⁞ The complex task of seeing through Photography: a conversation with Isaac Pereira ⁞

all images © Isaac Pereira. Courtesy of the artist. This conversation took place in July 2014, over the virtual space that unites Macau and Lisboa. The original, portuguese version, of this conversation, can be seen HERE. Sofia: We’re having this … Continue reading ⁞ The complex task of seeing through Photography: a conversation with Isaac Pereira ⁞

٠ Kant’s classes clash ٠

The title references Pierre Bourdieu’s critique of Kant’s famous essay on aesthetics – The Critique of Judgement. Bourdieu’s take on Kant’s distinction between ‘taste’ (available to all animals) and ‘beauty’ (exclusive to the humankind) implies a marxist notion of the separation of classes. For him, Kant’s praise of beauty and of ‘pure taste’ is a praise of the bourgeoisie: ‘Pure’ taste and the aesthetics which provides its theory are founded on a refusal of ‘impure’ taste and of aisthesis (sensation), the simple, primitive form of pleasure reduced to a pleasure of the senses, as in what Kant calls ‘the taste … Continue reading ٠ Kant’s classes clash ٠

┐ Endre Tót – 0000000 – Tót Endre └

© Endre Tót, ZEROPOST, Stamps, signed and dated, 1976 © Endre Tót, in the spirit of Marcel Duchamp, 1987 © Endre Tót, if I look to the right: right rain / if I look to the left: left rain, 1973 © Endre Tót, Outdoor Texts, 1980 © Endre Tót, Hopes in the Nothing (Six outdoor Photos), 1993 After works spanning from pop art collage and gesture painting all the way to minimal art object-pictures Endre Tót took a radical decision in 1971 and started his work completely from scratch. His collage paintings had already contained aspects of installation and his … Continue reading ┐ Endre Tót – 0000000 – Tót Endre └

┐ Berndnaut Smilde, the Weatherman └

© Berndnaut Smilde, Nimbus D’Aspremont, 2012 / photo by Cassander Eeftinck Schattenkerk © Berndnaut Smilde, Nimbus D’Aspremont, 2012 / photo by Cassander Eeftinck Schattenkerk “I came up with a method using temperature controllers, moisture and backlighting. It took a while but I eventually got the hang of it. It’s not really a particular high tech process and the work does not function as a permanent installation. The cloud remains for only a few seconds. The physical aspect is really important but the work in the end only exists as a photograph.“ © Berndnaut Smilde, Kammerspiele, 2011. Postcards and miniature tiles … Continue reading ┐ Berndnaut Smilde, the Weatherman └

┐ Augustin Rebetez, from joy to colera └

“Augustin Rebetez breathes energy in his works. He has developed a very ownable style over a very short period of time, even though this is not easy to put in a box. With a combination of free and staged photography using his immediate surroundings, he constantly surprises with his work. Augustin is not afraid to cross over with sculpture, film, photography and even drawings. He is one of the rare new and raw talents that the world of photography is waiting for. The fact that he studied in Vevey and lives in the region came as a pleasant surprise for … Continue reading ┐ Augustin Rebetez, from joy to colera └

┐ Stuart Sherman, performance after writing └

Stuart’s Thirteenth Spectacle (time), 1980, can be seen here “Stuart Sherman, a member of the important generation of American avant-garde performance artists who rose to prominence in the late 1960s and early 1970s, developed his own unique style across various media, the impact of which continues to resonate with the avant-garde eight years after his death. He devoted a large amount of his time to the creation of performances he called “spectacles”, which often took the form of small tabletop performances. These performances involved the manipulation of both familiar and unfamiliar everyday objects atop one or more folding TV dinner … Continue reading ┐ Stuart Sherman, performance after writing └

┐ Oleg Kulik, the “it”, the “his” and the “I” dog └

“A man is an animal first of all. And then he is a Social animal, Political animal and so on. I am an Art animal, that’s why, spectator, I need your physical and psychological efforts to make sense.” Oleg Kulik © Oleg Kulik, Mad Dog Performance (photographs), 1994 © Oleg Kulik, I bite America and America bites me, 1997 © Oleg Kulig, Family of The Future, 1997 “Kulik has suggested: ‘I wanted to turn into a sort of new Diogenes, a dog-philosopher’ (2004:56); and, like Diogenes, the active force and vital optimism of his disruptive conduct is perhaps best understood … Continue reading ┐ Oleg Kulik, the “it”, the “his” and the “I” dog └

┐ The House With the Ocean View └

This post serves the sole purpose of sharing documentation about my favorite Marina Abramovic’s performance: “The House with the Ocean View”. There are not many photographs available on the web, so here is a a contribution. photo documentation (day 1 – day 4) photographs by Attilio Maranzano photo documentation (day 5 – day 8) photographs by Attilio Maranzano photo documentation (day 9 – day 12) photographs by Attilio Maranzano “In The House with the Ocean View, performed at Sean Kelly Gallery as a continuous 12-day “living installation” of such a form of pure presence, Abramovic gives a new and unexpected … Continue reading ┐ The House With the Ocean View └

┐ Andrea Galvani, ways to space out └

Conceptually, Andrea’s work is amongst the most interesting I’ve seen recently. His works have their own language, both conceptual and documentary, buh also appealing to the senses, evoking sound and parallel universes. His photographs not only evoke sculpture as they are presented like one, as much as they are performances, with their own body, breathing in their own space and time. © Andrea Galvani, A few invisible sculptures #1 (left) and #5 (right), 2012 “A Few Invisible Sculptures #1, a large scale photograph, captures a performance Galvani staged in one of the oldest clay pits known in Europe. Now abandoned … Continue reading ┐ Andrea Galvani, ways to space out └

┐ Andrea Polli, memories as possessions in virtual space └

© Andrea Polli, Appetite 4, installation detail, Here Space, NY, 1995 © Andrea Polli, Appetite 4, detail from installation WWW site showing a studio photograph of objects on a plate, 1995 © Andrea Polli, Fetish, screen shot of detail of installation at the Ctrl show, Name Gallery, Chicago, 1996 “Research into the concept of appetite led me to consider my personal appetite for possessions. It became clear to me that I (like many others) have multiple layers of possessions. We have possessions that exist in physical space, as well as possessions in virtual space: images, sounds and texts stored in … Continue reading ┐ Andrea Polli, memories as possessions in virtual space └

┐ Heather Cassils, this is what a durational re-performance looks like └

© Heather Cassils, Day 1, 02-20-10, 2011 © Heather Cassils, Day 140, 07-20-10, 2011. © Heather Cassils “There are two constants in my life: art and exercise. Art started first, then after a serious childhood illness I discovered my body through lifting weights. I am now a visual artist and a personal trainer. My brush with mortality is something I see in the clients that come to me on a daily basis. Whether it’s recovering from heart surgery or bringing news of a brand new osteoporosis diagnosis, many of these people have come face to face with the limits of … Continue reading ┐ Heather Cassils, this is what a durational re-performance looks like └

┐ The turning point: Coyote, American ™└

© Katie Innamorato, Coyote Terrarium, Coyote skin, foam, LEDs, clay, moss, glass, plastic, 9vt battery This photograph by Caroline Tisdall is from Joseph Beuys: Coyote, a 1976 book documenting Joseph Beuys’ 1974 performance art piece, Coyote: I Like America and America Likes Me, in which the artist spent three days and nights caged with a wild coyote in René Block’s New York Gallery. © Frederick Sommer, Coyotes, 1941 © Frederick Sommer, Coyotes, 1941 “The ritual, obsessional, and quasi-exhaustive character of this list of the roles he either assumed or impersonated (lacking – and this is significant – only that of … Continue reading ┐ The turning point: Coyote, American ™└

┐ Yayoi Kusama └

© Yayoi Kusama, Silver Squid Dress, 1968-9 © Yayoi Kusama, Self-Portrait, 1962 © Yayoi Kusama, Horse Play © Yayoi Kusama, Self-Obliteration By Dots, 1968. Photo © Hal Reiff © Yayoi Kusama, photography copyright © Harrie Verstappen “Rather than confirming the ontological coherence of the body-as-presence, body art depends on documentation, confirming-even exacerbating-the supplementarity of the body itself. Predictably, although many have relied on the photograph, in particular, as “proof’ of the fact that a specific action took place or as a marketable object to be raised to the formalist height of an “art” photograph, in fact such a dependence is founded … Continue reading ┐ Yayoi Kusama └

┐ Tranimal – Hybrids before Photoshop └

all images © Austin Young, from Machine Project, Hammer Museum. “Tranimal…Young’s new endeavor – a collaboration with Squeaky Blonde and Fade-Dra, is infused with the artist’s high voltage underground creative energy. Tranimal is a big and bold project. It incorporates video, photography, and interactive sound design. And its taking performance art to an operatic level. (…) Participants are put through an assembly line where Squeaky Blonde, Fade-Dra , Young costume them, make-them up and turn them into a cast of glamorous, genderless creatures. Mark Allen, director of Machine Project, makes light sensitive circuitry boards that are sewn into theor costumes. … Continue reading ┐ Tranimal – Hybrids before Photoshop └

┐ Theresa Hak Kyung Cha (1951-1982) └

© Theresa Hak Kyung Cha, Life Mixing, 1975 © Theresa Hak Kyung Cha, Untitled, 1980 – a clear glass jar with lid containing 5 pieces of paper with type-written text and black string. © Theresa Hak Kyung Cha, from It’s Almost That, 1977 © Theresa Hak Kyung Cha, Exilee, 1980 “From the mid-1970s until her death at age 31 in 1982, Korean-born artist Theresa Hak Kyung Cha created a rich body of conceptual art that explored displacement and loss. Her works included artists’ books, mail art, performance, audio, video, film, and installation. Although grounded in French psychoanalytic film theory, her … Continue reading ┐ Theresa Hak Kyung Cha (1951-1982) └

┐ Adad Hannah └

© Adad Hannah, Safari #2, from the project Safari, 2011 “Safari is a collaboration between film director Denys Arcand and artist Adad Hannah produced for the exhibition Big Bang, which celebrates the Montreal Museum of Fine Arts’ 150th Anniversary and the opening of a new pavilion. The set for Safari is the Safari Seating Environment designed by the Florence based Archizoom Associati in 1968 and produced by Poltronova. Archizoom was founded by a group of architects and designers in 1966 and dissolved in 1974. Arcand and Hannah developed a 7-minute scene that takes place in the back of a nightclub … Continue reading ┐ Adad Hannah └

┐ What is Pussy Riot’s ‘Idea’? – Maria Chehonadskih └

knitting patterns via poppalina article in the latest issue of Radical Philosophy. A must read! pdf here:che_pussy_riot The dark side of the Pussy Riot multitude is an extreme individualism, manifest in the gesture of the removed balaclavas, behind which a unique ‘Russianness’ appears: first, the face of the leader, Nadezhda Tolokonnikova; second, dissident moralism, spirituality and asceticism – the brand identity of Russian revolutionaries since the populist movement of the nineteenth century; and third, the visibility of the local art and intellectual scenes as such. Tolokonnikova wrote: The people that I have had the chance to work with during my … Continue reading ┐ What is Pussy Riot’s ‘Idea’? – Maria Chehonadskih └

┐ Alexander Brener & Barbara Schurz └

On the night of October 15th, as I was leaving the demonstration, a guy shouted at me. As I looked back he asked me if I spoke english, I nodded, he grabbed a paper bag and gave me a book. He turned, walked away and cut the corner just in time for me to thank him. I opened the book and this was it!!! Thank you Alexander! “In the beginning of 1999 we published a little book called What to do? 54 Technologies of Resistance Against Power Relations in Late-Capitalism (in Vienna, and before that in Moscow.) This book is … Continue reading ┐ Alexander Brener & Barbara Schurz └

┐ Samuel Fosso └

© Samuel Fosso,La Bourgeoise, From the Series TA, 2007 © Samuel Fosso, Self-Portrait (as Liberated American Woman of the ’70s), 2007 “In every photograph the beautiful Fosso is subject, object and creator. Occasionally he includes other people, but their posture and placement relegates them to a secondary position. In one stagy, understated and slightly bizarre image, for example, Fosso, in large sunglasses autographs a book for an anonymous man, who inclines deferentially towards him. In other photographs, like an indifferent, latter-day and urbanised Narcissus, he’s pictured sitting or standing with himself through the magic of a double exposure. The shallow … Continue reading ┐ Samuel Fosso └