Art and history

21 year old woman with opinions and a love of art, history and women. Main blog: duizelend.tumblr.com

[milksockets]

helen storey in addressing the century: 100 years of art + fashion - hayward gallery (1998)

[kosmia]

Students of Judy Chicago’s Feminist Art program at California State University, 1970. 

[woundgallery]

Damien Hirst, The Sacred Heart of Jesus 

[cyberglittter]

sheerah by aj hamilton

[despretextes]

Pina Bausch - Orpheus and Eurydice - Paris Opera Ballet 2018

[emmastory]

alla mingalёva

[boglady]

2.3 Brain Drain, Russian Doll (2022) // Gustav Klimt, Mother and Child (detail from The Three Ages of Woman, 1905)

[nevver]

Night at the museum, Nicolas Krief

[thejogging]

Rothko Toast + Jams: SFMOMA for Jogging, 2013

Acme bread, apricot butter, and wild blueberry jam!

¾

[cypr1anlatew00d]

Sleeper - Mark Lang

[whateveridontgetit]

the atlas is the museum is the atlas

aby warburg tried to find the silver lining of chaos, and that is (literally) how the new exhibition at the museo nacional centro de arte reina sofía in madrid starts. warburg used his bilderatlas mnemosyne project to give meaning to the world, using the same techniques that artists throughout history have used to understand their own reality. collectionism, serialism, structuralism (in its literal meaning). but this is not something constricted to art, we all build schemes and structures to organise a world of which, socratically, we know we ignore more than we know.

george didi-huberman curates the exhibition and presents us with a discourse on the structures of chaos and  how they have affected the arts, specially contemporary art, that suffered two tremendous blows when photography and cinema appeared and evicted the old art from its central position becoming the new arts of memory.

images have become an equation that tends to infinity exponentially; every second there are more and more images and more ways to store them. we have reached a point in which the amout is overwhelming. we would need two or three lives to analise all the images and data we see in a single day. but now we regard most of them as marginal and simply discard them, as our mechanism of coping with the load, as the sculptre of atlas the giant remembers us at the beginning of the exhibition.

and that is precisely the problem of the exhibition: the amount of pieces. at several moments one simply feels overwhelmed and overflowed with images, lost, not facing the exhibition, but facing the world. and then we understand warburg and his project.

but in this organised chaos, a new idea emerges. the museum as the highest and most refined way to preserve the memory of memories. a museum also creates structures and intellectual geographies. sometimes it fails. but most of the times it just overwhelms us.

[marquivo]

Mnemosyne - Warburg Institute

[jareckiworld]

Emo Verkerk  -  Portrait of Aby Warburg   (oil on linen, 2017)

[fictionrede]

lámina de imágenes número uno

sobre la pervivencia (Nachleben), digamos supervivencia, de la figura griega del sátiro encarnada en Charlie Parker y Thelonious Monk. También el nacimiento del Jazz y la cultura negra de los 50

Todo bajo enseñanza de Aby Warburg y Walter Benjamin, a través, claro, de Didi-Huberman

[jareckiworld]

Emo Verkerk — Aby Warburg op een Kiva  (oil on cotton, 2017)

[naropinosa]

[skytouches]

St. Sebastian, Suehiro Maruo