Wednesday, October 18, 2017

The social and cultural roots of whale and dolphin brains


Encephalization, or brain expansion, underpins humans’ sophisticated social cognition, including language, joint attention, shared goals, teaching, consensus decision-making and empathy. These abilities promote and stabilize cooperative social interactions, and have allowed us to create a ‘cognitive’ or ‘cultural’ niche and colonize almost every terrestrial ecosystem. Cetaceans (whales and dolphins) also have exceptionally large and anatomically sophisticated brains. Here, by evaluating a comprehensive database of brain size, social structures and cultural behaviours across cetacean species, we ask whether cetacean brains are similarly associated with a marine cultural niche. We show that cetacean encephalization is predicted by both social structure and by a quadratic relationship with group size. Moreover, brain size predicts the breadth of social and cultural behaviours, as well as ecological factors (diversity of prey types and to a lesser extent latitudinal range). The apparent coevolution of brains, social structure and behavioural richness of marine mammals provides a unique and striking parallel to the large brains and hyper-sociality of humans and other primates. Our results suggest that cetacean social cognition might similarly have arisen to provide the capacity to learn and use a diverse set of behavioural strategies in response to the challenges of social living.

 https://www.nature.com/articles/s41559-017-0336-y

Friday, October 13, 2017

Debate on Chimneys


Debate on Chimneys, 2017
Wood, plywood, ceramic, acrylic
128 x 48 x 131 cm

Man contemplating the expansion of the 20th century city, Athens


Man contemplating the expansion of the 20th century city, Athens, 1957. Credit: Benaki Museum, Costas Megalokonomou Archives

Unsung heroes of Athens cityscape


Builders, Housewives and the Construction of Modern Athens is a book for those of us who, blinded by the classical wonders of the Acropolis, have never given much thought to the nondescript cityscape below.
This is not about architect-led building design but an effort to understand the positives of Athens’ 20th century urbanism, warts and all. The heroes of the book are the polykatoikia – the prolific post-war apartment buildings that were built at impressive pace using reinforced concrete frames with masonry infill.
While their white facades, flat roofs and horizontal lines bore some similarities to the forms of modern architecture, these were, as author Ioanna Theocharopoulou points out, extremely simplistic versions. Polykatoikia differed from modern architecture in important ways. Not only did they lack the modern movement’s political and aesthetic agenda, they relied on informal ‘quasi-craft’ processes of construction and avoided innovation, precision and standardisation. Typically they had commercial uses on the ground floor with a marble lobby and staircase leading to a few floors of balconied apartments above. A roomier version was popular in middle and upper middle class areas, often with a maid’s room and a penthouse.
While there were exceptions, the design of this building type was the domain of the builder rather than an architect. It was, says Kenneth Frampton in the foreword,  ‘built for the people, of the people, by the people’.
These were ultra-desirable as symbols of modern city living, especially when combined with the then groundbreaking domestic appliances. This was lifestyle living, 1960s style, that represented progress, optimism and access to ‘the good life’.
The book sets polykatoikia firmly in the context of the preceding century as well as the strife of war and civil unrest of the 20th, and the densification and expansion of Athens. We learn how home ownership swelled as these apartments were constructed as joint ventures between developer and landowner. Typically this involved replacing 19th century neoclassical villas that had gone firmly out of fashion, with the landowner donating the land in exchange for a few units in the new development. In time, the migrant tradespeople working on the developments would become those buying the apartments.

There was a culture of ‘craftiness’ with regard to construction, with the 1955 Building Code legalising existing illegal construction and itself prone to amendments and deviations. Self-built humble dwellings on the city outskirts in time became ‘up-lifted’ to larger buildings as their rural immigrant owners  acquired the money to build polykatoikia and become landlords themselves. Here, the author draws links with the work of Alejandro Aravena’s Elemental practice today in designing homes that facilitate incremental construction and expansion.
Rather more interesting, to me at least, is the account of the social dimension of the polykatoikia and their representation in popular culture. Photos show women involved as labourers in the construction of the apartments but it was inside that they really held sway as interior stylists and consumers. Of course they were still doing all the housework, even if they did now wear a mini-skirt and wield an ultra-modern vacuum cleaner. Men, we learn, might have their own ‘masculine corner’ or room where they could relax in a comfortable leather armchair. Some might even have their own bachelor pad apartment.
Polykatoikia were important as representing a new idea of modern life and of Greek identity, and in doing so, says Theocharopoulou, blurred the previously separate realms of ‘informal/formal, local/foreign, traditional/modern’.
This informative – although sometimes a little dense – book closes with a look at some of the more innovative, recent architect-designed polykatoikia buildings and consideration of how a new generation of civic minded urban activists are responding to Greece’s financial crisis and huge influx of refugees. Some are renovating abandoned polykatoikia as housing, proving once again the resilience and adaptability of these buildings. Faced with such economic and social challenges, Athens needs the resourcefulness, wit and economy of means that this unlauded building type embodies. 

Text by Pamela Buxton

Builders, Housewives and the Construction of Modern Athens by Ioanna Theocharopoulou, foreword by Kenneth Frampton, Artifice


Sunday, October 8, 2017

Turmoil of the Blue







Turmoil of the Blue, 2017
Iron, wool fabric

133 x 157 x 155 cm

Historiosophical Scheme



Andrei Bely, Historiosophical Scheme, Tcikhis -Dziri, Georgia,1927
Watercolor, ink, pencil on paper

From Doxiadis’ Theory to Pikionis’ Work: Reflections of Antiquity in Modern Architecture




In this book, Tsiambaos redefines the ground-breaking theory of Greek architect and town planner Constantinos A. Doxiadis (The Form of Space in Ancient Greece) and moves his thesis away from antiquity and ancient architecture, instead arguing that it can only be understood as a theory founded in modernity. 
In light of this, the author explores Doxiadis’ theory in relation to the work of the controversial Greek architect Dimitris Pikionis. This parallel investigation of the philosophical content of Doxiadis’ theory and the design principles of Pikionis’ work establishes a new frame of reference and creates a valuable and original interpretation of their work. Using innovative cross-disciplinary tools and methods which expand the historical boundaries of interwar modernism, the book restructures the ground of an alternative modernity that looks towards the future through a mirror that reflects the ancient past.
From Doxiadis’ Theory to Pikionis’ Work: Reflections of Antiquity in Modern Architecture is fascinating reading for all scholars and students with an interest in modernism and antiquity, the history and theory of architecture, the history of ideas and aesthetics or town planning theory and design

Saturday, October 7, 2017

Hannah Arendt et "atomisation de la société"


1996 | Analyse critique de la conception du totalitarisme selon Hannah Arendt. Claude Lefort, philosophe qui a notamment réfléchi sur le totalitarisme, remet en cause la distinction d'Arendt entre le social et le politique, rejetant ainsi les termes d'"atomisation de la société".



Ωδὴ Δεκάτη. Ὁ Ὠκεανός (απόσπασμα)

ΠVC
ρ
Εἶπε· κ᾿ εὐθὺς ἐπάνω
εἰς τὰς ροᾶς ἐχύθη
τοῦ Ὠκεανοῦ, φωτίζουσα
τὰ νῶτα ὑγρὰ καὶ θεία,
πρόφαντος λάμψις. 115


Ἀστράπτουσι τὰ κύματα
ὡς οἱ οὐρανοί, καὶ ἀνέφελος,
ξάστερος φέγγει ὁ ἥλιος
καὶ τὰ πολλὰ νησία
δείχνει τοῦ Αἰγαίου. 120


Πρόσεχε τώρα· ὡς ἄνεμος
σφοδρὸς μέσα εἰς τὰ δάση,
ὁ ἀλαλαγμὸς σηκώνεται·
ἄκουε τῶν πλεόντων
τὸ ἔια μάλα. 125


Σχισμένη ὑπὸ μυρίας
πρῴρας ἀφρίζει ἡ θάλασσα,
τὰ πτερωμένα ἀδράχτια
ἐλεύθερα ἐξαπλώνονται
εἰς τὸν ἀέρα. 130


Ἐπὶ τὴν λίμνην οὕτως
αὐγερινὰ πετάουσι
τὰ πλήθη τῶν μελίσσων
ὅταν γλυκὺ τοῦ ἔαρος
φυσάῃ τὸ πνεῦμα· 135


Ἐπὶ τὴν ἄμμον οὕτω
περιπατοῦν οἱ λέοντες
ζητοῦντες τὰ κοπάδια,
τὴν θέρμην τῶν ὀνύχων
ἔαν αἰσθανθώσιν· 140


Οὕτως ἐὰν τὴν δύναμιν
ἀκούσουν τῶν πτερύγων
οἱ ἀετοί, τὸ κτύπημα
τῶν βροντῶν ὑπερήφανοι
καταφρονοῦσι. 145


Πεφιλημένα θρέμματα
Ὠκεανοῦ, γενναία
καὶ τῆς Ἑλλάδος γνήσια
τέκνα, καὶ πρωτοστᾶται
Ἐλευθερίας· 150


Χαίρετε σεῖς καυχήματα
τῶν θαυμασίων (Σπετζίας,
Ὕδρας, Ψαρῶν,) σκοπέλων,
ὅπου ποτὲ δὲν ἄραξε
φόβος κινδύνου. 155


Κατευοδοῖτε! - Ὁρμήσατε
τὰ συναγμένα πλοῖα
ὦ ἀνδρεῖοι· σκορπίσατε
τὸν στόλον, κατακαύσατε
στόλον βαρβάρων. 160


Τὰ δειλὰ τῶν ἐχθρῶν σας
πλήθη καταφρονήσατε·
τὴν κόμην πάντα ὁ θρίαμβος
στέφει τῶν ὑπὲρ πάτρης
κινδυνευόντων. 165


Ὦ ἐπουράνιος χεῖρα!
σὲ βλέπω κυβερνοῦσαν
τὰ τρομερὰ πηδάλια,
καὶ τῶν ἡρῴων ἡ πρώραι
ἰδοὺ πετάουν. 170


Ἰδοὺ κροτοῦν, συντρίβουσι
τοὺς πύργους θαλασσίους
ἐχθρῶν ἀπείρων· σκάφη,
ναύτας, ἱστία, κατάρτια
ἡ φλόγα τρώγει· 175


Καὶ καταπίνει ἡ θάλασσα
τὰ λείψανα· τὴν νίκην
ὕψωσ῾, ὦ λύρα· ἂν ἥρωες
δοξάζονται, τὸ θεῖον
φιλεῖ τοὺς ὕμνους. 180


Ανδρέας Κάλβος


Friday, October 6, 2017

Puppet Sun


Puppet Sun, 2017
75 x 24 x 20 cm
Marble, wood, acrylic, iron base

Thursday, October 5, 2017

Rocking Bull


Jan Järlehed for BRIO "Rocking Bull", 1967

Tuesday, October 3, 2017

Το κίνημα αναβίωσης της βυζαντινής (λαικοβυζαντινής) παράδοσης στις αστικές εφαρμοσμένες τέχνες την περίοδο του μεσοπολέμου


Ανάτυπο από τον τόμο
«Β΄ Επιστημονικό Συμπόσιο Νεοελληνικής Εκκλησιαστικής Τέχνης
(Βυζαντινό και Χριστιανικό Μουσείο, 26-28 Νοεμβρίου 2010)
Πρακτικά»

Ευφροσύνη Ρούπα
https://www.academia.edu/2267288/_The_revival_of_Byzantine_aesthetics_in_bourgeois_applied_arts_and_design_in_Greece_in_the_Midwar_period_._In_Greek_



Monday, October 2, 2017

Work D

Ei-Kyu: Work D, 1937

Sunday, October 1, 2017

Πλατεία Ομόνοιας: από τον χώρο στις λέξεις



Φύλλο της εφημερίδας Εθνοφύλαξ: ‘Ομόνοιας ανάγκη έχομεν’ (20.10.1862)

Δεν είμαι σίγουρος αν πρέπει (και γω) να προσποιηθώ πως δεν ξέρω τίποτα για την Ομόνοια. Υποθέτω για αρχή πως, ως λέξη -όνομα κοινό– η ομόνοια σίγουρα κάθεται στριμωγμένη ανάμεσα σε άλλες λέξεις, στις σελίδες των λεξικών και εκεί βρίσκει το νόημά της ξανά και ξανά κάθε που μιλιέται ή γράφεται. Αντίστοιχα, ως κύριο όνομα, όνομα πλατείας πιο συγκεκριμένα, γνωρίζω με σιγουριά πως υπάρχει σε καταλόγους, σε χάρτες πόλεων και σε πινακίδες στις γωνίες κτηρίων, σημειώνοντας ειδικά τον τόπο που ορίζει (εικόνα 1) –σε υπόμνηση (ίσως) κάποιας αρχαίας θεότητας (πίνακας 1). Κατ’ επέκταση, η πλατεία Ομόνοιαςστην Αθήνα και η Place de la Concorde στο Παρίσι, αν και δύο διαφορετικοί τόποι, μοιράζονται, εκτός από το ίδιο όνομα, και το πρόθεμα ‘πλατεία’ που περιγράφει με τη σειρά του μία θέση στην πόλη. Η πλατεία Ομόνοιας συνεπώς, εμφανίζεται να παλινδρομεί ανάμεσα στη συνθετική ερμηνεία των δύο αυτών λέξεων, υποστηρίζοντας κατ’ αρχάς μία συλλογική ταυτότητα κοινή, και στην καθημερινή εμπειρία της που αναπόφευκτα διαφεύγει διαρκώς υπερβαίνοντας κάθε υπόθεση σημειολογικής ταύτισης, ή περίπου. Από αυτή τη σκοπιά οι δύο αυτές πλατείες είναι ως σημεία ομόλογα. Μεταπηδούν χωριστά από λέξη σε χώρο και τόπο αλλά και αντίστροφα, όπως θα έλεγε ο Σερτώ, και ενώ ταυτίζονται λεξιλογικά, ταυτόχρονα αποκλίνουν καθώς γράφουν αδιάκοπα διαφορετικούς μετασχηματισμούς της πόλης πάνω τους. Είναι δύο δημόσιοι ανοιχτοί χώροι για τη συνάθροιση ατόμων που συναινούν ή που συναίνεσαν κάποτε σε κάτι με σύμφωνο νου. Πλατεία Ομονοίας · κύριο όνομα ‘όνομα και πράμα’.


Φάνης Καφαντάρης
http://www.athenssocialatlas.gr/άρθρο/ομόνοια-concorde/  

Friday, September 29, 2017

A Puppet Sun




NEON invites you to the opening of the site-specific installation A Puppet Sun by Athens-based artist Kostis Velonis, curated by Vassilis Oikonomopoulos as part of CITY PROJECT 2017.


NEON activates a neoclassical residence at Kaplanon 11, Athens, by commissioning the new installation of Kostis Velonis. The artist conceived A Puppet Sun especially for the site of Kaplanon 11, responding to its history, architecture and position in the heart of the city. The neoclassical residence, constructed in 1891 is a unique architectural example and one of the last remaining buildings of its kind in Athens. Narrated in such an extraordinary space, Velonis’ work addresses the site’s lived experience and memory, investigating the powerful historical, political and cultural intersections as well as personal narratives that are present. The neoclassical residence, constructed in 1981 is a unique architectural example and one of the last remaining buildings of its kind in Athens.
CITY PROJECT is an initiative for public art and the city, conceived and commissioned annually by NEON. NEON aims to activate public and historical places through contemporary art, contributing to the interaction of art, society and the city. This new commission by NEON is the largest-scale solo presentation of Velonis’ work to date.
Curator | Vassilis Oikonomopoulos, Assistant Curator, Collections International Art, Tate Modern


OPENING | CITY PROJECT | A PUPPET SUN | KOSTIS VELONIS
11/10/2017 19:00 - 23:00 
Kaplanon 11, Kolonaki
Free Entrance
OPENING
11 October 2017, 7pm
OPENING HOURS
Wednesday – Sunday | 12.00 – 20.00

http://neon.org.gr/en/event/opening-city-project-puppet-sun-kostis-velonis/



Monday, September 25, 2017

Mirror of the Witch



Miroir de sorcière
Bois et verre
2,5 x 31,5 cm
Collection Andre Breton

Saturday, September 23, 2017

Sailing to Byzantium

That is no country for old men. The young
In one another’s arms, birds in the trees
Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

O sages standing in God’s holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.


William Butler Yeats, 1928

Διπλό Παραμύθι





Ελένη Ζούζουλα, Διπλό Παραμύθι, Ο Παρεξηγημένος γιατρός, Λευκή βιβλιοθήκη, Αθήνα : 1934

Monday, September 11, 2017

Liquid Antiquity: A New Fold


This workshop engages scholars, curators, and artists in a response to the multimedia project “Liquid Antiquity,” commissioned by the DESTE Foundation for Contemporary Art, in order to extend further its explorations of alternative models of engaging classical antiquity and to enrich collaboration between the academic and art worlds in new forms of public engagement around the legacies of classicism.

Liquid Antiquity,” is a platform for radically rethinking the relationship between the classical and the contemporary. Antiquity is an irrepressible source of meaning today. But what it means is never fixed in stone. It must instead be continually rethought for an always changing “we” under always changing conditions of local and global significance. Resisting classicism as dead weight, “Liquid Antiquity” aims to make the ancient Greek past available as a fluid resource for the present by shifting attention from the matter of antiquity to the question of why antiquity matters. “Liquid Antiquity” was therefore designed as an exhibition without antiquities that stakes out the book as its primary site. Through word and image, the book stages an encounter with a “liquid” antiquity as well as a series of reflections on this encounter through contemporary artistic practice and the history of classicism over millennia. Spanning twenty-five hundred years in an unprecedented collaboration between leading artists, theorists, writers, art historians, classicists, cultural historians, and archaeologists, “Liquid Antiquity” is a handbook, deeply collaborative in spirit and experimental in form, for the creative work of reimagining the present through the ancient past.  It is complemented by a video installation designed by Diller Scofidio + Renfro on view in the antiquities galleries at the Benaki Museum in Athens.
Liquid Antiquity: A New Fold” is inspired by two guiding commitments of the initial project: first, the commitment to collaboration and conversation; and second, the commitment to a way forward that is always unpredictably emergent out of the past—hence, the idea of a fold introduced here. An interdisciplinary group of scholars and artists are invited to reflect on “Liquid Antiquity” and think together about strategies—conceptual, aesthetic, pragmatic—for the ongoing work of “doing” classical reception under the sign of liquidity.  Time will be primarily devoted to discussion rather than formal presentation.
Liquid Antiquity: A New Fold” is organized by Dimitri Gondicas (Princeton Athens Center), Brooke Holmes (Princeton/Postclassicisms), and Polina Kosmadaki (Benaki Museum) and supported by the Seeger Center for Hellenic Studies and Postclassicisms.
Confirmed participants:
Joy Connolly (The Graduate Center at CUNY)
Richard Fletcher (Ohio State University)
Phoebe Giannisi (University of Thessaly)
Constanze Güthenke (Oxford University)
Brooke Holmes (Princeton University)
Despina Katapoti (University of the Aegean)
Polina Kosmadaki (Benaki Museum)
Christodoulos Panayiotou (Independent Artist)
Nina Papaconstantinou (Independent Artist)
Dan-el Padilla Peralta (Princeton University)
Stefania Strouza (Independent Artist)
Giorgos Tzirtzilakis (University of Thessaly/DESTE Foundation for Contemporary Art)
Kostis Velonis (Independent Artist)

Saturday, September 2, 2017

Οι ροβινσώνες και ο βασιληάς τους





Ελένη Ζούζουλα, Οι ροβινσώνες και ο βασιληάς τους, εικονογράφηση Τ.Λουκίδη, Λευκή βιβλιοθήκη, 1937

Exhibition House by Gregory Ain





Exhibition House by Gregory Ain
May 17–October 29, 1950
The Museum of Modern Art


Sunday, August 27, 2017

Work (All the cigarette breaks)

Pavel Büchler,
Work (All the cigarette breaks), 2007–2014

Friday, August 25, 2017

Sunday, August 20, 2017

How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney


 José Rodolfo Loaiza Ontiveros

Organized by the MAK Center for Art and Architecture in cooperation with the Luckman Fine Arts Complex at Cal State LA, How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney is a Pacific Standard Time: LA/LA exhibition of over 150 works by 48 Latin American artists who investigate and challenge nearly one hundred years of cultural influence between Latin America and Disney. Spanning painting, photography, graphic work, drawing, sculpture, video, documents, and the critical responses generated, the joint exhibition explores the idea that there are no clean boundaries between art, culture, and geography, and deconstructs how such notions are formed and disputed.
The exhibition’s curators, filmmaker/writer Jesse Lerner and artist Rubén Ortiz-Torres, thoroughly examined Disney’s long engagement with Latin American culture, from Donald Duck’s first featured role in the 1937 Mexican-themed short Don Donald to the company’s 2013 attempt to trademark the Day of the Dead. Lerner and Oritz-Torres’s research further drew from a pivotal trip Walt Disney took with his team to South America in 1941. Along with a group of fifteen animators, musicians, and screenwriters, Disney flew to over five South American countries as part of a U.S. government-directed effort to promote the “Good Neighbor” policy during the Second World War. In addition to the celebrated film The Three Caballeros, this trip produced the feature Saludos Amigos; a “making of” documentary titled South of the Border with Disney; and propaganda films such as The Grain that Built a Hemisphere.
The infamous 1971 Chilean book by scholars Ariel Dorfman and Armand Mattelart, Para leer al Pato Donald (How to Read Donald Duck), was brought to Ortiz-Torres’s attention while studying with artist Michael Asher at the Disney-funded CalArts in the 1990s. The book (formerly banned in Chile and threatened by legal action in the U.S.) provides a structural analysis denouncing the ways in which Disney comic books were used as vehicles to justify and promote U.S. policies and cultural imperialism.
As curators, Lerner and Ortiz-Torres intend to show that Disney cannot be seen as something simply exported to the rest of the Americas, and passively received. Like any other cultural force or mythology in Latin America, Disney imagery has always been quickly reinterpreted, assimilated, adapted, cannibalized, syncretized, and subverted by artists: sculptor Nadín Ospina creates pre-Columbian-like objects portraying Disney characters using carved stone and gold; artist Enrique Chagoya juxtaposes imagery from codices, indigenous iconography, and popular graphics that include Disney characters in a postcolonial critique; Liliana Porter has produced conceptual graphics and photography where Disney toys are juxtaposed with recognizable figures such as Che Guevara. Photographs like Antonio Turok’s show how Disney iconography has been intertwined with daily life in Latin America. Arturo Herrera’s work plays with our almost innate ability to immediately recognize Disney characters, no matter how abstracted: the artist will present a new mural near the Schindler House, on the side of the West Elm building at 8366 Beverly Blvd, Los Angeles 90048, on view through the length of the exhibition.
Due to its size and scope, the exhibition will be presented in two locations: the Schindler House in West Hollywood and the Luckman Gallery at Cal State LA. One is an intimate 1922 modernist historical landmark loved by architecture and design enthusiasts; the other is a large gallery space situated across town and catering to a diverse and young campus audience.
A catalogue published by Black Dog Publishing and designed by Jorge Verdin accompanies the exhibition. Included is an introduction by the curators; essays by Fabián Cereijido, Nate Harrison, Jesse Lerner, Rubén Ortiz-Torres, Darlene J. Sadlier, and Carla Zaccagnini; a reprinting of the English version of Para leer al Pato Donald (How to Read Donald Duck) from 1973; Ariel Dorfman’s reflections on the book; and a checklist of works with full-color images. The publication will be in both English and Spanish.
Jesse Lerner and Rubén Oritz-Torres each bring considerable knowledge to the exhibition project and publication. Both are artists and academics—teaching at Pitzer College and UC San Diego, respectively—whose work explores the boundaries of culture and art; their fields of expertise and methodologies, though distinct, complement each other and often overlap. They previously collaborated in the production of the film Frontierland and in curating MEX/LA, ‘Mexican’ Modernism(s) in Los Angeles 1930-1985 for the Museum of Latin American Art in Long Beach in 2011. Scholar Fabián Cereijido is the assistant curator of the exhibition.

Exhibition artists: Lalo Alcaraz, Florencia Aliberti, Sergio Allevato, Pedro Álvarez, Carlos Amorales, Rafael Bqueer, Mel Casas, Alida Cervantes, Enrique Chagoya, Abraham Cruzvillegas, Minerva Cuevas, Einar and Jamex De la Torre, Rodrigo Dorfman, Dr. Lakra, El Ferrus, Demián Flores, Pedro Friedeberg, Scherezade Garcia, Alicia Mihai Gazcue, Arturo Herrera, Alberto Ibañez, Claudio Larrea, Nelson Leirner, Fernando Lindote, José Rodolfo Loaiza Ontiveros, Marcos López, José Luis and José Carlos Martinat, Carlos Mendoza, Pedro Meyer, Florencio Molina Campos, Mondongo, Jaime Muñoz, Rivane Neuenschwander, Rafael Montañez Ortiz, Nadín Ospina, Leopoldo Peña, Liliana Porter, Artemio Rodríguez, Agustín Sabella, Daniel Santoro, Mariángeles Soto-Díaz, Magdalena Suarez Frimkess, Antonio Turok, Meyer Vaisman, Ramón Valdiosera Berman, Angela Wilmot, Robert Yager, Carla Zaccagnini.

On view September 11, 2017–January 14, 2018


Saturday, August 19, 2017

Words in the Forms of Poems


Announcement. 
Black offset on one side. For the show at John Weber Gallery, NYC, Jan. 11 - Feb. 5, 1975. 12.7x21.1 cm.

Λουλουδένιες ψυχές

Ελένη Ζούζουλα, Λευκή Βιβλιοθήκη, Εκδόσεις “Τα χρονικά”, Αθήνα

Flower


Carl Andre
One Hundred Sonnets, 1963

Saturday, August 12, 2017

Το ναυάγιο που φέρνει την ευτυχία


Ελένη Ζούζουλα, Το ναυάγιο που φέρνει την ευτυχία, Λευκή βιβλιοθήκη, δεκαετία του 30.

Saturday, August 5, 2017

Album amicorum

Johannes Torrentius, watercolor drawing, album amicorum of Gerard Thibauld, 1615 

A wooden die

A wooden die can be described only from without. We are therefore condemned to eternal ignorance of its essence. Even if it is cut in two, immediately its inside becomes a wall and there occurs the lightning-swift transformation of a mystery into a skin.
For this reason it is impossible to lay foundations for the psychology of a stone ball, of an iron bar, of a wooden cube.


Zbigniew Herbert, 1968

Emblematic still life





Johannes Torrentius, Emblematic still life with flagon, glass, jug and bridle, signed and dated “T. 1614”, Rijksmuseum

Careful with the table


At the table you should sit calmly and not daydream. Let us recall what an effort it took for the stormy ocean tides to arrange themselves in quiet rings. A moment of inattention and everything might wash away. It is also forbidden to rub the table legs, as they are very sensitive. Everything at the table must be done coolly and matter-of-factly. You can't sit down here with things not completely thought through. For daydreaming we have been given other objects made of wood: the forest, the bed.


Zbigniew Herbert, 1961

Wednesday, August 2, 2017

Number 10


Robyn Sweaney, Number 10, 2011
acrylic on linen, 40 x 50 cm

Παίδες πηγών

Έρχεται πάλι
Τι σημαίνουν εκείνα τα ονόματα;
Και ποια βουνά 
μοιράζουν το κρύο
 σε στόμα και μάτια;
Πάντα υπάρχει ένας Βορράς
 άγρια ποθητός
 με γένια αιχμηρά
και πολύ περπάτημα
 μέχρι τα νερά που καθρεφτίζουν –
η εικόνα τραντάζει το σώμα
Σαν να ’ταν η πρώτη φορά
*
Επειδή δεν είμαι εκείνος
Δεν αντέχω να νιώσω
 ποιος είναι αυτός 
που μου στέλνει τον άνεμο
Τον στέλνει
λέω
αυτή η πλαγιά
 οι κέδροι 
– μπορεί να μου ρίξει και σκόνη
Ωστόσο να
Αρκετά κοντά μου 
είναι τα σπάρτα
Ποια σκοτεινιά 
θα νιώσουν κι αυτά
Ο ήλιος χαμηλώνει
 η ελιά ρίχνει τον ίσκιο της
Φυσάει
 και λυγίζουν προς το φως

Χρήστος Σιορίκης, Παίδες πηγών