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deleuze à vincennes, 1975
Archivi categoria: art
ferdinando scianna, napoli, 1997
ray johnson @ bongiani vrspace, dal 23 luglio
from “bodies in urban spaces” / willi dorner
graphic novel & graphic journalism: ultimi giorni per la call for proposals di ‘roots§routes’
English below ↓
Ultimi giorni per partecipare alla
Call for Proposals
§Graphic Realities
La linea urgente del Graphic Novel e Graphic Journalism
Anno XII, n°40, Settembre – Dicembre 2022
a cura di Elettra Stamboulis e Viviana Gravano
Abstract Deadline: 20 Luglio 2022
Le graphic novel affrontano tematiche complesse come i razzismi e le questioni identitarie collettive e individuali, così come il graphic journalism sostituisce il reportage fotografico di guerra, diviene lo strumento di conoscenza per le violazioni dei diritti umani nel mondo, diventa azione diretta nella realtà.
Vogliamo dedicare questo numero di roots§routes a quelle graphic novel o opere di graphic journalism che si interessano esplicitamente di fenomeni sociali rilevanti, che agiscono quindi in qualche modo come forme di “art-attivismo”.
… leggi la Call for Proposals QUI
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§Graphic Realities
Graphic Novel & Graphic Journalism
Year XII, n°40, September – December 2022
curated by Elettra Stamboulis e Viviana Gravano
Abstract Deadline: 20 July 2022
Graphic novels deal with complex topics such as racism and collective and individual identity issues, just as graphic journalism replaces the photographic war reportage, becomes the knowledge tool for human rights violations around the world and becomes direct action in reality.
We would like to devote this issue of roots_routes to those graphic novels or works of graphic journalism that are explicitly concerned with relevant social phenomena, thus acting in some way as forms of ‘art-activism’.
… read more on roots-routes magazine
asemic writing as a kind of poetry / jim leftwich. 2022
Jim Leftwich
Asemic Writing Is A Kind Of Poetry
Summer 2022 / Utah
If, at times (if not, in fact, all the time), it must seem as if I have no idea what asemic writing is, I can only defend myself through an appeal to my experience of the theory and the practice: asemic writing came into my life as a continuation and an extension of my practice as a poet.
I wrote textual poetry for a little over twenty years before I started making visual poems. After making visual poems for a few years, I started making what was originally called spirit writing (by John M. Bennett, in his capacity as the editor of Lost and Found Times, a magazine of experimental poetry and related matters).
That was in 1997. The following year, Tim Gaze published a small chapbook of my quasi-calligraphic scribblings entitled Spirit Writing. Maybe I didn’t know what I was doing at the time (the theory and history came later), but I had no reason to think of this new development in my work as anything other than poetry.
These days, and maybe for the past fifteen years or so, it seems that very few theorists or practitioners think of asemic writing as a kind of poetry.
Asemic writing, as a kind of poetry, is all but limitless in its potential. We should take the same sort of approach to it’s study. For example: I have been told that asemic writing is all about linguistics. I have no doubt that the study of linguistics, and the application of that study to an engagement with asemic writing, will add substantially to our understanding of the subject. But, as with all other varieties of poetry, linguistics is only one among very many approaches to the study of asemic writing.
I am never interested in having the last word on any of these matters. Maybe I am interested in having the next word — and then, in having had some of the recent words. The conversation around asemic writing is ongoing and, like all conversations around all varieties of poetry, it seems to have no necessary or inevitable end. I am interested in expanding the spectrum of acceptable discourse concerning the subject of asemic writing. I hope my writings on the subject will function as invitations to others to participate in this process.
asemic writing and the tragedy of the absurd / jim leftwich. 2022
Jim Leftwich
Asemic Writing and The Tragedy of the Absurd
Summer 2022 / Utah
When I say absurd, I don’t mean quirky.
I don’t think absurdity is a variety of comedy.
Finding comedic relief in inconsequential weirdness does not qualify as an experience of the absurd.
Certain styles of comedy monetize a surrealist juxtaposition of clangorous items and/or ideas to elicit Spasms of Guffaw from a naptive audience. As such, they serve a purpose: to disguise the osmotic suffering of those immersed in the petroleus ooze of The Capitalist Ongoing.
The absurd does not organize itself in order to acclimate our minds around any of the currently available varieties of unbearable realities.
The absurd is: a variety of that which is incomprehensible within the human universe.
A mystery is: that which is uplifting because it is experienced as being incomprehensible within the human universe. We celebrate an encounter with mystery.
The absurd is experientially devastating, annihilating, a psychological sparagmos. We may, after a fashion, celebrate the fact that we experienced it and lived to tell the tale.
Asemic writing is capable of embodying, and conveying, the tragedy of the absurd. But only for the those who want that, who want that kind of thing. For those who do not want that kind of thing, asemic writing is also fully capable of being abstract art school dorm room wallpaper and glamping picnic tablecloth design. I know, I am not being very nice, I’m sorry. Did you by chance see Sun Ra and The Arkestra 40 or 50 years ago? They had The Look. Sparkling robes down to the floor, Egyptian Spaceman Hats 3-feet high. Marching around the stage, chanting, gesturing with their instruments towards the ceiling. I saw them with a few hundred other people in 1982 and not a soul was laughing. We’re they absurd? Absolutely. Sublime? Yes.
The Tragedy of the Absurd is experienced as a Magickal Absurdity. Asemic writing is capable of existing along that spectrum of experiences. I learned that in the late 1990’s as part of my introduction to the idea and the execution of asemic writing. I have never been able to want anything else from it.
‘asemica’: diffusione ad oggi
<Asemica> è stata archiviata presso la Bayerische Staatsbibliothek di Monaco, una delle più importanti biblioteche d’Europa.
<Asemica> è un aperiodico dedicato alla scrittura e all’arte asemantica in veste di assembling magazine. Nel primo numero il testo critico “Verso la scrittura asemica” di Cecilia Bello Minciacchi e opere di Francesco Aprile, Julien Blaine, Antonino Bove, Cristiano Caggiula, Giuseppe Calandriello, Federico Federici, Giovanni Fontana, Marco Giovenale, Lamberto Pignotti e William Xerra.
<Asemica> è archiviato anche presso Mart – Museo di arte moderna e contemporanea di Trento e Rovereto, FONDAZIONE BONOTTO di Colceresa, Vicenza, Biblioteca della Collezione Maramotti di Reggio Emilia, Fondazione Berardelli di Brescia e Biblioteca d’Arte del Castello Sforzesco di Milano.
è online utsanga #32
www.utsanga.it online il numero 32, giugno 2022, con opere di:
Anna Boschi Cermasi, Francesco Aprile, Gianluca Garrapa, Andrea Astolfi, Antonio Francesco Perozzi, Almandrade Andrade, Silvio De Gracia, Alejandro Thornton, Belén Gache, Claudio Mangifesta, Débora Daich, Fabio Doctorovich, Luis Pazos, Norberto José Martínez, Michael Betancourt , Terri Witek, Jim Leftwich, Ilyas Kassam, Ronald Lubega, Hannah Mitchell, Yuri Bruscky, Andrea Alzati, Stefano Lanuzza, Giuseppe Calandriello, San Giorgio Cibernetico, Carlo Bugli, Cecelia Chapman, Francesco Cane Barca, Volodymyr Bilyk, Baiwei, Paolo Allegrezza, Carmine Lubrano, Julia Rende, Mark Young, Richard Kostelanetz, Dawn Nelson Wardrope, Stephen Nelson, Antonio Devicienti, Texas Fontanella, John M. Bennett, Mario José Cervantes Mendoza, Vincenzo Lagalla
scrittura desemantizzata / tomaso binga. 1972-74
gilles clément: “si les parallèles se croisent…”: 10 juillet – 16 octobre 2022
Sandro Ricaldone
GILLES CLEMENT
Si les parallèles se croisent…
Commissariat : Fabienne Grasser-Fulchéri, assistée d’Alexandra Deslys et de Claire Spada
eac espace de l’art concret – Mouans-Sartoux
10 juillet – 16 octobre 2022
Jardinier, paysagiste et botaniste, Gilles Clément fut invité à imaginer la réhabilitation du parc du château de Mouans-Sartoux en 2004, qui a accompagné l’ouverture du bâtiment de la Donation Albers-Honegger, fruit des architectes suisses Gigon & Guyer.
Pour la commune commanditaire du projet et l’Espace de l’Art Concret, l’objectif de cet aménagement était de lier les trois lieux du centre d’art que sont la donation, le château et les ateliers pédagogiques construit par Marc Barani tout en favorisant l’accès depuis le village.
En 2022, une nouvelle facette de la ville se construit avec la création du parking multimodal et son parvis végétalisé. C’est en toute logique que la municipalité a demandé à Gilles Clément de prolonger sa réflexion en liant l’ancien et le nouveau projet.
À cette occasion, l’eac. présentera dans les galeries du château un parcours thématique autour du travail de Gilles Clément.
Connu dans le monde entier pour ses jardins et ses engagements écologiques et politiques en faveur d’une coopération avec la nature, il est l’inventeur des concepts de « Jardin en mouvement », « Jardin planétaire » et « Tiers-paysage », prônant la nécessaire coopération avec la nature qui conduit le jardinier à « observer plus et jardiner moins ».
Le parcours mettra l’accent sur ces trois concepts fondateurs à travers des documents, photographies et témoignages. Derrière ces notions apparaissent en filigrane les valeurs qui n’ont cessé d’animer le paysagiste : les voyages et la rencontre avec l’autre, la transmission et la création. Toutes rejoignent la philosophie et le projet portés par Gottfried Honegger et l’eac. depuis 1990.
L’exposition sera aussi l’occasion de présenter une sélection d’éléments d’archives issus des deux réalisations de Gilles Clément dans le parc du château de Mouans en 2004 et 2022.
Fidèle à sa mission de soutien à la jeune création, l’eac. invitera également des artistes contemporains à partager la pensée et les actions du créateur paysager.
la “capsula del tempo” di tommaso cascella e sandro scarmiglia: a bomarzo il 16 luglio
CAPSULA DEL TEMPOTommaso Cascella – Sandro Scarmigliaa cura di Serena Achilli
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OPENING:Sabato 16 luglio, dalle ore 17GIARDINO DEL SACRO BOSCO DI BOMARZO (VT)
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È il 1552 quando Vicino Orsini inventa il suo Sacro Bosco “Sol per sfogare il core”, dando inizio alla costruzione di uno dei luoghi più enigmatici del Rinascimento. Siamo in un periodo in cui era appena stato scoperto il Nuovo Mondo e iniziavano i grandi viaggi, con la conoscenza di nuove culture e di cibi, era l’epoca moderna. In Europa la Chiesa era divisa dalla riforma protestante, e la Controriforma e le guerre di potere confondevano il sacro con il profano. Roma, Venezia, Napoli e Firenze erano i centri di convergenza della cultura, nascono le Accademie e si rafforzano grandi famiglie come i Farnese e i Medici, con i quali gli Orsini incrociano la propria dinastia. In questo contesto di rivoluzione, nel piccolo feudo di Bomarzo, Vicino Orsini crea un giardino surreale, straordinario e disorientante, un labirinto ermeneutico. In epoca contemporanea Salvador Dalì per primo, poi Marcel Duchamp, André Breton, Willem de Kooning , Niki de Saint Phalle e molti altri personaggi dell’arte e della cultura visitano e rimangono affascinati dal mondo di Vicino, che dagli anni ’50 del secolo scorso è divenuto di proprietà e poi recuperato dalla famiglia Bettini. Come una “capsula del tempo” è l’opera di Vicino Orsini, perché improvvisamente ce la ritroviamo così contemporanea e, allo stesso momento, carica del suo tempo. Uno spaesamento che Tommaso Cascella e Sandro Scarmiglia, con le loro sculture, ripropongono attraversando un ponte temporale che si riconnette direttamente a questo luogo, creando nuovo mistero, ma anche confronto e dialogo.
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