Friday, December 05, 2014

Buenos Aires/ Argentina (MNBA, MALBA, Fernández Blanco)

Pictures taken by A/Z (for more pictures see here).

"Thus, where shall we put Isis, favouring nymph of corn as she was? As the type of motherhood? As the moon? As the great goddess Earth? As Nature? As the Cosmic Egg from which all Nature sprang? For as time and place have changed, so she is all of these!"
Aleister Crowley (Liber 777)
"Na volta de Matogrosso, depois de quase um mês de descanso, foi assistir a um show de Astor Piazzola e, no final, falou com ele que era cantor e queria gravar uma música sua. Surpreso, viu que Piazzola conhecia o Secos e Molhados, e, ainda por cima, o convidou para gravar com ele na Itália. Não desmaiou porque era controlado."
Denise Pires Vaz (Um cara meio estranho)

"Pero los extranjeros cuando van a Buenos Aires sale de allá encantados. Les gusta sobre todo eso, la cantidad de confiterías para sentarse. Y podés estar horas con un pocillo de café y ningún mozo te viene a presionar que le dejes la mesa libre o que pidas algo más. Es la costumbre, de allá nada más, de pasarse horas sentado conversando."
Luci (Cae la noche tropical)
"Y sonrían los sibaritas ingleses, casi todos lectores de Hegel, cuando se hundan en el argentino bife." 

Netherlands (Amsterdam, Utrecht) plus Peter Greenaway

pictures by A/Z (for more, see here);
from Peter Greenaway's Goltzius and the Pelican Company (2012);
Peter Greenaway on Creative Activity, Eros, Thanatos (& your gramma);

"Susanne Leenhoff, grande et massive comme un Rembrandt, tendre comme un Vermeer, joyeyse comme un Frans Hals..."
Sophie Chauveau (Manet Le secret)
"Les cauchemars de la peinture flamande nous frappent par la juxtaposition à côté du monde vrai de ce qui n'est plus qu'une caricature de ce monde; ils offrent des larves qu'on airait pu rêver."
A. Artaud (Théâtre oriental et théâtre occidental)
"... les images de certaines peintures de Grünewald ou de Hieronymus Bosch, disent assez ce que peut être un spectacle où, comme dans le cerveau d'un saint quelconque, les choses de la nature extérieure apparaîtront comme des tentations."
A. Artaud (Le théâtre et la cruauté)
"Esse integrante do grupo chefiado pelo Beatinho para se entregar às forças federais, singularizava-se pelos traços que dele Euclides nos deu, mais no livro que aqui, diversos dos do sertanejo em geral, isto é, bem nutrido, olhos azuis, com muito de flamengo, lembrando ascendência holandesa."
Olímpio de Souza Andrade (em Euclides da Cunha, Caderneta de Campo)
"Una pesadilla —dice Ulpiano—. Han colgado en los árboles a esos que mataron aquí. Los urubús los picotean. Pone los pelos de punta."
"Eran los colgajos de los árboles lo que el Enano miraba hechizado..."
Mario Vargas Llosa, La guerra del fin del mundo

"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 Dimension).
"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 Dimension).
"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).