Tuesday, March 15, 2022

Homo Bulla : Το ασυγκράτητο γέλιο και οι σαπουνόφουσκες

Homo Bulla Το ασυγκράτητο γέλιο και οι σαπουνόφουσκες

 

 

 

Τέχνη στο συγκείμενο (Art in context 

Η σχολή του Slapstick/ Slapstick School

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

 

Ειδική βιβλιογραφία, σημειώσεις, films, Performances 

 

 

Αγγελάτος, Δημήτρης. «Η σάτιρα: ένας ειδολογικός χαμαιλέων.» Σύγκριση /Comparaison, 14  (2003): 20-46. 

https://www.researchgate.net/publication/313235242_E_satira_enas_eidologikos_chamaileon/link/58936347a6fdcc45530c29cf/download

 

 

BakhtinMikhailΟ Ραμπελαί και ο κόσμος του. Για τη λαϊκή κουλτούρα του Μεσαίωνα και της Αναγέννησης. Mτφρ. Γιώργος Πινακούλας. Ηράκλειο Κρήτης :  Πανεπιστημιακές Εκδόσεις Κρήτης , 2017.

 

BoisYve-Alain & KraussRosalindL' Informe. Mode d'Emploi. Paris: Centre Georges Pompidou, 1996.

 

Cheney, Liana de Girolami. “The Symbolism of the Skull in Vanitas: Homo Bulla Est.” Cultural and Religious Studies, May, Vol. 6, No. 5 (2018): 267-284. 

https://pdfs.semanticscholar.org/3691/b39b8aa4a58b17f347ecb0d2c55fa87f1b0f.pdf?_ga=2.246908484.190839167.1632648203-320893278.1632648203

 

 

Cruz, Mauricio. Voisins du Zero: Hermaphroditism and Velocity (an interpretation of Marcel Duchamp's Obligation pour la Roulette de Monte Carlo, 1924”. Tout fait, Vol.2,Issue 5, April (2003).

https://www.toutfait.com/issues/volume2/issue_5/articles/mauricio/mauricio1.html

 

 

Connor, Steve. The Matter of Air: Science and the Art of the EtherealLondonReaktion Books2010.

 

EagletonTerry. “Καρναβάλι και κωμωδία: Μπένγιαμιν, Μπαχτίν και Μπρέχτ.», στο συλλ. τόμο Μετά-μαρξιστικά ρεύματα στην αισθητική και στην θεωρία της λογοτεχνίαςEπιμ-μτφρΦώτης ΤερζάκηςΑθήνα : Futura, 2004.

 

Emmer, Michele. “Soap Bubbles in Art and Science: From the Past to the Future of Math Art.” Leonardo, Vol. 20, No. 4, (1987) : 327-334
.

https://muse.jhu.edu/article/600566/pdf

 

 

Gabriel, Mary. Love and Capital: Karl and Jenny Marx and the Birth of a Revolution New York : Little, Brown and Company, 2011.

 

 

 Γεωργουσόπουλος, Κωστας. “Οταν ντύσαμε τους γυμνούς”. Τα Νέα, 25 Αυγούστου 2017. 

https://www.tanea.gr/2017/08/25/lifearts/by-the-book/otan-ntysame-toys-gymnoys /

 

 

Jarry, AlfredGestes et opinions du docteur Faustroll pataphysicien: Roman néo-scientifique suivi de Spéculations.  Paris: Charpentier, 1911. 

 

Jarry, Alfred.  Ο Υμπύ βασιλιάς. MτφρΣάκης ΜανιάτηςΑθήνα: Κείμενα, 1972. 

 

JarryAlfred. Υμπύ ΤύραννοςMτφρ. Αχιλλέας Κυριακίδης. Αθήνα: Opera, 2003.

 

Κουζέλη, Λαμπρινή. “Ο Κάρολος πίσω απο τον Μαρξ.» Tο Bήμα, 02/10/ 2011 

 

Lavin, Sylvia. «Fear of Forming.” ANY, No. 18, Public Fear: WHAT'S SO SCARY ABOUT ARCHITECTURE? (1997): 10-11.

https://www.jstor.org/stable/41852240 

 

Lynn, Greg. “Blobs, or Why Tectonics Is Square and Topology Is Groovy”. ANY, No. 14, Tectonics Unbound: KERNFORM AND KUNSTFORM REVISITED ! (1996): 58-61

https://www.jstor.org/stable/41852143 

Malt, Johanna.  “The Blob and the Magic Lantern: On SubjectivityFaciality and Projection.” Paragraph, 36/3 (2013): 305–23.

 

 

Manzoni, Piero. “Corpi d'Aria.” 1959.

 https://kostisvelonis.blogspot.com/2019/12/httpsyoutu.html

 

 

Medalla, David. “The Bubble Machine.” 2014. 
https://www.anothervacantspace.com/David-Medalla-Cloud-Canyons

 

 

Piper, Adrian. «Catalysis IV.» ,1971.

http://foundation.generali.at/en/collection/artist/piper-adrian/artwork/catalysis-iv.html#.YcjjIy0Ro6U

 

PollardArthur. Σάτιρα. MτφρΘεοχάρης ΠαπαμάργαρηςΑθήναΕρμής, 1970.

 

Reuters Staff. “Marx's erupting skin may have influenced writings.” Reuters 30 Oct (2007) http://www.reuters.com/article/us-marx-boils-idUSL3067539420071030

 

Rohrer, Denis. “In the land of Cockaigne.”

https://www.alimentarium.org/de/node/3968

 

Riff, David.  “Was Marx a Dancer?” e-flux journal #67, Ñovember (2015) 

https://www.e-flux.com/journal/67/60712/was-marx-a-dancer/

 

 

SerresMichelΤο Παράσιτο. Επιμ. Διονύσης Καββαθάς, μτφρ. Νίκος Ηλιάδης. 

Αθήνα : Εκδόσεις Σμίλη, 2009.

 

SloterdijkPeterBubbles. Spheres: Vol. 1 Microspherology. Los Angeles: Semiotext(e), 2011. 

 

 

Schwarz, Arturo. Man Ray: The Rigour of Imagination. London Thames & Hudson

1977.

 

Turner, Christopher. “Tears of Laughter Darwin and the indeterminacy of emotions.” Cabinet MagazineSpring, issue 17, 2005.

 

 https://www.cabinetmagazine.org/issues/17/turner.php

 

Velonis, Kostis. “Alfred Jarry and Asger Jorn: The Epicurean Influence as Social “Swerve.”

https://www.hildegoesasger.org/2015/07/alfred-jarry-and-asger-jorn-the-epicurean-influence-as-social-swerve-by-kostis-velonis/

Wraith, Matthew. “Thought bubbles” CRITICAL QUARTERLY, VOL. 56, NO. 2, (2014)https://doi.org/10.1111/criq.12111

 

Films/Performances

 

All the Laughter of James Bond Villains

https://digg.com/video/bond-villains-laughing-compilation

 

Ubu Roi, Marionetteatern Stockholm, Holland Festival 1967

https://www.youtube.com/watch?v=IEHVzH-kzWY

 

Alfred Jarry, "Ubu Roi" (Jean Christophe Averty 1965)

https://www.youtube.com/watch?v=_vuzhkEkNSQ

 

“Ubú tells the truth”, William Kentridge, 1997

https://www.youtube.com/watch?time_continue=18&v=cVWh_kYD2GY&feature=emb_title

 

David Medalla: A life of adventure

https://www.tate.org.uk/art/artists/david-medalla-7213/david-medalla-life-adventure

 

Fiato d'artista di Piero Manzoni

https://www.youtube.com/watch?v=7gbQV8nITRw

 

Jean-Siméon ChardinSoap Bubbles, ca. 1733–34

https://www.metmuseum.org/art/collection/search/435888

 

Quis Evadet? 1 Blowing Bubbles                                                 

https://www.youtube.com/watch?v=aRemPWWPA8I

 

Tony Oursler, Blob

https://www.youtube.com/watch?v=dMft0WrUO50

 

David Bowie - Where Are We Now?  A film by Tony Oursler

https://www.youtube.com/watch?v=QWtsV50_-p4

Midnight Rambler

 


Midnight Rambler, 2021  
Wood, concrete, clay, modelling clay, acrylic paint, pencil, gesso  
  35 cm x 46 cm x 40 cm 

Scaffold Services

 



Scaffold Services, 2022   
Cement, wood, ceramic, gesso, stucco  
28 x 30x 13 cm 

Tuesday, March 8, 2022

Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία

Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία  

 

 

Τέχνη στο συγκείμενο (Art in context 

Η σχολή του Slapstick/ Slapstick School

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

 

Βιβλιογραφίασημειώσεις filmsperformances

 

 

 

Abraham, Nicolas & Torok, Maria. «Το χαμένο αντικείμενο –Εγώ. Σημειώσεις για την ενδοκρυπτική ταύτιση.» Εκ των υστέρωντεύχος 15 (2007) :175-195.    

 

Alvarez, Ana Cecilia. “Bend it Like Benglis.” The Critical Inquiry, 20 Oct. 2014. 

https://thenewinquiry.com/bend-it-like-benglis/

Barthes, Roland. Μυθολογίες –Μάθημα.  MτφρΚαίτη Χατζηδήμου. Αθήνα: εκδ. Ράππα, 2007.

 

Βελώνης, Κωστής. “Η γλυπτική της επιθυμίας.”Αυγή της Κυριακής, 31 Μαιου 2015 

http://avgi-anagnoseis.blogspot.gr/2015/05/blog-post_9.html#more

 

Briony, Fer. “Objects beyond Objecthood.” Oxford Art Journal, Vol. 22, No. 2, Louise Bourgeois (1999) : 27-36. https://www.jstor.org/stable/1360633

ButlerJudith.  Σώματα με σημασία. Eπιμ. Αθηνά Αθανασίου, μτφρ. Παναγία  Μαρκέτου, Αθήνα : Εκδόσεις  Εκκρεμές, 2008.  


CixousHeleneΤο γέλιο της Μέδουσας. Eπιμ.-εισ. Δήμητρα Γεωργιάδου, μτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, Αθήνα : Τοποβόρος, 2018.


CreedBarbara.  «To τερατώδες- θηλυκό» στο CixousHeleneΤο γέλιο της Μέδουσας. Eπιμ.-εισ. Δήμητρα Γεωργιάδου, μτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, Αθήνα : Τοποβόρος, 2018.

 

Creed, Barbara. «Orgasmology : What Does the Orgasm Want?” Feminist Formations, Volume 28, Issue 2, (Summer 2016): 144-151. https://doi.org/10.1353/ff.2016.0033 

 

Clair, Jean. Meduse. Contribution a une anthropologie des arts du visual.  Paris: Editions Gallimard, 1989.

 

 

Dali, Salvador“Declaration of the independence of imagination and the rights of man to his own madness.”(1939)

https://collections.vam.ac.uk/item/O1309656/declaration-of-the-independence-of-dali-salvador/

 

Eidelpes, Rosa.  “Roger Caillois’ Biology of Myth and the Myth of Biology.” Anthropology & Materialism,  21 (2014). https://journals.openedition.org/am/84

 

Feldman, Max L. “Heads-Off”,  Spike Art Magazine, July. 21. 7. 2020

https://www.spikeartmagazine.com/?q=articles/soshiro-matsubara-croy-nielsen-vienna

 

 

Gomes, Elisa.  "MARIA – Don’t Forget I Come from the Tropics", 

https://www.youtube.com/watch?time_continue=107&v=d7VIt017IDg&feature=emb_title

 

GreenAndré. Η ιδιωτική τρέλα, ψυχανάλυση των οριακών περιπτώσεων.  Mτφρ. Θάλεια Λογαρίδη,  επιμ. Κλαίρη Συνοδινού, Σπύρος Μητροσύλης, Αθήνα : Καστανιώτη, 2002.

 

Hamilton, John T., “The Luxury of Self-destruction: Flirting with Mimesis with Roger Caillois." Flirtations: Rhetoric and Aesthetics This Side of Seduction, a Poetics and Theory/ Comparative Literature Workshop, Draper Program, New York University, March 3, 2012. 

https://dash.harvard.edu/handle/1/14065783

 

Hancock, Caroline. “Medusa in Ecstasy” in Lynda Benglis. Eπιμ. Franck Gautherot, Caroline Hancock, Kim Seungduk, Franck Gautherot, Dijon : Presses du réel, 2009.

http://www.carolinehancock.com/carolineHancock/pdf/Lynda_Benglis.pdf

 

Henriques, Martha. “The vibrator: from medical tool to revolutionary sex toy.” BBC Future, 8th November (2018). 

https://www.bbc.com/future/article/20181107-the-history-of-the-vibrator

 

Didi-Huberman, Georges. “The Order of Material: Plasticities, malaises, survivals”.  In Sculpture and Psychoanalysis. ΜτφρJ, Matlock, επιμ.  B. Taylor.  Routledge, 2016.  

 

Didi-Huberman, Georges. “Die Ordung des Materials. Plastizitat, Unbehagen, Nachleben”,  Vortrage aus dem Warburg-Haus, III, Berlin : Akademie Verlag, 1999.

 

FreudSigmund. «Το κεφάλι της Μέδουσας» στο Κείμενα για την ψυχοσεξουαλική ζωή. Mτφρ.  Ανδρέας Βασιλιάς, Αθήνα : Ανατολικός, 2018. 

 

JagoseAnnamarieOrgasmologyDurhamNC:  Duke University Press, 2013.

Kachur, Lewis. Displaying the Marvelous, Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations. Cambridge, Massachusetts: MIT Press, 2001.

 

Koehler, Sezin.  “Pussy Bites Back: Vagina Dentata Myths From Around the World.”

https://www.vice.com/en_us/article/payq79/pussy-bites-back-vagina-dentata-myths-from-around-the-world

 

Klein, Melanie. “A contribution to the psychogenesis of manic-depressive states.” International  Journal of Psychoanalysis16 (1935): 145-174. 

 

https://www.sas.upenn.edu/~cavitch/pdf-library/Klein_Contribution.pdf

 

LaplancheJ. & PontalisJ.-B. Λεξιλόγιο της ψυχανάλυσης.  Mτφρ. Β. Καψαμπέλης, Λ. Χαλκούση, Α. Σκουλήκα, Π. Αλούπης. Αθήνα: Κέδρος, 1986.

http://www.preder.net/r/geriadur/enmoned.php?dic=6&ent=918

 

Lippard, Lucy R. “Eccentric Abstraction”. New York : Fishbach Gallery (1966); reprinted in Art International, vol. 10, 20 November (1966). 

https://monoskop.org/File:Lippard_Lucy_R_1966_1971_Eccentric_Abstraction.pdf

Lurie, Susan. “The Construction of the "Castrated Woman." Discourse Vol. 4 Winter, (1981-2): 52-74.

https://www.jstor.org/stable/44000262?seq=1

 

Malabou, Catherine. “What Should We Do with Plasticity.” An interview with   Benjamin Dalton. Paragraph 42:2(2019): 238-254. 

https://euppublishing.com/doi/full/10.3366/para.2019.0301

 

Markus, Daniel. “On the art of Hannah Wilke.” Art Forum, January 16, 2022.

https://www.artforum.com/print/202201/daniel-marcus-on-the-art-of-hannah-wilke-87445

 

Martyris, Nina. “Luncheon In Fur: The Surrealist Teacup That Stirred The Art World.” February 9, 2016.

https://www.npr.org/sections/thesalt/2016/02/09/466061492/luncheon-in-fur-the-surrealist-tea-cup-that-stirred-the-art-world?t=1578851213115

 

Middleman, Rachel. “Rethinking Vaginal Iconology with Hannah Wilke's Sculpture.” Art Journal 72:4 (2013) : 34-45.

https://www.jstor.org/stable/pdf/43188632.pdf

 

Mignon, Nixon. “Eating Words.”  Oxford Art Journal, Vol. 22, No. 2, (1999) : 57-70.https://www.jstor.org/stable/pdf/1360635.pdf

PlathSylvia. ΆριελΜτφρ. Ελένη Ηλιοπούλου, Κατερίνα  Ηλιοπούλου. Αθήνα : Μελάνι, 2012.

 http://i-mourmoura.blogspot.com/2013/03/blog-post_9033.html

 

PollockGriselda.  "Feminism and Modernism" in Framing Feminism: Art and the Women's Movement, 1980-1985. Επιμ. Rozsika Parker, Griselda Pollock. London: Pandora, 1987. 

 

Sayej, Nadja. “Sexologist Annie Sprinkle Isn't Covering Anything Up.Interview Magazine, September 30, 2019.

https://www.interviewmagazine.com/culture/annie-sprinkle-show-tell-new-exhibition

 

 

Schaffner, Ingrid. Salvador Dali`s Dream of Venus: The Surrealist Funhouse from the 1939 World`s Fair, New York: Princeton Architectural Press, 2002.

 

 

Sprinkle, Annie M. “A Public Cervix Announcement.”

http://anniesprinkle.org/a-public-cervix-anouncement/

 

 

Stein, Sadie. “My fair lady.” The Paris Review, Feb 17, 2015.

https://www.theparisreview.org/blog/2015/02/17/my-fair-lady/

 

 

Vo, Anh. “Can Pornography Be Feminist?” Cult Plastic, June 4, 2017.

 

https://cultplastic.com/2017/06/04/pornography-and-feminism/

 

 

 

Films/Performances

 

Dali's Dream of Venus 1939 World's Fair 

https://www.youtube.com/watch?v=g9jcL-qjqi4

https://www.youtube.com/watch?v=-yhWxQnvoSo

https://www.youtube.com/watch?v=xy9dnakh5L4

Elisabeth Sussman discusses the artist Eva Hesse’s rope Sculpture, No Tile, 1970.

https://www.youtube.com/watch?v=LklUuaUxX4k

 

Eva Hesse: “Life doesn’t last; art doesn’t last”  -sfmoma https://www.sfmoma.org/watch/eva-hesse-life-doesnt-last-art-doesnt-last/

 

Louise Bourgeois – 'I Transform Hate Into Love' | TateShots

https://www.tate.org.uk/art/artists/louise-bourgeois-2351/art-louise-bourgeois

 

Aliens, dir. By James Cameron (1986) - Trailer

https://www.youtube.com/watch?v=z0IXOUFYMt0

Aliens 1986 Final Ellen Ripley vs Xenomorph Queen

https://www.youtube.com/watch?v=DqA8Z5gjNWw

The Brood, dir. by David Cronenberg, 1979

https://www.youtube.com/watch?v=CNYfCMY2zHg

 

Teethdir. by Mitchell Lichtenstein, 2007

https://www.youtube.com/watch?v=yH8yuld4DUE

 

Lynda Benglis at the Walker, Eric Crosby

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/introduction

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/working_in_space

 

Marcel Duchamp

Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ) 1946-66 Marcel Duchamp Philadelphia Museum Of Art

https://www.youtube.com/watch?v=dAlzBx24_vM

 

Marcel Duchamp, The Bride Stripped Bare by Her BachelorsEven (The Large Glass) by  Lara Kuykendall 
https://smarthistory.org/duchamp-largeglass/

 

 

Monday, March 7, 2022

Sculptures between comedy and drama: Kostis Velonis at Monitor




Sculptures between comedy and drama: Kostis Velonis at Monitor

Bricks, pieces of wood, plaster, forms made of clay, cement, ceramics – all impoverished materials in the works of Greek artist Kostis Velonis (Athens, 1968), in his first solo show in Portugal, at Galeria Monitor, Lisbon.

Slapstick Masonry is the title of the show, designed to create a series of “object-subjects” whose identity belongs to theatre – or rather to that “comedy based on deliberate clumsy actions and embarrassing events” (slapstick), also known as commedia dell’arte.

Kostis is inspired by instruments that generate noise, used throughout the history of theatre; the artist builds items and mechanisms that, when propelled, simulate an action – for example, a slap. In this way, the works become a kind of living tools: objects with a soul.

These artefacts correspond to a double identity. On the one hand they have the form of sculptures, on the other we see in them the mechanisms behind the use of function: sounds and rattles.

But there are also “celibate machines” lying on Monitor’s gallery floor. Here, as in the plays, not all objects fulfil their purpose. Many of them are described by Kostis as “stumbling products”, i.e., useless. They show the frustration and failures that artists, actors, writers face during the conception of the work and the course of their career.

Before our eyes, Kostis presents the metaphorical result of infinite “torn pieces”, like Backstage: a plastic bucket filled with cement, paper tape, paint and plaster to the brim.

About Backstage, the show has yet another reference to the world of theatre, openly said by the artist: “I used Monitor’s floor as a stage, a scenography”, says Kostis. He could not have made a better choice: the red and white squares of the Monitor’s ground floor are the perfect proscenium to represent this collection of objects, which seemingly want to achieve their independence, that is, they seek to free themselves from their role.

As we approach the sculptures, we must see them thoroughly, giving our imagination time to understand them: they all have an “unstable, fleeting narrative”. They are the results of a path taken by a “staggering sleepwalker”.

Although all the materials seem cohesive, here is an apparent crack: these are the Kostis sculptures – simultaneously union and division; all that is right and wrong in the obscure survey of art. It’s an antagonism of victories and defeats of human tension, always between comedy and drama.

Slapstick Masonry, by Kostis Velonis, is at Monitor – Lisbon until March 19

https://umbigomagazine.com/en/blog/2022/03/03/esculturas-entre-a-comedia-e-o-drama-kostis-velonis-na-monitor/#