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Didn’t it?! #unknownartist Selected by @arnaldpomotz

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INSTAGRAM COMMENT SECTION (How Comments Became the Best Part of Instagram)

-Nothing can kill Art -Got a lighter with a different opinion

-And, in many ways, helped breathe new life into it. Ying and Yang -*Yin

-No it didn’t. It opened up endless possibilities. It welcomed new audiences instead of the elite. There are many ways to create and consume art because of it. Some for the better some for the worst.

-Come from a country (Romania) where art is not appreaciated at all .. my only chance that my art to be seen is Instagram.

-Did create new art, or even expose artists to a new generation.

-Stop whining, it is a good platform to let new artists be known without a gallery in between

-It exposed me to art I would never have seen before. I don’t go to exhibits so if it wasn’t for insta I’d have never seen half of it

-Instagram is just another medium

-That’s what I’ve been saying for years! -Irony -What is ironic? -You’re an instagram account that posts pictures of art, complaining that instagram killed art. It’s ironic because you’re degrading the platform you use to spread art, because you think it’s destroying art -I post pieces of art to share stories from history and explain how light works. If anything, I am trying to help people be more aware. To remind why art exists and its purpose. Instagram kills art because it creates the illusion that anyone can be an artist. That everything, no matter how pointless or hollow, can be classified as “art”. Faking activity to receive some recognition from people who fake activity to receive recognition. A loop of fakeness. I am not spreading art. I am spreading knowledge. -That just sounds like pretentious bullshit. To view one’s opinion of art as higher than another’s is supercilious and arrogant. Art isn’t just high art anymore, you can’t fully experience art by perusing an art museum; art is so much broader than paintings and sculptures. Performance is art, music is art, there’s son many ways to explore art. You can’t tell people what’s art and what isn’t art. In my opinion, art is what people say it is. If you call something art, it becomes art; art is something that invokes a response. Anyone can be an artist, but what one does with art and if you succeed or fail is up to the quality and meaning of your art. Bad art exists, but in the eye of the beholder. Art cannot be objectively bad.

-Business killed art

-This is stupid in so many ways

-And … Roads kill cars …

-In some way yes. Every Instagram user claims to be an artist -Every person can be an artist if they are determined to become one. No one is born an artist. There’s a lot of people that get started on Instagram. I did, and I had really shitty artwork up for years, and I still am improving, but I probably wouldn’t ever have if I didn’t get such support through this platform.

-Art kills art

-Nice piece of art, but not true… maybe ironically

-*posted on an Instagram art page*

-Erase Instagram and art still exits

-In some ways. In other ways it reached all over the world. Anything that is stretched becomes less potent than its original form

-Or propelled it? Gave it a space to be shared-wider-than ever before? I don’t know, I have a hard time appreciating Instagram too.

-Art never dies.

-No, it’s good for art, a good platform.

-Art is eternal.

-What is art?

-If it is Art, it is not “killeable”

-Smartphones killed art. Any dingbat now has the ability to capture. Dat selfie art doe.

-And in many ways helped a lot of artists gain exposure…

-Sounds like old people bitchin about change -That’s exactly what it is… if there’s anything I actually do hate about social media, it’s all the elitists I see on it all the damn time.

-If your art was ruined by Instagram it wasn’t good art in the first place.

-This post killed art lol

-I agree with a lot of people here. Insta definitely is great for creating an art world outside of the elite, opened opportunities and shares the appreaciation of it all over the world

-Art can not be killed darling

-Everything is art. Everything comes and goes

-Instagram democratised art.

-Hardly. That’s like saying photography killed art. Or that digital killed art.

-No it didn’t. Nihilism is dead.

-That’s what they said about ANDY Warhol but you cannot kill art.

-In this context saying something has been killed kills it

-Nah, just changed it.

-In the days of Instagram, they will call crap art good and good art crap.

-Instagram can’t “kill” or “do” anything. If anything it has given people an opportunity to grind and connect with people that they would never have a chance to otherwise. I dare say memes like this one do more harm than good, I certainly don’t feel enlightened.

-If anything the internet and social propelled a new artistic movement. Now people don’t have to die before becoming famous for their work.

-Rich people did it

-Kill insta with art

-It killed the differentiation of good and bad art. Everything looks good at 4.5 inches.


-Tbh this is disrespectful to Van Gogh…

-Only if internet killed humanity¿

-Saved art

-Instagram did not kill art. It exposed it to be an elitist money laundering fakery that was abused… while at the same time opened up an easy “get in the public eye” avenue to many unknown, yet incredibly talented artists. If anything, instagram made arts more popular and accessible for anyone that otherwise would’ve never had a chance to show “their stuff”.

-No it’s reinventing it



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Hypnagogia: The Unique State of Consciousness Between Wakefulness and Sleep by Andreas Mavromatis. 1987, Routledge & Kegan Paul. . "This is the only work in English dealing with hypnagogia, the state of consciousness between wakefulness and sleep. It provides an exhaustive account of hypnagogia, bringing its diverse phenomena into a comprehensive framework. Dr. Mavromatis argues that this common, naturally occurring state may not only be distinct from wakefulness and sleep but unique in its nature and function, possibly carrying important evolutionary implications. He analyzes the relationship between hypnagogia and other states, processes and experiences- such as sleepdreams, meditation, psi, schizophrenia, creativity, hypnosis, hallucinogenic drug-induced states, eidetic phenomena and epileptic states- and shows that, functioning in hypnagogia, a person may gain knowledge of aspects of his or her mental nature which constitute fundamental underpinnings to all adult thought. In addition, functioning in hypnagogia is shown to play a significant part in mental and physical health." . . . . . . #consciousness #hypnagogia #hypnagogic #consciousnessstudies #sleep #dreams #liminal #liminality #liminalstates #meditation #hypnosis #psi #creativity #psychedelic #psychedelics #psychonaut #andreasmavromatis #psychology #philosophy #bookstagram #bibliophile #bookblog #bookcollector #neuroticavintagebooks

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"I don’t really destroy things, I just change them, I change their shape, just like any sculptor does. I chose the refrigerator. I stoned it for a week, every day, until I got the shape really changed. I chose it because I wanted to throw stones at something as sculptural work, but I wanted an object that no one would care about. I thought that if I stoned a TV or an automobile, everyone would be glad and care in some way or another, and I thought that a refrigerator was completely neutral. It was, until I started stoning it and then it wasn’t neutral anymore. Then it started being brave, so that in the end I called it Saint Frigo, because it was a martyr. I saved its life by making it a martyr. It was going into the trash, now it’s eternal, now it’s art." Jimmie Durham piece from 1996 #jimmiedurham #work2day

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#sculpture #theadjordjadze #blue #object

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Thomas Van Lingue #ThomasVanLingue

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#folded #painting #contemporaryart

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14/365 blank slate

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#emptybillboard #nothingisordinary #spacey #spacescape

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#nothingisordinary #spacey #emptybillboard

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kode 9 & the space ape|love is the drug

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#faildeadly #vincentbezuidenhout Declassified documents printed on standard A4 copy paper, plinth. In the 1970 and 80’s South Africa built six atom bombs in seemingly complete secrecy. As the apartheid system crumbled the program was swiftly disbanded before the advent of democracy. Pelindaba consists of more than 900 pages of declassified documents from various sources including the N.S.A., C.I.A. and internal government communications regarding South Africa’s clandestine Nuclear weapons program during apartheid. These documents cover a period of twenty-five years of South African nuclear policy, from early uranium supply arrangements under the United States-South Africa Atomic Energy Bilateral to the South African response to the September 1979 Vela incident and the subsequent destruction of its nuclear program. Large sections within these documents have been redacted.

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Abraham Zabludovsky

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making sure i share a special one ✨

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Smite by Mark Bradford #markbradford

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artwork by Thea Djordjadze. #theadjordjadze #spruethmagers

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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

Inéditos 2015. La Casa Encendida.

Captura de Vera Icon, 2014. Videoinstalación monocanal.Eulàlia Valldosera.


Inéditos es una convocatoria de Fundación Montemadrid que fomenta la inserción de los jóvenes comisarios en los circuitos profesionales, facilitando a los seleccionados la posibilidad
de producir su primera exposición y editar un catálogo del conjunto de la muestra. (Fuente)
En esta edición pueden verse tres propuestas diferentes: Appunti, Aquí hay dragones y S’WONDERFUL.
  • El primero de ellos, titulado Appunti y comisariado por Javier Arbizu, María Buey González, Jorge González Sánchez, Elena Peña Castillo y Diego Rambova, investiga las relaciones entre objeto, obra de arte, poder e identidad. La exposición agrupa desde objetos domésticos, religiosos u otros realizados por artistas, hasta libros, partituras, planos arquitectónicos y fotogramas de películas que se inscriben dentro de un gran espectro histórico que se extiende desde el siglo XIV hasta nuestros días.
 Javier Cruz. Documentación en sala. 2014. Cuatro carteles y proyección de foto.


  • La segunda muestra, Aquí hay dragones, comisariada por Neme Arranz, presenta trabajos relacionados con la exploración y el descubrimiento de nuevos espacios, casi siempre figurados, y con la posibilidad de ser el primero en un planeta que no deja de empequeñecer.  En concreto, destacaría una videoinstalación que tiene como protagonista la siguiente pieza audiovisual, Vera Icon. Merece la pena ver la instalación en directo, ya que el espacio que se le ha dedicado podría decirse que alude al de un templo religioso, habiéndose separado al público de la pantalla de proyección mediante un muro que alcanza más o menos la altura de la cintura, lo que permite reposar los brazos sobre él. Se consigue crear así otro espacio sagrado, más oscuro, más frío, donde el sonido hace eco, dentro del propio espacio expositivo, también sacro, en cierta forma…

¿Por qué yo soy yo y no soy tú?

Cuando el niño era niño,
era el tiempo de estas preguntas:
¿Por qué yo soy yo y no soy tú?
¿Por qué estoy aquí y por qué no allí?
¿Cuándo empezó el tiempo y dónde acaba el espacio?
¿Es la vida bajo el sol tan sólo un sueño?
¿Es lo que veo y oigo y huelo,
sólo una ilusión de un mundo antes del mundo?
Vistas las acciones del Mal y de la gente,
¿existe realmente la maldad?
¿Cómo es posible que yo, que soy quien soy,
no haya sido antes de existir
y que algún día yo, que soy quien soy,
deje ya de ser quien soy?

Con este poema de Peter Handke se abre la película Cielo sobre Berlín (1987) de Wim Wenders. “La película, rodada por Henri Alekan, que trabajó con Jean Cocteau en
La Belle et la Bête, muestra el punto de vista de los ángeles en color
sepia y pasa a color para mostrar el punto de vista de los humanos.
Durante la película, Wenders y Alekan usaron unas medias de seda de la
abuela del último como filtro para las secuencias monocromas.” (Fuente)


Atlas. ¿Cómo llevar el mundo a cuestas?

Aby Warburg constituye para la Historia del Arte el equivalente a lo que
Freud, contemporáneo suyo, fue para la psicología: incorporó cuestiones
radicalmente nuevas para la comprensión del arte. Mediante su Bilderatlas o atlas
de imágenes, compuesto entre 1924 y 1929 y que quedó inconcluso,
Warburg consiguió transformar el modo en que se comprenden las imágenes.
Lo denominó Mnemosyne, como forma de expresar que su
cuestionamiento se refería a la memoria de las imágenes, incluida la
memoria inconsciente, teorizada en esa misma época por Freud en el plano
El atlas Mnemosyne posee 60 láminas con
imágenes que rastrean la pervivencia de símbolos y arquetipos que migran
desde la antigüedad. Ese dispositivo abierto constituyó para Warburg la
respuesta a una situación psíquica que lo mantuvo recluido en el
sanatorio de Kreuzlingen, de 1921 a
1924. En él reúne todos los objetos de su investigación en un
dispositivo de “paneles móviles” constantemente montados, desmontados,
remontados. Mnemosyne fue su obra maestra y su testamento
metodológico, un atlas de imágenes que constituye una obra de referencia
para historiadores del arte y artistas, ya que implica una cosmovisión
susceptible de recomponerse una y otra vez a través del juego de las
asociaciones. Con él modifica la manera de concebir las relaciones de
las obras entre sí y de todas juntas frente al devenir histórico.
Constituye el obrador de un pensamiento inagotable sobre las imágenes y
sus destinos, un ensayo visual lejos de actuaciones museológicas. (Fuente Museo Reina Sofía)