Attitude To A Miss

That night was to decide
if she and I
were to be lovers.
Under cover
of darkness
no one would see, you see.
I bent over her, it’s the truth,
and as I did,
it’s the truth, I swear it,
I said
like a kindly parent:
“Passion’s a precipice –
so won’t you please
move away?
Move away,
please!”

Vladimir Mayakovsky 1920

A text written on common A4 paper

Diego Bruno
pencil on paper 2005-06
29 x 21 cm

About Apollonian Beauty

Florian Waldvogel :How does your work relate to art history, Russian constructivism for example?

Kostis Velonis: The examination of the strategies by which avant garde movement seeks to legitimate itself is a crucial point in my work. I usually portray a specific moment of an emotion which reflects the failure of modernist utopias and my emphasis on historical and artistic facts of that period relies upon my need to opposite individuality within ideological systems.


FW: Which philosopher of the post-modern influenced your work?

KV: I was always interested about a philosophy that stands outside linguistics and Kconstructs its arguments beyond the dictatorship of the “signifiant”. I follow the post Marxist theorists and of course I am quite Foucauldian and Deleuzian because they offer an act of thinking towards life. The idiosyncratic brutality of Deleuze suits me and everything that questions the rational tradition from Spinoza and Nietzsche (even If sometimes I wish to kick his ass). Concerning the style of thought I hate everything Hegelian and the boring application of dialectism. But your question about postmodern thought returns to the base of philosophy which demands always reexamination and revitalization of concepts that have been realized in the past.

FW: I’m asking because your work offers me a meta-narrative reading of reality.

KV: If you mean the Lyotardian use of the term I really feel sometimes that I have the tendency for a biblical narrative. In that case I use to remember Kant’s confession that says “I am very much inclined to as­sert the existence of immaterial natures in the world and to put my soul into that class of beings”

FW:Nietzsche asks “What is truth? A mobile army of metaphors, metonymies, anthropomorphisms.”

KV:Nietzsche challenges conventional moral assumptions about truth that cannot simply identified with the coming wilderness of modernity. Because Art is polysemic by nature, his definition can explain the condition of truth within culture

FW: To add, Nietzsche says that language is unable to get us through a clearer picture of reality. That makes our conversation not easier (laugh) but would you agree that there is only one way in comprehend your work and that is by changing the perspective all the time?

KV: There is no single concept to be told, but rather many of them, each one embedded to a certain degree in the others. Usually the internationalities of the artist broaden its impact to more than one linear dimension. Art is the vital acceptance of life, a desire for living, an understanding of that plurality of meanings that each viewer has the right to experience differently.

FW:Do you have an interest in politics?

KV:I think the notion of Beuys for the expanded concept of sculpture, responds to the present intellectual debates of how we define politics in art. One of the recent representations of political issues is based to the genre of display for which post capitalism seems to recognize the history of capital, the commodity phantasmagoria of capital. But for many artists the real issue in the specific interest and involvement in politics means easily access in art events. Personally I feel embarrassed to find any interest to the monolithic dimension of a journalistic approach to contemporary art. There is a rather misconception of the role of politics by a general pathetic agreement of a team of curators and experts that find how useful seems to be for their career and consequently for artist career to provide political issues.
I am interested in politics but not in the form of the politics as a thematic reference, a popular subject on the prisoners of Guantanamo for example which profits the sensitivity of the common citizen. Political art becomes in many cases simplistic and populist. Also I dislike all this pseudo theatrical performances and interactive works that defend a situation in which the public has a leading role or share moments with the artist –director. Tiravanija’s menu is the ultimate decadent case. I t could be interesting to ask what is the real exchange of all those political and social manifestations in parties-performances, the favorite taste of French. Deleuze said in an interview with Toni Negri that “Creating has always been something dif¬ferent from communicating. The key thing may be to create vacuoles of non communication, circuit breakers, so we can elude control”.

FW: Don’t you think that in times of crisis, when the categories of Truth and Beauty lose their importance and primary socio-political necessities move to take their place that it becomes obvious that messing about on canvasses or sculpting blocks of puff-concrete hardly contributes to highlighting or even changing living conditions?

KV: Even if art object like any merchandise can be bought and sold, it always can be served as an instrument that questions the crust of authority and the strategies for normalisation, or to put it differently art is politics.

FW:Cultural production is an instrument of criticism. The placing of the position of art within a global social context underscores the attempt of bringing together different disciplines, theories, and methodological perspectives in order to be able to experience complex issues. If there is no meaning, there can be no reception. If the meaning is not articulated in practice, it has no effect.

KV:I think art can be understood as a composition of particular insights that usually are developed through time. Rarely visual arts provide an immediate frame of useful knowledge or the same process of knowledge which can justify meaning.

FW:Can a postmodern maintain firm beliefs in anything, e.g. architecture, law, politics?

KV:If today contemporary art argues about the failure of modernity at the same time we discover many other parallel modernity’s with the official one. The same it happens in architecture and the whole history in modern art is reinventing again and again. My impression is that in the heroic years of modern movements we could enjoy a kind of rebellious spontaneity which now if it happens becomes lifestyle. The difference is because of the lack of belief. The contemporary triumphant nihilism over the past and in a general plan this method to approach fragments from contemporary data in a mocked and parodied tone is insufficient.

FW: Belief in what?

KV: Belief to the radical character of culture as an alternative for the majority of humanity.

FW:I think «autonomous » art requires an environment that makes it „autonomous“. As High Culture is protected from the influences of societal change by the cultural elite, works of art need time to liberate themselves from institutional bonds. Every layer of society is guided by material and cultural interests. Educational products nowadays serve only to hint at progress and to lead consumers.

KV:Of course, cultural industry is not the same with the Enlightenment ideal.

FW:But we are part of this industry. A lot of artists confirm habits of thinking and perceiving which are wide-spread and which the market expects. In this way, artists reinforce a problematic process of permanent adaptation to the requirements of the market, which itself in no way holds a critical attitude towards issues of social change. How does your work resist to the influence of these cultural processes?

KV: These kinds of contradictions could only be resolved by a kind of radical conscious political activity. However, we should try a form of independence within capital, a form that doesn’t adapt revolutionary practises necessarily but slow us down and fulfil our self. That might be something related to freedom because politics on politics is not any more an ethical calling.

FW:What influences your work most?

KV:The productive value of sadness


FW:How important is the material you use?

KV:Those gathered discarded materials, from the backyards and streets are components in the construction of identities and at the same time they provide the structure within which I develop a place for self understanding. I always wish to use objects from many origins that claim a kind of cosmopolitan expansion. At the end I am restricted by the things that I collect on the surroundings of my studio. Athens and suburbs is a huge depot of odd bits of woods. My wish is that everything attracts me from the street to simply display it in order to keep the reality of the material. But this condition of the miracle-inspiration that we always like, never never happens. The question is how to present and transform the "objecthood" into a "socius" condition that constructs a new way of perception. Always materiality allows such things to be approached, I mean the materiality of sculpture that structure even the most immaterial emotions and intimacies.

FW:Is this „objecthood“nature like memory traces that are part of our conscious memory?

KV:Yes.. Perhaps…This second nature suggests a large field of contextual possibilities.

FW:I’m asking myself if it’s possible to opt an analysis of an object itself. How you draw a distinct line between the parameters of the object and sits discursive and social context?

KV:There is a point for which you have no reason to dismiss questions around the objective reality of the object and to pose empirical relations on that and at the same time to put your issue within a cultural system of references that are not accumulated on its physical reality.

FW:What is your most favorite fairytale?

KV:At the time I am impressed by the illustrations of fairy tales in children’s books especially those of the late nineteenth century. My interest is based less and less on the narration and more in the level of the visual representation. I remain a fanatic reader of the writers such as …during this period and I have a preference on stories that have a connection to the description of houses. In the general sense in which we are using the term I am amazed about Greek mythology that I suppose that had a huge impact to the definition of the fairy tale in the Middle Ages until the transportation of the Greek myth into modern narratives.

FW:Do you like Dionysus, the god of masks?

KV:Dionysus was always meant an act of liberation from the restrictions of organized societies which their base in west countries followed the typical moralistic values of Judeo-Christian tradition. From this point, Dionysus becomes the god figure for the people outside the city walls representing the demonic and chaotic side of human nature, the apolis, but also represents the same primordial aspect of universe without a conscious anthropocentric perspective. Dionysus comes from outside, it express the otherness and some of the “negative” characteristics of contemporary art. Our “sublime” now is mostly Dionysiac.

FW:Can we find your work behind this masks?

KV:Behind losers and desperate people apollonian beauty is the demand. My heroes are looking for that, but in their deepest soul they remain dark and anticonformists.

FW:Are your heroes victims of a social reality which produces alienation?

KV:My heroes are desperados of all human types and cultural categories..Lonely figures that fight for a true romance.


FW:What is true romance? In the sense of Tony Scott?


KV: Not so much.. it is more of a mix between Fellini and Dreyer. Fellini’s in the sense of an artful form of love expression, sometimes playful and charlatanian and Dreyer’s need for utter devotion and faith.

FW:Are your installations maps of social reality, and your single works a kind of a socio-political ready-made?

KV:That could be a excellent introduction about my work.. but I refuse to take seriously the sociopolitical dimension because even if it is intelligible expressed by the title or the immediate historical references of the visual material, an artwork should display its failure from all of that. But my answer is yes.

interview for the catalogue "Craft Consciousness-Class Conciousness", futura editions , 08

vitamin c

Can, album : Ege Bamyasi, 1972

Vagina Monologue

Henri Maccheroni
Sans titre (from 2000 Photographies du Sexe d'une Femme)

Push and Pull

PUSH AND PULL: A FURNITURE COMEDY FOR HANS HOFMANN

by Allan Kaprow
Prepared for the Museum of Modern Art's traveling exhibit "Hans Hofmann and His Students," April 1963. First printed in Decollage (ed. Vostell), No. 4 (1964), Cologne.

Instructions:
Anyone can find or make one or more rooms of any shape, size, proportion, and color -- then furnish them perhaps, maybe paint some things or everything.
Everyone else can come in and, if the room(s) are furnished, they also can arrange them, accommodating themselves as they see fit.
Each day things will change.

Points of View:
Think of subletting someone's apartment. How can you get rid of the fellow when he is in every piece of furniture, every arrangement? Do you like living with him? Imagine it unfurnished. What would you do -- buy some things (if so, what style?), scrounge some off the streets, ask your relatives or friends (which will remind you of them?) ... Perhaps live without furniture instead. As for the question of style, why not have everything totally unrelated to everything else -- shape, color, period, arrangement, etc.? Can it be done? Do you like candy canes? Then why not paint everything in stripes? Or, better, like twelve different types of candy canes? Maybe dots, billions of them, baby dots, mommy dots, daddy dots, pink, brown, snot-green, white, orange, shocking-red, Da-glo blue -- all over everything, floors, ceilings, inside of drawers, in the sink, on the silverware, on the sheets and pillowcases .... Do you prefer round rooms, tall ones, hexagonal ones, caves, lean-tos, rooms without windows, skylights? Suppose you liked eating off the floor (some people are that clean, I'm told) -- it could be carpeted with food at all times. Design it like a Persian rug and you could eat your way through the designs, right across the room, making new ones behind you as you went along. Maybe, after all, formality is the thing. Then carefully choose a big chair, a little one, a bigger table and a very small lamp, and push them and pull them around until they make a significant composition. The significance is determined by having both a calculated and an intuited reciprocity obtain between every PUSH IN ONE direction, and every pull acting against it in another direction. Significance may be achieved within-either a structure of symmetries, in which each push-pull relation is made of nearequals; or a structure of asymmetries, where the push-pull relation is realized from near-equivalences. But one caution! Don't sit on THE chairs, because this will destroy the composition. Unless, of course, you once again start pushing and pulling everything around until it works right. Repeat when you leave. Consider whether or not you're a red-head and dressed in Kelly green. Are you fat, fatter than the table? In that case, quickly change your clothes if the small chair's color doesn't correspond; and also lose some weight. What about the kids? And their toys? I'd suggest allowing for a variable proportion of three yellow toy ducks to be considered equivalent to one medium-sized violet dress (softened by black hair, brown eyes, and leopard-skin bag). Now these relationships will be seen to exactly balance the combined density of the orange large chair, the brownish mantle ornament, and the beige stripe running around the baseboard. You mustn't neglect the spaces in between the furniture and how they figure in the total space. They are, in fact, "solids" of another order, and each negative area is colored and qualified by the punctuating components (tables, chairs, etc.) around it. The interactivity between negatives and positives, furthermore, may be so equalized as to produce a higher neutrality than the biases of the separate elements. Properly handled, a silence of perfect ineloquence will result. On the other hand, the positives or negatives may be accented, producing a ruler-ruled relation. This in turn may be enhanced or neutralized by closed-field or open-field concepts: closing a door or opening it, for instance, will contain or break the boundary of the structure. Now, since these generalizations are made concrete by the frequent occurrence of children's toys being left in any ordinary room, it is only necessary to stay out of the room when the toys are there and vice versa. However, don't suppose the conclusion here is "each to his own." The further question is "who knows how to compose forms?" If "form" is now too much for you, why not chuck it all and take the pure leap? What is a "pure leap"? (The word "comedy" in the title of this Environment isn't necessarily humorous -- though it may be -- I had in mind Balzac's "Human Comedy.") Instead of "forms" try simply an idea like: rooms full of people contrasted with empty rooms; one, maybe a hockshop, the other, a monk's cell .... A sunsetcolored roomagainst a blue-Monday one .... Or, the !'room" made by your own feelings wherever you decide to sit down in the woods. Aren't these "forms" also? Is a nude woman on a bed a better form than a pink coverlet on a bed? Which is more personal? If the forms of the furniture express "you," what are you going to do about others? When visitors come and you draw up chairs for them, don't you express "them" a little? What happens to the room? Who is right? Should rooms be lived in or stared at? I have heard of some people who have antique chairs you mustn't sit on because they'll collapse. Don't move that ashtray because it expresses Daddy so well just where it is! But maybe the smell of mushroom soup cooking will heighten the colorchords on the walls, particularly the candy-cane stripes. I find that Rhythm-and-Blues on the radio goes fine with soundless newscasts on TV. Try it out if you really want to compose your rooms! Did you ever think of arranging rooms for darkness, that is, for night-time, when you go to bed and see only dim shadows? A room for feelies only! Wet surfaces, rough, sandpapery objects, other things as soft as foam rubber to run your toe into getting to the bathroom at 4 a.m., silks slithering across your cheek, very large solids like cedar chests for braille identification. This should be a thoughtful problem, and it would develop all the senses except the eyes. How long does it take to develop artistic senses? Why not ask an interior decorator?

"Push and Pull" is from Assemblage, Environments and Happenings
text and design by Allan Kaprow
Harry N. Abrams, Inc., 1966.

"12 Evenings of Manipulations"
Judson Gallery

Section 5 ASPEN No. 6A

Les jardins de versailles

Paul Poiret, costume dans le gout de Louis XIV
La Gazette du Bon ton no 4, 1913
Illustration : George Lepape

The Vulgarity of Luxury

cover of vogue / Great Britain , august , 1917

illustrator: George Lepape

Soviet Disneyland

In Search of the Miraculous

In 1975 Ader embarked on what he called “a very long sailing trip.” The voyage was to be the middle part of a triptych called “In Search of the Miraculous,” a daring attempt to cross the Atlantic in a 12½ foot sailboat. He claimed it would take him 60 days to make the trip, or 90 if he chose not to use the sail. Six months after his departure, his boat was found, half-submerged off the coast of Ireland, but Bas Jan had vanished.




1942 - 1975

Tea Party

Bas Jan Ader, Tea Party, 1972

Indian miniature painting

She stayed on the roof searching for her expected lover until the very breaking of a violent storm. This early nineteenth-century Kangra work shows her hurrying off the roof as the storm begins. All of the elements are thought of as symbols for the state of affairs between the two lovers.

Collection of tile Kalabhavan Banares Hindu University.

Text and Photo by Allen Atwell
Aspen No. 10

Family's New Car

children's book illustrated by Stefan Lemke, 1973

Prostřený stůl a jeho dějiny

Kotíková Zuzana
Orbis Praha 1949

cover by Bohumil Trita
photos by Dagmar Hochova, Illek and Paul

Narratives of Privacy and Domesticity -Selected Bibliography and topics

«Αφηγήσεις της κατοίκησης στη Μοντέρνα και σύγχρονη Τέχνη»


Ενδεικτικές ενότητες

Η νοικοκυρά ως μοντέρνος καλλιτέχνης

Οίκος και ταξική συνείδηση στην πικτοριαλιστική και ρεαλιστική φωτογραφία .

Σκανδιναβικές μόδες του κατοικείν : Από τον Carl Larsson στο ΙΚΕΑ

Maison cubiste. Παρεμβάσεις του δημόσιου χώρου στη νεκρή φύση

Τακτικές του αποκλεισμού: Paul Poiret και Daniel –Henry kahnweiler

Προσπερνώντας την οικία στη μοντέρνα γλυπτική: Τακτικές του “ανοίγματος” της κλειστής φόρμας

Από τον Brancusi στον Foujita : Ιδιωτικοί χώροι και atelier στη Σχολή του Παρισιού

Φουτουρισμός Κονστρουκτιβισμός και Σoυπρεματισμός : Αποδράσεις από την κατοικία

Οι αξίες της οικογένειας στον Γαλλικό και αμερικανικό ιμπρεσιονισμό

Από την μόδα στο ιδιωτικό πάθος : ερμηνείες της γυναίκας στην σουρεαλιστική φωτογραφία

Διακόσμηση και Σχεδιασμός: Όψεις της γυναικείας «δημιουργικότητας» και η διάκριση των ρόλων

Κουκλόσπιτα ενάντια σε μακέτες, και η κρυφή κατοικία του Duchamp

«Το σπίτι του μέλλοντος» στα μέσα μαζικής ενημέρωσης την δεκαετία του 50 και η pop art

Μέσα στην οικία : Ο θρίαμβος της τηλεόρασης και η υπεροχή της «αμερικάνικης» κουζίνας στη μεταπολεμική γλυπτική

Αναπαραστάσεις της ελληνικής πολυκατοικίας

Η έννοια του καλειδοσκόπιου στα Ψυχεδελικά περιβάλλοντα

Η εμπειρία του καταφυγίου στην μεταπολεμική ευρωπαϊκή γλυπτική

Το φάντασμα της πτώσης της οικίας των Usher στην αρχιτεκτονική
Άπολις : Μακριά από το σπίτι : H αναζήτηση της επιστροφής στην περιπλάνηση



Ενδεικτικές Αναφορές Έργων

William Merritt Chase “The hall at Shinnecock”, 1892/ Edmund C.Tarbell, Girls Reading, 1907/Mary Cassat, “Little Girl in a Blue Armchair”, 1878/ Berthe Morisot, “Eugène Manet on the Isle of Wigh”, 1875 / Manet, “Olympia”, 1863/ Portrait d’Emile Zola”, 1868/ Carl Larsson, “A Home” 1899/ Jacob Riis, ”How the other half lives”, 1888/Lewis Hine, “Tenement, Jewish family”, 1912/ Julia Margaret Cameron, "The Return after Three Days" , 1865 /Clarence H. White, “Ring Toss”, 1899 / Umberto Boccioni, “Sviluppo di bottiglia nello spazio”, 1912/ “Forme uniche della continuita nello spazio”, 1913/ “Τραπέζι+ Μπουκάλι + Σπίτια”, 1912/ "La strada entra nella casa" , 1911/ “Dinamismo di un cavallo in corsa + case”, 1914–15/ Picasso "Κιθάρα", 1912 / "Ποτήρι, μαχαίρι και σάντουιτς σ’ ένα τραπέζι ", 1914/ Marevna , «Κυβιστικά ηλιοτρόπια», 1914/ A.G.Bragaglia, «Φιγούρα κατεβαίνοντας τις σκάλες-αυτοπορτραίτο», 1911 /”Σπουδή για μια νέα φωτογραφική εικόνα», 1911/ Gabo, “Ογκομετρικός και Στερεομετρικός κύβος”, 1937/ «Δομημένο κεφάλι μίας γυναίκας», 1917/ «Κεφάλι» , 1916/
Brancusi, « Négresse Blonde »,1926/ « Oiseau d’or », 1919/ ‘Oiseau dans l’espace », 1925-1926/ « Oiseau dans l’espace’, 1929-30/ « La muse endormie », 1906/ « Le nouveau- ne II », 1926/ « Princesse X », 1920/«Colonne sans fin », 1937-1938, Vuillard, “Οι κίτρινες κουρτίνες» 1893/ M.Cottin, «Les Petits riens», 1896/Bonnard, “Ορθιο γυμνό» 1919/ Claude Cahun, αυτόπορτραίτα, 1932/ Andrea Zittel, A to Z comfort unit II,1994/ Donald Judd, «Ατιτλο», 1969 / Robert Morris , Columns, 1961-73/ Adolf Loos , επαύλεις Moller (1927-28) και Muller ( 1928-30)/ Atelier Van Lieshout, “Hausfreund”, 1997/ Tobias Rehberger, “Prototype”, 2003/ Joe Scanlan, “Nesting Bookcase”, 1997. Marcel Duchamp, "Nu descendant un escalier αρ.2” , 1912”, / “Boite –en- valise”, 1941/ “Fresh Widow”, 1920/ Carrie Stettheimer “dollshouse”, 1916-35 / Florine Stettheimer “Portrait of my sister Carrie with Dollhouse”, 1923 /Womanhouse project, 1972/ Miriam Shapiro και Sherry Brody “dollshouse”, 1972/ Joseph Beuys, “Plight”, 1964-72 / Dubuffet, “Closerie Falbala” ,1971-1976/ Per Inge Bjorlo, “Indre romV”, 1991 / Mario Merz , “Igloo di Giap”, 1968. Εdwardo Paolozzi “It’s a psychological Fact Pleasure Helps Your Disposition”, 1948/“Aμερικάνικος τρόπος ζωής», Πάρκο Sokolniki, Μόσχα, 1959/ Richard Hamilton ,Just what is it that makes today’s homes so different, so appealing?”, 1956/ Marisol, “Love”/ Gerhard Richter, Konrand Lueng “Leben mit pop-eine demonstration fur den kapitalistischen realismus”, 1963/ Vostell «TV-Décoll/age αρ. 1» , 1958-1961/ «Concrete TV Paris» (1974-81,/ Andy Warhol, “Brillo Boxes”, 1964-1968,/ Nam June Paik, Something Pacific, 1993 / Dan Graham, "Homes for America", 1966-67. /Tom Wesselmann, “Νεκρή φύση # 20”,1962/ Brownie Wise, Tupperware Home Parties/ Mona Hatoum, “Homebound”, 2000/ Schwitters “Merzbau” 1923-1943/Gordon Matta Clark-“Bronx Floor”, 1972-3 / “Bingo”, 1974 “Splitting”,1974, “office baroque”, 1977/ J.P.Raynaud “La maison”, 1969-1993,/ Joseph Beuys “I lιke America and America likes me”, 1974/ Robert Smithson “Partially buried woodshed”, 1970, “Hotel Palenque”, 1969/ Arman, “Conscious Vandalism”, 1975/ Mike Kelley και Paul McCarthy "Heidi House", (1992) / Jessica Stockholder «installation in my father’s backyard, 1983/ “Skin Toned Garden Mapping”, 1991/ Michel Landy “Break Down”, 2001/ Judy Pfaff “Neither here not there” , 2003/ “Ramp project”, 2003/Isa Genzken, Weltempfänger, 1990 / Claire Barclay, “Foul play”, 2005/ Kawamata, “Installation Spui”, 1986 ./ Lucas Samaras, “Mirrored Room”,1966/ Yayoi Kusama –“Infinity Mirror Room (phalli’s field)”, 1965/ 1970/ «Mirror Room”, 1991/ “Fireflies”, 2003/ Jesus Rafael Soto, “Penetrables, 1967/” Brion Gysin “dreamachine”, 1959/ Μark Boyle “ Son et Lumiere”, 1966/ Jianni Colombo, “Structuratione fluida”, 1967/ Ν.Schoffer, “CYSP 1”, 1956 / Davide Boriani, “Ambiente stroboscopico”, 1966/ Jim Lambie, “Zobop”, 1999/ Eva Rothschild, “Within You Without You”, 2002/ “Black Mountainside”, 2001 Olafur Eliasson, «La situazione antispettiva», 2003, Dali, “Rainy Taxi”, 1938 Dream of Venus Pavilion, 1939/ Vito Acconci, «Following Piece», 1969/ E. Kienholz, «Back Seat Dodge 38,1964 / Tomoko Takahashi, “ Line out ”, 1996/ Carl Andre “Lever”, 1966/ Ed Ruscha, «Royal Road Test», 1967/CIAM, 1933/ Werner Herzog, περίπατος Μόναχο- Παρίσι, 1974.

Selected Bibliography

Ενδεικτική Βιβλιογραφία

Agrest, Diana, Conway, Patricia, Weisman, Leslie Canes, (επιμ.) The Sex of Architecture, (Νέα Υόρκη: Harry N.Abrams, 1996)
Allen, Mark, “Décor by Timothy Leary”, New York Times, (20 Ιανουάριος, 2005)
Allington, Edward, "The Ride Stripped Bare", Frieze 56, (Iανoυάριος-Φεβρουάριος 2001): 83- 87.
Anger, Jenny, “Forgotten Ties: The Suppression of the Decorative in German Art and Theory, 1900-1915”, Not At Home (επιμέλεια) Christopher Reed (Λονδίνο: Thames and Hudson, 1989), :130-146.
Bach, Teja Friedrich Brancusi, photo reflexion, (Παρίσι: Edition du Regard, Didier Impert Fine Arts, 1991):8.
Bachelard, Gaston, La poetique de l’espace (Παρίσι : PUF, 1957).
Barker, Emma, (επιμ.) Contemporary Cultures of Display (New Haven: Yale University /Open University, 1999.)
Βαροπούλου, Ελένη, «Εγκαταστάσεις και Θέατρο»,
Το Βήμα της Κυριακής (3 Ιουλίου 2005):Α 47.
Battcock,G., Minimal Art (Νέα Υόρκη: Dutton, 1968).
Baudrillard, Jean, Le système des objets, (Παρίσι: Dënoel, 1972).
Baudrillard, Jean, Nouvel, Jean, Τα μοναδικά αντικείμενα, αρχιτεκτονική και φιλοσοφία, μτφρ. Ν. Ηλιάδης (Αθήνα : Futura, 2005).
Baydar, Gulsum και Heynen, Hilde (επιμ.) Negotiating Domesticity :Spatial Constructions of Gender in Modern Architecture (Λονδίνο, Νέα Υόρκη:Routledge,2005).
Bellaigue, Marthilde, "An Artist and an Architect: The space Rebeyrolle at Eymoutiers", Museum International 196, αρ.4 , τομ. ΧLIX (1997) : 30-34.
Becker , Lutz (επιμ.), Παπανικολάου Μιλτιάδης (ε.εποπτεία) Κατασκευή, ο Τατλιν και ο κύκλος του (Θεσσαλονίκη: Κρατικό Μουσείο Σύγχρονης τέχνης, 2001)
Bennet, Tony, The birth of the Museum (Λονδίνο: Routledge, 1995)
Bennet, M.J., When Dreams Came True: The GI Bill and the making of Modern America, (Washington: Brassey’s, 1996).
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University of Thessalia, department of architecture

Un Cowboy a Paris

the movie star Tom Mix in Paris with his usual western look, 1919

Peasant Boy's Bookshelf

Paiania

LOOp CO1

Design inspired by Rietveld's ZigZag Chair





mobile unit for the preparation and the consumption of coffee

Concept : Γκαρνάρα Σοφία Λιζάρδου Μαριάννα/ Garnara Sophia Lizardou Marianna

Futurist Manifesto of Lust

By Valentine de Saint-Point

A reply to those dishonest journalists who twist phrases to make the Idea seem ridiculous; to those women who only think what I have dared to say; to those for whom Lust is still nothing but a sin; to all those who in Lust can only see Vice, just as in Pride they see only vanity.
Lust, when viewed without moral preconceptions and as an essential part of life's dynamism, is a force.
Lust is not, any more than pride, a mortal sin for the race that is strong. Lust, like pride, is a virtue that urges one on, a powerful source of energy.
Lust is the expression of a being projected beyond itself. It is the painful joy of wounded flesh, the joyous pain of a flowering. And whatever secrets unite these beings, it is a union of flesh. It is the sensory and sensual synthesis that leads to the greatest liberation of spirit. It is the communion of a particle of humanity with all the sensuality of the earth.
Lust is the quest of the flesh for the unknown, just as Celebration is the spirit's quest for the unknown. Lust is the act of creating, it is Creation.
Flesh creates in the way that the spirit creates. In the eyes of the Universe their creation is equal. One is not superior to the other and creation of the spirit depends on that of the flesh.
We possess body and spirit. To curb one and develop the other shows weakness and is wrong. A strong man must realize his full carnal and spiritual potentiality. The satisfaction of their lust is the conquerors' due. After a battle in which men have died, it is normal for the victors, proven in war, to turn to rape in the conquered land, so that life may be re-created.
When they have fought their battles, soldiers seek sensual pleasures, in which their constantly battling energies can be unwound and renewed. The modern hero, the hero in any field, experiences the same desire and the same pleasure. The artist, that great universal medium, has the same need. And the exaltation of the initiates of those religions still sufficiently new to contain a tempting element of the unknown, is no more than sensuality diverted spiritually towards a sacred female image.
Art and war are the great manifestations of sensuality; lust is their flower. A people exclusively spiritual or a people exclusively carnal would be condemned to the same decadence—sterility.
Lust excites energy and releases strength. Pitilessly it drove primitive man to victory, for the pride of bearing back a woman the spoils of the defeated. Today it drives the great men of business who run the banks, the press and international trade to increase their wealth by creating centres, harnessing energies and exalting the crowds, to worship and glorify with it the object of their lust. These men, tired but strong, find time for lust, the principal motive force of their action and of the reactions caused by their actions affecting multitudes and worlds. Even among the new peoples where sensuality has not yet been released or acknowledged, and who are neither primitive brutes nor the sophisticated representatives of the old civilizations, woman is equally the great galvanizing principle to which all is offered. The secret cult that man has for her is only the unconscious drive of a lust as yet barely woken. Amongst these peoples as amongst the peoples of the north, but for different reasons, lust is almost exclusively concerned with procreation. But lust, under whatever aspects it shows itself, whether they are considered normal or abnormal, is always the supreme spur.
The animal life, the life of energy, the life of the spirit, sometimes demand a respite. And effort for effort's sake calls inevitably for effort for pleasure's sake. These efforts are not mutually harmful but complementary, and realize fully the total being.
For heroes, for those who create with the spirit, for dominators of all fields, lust is the magnificent exaltation of their strength. For every being it is a motive to surpass oneself with the simple aim of self-selection, of being noticed, chosen, picked out.
Christian morality alone, following on from pagan morality, was fatally drawn to consider lust as a weakness. Out of the healthy joy which is the flowering of the flesh in all its power it has made something shameful and to be hidden, a vice to be denied. It has covered it with hypocrisy, and this has made a sin of it.
We must stop despising Desire, this attraction at once delicate and brutal between two bodies, of whatever sex, two bodies that want each other, striving for unity. We must stop despising Desire, disguising it in the pitiful clothes of old and sterile sentimentality.
It is not lust that disunites, dissolves and annihilates. It is rather the mesmerizing complications of sentimentality, artificial jealousies, words that inebriate and deceive, the rhetoric of parting and eternal fidelities, literary nostalgia—all the histrionics of love.
We must get rid of all the ill-omened debris of romanticism, counting daisy petals, moonlight duets, heavy endearments, false hypocritical modesty. When beings are drawn together by a physical attraction, let them—instead of talking only of the fragility of their hearts—dare to express their desires, the inclinations of their bodies, and to anticipate the possibilities of joy and disappointment in their future carnal union.
Physical modesty, which varies according to time and place, has only the ephemeral value of a social virtue.
We must face up to lust in full conciousness. We must make of it what a sophisticated and intelligent being makes of himself and of his life; we must make lust into a work of art. To allege unwariness or bewilderment in order to explain an act of love is hypocrisy, weakness and stupidity.
We should desire a body consciously, like any other thing.
Love at first sight, passion or failure to think, must not prompt us to be constantly giving ourselves, nor to take beings, as we are usually inclined to do so due to our inability to see into the future. We must choose intelligently. Directed by our intuition and will, we should compare the feelings and desires of the two partners and avoid uniting and satisfying any that are unable to complement and exalt each other.
Equally conciously and with the same guiding will, the joys of this coupling should lead to the climax, should develop its full potential, and should permit to flower all the seeds sown by the merging of two bodies. Lust should be made into a work of art, formed like every work of art, both instinctively and consciously.
We must strip lust of all the sentimental veils that disfigure it. These veils were thrown over it out of mere cowardice, because smug sentimentality is so satisfying. Sentimentality is comfortable and therefore demeaning.
In one who is young and healthy, when lust clashes with sentimentality, lust is victorious. Sentiment is a creature of fashion, lust is eternal. Lust triumphs, because it is the joyous exaltation that drives one beyond oneself, the delight in posession and domination, the perpetual victory from which the perpetual battle is born anew, the headiest and surest intoxication of conquest. And as this certain conquest is temporary, it must be constantly won anew.
Lust is a force, in that it refines the spirit by bringing to white heat the excitement of the flesh. The spirit burns bright and clear from a healthy, strong flesh, purified in the embrace. Only the weak and sick sink into the mire and are diminished. And lust is a force in that it kills the weak and exalts the strong, aiding natural selection.
Lust is a force, finally, in that it never leads to the insipidity of the definite and the secure, doled out by soothing sentimentality. Lust is the eternal battle, never finally won. After the fleeting triumph, even during the ephemeral triumph itself, reawakening dissatisfaction spurs a human being, driven by an orgiastic will, to expand and surpass himself.
Lust is for the body what an ideal is for the spirit—the magnificent Chimaera, that one ever clutches at but never captures, and which the young and the avid, intoxicated with the vision, pursue without rest.
Lust is a force.

11th January 1913

Discipline

Girls in bloomers on climbing apparatus, Western High School, Washington, D.C. Photograph (cyanotype) by Frances Benjamin Johnston. Ca. 1899.

Cosy Corner

Andre Mare
Appartement de Monsieur Mallet
"Cosy Corner" Acajou verni
Pencil and watercolor
14 7/8 x 20 3/4 in. (37 1/2 x 53 cm.)

The myth of the Russian soul

'Reading Nabokov's books, Khrushcheva felt like a Nabokov character: a Russian learning to be an individual'

By Robert Fulford

A century ago, Russia had more political theory-mongers than any other country in history. It was infested with many varieties of anarchists, it had socialists beyond number, and there were armies of radical Christians, Tolstoyans and Communists. Stirred by all this progressive thinking, Russia shed an ocean of blood in the service of Karl Marx's theories.
Remarkably, that didn't make much of a difference. When it was all over, Russia ended up with a czar. Vladimir Putin, the 21st-century czar, may be nicer than Stalin or Czar Alexander III (who reigned from 1881 to 1894) and brighter than Nicholas II (1894 to 1917). But he's still a czar, with a czar's sense of infinite entitlement. Putin believes he deserves to rule Russia, and it appears that most Russians see things his way. Freedom of speech, for instance, is no more important to Putin than to Alexander III or Stalin -- and only a small minority of Russians appear to care.
Nina Khrushcheva was talking about these issues when she visited Toronto last week to appear on TVOntario. She's a political science professor whose scholarship is deepened by personal contact. Teaching graduate students at the New School in New York, she speaks with the unique authority of Nikita Khrushchev's great-granddaughter.
He was a czar, too, until the politburo fired him in 1964. When his great-granddaughter lists Russian despots, she doesn't omit him.
She has nothing but contempt for Putin but knows her fellow Russians don't agree with her. The typical Russian, whom she calls "the lazy Russian Ivan," adores Putin. Russians believe their country should be regarded as a great nation and that Putin is winning back the respect it deserves. If his behaviour scares the West, all the better.
Behind Putin's sheep-like followers Khrushcheva sees the myth of "the Russian soul." In her opinion, the idea of a humane, poetic national soul functions as an excuse for Russia's backwardness. She attacks that idea in a brilliant and thoughtful new book, Imagining Nabokov: Russia Between Art and Politics (Yale University Press), which combines political science with literary criticism.
She treats Vladimir Nabokov (1899-1977), the hero of her book, as the antidote to underdeveloped, made Nabokov's books her guide. He always insisted he wasn't a political writer, but Khrushcheva believes his work carries a political message for everyone who cares about the future of Russia.
In his novels, Nabokov replaced "the soulful hero," much loved by Russian writers and readers, with rueful, critical characters in the style of the West. Reading his books, Khrushcheva felt like a Nabokov character, a Russian learning to be an individual, "responsible for one's own actions, when no state ideology exists to provide your life with form and meaning." Nabokov's books were her way out of "the vast, undifferentiated, traditional Russian collective." He said, "I do not write for groups … Only the individual reader is important to me."
On the question of individuality and modernity, Nabokov represents one clear choice. For his opposite, look back to the dreamy, aimless hero of Oblomov, the 1858 best-seller by Ivan Goncharov. The protagonist (Oblomov) has inherited property that's decaying because he won't get out of bed to manage it. When the novel appeared, everyone agreed that it defined a pervasive element in the Russian character. A new word was born, Oblomovism. That was 170 years ago, but Khrushcheva makes it appear that a similar character type influences Russia today.
V.I. Lenin, organizing the new Russian economy in the name of the proletariat, discovered in the 1920s that many members of the proletariat weren't eager to work. He decided that Communism must squeeze the Oblomovism out of the Russian soul.
He and his successors failed, but Khrushcheva answers Lenin with a sweet irony: The job he wanted to do can be accomplished only by individualism developed in the West and understood best through that passionate anti-communist, Vladimir Nabokov.

National Post Published: Saturday, January 19, 2008

Two Doors Tavern

The rustic flatness of one of the two doors of "Diporto", the Fisherman's Old Tavern