Friday, December 05, 2014

Buenos Aires (Argentina)

"Y sonrían los sibaritas ingleses, casi todos lectores de Hegel, 
cuando se hundan en el argentino bife." Lezama Lima

Most of the pictures (iglesias, street art, el Banco de Londres) were taken between down town and San Telmo. There are also pictures of the Iglesia Nuestra Señora del Pilar. Many pictures were taken inside the Museo Nacional de Bellas Artes and MALBA, others in the Museo de Arte Hispanoamericano Isaac Fernández Blanco

"Just as [a] Vermeer could not have executed his paintings with 
a two-inch-wide brush... particles cannot be sensitive to short-distance 
physical processes unless their wavefunction varies over only small scales... according to de Broglie... the wavelength of a particle-wave is inversely 
proportional to its momentum... you need high energies to be sensitive 
to the physics of short distances..." (Lisa Randall, Warped Passages);

"The variety of painterly color spots
or lines depends on one stimulus or
another that happens outside of a
rational establishment of those lines
and spots, that is, they are in a non-
objective state: the blind dark norm"
(Kazimir Malevich, The World as 
Objectlessness, Hatje Cantz 2014);

"A Tanagra, Egyptian, or Congo statuette
often gives the impression of a colossal
statue, while a poor, mediocre piece of sculpture
appears to be of the size of a pin-head, for it is 
devoid of this boundless sense of space...
intensity or energy..."(Max Weber, quoted
in Linda Henderson, The Fourth Dimension);

Netherlands (Amsterdam, Utrecht)

Most of the pictures were taken in the following museums: Museum Catharijneconvent (Utrecht), Centraal Museum (Utrecht), Rijksmuseum (Amsterdam), and Stedelijk Museum (Amsterdam). Some pictures were taken near Park Lepelenburg (Utrecht).

"For just as the beating is not only punishment for
guilt but also a source of pleasure, every other element
is similarly ruled by this wild ambivalence, this 
simultaneous holding of two wholly contrary 
positions... the peculiar temporality of the matrix...
the meanings of all the stages remain suspended within
it, in the form of a 'but also'... (Rosalind Krauss, The 
Optical Unconscious);

"... Malevich may have reversed the process 
of dealing with higher dimensional figures by 
means of their sections of one less dimension.
Instead, he may have thought of his colored 
forms as symbols for three-dimensional bodies
moving in a new direction and thus creating both
four-dimensional solids and four-dimensional 
space..."(Linda Henderson, The Fourth 

"A third way in which hyperspace philosophy may have 
influenced Malevich... relates to their new, gravity-free 
space... there is no longer a horizon to establish an up-down 
orientation... Ouspensky describes infinity as... 'the abyss, 
the bottomless pit into which the mind falls, after having 
risen to heights to which it is not native'... a November 1917 
letter [from Malevich] to Matyushin states 'I saw myself in 
space hidden among the points and colored strips, there, in
the middle of them, I depart in the abyss..."
(Linda Henderson, The Fourth Dimension);

"quarks and leptons acquire mass in a very 
similar fashion to the weak gauge bosons... 
[they] interact with the Higgs field distributed 
throughout space and are therefore also hindered 
by the universe's weak charge... [they] acquire 
mass by bouncing off the Higgs charge distributed 
everywhere throughout spacetime..."
(Lisa Randall, Warped Passages)

"Human life is oppressed by internal causes (both physical and moral) 
as well as by external factors. It is necessary to fight against both. 
All that can help us to understand the evils of oppression is useful 
to present and future. Therefore it is essential to demonstrate that 
plastic art can help to clarify this evil... Art is the aesthetic establishment 
of complete life (unity and equilibrium) free from all oppression..." 
(Mondrian, as quoted in Charles Harrison's 'Abstraction');

"Man, as the appearance of utmost internality, 
of spirit, does not posses any point in front, 
at the side or the back, no fixed point at all towards
which he could define a dimension. This explains
why in expressing the spiritual, in making spirit an
artifact, he will be forced to a moto-stereometric form 
of expression. This moto-stereometric form of expression 
represents the appearance of a 4-n dimensional world 
in a world of three dimensions" (Theo van Doesburg, 
as quoted in Linda Henderson's The Fourth

"Dada completely negates the generally
acknowledged duality of matter and mind,
woman and man, and in so doing creates the
'point of indifference', a point beyond man's 
understanding of time and space. For this
reason Dada is able to mobilize the optical
and dimensional static viewpoint which kept
us imprisoned in our (three-dimensional) 
illusions" (Theo van Doesburg, as quoted
in Linda Henderson's The Fourth Dimension);

"The sensation that demands you sit, lie, 
stand is first of all a plastic sensation that
elicits commensurate plastic forms, therefore,
the chair, bed, and table are not utilitarian
phenomena but only plastic ones, otherwise
the artist cannot sense them" (Kazimir
Malevich, The World as Objectlessness,
Hatje Cantz, 2014);


from Peter Greenaway's
Goltzius and the Pelican Company

More Peter Greenaway:

See also:
- en profane: Orsay & Centre Pompidou;
- Spooky Blue;