Bruno Munari, (1961), Teoremi sull’arte [art Theorems] [art Théorèmes], English translation by Isobel Butters Caleffi, French translation by Annie Pissard Mirabel, Corraini Edizioni, Mantova, 2003 [First published by All’insegna del pesce d’oro, Scheiwiller, Milano, 1961] _ Imgs: https://at.tumblr.com/garadinervi/bruno-munari-1961-teoremi-sullarte-art/zd9dzzq0ug7f
Sandro Ricaldone
DOCUMENTA FIFTEEN
Handbook
Hatje Cantz, 2022
Documenta 15 is no ordinary art exhibition. Working with the guiding concept of “lumbung,” the Indonesian collective ruangrupa―the exhibition’s curators―are less concerned with individual works than with models of collaborative practice. This guide offers insights into and orientation for the processes that evolved in the creation of the exhibition.
A comprehensive resource both for visitors of Documenta in Kassel and anyone interested in collective practices, this guide presents all the collectives and artists featured in Documenta 15 through in-depth profiles by international authors. Taking the question “what is lumbung?” as an organizing principle, the book offers an introduction to the concept and cultural background of Documenta 15, with documents and photographs tracing the collectives’ working processes. A chapter surveying the show’s locations in Kassel, as well as a large fold-out map and an introduction to the exhibition’s public program, are also included.
Ben Vautier, Il limite dell’arte o l’arte del limite
new from Sal Nunkachov‘s Paper View Books: Derek Beaulieu, STORY OF THE DOOR: https://paperviewbooks.pt/books/the-story-of-the-door/
Camden Art Centre / Public Knowledge: OEI / October 27 / 19:00–21:00
Thursday October 27, 19:00-21:00
Camden Art Centre
Arkwright Road
London NW3 6DG
United Kingdom
This episode of Public Knowledge will comprise of a temporary display of publications and related ephemera by Jonas (J) Magnusson and Cecilia Grönberg.
Jonas (J) Magnusson and Cecilia Grönberg are the founders of OEI, a Stockholm-based magazine for experimental forms of thinking, montages of art, poetry, theory, visual culture, and documents; critical investigations, infrastructural poetics, localities, ecologies, new epistemologies, and counter-historiographies.
To publish a magazine is not only a matter of producing a physical artefact but also of intervening in and acting for an entire ecology of publishing and engaging, where the possibilities of generative readings and encounters have to be created in new constellations and contexts. To edit is to work with what exists, but at the same time to make this into something more, a multi-temporal space, perhaps. Or, as a friend puts it: “What’s at stake with any public address is the creation of a new social space, where strangers would come together – and maybe, become friends, who knows.”
The presentation is accompanied by a talk, whereby OEI discuss the different layers in their work, from revisiting avant-garde archives to fieldworks and local-material knowledge. A layered love.
With special thanks to Paul Finn.
https://www.history.ac.uk/events/gardens-eloquence-european-rulership-and-late-medieval-garden
The medieval enclosed garden is something of a commonplace. Outside of scholarship on specific sites, much discussion on the enclosed garden tends to focus on the timeworn literary tropes that such spaces evoke: the hortus conclusus, paradise, locus amoenus, plaisance, garden of love, etc. Often this is framed within a teleological narrative that posits the medieval garden’s enclosure as the antithesis to the expansive scope and humanist references of gardens of the renaissance and beyond. Very little discussion focuses on how medieval gardens were actually used and experienced within the larger spaces they were situated. Focusing on actual sites, contemporary accounts, as well as the evidence provided by art of the period, this paper explores how the late medieval garden was used as both a frame for Valois, Burgundian and Hapsburg rulership and as an emblem of identity.
David Gilmour & Richard Wright playing live from Abbey Road. Astronomy Domine is a song written and composed by Syd Barrett. It was the first track featured on Pink Floyd’s debut album, The Piper at the Gates of Dawn.
There is some Morse code at the beginning of this song, which was a way to transmit messages using a series of long and short tones. Plenty of people tried to decipher the code in this song, only to realise it was just a random series of tones with no meaning.
14 giu 2022 _ Suoni Per Il Popolo_ 2021
Commissioned by Anoush Moazzeni with the support of the Canadian Music Centre and IFCA (Iranian Female Composers Association)
As a result of Deterritorializing the Realm of New Music Call for West Asian Composers
Özden Gülsün, composer
Sandro Ricaldone
Quarto Pianeta Festival
IL PIEDE
Scultura teatrale di Dario Bellini
ex O.P., via Giovanni Maggio 4 – Genova Quarto
Aula 7
sabato 22 ottobre 2022, ore 19:00
cliccare per ingrandire
Il Piede di Filippo Tommaso Marinetti, andato in scena al teatro Dal Verme di Milano nel 1915 e mai più rappresentato, aveva, secondo le ricostruzioni, la quarta parete aperta su un baratro spazio-temporale.
Riapparso in sogno con tutti i dettagli della messa in scena all’autore nel 2015 costituisce il primo dei quattro livelli di una scultura teatrale di Dario Bellini.
Primo livello: Il piede, appunto, inedita e plausibile pièce di Marinetti;
Secondo livello: l’interazione polemica col pubblico;
Terzo: arte sull’arte, annoso meta-testo tra la pressione degli eventi e le ragioni dell’arte;
Infine quarto livello: gli slogan, i diktat inamovibili cui siamo incatenati.
Il piede, così concepito, è una commedia con un epilogo patetico e senza alcuno sviluppo.
Il pubblico è diviso in due per ricostruire idealmente un confronto tra il pubblico della prima rappresentazione nel 1915 e il pubblico di oggi.
Ciascuno vede solo una parte dello spettacolo, ma sente le voci di entrambi i lati.
Il primo livello è diretto da un regista (Andrea Manni), il secondo ed il terzo da un altro regista (Dario Bellini). Il quarto livello è gettato nelle probabilità del caso.
La scultura teatrale descrive mediante le parole un profilo nell’aria come si trattasse di una normale scultura.
Il profilo si delinea coi pensieri. Non è teatro! Sembra, teatro, ma non è teatro. Non è 900! Sembra, 900, ma non è novecento. Continua a leggere