This a nice how-to, involving a Pringles container. Link.
Category: art
Miami in the news
The guardian has an article on Miami and some post-ArtBasel reflections. It, of course, refers to Miami has ‘the city that coke built’–a Miami New times reference. The article focuses on Miami as a host city for culture. At CIFO, Manny Diaz said that was one of his goals. Well, here some international press confirming it.
This is a similar article; the noteworthy parts being, Robert Rauschenberg and Alain Robbe-Grillet was in town, Raleigh Hotel parties and a quote:
There were many events outside the Convention Centre. The most moving work I saw was at Miami Art Central, a museum set among Spanish-style bungalows in the suburbs. Here they were showing William Kentridge, a South African artist who does brilliant charcoal drawings that he works into disturbing films. I thought that these genuinely caught some of the horror and pain of the late 20th century.
From last week,
Fredric Snitzer Gallery.
The (decom)press room at the new Miami Beach Library.
What is left from the old library. It has serve as the Art Basel Video Lounge.
sitting and waiting
…in the dark. We still don’t have power. FPL is not my friend!
Huyghe brings Antartica to Central Park
adad/dada
Many discussions/fights/strong lines of demarcation have come to be as a result of art movements. Dada is/was the most unruly of them all. Dada has its beginnings in Zurich at the Cabaret Voltaire in 1916 and was a reaction to World War I. Today, nytimes has an article about an exhibition about Dada, which opens at the George Pompidou Center. The show
…proposes that Dada is still very much alive, its influence on contemporary art all too apparent in today’s collages, installations, ready-mades and performances.
And that,
…Dada was creative in its radical nihilism.
…Dada was principally an intellectual movement, one that set out to provoke and scandalize as a strategic response to prevailing social and artistic values.
But more importantly, Dada introduced a line of thinking that questionned authorship, authority, the object and favored appropriation. But overttime,
Dada’s aesthetic values may even have triumphed, but its political message has been forgotten. Today, many artists like to shock, not to overthrow the art establishment but to join it.
John Perreault’s defense of Mike Bidlo has been a refreshing reading about the legacy of Dada, the art market and one’s artistic ‘devil’-ish career.
Image from here.
a stage for one
I was really moved when I first saw Gean Moreno‘s Black Zodiac, currently at The Moore Space ,as part as, of Hanging by a Thread. I did not noticed the piece during the night of the opening. It must have been because the place was packed and many gallery-goers used the piece as an impromptu bench. I will talk more about hanging by Thread in my next post.
Black Zodiac struck me as an stage/altar piece dedicated to punk. The installation could function as a stage for one to play a very dark, gritty, and underground–that is un-pop, brand of music. And simultaneously, it exists as a quiet (aurally) altar, installed in a basement or garage, inexhibiting the renmants and fetishes of an era.
I can’t resist to say that I want this installation to be a less clean and be lit diffirently and to smell of beer and sweat.
I never panic
It might be because I am been introduced to The Hitchhiker’s Guide to the Galaxy. I borrowed from library the dvd of the 1981-2 television program. I am really hitching to listen the original BBC radio version. There is just too much on the internet about Douglas Adams and his works. I would like to offer some images.
I also would like to offer works by William Cordova, which might have been informed by “The Guide.” here. And especially his exhibition “William Cordova: No More Lonely Nights, organized by MOCA November 29, 2003 – February 8, 2004”. More images are pending.