From the Album Ascenseur Pour L’Echafaud
Klee, as a lover of lines, started drawing them sometimes in an ephemeral way, sometimes not.
Klee’s creativity later on included “parallel figurations”; works he did during his “inner circle“: which means those works that are symbolic and universal in their intent and what I would name Esoteric Art: when the picture is conceived as a code, as an interpretation of the world through symbols. About this, Goethe said: “When a thing is not a thing yet is a thing, an image condensed in the mirror of the spirit and yet identical with the object”.
Painting this “radiating parallels” with lines both continuous and discontinuous one can say they’re also related to the principle of imitation in musical composition.
Both, my inspiration. Bellow
a little painting I finished last night .
Paul Klee’s humor was always a component of his poetic vision. Parallel to this; Goethe -one of Klees’s biggest influences – wrote in his diary “Humor is born when things slip outside the orbit of reason, and reason lets itself be teased by them”.
“….Forever journeys on golden avenues….”
I will savor you with joy.
You will dream of me tonight.
We shall dine at the site of my soul.
An extract of the poem by Eunice Odio, “Possesion in the dream”
Te probaré con alegría.
Tu soñarás conmigo esta noche.
Comeremos en el sitio de mi alma.
Extracto de un poema de Eunice Odio “Posesión en el sueño” de los Elementos Terrestres”
foto de / photo by: Henri Cartier-Bresson
Do you like to get intimate with fear ? Do you like to feel disappointed? Normally I would said no. I’d usually ran away from fear and I would hate to feel disappointed.
Within almost four decades I have had certain moments where pain, difficulty and misery have affected me somehow. After the death of my Dad and the process of his disease, a divorce, and other devastating events such as break- ups-, problems at work and other situations, that I sometimes used to call or see them as failures. As many others, I’ve been running away from fear and from the fear of suffering. Instead, I had always put in place hope, to block the fear from coming. The thing is that fear and hope are actually two sides of the same coin. The hope we create in our minds is nothing but an illusion. An illusion like: “everything will be better”, “we will find the right person”, “we will get perfect job”, etc. For now I’d say: hope is not something we really need, because all we need is what we have NOW.The only that really exists is the now. In the case of fear/pain, I had finally face it, recently. Even though I’ve always thought it was horrible, because suffering involves crying and pain for hours-days-months sometimes, those days when you wake up in the middle of the night and can’t go back to sleep and on, but after all theres something I liked about it. When you finally face your fears and suffer, what you’re doing is that you’re opening your heart. You are growing stronger. It’s in the midst of troubled times when you see the light. Its one hard but meaningful moment of truth and awareness. “An illumination in the darkness of ignorance” says Pema. Here- when getting to know your fears and facing sadness and suffering- you are able to realize how much harm you have done to yourself…. and also the harm you have caused to others and from this stating point, a sense of forgiveness and of acceptance arrives. In the case of disappointment I will leave it all to Pema who wise fully says: “When there’s a disappointment, I don’t know if it’s the end of the story. It may just be the beginning of a great adventure.”
Pema Chödrön, an American Buddhist Nun and meditation master of a Tibetan Buddhist Practice, wrote a book called “When Things Fall Apart”, a book that both me and my very good friend Efy are currently reading. Will be back with a lil more from it… <3
That’s what Duchamp said in a recent publication of interviews Calvin Tomkins did in the ’60′s.
When I was talking to a friend the other night he mentioned he’s interested and currently investigating the moment or lapse that happens immediately after listening to inspiring music and the visualization of that moment before the mind intervenes. I find it similar to what Duchamp said. Marcel Duchamp said he was “learning how to forget, basically to escape from the prison of tradition”, and he wanted to unlearn how to draw. He said Matisse had to systematically unlearn how to draw to be able to produce the work he did. Its about decoding the mind.
Is it possible to learn how to forget?, to forget how we are thought at school?, how we “normally” react to situations?, how we think?. Can we do this?. Suddenly, when I think about it, I feel so light and so good. The capacity of forgetting is linked to Freedom, to the possibility of renewal and reinvention of the being and of becoming a child, a creative being once again.
Worth sharing just a few images of a great show at the Guggenheim. Using mostly Painting as a medium, here he represents the human environment and cultural references.
This paintings, photographs and works in paper are mainly monochrome and large.
His work is passionate and very inspiring; he is definitely one of the great painters of this era.
When I consider the brief span of my life
absorbed into the eternity which comes before
and after—memoria hospitis unius diei
praetereuntis—the small space I occupy and
which I see swallowed up in the infinite
immensity of spaces of which I know nothing and
which know nothing of me, I take fright and am
amazed to see myself here rather than there:
there is no reason for me to be here rather than
there, now rather than then. Who put me here?
By whose command and act were this place and
time allotted to me? —PASCAL
This week’s fresh and new sound ~~~~~yuhuuu°°°° Happy Tuesday y’all!!!
“Oh, Henry, I want to know what you want to know. I want my life to match your life”.
“Everybody says sex is obscene. The only true obscenity is war.”
The Tropic of Cancer, tropic referred to as the Northern tropic with the sun at its zenith, its an event that occurs once per year at the time of the June solstice. Regarding the second word, Cancer, the author explains the title of his novel: “It was because to me cancer symbolizes the disease of civilization, the endpoint of the wrong path, the necessity to change course radically, to start completely over from scratch.”
Published in Paris in 1934, this title can be read as a metaphor of the City. Indeed, the City is the main character of this extraordinary book I’m currently reading. The ironic relationship of Miller with Paris, a love/hate relationship, with a city that shines like the sun at its zenith, that promises the splendor to the young artist who enters it, but that reveals itself as a disease while the same artist actually begins to live in it.
This aforementioned quote I find brilliant, refers at some point to the huge scandal that this novel had because of its language and its approach to some taboos for that time, the 30′s, especially related to sex. Prohibited in USA and UK for three decades because of the confusion between ethics and aesthetics that seems to lead to its interpretation, the novel was considered immoral and obscene.
I feel now very fortunate to read one of the greatest modernist writings in the universal literature and as Annais Nin said in the Preface “a book that might restore our appetite for the fundamental realities”.
“If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe. ”
― Marcel Duchamp
Photo taken at the Philadelphia Museum of Art
I am about to finish reading Henry and June, Anaïs Nin’s book. I’m astonished by the way she describes her passions but also her confusions. Reminds me that the path of being truthful to yourself and others is a long one, but it’s at the end the way of achieving true JOY. Those true moments -those one misses because of lies and darkness – are the ones that HOPE and LIGHT will bring us to achieve our dreams, those DREAMS we have when we are awake. Our DAY dreams.
“Your Distant Heart”
by Roberto Bolano
I don’t feel safe
The adventure doesn’t end.
Your eyes shine in every corner.
I don’t feel safe
Or in money
Or in mirrors.
The Adventure never ends
And your eyes are searching for me.
you come to me on the night like a wave waxing like tresses of hair wave like a silk thread unraveling like a light coiling in the brain light flooding and waving like pink moroccan rose like you
come on come on come on come on
“Sexual attraction is nearly always, as in the case of gravitation, reciprocal”.
Sex and Character
Sex Grid #10
Pencil on Paper, 2009
Just got to know about Toyo Ito, architect awarded with the 2013 Pritzker Prize and creator of the original “Home for All Project”, designed to help communities after the tsunami in Japan in 2011, a project created to give relief to the housing problem in the area and which considers integrating the natural environment, taking into account the history and weather conditions of the zone with a kind of anti modernist approach and design.
For example The Sendai Mediatheque, one of his important projects, survived the effects of the earthquake as here he and his team invented a system of bundled steel tubes instead of the traditional columns.
He took into account elements as water, in a virtual and physical way. As he points out, water is like the internet: that fluid water that links us to the world.
His goal is to create communal spaces and contribute to create a “new kind of new society”. At the Mediatheque he used an AC system that may be compared to the biological activities of a tree and he used natural light as one of the main characteristics for this design.
Toyo Ito and Associates offices
The Sendai Mediatheque its a project that he worked on for 6 years that embodies the proposal for a completely new concept of architecture. The complex includes mediatheque, an art gallery, a library, an information service center for people with visual and hearing impairments and a visual image media center. during the open competition and subsequent phase of basic designing, the primary effort was on demolishing the archetypal ideas of an art museum or library to reconstruct a new idea of architecture called ‘mediatheque’ utilizing the state-of-the-art media.
This process of reconstructing the architectural concepts as he points out “not only extended to hardware but to software as well”.
Facing side of the Sendai Mediatheque
3rd floor of the Mediatheque
Nos gusta la buena música y ningún silencio nos asusta.
Cuando salimos de ride, la conversación y la risa nunca cansan, uffff y nos encanta sentir el viento cuando el carro avanza.
Tenemos 30 o 40 pero niñas en el alma, poco plan, mucha emoción, oh oh oh…las bebidas no cabían en el cajón.
La lluvia llego el primer día para quedarse, para las chicas magnífica excusa, más placeres, más diversión.
Mujeres de universos paralelos, el vino o el humo, lluvia o fuego, celajes o estrellas, de fijo nos gusta la profunda dimensión.
Pasa el tiempo pero no cambia nada, sólo el corazón que se ensancha de saber lo que tenemos, esa sensación, que cabemos todas en el mismo órgano, que vibra con cada historia, esa amistad, esa exaltación, estrógeno; amigas! que rica LIBERTAD, es nuestra máxima expresión.
“To be an artist, you need to exist in a world of silence.”
― Louise Bourgeois
Bourgeois, “Cumul I” 1968. White marble. 51 × 127 × 122 cm.
An extract of the poem of Roberto Bolaño.
Father, in the Kingdom of Heaven
that is communism,
is there a place for homosexuals?
Yes, he said.
And for impenitent masturbators?
For sex slaves?
For sex fools?
For sadomasochists, for whores, for those obsessed
for those who can’t take it anymore, those who really truly
can’t take it anymore?
And Cardenal said yes.
Art by Robert Longo
Padre, en el Reino de los Cielos
que es el comunismo,
¿tienen sitio los homosexuales?
Sí, dijo él.
¿Y los masturbadores impertinentes?
¿Los esclavos del sexo?
¿Los bromistas del sexo?
¿Los sadomasoquistas, las putas, los fanáticos
de los enemas,
los que ya no pueden más, los que de verdad
ya no pueden más?
Y Cardenal dijo sí.
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.
Henry David Thoreau
These nights I have slept without smoke and without fear.
No thunders, no lightning, just a twilight that persists, with extreme colors.
A sunset shot ended the light blue and artificial smoke in the sky, no one could stop it.
Today, I will write poems for myself, I said, like birds establishing their own flight.
But that sunset persists, neutral, without descriptions, full of heat and kisses.
Estas noches he dormido sin humo y sin miedo. Ningún estruendo, ningún rayo, solo un crepúsculo que persiste con colores extremos.
Un atardecer disparado que acabó con el azul y con el humo en el cielo, nadie lo pudo detener.
Hoy escribiré poemas para mi misma, digo, como los pájaros que establecen su propio vuelo.
Pero ese atardecer persiste, neutro, sin descripciones, lleno de calores y de besos.
Reading about Merce Cunningham and the concept for “Winterbranch” -which first performance is dated circa 1964, -what he referred to as “facts in dancing”; “two such facts are the act of falling, and unless one stays on the ground, the subsequent act of rising“. This last sentence, unless you stay on the ground, you will rise. Something about this is somehow related to boxers; where unless you are out of the fight, -to the count of 10- you can always come up and continue fighting. Also connected to the Cause and Effect Law, the rise and fall, the in and out of many situations in our lives are like this dance Merce Cunningham envisaged in 1964, we all fall for a reason: TO RISE.
I opened the doors of my Studio last night at PointB, the place where I live in Brooklyn, New York. I got the opportunity to show my paintings and prose with other 4 artists, each one showing their work at their studios.
My favorite moment: when I got to read the prose to my friends.
Thanks, thanks and thanks to all the friends who came. It’s going to be up for a while.
Bellow, some my work exhibited.
Color is an element that empowers the Soul. Poetry, the articulation of that “Soul”.
“Only one mountain can know the core of another mountain”
Photo: Leo Matiz. Photo courtesy of M+V Art. Miami
“Never worry about being obsessive. I like obsessive people. Obsessive people make great art”
― Susan Sontag
Art by Richard Prince
The elevated piece composed by the Estonian composer Arvo Pärt creates the perfect afternoon. Consisting in two parts: “Ludis” and “Silentium” the complete piece lasts 26 minutes. Enjoy and relax.
A pilot /poet was writing verses in the sky; a blue background with clear and unmistakable verses that said, “The war is over, destiny has absorbed the distance, let’s escape from it, let’s take the same path.” In my mind, a black and white film ran with images of shadows and silhouettes, both characters looking into each others’ eyes and the protagonist said: “We are specialists, we are surrealists, we manage our attraction with abstraction.” It was as if my left hand directed me to take a road and my right to take a mountain range.
Un piloto poeta escribió versos en el cielo; una pureza azul de fondo y unos versos que sin fisura y sin torpeza decían: “Se acabó la guerra, la distancia la absorbió el destino, escapemos de ella, tomemos el mismo camino”.
Por mi mente pasaba una película en blanco y negro, con imágenes de sombras y siluetas, ambos personajes mirándose a los ojos y el protagonista decía: ” Somos especialistas, somos surrealistas, manejamos nuestra atracción con abstracción”.
Era cómo si mi mano izquierda me señalase una carretera y mi mano derecha una cordillera.
“He aprendido que aunque el desamor sea torrencial, uno debe amar. Amar de frente y de perfil como un platillo volador”.
“I have learned that although the heartbreak is torrential, one must love. Love up front and from the side, like a flying saucer”
Thanks to Federico Herrero, friend and amazing artist, I recently got to know about the work of this original ARTIST: Mr. Sehgal, a British-German who lives in Berlin and studied political economy before he studied dance, thinks the world has too many objects so his works- which he calls “constructed situations” – involve one or more people carrying out instructions conceived by him.
His art its a response to his perceived realities about the over production of objects so his goal is to create a counter-model: to make something, like a situation from virtually nothing- as actions or words- and then let that something disappear, leaving no potentially marketable physical trace.
No one can document his performances, video and photo are usually not aloud in the room and contracts with Galleries are without the usual formalities.
This is Propaganda (2002) a museum guard sings a song with the lyrics “This is propaganda/you know/you know” twice, then announces the title and year of the work, each time a visitor enters the room.
This Is So Contemporary was what few adults where saying in the Pavilion, is one of my favorite works he’s done, seems to me very fun somehow to be shown at a Venice Biennal, where he became the youngest German to represent the country in 2005.
In Sehgal’s piece At the Venice Biennial in 2013, I read that a small number of people sat or lied on the ground as they improvised their own music with their voices, sometimes electronic sounding or even human beat-box, or chanting, and apparently it was always very rhythmic.
Bellow is Sehgal’s work Kiss (2007), exhibited at the Contemporary Museum of Art in Chicago.
Charcoal on mounted paper
80 x 70 inches/203.2 x 177.8 cm
“Think you’re escaping and run into yourself. Longest way round is the shortest way home.”