Saturday, December 3, 2016

Precision German Craftsmanship


It was a good day and I was about to do something important
and good, but then I unscrewed the pen I was using
to see the ink. Precision German craftsmanship.
The Germans are so persnickety and precise,
they wash their driveways. Their mountains and streams
dance around each other in a clockwork, courtly imitation
of spring. They build the Panzer tank, out of rakes
hoses and garden gnomes; they built me.
And I’ve seated myself above an avenue on the brink
of mystery, always just on the lip, with my toes over the lip
but my bowels behind.
When I replaced the ink the sky was socked in,
only one window of blue open in the north, directly over someone.
But that person was reading about Rosicrucians in the laundromat,
he was unaware as the blue window closed above him.
The rest of us are limp and damp,
I see a button in front of us that says “spin cycle.”
I’m going to push it.


Matthew Rohrer, 2001

Zur Grund- und Bodenlosigkeit der Kunst


The title Zur Grund- und Bodenlosigkeit der Kunst (On the Groundlessness and Bottomlessness of Art) refers first and foremost to a number of characterizations of modern art, assigned both from the outside and from within. Perhaps groundlessness/bottomlessness are even a characteristic attribute of modern art, between scandal and nihilism, different modes of constructivism and negative critique, universalist projects and experiments with the laws of visual perception. As far as contemporary art is concerned, however, other associations present themselves. Is it not an attribute of contemporary art to pull the ground out from under everyday perceptions in the sense of an ontological destabilization? Doesn’t contemporary art constantly have to subvert traditional, normative concepts of reality in order to open up the grounds of reality construction and representation for experimentation?

Anselm Franke is a curator and writer based in Berlin. He is Head of Visual Art and Film at the Haus der Kulturen der Welt, where he co-curated The Anthropocene Project (2013–2014), and several exhibitions including Ape Culture (2015) and Nervous Systems (2016). 

In cooperation with Kunstakademie Münster and Freunde der Kunstakademie e.V. Münster Lecture
Anselm Franke, Zur Grund- und Bodenlosigkeit der Kunst
Tuesday, 6 December 2016, 6 pm
Kunstakademie Münster, Hörsaal 1

Genii Loci


Μέσα από την παρουσίαση 100 δημιουργών και την επιλογή 147 αντιπροσωπευτικών έργων από τις συλλογές της Εθνικής Πινακοθήκης-Μουσείου Αλεξάνδρου Σούτζου, του Εθνικού Μουσείου Σύγχρονης Τέχνης, του Κρατικού Μουσείου Σύγχρονης Τέχνης καθώς και σημαντικές ιδιωτικές συλλογές της χώρας, η έκθεση επιχειρεί να αναδείξει τη βιωματική και πνευματική σχέση των καλλιτεχνών με τον τόπο, καθώς και τον τρόπο με τον οποίο, μέσω της καλλιτεχνικής έκφρασης, ο τόπος φορτίζεται με ένα πλήθος νοημάτων και συμβόλων που προβάλλουν την ιδιαιτερότητά του και καθορίζουν το πνεύμα, τον χαρακτήρα και την ψυχή του.
Η εννοιολογική διάρθρωση των ενοτήτων της έκθεσης βασίζεται στην κατανόηση των φαινομένων, μέσα από τον συσχετισμό, τον σχολιασμό και την αντιπαραβολή τού χθες με το σήμερα, κι έχει ως κεντρικό ζητούμενο το πώς κάθε φορά η ελληνική καλλιτεχνική παραγωγή συνδιαλέγεται με το παρελθόν και τα διεθνή νεωτεριστικά πρότυπα.
Η έκθεση δομείται εννοιολογικά σε τρεις μεγάλες ενότητες. Η πρώτη πραγματεύεται την έννοια της ταυτότητας και το αίτημα της ελληνικότητας όπως αυτό διατυπώθηκε τη δεκαετία του ‘30 και τη μεταπολεμική περίοδο. Η δεύτερη αναφέρεται στην έννοια της αμφισβήτησης και στην αισθητική και πολιτική ρήξη των δεκαετιών του ’60 και του ’70, ενώ η τρίτη στην έννοια της αναζήτησης και στις μεταμορφώσεις που συντελούνται στη σύγχρονη ελληνική τέχνη σε σχέση με την παράδοση και τη μνήμη, τη διερεύνηση υπαρξιακών πεδίων και τις κοινωνικοπολιτικές εξελίξεις από τη δεκαετία του ’80 έως σήμερα.
Επιμελητές της έκθεσης είναι οι ιστορικοί τέχνης Έφη Αγαθονίκου, Τίνα Πανδή, Θοδωρής Μάρκογλου και Σπύρος Μάκκας, ενώ τον αρχιτεκτονικό-μουσειογραφικό σχεδιασμό έχει αναλάβει ο αρχιτέκτονας Αλέξανδρος Ξενάκης.

















At the end of the demonstration day, 2009

Συμμετέχοντες Καλλιτέχνες
Αβραμίδης Ιωάννης, Αγγελιδάκης Ανδρέας, Ακριθάκης Αλέξης, Αλεξίου Νίκος, Αληθεινός Δημήτρης, Αντωνάκος Στήβεν, Απάρτης Θανάσης, Απέργης Αχιλλέας, Αστεριάδης Αγήνωρ, Βακιρτζής Γεώργιος, Βαρώτσος Κώστας, Βασιλείου Σπύρος, Βελώνης Κωστής, Βλάχος Βαγγέλης, Γαΐτης Γιάννης, Γερόλυμπος Γιώργης, Γεωργίου Απόστολος, Γουναρόπουλος Γεώργιος, Δαμπασίνα Λυδία, Δανιήλ (Παναγόπουλος), Διαμαντόπουλος Διαμαντής, Δίγκα Κλεοπάτρα, Διοχάντη, Εγγονόπουλος Νίκος, Ευθυμιάδη-Μενεγάκη Φρόσω, Ζογγολόπουλος Γιώργος, Ζούνη (Σαρπάκη) Όπυ, Θόδωρος, Καλλιγά Λίζη, Καναγκίνη Νίκη, Κανιάρης Βλάσης, Καπράλος Χρήστος, Κατζουράκης Κυριάκος, Κατζουράκης Μιχάλης, Κατράκη Βάσω, Κεσσανλής Νίκος, Κοκκινιάς Πάνος, Κοκκινίδης Δημοσθένης, Κόντογλου Φώτης, Κοντόπουλος Αλέκος, Κοντός Δημήτρης, Κουνέλλης Γιάννης, Λαζόγκας Γιώργος, Λάππας Γιώργος, Λοϊζίδου Μαρία, Λογοθέτης Στάθης, Μαγγιώρου Λουκία, Μανουσάκης Μιχάλης, Μόραλης Γιάννης, Μποκόρος Χρήστος, Μπότσογλου Χρόνης, Μπουτέας Γιάννης, Μυταράς Δημήτρης, Ναυρίδης Νίκος, Νικολάου Νίκος, Ντάβου Μπία, Ξαγοράρης Ζάφος, Ξαγοράρης Παντελής, Ξενός Γιώργος, Παπαδημητρίου Μαρία, Παπαηλιάκης Ηλίας, Παπακωνσταντίνου Λήδα, Παπακωνσταντίνου Νίνα, Παπαλουκάς Σπύρος, Παπασπύρου Ρένα, Παρθένης Κωνσταντίνος, Παρμακέλης Γιάννης, Πάστρα Ναυσικά, Πεντζίκης Νίκος Γαβριήλ, Ρόρρης Γιώργος, Ρωμανού Χρύσα, Σαμαράς Λουκάς, Σεμερτζίδης Βάλιας, Σικελιώτης Γιώργος, Σκυλάκος Βασίλης, Σπαχής Άγγελος, Σπηλιόπουλος Μάριος, Σπυρόπουλος Γιάννης, Στάμος Θεόδωρος, Στέρης Γεράσιμος, Σόρογκας Σωτήρης, Σούλου Χριστιάννα, Στραπατσάκη Μαριάννα, Σώχος Αντώνιος, Τάκις (Βασιλάκης Παναγιώτης), Τάσσος Α., Τέτσης Παναγιώτης, Τσαγκάρης Πάνος, Τσαρούχης Γιάννης, Τσιβόπουλος Στέφανος, Τσόκλης Κώστας, Φαϊτάκης Στέλιος, Φασιανός Αλέκος, Χαραλάμπους Πάνος, Χατζηκυριάκος-Γκίκας Νίκος, Χατζημιχάλης Γιώργος, Χριστάκης Τάσος, Χρύσα, Ψυχοπαίδης Γιάννης, Ψυχούλης Αλέξανδρος

30 Νοεμβριου - 8 Ιανουαριου : "Genii Loci. Ελληνική Τέχνη από το 1930 έως σήμερα"
Κρατικό Μουσείο Manege, Αγ.Πετρούπολη,

Ένα Σημείο στο Κέντρο


Saturday, November 26, 2016

Whistle While you Work


At the NOVA sector of Art Basel | Miami Beach (2016), Kalfayan Galleries present a curated solo exhibition of Kostis Velonis (b.1968), a thought-provoking research on sociopolitical theories reflecting the artist's Greek heritage and his recent experiences in Mexico.
Following the artist's three-month residency in 2016 at Casa Maauad in Mexico City Velonis' solo  show titled 'Part Company' explored antithetical approaches to community living and social participation by two distinct figures of Mexican Modernism, Greek-Mexican activist Plotino Rhodakanaty (1828-1892) and Mexican artist of German origin Mathias Goeritz (1915-1990).


Velonis work explores a broader context around class identity and the beauty of the trivial, through an emergency sculpture, encompassing rather than isolating aesthetics and politics. Kostis Velonis' solo presentation at NOVA consists mainly of new works, specifically created for the Art Basel Miami Beach: works on canvas from the "Trade Union Conflicts" series are juxtaposed to sculptures from the "Puppetry for Long Distance People" series and sculptures/ paintings from the series titled "Whistle While you Work". His work interrogates the ideological orientations of avant-garde movements during the 20th century, which saw art as a practice for social purposes. Velonis' work reminds us domesticity which was easily dismissed as it was in the heyday of modernism, when it was considered a failed and outdated value system among the upper and middle classes. Apart from historical connotations, the playful narrations and "awkward" craftsmanship of Velonis' sculptures demythicize the "revolutionary" rhetoric and ideological taboos of contemporary "political art". At the same time they are opening themselves to narratives of rural life and determine a time line prior to but also parallel to modernity.
Velonis' construction materials remain raw - often unpainted pine boards or humble construction materials scavenged from suburban areas, placed alongside readymade unidentified objects. The practices of scavenging, DIY and bricolage offer experiences related to the cultivation of anonymous folk design, drawing from already existing forms and structures. Revealing his training as an architect, the works sometimes represent carefully designed – almost monumental, one could say – responses in wood and brick and other times challenge the vertical structure of sculptural construction revealing its formless and primitive shape with remnants of steel reinforced concrete, clay and marble.


In dialogue with constructions that make visible conditions of ephemerality are paintings from the artist's series titled "Whistle While you Work" (from Walt Disney's 1937 film, "Snow White and the Seven Dwarfs"), a colorful socio political commentary on contemporary work ethic and the apotheosis of workers' productivity. These paintings, evoking an ironic optimism about the improvement of worker's performance while whistling in their workplace, are combined with Velonis' sculptures, like studies on issues of a controversial life between the pursuit of happiness and the experience of suffering. Velonis in his most recent production of paintings and sculptures borrows his stylistic vocabulary from modern masters of abstraction reconceptualising their appetite for formalism towards a Mediterranean trope with motifs from Greek folklore, inventing a  literature of the South focused on self-sufficiency and simplicity of rural life.

Art Basel
Miami Beach, Dec.1-4
Kostis Velonis
Nova section /Booth N28


Wednesday, November 23, 2016

Persnickety


Persnickety (Precision German Craftsmanship series), 2016
Plywood, acrylic
100 x 117 x 3 cm


Thursday, November 17, 2016

The Filmed Apartment: Biopolitics of Domesticity in Modern Athens


The postwar development of Athens was an important step in the modernization of Greece. The economic boom, the emergence of a new middle class, and the urbanization process, took place in a very short period. Contrary to what has happened in most European countries, urbanization in Greece was not based on top- down urban planning, but on the ad-hoc repetition of a single building type: the polykatoikia (i.e. apartment building). The polykatoikia had a significant contribution in the urban and economic development of the country. Moreover, it had a dominant role in the formation of modern subjectivity in Greece. The workshop focuses on the development of Greek modernism through the architecture of middle class housing and the representations of urban dwelling in cinema. The analysis of architectural design takes into consideration the layout of the typical apartment, and the way that the repetition of a single building type has produced the city. The film analysis takes place in three ways: First, as a cinematic archaeology that renders visible social and urban transformations of the past; second, through the understanding of the methods that cinema has promoted, or put into question, specific lifestyles and ideologies; and finally, through film form and the analysis of its cultural significance.

Workshop by Panos Dragonas
University of Patras Stanley J. Seeger Visiting Research Fellow, Hellenic Studies
Respondent: M. Christine Boyer, Architecture
Seeger Center for Hellenic Studies-Princeton University
Friday, November 18, 2016 1:30 p.m 

Wednesday, November 16, 2016

Sculpture mouvante ou La France

Man Ray, Sculpture mouvante ou La France, 1920
Musée national d’Art moderne, Centre Pompidou, Paris, dation en 1994


La Barricade de la rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière


Thibault, La Barricade de la rue Saint-Maur-Popincourt avant l’attaque par les troupes du général Lamoricière, le dimanche 25 juin 1848


Graffitis de prisonniers


Voula Papaioannou, Graffitis de prisonniers sur les murs de la prison allemande de la rue Merlin à Athènes, 1944

Soulèvements


Ce parcours propose vingt-cinq images sélectionnées et commentées par Benjamin Bardinet et Ève Lepaon, conférenciers-formateurs au Jeu de Paume. Il est articulé en cinq sections introduites par Georges Didi-Huberman, commissaire de l’exposition : Éléments (déchaînés), Gestes (intenses), Mots (exclamés), Conflits (embrasés), Désirs (indestructibles).

Se soulever, comme lorsqu’on dit « une tempête se lève, se soulève ». Renverser la pesanteur qui nous clouait au sol. Alors, ce sont les lois de l’atmosphère tout entière qui seront contredites. Surfaces – draps, drapés, drapeaux – qui volent au vent. Lumières qui explosent en feux d’artifice. Poussière qui sort de ses recoins, qui s’élève. Temps qui sort de ses gonds. Monde sens dessus dessous. De Victor Hugo à Eisenstein et au-delà, les soulèvements seront souvent comparés à des ouragans ou à de grandes vagues déferlantes. Parce qu’alors les éléments (de l’histoire) se déchaînent.

On se soulève d’abord en exerçant son imagination, fût-ce dans ses « caprices » ou ses « disparates », comme disait Goya. L’imagination soulève des montagnes. Et lorsqu’on se soulève depuis un « désastre » réel, cela veut dire qu’à ce qui nous oppresse, à ceux qui veulent nous rendre les mouvements impossibles, on oppose la résistance de forces qui sont désirs et imaginations d’abord, c’est-à-dire forces psychiques de déchaînement et réouvertures des possibles. (G. D.-H.)



Values of Happiness



Text by Harry Walker, Iza Kavedžija


Tuesday, November 15, 2016

Wednesday, October 26, 2016

Urgent Conversations: Athens – Antwerp



Little wooden seats and the woman of his dreams, 2006
Wood mdf, plywood, metal, lamp, cd, cd player, 2 speakers, amplifier.
Dimensions variable.


The first exhibition that will inaugurate the temporary exhibition spaces of EMST simultaneously with the Program EMST in the World is a coproduction of EMST and the Museum of Contemporary Art Antwerp (M HKA).
The exhibition entitled Urgent Conversations: Athens – Antwerp will be inaugurated on October 31, 2016 and last until January 29, 2017, essentially restarting the temporary exhibition activities of the Museum, which had been suspended in 2015 due to the relocation at its permanent home and due to the activities that were taking place for the operation and receipt of the new building.
The exhibition aims to be a theoretical and visual dialogue, based on works from the collections of both Museums, which includes more than 70 works and is structured in 22 thematic units. In April 2017, the exhibition will travel to Belgium on a smaller scale.
Curated by: Bart De Baere, Katerina Koskina, assistant Curators: Stamatis Schizakis, Jan De Vree





         Dimitris Alithinos - Luc Deleu - Allan Sekula-Goshka Macuga - Theodoros - Wout Vercammen-Vlassis Caniaris - Jef Geys - Cady Noland-François Curlet - N.S.Harsha - Costas Varotsos- Costis - Paul De Vree - Sarenco-Jimmie Durham - Danny Matthys- Kostis Velonis-Ilias Papailiakis - Wilhelm Sasnal - Luc Tuymans-Marina Abramović & Ulay - Bernd Lohaus-Stefanos Tsivopoulos-Vlad Monroe - Eleni Mylonas - Hugo Roelandt-Marlene Dumas - Apostolos Georgiou - Koen van den Broek-Bia Davou -Alevtina Kakhidze - Anne-Mie Van Kerckhoven-Guillaume Bijl - Chryssa - Johanna Kandl-Kimsooja - Ria Pacquée - Danae Stratou-Hicham Benohoud - Wim Delvoye - Costas Tsoclis-Nikos Alexiou - Yael Kanarek - Guy Rombouts-Douglas Gordon - Jacques Lizène - Lucas Samaras-Francis Alÿs - Charif Benhelima - Nina Papaconstantinou-Rustam Khalfin & Yuliya Tikhonova - Guy Mees - Rena Papaspyrou-Nicos Baikas - Thierry De Cordier - Ivan Kožarić-Stephen Antonakos - James Lee Byars - Philippe Van Snick-Jan Henderikse - Nikos Kessanlis - Panamarenko-Jan Fabre - Almagul Menlibayeva - Maria Papadimitriou


In the Carpet



Ida Kerkovius, Landscape, around 1947, handwoven carpet,125 x 135 cm, Courtesy of Kunstmuseum Stuttgart

The Essay In the Carpet by the curators Salma Lahlou, Mouna Mekouar and Alya Sebti of the exhibition of the same name tells the story of reciprocal historical and cultural influences between the European and Moroccan crafts of carpet making from early Avantgarde and Fauvism to contemporary artists’passion for Berber carpets and Moroccan Pictorial Modernity. The story evolves around Sheila Hicks, a former scholar of Joseph Albers and one of the pioneers of textile art who was invited to Morocco, in the 1970s where the redefinition of the artistic value of traditional arts was at the center of discussion.

Text by Salma Lahlou, Mouna Mekouar & Alya Sebti — Oct 25, 2016




Sunday, October 9, 2016

The Bungler


You glow in my heart
Like the flames of uncontrolled candles.
But when I go to warm my hands,
My clumsiness overturns the light,
and then I stumble
Against the tables and chairs. 

Amy Lowell

Artistic Practices: Housing as social agreement Οngoing archive


Kosmonaut House, 2007. Wood, acrylic, 68 x70 x 27 cm. 

Postwar capitalism in the West has promoted its growth on the ideal of house ownership (with recent catastrophic financial effects) in a process of commodification of necessities of life. Commodification of housing though, more than being just a method of capital accumulation, resulted in the reconceptualisation of public and private space. Pierre Bourdieu describes a person’s existential relation to their position in terms of the social status conferred by the appropriation/possession of a particular extent of physical space: “Each agent may be characterized by the place where he or she is situated more or less permanently, that is, by her place of residence (those who are “without hearth or home,” without “permanent residence” … have almost no social existence—see the political status of the homeless) … It is also characterized by the place it legally occupies in space through properties (houses and apartments or offices, land for cultivation or residential development, etc.) which are more or less congesting … . It follows that the locus and the place occupied by an agent in appropriated social space are excellent indicators of his or her position in social space.
Nowadays, in the wake of the recent housing crises which have subverted the notion of housing as a consumer commodity, co-housing and community projects emerge as answers to the “Housing Question”. This shift towards collective solutions has been addressed by artistic, architectural and curatorial initiatives that over the past five decade have variously depicted and intervened into this unevenly developing urban condition.
Artistic Practices: Housing as social agreement” is an ongoing archive aiming to unfold a cartography of approaches by artists to the notion of the house, investigate and challenge the ways in which housing is not only imagined, but also effectuated by artists. Furthermore intends to point out the ways in which forms of cultural production can be reclaimed as tools with which to design, defend and reinvent social space.
The works featured in the archive are organized around four leitmotifs :‘Housing as utopia”, highlights the transformative, disruptive potential of housing in the social imagination, as the first step to a radical autonomy.“Housing as uneven development “raises the issues of inequalities in the distribution of the right to housing. Housing as dystopic construction” illustrated by a series of projects that explore the conflicts and correlations between the represented space of and the social and political action. “Housing as community building” explores the role of artist as social designer, the statial practices of commons, and arts based revitalization of under-resourced urban areas.
Curated by Giorgos Papadatos & Sofia Dona
Featured works byRebecca Agnes / Jonas Dahlberg / Giorgos Gyparakis / Tea Mäkipää / Artemis Potamianou / Kostis Velonis / Erwin Wurm /Angela Ferreira / Eugenio Tibaldi / Yiannis Theodoropoulos / Mona Vatamanu Florin Tudor / Giorgos Papadatos / Dorit Margreiter / Errands / Taysir Batniji/Kimsooja / Michael Rakowitz / Nicos Charalambidis / Róza El-Hassan / Tudor Bratu / Teddy Cruz / Raumlabor/Ahmet Öğüt / Sofia Dona / Marjetica Potrč / Zafos Xagoraris / Rick Lowe/ Project Row Houses
Parallel to the workshop Co-housing practices/ Ιnventing Prototypes for Athens
organized by Co-Hab Athens & NetHood (Zurich) & INURA Zurich & Athens
Hosted by Greek Pavilion, Giardini.
26 October – 27 November 2016
15th International Architecture Exhibition La Biennale di Venezia



Wednesday, October 5, 2016

Hungry Pinocchio




Hungry Pinocchio, 2016
Wood, acrylic, ceramic 
125 x 50 x 8 cm

Sunday, October 2, 2016

Το πέταγμα της γλαύκας: Μορφές πρόσληψης της αρχαίας ελληνικής φιλοσοφίας στη Γερμανία.



Το ΑΠΘ ("Εργαστήριο Φιλοσοφίας: Κείμενα και Ερμηνείες"), ο Δήμος Θεσσαλονίκης και το γερμανικό ίδρυμα Alexander von Humboldt-Stiftung διοργανώνουν ελληνο-τουρκικό φιλοσοφικό συνέδριο (Humboldt-Kolleg) με θέμα
''Το πέταγμα της γλαύκας: Μορφές πρόσληψης της αρχαίας ελληνικής φιλοσοφίας στη Γερμανία''.
Το συνέδριο θα διεξαχθεί στη Θεσσαλονίκη το τριήμερο 7-9 Οκτωβρίου 2016 και αναμένεται να αποτελέσει ένα μείζον φιλοσοφικό γεγονός, αλλά και να λειτουργήσει ως δίαυλος επικοινωνίας ανάμεσα στην ελληνική και την τουρκική φιλοσοφική κοινότητα.
Θέμα του συνεδρίου είναι η πορεία και πρόσληψη της αρχαίας ελληνικής φιλοσοφίας στον γερμανικό χώρο. Στόχος είναι να αναδειχθεί η παγκόσμια και καθολική σημασία της, χωρίς τις στενώσεις που επιφέρουν οι αξιώσεις ‘κληρονόμησής’ της. Οι ανακοινώσεις θα αναφέρονται σε ολόκληρο το φάσμα πρόσληψης και παραγωγικής οικειοποίησης της ελληνικής σκέψης από τη γερμανική φιλοσοφία: από τον 18ο αιώνα και τον γερμανικό ιδεαλισμό μέχρι το τέλος του 20ού αιώνα. Επιστημονική Επιτροπή:Παναγιώτης Θανασάς (ΑΠΘ) Sanem Yazicioğlu (Istanbul)

Saturday, October 1, 2016

Friday, September 30, 2016

For a New Liberty


Murray N. Rothbard proposes a once-and-for-all escape from the two major political parties, the ideologies they embrace, and their central plans for using state power against people. Libertarianism is Rothbard's radical alternative that says state power is unworkable and immoral and ought to be curbed and finally abolished

https://mises.org/sites/default/files/For%20a%20New%20Liberty%20The%20Libertarian%20Manifesto_3.pdf


Staying There



Staying There, 2016
Concrete, felt
30 x 23 x 30 cm

Aside


In Berkshire somewhere 1970
I hid in a laurel bush outside a house,
Planted in gravel I think.
I stopped running and just pushed open
Its oilskin flaps and settled down
In some kind of waiting room, whose scarred boughs
Had clearly been leaning and kneeling there
For a long time. They were bright black.

I remember this Museum of Twilight
Was low-ceilinged and hear-through
As through a bedroom window
One hears the zone of someone’s afternoon
Being shouted and shouted in, but by now
I was too evergreen to answer, watching
The woodlice at work in hard hats
Taking their trolleys up and down.

Through longer and longer interims
A dead leaf fell, rigidly yellow and slow.
So by degrees I became invisible
In that spotted sick-room light
And nobody found me there.
The hour has not yet ended in which
Under a cloth of Laurel
I sat quite still.


Alice Oswald

Whither anarchy: freedom as non-domination


Which institutions are best suited to realising freedom? This is a question recently asked by the republican political theorist Philip Pettit
Anarchists, by contrast to republicans, argue that the modern nation-state and the institution of private property are antithetical to freedom. According to anarchists, these are historic injustices that are structurally dominating. If you value freedom as non-domination, you must reject both as inimical to realising this freedom.
But what is freedom as non-domination? In a nutshell, by a line of thinking most vocally articulated by Pettit, I’m free to the degree that I am not arbitrarily dominated by any other. I am not free if someone can arbitrarily interfere in the execution of my choices.
If I consent to a system of rules or procedures, anyone that then invokes these rules against me cannot be said to be curtailing my freedom from domination. My scope for action might be constrained, but since I have consented to the rules that now curtail my freedom, I am not subject to arbitrary domination.

Ein Holzstern, blau


Ein Holzstern, blau,
aus kleinen Rauten gebaut. Heute, von
der jüngsten unserer Hände.

Das Wort, während
du Salz aus der Nacht fällst, der Blick
wieder die Windgalle sucht:

- Ein Stern, tu ihn,
tu den Stern in die Nacht.

(- In meine, in
meine.) 

Paul Celan

Sunday, September 18, 2016

Borders


Borders (Puppetry for Long Distance People) 2016
Concrete, wood, acrylic 
25 x 58 x 25 cm

Tuesday, September 6, 2016

Songs of Labour and Pleasure, from Postpaganism to Neoliberalism


An idiosyncratic mixtape based on an impromptu listening seminar held at Labour Camp, part of Paul Chaney’s Critical Camps series at Kestle Barton, traces the relationship between work and eroticism through popular song.

Starting with a bucolic idyll of self-suffiency where labour is not yet separated from life, continuing with traditional English folk song in which collective pleasure is embedded in and resonates with the cyclical patterns of agricultural labour, the mix then traverses the industrial revolution, where the new mechanical tools are at first reinscribed into this postpagan cosmology of jouissance, going on to chart the divergence of pleasure and labour as their intertwining shifts, in early popular mass entertainment media, into mere burlesque and innuendo; remembering colonial slave labour and the appropriation of its affect and expression in Western popular music; arriving at the refusal of exploitation, the separation of work and love into mutual exclusivity, the culminating existential frustration of the commuter; and the thanatropic joy of being absorbed into the machine. It ends in the present day with the queasy rapture of a libidinal economy in which work and pleasure are once more integrated, but this time according to new meshings in which human desire no longer resonates with meadow and the cosmos, but is re-engineered and modulated by a fluid media apparatus.

One and the Many


Fatoş Oyuncakları (Fatoş Toys), 1971-73 products.  Courtesy Fatoş İnhan.

One and the Many is a research-based exhibition that looks into the production and distribution of things. It tackles the period 1955–95 in Turkey, by following the material results of gradual industrialization as well as its contingent infrastructural disposals. The exhibition frames the topic primarily through stories of selected artifacts common to the ’80s, a period when industrial products met a voluminous consumer market for the first time.
The research and narrative of One and the Many are structured around the notion of genuine copies. Questioning our standard expectation of ingenuity versus the opportunity of building atop each other’s ideas, the exhibition suggests a fresh perspective on the history of production in Turkey. From the early-day assembly industry, to today’s abundant copyright infringing replicas, copies have been scrutinized from both economic and intellectual viewpoints. The exhibition brings together artifacts from a variety of industries—automotive, white goods, furniture, toy, stationery, pret-a-porter, textile, food and beverage, tableware, cutlery, and hygiene—inviting users to value things per se, in order to recognize the ingenuity prompted by circumstances and appreciate copying as a method of learning.
One and the Many was produced with rich contributions from collaborating industries, professionals, consultants, academics and students who provided various ideas, content and narrations. The exhibition is part of the five-year program The Uses of Art — The Legacy of 1848 an1989, organized by L’Internationale.


September 6–November 13, 2016
SALT Galata
Istanbul

Sunday, September 4, 2016

Carving the Perfect Citizen: The Adventures of Italian Pinocchio in the Soviet Union and the United States


Branson, Rachel, "Carving the Perfect Citizen: The Adventures of Italian Pinocchio in the Soviet Union and the United States" (2014). Honors Projects. Paper 18.

Thursday, September 1, 2016

The science of the inconceivable

A different kind of logic

by Philip Ball

Late last year, an experiment carried out by scientists at the Delft University of Technology in the Netherlands appeared to demonstrate that one object can affect another from afar without any physical interaction between the two. The finding confirmed an idea so extraordinary that, nearly a century ago, Albert Einstein had rejected it with the dismissive phrase “spooky action at a distance.” In quantum theory this phenomenon is known as “entanglement,” and many physicists now regard it as the most profound and important characteristic of the physical world at the smallest scales, which quantum theory describes.

Quantum entanglement is a deeply counterintuitive idea, which seems to contradict human experience of the physical world at the most essential level. In the everyday (“classical”) physical realm, objects affect one another via some kind of contact. The tennis ball flies from the racquet when struck, and when it hits the window the glass will smash. Sure, “invisible forces” seem to act across space—magnetic and electrical attraction and repulsion, say. But in quantum theory these interactions arise from the passage of a particle—a photon of light—between the two interacting bodies. Meanwhile, Einstein showed that the Sun’s gravity corresponds to a distortion of space, to which distant objects such as Earth respond. It’s generally believed that in a quantum theory of gravity (which doesn’t yet exist), this picture will prove to be equivalent to the exchange of “gravity particles” or gravitons between the Sun and Earth.
But quantum entanglement bothered Einstein because it suggested that one particle could affect another even when there was no conceivable physical interaction between them. It didn’t matter if those particles were light years apart—measuring a property of one particle would, according to quantum theory, instantly affect the properties of the other. How could that be?

http://www.prospectmagazine.co.uk/features/the-science-of-the-inconceivable

Smyging



Smyging” was one of many methods used to cure epilepsy in Norway. This photo was teken in 1922.