- installations loop footage to divulge and liberate the charms of liminal processes, objects and subjects
- …circumspectly unravels the relationship between the camera, its subject and its maker through various techniques of disclosure
- subtle graduations of influence we might steal over our environment
- sculptural presentation and the power relationship between object and viewer
- wishful longing for an impossibly romantic reality
- understand our subjective positions in the world
- nihilistically adopting and discarding personas
- apocalyptic vision
- new form of narrative
- outlines its plans to appropriate high culture
- control methodologies
- control desires and control solutions and their own absurdities
- offer us a space for reflection
- take up directly what might be called the beauty issue
- micro-symmetry within the motifs and a macro-dissymmetry in the composition
- elevation of artifice
- paintings are rather screens
- remnants of another image of a natural world
- distance between signs and their signifiers
- pointers to particular epistemic systems, to sciences for example, which have drifted too far to be accessible any longer
Monthly Archives: January 2010
Detox
Hotlinking: an exhibition of images from the Tate with immunity from seizure
Hotlinking is a mini-exhibition put together from highlights of Van Doesburg and the International Avant-Garde: Constructing a New World, showing at the Tate Modern from 04 Feb 2010 until 16 May 2010. The works have been generously loaned by overseas collectors and international museums and are presented here via the Immunity from Seizure page of the Freedom of Information section of the Tate website. This show, in its current form, will last for as long as the images remain there – when either the page is updated with new content, or sooner if the Tate decides to restrict hotlink access to their images. After which time each work, as access is denied, will be replaced by a browser generated broken image icon and continue indefinitely. I think I speak for Van Doesburg when I say that this icon retains the spirit of Elementarism; the dynamism of its diagonal lines reaffirming that he was in the right in his argument with Mondrian over them, and a worthy addition to the show and his legacy.
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
A small glossary terms (books)
A Codex is the technological advancement of a scroll. The term refers to handwritten pages in modern book format. It is comprised of separate pages bound together with a cover. The Codex was first used during the Roman Empire. A bound manuscript is considered a codex if it was created between 300 AD – 1500 AD.
Also known as bookplates. Ex Libris are labels of ownership, generally engraved or printed, pasted on the inside of books. They were first used about the middle of the 15th century. The early designs, beginning with those of Durer, contain representations of the heraldic coats of arms of the owners and are usually described as armorial.
A Rebus is a visual pun that substitutes written or visual signs to create new meanings from its common meaning. For instance, the letters C and U substitute for the words “see” and “you.” An image of a heart substitutes for the word “love.” Egyptian hieroglyphic writings and Babylonian cuneiform are examples of the first rebus writings.
Recto refers to the right side of a folded or bound 2-page spread. Odd numbered pages are recto. The first page in a book typically starts on right or the recto.
Verso refers to the left side of a folded or bound 2-page spread. It is the reverse (or verso) of the first page. Even numbered pages are verso. The term is also used to describe the book page opposite the title, where the publisher and copywrite information is printed.
Posted in Asides Leave a comment
1 minute of opposition