience.
seems to me we can try to think about the continuation of this fascination as that attraction is that autonomy itself, said the museum has on us. Look for work in a museum, the museum come to delve into a past that is always kept one step behind us, perhaps to repeat ourselves to the promise of a free zone, shining a singular life which is that of Prince. However
this space, this space respected, is the same space that also desecrated the sly, just when we are conscious of not having spoken the words of the prince, but have imagined the prince of our talk.
This gesture inspired by a double movement and we do respect our position in the speech museum as an order that the alliance sanctioned by the author of a work in which contract is to us the charm of autonomy , is likely to make this gesture in which, together, it is possible for us to rip our own words in their context (remember the quote I mentioned in Benjamin's relation to Quatremère), the order of a conversation in which we are still always already been taken,
FONTANA: VENICE-NEW YORK
A reflection on the meeting expressed not just ended with Luca Massimo Barbero.
There has been talk of vision. I think the real vision that has emerged through its construction of the works of Fontana is time visibility which the works when they can come to be re-applying. And that is re-enactment, for a receiver, the ability to grasp the clue in his work to be translated into speech allestitivo. In Fontana this clue is the sculptural nature, rather than painting, the works. So that means, at the time of discounting in the exhibition, the ability to modulate, in more concrete and physical senses, the body of all these setting up work so as not to lose the diachronic historical significance and the breath, synchronous, in space. If Pollock is set up to create a show 'wall', and manage the distance from the wall, working with Fontana instead think of the speech of the in sculptural sense. I wonder then what may have accounted for the receiver not being able to play this Circumstantial evidence, when in New York dell'allestimento conditions are given in the manner already strongly tied to a practice that allows less freedom in setting an exhibition . Where in Venice unique quality of the exhibition was to have been able to seize the evidence in this sculptural works to translate it into their construction and modulate the works themselves in the active space relations and bringing back the speech.
LIFE! RESUME
For those who may consider relevant to the meeting Documenta, speaking on Magazines , this is the summary of the second of three magazine Documenta12.
The second leitmotiv of Documenta12, investigated in the imperative Life! the title of the second issue of Documenta 12 Magazine builds on the concept of bare life by Giorgio Agamben in Homo sacer . Klaus Ronneberger, in asking the status of critical analysis Homo Sacer . This, for Agamben, is the man be killed but not sacrificed in the forms of ritual, whose life, reduced to mere existence, has been separated into the sphere of artificial biological life, the zoe , distinct from the classically bios . Where the action of the sovereign power is to articulate the life, the field, where the wildlife is separated and the state of exception territorialized, appears as a paradigm of modernity. Nancy Adajana, analyzing the situation of the Republic of India was founded in 1950, extends the figure of 'homo sacer to any Indian citizen. This condition is the norm, not the exception only Guantanamo. The ubiquitous homo sacer is the person elected as a melodrama of entertainment media, for which reacts Cybermohalla project that works on the level of expression of media language to oppose the descriptive information in favor of cultural production technologically capable. Nidhi Eoseewong, comparing the order given by a bandit with that of a government, examines the reasons for the danger that the democratic system is a very participatory and Thailand, however, share the story of progress, is a spectator of the Revolution of 1932 that the coup was in 2006. Speak of a progress away from the poems of Jan telling Yang a look at property outside the city in which men are like cars of a train crossing the bridge in the shape of a crescent moon. Adana Shibli, as part of the Palestinian situation since 1948 and the image of your watch that stops working in Palestine, describes the feeling of suspension, as a lack of time, which can be felt in Palestine. Ovidiu Tichindeleanu also underlines the impossibility of experiencing time, when the value of the apartments autocratic serial Eastern Europe and Russia is lost in the circuit of the general exchange. Lucy Davis, Notes for a Bestiary Singapore, said the slippage of the real and between man and animal imagery, while Leo Bersani track the direction of a possible correspondence between the subject and the world beyond dualistic antagonism with a world that is now the projection of himself, now the object to be destroyed. The task of the aesthetic subject and psychoanalysis, is to establish, from an inner non-subjective, based on a relational matches. Mladen Stilinovic offers a job on indolence as a condition of an art which reduces the production of anything. Simryn Gill, Singapore, replacing the human face, in their own photographs of plants, which face the common people but not the singular. Ion Grigorescu, Romanian, works the effects of the disintegration of society, visible in the urban and social structures. So even Jo Spence, English, using documentary photography to interrogate not only the power but also to query the private in which power slips. Wang Zi, China, photographing the consequences of progress on poverty. Ines Doujak, in a context in which biological knowledge about life become the subject of private property, creates a visual narrative that combines the speech of Baron von Humboldt and to J. Craig Vester to paint the modern colonial power. Photographer Dmitri Gutov parents who play football for a collective but in the context of a rural Russia, in another work installing a mud floor on which it stands is not any of the buildings and in realistic paintings were the symbol of new life in stride. Ko Young-Il, Korean, use the form of comics to talk about the student protests of the Nineties and ironic stereotypes political activism. Masistes Gül, Armenian, uses the comic but also to give shape to his biography and rebellions that are part of it, while Bruce E. West writes dialogue-monologue of a personal diplomatic battle for the rebellion. Mircea Cantor photographer shared the small deviation from the path outlined, while The third leg mapping queer quips. Lili Dujourie, Belgium, working on the reconstruction of fragments into new stories, of time passing on their nakedness. Cao Guimarães shows a video in which to communicate is not a body language. Yutaka Matsuzawa, Japanese, through Signs Poems trying to communicate transcending the borders of individual languages.
DOCUMENTS TALK ON MAGAZINES
Hello everyone. He recently concluded a meeting on Magazines of Documents. many, much, stimuli. Or gather a few.
First, a brief summary.
Carlos Basualdo has traced a history of the last three editions of Documenta, in the light of their cultural references and what it might mean in the context of a large art exhibit, trying to look for in the practice of Beuys, the thought of Deuleuze, Agamben. In its considerations: The tenth edition, curated by Catherine David, summarized in the logo as an X that was not written as a Roman numeral to follow the title Documenta, but plotted over a of documents with the ' small letter, saying 'not documented' but, rather, shows the effect of 100 days of 100 events, 100 meetings, 100 days of discussion, citing the work of Joseph Beuys for Documenta VI, which is to discuss, for the hundred day for the duration of the exhibition, social, environmental, political, humanitarian. Documenta XI, edited by Okwi Enwezor and designed as the fifth of five platforms for discussion, to which it runs thought the Thousand Plateaus by Gilles Deleuze and Felix Guattari. And Documenta XII, edited by Roger M. Buerge, which begins in the second of its three leitmotif, from the concept of bare life of Giorgio Agamben. E 'next speaker Agamben, to underscore how the concept of bare life unable to give a biological condition of man but is a concept highly political, cultural products through the articulation of human life in Viata biological and relational life. Faced with difficulties in defining life, is divided and becomes the object of rupture. The bare life is not that life that separate the effect of a disjuncture makers, can be captured in a ball to himself. In general, Agamben points out, the question is, what man is, what is the human, if it is anything that results from this disconnection operations to manage their lives through its articulation. Above all, bare life is a concept on which to reflect not stay indoors but to think of another figure of the living, that life form that is able to disable the operating divisions. The idea is to think of an indissoluble life form; the possible place of the occurrence of this idea can be thought of as the art world. If contemporary art, as witnessed by those practices than ale which the work is but a remnant, has been increasingly in the direction of exposure of a coincidence between life and its form. However, according to the present state of things, seems to be easier to think about the split, the always already divided, rather than unity. Easier, often in artistic practices, identify with their lives instead of split with this new figure to think about. E 'followed action by Angela Vettese, who started from the current status of the essay in the form of art criticism. Less and less practiced, such path is still in some places of knowledge, from which shines with an authority Criticism and the history of contemporary look as a reference, certifying that the weakness of their knowledge or, perhaps, the fragmentary form in which it emphasizes Angela Vettese, is expressed. Since the sixties are witnessing an attempt to seek a form other, non-fiction, and often overtly personal, as in the case of Carlos Alonso recorded his voice on the tape and put photos in the publication of his private life, who chooses this path, although it started a university career, academic. For its part, Germano Celant, that is not critical but never called for another art historian, art poor devotes six pages of the catalog each artist as six pages to him, the latter only in written form rather than imaginary. Susan Sontag wrote in 1963 Against Interpretation, Lucy Lippard writes in 1973 Six Years: The Dematerialization of the Art Object , Yona Friedman's public writings that are not written but drawings. All this testifies to the hegemony of the fragment, of a lack of teleology. In addition, the reflection of changes in the shape of the exhibition catalog, which When Attitudes Become Form 1969, was presented as an address book, as what is constitutionally unfinished. The same goes for the books made of Xerox, tributes to a knowledge which can also be articulated or disarticulated, but then break down. In the case of the three Documenta12 magazine are not a catalog but a edioriale production that brings together a selection of articles, that is not offered in the form wise but still believes in the written form, as evidenced by a graphic essential, do not mask the effects of a glossy art system and presents for their content.
to be continued ...
... to follow the word of the summary of the meeting Documenta. Conversazine on magazines :
E 'thus spoke the headmaster Marco De Michelis recalling that the thought of Manfredo Tafuri has placed the emphasis of his speech on the need for the arts project, to build an ideological thought. It was 1851 when, at the Great Exhibition in London, was built the Crystal Palace . Built of iron and glass, the great 'Crystal Palace' was designed by Joseph Paxton, the bearer, in the dimension of architecture, design knowledge of their greenhouses. Instead of the term of the concept of architecture, this moment marks the point at which you need a re-imagining of the architecture is only possible in alleviating the distinction between art and science in the sense of transdisciplinarity. E 'especially urgent in this sense, a thought of reform in the sense of re give form. Is a modern city that is growing and that, as such reform. The task of art, however, seem to explain the tragedy of the modern city instead of, as you must believe, to contribute to an ideological construct. thought to participate in the city, then, but not the abuses of which every utopian ideology is at risk. Angela Vettese recalled in this context, the term fatticcio introduced by Bruno Latour, in which fact and fetish actions combine to indicate places of utopias as possible, so the facts and not objects, in which place a sense of the future. Following the consideration of Giorgio Agamben on the fragmentation of the intervention relied on Angela Vettese that Agamben points out, from the reflection of the Romantics is alleged to constitute the fundamental feature of the test. The difficulty in turning to this form, therefore, has to be found elsewhere than in the fragmented, which is common to the test as to other forms of writing. In terms of the relationship between different disciplines, appointed by Marco De Michelis, Giorgio Agamben has pointed to the urgency of thinking, instead of an opposition between autonomy and unity of the disciplines, both those categories through which we can articulate the time, in our struggle against time.
SCREW INACCESSIBLE
An initial consideration on the meeting Documenta. Conversation on magazines
The three magazines are the product object of the meeting of the selection of articles from journals that make up the network's editorial Documenta. Network paper on which they are combined the writings of philosophers, sociologists, literary, poets, artists, magazines are given each a title and an editorial by making explicit the intention of producing a speech. The latter, however, comes to us piecemeal. What is the nature of fragmentation that is transmitted to us, this is the question that I would like. The three magazines, save it in a marginal way, do not host articles of art criticism, but rather of sociological research, philosophical or literary. The shape of the test of art, as pointed out by Angela Vettese, is not present. It is not, of course, as a form of election. Can not be said, however, that this absence is due to overtake the more fragmented forms of writing, if we assume that the essay is by nature a fragment that shows in its form, a fragmentary and accidental. Such is the nature of the test, writing romance, compared to a Sehnsucht, which alone is inexhaustible. Lucàks remember, in the form of a letter to nel'introduzione soul and the forms that the activity of every true writer, in relation to its aspirations, it is always piecemeal. The essay, written Lucàks, changes abruptly, however, this interruption does not come from within, from that essential work that the writer takes the form of the test and that it contracts in destiny. The essay draws things from the world of things to save the life that was saved once before, in a form, art. E 'for what at that point where the test fails, here, the paper also shows that the interruption is in no way an end: it is rather that particular place where he tells him that the essential, as can not capture that occasionally, so that can not be interrupted in a manner that is accidental. Such a reflection on the essence the essay is, it appears, are inextricably linked to the relationship of art - and the test itself to a further degree - to the possibility of being able to talk about life living . Where this possibility fades, here, no wise to be true because in relation to those things which are life, may be more. E 'therefore probably necessary to understand the reasons of essays on inflation, operating, internally to the speech on the fragment, reverse: we are not to find in a new fragmentation of the expression of the reasons of the crisis, since testing, we can say, the fragment for excellence is up to us instead of trying these reasons in life itself. Where life ends for us to be alive - to stay in power for a form, here in this waiver, it is impossible to write in the form of the test. This is life captured in a sphere of its own, far away, for us, the ability to use them .
Documenta 12, STORY WITHOUT FORM
After the short contemporary Grand Tour: Venice / Basel / Kassel / Münster, some consideration starting from Kassel.
as is necessary to start from the premises, you must specify that the first offer as an impromptu reflection ' ekfrasis joint works space would not return to the exhibition is a first impression as such generic yet comprehensive, as amputating the story about the exposure of its ability to resonate.
Documenta 12, to a greater extent than others of the great exhibitions, not only is the arrangement in space of the selected works nor a particular design exhibition, as it can be consistent. Documenta 12 exceed the place of the exhibition of art by declaring the intention to produce knowledge in the effects as in the premise of the exhibition, see: his thought. The twelfth edition of this trial be held, namely that the and compete as a further five times, in a line of consistency - but perhaps even formal - with the original intentions of Arnold Bode. More than a show, they were three months we want to be become visible when the energy flow into the thought of artists and curators and critics and writers in other disciplines, as in a contraction of the same by extension, to the eye, in the duration of one hundred days. Cultured
this specificity, it is necessary to seek in it the critical point on which to leverage in the sense of reflection: a contract here, especially, seems to be the trend of artistic practice in the fray, not so much its borders as the borders of their own context. Where the spheres - the event that of life - continue to remain separate, the task of documenting aims to attract the world of art, which is communicated to the logic of this great event, moments of knowledge that pertain to other spheres. If you need to do is look at all the place where you can always revoke the determination, it is up to us to look to the movement of convergence of thinking in his work and two different degrees of reflection, in the light of the possibility of disabling those ruptures that are functional to the Government of things as all'ammansimento bodies. This convergence is necessary to think of it as the place where we can incubate the coincidence between life and its form, so that the stay of one the other is not experienced but experienced.
That said, a brief private restitution. Documenta 12 takes place in five major branches of the Museum Fridericianum documenta-Halle, the Neue Galerie and dell'Aue-Pavillon and the two branches of Kulturzentrum Schlachthof and dell'elBull. In the initial room
(0) of the documentation Hall are also on display, available for consultation, the magazines from the editorial members of the network from which the articles were selected and then merged in the three magazines Modernity? , Life! Education and .
in small containers that accompany every seat is sold - along with many commercial gadgets underlining the moment that the show, too, means - the catalog.
starting from the catalog that is captured in an immediate way in a position to visit the exhibition comes to us certainly, but not in the form of a direct message delivered loud. The catalog consists, in the first of three parts (respectively Preface, Chronology, Appendix ) a brief introduction in two parts: first, the presentation of Bertram Hilgen, Mayor of Kassel, to highlight the fact that the slice of magic one hundred days cut out every five years in time to produce than temporality the entire city, to remember the thought of the significance of Bode communication processes that wrap around documents and figures from the Director Roger M. Buergel and curator Ruth Noack, the choice of the three leitmotifs visitarori opening of the document as a place where open to collaboration, the second part of the introduction and one critical essay, an introduction by Ruth Noack and Roger M. Buergel, central to which is the consideration of the radical Formlosigkeit or formlessness, the absence which takes the form of great exposure out of the opportunity to devote to a single artist, one period, to a certain style. Role of documents is for the two authors turn to create a platform in which art itself can communicate and speak in their own terms. These
the premises. What form 'formless' Maybe this could plateau appears to be at stake in the short text as clearly as in the exhibition catalog. Perhaps a form is probably sufficient to think of form as a soft opening the way for the works, capable of running over the celebration of artists' names, catch-all concepts of geopolitical identity. First
relevant data, the time span of the selected works. The rose of the exhibited works cover a time span surprising for a major exhibition: a dialogue in it are works of a few years of the fourteenth century. works as of 2007 a twenty-first century. In the statement, however, no history is clearly present, well unlike in the catalog, where 310 of 415 pages are devoted to the section titled Chronology , ordering the works displayed in chronological order instead of alphabetical order of artists, exhibition areas or topics. This choice is overwhelming and yet invisible in the catalog shows it hides in the exhibition, evidence of a policy as a major curatorial you want, but that has not been elected as principle act to say that the Sermon on the exhibition under the guise of a due sense of location.
The different works by the same artist are distributed between different locations. As it follows can be found in various reports from time to time in the physical space of the exhibition, as are spaced from work carried out by others in the intermediate time to the creation of both, in the catalog. The production of a single artist to exhibit more of a work is in the detection of the time as thought in a time divided into many voices, which speak in the West as the East, the far north as the Eskimo South African world. The impression is that the works - in the times of this figure as possible, have been spatially managed in a manner contingent to its curatorial gesture, in the unfolding of the exhibition, where instead, the place of the catalog, these works have been stored in a file as yet from which to draw. The catalog, which tells us what was in this show, is held between the permanent archive and historical writing that every history, even latently, conveys. Chronological, however, does not offer teleologies: unrelated to each other, the works will appear disjointed fragments of a course by the newcomers rather than pieces of a speech from the podium. Not track the exhibition, this catalog tells us how far back and away, the look is tight.
This is certainly not the place to discuss immediate splash with the respect due to the grain of each of the entries nor the influence that one has had on others. The current issues related to 'international style to multiculturalism and how fast was that post-colonialism emerge on its own in the works on display. These last three are, unavoidable, among the issues dealt with in the exhibition discourse through active relationships and yet the urgency of primary documents , immanent in handling emergencies to the attention of other à la page , seems to lie in an attempt to indicate a special relationship to temporality: the time to recover as the site of emergence of forms and styles, add themes. The operation is delicate. Keep the balance between the extremes of being in the generous benefactor of the place and take a step backwards compared to un'egotica presence, try to activate speech through the staging of works that together make up a landscape in which the vanishing points are made and converge multiple, possible opportunities for people in various parts of the world.
Read this key seems to be trying to expose those works that make up and continue in today's speeches and the art collection of recognize the centrality of time - Creating it for us, certainly, compared to a story already written - in those parts of the world before considered peripheral to the so-called 'line' of the time. The temporality understood as the possibility of experiencing the weather is not a business or relegated to the Western presence is passato.Se temporality, both in physical location from which proceeded the history of art in other places that are central to self and However, in relation to a us, always a bit 'moved or about to move.
The 'line' is clear from all of the exposure is not properly perceived as a line, since it is not exposed as such in the organization of work in space. This line, we might say, instead of communicating such as trying to say in their own time to be: when, over time, the temporality of possible relationships. The results can be said to have succeeded in varying degrees and that can not be assessed case by case basis, but the opening process of the determination, at first sight, seems to be the direction in which she moved Documenta 12.
So in the documentation are exposed Halle The Zoo Story (1) Peter Friedl 2007, the giraffe named Brownie, from South Africa in the zoo Qalquiliyah, who died during the invasion of August 19 isaraeliana 2002, embalmed in a room adjoining and opposite Double Bubble (2) Maja Bajevic, 2005, to balance the message of saying no injuries suffered by Brown in a Palestinian city, but the contradictions of Muslim culture. Next to Brownie, Gris-gris pour Israel et la Palestine (3), domino textile national flags dripping blood in equal measure, 2006, Abdoulaye Konaté. On the opposite wall is exposed - to the bubble presence profane aesthetics - a long carpet (4) of the nineteenth century. from the north-western Iran, showing, despite the stylization, the lush gardens that have been the inspiration of poets and painters East. At the center, the large installation Relax it's only a ghost (5) 2006, Cosima von Bonin, Central West as a silent, telling us not by itself be a ghost who speaks to a remote island, in the adjacent room Phantom Truk (6 ) in 2007 by Inigo Manglano-Ovalle, to lead us through an environment in which our perception is altered by a red filter on the windows and an external sound distorted by radio to the ground, to the full-scale replica of what should be - according to the descriptions presented by Colin Powell at the UN in 2003 to justify the attack on Iraq - a mobile chemical laboratory.
Nell'Aue-Pavillon are exposed, including the works of today, a series of bridal veils of the nineteenth century. (7) covering the face and from Tajikistan. These are both front The Transported of KwaNdebele , a series of photographs made in 1983 by South African David Goldblatt representing workers transported to work in a bus, in front of one of works by John McCracken (8), whose work scattered in various locations, as in painting, formally rhyme with the decorative fabrics in veils. McCracken, however, relate to the works of the state of meditation rather than a position of social criticism and take inspiration from hours to mandala paintings, Egyptian and Mesopotamian art hours for the sculptures. If either report speaks of two different forms segregation: that of the veiled women and that produced by apartheid, the other may be interesting for us is that the direction from which descend the influence and stressed that proceeds, in particular of the combination, from the East to America which is the home of the artist. Another rhyme is held between the veils and wedding video this time, from which rolls on a similar decoration of a carpet of the mosque but a child does not know yet the activities of adults.
Several other works, such as Chinese and Persian miniatures of the fourteenth to the sixteenth century from the collection dell'ambasiatore Prussia in the eighteenth century. in Constantinople, the work of calligraphic Hadji Maqsud made in 1573 in Tabriz, Iran's ancient capital, the designs of the sixteenth century Chinese porcelain from the collection of a connoisseur , a painting of the eighteenth century Mihr Chand. from northern India, are exposed at the site of Wilhelmshöhe Schloss, the castle of Kassel that houses an archaeological museum and ancient art. The gesture is strong, particularly when one considers that the site of the castle, for one hundred days of Documenta 12 , did not accept only the works of the past generally excluded from the history of art produced in the West but also contemporary works which Das Konzentrationslager der Liebe (9) Argentine artist Sonia Abian Rose, work done in 2007 but that talks, in the form of a table and eighteenth-century allegorical fresco, with the age from which come the paintings in the second floor of the castle are the walls between which is the painting table , which combines stories from the drawers. Also in the castle, Zofia Kulik (10) presents a modern portrait of the portraits of the great tradition of portraiture, one of photographic tableaux obtained by you through the combination of images in architectural forms, Kerry James Marshall (11) - which together with Kulik , the cadential John McCracken, Juan Davila and Cosima von Bonin is one of the most visible presences on the number of works on display - see their work placed in the museum a painting depicting people of African origin known at the time as died. The approach is simplistic, however, bear in mind that identifies only one of numerore variations in the presentation of works by two artists in the exhibition, and in the rooms of the Pavillon dell'Aue Fridericianum and are not bound to a message as clear as that of carriers which are made in the castle. Such a dialogue between past and present, in his own clear evidence, it may seem simple when you do not reductive. However, you can wonder about this choice and believe that it contributes to creating an additional level of interpretation, when considered in relation to the other dialogues with the traditions available in Kassel: one above the ancient art of ancient Western art not West. It is therefore possible, in this light, believing that the gesture allestitivo no references to a desire to rewrite history to place it in the East articles of archaeological objects in the same way and to do this as a necessary act in the way of compensation. The presence on the floor of the reports to the story - the story that is classified, but all saved in museums - the works of a past foreign as a global present, has to be seen rather as the product of the urgency of understanding evolution of those forms of art today, which become for us today in reports that artists of other nationalities to determine their own past (as is evident in Recording2006 Chang'an street (12) by Lu Hao, who in 2006 realized a long view horizontal road Chan'an Beijing's traditional silk scroll dell'Ukiyoe complaint to the Aue-Pavilllon) and, together, as held in relation to our tradition already museificata yet, and still available for use.
Last but not least, two works of art history have written have been chosen among others: The Exposition Universelle of Édouard Manet, 1867, el 'Angelus Novus (13) by Paul Klee in 1920, also on display in a home of the castle. It should be noted that the inevitable echoes of Klee's watercolor of the winged figure as Benjamin's reading of 'angel of history , dragged away from the earth by the wind blowing progress in its wings, which look at the earth from which it is forcibly dragged away, like a heap of ruins that would reconcile through a face to the earth look like in the past. Ruins, rags, quotes Walter Benjamin are all synonyms for those fragments with respect to which our task is to create new constellations: aggregations that resonate, the power of the image dialectic. Look for a form in the formless is then, perhaps, think of the shape as an imaginary practice constantly being redefined. Also still open to new combinations.
Fig. 0 Aue Pavilion, room magazines.
Fig.1 Peter Friedl, The Zoo Story, 2007.
Fig. 2 Maja Bajevic, Double Bubble, 2005.
Fig. 3 Abdoulaye Konate, Gris-gris for Israel and Palestine , 2005.
Fig. 4 North-ovest Iran Tappeto , XIX sec.
Fig. 5 Cosima von Bonin, Relax it’s only a ghost , 2006.
Fig. 6 Inigo Manglano-Ovalle, Phantom Truk , 2007.
7 Tajikistan, veli da sposa , XIX sec
8 John Mc Cracken, Tantric , 1971 .
9 Sonia Abian Rose, The concentration camp of love , 2007.
Fig. 10 Zofia Kulik, The Splendor of Myself (II),1997.
Fig. 11 Kerry James Marshall, The Lost Boys: Baby Brother und Black Johnny , 1993.
Fig. 12 Lu Hao, Recording 2006 Chang’an street , 2006.
Fig. 13 Paul Klee, Angelus Novus , 1920. 
CONTEXT OF IN-Chrysostome Quatremère ANTOINE DE QUINCY AND WALTER BENJAMIN
More than a question, a consideration.
The text follows that of Sherman, the field intensity - for me here in question - the term in Quatremère context, and in Benjamin.
From Consideration sur les arts du dessin of 1791, Sherman points out that the movement for Quatremère, it blocks the production of art it's great, that is morally good. Tear off a work from its context - from the place of a connection between objects, memories, local traditions - is to deprive it of its ancillary impressions: impressions of those that can be received from the surrounding work and that all combine to make this same ring harmonies of an absolute beauty. The look of the eighteenth century it runs Quatremère promotion of classical beauty and binds only the context in which it resonates, the communication of a clear moral message. The gesture of
Quatremère nell'estraneazione lies in identifying the context, a decisive point, the cause of the cold sosituirsi critical to the pleasure of sense and spirit, the place of interruption of a message. As the critical point of his analysis this is precisely the uniqueness of the message that the work can resonate.
The same violent movement of contextualization, now freed from the ideal eighteenth century, is heavily involved in the thought of Walter Benjamin, in Sherman, however, recalls rather the reflection on the loss of the aura in the age of mechanical reproduction of images. In the essay
Eduard Fuchs, collector and historian Benjamin inividua the destructive gesture of the collector that movement through which an object that seemed to stop now the shelves of history is torn from its context: the determination holding him in a larval state, the apparent absence of life, that is, through this gesture, returned the ability to exist in society from which it was detached. This is a movement from revolutionary character, called destructive continuum of history in Theses on the Philosophy of history, and that is the same kind of gesture that in Brechtian theater, through the technique of estrangement, is interrupted in its course. In interrupting that, in this same sets. Torn from context, interompere, destroying a continuum is Benjamin, how to cite. In What is epic theater , indefatigable writes: "Quoting a text implies interrupting the context in which it falls. [...] 'Making quotable gestures', this is an essential outcome of the epic theater. "Cut to show, quote, that gesture is being done to sue, to take a text, a work object, hour of his ability to know, that this appointment was with us. What, we, we dimenicato. It is at this hour is the hour of an after-life, that whale for us the historical image. That offered to us as a constellation, like a crystal image.
Whether Quatremère that Benjamin is the central relationship to the context. Different, the marks that are attributed to the movement of an object gashes. Otherwise it can not be, since the intention is to safeguard the first one specific ideal, the second a gesture to indicate that the ideals which hypostatized the speeches of the winners, specifically, can also liberarci.Vicina the idea of \u200b\u200ba resonance between the elements of context: which are the classical harmony of which sounded the work stolen from Rome's speech Quatremère, which identify the new combination in which it is possible for us to give a report contemporary things, in Benjamin's gesture.
important, probably, is to emphasize that the context is primarily to tear, in Benjamin, the ability to keep connected with the subject, or, equally, to ensure the object relations possible. It is certainly not, that is, the creation of islands with no time or lost over time.
Giorgio Agamben's analysis of the nature of the Messianic time it contained The time remaining identifies, in the condition of a life in the Messiah, the ability to make use of their condition.
context-free way Benjamin is back in use that work which can resonate for us, a new aggregation.
THE GHOST OF PRINCE
A consideration about ghosts ...
It has been said in class that the attraction for the prince is as now as then, in a voice or in its echo, and tells us said to cross the threshold of the museum. It was discussed, particularly in relation to the glow of prestige that the presence of the prince - for him or his ghost - the fascination exerted on us from where we came once kidnapped and today, by its very absence, suggests to us. Prince
especially one who is above all others is free. Ab solutum , in fact: it is dissolved, ie, a relationship of obedience.
seems to me we can try to think about the continuation of this fascination as that attraction is that autonomy itself, said the museum has on us. Look for work in a museum, the museum come to delve into a past that is always kept one step behind us, perhaps to repeat ourselves to the promise of a free zone, shining a singular life which is that of Prince. However
this space, this space respected, is the same space that also desecrated the sly, just when we are conscious of not having spoken the words of the prince, but have imagined the prince of our talk.
This gesture inspired by a double movement and we do respect our position in the speech museum as an order that the alliance sanctioned by the author of a work in which contract is to us the charm of autonomy , is likely to make this gesture in which, together, it is possible for us to rip our own words in their context (remember the quote I mentioned in Benjamin's relation to Quatremère), the order of a conversation in which we are still always already been taken,
FONTANA: VENICE-NEW YORK
A reflection on the meeting expressed not just ended with Luca Massimo Barbero.
There has been talk of vision. I think the real vision that has emerged through its construction of the works of Fontana is time visibility which the works when they can come to be re-applying. And that is re-enactment, for a receiver, the ability to grasp the clue in his work to be translated into speech allestitivo. In Fontana this clue is the sculptural nature, rather than painting, the works. So that means, at the time of discounting in the exhibition, the ability to modulate, in more concrete and physical senses, the body of all these setting up work so as not to lose the diachronic historical significance and the breath, synchronous, in space. If Pollock is set up to create a show 'wall', and manage the distance from the wall, working with Fontana instead think of the speech of the in sculptural sense. I wonder then what may have accounted for the receiver not being able to play this Circumstantial evidence, when in New York dell'allestimento conditions are given in the manner already strongly tied to a practice that allows less freedom in setting an exhibition . Where in Venice unique quality of the exhibition was to have been able to seize the evidence in this sculptural works to translate it into their construction and modulate the works themselves in the active space relations and bringing back the speech.
LIFE! RESUME
For those who may consider relevant to the meeting Documenta, speaking on Magazines , this is the summary of the second of three magazine Documenta12.
The second leitmotiv of Documenta12, investigated in the imperative Life! the title of the second issue of Documenta 12 Magazine builds on the concept of bare life by Giorgio Agamben in Homo sacer . Klaus Ronneberger, in asking the status of critical analysis Homo Sacer . This, for Agamben, is the man be killed but not sacrificed in the forms of ritual, whose life, reduced to mere existence, has been separated into the sphere of artificial biological life, the zoe , distinct from the classically bios . Where the action of the sovereign power is to articulate the life, the field, where the wildlife is separated and the state of exception territorialized, appears as a paradigm of modernity. Nancy Adajana, analyzing the situation of the Republic of India was founded in 1950, extends the figure of 'homo sacer to any Indian citizen. This condition is the norm, not the exception only Guantanamo. The ubiquitous homo sacer is the person elected as a melodrama of entertainment media, for which reacts Cybermohalla project that works on the level of expression of media language to oppose the descriptive information in favor of cultural production technologically capable. Nidhi Eoseewong, comparing the order given by a bandit with that of a government, examines the reasons for the danger that the democratic system is a very participatory and Thailand, however, share the story of progress, is a spectator of the Revolution of 1932 that the coup was in 2006. Speak of a progress away from the poems of Jan telling Yang a look at property outside the city in which men are like cars of a train crossing the bridge in the shape of a crescent moon. Adana Shibli, as part of the Palestinian situation since 1948 and the image of your watch that stops working in Palestine, describes the feeling of suspension, as a lack of time, which can be felt in Palestine. Ovidiu Tichindeleanu also underlines the impossibility of experiencing time, when the value of the apartments autocratic serial Eastern Europe and Russia is lost in the circuit of the general exchange. Lucy Davis, Notes for a Bestiary Singapore, said the slippage of the real and between man and animal imagery, while Leo Bersani track the direction of a possible correspondence between the subject and the world beyond dualistic antagonism with a world that is now the projection of himself, now the object to be destroyed. The task of the aesthetic subject and psychoanalysis, is to establish, from an inner non-subjective, based on a relational matches. Mladen Stilinovic offers a job on indolence as a condition of an art which reduces the production of anything. Simryn Gill, Singapore, replacing the human face, in their own photographs of plants, which face the common people but not the singular. Ion Grigorescu, Romanian, works the effects of the disintegration of society, visible in the urban and social structures. So even Jo Spence, English, using documentary photography to interrogate not only the power but also to query the private in which power slips. Wang Zi, China, photographing the consequences of progress on poverty. Ines Doujak, in a context in which biological knowledge about life become the subject of private property, creates a visual narrative that combines the speech of Baron von Humboldt and to J. Craig Vester to paint the modern colonial power. Photographer Dmitri Gutov parents who play football for a collective but in the context of a rural Russia, in another work installing a mud floor on which it stands is not any of the buildings and in realistic paintings were the symbol of new life in stride. Ko Young-Il, Korean, use the form of comics to talk about the student protests of the Nineties and ironic stereotypes political activism. Masistes Gül, Armenian, uses the comic but also to give shape to his biography and rebellions that are part of it, while Bruce E. West writes dialogue-monologue of a personal diplomatic battle for the rebellion. Mircea Cantor photographer shared the small deviation from the path outlined, while The third leg mapping queer quips. Lili Dujourie, Belgium, working on the reconstruction of fragments into new stories, of time passing on their nakedness. Cao Guimarães shows a video in which to communicate is not a body language. Yutaka Matsuzawa, Japanese, through Signs Poems trying to communicate transcending the borders of individual languages.
DOCUMENTS TALK ON MAGAZINES
Hello everyone. He recently concluded a meeting on Magazines of Documents. many, much, stimuli. Or gather a few.
First, a brief summary.
Carlos Basualdo has traced a history of the last three editions of Documenta, in the light of their cultural references and what it might mean in the context of a large art exhibit, trying to look for in the practice of Beuys, the thought of Deuleuze, Agamben. In its considerations: The tenth edition, curated by Catherine David, summarized in the logo as an X that was not written as a Roman numeral to follow the title Documenta, but plotted over a of documents with the ' small letter, saying 'not documented' but, rather, shows the effect of 100 days of 100 events, 100 meetings, 100 days of discussion, citing the work of Joseph Beuys for Documenta VI, which is to discuss, for the hundred day for the duration of the exhibition, social, environmental, political, humanitarian. Documenta XI, edited by Okwi Enwezor and designed as the fifth of five platforms for discussion, to which it runs thought the Thousand Plateaus by Gilles Deleuze and Felix Guattari. And Documenta XII, edited by Roger M. Buerge, which begins in the second of its three leitmotif, from the concept of bare life of Giorgio Agamben. E 'next speaker Agamben, to underscore how the concept of bare life unable to give a biological condition of man but is a concept highly political, cultural products through the articulation of human life in Viata biological and relational life. Faced with difficulties in defining life, is divided and becomes the object of rupture. The bare life is not that life that separate the effect of a disjuncture makers, can be captured in a ball to himself. In general, Agamben points out, the question is, what man is, what is the human, if it is anything that results from this disconnection operations to manage their lives through its articulation. Above all, bare life is a concept on which to reflect not stay indoors but to think of another figure of the living, that life form that is able to disable the operating divisions. The idea is to think of an indissoluble life form; the possible place of the occurrence of this idea can be thought of as the art world. If contemporary art, as witnessed by those practices than ale which the work is but a remnant, has been increasingly in the direction of exposure of a coincidence between life and its form. However, according to the present state of things, seems to be easier to think about the split, the always already divided, rather than unity. Easier, often in artistic practices, identify with their lives instead of split with this new figure to think about. E 'followed action by Angela Vettese, who started from the current status of the essay in the form of art criticism. Less and less practiced, such path is still in some places of knowledge, from which shines with an authority Criticism and the history of contemporary look as a reference, certifying that the weakness of their knowledge or, perhaps, the fragmentary form in which it emphasizes Angela Vettese, is expressed. Since the sixties are witnessing an attempt to seek a form other, non-fiction, and often overtly personal, as in the case of Carlos Alonso recorded his voice on the tape and put photos in the publication of his private life, who chooses this path, although it started a university career, academic. For its part, Germano Celant, that is not critical but never called for another art historian, art poor devotes six pages of the catalog each artist as six pages to him, the latter only in written form rather than imaginary. Susan Sontag wrote in 1963 Against Interpretation, Lucy Lippard writes in 1973 Six Years: The Dematerialization of the Art Object , Yona Friedman's public writings that are not written but drawings. All this testifies to the hegemony of the fragment, of a lack of teleology. In addition, the reflection of changes in the shape of the exhibition catalog, which When Attitudes Become Form 1969, was presented as an address book, as what is constitutionally unfinished. The same goes for the books made of Xerox, tributes to a knowledge which can also be articulated or disarticulated, but then break down. In the case of the three Documenta12 magazine are not a catalog but a edioriale production that brings together a selection of articles, that is not offered in the form wise but still believes in the written form, as evidenced by a graphic essential, do not mask the effects of a glossy art system and presents for their content.
to be continued ...
... to follow the word of the summary of the meeting Documenta. Conversazine on magazines :
E 'thus spoke the headmaster Marco De Michelis recalling that the thought of Manfredo Tafuri has placed the emphasis of his speech on the need for the arts project, to build an ideological thought. It was 1851 when, at the Great Exhibition in London, was built the Crystal Palace . Built of iron and glass, the great 'Crystal Palace' was designed by Joseph Paxton, the bearer, in the dimension of architecture, design knowledge of their greenhouses. Instead of the term of the concept of architecture, this moment marks the point at which you need a re-imagining of the architecture is only possible in alleviating the distinction between art and science in the sense of transdisciplinarity. E 'especially urgent in this sense, a thought of reform in the sense of re give form. Is a modern city that is growing and that, as such reform. The task of art, however, seem to explain the tragedy of the modern city instead of, as you must believe, to contribute to an ideological construct. thought to participate in the city, then, but not the abuses of which every utopian ideology is at risk. Angela Vettese recalled in this context, the term fatticcio introduced by Bruno Latour, in which fact and fetish actions combine to indicate places of utopias as possible, so the facts and not objects, in which place a sense of the future. Following the consideration of Giorgio Agamben on the fragmentation of the intervention relied on Angela Vettese that Agamben points out, from the reflection of the Romantics is alleged to constitute the fundamental feature of the test. The difficulty in turning to this form, therefore, has to be found elsewhere than in the fragmented, which is common to the test as to other forms of writing. In terms of the relationship between different disciplines, appointed by Marco De Michelis, Giorgio Agamben has pointed to the urgency of thinking, instead of an opposition between autonomy and unity of the disciplines, both those categories through which we can articulate the time, in our struggle against time.
SCREW INACCESSIBLE
An initial consideration on the meeting Documenta. Conversation on magazines
The three magazines are the product object of the meeting of the selection of articles from journals that make up the network's editorial Documenta. Network paper on which they are combined the writings of philosophers, sociologists, literary, poets, artists, magazines are given each a title and an editorial by making explicit the intention of producing a speech. The latter, however, comes to us piecemeal. What is the nature of fragmentation that is transmitted to us, this is the question that I would like. The three magazines, save it in a marginal way, do not host articles of art criticism, but rather of sociological research, philosophical or literary. The shape of the test of art, as pointed out by Angela Vettese, is not present. It is not, of course, as a form of election. Can not be said, however, that this absence is due to overtake the more fragmented forms of writing, if we assume that the essay is by nature a fragment that shows in its form, a fragmentary and accidental. Such is the nature of the test, writing romance, compared to a Sehnsucht, which alone is inexhaustible. Lucàks remember, in the form of a letter to nel'introduzione soul and the forms that the activity of every true writer, in relation to its aspirations, it is always piecemeal. The essay, written Lucàks, changes abruptly, however, this interruption does not come from within, from that essential work that the writer takes the form of the test and that it contracts in destiny. The essay draws things from the world of things to save the life that was saved once before, in a form, art. E 'for what at that point where the test fails, here, the paper also shows that the interruption is in no way an end: it is rather that particular place where he tells him that the essential, as can not capture that occasionally, so that can not be interrupted in a manner that is accidental. Such a reflection on the essence the essay is, it appears, are inextricably linked to the relationship of art - and the test itself to a further degree - to the possibility of being able to talk about life living . Where this possibility fades, here, no wise to be true because in relation to those things which are life, may be more. E 'therefore probably necessary to understand the reasons of essays on inflation, operating, internally to the speech on the fragment, reverse: we are not to find in a new fragmentation of the expression of the reasons of the crisis, since testing, we can say, the fragment for excellence is up to us instead of trying these reasons in life itself. Where life ends for us to be alive - to stay in power for a form, here in this waiver, it is impossible to write in the form of the test. This is life captured in a sphere of its own, far away, for us, the ability to use them .
Documenta 12, STORY WITHOUT FORM
After the short contemporary Grand Tour: Venice / Basel / Kassel / Münster, some consideration starting from Kassel.
as is necessary to start from the premises, you must specify that the first offer as an impromptu reflection ' ekfrasis joint works space would not return to the exhibition is a first impression as such generic yet comprehensive, as amputating the story about the exposure of its ability to resonate.
Documenta 12, to a greater extent than others of the great exhibitions, not only is the arrangement in space of the selected works nor a particular design exhibition, as it can be consistent. Documenta 12 exceed the place of the exhibition of art by declaring the intention to produce knowledge in the effects as in the premise of the exhibition, see: his thought. The twelfth edition of this trial be held, namely that the and compete as a further five times, in a line of consistency - but perhaps even formal - with the original intentions of Arnold Bode. More than a show, they were three months we want to be become visible when the energy flow into the thought of artists and curators and critics and writers in other disciplines, as in a contraction of the same by extension, to the eye, in the duration of one hundred days. Cultured
this specificity, it is necessary to seek in it the critical point on which to leverage in the sense of reflection: a contract here, especially, seems to be the trend of artistic practice in the fray, not so much its borders as the borders of their own context. Where the spheres - the event that of life - continue to remain separate, the task of documenting aims to attract the world of art, which is communicated to the logic of this great event, moments of knowledge that pertain to other spheres. If you need to do is look at all the place where you can always revoke the determination, it is up to us to look to the movement of convergence of thinking in his work and two different degrees of reflection, in the light of the possibility of disabling those ruptures that are functional to the Government of things as all'ammansimento bodies. This convergence is necessary to think of it as the place where we can incubate the coincidence between life and its form, so that the stay of one the other is not experienced but experienced.
That said, a brief private restitution. Documenta 12 takes place in five major branches of the Museum Fridericianum documenta-Halle, the Neue Galerie and dell'Aue-Pavillon and the two branches of Kulturzentrum Schlachthof and dell'elBull. In the initial room
(0) of the documentation Hall are also on display, available for consultation, the magazines from the editorial members of the network from which the articles were selected and then merged in the three magazines Modernity? , Life! Education and .
in small containers that accompany every seat is sold - along with many commercial gadgets underlining the moment that the show, too, means - the catalog.
starting from the catalog that is captured in an immediate way in a position to visit the exhibition comes to us certainly, but not in the form of a direct message delivered loud. The catalog consists, in the first of three parts (respectively Preface, Chronology, Appendix ) a brief introduction in two parts: first, the presentation of Bertram Hilgen, Mayor of Kassel, to highlight the fact that the slice of magic one hundred days cut out every five years in time to produce than temporality the entire city, to remember the thought of the significance of Bode communication processes that wrap around documents and figures from the Director Roger M. Buergel and curator Ruth Noack, the choice of the three leitmotifs visitarori opening of the document as a place where open to collaboration, the second part of the introduction and one critical essay, an introduction by Ruth Noack and Roger M. Buergel, central to which is the consideration of the radical Formlosigkeit or formlessness, the absence which takes the form of great exposure out of the opportunity to devote to a single artist, one period, to a certain style. Role of documents is for the two authors turn to create a platform in which art itself can communicate and speak in their own terms. These
the premises. What form 'formless' Maybe this could plateau appears to be at stake in the short text as clearly as in the exhibition catalog. Perhaps a form is probably sufficient to think of form as a soft opening the way for the works, capable of running over the celebration of artists' names, catch-all concepts of geopolitical identity. First
relevant data, the time span of the selected works. The rose of the exhibited works cover a time span surprising for a major exhibition: a dialogue in it are works of a few years of the fourteenth century. works as of 2007 a twenty-first century. In the statement, however, no history is clearly present, well unlike in the catalog, where 310 of 415 pages are devoted to the section titled Chronology , ordering the works displayed in chronological order instead of alphabetical order of artists, exhibition areas or topics. This choice is overwhelming and yet invisible in the catalog shows it hides in the exhibition, evidence of a policy as a major curatorial you want, but that has not been elected as principle act to say that the Sermon on the exhibition under the guise of a due sense of location.
The different works by the same artist are distributed between different locations. As it follows can be found in various reports from time to time in the physical space of the exhibition, as are spaced from work carried out by others in the intermediate time to the creation of both, in the catalog. The production of a single artist to exhibit more of a work is in the detection of the time as thought in a time divided into many voices, which speak in the West as the East, the far north as the Eskimo South African world. The impression is that the works - in the times of this figure as possible, have been spatially managed in a manner contingent to its curatorial gesture, in the unfolding of the exhibition, where instead, the place of the catalog, these works have been stored in a file as yet from which to draw. The catalog, which tells us what was in this show, is held between the permanent archive and historical writing that every history, even latently, conveys. Chronological, however, does not offer teleologies: unrelated to each other, the works will appear disjointed fragments of a course by the newcomers rather than pieces of a speech from the podium. Not track the exhibition, this catalog tells us how far back and away, the look is tight.
This is certainly not the place to discuss immediate splash with the respect due to the grain of each of the entries nor the influence that one has had on others. The current issues related to 'international style to multiculturalism and how fast was that post-colonialism emerge on its own in the works on display. These last three are, unavoidable, among the issues dealt with in the exhibition discourse through active relationships and yet the urgency of primary documents , immanent in handling emergencies to the attention of other à la page , seems to lie in an attempt to indicate a special relationship to temporality: the time to recover as the site of emergence of forms and styles, add themes. The operation is delicate. Keep the balance between the extremes of being in the generous benefactor of the place and take a step backwards compared to un'egotica presence, try to activate speech through the staging of works that together make up a landscape in which the vanishing points are made and converge multiple, possible opportunities for people in various parts of the world.
Read this key seems to be trying to expose those works that make up and continue in today's speeches and the art collection of recognize the centrality of time - Creating it for us, certainly, compared to a story already written - in those parts of the world before considered peripheral to the so-called 'line' of the time. The temporality understood as the possibility of experiencing the weather is not a business or relegated to the Western presence is passato.Se temporality, both in physical location from which proceeded the history of art in other places that are central to self and However, in relation to a us, always a bit 'moved or about to move.
The 'line' is clear from all of the exposure is not properly perceived as a line, since it is not exposed as such in the organization of work in space. This line, we might say, instead of communicating such as trying to say in their own time to be: when, over time, the temporality of possible relationships. The results can be said to have succeeded in varying degrees and that can not be assessed case by case basis, but the opening process of the determination, at first sight, seems to be the direction in which she moved Documenta 12.
So in the documentation are exposed Halle The Zoo Story (1) Peter Friedl 2007, the giraffe named Brownie, from South Africa in the zoo Qalquiliyah, who died during the invasion of August 19 isaraeliana 2002, embalmed in a room adjoining and opposite Double Bubble (2) Maja Bajevic, 2005, to balance the message of saying no injuries suffered by Brown in a Palestinian city, but the contradictions of Muslim culture. Next to Brownie, Gris-gris pour Israel et la Palestine (3), domino textile national flags dripping blood in equal measure, 2006, Abdoulaye Konaté. On the opposite wall is exposed - to the bubble presence profane aesthetics - a long carpet (4) of the nineteenth century. from the north-western Iran, showing, despite the stylization, the lush gardens that have been the inspiration of poets and painters East. At the center, the large installation Relax it's only a ghost (5) 2006, Cosima von Bonin, Central West as a silent, telling us not by itself be a ghost who speaks to a remote island, in the adjacent room Phantom Truk (6 ) in 2007 by Inigo Manglano-Ovalle, to lead us through an environment in which our perception is altered by a red filter on the windows and an external sound distorted by radio to the ground, to the full-scale replica of what should be - according to the descriptions presented by Colin Powell at the UN in 2003 to justify the attack on Iraq - a mobile chemical laboratory.
Nell'Aue-Pavillon are exposed, including the works of today, a series of bridal veils of the nineteenth century. (7) covering the face and from Tajikistan. These are both front The Transported of KwaNdebele , a series of photographs made in 1983 by South African David Goldblatt representing workers transported to work in a bus, in front of one of works by John McCracken (8), whose work scattered in various locations, as in painting, formally rhyme with the decorative fabrics in veils. McCracken, however, relate to the works of the state of meditation rather than a position of social criticism and take inspiration from hours to mandala paintings, Egyptian and Mesopotamian art hours for the sculptures. If either report speaks of two different forms segregation: that of the veiled women and that produced by apartheid, the other may be interesting for us is that the direction from which descend the influence and stressed that proceeds, in particular of the combination, from the East to America which is the home of the artist. Another rhyme is held between the veils and wedding video this time, from which rolls on a similar decoration of a carpet of the mosque but a child does not know yet the activities of adults.
Several other works, such as Chinese and Persian miniatures of the fourteenth to the sixteenth century from the collection dell'ambasiatore Prussia in the eighteenth century. in Constantinople, the work of calligraphic Hadji Maqsud made in 1573 in Tabriz, Iran's ancient capital, the designs of the sixteenth century Chinese porcelain from the collection of a connoisseur , a painting of the eighteenth century Mihr Chand. from northern India, are exposed at the site of Wilhelmshöhe Schloss, the castle of Kassel that houses an archaeological museum and ancient art. The gesture is strong, particularly when one considers that the site of the castle, for one hundred days of Documenta 12 , did not accept only the works of the past generally excluded from the history of art produced in the West but also contemporary works which Das Konzentrationslager der Liebe (9) Argentine artist Sonia Abian Rose, work done in 2007 but that talks, in the form of a table and eighteenth-century allegorical fresco, with the age from which come the paintings in the second floor of the castle are the walls between which is the painting table , which combines stories from the drawers. Also in the castle, Zofia Kulik (10) presents a modern portrait of the portraits of the great tradition of portraiture, one of photographic tableaux obtained by you through the combination of images in architectural forms, Kerry James Marshall (11) - which together with Kulik , the cadential John McCracken, Juan Davila and Cosima von Bonin is one of the most visible presences on the number of works on display - see their work placed in the museum a painting depicting people of African origin known at the time as died. The approach is simplistic, however, bear in mind that identifies only one of numerore variations in the presentation of works by two artists in the exhibition, and in the rooms of the Pavillon dell'Aue Fridericianum and are not bound to a message as clear as that of carriers which are made in the castle. Such a dialogue between past and present, in his own clear evidence, it may seem simple when you do not reductive. However, you can wonder about this choice and believe that it contributes to creating an additional level of interpretation, when considered in relation to the other dialogues with the traditions available in Kassel: one above the ancient art of ancient Western art not West. It is therefore possible, in this light, believing that the gesture allestitivo no references to a desire to rewrite history to place it in the East articles of archaeological objects in the same way and to do this as a necessary act in the way of compensation. The presence on the floor of the reports to the story - the story that is classified, but all saved in museums - the works of a past foreign as a global present, has to be seen rather as the product of the urgency of understanding evolution of those forms of art today, which become for us today in reports that artists of other nationalities to determine their own past (as is evident in Recording2006 Chang'an street (12) by Lu Hao, who in 2006 realized a long view horizontal road Chan'an Beijing's traditional silk scroll dell'Ukiyoe complaint to the Aue-Pavilllon) and, together, as held in relation to our tradition already museificata yet, and still available for use.
Last but not least, two works of art history have written have been chosen among others: The Exposition Universelle of Édouard Manet, 1867, el 'Angelus Novus (13) by Paul Klee in 1920, also on display in a home of the castle. It should be noted that the inevitable echoes of Klee's watercolor of the winged figure as Benjamin's reading of 'angel of history , dragged away from the earth by the wind blowing progress in its wings, which look at the earth from which it is forcibly dragged away, like a heap of ruins that would reconcile through a face to the earth look like in the past. Ruins, rags, quotes Walter Benjamin are all synonyms for those fragments with respect to which our task is to create new constellations: aggregations that resonate, the power of the image dialectic. Look for a form in the formless is then, perhaps, think of the shape as an imaginary practice constantly being redefined. Also still open to new combinations.
Fig. 0 Aue Pavilion, room magazines.
Fig.1 Peter Friedl, The Zoo Story, 2007.
Fig. 2 Maja Bajevic, Double Bubble, 2005.
Fig. 3 Abdoulaye Konate, Gris-gris for Israel and Palestine , 2005.
Fig. 4 North-ovest Iran Tappeto , XIX sec.
Fig. 5 Cosima von Bonin, Relax it’s only a ghost , 2006.
Fig. 6 Inigo Manglano-Ovalle, Phantom Truk , 2007.
7 Tajikistan, veli da sposa , XIX sec
8 John Mc Cracken, Tantric , 1971 .
9 Sonia Abian Rose, The concentration camp of love , 2007.
Fig. 10 Zofia Kulik, The Splendor of Myself (II),1997.
Fig. 11 Kerry James Marshall, The Lost Boys: Baby Brother und Black Johnny , 1993.
Fig. 12 Lu Hao, Recording 2006 Chang’an street , 2006.
Fig. 13 Paul Klee, Angelus Novus , 1920.
Saturday, June 23, 2007
Black And Pink Nike Greco Supreme
Palazzo Fortuny ... Artempo
hello guys,
this afternoon I went to see the Artempo Fortuny, so I wanted to show some photos stolen and some impressions, especially about setting up. Meanwhile
HERE find an image of the works present exposure!
I must say that some works, almost the majority, are really amazing.
space to set up is very complex and uneven, so the ground floor an entrance hall dark is not particularly large, the mezzanine, so full of itself that is difficult to create a readable, much brighter than the foreground but also load admissions ...
unfortunately I have a few pictures to present to you, what I could do was very little. The guardiasala were very loyal ...
we could complete the work if someone wants to succeed by showing other things ... I'm here waiting for you!
For starters here are two pictures of a work by Anish Kapoor ,
S-Curve 2006, mirror, Collection of Shaun Regen, Regen Projects,
soon entrance to your left is a massive sculpture depicting a man, placed his back. I must say that the combination with the work front, Study of the human body of Francis Bacon of 1986 seems very effective.
Oil and pastel on canvas, Marlborough International Fine Art Collection ... There is a point
very strong and the background of the painting of yellow brings out cold but the human image, a man from behind tortuous. Here's image of Bacon:
see to the right under you see a shadow that emerges. On the wall of the hall of Fortuny's a giant shadow of the sculpture that plays as a resonance to the left wall.
The work that I wanted to photograph is the most Medusa (Anamorph) of 2001 William Kentridge, Palast Museum, Düsseldorf .
The work is placed on a pedestal and I think the look is more or less than one meter and twenty ... there is a disk covered with two half circular disks are two half-cut from a dictionary ... on these pages are numbers, words written in red color and shapes that represent one part anamorphic Medusa and the other a man carrying two buckets with water ... the designs are done with charcoal, as he always used to do. At the center
This disc is placed a brass cylinder, placed vertically, about 20 cm high., which gives high contrast black image on white page, and by setting the cylinder you can see the image of Medusa and without human distortion in its full effect. If you move around, a movement led by the cylindrical structure, you can see that the eyes follow you, until you arrive to the figure reflected the other side. In short, it seems to look at Medusa, not us to look at her.
A photo is bad but not that of the bronze sculpture by Thomas Schütte entitled Golden Eyes of 2007 (artist's collection).
the first floor there is also Giorgio De Chirico with one of his Trovatore , 1950.
oil on canvas applied to canvas, 50 x 40 cm, the International Gallery of Modern Art in Venice, Ca 'Pesaro ...
next to ... Two anatomical models / Two anatomic models, the Collection Venetian Institute of Sciences, Letters and Arts, Collection Axel Vervoordt , Belgium.
For my thesis I studying in depth the meaning of the mannequin, statue, ghosts of Giorgio De Chirico and I must say that the choice seems to be perfectly consistent with what it meant la'utore. We see two anatomical models, in other words that seem to be there to show us the parts they are made. De Chirico in his writings, especially the ' Ebdomero of 1929 and also in his paintings shows us the magnitude of the dummy . It consists of parts, which are enhanced by joints designed, the lack of expressiveness of the faces blank and then emphasize the objectification as well as heads ... he even writes that the sculptor is not the one who builds statues, but at the time of their death frees them from the body intact, now ready to decay and them with hammers and chisels shatters into pieces ...
the statue is the one who is dying, the ghost is the one that will live forever, the dummy is an intermediate stage, is a passage from death to life ... his pieces come to life ... as in the two anatomical models moving from life to death ...
a few words about ...
I promised to talk about the stand, but I would just do a small engraved ... I think the will and the educational needs of an exhibition this time has lost its way and I found this very irritating issue from several points of view. The works are sometimes without captions and the same guardiasala confirmed to me that all the works not have a reference. This is also reflected with regard to the catalog. The same consists of the first hundred pages, not numbered , containing "floating " and devoid of the context in which they were placed on black background ! They are not even all, as any walk through the bookshop can be disappointing when you try the card with the work that you left a mark on the heart and of course no one's choice. In the last pages of a catalog essay that talks about the show and even then some card called "technical", where sometimes they just mentioned the author in some affirmation effect, fulmen in clause , of \u200b\u200bcourse without reference ...
if the images are not all the choices you do not even have all cards "techniques" of the works and choices ... bah! do you think this catalog is back home with me? I'll leave as a benefit of the doubt.
not worry, the story does not end here!
see you soon with the continuation! Hello everyone
giovanna 
hello guys,
this afternoon I went to see the Artempo Fortuny, so I wanted to show some photos stolen and some impressions, especially about setting up. Meanwhile
HERE find an image of the works present exposure!
I must say that some works, almost the majority, are really amazing.
space to set up is very complex and uneven, so the ground floor an entrance hall dark is not particularly large, the mezzanine, so full of itself that is difficult to create a readable, much brighter than the foreground but also load admissions ...
unfortunately I have a few pictures to present to you, what I could do was very little. The guardiasala were very loyal ...
we could complete the work if someone wants to succeed by showing other things ... I'm here waiting for you!
For starters here are two pictures of a work by Anish Kapoor ,
S-Curve 2006, mirror, Collection of Shaun Regen, Regen Projects,
soon entrance to your left is a massive sculpture depicting a man, placed his back. I must say that the combination with the work front, Study of the human body of Francis Bacon of 1986 seems very effective.
Oil and pastel on canvas, Marlborough International Fine Art Collection ... There is a point
very strong and the background of the painting of yellow brings out cold but the human image, a man from behind tortuous. Here's image of Bacon:
see to the right under you see a shadow that emerges. On the wall of the hall of Fortuny's a giant shadow of the sculpture that plays as a resonance to the left wall.
The work that I wanted to photograph is the most Medusa (Anamorph) of 2001 William Kentridge, Palast Museum, Düsseldorf .
The work is placed on a pedestal and I think the look is more or less than one meter and twenty ... there is a disk covered with two half circular disks are two half-cut from a dictionary ... on these pages are numbers, words written in red color and shapes that represent one part anamorphic Medusa and the other a man carrying two buckets with water ... the designs are done with charcoal, as he always used to do. At the center
This disc is placed a brass cylinder, placed vertically, about 20 cm high., which gives high contrast black image on white page, and by setting the cylinder you can see the image of Medusa and without human distortion in its full effect. If you move around, a movement led by the cylindrical structure, you can see that the eyes follow you, until you arrive to the figure reflected the other side. In short, it seems to look at Medusa, not us to look at her.
A photo is bad but not that of the bronze sculpture by Thomas Schütte entitled Golden Eyes of 2007 (artist's collection).
the first floor there is also Giorgio De Chirico with one of his Trovatore , 1950.
oil on canvas applied to canvas, 50 x 40 cm, the International Gallery of Modern Art in Venice, Ca 'Pesaro ...
next to ... Two anatomical models / Two anatomic models, the Collection Venetian Institute of Sciences, Letters and Arts, Collection Axel Vervoordt , Belgium.
For my thesis I studying in depth the meaning of the mannequin, statue, ghosts of Giorgio De Chirico and I must say that the choice seems to be perfectly consistent with what it meant la'utore. We see two anatomical models, in other words that seem to be there to show us the parts they are made. De Chirico in his writings, especially the ' Ebdomero of 1929 and also in his paintings shows us the magnitude of the dummy . It consists of parts, which are enhanced by joints designed, the lack of expressiveness of the faces blank and then emphasize the objectification as well as heads ... he even writes that the sculptor is not the one who builds statues, but at the time of their death frees them from the body intact, now ready to decay and them with hammers and chisels shatters into pieces ...
the statue is the one who is dying, the ghost is the one that will live forever, the dummy is an intermediate stage, is a passage from death to life ... his pieces come to life ... as in the two anatomical models moving from life to death ...
a few words about ...
I promised to talk about the stand, but I would just do a small engraved ... I think the will and the educational needs of an exhibition this time has lost its way and I found this very irritating issue from several points of view. The works are sometimes without captions and the same guardiasala confirmed to me that all the works not have a reference. This is also reflected with regard to the catalog. The same consists of the first hundred pages, not numbered , containing "floating " and devoid of the context in which they were placed on black background ! They are not even all, as any walk through the bookshop can be disappointing when you try the card with the work that you left a mark on the heart and of course no one's choice. In the last pages of a catalog essay that talks about the show and even then some card called "technical", where sometimes they just mentioned the author in some affirmation effect, fulmen in clause , of \u200b\u200bcourse without reference ...
if the images are not all the choices you do not even have all cards "techniques" of the works and choices ... bah! do you think this catalog is back home with me? I'll leave as a benefit of the doubt.
not worry, the story does not end here!
see you soon with the continuation! Hello everyone
giovanna
Friday, June 22, 2007
Advice For Someone Who Is Stressed
Article of Sunday Sole24Ore ... Angela Vettese
you insert an article by Angela Vettese who sent me Valentina will not be readable ...
click on images and see them enlarged!
Thanks again Valentina!
That's it, I modified the pictures, sorry, but I had to cut into three pieces so you can not snap!
are on the threshold of PRESBYOPIA !
a greeting and thanks to Chiara for the tip!
giovanna 
you insert an article by Angela Vettese who sent me Valentina will not be readable ...
click on images and see them enlarged!
Thanks again Valentina!
That's it, I modified the pictures, sorry, but I had to cut into three pieces so you can not snap!
are on the threshold of PRESBYOPIA !
a greeting and thanks to Chiara for the tip!
giovanna
How Many Minutes Of Daylight Are Added Every Day
suggestions and comments by Valentina ... Lesson of the June 19
Hello everyone ... about the visit to the Biennale and the next week ...
Monday's visit was very useful for me, even if the time to visit the Arsenal was little .. and I must say that I could not see everything carefully .. I find the argument that there has been further increased the quality of the experience.
First of all I think we succeeded thanks to the information and impressions gathered by all to understand much of the show and fill the gaps caused perhaps by the rush of attention ..!
Also for me it was useful to understand the relationship, perhaps even before that I was less clear sense of location, layout, space ...
I find that direct experience like we did helps bring out doubts and thoughts much more actively, because you are immersed in the "problem".
why I'd really like that we could replicate with another exit all together ... but you have to decide where.
If we are to remain maybe we could go to Venice at the Palazzo Fortuny where there is an exhibition entitled " ARTEMPO - Where Time Becomes ART .
Or we could go to the exhibition curated by Celant Bologna ..
"VERTIGO. THE CENTURY OF OFF-MEDIA ART FROM THE FUTURE TO WEB "to MAMbo ..
are two completely different shows both for artists and curators for ...
What do you say, someone has other ideas, even talked about possibly going to Trent ....
soon
VALENTINA
Thanks Valerie! 
Hello everyone ... about the visit to the Biennale and the next week ...
Monday's visit was very useful for me, even if the time to visit the Arsenal was little .. and I must say that I could not see everything carefully .. I find the argument that there has been further increased the quality of the experience.
First of all I think we succeeded thanks to the information and impressions gathered by all to understand much of the show and fill the gaps caused perhaps by the rush of attention ..!
Also for me it was useful to understand the relationship, perhaps even before that I was less clear sense of location, layout, space ...
I find that direct experience like we did helps bring out doubts and thoughts much more actively, because you are immersed in the "problem".
why I'd really like that we could replicate with another exit all together ... but you have to decide where.
If we are to remain maybe we could go to Venice at the Palazzo Fortuny where there is an exhibition entitled " ARTEMPO - Where Time Becomes ART .
Or we could go to the exhibition curated by Celant Bologna ..
"VERTIGO. THE CENTURY OF OFF-MEDIA ART FROM THE FUTURE TO WEB "to MAMbo ..
are two completely different shows both for artists and curators for ...
What do you say, someone has other ideas, even talked about possibly going to Trent ....
soon
VALENTINA
Thanks Valerie!
Thursday, June 21, 2007
Wholesale Chicken Wings Bc
Archive in motion,
from this text we spoke of some editions of Documenta ...
The Biennale was a great model of success, largely defined ...
Documenta seems to belong to a different family, it seems a new model.
document is in the early editions, the symbolic re-establishment of the Museum .
Under Latin documentum we find the following meaning: what is the teaching or warning, as well as model.
Cicero wrote:
documentum Fuit hominibus prudentiae ... was to men of wisdom model.
We must have as its starting point the view expressed by docere mentis .
Documenta as a museum where the art was placed in a more complex cultural program.
We think that the first edition there were speakers like Ernst Bloch, Bertolt Brecht, Siegfried Gedion ...
Arnold Bode was one of the promoters with Haftmann Werner, an art historian ... the claim was to show art from 1900 to 1950. Symptomatic was the absence of title for the exhibition.
we see in the image on the right with Roswitha Werner Haftmann Viollet
XXX. Venzia Biennale in 1960.
Documenta was born from the ruins of a bombing which saw 40,000 casualties, a huge scar to Kassel and Germany that did not remove the ruins, but gave birth on the death of a new museum reborn.
"Bei einer Grossen Picasso-Ausstellung im ruinösen Renaissancebau des Mailänder" Palazzo Reale "im Jahre 1953 kam Arnold Bode, als erfolgreicher Messearchitekt, die Idee, das als Ausstellungsort zerbombte Fridericianum Museum für die zu nutzen documents."
It was a tendency for theatrics. This show we are interested according to the White Cube ...
The will of the modern was not expressed in an attempt to hide. The artist does not disguise the fact by which the work is active.
We must think about the concept of permanent negotiation between the show and lighter than the modern forms.
art as freedom of individuals ...
edition of Documenta 3 there was a confusion between interior and exterior ...
I report what I found in THIS SITE on Document 3, 1964:
" Museum of 100 Days."
Artistic Director: Arnold Bode, Werner Haftmann
"Art is what major artists make." This was the motto of documenta 3 in 1964. Werner Haftmann again tried to justify his hypothesis on the primacy of pre-War Modernism and for the last time the show centered on the older generation of artists with selected works, documenting their exemplary role for contemporary art. However, no claim was made to completeness; the artists were purely selected according to "quality and relevance". The special feature of d3 was that it no longer entailed showcasing various groups of artists, but hinged on the artist as an individual. The freedom and independence of art was something that could no longer be construed in terms of styles and schools, but arose from the individual creative act of an outstanding artist, although Haftmann continued to adhere to his notion of "abstraction as world language "and neglected Those Most recent trends in contemporary art Which Ran Against the grain of this theory. www.documenta.de/
Document Archive
Joseph Beuys, 7000 Eichen, Documenta VII, Kassel, 1982
Subscribe to:
Posts (Atom)