incarnation and transcendence

becoming-nothing // tagging syntax: levinas, invisibility, eschatology, desire, infinity

[takeovertime]

Bleak Mountains | Li Ye

[garadinervi]

Johann Sebastian Bach, Klavierübung, IV. Teil: Aria mit verschiedenen Veränderungen: Goldberg-Variationen, New York: C. F. Peters, 1937, pp. 40-41, Annotated by Glenn Gould [The Morgan Library & Museum, New York, NY. Mary Flagler Cary Music Collection, 2001]

[likeafieldmouse-deactivated2015]

Henri Fantin-Latour - Roses in a Basket on a Table (1876)

[angleduhasard]

Austrian writer Elfriede Jelinek on her peer and influence, Ingeborg Bachmann

[recordplayerbabyy]

Plunder

Berlinde De Bruyckere

[balkanparamo]

Hope Gangloff - “Salomé”.

[impossible-exigencies]

“The real concrete is not the immediate but the entirety of real determinations. The concreteness of an abstract definition derives from the dialectical nature of the process investigated. Concreteness is a tendential limit of the immediate determinations grasped and analyzed (and this time, these are properly abstract).”

Toni Negri, Thirty-Three Lessons on Lenin

[funeral]

Margaret Scolarli Barr, Medardo Rosso The Museum of Modern Art

[arte-artem-artibus]

Cy Twombly - Lycian Drawing (Niphidia), 1982, oil, crayon and pencil on paper, 100 x 70 cm

[theories-of]

Mekhitar Garabedian Fig.a, a comme alphabet 2009-2010 Pencil, pen and marker on paper 29 x 42 cm

[europeansculpture]

Pauline Couble - Stratified Head, 2020

[purgingdistance]

Acrylic on wood 30 x 23 cm

Vincent Hawkins

[swordsking-deactivated20210811]

“[She bites God in the wrist]”

— stage direction from Artaud’s  The Jet of Blood (via comachild)

[finita--la--commedia]

– Jacques Derrida’s library

[images-that-inspire]

Irving Penn - three steel boxes

[letterkive]

Ala Ebtekar, Thirty-Six Views of the Moon (from the San Jose Museum of Art)

Cyanotype prints on found book pages exposed to moonlight.

Thirty-six Views of the Moon is a collection of night exposures, left from dusk till dawn and exposed by moonlight on book pages from texts referencing the moon and night sky spanning the last ten centuries. Working with photographic negatives of the Moon from the Lick Observatory archives in Northern California and treating each book page with Potassium ferricyanide and Ammonium ferric citrate (cyanotype) to make the surface of the page light-sensitive, the pages are then exposed overnight by the UV-light emitted by the moon. The work takes its cue from a poem by Omar Khayyam that imagines us as the objects of the Moon’s omnipresent gaze and, in response, produces a vignette of windows on the Moon that abstract the typical celestial gaze, merging galaxy with ground to collapse space and time. (McEvoy Foundation for the Arts)

[iamjapanese]

Jiang Miao（姜淼 Chinese, b.1981）

Infinity and Immortal No.3   2019  Acrylic and oil on wooden panel with carving  126.0 × 231.0 × 5.0cm   via