Bedroom Community / Sam Amidon’s How Come That Blood

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Irish Museum of Modern Art / Abode

Rebecca Horn, “Take Me to the other Side of The Ocean”,
1991, Shoes, glass funnell, blue pigment, metal construction,
and motor, Dimensions variable, Purchase, 2002
~ from Abode, a partnership exhibition between Art Alongside (a visual arts project working with primary school children ) and the Irish Museum of Modern Art’s National Programme. It includes work from the primary school children, alongside the work of project artists Mary Claire O’Brien and Helen Robbins, and works from the IMMA Collection. Visit http://www.imma.ie/en/page_212217.htm

Aldo Leopold / Ecology

. . . to see matters through the eyes of an ecologist is to live in a world of wounds.

Jorge Costa / Untitled Graphite

untitled

~  graphite drawing 44″ x 30″ by Jorge Costa from a solo exhibition, Dystopia, 2010 ~

Bettina Viereck / Shelf Life

Farm Animals

~  sculpture by Bettina Viereck from a two-person exhibition, Shelf Life , 2003 ~

John Berger / And Our Faces, My Heart, Brief As Photos

The inability to remember is itself perhaps a memory. One lived with the experience of namelessness: there were certain elemental forces – heat, cold, pain sweetness – which were recognizable. As also a few persons. But there were no verbs and no nouns. Even the first pronoun was a growing conviction rather than a fact, and because of this lack, memories (as distinct from a certain functioning of memory) did not exist.

*      *      *

Once one lived in a seamless experience of wordlessness. Wordlessness means that everything is continuous. The later dream of an ideal language, a language which says all simultaneously, perhaps begins with the memory of the state without memories.

~  from John Berger ‘s And Our Faces, My Heart, Brief As Photos

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