Showing posts with label folk tales fairy tales and fantasy. Show all posts
Showing posts with label folk tales fairy tales and fantasy. Show all posts

Sunday, April 5, 2020

Odradek

for Bo Cavefors 
Es klingt etwa so wie das Rascheln in gefallenen Blattern 
Their cases are locative or instrumental.Here, in this place, I see the leaves falling
 on the fabulously stayed crosses and inscriptions, as they fell on the Homeric simile of generations. 
You have heard them, the little dissuaders,whispering in the attics, or from behind the creaking stairs, with their busy spools and laughter, seemingly from no human lungs. You proceed to ask:What’s your name? Answers: Odradek.Where do you live? Unbestimmter Wohnsitz.They cannot die but cease to exist
 when you do not listen. In another place,in Paris, a car is stopped: a little dogin the lap of a young girl exploding
 like a ripe autumnal fruit in her hands. Herlover is already carved in half by bullets.There are cleaner cases, more winsomeuses for the accusative. Do not heed them anymore.
 Here we all die, in bits and pieces. 
 Göran Printz-Påhlson

Wednesday, March 18, 2020

All of Them Witches


The exhibition arose from a conversation Dan and Laurie have been having for years about their shared affinity for a certain kind of art to which they're drawn to, can’t quite name, but recognize when they see it. Artworks and artists that share an affinity with what they thought of as a “witchy” sensibility, using the iconography of the supernatural, occult, and witchcraft to channel ideas about power, the body, and gender.

“In a time of constant historical and thematic artistic rediscoveries, we present a breadcrumb trail that already exists—a shared language across generations of artists who share in a knowledge of, and taste for, a bit of cauldron and a touch of darkness.” -Dan Nadel and Laurie Simmons 


The artists participating in ALL OF THEM WITCHES are:

Gertrude Abercrombie,Tunji Adeniyi-Jones,Janine Antoni,Auste,Sylvie Auvray,Heather Benjamin,Ellen Berkenblit,Judith Bernstein,Amy Bessone,Alison Blickle,Sascha Braunig,Melissa Brown,Cameron,Ellen Carey
Sarah Charlesworth,Judy Chicago,Colette,Nikki de Saint Phalle,Georganne Deen,Jimmy DeSana,Trenton Doyle Hancock,Renate Druks,Hayden Dunham,Celeste Dupuy Spencer,Rachel Feinstein,Audrey Flack,Sylvie Fleury
Anna Gaskell,Tamara Gonzales,Trulee Hall,Allison Janae Hamilton,Lyle Ashton Harris,Judy Hudson,Marguerite Humeau,Cameron Jamie,Jane Kaplowitz,Caitlin Keough,Aline Kominsky-Crumb,Suzy Lake,Greer Lankton
Judith Linhares,Michael Mahalchick,Guadalupe Maravilla,Juanita McNeely,Ana Mendieta,Marilyn Minter,Shana Moulton,Jill Mulleady,Willa Nasatir,Shirin Neshat,Bea Nettles,Niagara,Kayode Ojo,Breyer P-Orridge,Maia Cruz Palileo,Ariana Papademetropoulos,Kembra Pfahler,Keisha Scarville,Carolee Schneeman,Michelle Segre,Cindy Sherman,Hollis Sigler,Xaviera Simmons,Jack Smith,Kiki Smith,Nancy Spero,Francine Spiegel,Robert Therrien
John Torreano,Deborah Turbeville,Andra Ursuta,Marnie Weber,Matthew WeinsteinKaren Yasinsky
Lisa Yuskavage


ALL OF THEM WITCHES, organized by Dan Nadel and Laurie Simmons
February 8–April 11, 2020. 925 North Orange Drive, Los Angeles

Saturday, December 14, 2019

Accurata Utopiae Tabula Das ist Der Neu entdeckten Schalk Welt oder des so offt benannten, und doch nmie erkannten Schlaraffenlandes


Accurata Utopiae Tabula, an "accurate map of Utopia”. Johann Baptist Hommann’s map of Schlaraffenland published by matthaus Seutter, Ausburg, 1730 


Saturday, November 24, 2018

Talisman-images Gather the Cosmos and Press it to Your Body

Talisman-images Gather the Cosmos and Press it to Your Body

Practiced in medieval Islamic and European cultures, talismans were like apps that appealed to the planets and other powers to intercede into precise earthly problems. In this lecture, Dr. Laura Marks will argue that in our seemingly disenchanted times, it is still possible to re-fold the universe, grasping the points of disparate histories and places and drawing them together. We see this at work in movies, digital media works, and objects. Dr. Marks will focus on the affective results using such media to connect from the body to the cosmos.

Wednesday, July 11, 2018

Που να διαβεις αυτά τα βουνά


Όγκοι τόσο μεγάλοι που έχει ξεχαστεί το βάθος τους. 
Το βλέμμα παντα στραμμένο στις κορυφές τους.
 Πάντα εκεί που σταματάνε.
 Σαν εικόνα απόλυτη και τέλεια κράτα το βάθος της σαν μυστικό. 
Και εκεί γελιεται το μάτι και νομίζει ότι κατέχει το όλο τους.
 Πάει κ παραπέρα, νομίζει ότι τις έχει διαβεί κιόλας.

Μέσα απ τα πνευμόνια μετριέται το ύψος τους.
 Και πνευμόνια μετρούν με ανάσες τους χρόνους τους.
 Μέσα σ αυτούς του χρόνους χωνευονται και εμφανιζουν μποι και κορμοστασιά.
 Τα χρώματα διαλέγουν το πώς θα εμφανιστούν στον χώρο τους,
 και τα χρώματα, χρόνοι είναι και αυτά και μαζί πνοές.
 Και τότε είναι που εμφανίζονται 
και πασχίζουν να μας κοιτάξουν κατευθείαν μέσα στα μάτια. 
Και θα κοιτάζουν μόνο στα μάτια.
 Γιατί αυτό Έτσι έχει οριστεί απ την αρχή.
 Αυτό είναι το μόνο που τους ενδιαφέρει. 
Αυτό έχουν πραγματικά ανάγκη. 
Για οτιδήποτε δεν έχουν ανάγκη, δεν ενδιαφέρονται. 
Τα μάτια όμως...

Έτσι θα φτιάξουν κ αυτά τα μάτια τους για να κοιτάζουν 
και τα αυτιά τους για να ακούνε 
γιατί έτσι θα ακούν τους χρόνους τους κ τις πνοές τους.
Καθώς θα κοιτάζουν τα δέντρα, 
δέντρα θα γίνονται 
για να κοιτάζοντας και αυτά στα μάτια. 
Ανεβαίνοντας από σύνορο σε σύνορο, από στιγμή σε στιγμή.
Πότε να μην επιστρέψουν στα ίσια τοπία, στα ίδια μονοπάτια.  
Η πορεία ευθύς. Πότε ξανά οι ίδιες εικόνες. 
Και αυτό μοιάζει με κατάκτηση και κατάκτηση είναι. 

Σαν βουνά κ αυτοί σταματούν κάποτε. 
Και εκεί που σταματούν οι κορυφές τους,
τα μήκη και τα πλάτη τους
σταματάνε κ οι πνοές κ οι χρόνοι

Όπως θα ταξιδευε στον χρόνο, το βλέμμα χάνεται στις κορυφογραμμές 
Τεινοντας προς το φαινόμενο. 
Τεινοντας προς τις κορυφογραμμές 
Φαινόμενο που χάνεται στο χρόνο και στις εσχατιές
καθώς χάνεται και ξεχνιέται 
μπορεί και περνει και άλλη μορφή
 Όπως θα το ορίσουν οι περιστάσεις 

Έτσι περνάει μορφή και χαίρει προσοχης, 
 Σαν φαινόμενο στην άκρη του κόσμου 
Εκεί στο τελευταίο σύνορο αλλά και στο πρώτο. Απόλυτα ομοίωματα που τείνει στο άπειρο.
απίστευτο θέαμα φωτος ολοκληρώνεται σε όλες τις διαστάσεις.
Όμως όλα αυτά εκεί. 
Στις κορυφογραμμές 
Πουθενά αλλού. Πότε αλλού.
Κάθως Δεν ακολουθεί τιποτα
Μονάχα χρόνος καθαρός που δεν περιέχει ούτε περιέχεται σε κάτι άλλο 
Σαν φως που δεν μπορεί να περιέχει σκοταδι

Εκεί υφίστανται αυτα και υπάρχουν, στις εσχατιές, στις άκρες και στα συνορα
Κορμοστασιες και βράχια ανάκατα 


Untitled (2018)
Stelios Karamanolis, Colored pencil and acrylic on raw canvas
30 x 23 cm



Sunday, December 17, 2017

Peacocks: The Pomp of Power


Peacocks: The Pomp of Power presents a display of artworks and objects from the Nottingham City Museum and Art Galleries fine art, decorative art, lace, costume and textiles, and natural history collection. The selected works are inspired by the beautifully elegant peacocks that grace the grounds of Newstead Abbey, the ancestral home of the Romantic Poet Lord Byron. Byron was both a sartorial peacock and lover and keeper of these extravagant creatures; hence the title of this exhibition has been taken from Don Juan: Canto The Seventh, a poem by the poet and great eccentric.
Peacocks have taken on important roles and various identities in many countries and cultures: their vivid feathers or designs resembling their shape and beauty continue to feature heavily on interior décor, garments, ceramics and accessories.
The Henry the Seventh’s Lodging, situated along the East Gallery from the Charles II Room, is one of the main bedrooms at Newstead and is also known as the Japanese Room. The upper walls are fitted with screens and painted panels that were brought back to Newstead by the Webb sisters, who travelled to the Far East in the 1890s. They depict the beauties of the natural world and date from the 17th, 18th and 19th centuries.  They are hand-painted on gold leaf with peacocks, cranes, ocean waves, pine trees and cherry blossom.
The peacock and its colours are synonymous with Indian identity and in 1963 the peacock was declared the National Bird of India because of its rich religious and legendary involvement in Indian traditions. The bird is indigenous to India and Sri Lanka, but now features in countries all over the world and is as much a part of the country-house tableau as fountains and parterres. Taken from its homeland by traders thousands of years ago, the Indian peacock eventually reached England, where it became something of a country house status symbol. A number of vibrant and detailed Indian textile items are included in Peacocks: The Pomp of Power along with a beautiful wooden plate with a copper inlay and a ceremonial sword.
In Russian folklore the peacock carries a lot of meanings, it symbolises the spring and the sun along with its many attributes such as warmth, light and power. In the 11th century, the peacock motif appeared in Russian embroidery, and is thought to have come from Byzantium art to Russia, along with Christianity. Different regions developed their own depictions of peacocks and some of these stylized peacock designs can be seen within this exhibition, used by embroiderers on a number of 19th century linen bobbin lace borders.
The exhibition is open alongside a display of Japanese Woodblock prints from the Nottingham City Museums and Galleries collections in the Charles II Room.

Friday, October 6, 2017

Puppet Sun


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

Saturday, September 23, 2017

Διπλό Παραμύθι





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

Saturday, August 19, 2017

Λουλουδένιες ψυχές

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

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.

Monday, February 8, 2016

Guns, class war and a transvestite cat: what a new Beatrix Potter story reveals about the author




A Beatrix Potter story written more than 100 years ago is to be published for the first time, introducing a brand new character: Kitty in Boots. 
The tale, of a gun-toting cat who leads a double life, was found near-complete in an exercise book – and shows Beatrix Potter at her darkest, says Gaby Wood
Doppelgängers and transvestites, guns and gangsters, secret lives: these are not the first things that come to mind when considering the work of Beatrix Potter. Yet the creator of Peter Rabbit and Hunca-Munca once wrote a story that featured all of them. The Tale of Kitty in Boots was written just before the outbreak of the First World War but never published in Potter’s lifetime. Over 100 years later, Penguin Random House will finally release what they describe as Potter’s “24th Tale” – a book that may turn everything we think we know about her on its head.
By Gary Wood

Monday, February 1, 2016

Rotten Sun



Diablos con Sol (Devils with Sun), Anonimo,Ocumicho, Michoacan

Wednesday, September 23, 2015

Homage to Pudlo Pudlat


 
Drawing by Pudlo Pudlat 

At its heart, this conversation is centered on encounters, from the artist Arvo Leo’s chance discovery of a book about one of the most prolific, yet little known artists in Canada, to Pudlo Pudlat’s own drawings, over 4000 renderings that reveal the Arctic landscape as a site of transition, a region that from 1940s onward, was inundated with new technologies, new religion, and ideas that radically changed the way of life for those in the far north. Looking critically at the conditions of production, the conversation will provide a background on the development of the West Baffin Eskimo Co-operative in the 1950s. In a place where paper currency was a relatively recent introduction, the program introduced art-making as a means to replace incomes lost after the collapse of the fur trade. Collectively, Pudlat’s drawings reveal a cosmology. In them, fish pull airplanes, humans ride muskox, and seals have the ability to teleport to the sky. Arvo Leo's encounters in Cape Dorset extend these readings of Pudlo's world as drawings transfigure into a fresh interrogation of landforms, community practices and the rhythm of Inuktitut songs. By way of acoustically and visually engaging with scenes of daily life, human-animal relations and intricate contingencies of the Canadian Arctic in a time of ecological shift, Fish Plane, Heart Clock unravels an organic correspondence between the camera and the drawing. Candice Hopkins and Natasha Ginwala
Candice Hopkins and Natasha Ginwala discuss the work of Arvo Leo and Pudlo Pudlat.
27/09/2015 3 pm
La Loge, Brussels

Saturday, March 8, 2014

Wandering Jew

François Georgin, Le Juif-Errant (Image d'Épinal), Stencil-colored woodcut, Perhinderion I (1896),Spencer Museum of Art.

Monday, August 5, 2013

Lucian’s Trips to the Moon | The Public Domain Review

Lucian’s Trips to the Moon | The Public Domain Review

Depiction of the moon featured on the front cover of a 1911 edition of Plutarch on the face which appears on the orb of the Moon, translated by A.O. Pickard 

Friday, July 13, 2012

Ἡ ποδιὰ τῆς Μαριῶς

Πλένει ἡ Μαριὼ στὸν ποταμό, πλένει τὲς φορεσιές της,
κι οἱ ὀμορφιές της λάμπουνε, κι ἀστράφτουν στὸ κορμί της
ἀράδες τ᾿ ἀσημόκουμπα κι ἀράδες τὰ γιουρντάνια,
καὶ στὰ καθάρια τὰ νερὰ τὰ πόδια της ἀσπρίζουν
σὰν νἆταν μὲ τριαντάφυλλα καὶ γάλα ζυμωμένα.
Περνοῦν ἐκεῖθε πιστικοὶ καὶ κυνηγοὶ διαβαίνουν,
κι ἄλλοι τὴν λὲν Λιογέννητη, ἄλλοι τὴν λὲν Νεράιδα.
Πέρασε κ᾿ ἕνας σταυραετός, πέρασε ἀπάνω ἀπάνω,
καὶ σὰν νὰ νοιάστηκε κι αὐτὸς τὴν ὀμορφιὰ τῆς κόρης,
χαμήλωσε ὡς στὸν ποταμὸ κι ἁρπάζει τὴν ποδιά της,
τὴ λαχουριά της τὴν ποδιά, τὴ χρυσοκεντημένη,
ποὖχε ξομπλιάσει ἀπάνω της τὸν οὐρανὸ μὲ τ᾿ ἄστρα,
καὶ σκούζει ἡ ἄμοιρη Μαριὼ καὶ κλαίει τὴν ποδιά της.
Ὁ σταυραετὸς μεσουρανὶς χάθηκε μὲσ᾿ στὰ ἀστέρια.
Σὲ λίγες μέρες ὕστερα ταράχθηκεν ἡ χώρα,
παγάνα πῆραν τὰ χωριὰ τοῦ βασιλιᾶ οἱ ἀνθρῶποι
καὶ δείχνουνε στὲς λυγερὲς ποδιὰ γεμάτη ἀστέρια,
καὶ σ᾿ ὅποιας πιάσει τὸ κορμί, καὶ ὅποια τὴν πεῖ δική της,
ἐκείνη θὰ τὴν πάρουνε μαζί τους στὸ παλάτι.
Πέρασαν, πέρασαν χωριὰ τοῦ βασιλιᾶ οἱ ἀνθρῶποι,
δείχνοντας τὴ χρυσὴ ποδιά, κι οὔτε κι εὑρέθη κόρη
νὰ τῆς ταιριάζει στὸ κορμὶ καὶ τὴν πεῖ δική της.
Καὶ στῆς Μαριῶς πᾶν τὸ χωριὸ καὶ δείχνουνε στὲς κόρες
ἀράδα ἀράδα τὴν ποδιά, καὶ τὴν γνωρίζουν ὅλες.
Μέσα στὲς ἄλλες ἔρχεται καὶ τῆς Μαριῶς ἡ ἀράδα,
καὶ κοκκινίζει ἀπὸ χαρὰ καὶ παίρνει καὶ τὴν ζώνει,
τήνε γνωρίζουνε μὲ μιᾶς τοῦ βασιλιᾶ οἱ ἀνθρῶποι,
καὶ τήνε παίρνουνε μαζί, τὴν φέρνουν στὸ παλάτι.
Παίρνουν αὐτοὶ τὸ τάμα τους, κι ὁ βασιλιὰς τὴν κόρη.

Κώστας Κρυστάλλης, 1891.

Thursday, December 8, 2011

Thursday, March 24, 2011

Yuki-onna


Yuki-onna (雪女, the snow woman) from the Hyakkai-Zukan (百怪図巻), 1737

In a village of Musashi Province (portions of contemporary Tokyo and Saitama), there lived two woodcutters: Mosaku and Minokichi. At the time of which I am speaking, Mosaku was an old man; and Minokichi, his apprentice, was a lad of eighteen years. Every day they went together to a forest situated about five miles from their village. On the way to that forest there is a wide river to cross; and there is a ferry-boat. Several times a bridge was built where the ferry is; but the bridge was each time carried away by a flood. No common bridge can resist the current there when the river rises.

Mosaku and Minokichi were on their way home, one very cold evening, when a great snowstorm overtook them. They reached the ferry; and they found that the boatman had gone away, leaving his boat on the other side of the river. It was no day for swimming; and the woodcutters took shelter in the ferryman's hut, -- thinking themselves lucky to find any shelter at all. There was no brazier in the hut, nor any place in which to make a fire: it was only a two-tatami hut, with a single door, but no window. Mosaku and Minokichi fastened the door, and lay down to rest, with their straw rain-coats over them. At first they did not feel very cold; and they thought that the storm would soon be over.

The old man almost immediately fell asleep; but the boy, Minokichi, lay awake a long time, listening to the awful wind, and the continual slashing of the snow against the door. The river was roaring; and the hut swayed and creaked like a junk at sea. It was a terrible storm; and the air was every moment becoming colder; and Minokichi shivered under his rain-coat. But at last, in spite of the cold, he too fell asleep.

He was awakened by a showering of snow in his face. The door of the hut had been forced open; and, by the snow-light (yuki-akari), he saw a woman in the room, -- a woman all in white. She was bending above Mosaku, and blowing her breath upon him;-- and her breath was like a bright white smoke. Almost in the same moment she turned to Minokichi, and stooped over him. He tried to cry out, but found that he could not utter any sound. The white woman bent down over him, lower and lower, until her face almost touched him; and he saw that she was very beautiful, -- though her eyes made him afraid. For a little time she continued to look at him;-- then she smiled, and she whispered:-- "I intended to treat you like the other man. But I cannot help feeling some pity for you, -- because you are so young... You are a pretty boy, Minokichi; and I will not hurt you now. But, if you ever tell anybody -- even your own mother -- about what you have seen this night, I shall know it; and then I will kill you... Remember what I say!"

With these words, she turned from him, and passed through the doorway. Then he found himself able to move; and he sprang up, and looked out. But the woman was nowhere to be seen; and the snow was driving furiously into the hut. Minokichi closed the door, and secured it by fixing several billets of wood against it. He wondered if the wind had blown it open;-- he thought that he might have been only dreaming, and might have mistaken the gleam of the snow-light in the doorway for the figure of a white woman: but he could not be sure. He called to Mosaku, and was frightened because the old man did not answer. He put out his hand in the dark, and touched Mosaku's face, and found that it was ice! Mosaku was stark and dead...

By dawn the storm was over; and when the ferryman returned to his station, a little after sunrise, he found Minokichi lying senseless beside the frozen body of Mosaku. Minokichi was promptly cared for, and soon came to himself; but he remained a long time ill from the effects of the cold of that terrible night. He had been greatly frightened also by the old man's death; but he said nothing about the vision of the woman in white. As soon as he got well again, he returned to his calling,-- going alone every morning to the forest, and coming back at nightfall with his bundles of wood, which his mother helped him to sell.

One evening, in the winter of the following year, as he was on his way home, he overtook a girl who happened to be traveling by the same road. She was a tall, slim girl, very good-looking; and she answered Minokichi's greeting in a voice as pleasant to the ear as the voice of a song-bird. Then he walked beside her; and they began to talk. The girl said that her name was O-Yuki; that she had lately lost both of her parents; and that she was going to Yedo (Tokyo), where she happened to have some poor relations, who might help her to find a situation as a servant. Minokichi soon felt charmed by this strange girl; and the more that he looked at her, the handsomer she appeared to be. He asked her whether she was yet betrothed; and she answered, laughingly, that she was free. Then, in her turn, she asked Minokichi whether he was married, or pledge to marry; and he told her that, although he had only a widowed mother to support, the question of an "honorable daughter-in-law" had not yet been considered, as he was very young... After these confidences, they walked on for a long while without speaking; but, as the proverb declares, Ki ga areba, me mo kuchi hodo ni mono wo iu: "When the wish is there, the eyes can say as much as the mouth." By the time they reached the village, they had become very much pleased with each other; and then Minokichi asked O-Yuki to rest awhile at his house. After some shy hesitation, she went there with him; and his mother made her welcome, and prepared a warm meal for her. O-Yuki behaved so nicely that Minokichi's mother took a sudden fancy to her, and persuaded her to delay her journey to Yedo. And the natural end of the matter was that Yuki never went to Yedo at all. She remained in the house, as an "honorable daughter-in-law."

O-Yuki proved a very good daughter-in-law. When Minokichi's mother came to die,-- some five years later,-- her last words were words of affection and praise for the wife of her son. And O-Yuki bore Minokichi ten children, boys and girls,-- handsome children all of them, and very fair of skin.

The country-folk thought O-Yuki a wonderful person, by nature different from themselves. Most of the peasant-women age early; but O-Yuki, even after having become the mother of ten children, looked as young and fresh as on the day when she had first come to the village.

One night, after the children had gone to sleep, O-Yuki was sewing by the light of a paper lamp; and Minokichi, watching her, said:--

"To see you sewing there, with the light on your face, makes me think of a strange thing that happened when I was a lad of eighteen. I then saw somebody as beautiful and white as you are now -- indeed, she was very like you."...

Without lifting her eyes from her work, O-Yuki responded:--

"Tell me about her... Where did you see her?

Then Minokichi told her about the terrible night in the ferryman's hut,-- and about the White Woman that had stooped above him, smiling and whispering,-- and about the silent death of old Mosaku. And he said:--

"Asleep or awake, that was the only time that I saw a being as beautiful as you. Of course, she was not a human being; and I was afraid of her,-- very much afraid,-- but she was so white!... Indeed, I have never been sure whether it was a dream that I saw, or the Woman of the Snow."...

O-Yuki flung down her sewing, and arose, and bowed above Minokichi where he sat, and shrieked into his face:--

"It was I -- I -- I! Yuki it was! And I told you then that I would kill you if you ever said one work about it!... But for those children asleep there, I would kill you this moment! And now you had better take very, very good care of them; for if ever they have reason to complain of you, I will treat you as you deserve!"...

Even as she screamed, her voice became thin, like a crying of wind;-- then she melted into a bright white mist that spired to the roof-beams, and shuddered away through the smoke-hold... Never again was she seen.

From Lafcadio Hearn's Kwaidan: Stories and Studies of Strange Things).