LITERATUR & NATUR im nationalparkhaus wien lobAU MECHTHILD PODZEIT-LÜTJEN, WOLF RATZ und BEATRICE SIMONSEN vom Literaturkreis Podium lesen Texte von, zu, über Natur. Donnerstag, 24. September 2020, 18.30 Uhr nationalparkhaus wien-lobAU 1220 Wien, Dechantweg 8 Christl Greller (Konzept, Organisation, Moderation) stellt den Literaturkreis Podium und die Künstler vor. Foto © Dirk Simonsen: In die Weite gehen …Literatur & Natur 24. September 2020 — Kunst und Literatur
For half a century Hans Haacke has devoted his art practice to unsparing critiques of wealthy and powerful institutions. His work has never been more relevant.
Read on Places Journal …A System Is Not Imagined — Places Journal
~ Another installment of these cast iron circles, this time from Saint John, New Brunswick. Hard to say for certain, but I found this group a bit grittier than those in other places. ~ Similar Posts on O’Canada: > Halifax’s Manhole Covers > Creativity Afoot!: Toronto’s Varied Manhole Covers > Manhole Covers of Quebec […]
I’ve long been a fan of South African artist William Kentridge’s eclectic work. His book art/film blend has always captured my attention. 2nd Hand Reading is not recent, but it’s a good introduction to his work.
This selection of letters (1945-1947) from Artaud’s consummate work, Suppôts et Suppliciations [Henchmen and Torturings] translated into English for the first time, provides readers with a vivid, uniquely intimate view of Artaud’s final years. They show Artaud at his most exposed, and they are perhaps his most explosive, tragic, sad, even humorous. Each of the correspondents that came into contact with Artaud during this time were in their own way deeply affected since his project was essentially an “attack / on the mind of the public.”
Commenting on and elaborating key themes from his earlier writing, while venturing into new territory, Artaud recounts his torture and violation in asylums, his crucifixion two thousand years ago in Golgotha, his deception by occult initiates and doubles, and his intended journey to Tibet, where, aided by his “daughters of the heart,” he will finally put an end to these “maneuvers of obscene bewitchment.” Artaud also speaks of his plan to create a “body without organs” and extends this idea to the visual arts, where he argues that painting and drawing must wage a ceaseless battle against the limits of representation.
The apocalyptic vision for mankind that led Artaud on a journey, beginning in Mexico in 1936 and ending, tragically, in Ireland in 1937, with a mental breakdown, silence, and long internment in asylums, concluded with the extremely prolific late period from which these letters were drawn. There is an unmistakable unity of vision that permeates the letters: the vision of an unceasing, ubiquitous, and malignant plot “to close the mouth of lucidity” by any means, and which must be resisted at all costs.
Translated by Peter Valente & Cole Heinowitz
With an introduction by Jay Murphy
Illustrated by Martin Bladh and Karolina Urbaniak
In deep sadness there is no place for sentimentality. It is as final as the mountains: a fact. There it is. When you realize it you cannot complain.
― William S. Burroughs, Queer. (Viking Press November 1985)
A review of Frances Richard’s new book, “Gordon Matta-Clark: Physical Poetics.”
Brassaï’s close-ups of graffiti carved and painted on Parisian city walls were first seen in the Surrealist magazine Minotaure in 1933, however he would continue to photograph images of graffiti for the next three decades, culminating in the publication of the book, Graffiti, in 1961. With this project, ‘the eye of Paris’ as he was called […]
The long awaited sequel designed by Ben Molina and featuring COLOR photographs by Clay Benskin is now available for $20 with postage included ($10 extra for international shipping)All copies are signed by both artists in silver paint!