Posts Tagged ‘ art ’

Cecilia Vicuña – BOMB Magazine

Hilo Azul, 2016

The poet and artist invokes ancient matriarchal cultures, Indigenous folkways, and the speculative capacities of language so that we might rediscover our kinship with nature.

Source: Cecilia Vicuña – BOMB Magazine

The Female Power of Carolee Schneemann | The Current | The Criterion Collection

Power is a male word based on male experience. Energy is a female word based on female creation and expression, that is contained, suppressed, repressed, and maimed by patriarchal structures and practices. Wherever I encounter power I replace it with energy. – Donna Fleischer

Source: The Female Power of Carolee Schneemann | The Current | The Criterion Collection

Jonas Mekas, ‘Godfather’ of American Avant-Garde Film, Is Dead at 96 – The New York Times

Kara Walker Invites You to a Public Hanging

Kara Walker, “Consume” (1998), cut paper, collection of John Crutchfield and Robert Hobbs

Walker’s installation “Virginia’s Lynch Mob” evokes a latter-day Saturnalia, turning the world upside-down.

Source: Kara Walker Invites You to a Public Hanging


Dear all, For our forthcoming issue (publication date November 2018), we invited 27 international poets, artists, & a scientist to reflect on today’s realities. What they offer is…


 Lascaux – aus unruhigen Träumen

An image from the caves of Lascaux. Located in the deepest shaft of the caves, this bird-headed man lying prone in front of a disembowelled bison is the only human figure depicted in the palaeolithic paintings.

Theodor Adorno writes:

Looking at the other end of the historical spectrum, i.e. at the origin of the concept of ugliness, we find further proof of the thesis that the ugly is indeed a historical and mediated category. It probably originated contemporaneously with the passage from archaic to post-archaic art and it has marked the eternal recurrence of the archaic ever since. That is why it is intimately tied up with the general dialectic of enlightenment, of which art is a part. The archaic ugliness of primitive cult masks and painted faces was a substantive imitation of fear, diffused in the form of repentance. As the mythical fear grew weaker and as subjectivity grew correspondingly stronger, the ugly traits in archaic art became the target of a taboo (whereas originally they had served as a vehicle for enforcing taboos). Their ugliness did not disclose itself until the idea of reconciliation was born in the wake of the formation of the subject and its nascent sense of freedom. But for all that, the old bogies did not fade away in the future. History did not redeem the promise of freedom. Instead, the subject as the agent of unfreedom has perpetuated the mythical spell, rebelling against it and submitting to it at the same time. The empirical basis for Nietzsche’s dictum that all good things were once terrible things and for Schelling’s insight that at the beginning of time there was horror may well be the history of art.

Source: aus unruhigen Träumen

CAO FEI Interview – YouTube