View allAll Photos Tagged existentialism
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
You can read my account of my travels at pariswander.blogspot.co.uk.
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
You can read my account of my travels at pariswander.blogspot.co.uk.
I have been thinking quite a lot about astrology. Specifically, astrology/horoscopes. Zodiac signs. It's kind of been infuriating me, to be honest. Because I've spent the last 10+ years studying various things in science, as well as spirituality, consciousness and existentialism. As I have developed a better understanding of each of these things, I have come to realize what so many people seem to completely miss.
When it comes to science and spirituality, we really have to watch the language that we use when discussing them. So much of it just comes down to this. I actually talked about this a little bit elsewhere in another blog post - The Truth Theory. I pretty much touched on the idea of "truth" not just being empirical, and that there are different kinds of truths. We can't use scientific language to talk about intersubjective experiences, it doesn't quite work.
This is where astrology and signs come in. I'm just gonna explain all of this the best way I know how. This might just sound like the ramblings of an idiot. It might be a bit sloppy but I'll try to make it as coherent and cohesive as possible.
The position of the sun or moon does influence life on Earth. Life would not be what it is now without the moon pulling on our planet, keeping its rotational axis from shifting around and causing big, sporadic changes in seasonal temperatures. That's fine. What I have a problem with is the notion that this same science somehow affects your personality in the same way. Because at that point, we're talking about two completely different domains. 3rd person, empirical science and 1st person, intersubjective consciousness.
There's a natural law that the physical world has to uphold, one that it is not allowed to stray from. And though I as a human being am part of that physical world and am in it, my emotions do not work the same way.
When we talk about things within that 3rd person, objective domain, there is a certain language we use. Like the world location, for example. Physical objects have a location - planets, moons, stars, etc. The Earth. However, anger and pettiness do not have a location. Emotions do not have a location. Because they're not objects.
Emotions are strictly a 1st person, conscious experience that is characterized by intense mental activity - temperament, personality, mood - it's all within that 1st person, intersubjective domain. No location, and no, they're not located in the brain because if they were, you'd be able to cut my brain open and physically touch them and slap them down on a table to examine objectively.
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You can hook me up to a machine and see that I have certain brain activity while experiencing these emotions, but you can't simply reduce them to brain activity. I can see an apple in my head but if you look in my brain, you won't see an apple. Science can't account for this. This is my intersubjective consciousness and it does not play by those rules. So how can these things operate the same way as things in the 3rd person, objective domain?
Because they would have to, if the idea of your personality being impacted by astrology is true. If horoscopes are true. But if we can't use scientific language to talk about emotions - if I can't use terminology like "location," length," "width," height," 'distance," "weight," etc. to discuss emotions, anger, jealousy, happiness...how can they be affected by the location of the moon? There's no correlation. There's no connection. How are they connected?
These two things do not operate by the same laws. My emotions are not a scientific law, they're not bound to any of that. You can't even point to them, you can't hear, smell, taste, touch or see them. In that sense, they have no connection to the physical realm.
"No, but, the same way the location of the moon causes tidal effects on Earth, it also affects your mood and personality."
How? How does that work? Emotions don't work the same way the planetary system does. We can't even use the same language and terminology to talk about them. Emotions are not planets, they're not stars. They're not bound to a gravitational pull. Why are you trying to talk about them as if they're objects floating around in space?
You're ignoring my intersubjective, conscious experience - which is not objective, it's not something you can empirically measure like a molecule or an atom or a frog.
You have to think about these things in a different way. Scientific theories require the accumulation of empirical evidence that is consistent with a hypothesis. To talk about emotions, we don't use that same empirical process. So clearly they're not the same thing, they don't operate the same way.
If there's information that contradicts or disproves anything I wrote here, I'd love to read/here it. smj12.com/astrology-objectivity-intersubjectivity/
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
Vase 01
To reflect the obsession that takes over when I work with abstractly created motives by just drawing dots, I choose to use everyday objects as well as personal items and over draw them with the dots, to not only give them a new appearance but to also translate the transformation of these objects into something new, almost unrecognizable underneath the pattern. These works are inspired by the very nature of organisms, such as ants, mushroom, plants, parasites etc. that 'take over' an other object or living being, reforming/ recreating it. It also represents ideas of existentialism and existential angst, in which we found ourselves wondering about our existence, searching for explanations and purposes, unable to find satisfying answers and therefore turning our sight into the very moment of the act of creation. In this I aim in my work to capture the feeling of that very act, trying to translate it into the process of deconstructing an object as it is and making it become something else.
nur.nurdan.c@gmail.com
Woman of Venice, 1956
Alberto Giacometti (Swiss, 1901–1966)
Painted bronze
Description:
Early in 1956, in preparation for exhibitions of his work at the Venice Biennale and the Kunsthalle in Bern, Giacometti produced a large group of plaster sculptures of female figures. Ten of these were shown in Venice and five in Bern. Of the fifteen, only nine were later cast in bronze. They became known as the "Women of Venice", regardless of whether the plaster version had been exhibited in Venice or in Bern. The thin, gaunt bronzes are all between forty-one and fifty-two inches high, but they seem much taller. Supported on stilt-like legs held tightly together, the figures stand motionless. All have tiny heads and enormous feet, which anchor their extremely emaciated, concave bodies on plinths of varying thicknesses. The figures look as if they have withstood centuries of rough weather, which has left their surfaces crusty and eroded.
Metropolitan Museum of Art
NYC
Nathalie Djurberg
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
Adrian Ghenie
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
Adj.1.sapiens - of or relating to or characteristic of Homo sapiens
Homo sapiens (sp-nz):The modern species of humans.
Just in case this guy stumbles on my picture and still needs help finding out who he is.
Description: His Yearning
Creator: Rotem, Varda
Medium: bronze sculpture
Persistent URL: http://museums.cjh.org/Display.php?irn=15783
Repository: Yeshiva University Museum, 15 West 16th Street, New York, NY 10011
Accession number: 2009.013
Rights Information: No known copyright restrictions; may be subject to third party rights. For more copyright information, click here.
See more information about this image and others at CJH Museum Collections.
Is eating cheese in a car park on a summer afternoon a form of existentialism, because it feels like it?
This image explores the dialectical relationship between time and space, where every presence carries the trace of absence and every moment unfolds through change and contradiction.
KABK Graduation Festival
Den Haag 2016
“Hauch!” Is a complex installation that develops another dimension. Here the walls are no longer only walls, but “heavens crying drama”. The floor loses its most basic function and becomes a source of life represented by the colourful land of acid green. It blends with different texture tonalities of pink, evoking the essence of human flesh. Spaces are defined by elements representing different existentialisms that are brought on the same line through the videos in which a woman carries out daily activities in which pain lurks, associated with the canon of beauty that goes against nature by confusing the human being.
THESIS: A coffee with Anne
The thesis is built through a dialogue between me and an almost fictional character named Anne, a man dressed as a woman that was close to me during my route here at the academy. Everything takes place in a bar, in front of a coffee, where I tell about myself through my fears, my needs, my dreams about my artistic career.
cities with underground transit systems: Amsterdam, Ankara, Athens, Barcelona, Beijing, Brasilia, Brussels, Bucharest, Budapest, Buenos Aires, Cairo, Calcutta, Chicago, Copenhagen, Delhi, Dublin, Genova, Haifa, Hiroshima, Hong Kong, Istanbul, Lisboa, London, Madrid, Mexico City, Montreal, Moscow, Munich, Napoli, New York, Novosibirsk, Oslo, Paris, Prague, Rio de Janeiro, Rome, St. Petersburg, San Francisco, Sao Paulo, Seoul, Shanghai, Singapore, Taipei, Tehran, Tokyo, Ufa, Vienna, Warsaw, Zurich
Good Friday is not a holiday in Italy. This is one of the mysteries of Italy. I guess on this flickr stream I've already talked about this. Anyway, my new company was closed, and I took the opportunity to run to the library to return this book, have another job interview and then take a plane to germany... few, was quite a day!
"Never let me go" by Kazuo Ishiguro has been on my reading list quite a while, about a year. It caught my interest not by the cover (which is really beautiful, but doesn't grasp anything with the story), but by the fact that it has been listed "the 100 best English-Language novels from 1923 to the present" by Time magazine. I remember, in a bored moment i clicked through their list and took notes. Never let me go, was one of them. Time passed. The book turned into a movie (I hate when this happens), I lost my job and had time to read. I went through my reading list, and this book was somewhere on the bottom.
So. Question. There are only 99 english lanuage novels from 1923 to the present that are better than this one? Oi oi oi.
It's not bad. But so many holes. No development, no growth. No questions followed up. I hate this. People fulfill their destiny. I have the feeling it's again a kind of existentialism. Sci-fi-existentialism.
How my weekend in germay was, did you already see in my pictures.
The interview was quite interesting. A social media start up. They searched someone who was experienced (sort of) and italian mothertongue (no way). And they told me that they've already seen tons of 'very talented' people. Good for them.
Unexpectedly they called me for a second interview, which I had today (not too bad for someone not mothertongue) - being one of the 'last five'. That's what they wanted: "start up a social media agency, minimum 40h a week, but we all know it needs more, if you do well you might be considered for a renewal after 6 month, but who knows, the contract doesn't cover holidays, sickness, motherhood and overtime and we'll give you 1000 euros a month. What do you think?"
Buahahahahahaha! Good luck! If you want call me for counseling.
Dutch postcard by Takken, Utrecht, no. AX 5050. Photo: 20th Century Fox. Publicity still for The Big Gamble (Richard Fleischer, Elmo Williams, 1961).
French actress and chanson singer Juliette Gréco (1927) was the muse of the existentialists such as Jean-Paul Sartre. Later she became the protégée of film mogul Darryl F. Zanuck, who cast her in his films.
For more postcards, a bio and clips check out our blog European Film Star Postcards Already over 3 million views! Or follow us at Tumblr or Pinterest.
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
© 2013 Lélia Valduga, all rights reserved. It is forbidden to read by any reproduction.
The second half of the twentieth century was characterized by a rapid urban growth and population, and the successive administrators engaged again in a series of investments in public works, while the city via disappear under the wave of progress, much of its old buildings . In parallel, the culture of Porto Alegre was characterized by a strong colorful political gathering large group of intellectuals and influential artistic producers lined up Existentialism and Communism.
Serena Malloch
Painting
existentialism
noun: a philosophical theory or approach which emphasizes the existence of the individual person as a free and responsible agent determining their own development through acts of the will.
Is There Anything Out There? (2021) is a project that visualizes the concept of existentialism. These works are a commentary on my own first-hand experiences, but the intent is for them to be relatable to a wider audience, as existential decisions are faced by all people at some point.
Watercolour paints are used in a delicate matter where the paint spreads freely and pools as it likes alluding to the unpredictability of life.
The concepts of semi-permeance and natural decay are also explored through the lack of frames and protection of these paper works, leaving them susceptible to the outer world and allowing them to naturally age like all living things.
Nathalie Djurberg
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
with all my respect to Nuri Bilge Ceylan
*******************************************
Nuri Bilge Ceylan (born 1959 in Istanbul) is a Turkish photographer and film director.
His third feature Uzak (Distant) received many awards including the Grand Jury Prize and the Best Actor Prize at Cannes, and was praised internationally.
Ceylan usually deals with the estrangement of the individual, natural existentialism, monotonous real human lives and fundamental details of life. Having started his career as a photographer, Ceylan makes minimalist movies with an extremely low budget. His cast generally consists of amateur actors, most of which are his family members, including his mother and father. Most critiques link the strikingly natural atmosphere in his movies with this selection of actors. More specifically, the characters in Ceylan's movies appear to be people from our everyday life and the audience can form a warm and friendly relationship with the actors, which appears to be a much more difficult task for professional actors.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Nuri Bilge Ceylan (d. 1959, İstanbul) Türk yönetmen, senarist ve fotoğraf sanatçısı.
56. Cannes Film Festivali’nde yarışan ve favori filmler arasında gösterilen Nuri Bilge Ceylan’ın 2002 yapımlı dram filmi Uzak, Altın Palmiye’den sonra festivalin ikinci önemli ödülü olan ‘Büyük Jüri Ödülü’nü (‘Grand Prix’) aldı.
property of the Nedbalka Gallery in Bratislava, Slovakia
collection of a modern Slovak art
for educational purpose only
please do not use without permission
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
You can read my account of my travels at pariswander.blogspot.co.uk.
Prince Stanislas Poniatowski (1754-1833) was fantastically wealthy, heir to the Polish throne, and an art-world psychopath: the Bernie Madoff of carved gems. Poniatowski assembled a renowned collection of 2600 supposedly ancient gems, published with great fanfare in 1830. Turns out they were bogus, of the highest quality, naturally (above, Zeus and Kapaneus before the Walls of Thebes, now owned by the Getty). The "Poniatowski scandal" is just one of the stories in the Getty Villa's "Carvers and Collectors: The Lasting Allure of Ancient Gems." Though it's gotten little buzz, "Carvers and Collectors" is a major international loan exhibition that happens to fit in one small room. It's not really about forgeries. Within that one room lie mini-retrospectives of Gnaios, Dioskourides, and Solon—big names in this micro-mini-medium—and many of the world's most legendary gems (the Strozzi Medusa, the Felix gem, the Marriage of Cupid and Psyche). All four signed gems by Gnaios are here. That's something like an exhibition of Renaissance painting that packs in multiple works by Michelangelo and Raphael and every known Leonardo.
Like last year's Dilettanti show, this one is partly about the odd spell antiquity has cast down the ages. A case in point is Poniatowski, motivated not by gain but by the desire to be known as a great collector. Like Madoff, Poniatowski apparently worked on a need-to-know basis. He commissioned the finest Italian hands to design and execute his gems. Their efforts tended to be oval, just a little bigger and better than the ancient models, and favoring clever literary themes the ancients had bypassed. It's believed that Poniatowski had another carver or carvers forge Greek signatures onto his gems. He must have considered it the perfect crime, like stabbing with an icicle. Even today, there is no scientific way of determining the age of a carved gem. Ancient carvings often look as fresh as new.
Poniatowski wisely did not let many people see his treasures. He was almost tripped up by pride, however, when he sent plaster impressions of his best pieces to the Berlin Antiquarium. The implicit message: Eat your heart out, guys. Based on the impressions, curator Ernst Heinrich Toelken quickly concluded that Poniatowski's gems were fakeloo. Ironically, this was partly because the signatures were just too beautiful. The letters were neoclassical-perfect, not the crude, muscular lettering of antiquity. Despite his dismissal of their authenticity, Toelken wrote, "The impressions are indeed the most beautiful you can expect to see in art."
From there on, the story is less Bernie Madoff than The Talented Mr. Ripley. Suspicions grew over time, though Poniatowski was never exactly busted. The prince died in 1833, and his collection was sold at Christies in 1839. Captain John Tyrrell purchased most of the collection for 65,000 pounds. He thought he was getting a bargain. Tyrrell became the collection's staunchest defender against the doubters. It is "not probable that a nobleman of his [Poniatowski’s] high character and honour would have asserted that which he did not believe to be true," Tyrrell wrote. He commissioned a catalog illustrated with the new medium of photography. It was a bad investment. When Tyrrell auctioned the gems in 1861, some went for as little at 2 pounds apiece. (For more on the Poniatowski collection, download Claudia Wagner's "A Picture-Book of Antiquity: The Neoclassical Gem Collection of Prince Poniatowski.")
The Getty's installation geniuses nailed the lighting of daguerreotypes, and you might hope they'd do the same for carved gems. Most of the pieces here are presented through portholes behind glazing (necessary for pocketable jewels that would be obscured by any serious clamp). All are beautifully lighted with fiberoptics. It works well with cameos, where the image projects from the stone; less so with intaglios (where the image is convex). Opaque intaglios are hard to read, and some colorless-transparent gems look washed out, too. Needless to say, everything is small. We're talking half-dollar- to Viagra-size.
A traditional solution is to exhibit intaglio gems next to impressions. But impressions can look amazingly different from the gems, no matter how they're illuminated. Compare this photo of the garnet Sirius with its plaster impression (both from the Boston Museum of Fine Arts' site; the plaster is not in the Getty show). Because impressions are more readable, viewers tend to ignore the gems themselves, and that defeats the purpose of showing the original object.
The appearance of gems also varies with lighting. Under the Getty's backlighting, Gnaios's Sirius glows weirdly beautiful (and is not much like the photo). Recognizing the legibility issues, the Getty has installed digital cameras with some displays. You can position the camera over a gem, rotate a ring to focus, and then view it greatly magnified on a video screen. These cameras get a lot of use, but that doesn't mean they're effective. The video images have blown-out highlights and are far inferior to the professionally lighted photos you can get on the exhibition's website.
This show thus raises an unsettling Walter Benjamin question. What if a work of art is better appreciated in reproduction, than in the original object? (It's something another local museum is dealing with, with much-smaller artworks and budget).
Incidentally, the Getty Villa is now showing its smartest group of loan exhibits ever. The biggest coup is the Chimaera of Arezzo, the sort of treasure that rarely travels, here given the focus-show treatment. "The Golden Graves of Ancient Vanni" is a plodding archeologist-procedural with much newly excavated material. Many of of the questions it raises remain unanswered. Among them: what's with those ritual stick figures that look like Giacometti's atom-bomb existentialism?
The Beginning
Something profound has occurred to me within the last few weeks. That is what this entire book is about. My fathers unexpected death was, I believe, the catalyst for this. That was the most painful two weeks of my entire life. I began thinking more about death, life, existence in...
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
You can read my account of my travels at pariswander.blogspot.co.uk.
Le Cimetière du Montparnasse, Paris, France
I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.
I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.
The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.
The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.
Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.
You can read my account of my travels at pariswander.blogspot.co.uk.