Una profezia di Lichtenberg

Una profezia di Lichtenberg

«Il nostro mondo diventerà così civile che sarà allora ridicolo credere in Dio, come è oggi credere nei fantasmi. Poi, dopo un certo tempo, il mondo diventerà ancora più civile. E continuerà sempre più in fretta il processo che lo porterà al vertice supremo della civiltà. Toccando il culmine, il giudizio degli esperti ancora una volta si capovolgerà e la conoscenza raggiungerà la sua estrema trasformazione. Allora – e questa sarà davvero la fine – crederemo soltanto nei fantasmi».

Giorgio Agamben, 20.1.2021

L’amour et l’(a)mur: Οδοφράγματα και “ερωτότοιχοι”

Ειδική βιβλιογραφία, σημειώσεις

 

Τέχνη στο συγκείμενο (Art in context ) 

Η σχολή του Slapstick/ Slapstick School

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

  

Agaben, Giorgio. Ωραιότητα που πέφτει, αληthεια, τεύχος 10, φθινόπωρο 2020.

Apter, Emily. Fetishism in Theory: Marx, Freud, Baudrillard” στο Feminizing the Fetish, Psychoanalysis and Narrative Obsession in Turn-of-the Century France, Book Cornell University Press , 1991

http://www.jstor.com/stable/10.7591/j.ctt207g6z5.4

Βελώνης, Κωστής. «Η Αντανάκλαση ως ιδεολογική κατασκευή της εκμηδένισης της ύλης και η επίδρασή της στον κινηματογράφο»,   Αρχιτέκτονες, Αύγουστος, τεύχος 64, 2007 .

2007.https://www.academia.edu/13651790/Η_Αντανάκλαση_ως_ιδεολογική_κατασκευή_της_εκμηδένισης_της_ύλης_και_η_επίδραση_της_στο_κινηματογράφο

Βελώνης, Κωστής. Η αμφισβήτηση του τελάρου και η θέση του «ερωτότοιχου» στη μεταπολεμική αφαίρεση, Αυγή της Κυριακής, 17/06 /2018.

http://avgi-anagnoseis.blogspot.com/2018/06/blog-post_53.html

B μέρος, 24 /06/2018 http://www.avgi.gr/article/10812/8995061/e-amphisbetese-tou-telarou-kai-e-these-tou-erototoichou-ste-metapolemike-aphairese-b-meros-

 

Bois, Yve-Alain, Buchloh, Benjamin, Foster, Hal,  Krauss,  Rosalind. Η τέχνη από το 1900, εισ -επιμ. Μιλτιάδης Παπανικολάου, Αθήνα :  Επίκεντρο, 2007, 368-372. 

 

 

Δανιήλ, Kennedy, R.C., «Πρόταση για επιστροφή στον τοίχο», Αίθουσα τέχνης Δεσμός, 4- 23 Δεκεμβρίου 1975.

 

 

Derrida Jacques. Περί γραμματολογίας, μτφρ. Κωστής Παπαγιώργης, Αθήνα :  Γνώση , 1990.

 

 

Dor, Joël. Εισαγωγή στην ανάγνωση του Lacan. 1. Το ασυνείδητο δομημένο σαν γλώσσα, επιμ.  Δημήτρης Παπαευθυμίου, μτφρ. Ιφιγένεια Μποτηροπούλου, Αθήνα : Πλέθρον, 1996. 

 

Freud, Sigmund. “Fetichism” (1927), Miscellaneous Papers, 1888-1938, Vol.5 of Collected Papers, Λονδίνο : Hogarth and Institute of Psycho-Analysis, 1924-1950, 198-204. 

https://cpb-us-w2.wpmucdn.com/portfolio.newschool.edu/dist/9/3921/files/2015/03/Freud-Fetishism-1927-2b52v1u.pdf

Huard, Raymond. Napoléon Gaillard chef barricadier de la Commune, 1815-1900 ,   Alain Corbin et Jean-Marie Mayeur (επιμ.) La barricade, Histoire de la France aux XIX et XX siècles,Paris : Éditions de la Sorbonne, 1997.

 

https://books.openedition.org/psorbonne/1192?lang=en#text

 

 

Jacobus, Mary. Reading Cy Twombly. Poetry in Paint, Princeton University Press, Princeton, Oxford, 2016.

 

 

Kerlidou, Gwenaël. A Supports/Surfaces Moment: Contradictions, Paradoxes and Other Ironies. Ηyperallergic.com, August 23 2014.

https://hyperallergic.com/144790/a-supportssurfaces-moment-contradictions-paradoxes-and-other-ironies/

Lewino Frédéric, Dos Santos, Gwendoline, 16 mars 1955. Le jour où Nicolas de Staël se suicide par amour, Le Point, 16 mars 2014. 

 

https://www.lepoint.fr/c-est-arrive-aujourd-hui/16-mars-1955-splash-le-peintre-nicolas-de-stael-atterrit-trop-brutalement-sur-le-trottoir-16-03-2012-1441804_494.php#

https://declic1718.org/la-vérité-de-nicolas-de-staël

Lissagaray, Prosper-Olivier, Histoire de la Commune de Paris en 1871, [1876], Paris, La Découverte, 1991.

Lacan, Jacques. Ακόμη (Encore), μτφρ. Βλάσσης Σκολίδης, Αθήνα : Ψυχογιός, 2013.

https://www.scribd.com/doc/102492027/Jacques-Lacan-Seminar-XX-Encore

 Ma, Tracy. Why Protest Tactics =Spread Like Memes, New York Times, July 31, 2020.

https://www.nytimes.com/2020/07/31/style/viral-protest-videos.html?smid=fb-share&fbclid=IwAR2e6tfmEe-K0v7RiFwrtFqXE5boHmrXCRQrlUR6vm1GmTzZ6wox6ek-FlI

Mauger, Gerard. «Οδοφράγματα», Ο αιώνας των ανατροπών. Το λεξικό των κινημάτων αμφισβήτησης στον 20ό αιώνα, επιμ. Emmanuel de Waresquiel , Αθήνα : εκδόσεις Οξύ, 2004,  418-419.

Moffitt, Evan. Barriers to Entry: Cady Noland at Galerie Buchholz, Art in America, 3 Sept. 2021 

https://www.artnews.com/art-in-america/aia-reviews/cady-noland-galerie-buchholz-1234602996/

 

 

Öğüt, Ahmet. Bakunin’s Barricade (2015) 

https://www.stedelijk.nl/en/digdeeper/ahmet-ogut

 

Öğüt, Ahmet. Bakunin's Barricade | 2015 - 2018 |

http://www.ahmetogut.com/ahmetwebbakunin.html

 

Πατρίκιος, Τίτος, Εμπόδια 

https://poihtikomixer.wordpress.com/2017/06/01/εμπόδια-τίτος-πατρίκιος/

Παπασπύρου, Ρένα.  «Στίλπωνος 7», δράση –έκθεση γκαλερί Δεσμός, Αθήνα. 

http://renapapaspyrou.gr/episodes/1979-7.html

 

Phillips, Adam. Για το φίλημα, το γαργάλημα και την πλήξη. Ψυχαναλυτικά δοκίμια για τον ανεξέταστο βίο, μτφρ. Γιώργος Λαμπράκος, Αθήνα : Οκτώ, 2012.

 

Ricoeur, Jean-Paul. “Lacan, l’amour”, Psychanalyse 2007 /3 (no 10) 5-32.

https://www.cairn.info/revue-psychanalyse-2007-3-page-5.htm

Rousseau, Jean-Jacques.  Εξομολογήσεις, μτφρ. Αλεξάνδρα Παπαθανασοπούλου, Αθήνα: Ιδεόγραμμα, 1997.

Porret , Philippe. “Un mur de lumière”,  Le Coq-héron 2004/3 (n^o 178), 139 -148.

https://www.cairn.info/revue-le-coq-heron-2004-3-page-139.htm

Soler, Colette. Η κατάρα του φύλου, επιμ. Βασίλειος Πατσογιάννης, μτφρ. Καλλιόπη Κουκουλάκη,  Αθήνα :  Πλεθρον , 2015.

 

Sumpf, Alexandre. Mai 1968, : Les Barricades, Histoire par l’image, Mai 2018 

https://histoire-image.org/fr/etudes/mai-1968-barricades

 

Σκούμπη, Βίκη. Η αθέατη όψη της γραφής : Ο Ορφέας του Cy Twombly, αληthεια, τεύχος 10, φθινόπωρο 2020.

Tudal, Antoine. Εμπόδια [Obstacles] https://champlacanienathenes.net/dimosiefseis/metafraseis/empodia-obstacles-antoine-tudal/

Tudal, Antoine. Paris en l'an 2000

https://dicocitations.lemonde.fr/citation_auteur_ajout/96797.php

Tapié, Michel. Art autre,  Paris : Gabriel-Giraud et fils, 1952.

 

Tillier , Bertrand, Image de la commune: La barricade du boulevard Puebla, L’histoire par l’image, mars 2016.

https://histoire-image.org/fr/etudes/image-commune-barricade-boulevard-puebla

 

 

Monte Verità

Harald Szeemann, Monte Verità — installation view at Kunsthaus Zurich, 1978

 

 

 

 

 

Monte Verità: "The place where our minds can reach up to the heavens..."
Harald Szeemann , April 1985

 

In the nineteenth century and at the beginning of the twentieth, the Ticino, republic and canton since 1803, became a gateway to the south and favourite destination of a group of unconventional loners who found in the region, with its southern atmosphere, fertile ground in which to sow the seeds of the utopia they were unable to cultivate in the north. The Ticino came to represent the antithesis of the urbanised, industrialized north, a sanctuary for all kinds if idealist. From 1900 onwards Mount Monescia above Ascona became a pole of attraction for those seeking an ‘'alternative'' life. These reformers who sought a third way between the capitalist and communist blocks, eventually found a home in the region of the north Italian lakes.

The founders came from all directions : Henry Oedenkoven from Antwerp, the pianist Ida Hofmann from Montenegro, the artist Gusto and the ex-officer Karl Gräser from Transylvania. United by a common ideal they settled on the ‘'Mount of Truth'' as they renamed Monte Monescia.
Draped in loose flowing garments and with long hair they worked in the gardens and fields, built spartan timber cabins and found relaxation in dancing and naked bathing, exposing their bodies to light, air, sun and water. Their diet excluded all animal foods and was based entirely on plants, vegetables and fruit. They workshipped nature, preaching its purity and interpreting it symbolically as the ultimate work of art: ‘'Parsifal's meadow'', ‘'The rock of Valkyrie'' and the ‘'Harrassprung'' were symbolic names which with time were adopted even by the local population of Ascona who had initially regarded the community with suspicion.

Their social organisation based on the co-operative system and through which they strove to achieve the emancipation of women, self-criticism, new ways of cultivating mind and spirit and the unity of body and soul, can at the best be described as a Christian-communist community. The intensity of the single ideals fused in this community was such that word of it soon spread across the whole of Europe and overseas, whilst gradually over the years the community itself became a sanatorium frequented by theosophists, reformers, anarchists, communists, socialdemocrats, psyco-analysts, followed by literary personalities, writers, poets, artists and finally emigrants of both world wars: Raphael Friedeberg, Prince Peter Kropotkin, Erich Mühsam who declared Ascona ‘'the Republic of the Homeless'', Otto Gross who planned a ‘'School for the liberation of humanity'', August Bebel, Karl Kautsky, Otto Braun, even perhaps Lenin and Trotzki, Hermann Hesse, Franziska Gräfin zu Reventlow, Else Lasker-Schüler, D.H Lawrence, Rudolf von Laban, Mary Wigman, Isadora Duncan, Hugo Ball, Hans Arp, Hans Richter, Marianne von Werefkin, Alexej von Jawlensky, Arthur Segal, El Lissitzky and many others.

After the departure of the founder for Brazil in 1920 there followed a brief bohemian period at the Monte Verità which lasted until the complex was purchased as a residence by the Baron von der Heydt, banker to the ex-Kaiser Willhelm II and one of the most important collectors of contemporary and non European art. The bohemian life continued in the village and in the Locarnese valleys from then on.

The Mount, now used as a Hotel and park, still maintains its almost magic power of attraction. Along with the proven magnetic anomalies of geological formations underlying Ascona, it is as if the mount preserves, hidden away out of sight, the sum of all the successful and unsuccessful attempts to breach the gap between the ‘'I'' and ‘'we'', and the striving towards an ideal creative society, thus making the Monte Verità a special scenic and climatic micro-paradise.

The Monte Verità is also however a well preserved testimony for the history of architecture. From Adam's hut to the Bauhaus. The ideology of the first settlers demanded spartan chalet-like timber dwellings with plenty of light and air and few comforts. Shortly after 1900 the following buildings began to spring up: Casa Selma (now museum), [...], Casa Andrea with its geometrical façade, the sunniest of the buildings (now converted), Casa Elena and the Casa del Tè - Tea House (now demolished) and the Casa dei Russi (hideout for Russian students after the 1905 revolution and now undergoing renovation). The Casa Centrale was built for the community and allowed for maximum natural light. Ying-Yang symbols were worked into windows and balconies. (In 1948 this building was demolished to make way for a restaurant and only the curving flight of steps remains).

Henry Oedenkoven built Casa Anatta as living quarters and reception rooms in the theosophist style with rounded corners everywhere, double timber walls, sliding doors, domed ceilings and huge windows with views of the landscape as supreme works of art, a large flat roof and sun-terrace.

In the mains rooms of this building Mary Wingman danced, Bebel, Kautsky and Martin Buber discussed, Ida Hofmann played Wagner and the community held its reunions. In 1926 the Baron von der Heydt converted Casa Anatta into a private residence and adorned it with his collection of African, Indian and Chinese art, now housed at Rietberg Museum, and a collection of Swiss carnival masks which is now in Washington. After the death of the Baron in 1964 the Casa Anatta, described by the architecture theorist Siegfried Giedion in 1929 as a perfect example of ‘'liberated living'', fell into disuse and dilapidation. In 1979 it was re-activated to house the Monte Verità exhibition and has been the History Museum of the Monte Verità since 1981. (Open to the public from April to October). In 1909 the Turinese architect Anselmo Secondo built the Villa Semiramis as a guest house and hotel. The Villa, clinging to the mountain side, presents many architectural characteristics of the Piedmont ‘'Jugendstil'' of which the triangular shutters are the most striking example. In 1970 work was carried out to remodernize the Villa, true to the original style, under the direction of the Ticinese architect Livio Vacchini. The arrival of the Baron on the Mount marked the advent of modern architecture in the Ticino The original contract for a hotel in the characteristically rational and functional Bauhaus style went to Mies van der Rohe and was executed by Emil Fahrenkamp, builder of the Shell Building in Berlin and later designer of the Rhein Steel Works. Like Casa Anatta, the Hotel is built against the rock face. The design both of the exterior and of the rooms is simple and clear-cut and the suites are furnished in the Bauhaus tradition. The reception rooms and the corridors are light and airy and the metalwork studied down to the smallest detail.Thanks to the construction of the Hotel, Bauhaus masters such as Gropius, Albers, Bayer, Breuer, Feiniger, Schlemmer, Schawinksy and Moholy-Nagy visited Ascona and the Monte Verità and there discovered what Ise Gropius was to put into words in 1978 ‘‘A place where our minds can reach up to the heavens...''.

 

Text by Caitlin Murray 

 

http://www.impossibleobjectsmarfa.com/fragments/monte-verit?rq=monte%20verita

 

Αναγκαιότητα στην πολυτέλεια. Ο Ροβινσώνας Κρούσος ως homo domesticus

Ανεξάρτητα αν έχουμε η δεν μας έχουν διαβάσει τον βίο του Ροβινσώνα Κρούσου, όλοι μας έχουμε κάποια ιδέα για την ιστορία ενός ναυαγού που ξεβράστηκε σ’ ένα έρημο νησί. Από την ιστορία αυτή, μάλιστα, προκύπτει συχνά και ένα βασανιστικό ερώτημα: εμείς θα είχαμε τις ικανότητες ν’ ανταπεξέλθουμε στις δυσκολίες ενός ναυαγίου και να αντιμετωπίσουμε παρόμοιες καταστάσεις; Η επιβίωση στις δυσκολότερες δυνατές συνθήκες μας προκαλεί δέος και σεβασμό για εκείνους που στάθηκαν ικανοί να την επιτύχουν. Όταν σκέφτομαι τον Ροβινσώνα του Defoe, ένα μυθιστόρημα που όταν δημοσιεύτηκε (1719) δεν είχε καταργηθεί ακόμη η δουλεία, έρχεται στο μυαλό μια σκέψη του Schopenhauer, ο οποίος σ’ ένα μικρό εγχειρίδιο πρακτικής φιλοσοφίας υποστήριζε ότι «τίποτε δεν εξασφαλίζει πιο αποτελεσματικά την ηρεμία μας, από το να αναλογιζόμαστε ό,τι συνέβη μέσα από το πρίσμα της αναγκαιότητας: διότι μέσα από το πρίσμα αυτό όλα τα τυχαία γεγονότα παρουσιάζονται ως όργανα του κυρίαρχου πεπρωμένου». Εξάλλου, για τον φιλόσοφο «παιδιά και μεγάλοι ξέρουν πολύ καλά ποτέ να νιώσουν ικανοποιημένοι, μόλις αντιληφθούν ξεκάθαρα πως τα πράγματα έτσι έχουν και δεν μπορούν να γίνουν διαφορετικά».[1]

Η αναγκαιότητα στον σύγχρονο τεχνολογικό πολιτισμό συνιστά βέβαια μια πολυπλοκότερη υπόθεση από αυτήν που θα μπορούσε να υποθέσει ο γερμανός στοχαστής. Εντούτοις, εκείνο που διατηρεί επίκαιρη τη σκέψη του είναι η συγκινητική αποδοχή της προσαρμογής σε μια νέα συνθήκη και η ανακούφιση που την συνοδεύει. Αυτή η βίαιη προσαρμογή στις νέες συνθήκες, παρόλες τις ανέσεις του νεωτερικού βίου, γίνεται σήμερα μ’ έναν ιδιότυπο τρόπο αποδεκτή. Παρά τα δυνατά τραντάγματα της εποχής μας (πανδημία, κλιματική αλλαγή, μαζική μετανάστευση) οι βασικές προϋποθέσεις για ένα standard βιοτικό επίπεδο ζωής στις δυτικές κοινωνίες παραμένουν σε υψηλό επίπεδο συγκριτικά με το παρελθόν. Για τον ίδιο ακριβώς λόγο, φαίνεται όμως ότι οι πρακτικές ευκολίες μας αφαιρούν την ικανοποίηση της χειρωνακτικής δημιουργικότητας και χειραφέτησης. Αυτή πια έχει περάσει στη σφαίρα της λογοτεχνικής πλοκής και του τηλεοπτικού θεάματος (Action games, Survivor TV series, Prank you tube channels, 5 minute crafts κ.α.).

http://avgi-anagnoseis.blogspot.com/2021/04/blog-post_366.html#more

 Κωστής Βελώνης

The Concept of Anachronism and the Historian’s Truth.

In
 the preface to his book The Problem of Unbelief in the Sixteenth Century: The Religion of Rabelais, Lucien Febvre tells us the following:“The problem is to determine what set of precautions to take and what rules to follow in order to avoid the worst of all sins, the sin that cannot be forgiven— anachronism.”  Febvre’s text raises, for us, three questions, which I shall try to untangle here. Firstly, why, for the historian, is anachronism the unforgivable sin above all others? Secondly, to be such a sin, what must anachronism be? Thirdly, to give anachronism the status of a sin fatal to the spirit of history, what must history be? This triple questioning falls within the framework of a larger reflection on the question of truth in history, a reflection led by a hypothesis that I now formulate in the most general way.

 

 Rancière, Jacques (2015) "The Concept of Anachronism and the Historian's Truth (English translation)," InPrint: Vol. 3: Iss. 1

 Available at: https://arrow.tudublin.ie/inp/vol3/iss1/3 

Indestructible (Broken)

Indestructible (Broken), 2020
Marble, wood, stones
199
27.6.2020-1.11.2020
Deste Foundation Project Space, Slaughterhouse, Hydra
#destefoundation #gravity #masonry #debate#sculpture #kostisvelonis #hydra #indestructible#marble #stones #transfiguration #boecklin#petrification #solidity #instability#hydraslaughterhouse #exhibition #199 — in Hydra, Greece.

Still Undead: Popular Culture in Britain Beyond the Bauhaus

Still Undead: Popular Culture in Britain Beyond the Bauhaus

 Kurt Schwerdtfeger, Reflektorische Frablichtspiele, 1922 light performance. Courtesy of MicroscopeGallery and Kurt Schwerdtfeger Estate, 2016

Still Undead explores how Bauhaus ideas and teaching lived on in Britain, via pop culture and art schools. This exhibition coincides with the centenary of the pioneering art and design school’s founding in Weimar. Spanning the 1920s to the 90s, and including works by some 50 artists, designers and musicians, Still Undead narrates the eclectic and fragmented ways that the Bauhaus’s legacy has been transmitted and transformed. It is structured around six loosely chronological groupings, which move from the Bauhaus to British art schools, from the high street to the nightclub and beyond.

Still Undead departs from experiments in light and sound created by Bauhaus students and teachers. Combining music, costume and performance, these works were key to the school’s lively culture of parties and festivals. After the Nazis came to power in 1933, and the Bauhaus closed, a number of its masters and students came to Britain. A lack of work pushed them towards a variety of projects, making everything from sci-fi special effects and documentary photography to shop-window displays.

After World War II, Bauhaus methods reshaped British art schools through a new approach to artistic training known as Basic Design. This emphasised intuition and experimentation, colour and material. At the beginning of the 1960s, a young generation began to reimagine the aims of the Bauhaus for an era of consumerism and commercial design.

In the 1970s and 80s, youth culture – by way of art-school bands, DIY publishing and club nights – looked back to early 20th-century avant-gardes for inspiration. This section of the exhibition is a collage of performance, music and graphic design, which invokes the spirit of Bauhaus parties and theatre. The exhibition title, Still Undead, is borrowed from a 1982 song by the British band Bauhaus, suggesting that these spirits linger on, neither dead nor alive.

Artists:

Still Undead includes works by some 40 artists, designers and musicians, including: Gertrud Arndt, Roy Ascott, Bauhaus (Band), Robyn Beeche, Otti Berger, Leigh Bowery, Marcel Breuer, Robert Brownjohn, Laurie-Rae Chamberlain, Edmund Collein, Susan Collier and Sarah Campbell, Terence Conran, Rita Donagh, Terence Donovan, Ueli Frey, Maxwell Fry, Walter Gropius, Rene Halkett and David Jay, Richard Hamilton, Florence Henri, George Hinchcliffe and Ian Wood, Ludwig Hirschfeld Mack, Tom Hudson, Ben Kelly, Kraftwerk, Kurt Kranz, Margaret Leischner, Liliane Lijn, T. Lux Feininger, Al MacDonald, John Maybury, Lucia Moholy, László Moholy-Nagy, Victor Pasmore, Mary Quant, Herbert Read, Vidal Sassoon, Peter Saville, Oskar Schlemmer, Kurt Schwerdtfeger, Soft Cell, Frank Tovey (Fad Gadget), Edith Tudor-Hart, Stephen Willats.

 

Curators:

Marion von Osten, Grant Watson and Sam Thorne

Olivia Aherne, Gavin Butt, Cédric Fauq, Christian Hiller and Mariana Meneses

Still Undead has been developed in partnership with “Bauhaus Imaginista”, a major international collaboration led by Haus der Kulturen der Welt, Berlin; Bauhaus Kooperation (Weimar, Dessau, Berlin); and the Goethe-Institut.

 

21 Sep 2019 – 12 Jan 2020

https://www.nottinghamcontemporary.org/whats-on/undead-pop-culture-in-britain-beyond-the-bauhaus/