[N-N]

'Why is art beautiful? Because it's useless. Why is life ugly? Because its all ends and purposes and intentions.' Pessoa, The Book of Disquiet

[mentaltimetraveller]

Jesper Just 

at Perrotin

[aliftinax]

Vanderlei Lopes

[nevver]

What day is it?

[carvalhais]

“Hyperobjects are not just collections, systems, or assemblages of other objects. They are objects in their own right, objects in a special sense (…) The special sense of object derives from object-oriented ontology (OOO), an emerging philosophical movement committed to a unique form of realism and nonanthropocentric thinking.”

— Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis, MN: University of Minnesota Press, 2013.

[hyperallergic]

LOS ANGELES — In the events that transpired during the Arab Spring of 2011, citizens of several Middle Eastern countries took to the streets to protest the oppressive regimes that their respective leaders forced generations of innocents to endure. One of these oppressors was Bashar Al-Assad, the President of Syria. Al-Assad took power in 2000, after running unopposed in the election. He has since faced head-on the effects of a revolutionary population. In 2011, he agreed to lift the country’s state of emergency — one of the protesters’ demands — ostensibly allowing peaceful protests and a supposedly broader spectrum for freedom of speech. For some, this came as a relief. For others, it was a way to bandage a single wound while detracting attention from others. Despite international powers calling for Al-Assad to step down and allow the democratic election of a new leader, he never acquiesced. To this day, he remains in power, and has condemned international efforts to fight against extremist groups, all the while keeping his citizens in a permanent state of fear.

(via The Politics of Sound in a Prison)

[fyp-philosophy]

The future is a concept, it doesn’t exist. There is no such thing as tomorrow. There never will be, because time is always now. That’s one of the things we discover when we stop talking to ourselves and stop thinking. We find there is only present, only an eternal now.

Alan Watts (via fyp-philosophy)

[neural-network]

Theodor Graur

[rudygodinez]

[spectroscop]

SPECTRO BOX /diagonal - neon tube, recycled pc motherboard, wooden frame [30/30/10 cm] - shop

[jupitterlarsen]

http://www.fri-art.ch/fr/editions/the-anti-museum

[carre-blanc]

Antoine Roux & Thomas Christiani, exhibition view at Artisan Social Designer in Paris.

[m3zzaluna]

this emblematic image of the painter yves klein throwing himself out of the window was in fact a montage made by his friend, the hungarian photographer harry shunk, to illustrate his theories about levitation. in reality, klein’s friends were waiting with an outstretched sheet, but the cleverly retouched photograph acquired legendary status and was even exhibited at the kunsthalle bern in 1969.

[m3zzaluna]

yves klein, le saut dans le vide (leap into the void), 5, rue gentil-bernard, fontenay-aux-roses, octobre, 1960 [original]

© harry shunk

[neural-network]

IN TERMS OF PERFORMANCE

http://www.intermsofperformance.site/ IN TERMS OF PERFORMANCE is a keywords anthology designed to provoke discovery across artistic disciplines. [image: 

Hans Haacke, News, 1969/2005. Installation view, “State of the Union,” Paula Cooper Gallery, New York, 2005.]

[technolowgy]

Outwardly Coiling Context Collapse by DeForrest Brown Jr.

“A Human being is in fact completely in the world, but in such a way as to stand apart from the world.” Flusser goes on to say that, “[t]o him the world as environment is an object. That allows him to gesticulate, to behave as a subject. The world is fundamentally entropic.” - Vilèm Flusser (Gestures)

[neural-network]

TAKIS - Telelphoto Relief n°5, 1965 Mercury vapour, light bulb, steel and wood @ MACBA

[thinkingimages]

Nina Canell Perpetuum Mobile (25 kg), 2009 Water, ultrasound generator, basin, concrete Dimensions variable

Nina Canell | Satin Ions

[ortut]

Alejandro Almanza Pereda - Sticks and Stones No. 4, 2014