Now Man's Bound to Fail, More

Bruce Nauman, Henry Moore Bound to Fail,1970

https://www.academia.edu/25412003/_Now_Man_s_Bound_to_Fail_More_October_135_Winter_2011_49-69  

 Text by Robert Slifkin

October 135 (Winter 2011)

Is it really brutalist architecture in Blade Runner 2049 ?

Blade Runner 2049's cityscape has been heavily influenced by brutalist forms. But the hyper-capitalist society in which the film takes place is completely at odds with the style's underlying philosophy.

Text by

Alice Sweitzer and Charlie Clemoes

https://www.failedarchitecture.com/is-it-really-brutalist-architecture-in-blade-runner-2049/

We Keep this Flame

We Keep this Flame, 2017 

Wood, iron, plasticine, acrylic, oil 

90 x 93 x 38 cm 

The Spiritual Canticle (fragment)

Songs between the soul and the Bridegroom

Bride

Where have you hidden, Beloved, and left me moaning? You fled like the stag after wounding me; I went out calling you, but you were gone. 

Shepherds, you who go up through the sheepfolds to the hill, if by chance you see him I love most, tell him I am sick, I suffer, and I die. 

Seeking my love I will head for the mountains and for watersides; I will not gather flowers, nor fear wild beasts; I will go beyond strong men and frontiers.

Saint John of the Cross

Identities and Sub-Modernity Tropes and Psychic Apparatus in Contemporary Greek Culture

Text by Yorgos Tzirtzilakis

https://www.academia.edu/35068551/Identities_and_Sub-Modernity_Tropes_and_Psychic_Apparatus_in_Contemporary_Greek_Culture
 

As if Only Through the Stage I Could Restrict My Desire to Live

As if Only Through the Stage I Could

Restrict My Desire to Live, 2017

Wood, bronze, acrylic, oil

50.5 x 33.5 x 20 cm

Paper Airplane

Harry Smith's paper airplane collection, photographed by Jason Fulford, published by Anthology Film Archive

Kwaito's Promise

In mid-1990s South Africa, apartheid ended, Nelson Mandela was elected president, and the country’s urban black youth developed kwaito—a form of electronic music (redolent of North American house) that came to represent the post-struggle generation. In this book, Gavin Steingo examines kwaito as it has developed alongside the democratization of South Africa over the past two decades. Tracking the fall of South African hope into the disenchantment that often characterizes the outlook of its youth today—who face high unemployment, extreme inequality, and widespread crime—Steingo looks to kwaito as a powerful tool that paradoxically engages South Africa’s crucial social and political problems by, in fact, seeming to ignore them.
           
Politicians and cultural critics have long criticized kwaito for failing to provide any meaningful contribution to a society that desperately needs direction. As Steingo shows, however, these criticisms are built on problematic assumptions about the political function of music. Interacting with kwaito artists and fans, he shows that youth aren’t escaping their social condition through kwaito but rather using it to expand their sensory realities and generate new possibilities. Resisting the truism that “music is always political,” Steingo elucidates a music that thrives on its radically ambiguous relationship with politics, power, and the state.

Gavin Steingo, Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa, University of Chicago Press, 2016 http://press.uchicago.edu/ucp/books/book/chicago/K/bo23290913.html  

Killing me Softly

Killing me Softly, 2017

Cement, iron

195 x 33 x 38 cm

La teoría del duende

Federico García Lorca desarrolló una teoría estética donde despliega sus ideas acerca del proceso de creación artística: "El teatro y la teoría del Duende", conferencia dictada primero en Buenos Aires y luego en La Habana, en el año 1933. Aquí, Lorca manifiesta que el gran arte depende de un conocimiento cercano de la muerte, de la conexión con los orígenes de una nación y de un reconocimiento de las limitaciones del raciocinio. 

http://www.literaterra.com/federico_garcia_lorca/la_teoria_del_duende/

ACTOPOLIS | The Art of Action

Help Desk, 2015

Wood, plywood, oil, varnish

200 x 61 x 78 cm

The Actopolis exhibition is showcasing works produced as part of the project since 2015. Materials from the more than 45 individual projects show a rich repertoire of options for action to shape and change the cities in which we live in. 

The Athens chapter of Actopolis was co-curated by Elpida Karaba and Glykeria Stathopoulou who - as Temporary Academy of Arts - developed the performative Soft Power Lecture series together with a group of artists, journalists, architects, and scientists. The Temporary Academy of Arts (P.A.T.) questioned power relations in the fields of arts and culture, challenging institutional practices in times of massive economic, social and political transformations.

Artistic works as part of the Soft Power Lectures were produced by Panos Sklavenitis, Sofia Dona, Despina Zefkili, Contantinos Chatzinikolaou and invited artists Giannis Papadopoulos, Kostis Velonis, Angelos Krallis, Vangelis Vlahos, Natassa Bisa, Stefania Ablianiti, Stavroula Morakea, Dimitris Antoniou, Efthimis Theou and Elektra Angelopoulou.

Mariela Cvetić (Actopolis Belgrade) will be present with her lecture performance "Gaudeamus igitur: The Self-Organised Artist in a State of Domestic Agoraphobia". Actopolis Ankara/Mardin will be represented by the video works "Donkey Work" by Önder Özengi and "Foucault's Typewriter" by Ahmet Öğüt. 

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ACTOPOLIS | The Art of Action
A project by Goethe-Institut and Urbane Künste Ruhr.

Concept: Angelika Fitz
Artisitc direction: Katja Aßmann, Angelika Fitz and Martin Fritz

Project management: Juliane Stegner, Goethe-Institut Athen
Project coordination: Natalia Sartori, Goethe-Institut Athen

Project management Urbane Künste Ruhr: Daniel Klemm

Local curators: Ankara / Mardin: Pelin Tan, Athens: Elpida Karaba/ Glykeria Stathopoulou, Belgrade: Boba Mirjana Stojadinović, Bucharest: Stefan Ghenciulescu/ Raluca Voinea, Oberhausen: geheimagentur, Sarajevo: Danijela Dugandzic, Zagreb: Ana Dana Beroš.

Co-producers: Goethe-Institut Ankara (Thomas Lier; Raimund Wördemann); Goethe-Institut Belgrad (Matthias Müller-Wieferig); Goethe-Institut Bucuresti (Beate Köhler; Evelin Hust); Goethe-Institut Bosnien und Herzegowina (Charlotte Hermelink); Goethe-Institut Kroatien (Katrin Ostwald-Richter), Theater Oberhausen (Peter Carp)

The exhibition at the Athens School of Fine Arts will also feature Soft Power Workshops. 

Exhibition Opening: 3 Nov 2017, 7pm.
 Nov 3rd - Nov 16th

Theory and Play Of The Duende

Ladies and Gentlemen,

Between 1918 when I entered the Residencia de Estudiantes in Madrid, and 1928 when I left, having completed my study of Philosophy and Letters, I listened to around a thousand lectures, in that elegant salon where the old Spanish aristocracy went to do penance for its frivolity on French beaches.

Federico Garcia Lorca

Translated by A. S. Kline 

http://www.poetryintranslation.com/PITBR/Spanish/LorcaDuende.htm