#e-flux

[guy60660]

Nina Fischer | Maroan el Sani | e-flux

#nina fischer #maroan el sani #e-flux #equine #artsy

[mthvn]

Painting Trees (2020) is part of an e-flux art fundraiser for earthquake relief in Syria and Turkey running from April 1—May 1, 2023. Artists: Marwa Arsanios, Iman Issa, Ahmet Öğüt, Walid Raad, Christian Nyampeta, Jumana Manna, Koki Tanaka, Raqs Media Collective, Nikita Kadan, iLiana Fokianaki, Pelin Tan, Jonas Staal, Metahaven, and Maryam Tafakory. See https://www.e-flux.com/announcements/530274/art-benefit-for-earthquake-relief-in-syria-and-turkey/  Metahaven, Painting Trees, 2020, 22 x 15 cm jacquard weaving. Part of the series Arrows I.

#metahaven #e-flux #syria #turkey #fundraiser

[zurich-snows]

#Avant-Garde #Philosophy #Aesthetics #Modernism #Conceptual & Post-Conceptual Art #Socially Engaged Art #Universalism #articles #E-Flux

[calvinpo]

A Body, A Borderland: the Biopolitics of the Irish Border(s), 2019-2020 The Irish border is a political question, but also a spatial one.

Cartography is an instrument of power. The border spatialises state power, and in Ireland, embodies long-running conflicts over self-determination. Despite its openness, it remains a limit of jurisdiction, and for marginalised bodies, such as women seeking abortions or transgender people, a source of systemic violence. The Irish border's spatial site is not only on the map, the territory, but in fact is carried by each body.

“Sovereign territory” is idealised fiction. The 1924 Irish Boundary Commission’s failed attempt to redraw the border demonstrably exemplified problematics of dividing interconnected peoples, economies, geographies, with a line. Mapping Ireland was inherently colonial, and the Irish Boundary Commission’s arbitrary interpretation of “wishes of inhabitants” continues legacies of the cartographic gaze’s power, vested in few, imposed on bodies of many.

When territory as an idea engenders violence, this project proposes deterritorialising sovereignty, basing it on the space of an individual body as a provocation. In Derry/Londonderry, where its bipartisan names are part of the conflict, what becomes of urban life if our association with a state is not based on territorial coincidence, but the body’s choice? May urban flows of people become new maps of the nation, with architecture as the boundary treaty? When the nation is built on the body, how may the body rebuild our understanding of the conflict, and the nation?

This research was featured as an article on e-Flux, Inscribing Borders on Bodies. This work was also part of a Feminist Constitutions symposium on using methods of arts and design in reimagining new processes of 'constitution-ing'. Calvin has also spoken at the London Migration Film Festival about ideas from this work.

#Youtube #cartography #geography #research architecture #forensic architecture #architectural association #architecture theory #archtecture #politics #conflict #nationalism #unionism #territory #irish border #borders #e-flux #writing #critical theory

[diivdeep]

#e-flux #article #long read #jason read

[russellmoreton]

Leaving intact the value of the existence of things by Russell Moreton Via Flickr: russellmoreton.blogspot.com/ Futuro, Presente, Passato: Remembering Germano Celant (1940–2020) Shumon Basar and Hans Ulrich Obrist www.e-flux.com The art historian, critic, and curator Germano Celant passed away on April 29, 2020, in Milan. Perennially clad in black, his hair a mane of swept-back white, he was as distinctive a physical presence as his presence has been in the art of the twentieth and twenty-first centuries. Described to us once as “a living Vasari”—a reference to the pioneering sixteenth-century author of Lives of the Most Excellent Painters, Sculptors, and Architects—Celant’s sustained output over the last six decades is a map that connects Italian avant-gardes to accelerated internationalism. Celant’s love for history’s radical turns in turn became the very engine through which he managed to shape institutions old and new. Celant produced and reproduced reality, par excellence. Here, we recall how he did this, and why that mattered. Baroque Beginnings Celant studied the Renaissance and the Baroque with the legendary art historian Eugenio Battisti at the University of Genoa in the early 1960s. Battisti’s 1962 book, L’antirinascimento (The Anti-Renaissance), became one of Celant’s formative influences. L’antirinascimento was later described by Christopher S. Wool as covering “a whole range of material and topics that don’t fit—automata, magic and talismanic images, wonders and portents, the Wunderkammer, astrology, alchemy, the topoi of the witch and the old man.” This eclectic synthesis of knowledge fields became a model for what Celant would later pursue. And from Battisti’s understanding of the Baroque, Celant told us he discovered that “there was no distinction between architecture, design, decoration.” What emerges is a total space where disparate categories can meet. The Baroque’s heightened use of sensory effects to stage drama and emotion, the “need to be surrounded by something,” as Celant said, also became the DNA for all that was to follow in his output. Guerrilla Warfare In 1963, Celant started to write for Marcatré, the leading interdisciplinary magazine in Italy, where art sat alongside cinema, design, and theory. Soon he also joined the architectural journal Casabella. In his capacity as art critic for both publications, he began to visit and befriend artists of previous generations, such as Lucio Fontana. But more importantly, he developed relationships with artists of his own generation throughout Italy. This led Celant in 1967, at the young age of twenty-seven, to curate his first seminal show, “Arte Povera – Im Spazio,” in Genoa’s Galleria la Bertesca. It marked the beginning of Arte Povera as an aesthetic, philosophical movement, whose ideas were refined in a manifesto-like text published in Flash Art the same year, entitled “Notes on a Guerrilla War.” Two years later, an eponymous book was released that included the artists Giovanni Anselmo, Alighiero Boetti, Luciano Fabro, Michelangelo Pistoletto, and many others. As Celant put it, “each of these artists chose to live with direct experience, and feel the necessity of leaving intact the value of the existence of things.” (These now feel like premonitory words in relation to the extinction and environmental crisis we face today.) Celant described the need for a “shift that has to be brought about … the return to limited and ancillary projects where the human being is the fulcrum and the fire of research, in replacement of the medium and the instrument.” Arte Povera therefore is “an art that asks only for the essential information, that refuses the dialogue with the social and cultural system and aspires to present itself as something sudden and unforeseen.” It acted as ballast against the loudest art at the time: that of American Pop, which was already perceived as an imperialistic presence in postwar Europe. Indeed, in 1964, Donald Judd had dismissed European art as mere “decoration.” Arte Povera, through Celant’s skills of rhetoric, friendship, and flair, proved there were alternative narratives, and that Italian culture was renewing its critical, countercultural vigor.

#Germano Celant #Arte Povera #living with direct experience #e-flux #flickr

[schibborasso]

mutual love and active production poster, 1954 e-flux journal cover issue #135 superscope C-108 casette recorder, 1976 e-flux journal cover issue #136

#e-flux #cover

[stuartbaileyinfo]

#asger jorn #e-flux #fascist art

[e-stranger]

Voicing and Rub-up’s.

How can we (re)conceive and engage with non-verbal forms of language and communication in our verbal being?

This is the basic and interesting question Imogen Stidworthy asks in her 153 pages long dissertation Voicing on the borders of language from 2020 at the Faculty of Fine and Performing Arts, Lund University, Sweden. Something to read!

Related interesting passages found in Detours, e-flux Journal #115 - February 2021.

Glossary: “Voicing”: In encounters between people, different forms of language communication may be happening, but we cannot be certain. What we take for a voice may not in fact be a form of address at all. (“He missed the voice, or the voice missed him.” – Fernand Deligny). Or a voice may take a form that we do not recognize as a voice. To engage with different forms of language means widening our scope of attention to different registers, so that voicing includes speech sounds and sonic utterances, but also somatic registers of bodily gesture and movement, rhythms, spatial and temporal forms, imperceptible vibrations, and silences. Voicing: “calling forth” in the impulse to mobilize oneself towards another or to “me.”   Glossary: “Rub-up”: The rub-up is what is produced in encounters between people who voice themselves through different forms of language. Bewilderment, energy, friction, heat, intimacy—the rub-up arises in grappling with unfamiliar terms, in not understanding. When language reaches its limits, our relationship with it is exposed in new ways, and in this sense the rub-up is inherently reflexive. In these conditions we learn to attune to different registers of voicing around and beyond our own, broadening the scope of communication. Losing a sense of bodily boundaries can happen when we are dancing, attuned to another person, or immersed in nature. Many people on the spectrum describe intense feelings of a “leaky sense of self”: becoming confused with other people or with one’s surroundings, losing or having no sense of being “me,” in ways that can sometimes be existentially threatening, but also exhilarating, liberating, and joyful. Different forms of voicing call me to listen with all the senses, because when I engage with a language I do not know, I do not know what I am listening for.

#Imogen Stidworthy #detours #voicing #rub-up #e-flux #non-verbal #verbal #dissertation

[the-eldritch-it-gay]

minecraft mods with nuclear power should implement radiation otherwise whats the point. its no fun if i can stand inside my nuclear reactor while it runs and not having anything bad happen. its not fun when the nuclear reactor has a meltdown and all that means is you lost a couple blocks and theres some liquid to clean up. i want it to hurt when im holding uranium in my hands.

#Eldritch IT Speaks #make it like Flux in thaumcraft. i accidentally destroyed a base because of trying to harvest tainted nodes in earlier thaumcraft #and then also made a bunch of reality rifts in later thaumcraft by overloading cauldrons until they just oozed flux or w/e

[not-your-lifeline]

MY STARTERS ARE SO CUTE I’M SOBBING

#Pokemon Flux #screenshots #shitposting #memes #Selkid #Mozz #s e r o t o n i n

[unfortunate-development]

sad.

#i needed. aer so fucking bad and i HATE caves 💥 #probably built this too close to where im making flux but w/e thog dont care #.communications array #undescribed #soupcraft

[zurich-snows]

#the way of the shovel: on the archeological imaginary in art #dieter roelstraete #the archeological imaginary #past present #looking back #history #contemporary art #e - flux journal #articles

[diivdeep]

#nan goldin #e-flux #talia curtis #review

[russellmoreton]

Leaving intact the value of the existence of things by Russell Moreton Via Flickr: Futuro, Presente, Passato: Remembering Germano Celant (1940–2020) Shumon Basar and Hans Ulrich Obrist www.e-flux.com The art historian, critic, and curator Germano Celant passed away on April 29, 2020, in Milan. Perennially clad in black, his hair a mane of swept-back white, he was as distinctive a physical presence as his presence has been in the art of the twentieth and twenty-first centuries. Described to us once as “a living Vasari”—a reference to the pioneering sixteenth-century author of Lives of the Most Excellent Painters, Sculptors, and Architects—Celant’s sustained output over the last six decades is a map that connects Italian avant-gardes to accelerated internationalism. Celant’s love for history’s radical turns in turn became the very engine through which he managed to shape institutions old and new. Celant produced and reproduced reality, par excellence. Here, we recall how he did this, and why that mattered. Baroque Beginnings Celant studied the Renaissance and the Baroque with the legendary art historian Eugenio Battisti at the University of Genoa in the early 1960s. Battisti’s 1962 book, L’antirinascimento (The Anti-Renaissance), became one of Celant’s formative influences. L’antirinascimento was later described by Christopher S. Wool as covering “a whole range of material and topics that don’t fit—automata, magic and talismanic images, wonders and portents, the Wunderkammer, astrology, alchemy, the topoi of the witch and the old man.” This eclectic synthesis of knowledge fields became a model for what Celant would later pursue. And from Battisti’s understanding of the Baroque, Celant told us he discovered that “there was no distinction between architecture, design, decoration.” What emerges is a total space where disparate categories can meet. The Baroque’s heightened use of sensory effects to stage drama and emotion, the “need to be surrounded by something,” as Celant said, also became the DNA for all that was to follow in his output. Guerrilla Warfare In 1963, Celant started to write for Marcatré, the leading interdisciplinary magazine in Italy, where art sat alongside cinema, design, and theory. Soon he also joined the architectural journal Casabella. In his capacity as art critic for both publications, he began to visit and befriend artists of previous generations, such as Lucio Fontana. But more importantly, he developed relationships with artists of his own generation throughout Italy. This led Celant in 1967, at the young age of twenty-seven, to curate his first seminal show, “Arte Povera – Im Spazio,” in Genoa’s Galleria la Bertesca. It marked the beginning of Arte Povera as an aesthetic, philosophical movement, whose ideas were refined in a manifesto-like text published in Flash Art the same year, entitled “Notes on a Guerrilla War.” Two years later, an eponymous book was released that included the artists Giovanni Anselmo, Alighiero Boetti, Luciano Fabro, Michelangelo Pistoletto, and many others. As Celant put it, “each of these artists chose to live with direct experience, and feel the necessity of leaving intact the value of the existence of things.” (These now feel like premonitory words in relation to the extinction and environmental crisis we face today.) Celant described the need for a “shift that has to be brought about … the return to limited and ancillary projects where the human being is the fulcrum and the fire of research, in replacement of the medium and the instrument.” Arte Povera therefore is “an art that asks only for the essential information, that refuses the dialogue with the social and cultural system and aspires to present itself as something sudden and unforeseen.” It acted as ballast against the loudest art at the time: that of American Pop, which was already perceived as an imperialistic presence in postwar Europe. Indeed, in 1964, Donald Judd had dismissed European art as mere “decoration.” Arte Povera, through Celant’s skills of rhetoric, friendship, and flair, proved there were alternative narratives, and that Italian culture was renewing its critical, countercultural vigor.

#Germano Celant #Arte Povera #living with direct experience #e-flux #flickr

[schibborasso]

you can't trust music

#e-flux #music #sound art