sedasal
The Past Was A Mirage I Had Left Far Behind:
Josiah McElheny combines his skills as an expert glassblower, which he honed for many years under the tutelage of European masters, with a playful approach to both the history of his medium and the history of ideas. His objects and installations, often based around historical events, seek to fuse materiality and thought in the experience of looking.
In his early work, such as The Only Known Grave of a Glassblower (1994), McElheny explored specific moments in the history of glass. In recent years, however, he has embarked on a concentrated look into the legacy of modernity. A series of works about a conversation between Isamu Noguchi and Buckminster Fuller, during which they discussed a reflective sculpture in a reflective space, which would therefore cast no shadows and bet totally self-enclosed, examines the possibility of realising a perfectly formed utopian environment. One work in this series, Architectural Model for Totally Reflective Landscape (Park) (2006) combines graceful, organic forms that reflect each other and their immediate space in a seemingly endless range of stretched and disoriented depictions of the environment. McElheny aims to explore how “the act of looking at a reflective object could be connected to the mental act of reflecting on an idea”. An End to Modernity (2005), which was worked out with the cosmologist David Weinberg, is at once a play on the designs of the chandeliers in New York’s Metropolitan Opera house and an expressive diagram of the big bang. “The whole project”, writes McElheny, “exists at the intersection of specific concepts and abstract ones”.
Gerald Guthrie - The Realm of Possibility
The Realm of Possibility” is a digital animation based at the intersection of absurdity and logic. Deductive reasoning, as found in the syllogistic form (a is b, b is c, therefore a is c), becomes a vehicle to validate concepts that might not necessarily be true.
Creative Morning Berlin #10: Stephen Coles by Berlin/CreativeMornings
//Stephen talks about his Chromeography project, an online archive of chrome lettering affixed to vintage automobiles and electric appliances. These unsung metal emblems and badges are usually overlooked, forgotten, damaged, lost to time or the dump. Chromeography.com answers (and poses) questions about how and why these little pieces of art have changed over the years. It also showcases the kind of thematic curation that has only become possible in a social/digital world.
The Museum of Innocence - is the novel written by Turkish writer Orhan Pamuk, published on August, 2008.
“The story, which takes place in Istanbul between 1975 and today, is about obsessive passion and the great question: What is love, really?”
Orhan Pamuk is also trying to establish an actual museum based on the novel, in Cukurcuma - Istanbul, to exhibit several objects mentioned in The Museum of Innocence.
Mutsuz olalım…
Mutsuzluk korkusu, bu kuşağın hastalıklardan biri…
Reklamlar, diziler, filmler, çevremizde öyle bir mutluluk balonu şişirdi ki, uçup gidişini hayranlıkla izlediğimiz bu balon, bir türlü binemediğimiz, umutla beklediğimiz bir hasrete dönüştü.
İdealize ettikçe şişen talepler, çekingenliği de büyüttü.
Mutluluk beklentisini abarttıkça mutsuz olduk.
Kasvetli devirlere özgü bir sigorta arayışı bu…
60’ların gözükara gençlerinde yoktu mesela…
Bugün çağın tekinsizliğinden kaynaklanan bir istikbali garantiye alma, saadeti sağlam ipe bağlama azmi var.
Liseli delikanlılar, aşkı için dershaneyi asmıyorlar.
Formülleri şu:
“Mutluluk eşittir, ona ulaşmak için ödeyeceğim bedel, artı onun uğruna vazgeçtiğim şeyler…”
İşlem sonucunda mutluluk küçük mü çıktı; öyleyse daha az fedakârlıkla yakalayabileceğin daha büyük mutluluğu bekle…
“Mutsuz olalım, ne var” cümlesinin kıymeti burda…
Üzerinde “Mutluluk garantilidir” damgası olmayan bir tutku iksiri var bu lafta…
Kökeni çocuklukta:
Bazısı kreşe verildiği gün feryat figândır. Çözülmez kolları ana boynundan… Dövünür “Gitme” diye…
Kimisi özgüvenlidir; bilir annesinin kendisini terk etmeyeceğini… Uyar ortama…
İlişkilerine yansır bu fark:
Güvensiz büyümüş çocuk, habire terk edilme korkusu yaşayan âşığa dönüşür zamanla… Mutluluk uğruna risk almaz, sarıldığı boyundan ayrılmaz.
Özgüvenlilerse ayrılıkta bile sevdiğinin döneceğini bilir; dönmese de bununla baş edebilir.
CAN DÜNDAR
Munich-based Turkish artist Ebru Özseçen’s exhibition Gerçek Aşk Gönül Eşi (True Love Soul Mate)
Explaining the title of the exhibition, Özseçen has said, “the concept of ‘true love, soul mate’ employed in the title should be sought, not in the realm of romantic love, but in the friendship and companionship alluded to by the craftsman’s tender treatment of the objects to which he lovingly devotes himself.”
Blossom Dearie (April 28, 1924 – February 7, 2009) was an American jazz singer and pianist, often performing in the bebop genre and remembered for her girlish voice.
Teresa Burga, Untitled, 1979.
Effective, social, educational, cultural, linguistic and professional profiles.
Tacita Dean - “Roaring Forties”
Tacita Dean is one of ART’s living legends and geniuses, you may be familiar with her works in Film and Photography. This is one piece of art from “Roaring Forties Art collection”. She has utilised pure white chalk and black boards to bring us these masterpiece. (1997)
* Tacita Dean is best known for her work in 16mm film, although she utilises a variety of media including drawing, photography and sound. Her films often employ long takes and steady camera angles to create a contemplative atmosphere. Her anamorphic films are shot by cinematographers John Adderley and Jamie Cairney.
