dadaïsme/dadá
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En el parque del Oeste (Málaga) existen 45 obras escultóricas de Stefan von Reiswitz.
Este escultor alemán ha estado afincado en Málaga desde el año 1957 hasta su reciente muerte en 2019.
Perteneciente a la corriente dadaista y surrealista.
El hombre se quedó perplejo, sin saber qué hacer ni a dónde ir. ¿Aquello era arte? - se preguntó. No sabía que aquel arte era muy particular y el pintor lo que pretendía era justo lo que él estaba sintiendo.
“Express” Roberto Rauschenberg (1963) Oleo, serigrafía y collage sobre lienzo. Sirvió de enlace entre la generación de pintores expresionistas abstractos veteranos y los jóvenes artistas pop. Su encuentro en 1960 con Marcel Duchamp hace que incorpore los métodos dadaístas en su obra. El Dadaísmo surgió en Zurich (Suiza) en 1916. Se extendió por Europa y llegó a EE.UU.. Estaban en contra del arte, los códigos y valores de su época, la Primera Guerra Mundial y los sistemas establecidos. Su fundador fue Tristan Tzara. Buscaban dejar perplejo al público, quien les insultaba y lanzaba objetos. Se divulgó en revistas, su manifiesto, y en reuniones en cabarets y galerías de arte. Usaban fragmentos, objetos cotidianos de desecho, collages, fotomontajes, siempre buscando la provocación.
Muchas gracias por vuestros comentarios y visitas. Thank you for your visit and comments.
Je vous remercie de votre visite et commentaires.
©: Maria Dolores Acero. Todos los derechos reservados.
Sculpture by Hans (Jean) Arp, Marble, 1958. Kunsthalle, Hamburg. Arp started out as a Dadaist, then developed constructionist and abstract shapes such as this delightful one. It is, of course, a photographer's joy. Fuji X-Pro1.
String Quartet No 8, in C Minor, Op. 110 Dimtri Shostakovich
.
"Gold" Building
www.monumenteromania.ro/index.php/monumente/detalii/en/Go...
Category: Blocks
Period: înc. sec. XX, 1934
Importance: B
LMI code: B-II-m-B-18209
Address: Bd. Botev Hristo 34 sector 3
Location: municipiul BUCUREŞTI
District: Bucuresti
Region: Muntenia
Imobilul Solly Gold
Blocul "Gold"
www.monumenteromania.ro/index.php/monumente/detalii/ro/Bl...
viabucuresti.ro/pe-urmele-lui-marcel-iancu-prin-cartierul...
Categorie: Blocuri/imobile
Perioada: înc. sec. XX, 1934
Importanta: B
Cod LMI: B-II-m-B-18209
Adresa: Bd. Botev Hristo 34 sector 3
Localitate: municipiul BUCUREŞTI
Judet: Bucuresti
Regiune: Muntenia
architect Marcel Janco
arhitect Marcel Iancu
.
Marcel Janco
en.wikipedia.org/wiki/Marcel_Janco
Marcel Iancu
ro.wikipedia.org/wiki/Marcel_Iancu
Marcel Hermann Iancu
Born: May 24, 1895; Bucharest, Romania
Died: April 21, 1984; Israel
Nationality: Jewish, Romanian, Israeli
Art Movement: Dada, Constructivism
Marcel Janco’s Contribution to Modern Architecture in Romania
Professor Dr. Ana-Maria Zahariade, Ion Mincu University of Architecture and Urbanism (UAUIM), Bucharest
String Quartet No 8, in C Minor, Op. 110 Dimtri Shostakovich
.
"Gold" Building
www.monumenteromania.ro/index.php/monumente/detalii/en/Go...
Category: Blocks
Period: înc. sec. XX, 1934
Importance: B
LMI code: B-II-m-B-18209
Address: Bd. Botev Hristo 34 sector 3
Location: municipiul BUCUREŞTI
District: Bucuresti
Region: Muntenia
Imobilul Solly Gold
Blocul "Gold"
www.monumenteromania.ro/index.php/monumente/detalii/ro/Bl...
viabucuresti.ro/pe-urmele-lui-marcel-iancu-prin-cartierul...
Categorie: Blocuri/imobile
Perioada: înc. sec. XX, 1934
Importanta: B
Cod LMI: B-II-m-B-18209
Adresa: Bd. Botev Hristo 34 sector 3
Localitate: municipiul BUCUREŞTI
Judet: Bucuresti
Regiune: Muntenia
architect Marcel Janco
arhitect Marcel Iancu
.
Marcel Janco
en.wikipedia.org/wiki/Marcel_Janco
Marcel Iancu
ro.wikipedia.org/wiki/Marcel_Iancu
Marcel Hermann Iancu
Born: May 24, 1895; Bucharest, Romania
Died: April 21, 1984; Israel
Nationality: Jewish, Romanian, Israeli
Art Movement: Dada, Constructivism
Marcel Janco’s Contribution to Modern Architecture in Romania
Professor Dr. Ana-Maria Zahariade, Ion Mincu University of Architecture and Urbanism (UAUIM), Bucharest
Joan Miró’s The Hunter (Catalan Landscape) may seem abstract, but a closer look reveals a landscape populated with a rich assortment of human and animal figures and natural forms that together comprise an iconography of the artist’s life. The hunter, standing at the left side of the composition, has a stick figure body and a triangular head. A pipe protrudes just to the right of his bushy mustache, and his heart floats near his chest. In one hand he holds a freshly killed rabbit, in the other, a gun still smoking from the kill. This hunter figure is a stand-in for Miró, and it appears in many of his other works.
Miró’s landscape evokes life on his family’s farm in Montroig, Catalonia, Spain. A politically autonomous region near Spain’s border with France, Catalonia maintains its own parliament, language, history, and culture. Catalan nationalism has been a subject of debate for more than a century. Perhaps hinting at this contentious history, Miró depicts the French, Catalan, and Spanish flags in the background. In the foreground, he writes the word “sard,” short for “Sardana,” Catalonia’s national dance. This truncated word also references the fragmented letters and words of the Dadaist and Surrealist poetry by which he was influenced.
In 1923, Miró moved from Montroig to Paris. The move meant a transition from painting directly from nature to working indoors, in a studio. A few years later, he explained the impact this location change had on his work: “I have managed to escape into the absolute nature, and my landscapes have nothing in common anymore with outside reality….
The undulating bench is formed by a sequence of 1.5 m concave and convex modules, with an ergonomic design adapted to the human body.
The base is of white "trencadís", and is crowned with a ceramic decoration that recalls the Dadaist or Surrealist collages, with generally abstract motifs, but also some figurative element, such as the signs of the zodiac, stars, flowers, fish, crabs, etc.
When visiting an interesting museum, it's all about the external impact, the premises, the artworks, and the visitors.
When you visit a building designed by Richard Meier, you expect white, glass, lots of transparency and brightness, and above all, total aesthetics.
Here, even more so, because he has connected a new building with an old one, a train station no less, and all this in the beautiful setting of the Rhine Valley, in honor of Hans Arp and Sophie Taeuber-Arp... painter, graphic artist, sculptor, poet, and Dadaism, enriched by textile art ...
At first, the image was very dark due to strong backlighting, and the hand looked frightening and eerie. The image editing process was intended to emphasize this... However, I then opted for brightness and more aesthetics, as I often do ...
;-) ...
Deutsch
Beim Besuch eines interessanten Museums geht es um die Außenwirkung, die Räumlichkeiten, die Kunstwerke und die Besucher.
Wenn man ein Gebäude von Richard Meier besucht erwartet man Weiß, Glas, viel Transparenz und Helligkeit und vor allem totale Ästhetik.
Hier sogar noch viel mehr, weil er ein neues Gebäude mit einem alten, zudem einem Bahnhof, verbunden hat und das ganze noch in der schönen Lage des Rheintals, zudem noch zu Ehren von Hans Arp und Sophie Taeuber-Arp ... Maler(in), Grafiker(in), Bildhauer(in) Lyriker(in) und Dadaist(in), bereichert noch durch Textile Kunst ...
zunächst war das Bild, dank starkem gegenlicht sehr dunkel und die Hand sah erschreckend und unheimlich aus, der Bildbearbeitungsprozess dazu gedacht, dies zu betonen ... jedoch habe ich mich dann für die Helligkeit und mehr Ästhetik entschiden, wie oft ...
;-) .
_NYC3314_pt2
Been a while since I did one of these * - they need to jump out at you ( visually ! ) before they're fit to be inducted into the Dada wall of fame ;-)
* londondada.art/2010/08/31/work-403-the-garden-wall-of-a-d...
Kurt Schwitters (* 20. Juni 1887 in Hannover; † 8. Januar 1948 in Kendal, Cumbria, England) war ein deutscher Künstler, Maler, Dichter, Raumkünstler und Werbegrafiker, der unter dem Kennwort MERZ ein dadaistisches „Gesamtweltbild“ entwickelte.[1] Seine Werke umfassen die Stilrichtungen Konstruktivismus, Surrealismus und Dadaismus, dem sie aber nur durch Gegensätzlichkeit ähnlich waren. Aus heutiger Sicht zählt Schwitters zu den einflussreichsten Künstlern des frühen 20. Jahrhunderts.
„Die Hannoveraner sind die Bewohner einer Stadt, einer Großstadt. Hundekrankheiten bekommt der Hannoveraner nie. Hannovers Rathaus gehört den Hannoveranern, und das ist doch wohl eine berechtigte Forderung. Der Unterschied zwischen Hannover und Anna Blume ist der, daß man Anna von hinten und von vorn lesen kann, Hannover dagegen am besten nur von vorne. Liest man aber Hannover von hinten, so ergibt sich die Zusammenstellung dreier Worte: "re von nah". Das Wort "re" kann man verschieden übersetzen: "rückwärts" oder "zurück". Ich schlage die Übersetzung "rückwärts" vor. Dann ergibt sich also als Übersetzung des Wortes Hannover von hinten: "Rückwärts von nah". Und das stimmt insofern, als dann die Übersetzung des Wortes Hannover von vorn lauten würde: "Vorwärts nach weit". Das heißt also: Hannover strebt vorwärts, und zwar ins Unermeßliche. Anne Blume hingegen ist von hinten wie von vorne: A-N-N-A.
(Hunde bitte an die Leine zu führen.)“
Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 – 8 January 1948) was a German artist who was born in Hanover, Germany. Schwitters worked in several genres and media, including Dadaism, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
Surrealist artist. His full name is Salvador Felipe Jacinto Dali i Domenech. He was born in Figueras, a small town near the French border. In 1917 he started to visit the School of Art and in 1925 he attended the San Fernando Academy of Fine Arts in Madrid. That same year he held his exhibition in Barcelona. He became internationally known when three of his paintings were shown in the Carnegie International Exhibition in Pittsburgh in 1928. He was good friend with movie director Luis Bunuel and in 1929 they co-wrote a screenplay for a short movie "An Andalusian Dog." He joined the Paris Surrealist Group, led by former Dadaist, Andre Breton, after passing through phases of Cubism, Futurism and Metaphysical painting. In 1928 he meet Gala when she visited him in Cadaques with her husband, poet Paul Eluard. She became his lover, muse and chief inspiration. Dali and Gala escaped from Europe during World War II, spending from 1940 to 1948 in the United States. These were very important years for the artist. In 1941 Dali had first major retrospective in New York. In 1974 Dali opened the "Teatro Museo Dali" in Figueres. This was followed by retrospectives in Paris and London. After the death of his wife, Gala, in 1982, he spent the rest of his life in seclusion until his death. In 1942 he published his autobiography "The Secret Life of Salvador Dali."
Created for the "PANO-Vision" Group's first semi-annual "Kick Out the Winter Blues" contest.
www.flickr.com/groups/2892788@N23/discuss/72157689531935342/
"Pano-Vision" as an approach or an aesthetic is a fluid, malleable and open-ended medium. By it's very nature, set orthodoxies or established methods are called into question and "sabotaged". Ultimate viewpoints are seen as arbitrary and forcefully imputed on to the more complex and often indeterminate nature of reality.
In the PANO-Vision Group artists are invited and encouraged to push the medium as far as they can, incorporating fresh, new and unexpected elements while ensuring that the markers of the medium are still visible.
"Pano-Sabotage" is unique in photographic art in that the distorted or fragmented nature of the image is achieved WITH THE CAMERA, not through post capture manipulation ( e.g. Photoshop etc ). Attempts to mimic the medium in software like Photoshop are always a dead give-away. The "markers" are missing. So Pano-Sabotage is a unique and tell-tale medium.
It's great, 4 years on, to be finding ways to take Pano-Sabotage into new and unexpected places. It's fluid and experimental nature allow for that easily.
Image created 2017.
The title comes from a line of lyric from a song by Brian Eno and Phil Manzanera called "Miss Shapiro", perhaps the very best of Eno's explorations of glossolalia and similar word play. Early in his career he explored this to extraordinary effect resulting in such classics as "Miss Shapiro", "Backwater", "Kurt's Rejoinder" ( with a snippet of a recording of Dadaist Kurt Schwitters sputtering improvised syllables - an early inspiration for Eno ) and the brilliantly backward "Tzima N'arki" done with Cluster in Germany.
Music Link: "Miss Shapiro" - Brian Eno & Phil Manzanera from Manzanera's album "Diamond Head".
www.youtube.com/watch?v=_mA4m6y1Ifw
___________________________________________________
© Richard S Warner ( Visionheart ) - 2017. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
* - See my Galleries featuring some of the best of Flickr's purely Abstract Art at:
The surrealists and more so the dadaists were enchanted by mannequins. they represented a passage between their world of unreality and humanity. So I was immediately drawn to this mannequin as a photo subject when I saw it. But how to photograph it without making it look like just a mannequin in a thrift store ?
My inside shots were all terrible, but when I got outside I saw this fine gentleman wandering around... slowly, slowly he approached my subject --- click -- gotcha!!!
He also carries that "a man looking for nothing" demeanor which is common in surrealism...
That outside pillar is positioned so as to make him appear to be transforming into a mannequin from his legs.
and you gotta dig his retro shirt --- epic attire !!!!
I wish that silver van was positioned just a bit lower making it appear as though it were sitting up on that display case. that would have added to the strangeness of it all.
and what was I doing in a thrift store? -- looking for CCD cameras - come on !!!
Lucky was my afternoon....
Man Ray, Élevage de poussière (Dust Breeding), 1920, Gelatin silver print, 2 13/16 x 4 5/16 [ 2 13/16] in - 7.1 x 11 [7.1] cm, The Met Fifth Avenue, New York
Altro titolo - Another title: The king's dust is swept under the rug, 2025
[Fototeca Fondazione Omeri, Trieste]
Giovan Battista di Jacopo di Gasparre detto il Rosso Fiorentino, Deposizione [Deposto] dalla croce - Deposition [Deposed} from the Cross, 1521, Olio su tavola centinata, 341 x 201 [341] cm, Pinacoteca e Museo civico di Volterra
Altro titolo - Another title: Aspetta, aspetta la risurrezione... - Wait, wait for the resurrection..., 2025
[Fototeca Fondazione Omeri]
Rye Harbour, E. Sussex.
The Harbour was a regular haunt for early London Dadaists during the naughties in search of precious pearls of discarded Flotsam and Jetsam etc as well as the creation of the " New Hayward " - a converted concrete bunker machine gun post / art gallery from WW2, which will also survive WW3, coming soon, apparently. When you see a very very bright flash, run for cover and remember your God.
Bien avant les punks, l’iris a inventé la crête iroquoise.
La “punkitude” de l’iris au fond du jardin, ça a un vrai côté surréaliste, voire dadaïste !
Jardins du château de la Malmaison
Rueil-Malmaison (92)
Sarah Lucas, Beer Can Penis, 1998 (unlimited series from the Köln Art Fair), Aluminium beer cans, 9.6 x 20.4 x 16.5 cm - 3¾ x 8 x 6½ in, Private collection
Altro titolo - Another title: The Deposition of bar abā, 2025
[Fototeca Fondazione Omeri, Trieste]
Working out proportions to fit on available canvas (214cm X 100cm)
It sure as hell ain't no sprint.
Marcel lived in his studio on West 14th Street, with more or less no furniture, except a bed, and a chess board, until he was 67 years old, when he married the well to do Teeny Sattler, in 1954.
Dear Mr. Courtenay,
Why do artists more or less give up everything so that they might be able to make art?
I will always be thankful to Marcel for the gift of 'Infrathin', that alone makes him 'great' in my jaundiced eyes, and has managed to give me hope throughout a somewhat chaotically misspent, extended (60 year), childhood, to which has now been added an extra 11 years as an adult in training.
Trying to add to that (Infrathin) would constitute, of course, a fool's errand, but hey ho, as they say. Luckily, 'infrathin' is all forgiving and anything is possible in that hierarchy-free infinite realm.
Eejits are us, but eejits are apparently welcome. Who could have guessed, or asked for more?
Marcel permanently entered 'Infrathin' on the second day of October, 1968. I am pleased to say that something or other (a mystery to me) is driving me to record his ongoing shenanigans there.
Yours Sincerely,
Chopped Liver.
Egon Schiele, Häuserbogen in Krumau, 1914, Bleistift auf Papier, Leopold Museum, Wien
Altro titolo - Another title: Tomsdorf I, 2024, Holz, Draht und Acryl
sites.google.com/view/fabioomero/home
onlinecollection.leopoldmuseum.org/objekt/2449-hauserboge...
René Magritte, Golconde, 1953, Huile sur toile, 80 x 100 [80], Menil Collection, Houston
Altro titolo - Another title: La fracture sociale se creuse, c'est-à-dire la disparition de la petite bourgeoisie, 2024
[Fototeca Fondazione Omeri]
www.flickr.com/photos/fabioomero/albums/72157635584828652
EINE SCHÖNE STADT UND EINE KLEINE GESCHICHTE DAZU ....
Die Breslauer Zwerge (poln. krasnale) sind eine Touristenattraktion in Breslau (Wrocław), der Hauptstadt der polnischen Woiwodschaft Niederschlesien.
Die bronzenen lustigen Wichtel bevölkern Gassen, Marktplätze und Grünflächen.
.... und es ist eine freude sie zu entdecken, gesucht haben wir nicht .... :)
Ihre Herkunft geht auf eine schöne alte Sage zurück.
Der Legende nach halfen die Zwerge einst den ersten Siedlern bei der Stadtgründung. Sie sollen auch den bösartigen Oderkobold, der den Menschen arg zugesetzt hatte, überlistet und ihn einen Kerker im Eulengebirge geworfen haben. Aus Dankbarkeit für die Rettung vor dem bösen Kobold boten die Menschen den kleinen Helfern an, mit ihnen zusammen in Breslau zu leben.
An diese Sage knüpfte die avantgardistische, antikommunistische Bewegung der 1980er Jahre, die "Orangene Alternative" (polnisch: Pomarańczowa Alternatywa) an. Getreu dem Motto, dass Humor die beste Waffe gegen Unterdrückung und jedes Regime ist, machte der Gründer "Orangene Alternative", der Künstler und Schriftsteller Waldemar Fydrych Major, zusammen mit seinem Freund, dem Mathematiker Wiesław Cupała, mit gewaltfreien, dadaistischen Happenings (zum Beispiel Demonstrationen im Zwergenkostüm) auf die Missstände des Sozialismus aufmerksam. An Hauswände, wo die Miliz antikommunistische Parolen mit Farbe übermalte, sprühten sie Zwerge auf.
Die Zwerge wurden zum Symbol für politischen Widerstand.
Nach der Wende nutzte das Stadtmarketing die Bekanntheit der Breslauer Zwerge aus, um sie zum Wahrzeichen Breslaus zu machen. Die ersten waren ein Projekt von Studenten der Kunsthochschule. Seit 2004 sind Künstler beauftragt, diese Figuren in verschiedenen Varianten zu fertigen.
Die 30 cm großen Wichtel aus Bronze wurden in der Altstadt aufgestellt. An der Stelle, wo in den 1980er Jahren die Happenings der "Orangenen Alternative" stattfanden, wurde 2001 auch dem Vater aller Zwerge, dem "Papa Zwerg" ein Denkmal gesetzt.
Zunächst wurden die Skulpturen noch von der Stadt selbst finanziert, doch mittlerweile stiften zunehmend Firmen und Geschäfte neue Wichtel.
Anfang 2009 gab es bereits 95 Exemplare, im August 2014 wurde der 300 aufgestellt.
p.s. Auch in Dresden steht so ein Zwerg, der anlässlich der 55-jährigen Städtepartnerschaft von Breslau und Dresden 2014 der sächsischen Stadt durch den Breslauer Stadtpräsidenten überreicht wurde. Er trägt die Wappen beider Städte und steht seit dem 5. Februar 2015 am
Hietzigbrunnen. .... zumindest muß man nur einen Zwerg suchen und nicht 300, wie in breslau .... :)
AI WEIWEI 艾未未, Nian Nian Souvenir, 2021, Installation with the names of 5,197 schoolchildren who died in the earthquake printed in ink on paper in an ancient script (kanji - 漢字) using a hand-carved jade seal, The Design Museum, London 2023
Altro titolo - Another title: Ἀνώνυμος Souvenir (numero non quantificato di scolari senza nome annegati nel Mar Mediterraneo - non-quantified number of schoolchildren without a name who drowned in Mediterranean Sea), Receipt printed on thermal paper, 2025
[Fototeca Fondazione Omeri, Trieste]
sites.google.com/view/fabioomero/artists/a
An artwork by the artist Jean Arp (1886-1966), a German-French sculptor, painter and poet. Jean Arp was broadly known as a Dadaist and abstract artist.
Seen in Museo Casorella, Locarno, Switzerland.
Thank you for your visits / comments / faves!
MAN RAY WROTE... HE WANTS HIS IDEAS BACK!
Well recognized as a photographer, surrealist, DADAist, Man Ray's coup de gras was a series of black & gray abstractions known as RAYOGRAPH's which were composed without the use of a camera, simply by placing objects on sensitized paper in a dark room, and exposing them briefly to a single ray of light.
Created for the 15th Weekly Contest on Man Ray!
Theme: Daisies. All contestants work with one original photo which can be viewed here:www.flickr.com/groups/man-ray/discuss/72157600717801991/
French postcard in the Collection Magie Noire by Editions Hazan, Paris, no. 6037, 1988. Photo: Serge Lido. Caption: Édith Piaf and Jean Cocteau, 1939.
Édith Piaf (1915-1963) is a cultural icon and is universally regarded as France's greatest popular singer. Her ballads, like La Vie en rose (1946) and Non, je ne regrette rien (1960), reflected her life. She appeared sporadically in films.
French poet, playwright, novelist, designer, filmmaker, visual artist and critic Jean Cocteau (1889-1963) was one of the most multi-talented artists of the 20th century. He was one of the creatives of the surrealist, avant-garde, and Dadaist movements. He is best known for his novels 'Le Grand Écart' (1923), 'Le Livre blanc' (1928), and 'Les Enfants Terribles' (1929); the stage plays 'La Voix Humaine' (1930), 'La Machine Infernale' (1934), 'Les Parents terribles' (1938), and 'L'Aigle à deux têtes' (1946); and the films Le sang d'un poète/The Blood of a Poet (1930), La belle et la bête/Beauty and the Beast (1946), Les Parents Terribles (1948), Orphée/Orpheus (1950), and Le testament d'Orphée/Testament of Orpheus (1960). He collaborated with the "Russian Ballet" company of Sergei Diaghilev and was active in many art movements, but he always remained a poet at heart.
And, please check out our blog European Film Star Postcards.
In Dutch: geitenwollen sokken biker chic.
This image has never been seen before, but encapsulates this particular period in the French Dadaist's 'oeuvre'.
Shades of our Isadora, or rather 'your' Miss Duncan, one having let one's 'Green Card' expire.
Eat your heart out, Oliver Sacks!
Today's second song is: "Is that Marcel's ring you're wearing?"
Yes, it is. Look out, look out, look out... (The aptly named 'Leader of the Pack')
With a nod to Dadaist photomontage, Surrealism and Herbert Bayer here is a 21st century version of "The Scream".
If no one else is around, can someone still hear you scream?
Work No. 403, from 2010
Uploaded addition to London Dada archive album, years 2010-2012.
Link to the original online gallery/blog post
londondada.art/2010/08/31/work-403-the-garden-wall-of-a-d...
Jim Dine, The Five [Two] Hammer Études, 2007, Etching, drypoint, aquatint, and power tools on five joined sheets of paper [floor], 751 x 2564 [751] mm - 29 9/16 x 100 15/16 [29 9/16] in, The Baltimore Museum of Art
Altro titolo - Another title: AC, 2025 (Artificial IntelligenceArts and Crafts)
[Fototeca Fondazione Omeri, Trieste]
sites.google.com/view/fabioomero/artists
collection.artbma.org/objects/53965/the-five-hammer-etude...
On May 25 2016, Jeanne-Mance Street was reinvigorated by the installation of public art, Où boivent les loups, by Stephen Schofield.
“Through the narrative of this artwork, my goal was to share the pleasure of exploring the material of the sculptural object by evincing my empathy for the human figure. The title, taken from a poem by Tristan Tzara, one of the first Dadaists, is a metaphor for challenge and risk, drawn from deep waters to create a strong artwork. The image of the river where the wolves come to drink corresponds to Jeanne-Mance Street, where the five sculptures are set.”
– S. SCHOFIELD
Located: 1255 rue Jeanne-Mance, Montréal, Qeébec, Canada
Last night I dreamt Jesus and I walked along a beach.
"Jesus," I said, "you're black? I thought that was a Hollywood cliche. I figured you didn't have a race--you were just the essence of forgiveness or love or something."
"Nope, I'm black. My son, I'm concerned about the path of your life. You used to help the less fortunate. You used to devote yourself to causes. Now you just pursue money. What happened?"
"Jesus, I'm not sure I ever cared about those causes or if I just wanted to aggrandize myself. I mean, I care but it's secondary to making my own life better. And it's a distant second."
Jesus nodded understandingly.
"Everyone wants to improve their lot, Jesus. But materialists are at least honest about it. Given that you've built us with this self-preservation that trumps other concerns, maybe the most we can hope for is to not be a hypocrite. And to make enough money to enjoy the world you've built for us. It does take money, Jesus, no matter what anyone says."
Holding his hands behind his back as we walked, Jesus was the model of the thoughtful listener. "Mmm-hmm. There was an element of egotism to your works. But in sum you may, eventually, have been able to make some difference, even if small."
"The ends justify the means, Jesus? Is that the creator's philosophy?"
"Oh no. Look around," he said, gesturing to the sky and the water and the sand. "My father was a dadaist. And maybe," he concluded, probing a wound in his wrist absent-mindedly, "a bit of a sadist."
Marina Apollonio, Dinamica circolare 6SB, 1964-72, Acrylik on canvas [Ceramic], Collection of the artist, Solomon R. Guggenheim [Ikea] Foundation, Venezia [Villesse]
Altro titolo - Another title: Ma se del mondo che mi circonda resta solo una folla di estranei non tardo ad avvertire un senso di solitudine e di spaesamento. (Italo Calvino, 1979), 2025
[Fototeca Fondazione Omeri]
Joseph Beuys, Fettstuhl (Fat Chair), 1964, Wooden [Polypropylene] chair, wax, fat [and butter] and wire, 40¼ x 16⅝ x 18 [30⁴⁵/₆₄ x 20⁹/₃₂ x 18⁵⁷/₆₄] in - 102 x 42 x 46 [78 x 51.5 x 48] cm, Tate and National Galleries of Scotland [Skin of Calligaris, Manzano, Udine]
Altro titolo - Another title: Butter harm coronary arteries (and woke culture) - Il burro nuoce alle coronarie (e alla cultura woke), 2025
[Fototeca Fondazione Omeri, Trieste]
Work of Man Ray in La Reina Sophia Museum of modern art. Indestructible object, 1923. Born in america with the name of Emmanuel Radnizki.1890. Dadaist, surrealist. A friend of Dali.
Theo van Doesburg (1883-1931), founder of art journal "De Stijl", working with Piet Mondrian, but also influential in DaDa movement.
(This "Zelfportret" or self portrait) photographed at Museum De Lakenhal, Leiden, NL)
Arman, Artériosclérose, 1961, Accumulation of forks and spoons in wooden [plastic] box, 18 3/10 x 28 1/2 x 3 in - 46.5 x 72.4 x 7.6 cm, Private collection
Altro titolo - Another title: Artériosclérose, 2024
[Fototeca Fondazione Omeri]
Andy Warhol, [Blue] Crab, 1982 [2023], Acrylic and silkscreen ink on canvas, 40.6 x 50.7 [40.6] cm - 16 x 20 [16] in, Stamped by The Estate of Andy Warhol [Cooperativa Pescatori Grado] and numbered PA26.008 [Zero Miglia - Zero Miles] on the overlap
Altro titolo - Another title: US Hegemony
[Fototeca Omeri]
sites.google.com/view/fabioomero/artists/w
Jeff Koons, Balloon Dog, 1994-2000, Mirror-polished, Stainless steel and finished with a translucent coating in color blue, magenta, yellow, orange or red [pearl], from 41 [4,8] to 363.2 cm, Work of 45 artisans [Tomas], Private collection
Altro titolo - Another title: If this is art..., 2025
[Fototeca Fondazione Omeri]
Piet Mondrian, Composition with Red, Blue, Yellow, and Gray, 1925, Oil on canvas in the artist's painted frame, 19¾ x 19¾ in - 48.26 x 48.26 cm, Private collection
Altro titolo - Another title: L'universo mondo a pezzi (The universe in pieces), 2025
Marina Apollonio, Fusione circolare, 2016-24, Enamel on wood [Ceramic], Collection of the artist, Solomon R. Guggenheim [Ikea] Foundation, Venezia [Villesse]
Altro titolo - Another title: Sono uno smarrito. Sono senza posto nel mondo, senza prossimo. Sono un estraneo. (Giuseppe Ungaretti, 1914), 2025
[Fototeca Fondazione Omeri]
www.flickr.com/photos/fabioomero/54303219507/in/album-721...