sau su savim

posts related to my art historical researches and daily contemplations

[heronskeleton-blog]

Viking Combs. The Vikings were very particular about their hair.

[smailyte]

According to Bulgarian theoretician Alexander Kiossev, there is something that he calls “Self-colonizing metaphor”. He used this concept for explaining cultures subordinated to the cultural power of Europe and the West without having been invaded and turned into colonies in actual fact. He named this a hegemony without domination. As it all took place beyond colonial realities—military occupation, political dominance, administrative rule, and economic exploitation—social imagination had a key role to play throughout the process. In short, it could be described as colonisation with love. Facebook is currently a major algorithmic colonial agent that might be indeed described as COLONIZATION with love.

Colonization with Love, by Kristian Lukic, https://labs.rs/en/colonization-with-love/

[smailyte]

Marianne von Werefkin’s take on the Baltic sea:

The Baltic Sea at Prerow, 1911

Cliff at Ahrenshoop, 1911

[smailyte]

women in labour: cutting the wheat

The Lovely Lavinia, 1784

Kanutas Ruseckas, Pjoveja, 1844

Agnes Denes, Wheatfield, 1982

[smailyte]

lost paradises:

Gustave Doré, Illustration for John Milton’s “Paradise Lost“, 1866.

Paul Gauguin, Paradise Lost, 1890.

Sign post for Alexis Smith’s Snake Path, 1992.

Still from Virgile Texier and Jules Theret’s Lost Paradise: A Smart Talk, 2016.

[smailyte]

three waves: Katsushika Hokusai. "Under the Wave off Kanagawa (Kanagawa oki nami ura)," also known as "the Great Wave," from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), ca. 1830–32.

Mikalojus Konstantinas Čiurlionis. “Finale”, from cycle Sonata of the Sea, 1908.

Ivan Bilibin. Illustration for the picture book, “The Tale of Tsar Saltan”, 1905.

[smailyte]

still from The Forgotten Space, directed by Allan Sekula and Noël Burch, 2010 ‘The contemporary vision of an integrated, globalized, self-regulating capitalist world economy can be traced back to some of these axioms of the capitalist “spirit of adventure.” And yet what is largely missing from the current picture is any sense of material resistance to the expansion of the market imperative. Investment flows intangibly, through the ether, as if by magic. Money begets money. Wealth is weightless. Sea trade, when it is remembered at all, is a relic of an older and obsolete economy, a world of decrepitude, rust, and creaking cables, of the slow movement of heavy things. If Petty’s old fable held that a seafarer was worth three peasants, neither count for much in the even more fabulous new equation. And yet we would all die without the toil of farmers and seafarers.’ source: http://www.theforgottenspace.net/static/notes.html

[smailyte]

Eilif Peterssen 

Summer Night (1886) and  Nocturne (1887)

‘The summer at Fleskum marked the start of a new chapter in Norwegian art history, and the works that emerged had a strong influence on the country’s artistic community. The “Fleskum painters” abandoned the ideals of realism and focused instead on painting en plein air and evoking nature’s many different moods.’  source: http://www.kongehuset.no/artikkel.html?tid=101284

[smailyte]

Krzysztof Wodiczko, The Hiroshima Projection, 1999 ‘Inscribing on to the monument that which it hides or silences, Wodiczko unveils the complexity of its architectural, ideological or political subtexts, complicating a reading of the city’s signs. His projections, he suggests, serve to expose ‘meaningful silences which must be read. My projections are attempts to carve those silences into the monuments and spaces which propagate civic and dramatic fictions within the social sphere’ (Wodiczko and Ferguson 1992: 51–2).’ From book  site specific art: performance, place and documentation by Nick Kaye, p. 34

[fraugeiger]

Sonja Geiger

dOCUMENTA (13)

Massimo Bartolini

[arranrahimian-blog]

‘In your hands’

In collaboration with Annie Floydd

[smailyte]

magical music by Kabloonak

[tomhumberstone]

Another illustration up on INPRNT now:

“Handclaps” by Tom Humberstone on INPRNT

[smailyte]

John Buckland Wright. Three Bathers. 1951. wood engraving.

[hypnictwitch]

Thus humanity is male and man defines woman not in herself but as relative to him; she is not regarded as an autonomous being… She is defined and differentiated with reference to man and not he in reference to her; she is the incidental, the inessential as opposed to the essential. He is the Subject, the Absolute – she is the Other.

Simone de Beauvoir, The Second Sex (via hypnictwitch)

[smailyte]

Vitas Luckus. From series „Pantomime“. 1968–1972.

[magictransistor]

Albertus Seba, Locupletissimi Rerum Naturalium Thesauri (Accurata descriptio), 1758.