Tuesday, February 26, 2013
Monday, February 25, 2013
From "Vertigo"
“It
is only a question of discovering how we can get ourselves attached
to it again”
-a
drawing by Vija Celmins
I
practice interruption to get used to it, get up to get the cup
and
then sit down, go out to look at the sign on the corner, sit
down,
open the book to 37, “Moon Surface [Luna 9],” close
it,
open my mouth to get used to what it says and then
in
some weathers, it’s offered up freely and you have to
cover
the books in plastic, remember to take it with you just in case
and
you have to be grateful not to think things up.
Her
surface drawings put one squarely on the moon
and
there’s nothing to take your mind off it, no one brings coffee,
and
she’s reminded of a scene where the actor talks about how
he’s
scared to leap off a balcony and then he finally leaps.
Someone
keeps coming to the door, someone makes a mark
like
graphite until it builds up slowly on the surface.
Martha
Ronk,“Vertigo,” 2007.
Hessian
Identity
and product designer Ben Pierrat
offers a complete brand identity for sale. His brand Hessian
comes with a name, website, diverse style elements, many logos and
all the other elements that make a good identity. The only thing the
buyer has to come up with is the product or service that the brand
wants to sale.
Under
Creative Commons License: Attribution
Non-Commercial
Training in hammering
Training in hammering from the Russian Central Institute of Work and its Methods and Means for Training Workers. Management engineering : The Journal of Production (New York) 4 , no 4 (april1923), 243. This photograph documents a typical training exercise at TsIT-in this case , a worker being instructed by a mannikin in the art of hammering. The mannikin's two left arms demonstrate the correct posture of the arm relative to the body at the start and conclusion of its swing. Mannikins, templates, jigs, training frames, and photo-cyclograms are often used at TsIT in the construction of unskilled workers in correct body postures and work motions.
Source : Maria Gough, The Artist As Producer: Russian Constructivism in Revolution, Berkeley and Los Angeles: University of California Press, 2005.
Yπονόμευση
Την
Παρασκευή πρώτη του Μάρτη στις 7:30 το
απόγευμα. Ανοικτή συμποσιακή συζήτηση,
στο SalonDeVortex με αφορμή την “Υπονόμευση
(-του ξενοδοχείου-) της Μεγάλης Βρετανίας,
το Δεκέμβρη του 44 από τον ΕΛΑΣ”
Συζήτηση
επί του πολιτικού εδάφους της Αθήνας,
με αφορμή μια πρωτοφανή και μοναδική
διαμάχη στο υπέδαφος της, και την κορύφωση
της σύγκρουσης των Ελλήνων με την
Βρετανική Αυτοκρατορία.
Η μορφή των
παρεμβάσεων είναι ανοικτή.
Τα
γεγονότα θα παρουσιάσει επι χάρτου ο
ιστορικός Τάσος Σακελαρόπουλος. Στην
κουβέντα έχουν κληθεί να συμμετάσχουν
οι:
Ηλίας
Μαρμαράς. Νίκος Σκοπλάκης, Ελένη Γκίνη,
Θεόφιλος Τραμπούλης, Κατερινα Ηλιοπούλου,
Γιώργος Τζιρτζιλάκης, Αλέξανδρος
Κιουπκιολής, Νίκος Μπελαβίλας, Γιάννα
Μπαρκούτα, Κωστής Βελώνης, Νάντια Καλαρά
, Φοίβη Γιαννίση, Ιωάννα Λαλιώτου,
Πολυμέρης Βόγλης, Γιάννης Ιωαννίδης,
Χριστόφορος Μαρίνος, Μαρία Τοπάλη,
Αντριάννα Καλφοπούλου, Αλίκη Σαμαρά,
Σταύρος Σταυρίδης.
Μαζί με τον Ζήση
Κοτιώνη συντονίζουν για το SalonDeVortex οι
Γιάννης Γρηγοριάδης και Γιάννης
Ισιδώρου.Φράσεις και λέξεις κλειδιά:
απώθηση, συλλογικό τραύμα, λήθη, ήττα,
αρχείο, εποπτεία, περιφρούρηση,
οριοθετήσεις της πόλης, νεοαποικιοκρατία,
νομιμότητα και ανατροπή, κατακτητής,
επιστροφή του αποθυμένου, υπονόμευση,
αστικό ασυνείδητο, ένοπλη σύγκρουση,
πολιτικό έδαφος, ιστορία και νόημα, το
παρόν του παρελθοντος
Labels:
architecture,
archive,
exhibition,
Greek Matters,
Social History,
Symposium and Conversations
Monday, February 11, 2013
Conical Hat
A
piece of stiff brown cardboard cut in the shape of a conical hat.
Holes have been drilled in the crown to form a decorative pattern. An
additional strip of reinforcing cardboard has been attached to the
base of the hat with one rivet at one end, two at the other. The
costume hat is worn by Kolitiris, a character in the centuries-old
Greek Shadow Puppet Theatre (Karaghiozis) tradition. Kolitiris wears
it in the Introduction of every performance as part of his costume in
order to change his appearance to make it more comical.
This
costume hat was made in the 1960s by the Greek puppeteer and popular
artist Abraam (Antonakos) in his Athens workshop, and used in
performances in Greece during the 1960s. This and most of the puppets
in the collection were brought to Australia by Abraam Antonakos for
his performances at the Astor Theatre in Melbourne in 1977. He then
left the collection with Dimitri Katsoulis who used them in all his
subsequent performances in Victoria and in South Australia from 1978
to 1991.Dimitri Katsoulis migrated to Australia in 1974 to escape a
regime that repressed Greek artists. He had trained in Greece with
theatre and film companies as an actor and technician. A master of
the traditional Greek shadow puppet theatre, his performances
explored contemporary issues such as the isolation of migrant women
and children. Unable to obtain funding and support, he returned to
Greece in 1991, leaving his entire collection to the people of
Victoria. It includes 32 shadow puppets and around 170 props, set
backdrops and technical tools and stage equipment. Dimitri has since
returned to Melbourne and assists the Museum to continue to document
this rich art form within both local and international contexts.
http://museumvictoria.com.au
Sunday, February 10, 2013
What Do We Mean by Autonomy?
What Do We Mean by Autonomy?
A review of Lisa Siraganian, Modernism’s Other Work: The Art Object’s Political Life. Oxford University Press, 2012.
Text by Todd Cronan.
A review of Lisa Siraganian, Modernism’s Other Work: The Art Object’s Political Life. Oxford University Press, 2012.
Text by Todd Cronan.
Saturday, February 9, 2013
Sunday, February 3, 2013
Behind the Presidential Curtains
One
of the many huge velvet curtains in the palace of the parliament in
Bucharest, designed by the
Ceausescu
regime, 2013.
Labels:
architecture,
modernism and individuality,
politics
The Door in the Sky
A
flight of stairs, leading to a door
marked “EXIT”
“The
Truman Show”, 1998.
Director:Peter Weir, Writer:Andrew
Niccol.
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