PAIN IS THE RANSOM OF FORMALISM

[woundgallery]

[woundgallery]

Helen Chadwick, Preliminary study for Meat Abstract, 1988, Richard Saltoun

[woundgallery]

Mary Ruefle from My Private Property 

[woundgallery]

Tracey Emin, my lips moved across your face, 2015

[woundgallery]

Louise Bourgeois. Cell XIV (Portrait), 2000, Steel, glass, wood, metal and red fabric

“The Cells represent different types of pain: the physical, the emotional and psychological, and the mental and intellectual. When does the emotional become the physical? When does the physical become the emotional? It’s a circle going round and round. Pain can begin at any point and turn in either direction. Each Cell deals with fear. Fear is pain. Often it is not perceived as pain, because it is always disguising itself. Each cell deals with the pleasure of the voyeur, the thrill of looking and being looked at. The Cells either attract or repulse each other. There is this urge to integrate, merge or disintegrate.” (Quoted in Marie-Laure Bernadac and Hans-Ulrich Obrist (eds.), Louise Bourgeois: Destruction of the Father, Reconstruction of the Father: Writings and Interviews 1923–1997, London 1998, p.205.)

[postconnaissance]

Hito Steyerl - In defense of the poor image < from e-flux journal 10 >

[emmaklee]

Alex Van Gelder / The Hands of Louise Bourgeois (2010)

[postconnaissance]

Some of the reproaches made against images of atrocity are not different from characterization s of sight itself. Sight is effortless; sight requires spatial distance; sight can be turned off (we have lids on our eyes, we do not have doors on our ears). The very qualities that made the ancient Greek philosophers consider sight the most excellent, the noblest of the senses are now associated with a deficit.

Sontag - Regarding the Pain of Others (via postconnaissance)

[weltinnenraum]

Louise Bourgeois, Knife Couple (1949)

[weltinnenraum]

Dzego Vertov, Man with Movie Camera (1929)

[continuo-docs]

Bernhard Leitner – The Wittgenstein House, Princeton University Press, 2000

In 1971, Austrian sound artist Bernhard Leitner campaigned to save the Haus Wittgenstein from demolition – the house philosopher Ludwig Wittgenstein helped design in 1927–28 for his sister to live in, located on the Kundmanngasse, in Vienna. Working in team with Austrian professional architect Paul Engelmann, Wittgenstein focused himself on windows, doors, door knobs and radiators. In 2000, Leitner published a book about this peculiar architecture, documenting the rooms’ imposing proportions, the all concrete floors and Wittgenstein’s own original designs, like the windows’ 150kg metal screens, conceived to be lowered into the floor by bespoke pulleys

[continuo-docs]

Ludwig Wittgenstein: windows shaded by metal screens (150kg each), conceived to be lowered into the floor by bespoke pulleys.

from

Bernhard Leitner –  The Wittgenstein House, Princeton University Press, 2000

[yesterdaysprint]

Life magazine, February 1916

[tournevole]

Louise Bourgeois, Self portrait, 2007

[softbrutalist]

Is it possible to lie inside yourself? Self-sheathed, forgiving. Wound giving way to rot, giving way to wound. We sought a proclivity towards finality, craving for end. Sleep would not do, for there is no solace in waking. We lay in the field of deadened asphodels where there was no sky and we flayed each other into softness. Skins petal-tanned and left sacrificial - both balsam and warning to those left intact. “Leave us,” skinned and overripe as late-summer blackberries, to the decay we carry in our bones. Eyes shuttered so the doors to a soul can open, and so the thorns that pared us into parts can retreat into tenderness once more. (at Melbourne, Victoria, Australia)
https://www.instagram.com/p/CGoS4opg92l/?igshid=28dbawi0ag2f

[weltinnenraum]

Issey Miyake AW89

[photographicpictures]

Irina Liss by Paolo Roversi - Maison Margiela Artisanal Fall 2017