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Alles (Asturias)

 

“When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots. . . . I don’t know, it must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.”

Wim Wenders, Places, strange and quiet.

Alles (Asturias)

 

Alles (Asturias)

 

La modernidad es lo transitorio, lo fugitivo, lo contingente, la mitad del arte, cuya otra mitad es lo eterno y lo inmutable. Ha habido una modernidad para cada pintor antiguo; la mayor parte de los hermosos retratos que nos quedan de tiempos anteriores están vestidos con trajes de su época. Son perfectamente armoniosos, porque el traje, el peinado e incluso el gesto, la mirada y la sonrisa (cada época tiene su porte, su mirada y su sonrisa) forman un todo de una completa vitalidad. Este elemento transitorio, fugitivo, cuyas metamorfosis son tan frecuentes, no tienen el derecho de despreciado o de prescindir de él. Suprimiéndolo, caen forzosamente en el vacío de una belleza abstracta e indefinible, como la de la única mujer antes del primer pecado.

Charles Baudelaire, El pintor de la vida moderna.

 

Alles (Asturias)

 

Alles (Asturias)

 

Sobre Alles escribió José Saro y Rojas en 1886: “Es Alles de lo más delicioso de Peñamellera Alta; frondosos castañedos, extensos praderíos, maizales vigorosos, acusan un suelo rico y feraz y deleitan la vista con la belleza inimitable del paisaje. Sorprende al viajero en aquellas soledades su hermosa iglesia, acaso la más bella de la zona oriental de Asturias, con una torre tan ligera y gallarda que es el encanto de cuantos la contemplan”.

fachadas

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Ángel González García. Cuatro lecciones sobre Mark Rothko (II)(II) “A propósito de Mark Rothko (II)” 19/11/1987

…

¿Y es Nueva York la ciudad más hermosa del mundo?
No dista mucho de serlo. No hay noches urbanas como las suyas. He contemplado a la ciudad desde la altura de ciertas ventanas. Es cuando los grandes edificios pierden realidad y asumen sus poderes mágicos. Son incorpóreos, es decir que uno no ve sino las ventanas encendidas.
Cuadrado en llamas tras cuadrado en llamas, engastados en el éter. Aquí hay poesía, pues hemos hecho descender a las estrellas (…)

Patria Mía. Ezra Pound (1885 – 1972)

 

Mark Rothko, Underground Fantasy, c. 1940, oil on canvas, Gift of The Mark Rothko Foundation, Inc., 1986.43.130

 

Sandra Lousada. Rothko Exhibition 1961 at The Whitechapel Gallery London.

 

Entrance to Subway (Subway Station / Subway Scene)1938 by Mark Rothko

 

Mark Rothko – Entrance to a Subway (1938)

 

Rothko Exhibition 1961 at The Whitechapel Gallery London. Sandra Lousada became a photographer in the late 1950s.

 

Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada

 

Mark Rothko at Whitechapel Gallery, 1961; photo: Sandra Lousada

 

Mark Rothko Untitled [Woman in Subway], 1936
Mark Rothko (1903-1970), Subway, 1935, c/o Pictoright Amsterdam 2011. Oil on canvas, 24 x 18 in. Collection Kate Rothko Prizel.

 

Installation view of Mark Rothko, Portland Art Museum

 

Mark Rothko. 1964.

 

“I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.”

Mark Rothko

narcosis

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¿Las imágenes reclaman, en verdad, su propia destrucción?

Utz, p. 152; B. Chatwin.

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Human by Gábor Arion Kudász is now available at the #tipibookshop. Link in Bio. Bricks, taken in isolation, are more or less pointless. Like us, they only acquire their 'raison d'être' in association with their fellows. It is in their community that they have meaning. Whenever a brickie lays them out in any one of an infinite number of patterns, they form the structures of our houses, walls, factories and offices. They mark the boundary between Inside and Outside – between the inner kraal in which humanity subsists and the dangerous otherness of the bush, the desert, the sun and snow. As in any aesthetic enterprise, the successful interaction of function and form determines the beauty or ugliness of the building. People have been making and using bricks for thousands of years. Max Ferguson #photography #photographer #architecture #home #lines

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Vindicación y reivindicación del ojo. ¿No sería acaso la historia del arte moderno la historia de su exclusión? Georges Bataille la ha contado admirablemente; y sobre todo: ha querido avisarnos de los peligros de pretender verlo todo; esa enfermedad moderna que desciende fulminantemente sobre los protagonistas de su Histoire de l’oeil (…)

El resto, p. 5; Á. González.

Narcosis narcisista: por qué en la era de las redes sociales todos somos Narciso. AlterCultura. Alejandro Martínez Gallardo – 09/22/2018

https://www.instagram.com/p/BfPS5O3FZI-/

Instadialectics

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Photo by @codycobb

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British Cops Want to Use AI to Spot Porn—But It Keeps Mistaking Desert Pics for Nudes

“Sometimes it comes up with a desert and it thinks its an indecent image or pornography,” Mark Stokes, the department’s head of digital and electronics forensics, recently told The Telegraph. “For some reason, lots of people have screen-savers of deserts and it picks it up thinking it is skin colour.”

…

Presents "Body landscape" By : @silvazquezphotography Congratulations and thanks for tagging #minimalism42. Check out this artists gallery for more awesome minimal shots! ________ @minimalism42 is a part of the @surreal42 (#surreal42) family. Follow @minimalism42 and tag your minimal creations to #minimalism42 for a chance to be featured. _________ Feature selected by @whispersaroundatree _________ #minimal #minimalism #surreal_minimalism #lightedlight #creative_minimalism #body #minimalchile #minimalha #lessismore #minimalzine #subjectivelyobjective #thisveryinstant #collecmag #somewheremagazine #abstractexpressionism #postthepeople #rentalmag #myfeatureshoot #lensculture #burnmagazine #oftheafternoon #verybusymag #ourmag #thisaintartschool #highsnobiety #seekthesimplicity #odtakeovers #archivecollectivemag

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“El algoritmo de la policía londinense no distingue un desierto de un desnudo.” (…) “Cuando el programa debía señalar o “flaggear” a personas desnudas fallaba y por mucho, demostrando poseer una mirada especialmente pecaminosa.” (…) “Confundía imágenes del desierto y sinuosas dunas de arena con piel humana, con cuerpos desnudos.”

https://www.instagram.com/p/Bf8zcw9BLmy/?hl=es&taken-by=rentalmagazine

-Send dunes.

sol/suelo/floor

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Photograph of his brother, Gustave Caillebotte, with his dog in front of the Louvre, Paris.

…

 

Parler avec les mots des autres… voilà ce que je voudrais. Ce doit être ça la liberté.

Hablar con las palabras de otros… es lo que desearía. Es lo que debe ser la libertad.

To speak with the words of others… That’s what I’d like. That’s what freedom must be.

Extrait, 1:48:25 – La maman et la putain [1976], Jean Eustache.

Haut/Hide

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Modernity brings along the search for evidence, fact and truth, and therefore the rationalization of society (Peet, 1998:194). This implies that the world can be categorized – hence, that the course of time and of life can be divided into meaningful stages or phases. Postmodernists, on the contrary, reject the idea of absolute truth and argue that there is no truth outside interpretation (Kitchin & Tate, 2000:16). According to Peet (1998:195), in postmodern philosophy, “modern reason is reinterpreted critically as a mode of social control which acts openly through disciplinary institutions, in more disguised forms through rational socialization and, most subtly, through rational self-discipline.” Hence, postmodern thinking is concerned with developing an attitude towards knowledge, methods and law-like truths (Kitchin & Tate, 2000:16). Liminality, in this sense, should be regarded as a political tool, an arbitrary method to categorize people; the meaning of which, in fact, exists only by the grace of the collectivity that has accepted the categories before and after the liminal stage.

 

Theoretically, thus, the concept of liminality has received a different, more critical meaning with the shift to postmodernism. However, this has not been the most important development. As postmodernists argue that truth is a matter of interpretation, ‘categories’ can be recognized in the eye of the beholder (that is, of the researcher). I intend to show that, as a result, researchers have added more and more ‘liminal stages’ to the average person’s course of life. In a sense, postmodernists may even argue that the whole of social life is a continuous liminal process. Along with the fact that several authors argue that life has become more and more complex and fragmentized (Castells, 2000:3; see also Walther & Stauber, 2002), with overlapping phases, daily routines, roles, etcetera, it becomes obvious that the concept’s interpretation may have broken somewhat adrift. It can be disputable if a situation that is labeled ‘liminal’ shows indeed characteristics of ‘original’ liminality, for example in regard of the ritual context of the concept.

Conceptualizing ‘in between-ness’
Master Thesis of Human Geography
Supervisor: Dr. H. van Houtum
Co-reviewer: Dr. O. Kramsch
Jasper Balduk
Nijmegen, June 2008

peripeteia

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VICKY VICTORIA (2016). Mapa visual con imágenes halladas en Internet y en el archivo familiar. / Visual Map built up with images found on the web and family photo-archive. 120×80 cm.

En un contexto social en el que el espacio público y la memoria histórica se hallan en deriva, se evidencia la imperiosa necesidad de reinvención de la noción de lo común. Resulta para ello imprescindible llevar a cabo un ejercicio de reflexión crítica, poniendo en cuestión lo habitual, lo asumido como natural dentro de nuestra cotidianidad.

In a social context in which public space and historical memory are drifting, an urgent need to reinvent the notion of the commons is evidenced. It is essential to carry out an exercise of critical reflection, questioning the habitual and taken-for-granted, all what is assumed as natural in our daily lives.
Monumento del Arco de la Victoria de Moncloa. / Victory Arch of Moncloa (Madrid).
Establecer un diálogo en relación al espacio público, la memoria y el arte, generando conexiones virtuales. / To establish a dialogue on public space, memory and art, creating virtual connections.
Fotografías de Albert Louis Deschamps tomadas a las pocas horas de la entrada de las tropas de Franco en Madrid a finales de marzo de 1939. En la imagen vemos el viaducto de Cantarranas o de los Quince Ojos, una de las estructuras que Eduardo Torroja Miret (1899-1961) construyó en la Ciudad Universitaria antes de la guerra. / Albert Louis Deschamp’s photographs taken a few hours after the entry of Franco’s troops in Madrid in late March 1939. The picture shows the Cantarranas or Fifteen Eyes Viaduct, one of the structures that Eduardo Torroja (1899-1961) built in the University City of Madrid before the war.

Paseo por una guerra antigua: memoria fragmentaria from B Prummer on Vimeo.

Un hombre mutilado camina, apoyándose en una muleta, por la Ciudad Universitaria de Madrid, donde perdió una pierna, recordando lo ocurrido durante la Guerra Civil…

Montaje realizado a partir del material grabado como práctica de fin de curso 1948-49 del IIEC por Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.

Dirección: Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.
Argumento y guión: Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.
Fotografía: Antonio Navarro Linares (B/N).
Reparto: Agustín Lamas.
Año de producción: 1949