Next Step: Connections

I just graduated this August. During my course i've been traveling as much as i can. I did two exchanges in order to fulfill my knowledge with experiences abroad.

About my work and my interest:
Now, after all our trials to understand, evolve and develop ART and it´s aesthetics, We arrive to a place where everything were already invented. So we need to find a way to add one thing to another and make up new improvements.
An interesting fact that help us think about this situation is our network society. The way a city or a business moves is related to those connections that one is capable to do.

Agents and Cultural producers need to be looking for new, inter-cultural, international connections that will start up new relationships. This is how Culture can contribute directly to relationships between cities and countries, specially the ones with cultural and language barriers.

That´s why I really what to have this experience to get to know Arts World in a completely different country, either grow up as a Curators and find new connections.

I choose the city of Cairo but to honest it could be any place around Arab States.

Those were the reasons where I tried to specified my will to take this chance
Thanks,
Isabel.

Bienal das Bienais

Richard Avedon

Richard Avedon. Suzy Parker y Robin Tattersall. Vestido por Dior. Plaza de la Concordia. París. 1956

Milhazes de Cores

Beatriz Milhazes, A Introspectiva, é a exposição que pode visitar no Paço Imperial até ao final de Novembro.

Considerada uma das mais famosas artistas na cena da pintura brasileira, é certamente aquela que vende mais espólio. 

A coleção está distribuída em três pisos e conta com uma equipe de mediadores disponíveis para uma visita, note-se, mediada. Nova metodologia da abordagem no museu, uma conversa informal entre a obra, o monitor e o visitante. É um projeto que teve a sua primeira experiência na exposição anterior do Paço, Um Outro Olhar da coleção Roberto Marinho. Assim todos os interessados estão convidados a visitar o Paço e não só conhecer a obra desta artista como também de ter uma experiência com a mediação.

O que há de fascinante da obra de Milhazes são as cores berrantes e primárias que usa numa composição abstrata onde inclui a geometria, o carnaval e o modernismo. A brasilidade e as suas caraterísticas de tradição estão bem representadas com as cores, a alusão à folia e a hibridez. Através das suas técnicas de colagem, decalque, justaposição e sobreposições cria uma segunda superfície depois da pintura. Círculos, quadrados, flores, arcos, arvoredos são as formas mais frequentes na sua obra.  São preenchidas pelos diferentes padrões, materiais e significados. 

Carioca de gema, as suas obras referem muitas vezes a cidade do Rio de Janeiro e alguns lugares específicos. Está exposta em alguns dos museus mais conceituados do mundo como o MOMA em Nova Iorque e o Reína Sofia em Madri. Considerada uma das melhores artistas brasileiras contemporâneas, fica aqui a sugestão para que possam conferir.

Carne Misteriosa

 I saw this marvelous exposition in Museu de Arte Moderna in Rio de Janeiro where i am living now for an Exchange in Unirio.

Carne Misteriosa

 

Iron becomes delicate and airy and subjective words turn into concrete truths at the able hands of Portuguese sculptor Rui Chafes in his show at the Museu de Arte Moderna. Widely considered one of the country's most talented sculptors, his dark creations in black iron and steel are permeated with an unexpected, ethereal softness, full of organic curves and tender messages. Inspired by the writings of novelist Beckett and philosopher Nietzsche, Chafes' work often embodies the themes the writers famously explored in years past: loneliness, theft, abandonment and destruction.
In Carne Misteriosa, carioca art connoisseurs will get a chance to see 87 of the Chafes' masterpieces set across seven rooms. Comprised of sculptures both monumental and small, as well as a video of the artist at work, the collection offers audiences a thorough introduction into the murky world of a truly talented sculptor.

Words by Maria Lopez Conde

 

 

Marcia X

http://www.marciax.art.br/

 Márcia X was a Brazilian artist 1959 - 2005, who started to have success in the early 1980s, toys, erotic and religious objects to express the relationship between childhood and eroticism.

Einstein on the Beach

http://pomegranatearts.com/project-einstein/

Bob Wilson and Philip Glass and Lucinda Childs

There's a revival on tour!

Methamorphosis

Phillip Glass through Kafka's book.

In ‘Methamorphosis’ the combination of individual pieces is more complex than the individual work. The repetition in each serial is used to create a very complex structure. When the receptor learn to identify these repetitions (even if it’s unconscious), he learns a new perspective that focuses on the combinatory possibilities hidden in the melody; this isn’t, for sure, minimal. Minimal is the aesthetic.  

“In a similar fashion, ‘II’ begins where ‘I’ departed, though there is something quite beautiful and heavy about this movement that makes it outweigh its predecessor in terms of grandeur. Serenity is a word that purely describes what may be perceived while watching a seed germinate into a sprout, and this feeling, riddles the second movement’s sound. Don’t be fooled by the beginning measures of ‘III’ though, despite the fact it sound like a return toward to previous passage, it quickly runs into a syncopated rhythmical quality, which is rather different from that of the previous themes expressed. ‘IV’ is no exception towards this phenomenon. While the arppegiated chords are particularly entertaining, they don’t rescue the movement’s melodic tension. However, the tension is released as it departs, and makes its way into the wonderful fifth passage. ‘V’ appears to be a celebration of the collection as a whole, revisiting everything that has been expressed so far in a sort of medley, making it the best movement to depict what Metamorphosis.”

Perreault Christ!

Man Ray

Here we go again: repetition of repetition
These are minimal composings!

What good are the arts?

"People in the West have been saying extravagant thing about the arts (...) The arts, its is claimed, are 'sacred', they 'unite us with the supreme Being', theu are 'the visible appearance of God's Kingdom on earth, they 'breathe spiritual dispositions' into us, they 'inspire love in the highestpart of the soul' they have a 'higher reality and more veritable existence' that ordinary life, they express the 'eternal' and 'infinitive' and they 'reveal the innermost nature of the world.' (...)
John Carey

madameisabel's purpose

Now that the Independent project is over ill use madameisabel wont lose its purpose. I'll keep it has a lab.
I'm trying to write one of the last essays at Warwick, for the composing module.

Here are the questions and the resources,

“What is minimal about Minimal art […] is the means not the ends”
Discuss this remark in relation to the work of TWO Minimalist composers.

Bernard, Jonathan W. "The Minimalist Aesthetic in the Plastic Arts and in Music" Perspectives of New Music, Volume 31, Number 1 (Winter, 1993): 86-132. Print <http://www.jstor.org/stable/833043>- Requires Athens login through University
Fink, Robert. "Do It ('Til You're Satisfied): Repetitive Musics and Recombinant Desires." Repeating Orselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press, 2005. 25-61. Print. <scanned>
Greenberg, Clement “Modernist Painting” in Battcock, Gregory (ed.) The New Art: A Critical Anthology Dutton, New York 1966 availalble online at <http://www.sharecom.ca/greenberg/modernism.html>
Johnson, Tom "The Voice Of New Music New York City 1972 – 1982: A Collection Of Articles Originally Published In The Village Voice" [NEW DIGITAL EDITION BASED 0N THE 1989 EDITION BY HET APOLLOHUIS] - <http://www.ubuweb.com/ubu/unpub/Unpub_023_Johnson.pdf > (see especially “La Monte Young, Steve Reich, Terry Riley, Philip Glass” September 7, 1972, pp29)
Judd, Donald “Specific Objects” in Donald Judd: Complete Writings 1959–1975 (Halifax: The Press of the Nova Scotia College of Art and Design, in association with New York University Press, 1975), pp. 181–89 available online at http://road-trip.syntone.org/wp-content/uploads/2011/04/judd.SPECIFIC.OBJECTS.pdf
McCroskey, Sandy “Dream Analysis” 1/1: The Journal of the Just Intonation Network, , Volume 6, Number 3 May 1994 available online at <http://www.melafoundation.org/mccroske.htm>
Morris, Robert “Notes on Sculpture” Artforum IV no.6 pp42-44 reprinted in Battcock, Gregory (ed.) Minimal Art: A Critical Anthology Dutton, New York 1968 pp222-28 available online at http://xarts.usfca.edu/~rbegenhoefer/art120/lecture/Morris.pdf
Perreault, John “Minimal Abstracts” in Battcock, Gregory (ed.) Minimal Art: A Critical Anthology Dutton, New York 1968 pp.256-57 <in Library - N 6494.M5 - one in Learning grid, one out on loan]
Rainer, Yvonne "A Quasi Survey of Some 'Minimalist' Tendencies in the Quantita-tively Minimal Dance Activity midst the Plethora, or An Analysis of Trio A," in Battcock, Gregory (ed.) Minimal Art: A Critical Anthology Dutton, New York 1968
Reich, Steve “Music as a Gradual Process” in Writings About Music, Universal Edition, London, 1974 available online at http://www.columbia.edu/ccnmtl/draft/ben/feld/mod1/readings/reich.html
Riley, Terry “In C” [score] 1964 http://www.otherminds.org/SCORES/InC.pdf
Schwarz, K.Robert, "Steve Reich: Music as a Gradual Process: Part I" Perspectives of New Music Volume 19, Number 1/2 (Autumn 1980 - Summer 1981): 373-392. Print <http://www.jstor.org/stable/ 832600> - Requires Athens login through University
Schwarz, K.Robert, "Steve Reich: Music as a Gradual Process: Part II" Perspectives of New Music Volume 20, Number 1/2 (Autumn 1981 - Summer 1982): 225-286. Print <http://www.jstor.org/stable/942414> - Requires Athens login through University
Young, La Monte and Marian Zazeela. Selected Writings (1959-1969) Munich: Heiner Friedrich, 1969 http://www.ubu.com/historical/young/young_selected1.pdf http://www.terryriley.com/
Additionally, there are materials from the Week 3 session here - http://www2.warwick.ac.uk/fac/arts/theatre_s/ug/intro/year_two/composing/schedule/week3/

Roy's Retrospective

On tate modern until 27 th May,
I saw it with my grandmotther. Cool and exciting, nanny loved it!

Reinventing the wheel

Love it or hate it, Marcel Duchamp's urinal revolutionised modern culture in 1917. Did the 20th century's cleverest artist play a great joke on history, asks Jonathan Jones

• 
• • Jonathan Jones
  • The Guardian, Saturday 9 February 2008

Marcel Duchamp's Fountain, 1917. Photograph: © Succession Marcel Duchamp/ Paris and DACS, London 2007

The object in Tate Modern is white and shiny, cast in porcelain, its slender upper part curving outward as it descends to a receiving bowl - into which I urinate. It's just a brief walk from here in the fifth-floor men's loo to Marcel Duchamp's Fountain, an object sealed in a plastic display case on a plinth that is nevertheless almost identical to the receptacle into which I've just pissed. This museum treasure is no more or less than Duchamp described it to his sister in a letter of spring 1917: une pissotière en porcelaine. Duchamp warned against an attitude of "aesthetic delectation" that would transfigure his urinal into something artistic. Yet, as a visual form, it is bizarrely lovely, so white and incongruously ethereal, and as art it is ... well, there's a question already tripping me up. Is it art?
The eminent New Yorkers who ran the American Society of Independent Artists decided in April 1917 that it wasn't. The Independents congratulated themselves on championing all that was new and progressive in art, and to ensure openness to the new they agreed to the idea of one of their directors, Duchamp himself, that anyone who paid a $6 fee should be able to show in their inaugural exhibition. This meant that technically there were no grounds to refuse the mysterious R Mutt's last-minute entry of a men's urinal entitled Fountain - for he had paid his fee. An emergency meeting nevertheless rejected it.
 

Giulia and Martin

Squaring experience

Game fo Life and Dames

AND will just be possible if everyone lose their will and knowledge. Because humans love certainty and we do everything to find it even if it’s an illusion. The assumption that their knowledge is good for nothing to generate an encounter it’s too scary.

AND has no end. Like the word AND means it’s always engaging other alternatives in order to create a dialogue with what is already there. The end of the game happens when both players agree that the event is death.

 

Examples of other games in the Squares

 

 

        

A                                                                B

 

A is the trey of The Game of Life and B the trey of Dames.

Both are squares with 64 squares inside. What is happening inside each of these squares are repetitions they have one or more bodies (games pieces) moving from square to square. For those outside that don’t know the rules of Dames or Game of Life, will see a repetition of a repetition.

Repetition is

“ If repetition exists, it expresses at once a singularity opposed to the general, a universality opposed to variation and an eternity opposed to the general, a universality opposed to the particular, a distinctive opposed to the ordinary, an instantaneity opposed to variation and an eternity opposed to permanence. In every respect, repetition is a transgression.” - Difference and Repetition, Gilles Deleuze

Updating

It's time to update my blog.
On 12th march I did the final experience in SU atrium.

20 hours before, i did an event on facebook, where I invited all my facebook friend to became witnesses of this experience.
I posted the text above and this Mondrian's painting:

 

Witness this performance! It will run from 7.30am to 4pm on 12th march.
You can keep up to date with this performance through a live webcam that records the piazza 24/7 on the Warwick website.

http://www2.warwick.ac.uk/about/campus/webcam/

This performance invites warwick students to play a circular game on a square board.

Students can avoid being players but never be seen!

The facebook event
http://www.facebook.com/#!/events/122450671272276/

 

Doubts

Sunday morning.Velvet underground

Playing with Armindo

Francesca

 I meet Francesca last sunday at 5.30 at Whitefields. She's doing a phd in Maths and she helped me a lot!

Playing the square

Example of a Manifest anti Affordance

Hugo Ball, 'Dada Manifesto' (read at the first public Dada soiree, Zurich, July 14th 1916)
Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means "hobby horse". In German it means "good-bye", "Get off my back", "Be seeing you sometime". In Romanian: "Yes, indeed, you are right, that's it. But of course, yes, definitely, right". And so forth.
An International word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Dada psychology, dada Germany cum indigestion and fog paroxysm, dada literature, dada bourgeoisie, and yourselves, honoured poets, who are always writing with words but never writing the word itself, who are always writing around the actual point. Dada world war without end, dada revolution without beginning, dada, you friends and also-poets, esteemed sirs, manufacturers, and evangelists. Dada Tzara, dada Huelsenbeck, dada m'dada, dada m'dada dada mhm, dada dera dada, dada Hue, dada Tza.
How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world's best lily-milk soap. Dada Mr Rubiner, dada Mr Korrodi. Dada Mr Anastasius Lilienstein.
In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.
I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m'dada. Dada mhm dada da. It's a question of connections, and of loosening them up a bit to start with. I don't want words that other people have invented. All the words are other people's inventions. I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation is seven yards long, I want words for it that are seven yards long. Mr Schulz's words are only two and a half centimetres long.
It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat miaows . . . Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn't let too many words out. A line of poetry is a chance to get rid of all the filth that clings to this accursed language, as if put there by stockbrokers' hands, hands worn smooth by coins. I want the word where it ends and begins. Dada is the heart of words.
Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlemen, is a public concern of the first importance.

Three

- I am a woman, I am a woman, I am a fucking white woman. Not extremely white but close to perfumes of the Paradise. It is a mix of smells that materialized your existence. Should you let yourself go in the experience? It is common? Yes it is. Attraction is not original. It’s a human condition. Never try to explain yourself. Find a way and say it. It’s Simple. City has lots of unnecessary words. None can help it when there‘s streets of none.
Do you feel the present moment in the street? Always. It’s much more effective than every show. You’re the witness of what you chose to see.
You think:
Why is she talking about the city? Why is she forgetting her point? She just wants you on her bed. Like she said, no explanations are necessary, it’s simple.
Then you found an answer. She’s playing crazy. And you always had a thing for crazy people.

 5 http://www.finalmenteclub.com/show%20-%20Deborah.htm
    http://www.youtube.com/watch?v=q9zvO-Ndglo
6  Madonna feat Justin Timberlake, 4 minutes https://www.youtube.com/watch?v=bHHUhcV2eVY
7  Rihanna, Diamonds https://www.youtube.com/watch?v=lWA2pjMjpBs

First Match

Well, as you can see in the picture, I tried to film this meeting from my point of view.
Unfortunately, the camera wasn't that well centered to catch the tray. This meeting took place on Monday, 11 february at Whitefileds with Carlos Medina.

Barbie

Sun Glasses

Two

You start thinking what a document is about.

A document report what was agreed between two or more owners of the city. You want to burn the document. You believe in re-writing. You want a co-existence of multiple truths. You do not want to live in closed regimes with single versions. You do not want through the streets in one direction only.

-         We’re all going to challenge the document as it was written. And that’s the revolution.

You conclude that who invented the city invented the document. You are trying to create a new cycle.

Once in History, a library was burned to end a city. This event brought several controversies and many possibilities of versions. It was sent to destroy by Cesar or by Amr ibn al-As on behalf of the Rashidun caliph Umar ibn al-Khattab?

Until today, this same event has been rewritten many times.  Nobody contains either truth or reason because all the documents were burned.

One

There’s proposals everywhere, some we notice, some not.

Once a man decided to follow the entire proposals that he found while he was walking around the city.  He followed all the signs, plaques, all the written sings that invite. He end up his day flying synchronized with a flock of birds. Flock is a term akin to the herd amongst humans.

You were fascinated about his experience. You try to repeat it.

Thoroughly scoured the streets trying to do the same as he. But you were led to another site. You found yourself in a corridor of buildings. You don’t get in any of them because you didn’t receive an invitation. To get in, you need to explain to the security with whom you intend to speak and why. You just realize that the security is one of your ex boy/girlfriend. (dream starts)

-Can I go up uninvited?

-Invitation is essential.

-Who said that?

-The document.

-Named?

-Constitution.

-Who did it?

-Listen, they made one. It is more powerful than your values. Even if you’re a marginal or a teenager, it only will be less powerful if you walk the streets in the opposite direction.

Once you read in a book:

 “There’s a Master teaching Zorro how to fight. None, between the listeners, live where I live and consequently spent their holidays where I spent.

None will recognize from where I take my sources.

So, Zorro is teaching the younger, the one, who’s going to replace him, to fight against the next generation of obedient people.”

The first Master is the person with the ability to change and subverts, to rub it, erase and quench. He’s going to teach Zorro how to over write and Zorro the younger’s.

You decide that this could be the new manifest against the Document. Even if it wasn’t written with that purpose.

You explain to the security:

-           Comrade, this is the beginning to build a new society. Our commune will be formed by liars, criminals, Masters, younger’s and flying men.