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“If Only It Were True / Et si c'était vrai.” Vous revoir, édition complète 2 en 1 ―Marc Levy, 1999
“If you want to know the value of one year, just ask a student who failed a course.
If you want to know the value of one month, ask a mother who gave birth to a premature baby.
If you want to know the value of one hour, ask the lovers waiting to meet.
If you want to know the value of one minute, ask the person who just missed the bus.
If you want to know the value of one second, ask the person who just escaped death in a car accident.
And if you want to know the value of one-hundredth of a second, ask the athlete who won a silver medal in the Olympics.”
“Bloom” ―Troye Sivan, 2018
“Take a trip into my garden
I’ve got so much to show ya
The fountains and the waters
Are begging just to know ya”
#festivus #newyear #newyearseve #newyears #newyearsday #holiday #chicago #windycity @fryguy85 @jtapasoa
Photos from my first day in Chicago taken with both my iPhone and Sony. I forgot to change the date on my camera, hence the difference in dates.
insider.si.edu/2017/12/absence-art-presence-creates-hirsh...
In the “Memento” section of “What Absence Is Made Of,” the framed black-and-white portraits of eight smiling children from a 1939 Parisian Purim class are surrounded by bare lightbulbs and trailing wires in “Monument” (1989) by French artist Christian Boltanski.
The fate of these Jewish children during World War II and the Holocaust are unknown, creating some uncertainty about any sense of loss.
www.washingtoncitypaper.com/arts/museums-galleries/blog/2...
Gianni Jetzer, the curator for What Absence Is Made Of, assembled several familiar works from the collection, including Christian Boltanski’s haunting “Monument” (1989), which memorializes the Holocaust without naming the victims in the photographs he uses.
“Play That Funky Music” ―Wild Cherry, 1976
www.youtube.com/watch?v=_pHT9yYFdZg
“Dancin' and singin' and movin' to the groovin'
And just when it hit me somebody turned around and shouted
Play that funky music white boy
Play that funky music right
Play that funky music white boy
Lay down that boogie and play that funky music till you die
Till you die, oh till you die”
“The first step to the knowledge of the wonder and mystery of life is the recognition of the monstrous nature of the earthly human realm as well as its glory, the realization that this is just how it is and that it cannot and will not be changed. Those who think they know how the universe could have been had they created it, without pain, without sorrow, without time, without death, are unfit for illumination.” ―Joseph Campbell
Blick von der Brücke auf die Altstadt 2/2
(iPhone-Foto im Stil eines Gemäldes von William Turner, 1775-1851)
Rheinfelden on the morning of New Year's Eve
View from the bridge
RAFAEL LOZANO-HEMMER: PULSE
hirshhorn.si.edu/exhibitions/rafael-lozano-hemmer-pulse/
On view November 1, 2018 through April 28, 2019.
In the Hirshhorn’s largest interactive technology exhibition to date, three major installations from Rafael Lozano-Hemmer’s Pulse series come together for the artist’s DC debut. A Mexican Canadian artist known for straddling the line between art, technology, and design, Lozano-Hemmer fills the Museum’s entire Second Level with immersive environments that use heart-rate sensors to create kinetic and audiovisual experiences from visitors’ own biometric data. Over the course of six months, Pulse will animate the vital signs of hundreds of thousands of participants.
With Lozano-Hemmer’s trademark sensitivities to audience engagement and architectural scale, each installation captures biometric signatures and visualizes them as repetitive sequences of flashing lights, panning soundscapes, rippling waves, and animated fingerprints. These intimate “portraits,” or “snapshots,” of electrical activity are then added to a live archive of prior recordings to create an environment of syncopated rhythms. At a time when biometry is increasingly used for identification and control, this data constitutes a new way of representing both anonymity and community.
The exhibition begins with Pulse Index (2010), which is presented at its largest scale to date. The work records participants’ fingerprints at the same time as it detects their heart rates, displaying data from the last 10,000 users on a scaled grid of massive projections. The second work, Pulse Tank (2008), which premiered at Prospect.1, New Orleans Biennial, has been updated and expanded for this new exhibition. Sensors turn your pulse into ripples on illuminated water tanks, creating ever-changing patterns that are reflected on the gallery walls.
Pulse Room (2006) rounds out the exhibition, featuring hundreds of clear, incandescent light bulbs hanging from the ceiling in even rows, pulsing with the heartbeats of past visitors. You can add your heartbeat to the installation by touching a sensor, which transmits your pulse to the first bulb. Additional heartbeats continue to register on the first bulb, advancing earlier recordings ahead one bulb at a time. The sound of the collected heartbeats join the light display to amplify the physical impact of the installation.
Three short documentaries of Pulse works are also on view, showing the breadth of the series through video footage of various other biometric public-art interventions in Abu Dhabi, Toronto, Hobart, New York, and Urdaibai, Spain (2007–2015).
Curated by Stéphane Aquin, Chief Curator with curatorial assistance from Betsy Johnson, Assistant Curator.
In conjunction with the Hirshhorn exhibition, the Mexican Cultural Institute of the Embassy of Mexico in Washington, D.C. presents the Washington debut of Lozano-Hemmer’s 2011 work, “Voice Array,” on loan from the Hirshhorn’s collection, a gift of the Heather and Tony Podesta Collection in 2014. On view from Oct. 31 through Jan. 31, 2019, the interactive work records participants’ voices and converts them into flashing lights that come together to visually and aurally depict the cumulative contributions of the last 288 visitors. This is the newest project from Hirshhorn in the City, the Museum’s initiative to bring international contemporary art beyond the museum walls and into Washington’s public spaces to connect artists and curators with the city’s creative communities.
Indicated by his height, flattened cap, long robe, pointed boots, and extensive armor, this earthenware officer figure ranks somewhere between general and infantryman.
Covering his upper body is a sculpted leather garment with sections of plated armor, and he raises one arm as if wielding a long-shaft weapon.
His other arm rests calmly at his side, where it once brandished a short bronze sword. The depiction of rolled up sleeves and a tightened grip suggests anticipation and strength.
“It is not so much the major events as the small day-to-day decisions that map the course of our living... Our lives are, in reality, the sum total of our seemingly unimportant decisions and of our capacity to live by those decisions.” ―Gordon B. Hinckley
“A Short History of Nearly Everything” ―Bill Bryson, 2003
“If this book has a lesson, it is that we are awfully lucky to be here-and by 'we' I mean every living thing. To attain any kind of life in this universe of ours appears to be quite an achievement.
As humans we are doubly lucky, of course:
We enjoy not only the privilege of existence but also the singular ability to appreciate it and even, in a multitude of ways, to make it better. It is a talent we have only barely begun to grasp.”
“Meditations” ―Marcus Aurelius, April 26, 121 CE - March 17, 180 CE
“When another blames you or hates you, or people voice similar criticisms, go to their souls, penetrate inside and see what sort of people they are. You will realize that there is no need to be racked with anxiety that they should hold any particular opinion about you.”
observer.com/2018/02/preview-hirshhorn-museums-brand-new-...
And Barbara Bloom’s immersive installation Planned Abandon—which looks like the waiting room in an embassy’s visa office, complete with tourism posters and not-so-subtle terrorism warnings—will be revived in its entirety for the first time since 1984.
While the 1980s may have been idiosyncratic and highly specific in many ways, the revivification of works like Bender’s, Bloom’s and Wodiczko’s proves that there’s plenty in “Brand New” that’s still timely, even over 30 years later.
Functioning as weights for floors mats, objects of this type were made of bronze and shaped like bears, dragons, sheep, or tortoises
This metal pair, modeled as crouching deer and inset with large spotted shells, must have been highly valued for its new and innovative design.
The style apparently continued in the Han dynasty (206 BCE - 220 CE) since several sets of similar weights were excavated from Han tombs.