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January 05, 2009
Counterpoint
It took Ezra Pound 1 year to write the image poem "In a station of the metro" which started out by having 30 lines and got reduced to this:
The apparition of these faces in the crowd:
Petals on a wet, black bough.
Now, I wanted to create a poetry poster for an empty frame that was lying around and considered Larkin's poem The trees ( I wanted a verbalization of the other "picture" on the wall: the garden's London planes framed by the living room sash window) but it was too long and the rhyming put me off so I Pounderized it. Much better.
We will have to wait until Spring for it to make sense.
*****
I could spend hours looking at the Assyrian reliefs in the British Museum. Especially at the design of male legs. It's just one of the most beautiful things I've ever seen.
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I think I saw a guerrilla book re-shelving action today. At Foyles, on the Bibles of every size, version and color display someone sneaked in one single volume of a beautifully red bound copy of Hans Christian Andersen's fairytales. There's too much sex and violence in the Bible for that comparison to be even remotely clever. Or else, it looks like something Dawkins would do. Meh for narrow minded atheists.
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You know your brain has been messed up by the British press when distractedly looking at headlines and reading "Gaza" you wonder what's Paul Gascoigne up to again.
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Found Luis Molina-Pantin on Babelia this weekend.
Informal study on hybrid architecture Vol.I. Narco-Architecture and its contributions to the community (Calì-Bogota, Colombia)2004-2005 is a series of images that shifts us towards another of the artist’s interests: cultural phenomena linked to architecture. The photos were taken between 2004 and 2005, in particular in the Parque Jaime Dunque near Bogotà, and in Calì, two places among those sadly known as the headquarters of important Colombian drug cartels.
This hybrid architecture, as Pantin defines it, shows a mix of local stylistic elements and occidental and oriental models, generating an architectural potpourri that once would have been defined as whimsy: it shows the obscene aesthetic taste of the Colombian drug lords of the 1990s. In those years, local schools of architecture were adulterated, victims of a civic variation due to the mad and heedless accumulation of wealth, combined with the arrogance and ignorance of the narcos. There is no human presence in these images; the vanished inhabitants and the detached gaze of the artist who does not judge, comment or document, demonstrate the taxonomic vision of a folly. The artist creates a de facto museum of narco-architecture pervaded by an unadorned poetic of places that brings to mind De Chirico’s Italian piazzas.---source
Posted by claudia
Comments
Posted by adriana at January 5, 2009 10:35 PM
Posted by AB at January 8, 2009 10:18 PM
Posted by 3star at January 13, 2009 04:48 AM