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The Fourth Grand Flaneur Walk took on Sunday, May 5th, 2024, and commenced at midday by the statue of Beau Brummell on Jermyn Street, London W1. The Grand Flaneur Walk celebrates the pure, the immutable, and the pointless, and it is taken by the bold, the adventurous, and the inebriated. The walk went through Green Park towards Hyde Park Corner.
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All photographs © Andrew Lalchan
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
BY RUPERT BROOKE
Mamua, when our laughter ends,
And hearts and bodies, brown as white,
Are dust about the doors of friends,
Or scent ablowing down the night,
Then, oh! then, the wise agree,
Comes our immortality.
Mamua, there waits a land
Hard for us to understand.
Out of time, beyond the sun,
All are one in Paradise,
You and Pupure are one,
And Taü, and the ungainly wise.
There the Eternals are, and there
The Good, the Lovely, and the True,
And Types, whose earthly copies were
The foolish broken things we knew;
There is the Face, whose ghosts we are;
The real, the never-setting Star;
And the Flower, of which we love
Faint and fading shadows here;
Never a tear, but only Grief;
Dance, but not the limbs that move;
Songs in Song shall disappear;
Instead of lovers, Love shall be;
For hearts, Immutability;
And there, on the Ideal Reef,
Thunders the Everlasting Sea!
And my laughter, and my pain,
Shall home to the Eternal Brain.
And all lovely things, they say,
Meet in Loveliness again;
Miri’s laugh, Teïpo’s feet,
And the hands of Matua,
Stars and sunlight there shall meet
Coral’s hues and rainbows there,
And Teüra’s braided hair;
And with the starred tiare’s white,
And white birds in the dark ravine,
And flamboyants ablaze at night,
And jewels, and evening’s after-green,
And dawns of pearl and gold and red,
Mamua, your lovelier head!
And there’ll no more be one who dreams
Under the ferns, of crumbling stuff,
Eyes of illusion, mouth that seems,
All time-entangled human love.
And you’ll no longer swing and sway
Divinely down the scented shade,
Where feet to Ambulation fade,
And moons are lost in endless Day.
How shall we wind these wreaths of ours,
Where there are neither heads nor flowers?
Oh, Heaven’s Heaven!—but we’ll be missing
The palms, and sunlight, and the south;
And there’s an end, I think, of kissing,
When our mouths are one with Mouth....
Taü here, Mamua,
Crown the hair, and come away!
Hear the calling of the moon,
And the whispering scents that stray
About the idle warm lagoon.
Hasten, hand in human hand,
Down the dark, the flowered way,
Along the whiteness of the sand,
And in the water’s soft caress,
Wash the mind of foolishness,
Mamua, until the day.
Spend the glittering moonlight there
Pursuing down the soundless deep
Limbs that gleam and shadowy hair,
Or floating lazy, half-asleep.
Dive and double and follow after,
Snare in flowers, and kiss, and call,
With lips that fade, and human laughter
And faces individual,
Well this side of Paradise! ....
There’s little comfort in the wise.
View of Mount Etna - 1842
Thomas Cole (1801 - 1848)
Cole wrote a poetic description of this painting after he returned from Italy in 1842: Etna "lifts its snowy head in the warm sunlight, while the base of the mountain is partly veiled in the vapoury atmosphere and the mists of the morning."
Ruins overgrown with vegetation litter the foreground of the image. They are dwarfed by the snow-capped volcanic peak in the distance, a comment on the impermanence of human endeavor and the immutability of nature. A shepherd plays a flute for his flock, referencing the Arcadian life celebrated in ancient Greek and Roman poetry. Asher Brown Durand depicted Cole holding a similar woodwind instrument in his painting Kindred Spirits. The allusion to music and poetry in both works demonstrates thematic continuities between painting and related art forms.
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This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
_____________________________________________
"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
...
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie and Tonic Tlhalerwa
Great Food and Music Highly Recommended
Fellow-Citizens of the Senate and of the House of Representatives:
AMONG the vicissitudes incident to life no event could have filled me with greater anxieties than that of which the notification was transmitted by your order, and received on the 14th day of the present month. On the one hand, I was summoned by my country, whose voice I can never hear but with veneration and love, from a retreat which I had chosen with the fondest predilection, and, in my flattering hopes, with an immutable decision, as the asylum of my declining years—a retreat which was rendered every day more necessary as well as more dear to me by the addition of habit to inclination, and of frequent interruptions in my health to the gradual waste committed on it by time. On the other hand, the magnitude and difficulty of the trust to which the voice of my country called me, being sufficient to awaken in the wisest and most experienced of her citizens a distrustful scrutiny into his qualifications, could not but overwhelm with despondence one who (inheriting inferior endowments from nature and unpracticed in the duties of civil administration) ought to be peculiarly conscious of his own deficiencies. In this conflict of emotions all I dare aver is that it has been my faithful study to collect my duty from a just appreciation of every circumstance by which it might be affected. All I dare hope is that if, in executing this task, I have been too much swayed by a grateful remembrance of former instances, or by an affectionate sensibility to this transcendent proof of the confidence of my fellow-citizens, and have thence too little consulted my incapacity as well as disinclination for the weighty and untried cares before me, my error will be palliated by the motives which mislead me, and its consequences be judged by my country with some share of the partiality in which they originated.
Such being the impressions under which I have, in obedience to the public summons, repaired to the present station, it would be peculiarly improper to omit in this first official act my fervent supplications to that Almighty Being who rules over the universe, who presides in the councils of nations, and whose providential aids can supply every human defect, that His benediction may consecrate to the liberties and happiness of the people of the United States a Government instituted by themselves for these essential purposes, and may enable every instrument employed in its administration to execute with success the functions allotted to his charge. In tendering this homage to the Great Author of every public and private good, I assure myself that it expresses your sentiments not less than my own, nor those of my fellow-citizens at large less than either. No people can be bound to acknowledge and adore the Invisible Hand which conducts the affairs of men more than those of the United States. Every step by which they have advanced to the character of an independent nation seems to have been distinguished by some token of providential agency; and in the important revolution just accomplished in the system of their united government the tranquil deliberations and voluntary consent of so many distinct communities from which the event has resulted can not be compared with the means by which most governments have been established without some return of pious gratitude, along with an humble anticipation of the future blessings which the past seem to presage. These reflections, arising out of the present crisis, have forced themselves too strongly on my mind to be suppressed. You will join with me, I trust, in thinking that there are none under the influence of which the proceedings of a new and free government can more auspiciously commence.
By the article establishing the executive department it is made the duty of the President "to recommend to your consideration such measures as he shall judge necessary and expedient." The circumstances under which I now meet you will acquit me from entering into that subject further than to refer to the great constitutional charter under which you are assembled, and which, in defining your powers, designates the objects to which your attention is to be given. It will be more consistent with those circumstances, and far more congenial with the feelings which actuate me, to substitute, in place of a recommendation of particular measures, the tribute that is due to the talents, the rectitude, and the patriotism which adorn the characters selected to devise and adopt them. In these honorable qualifications I behold the surest pledges that as on one side no local prejudices or attachments, no separate views nor party animosities, will misdirect the comprehensive and equal eye which ought to watch over this great assemblage of communities and interests, so, on another, that the foundation of our national policy will be laid in the pure and immutable principles of private morality, and the preeminence of free government be exemplified by all the attributes which can win the affections of its citizens and command the respect of the world. I dwell on this prospect with every satisfaction which an ardent love for my country can inspire, since there is no truth more thoroughly established than that there exists in the economy and course of nature an indissoluble union between virtue and happiness; between duty and advantage; between the genuine maxims of an honest and magnanimous policy and the solid rewards of public prosperity and felicity; since we ought to be no less persuaded that the propitious smiles of Heaven can never be expected on a nation that disregards the eternal rules of order and right which Heaven itself has ordained; and since the preservation of the sacred fire of liberty and the destiny of the republican model of government are justly considered, perhaps, as deeply, as finally, staked on the experiment entrusted to the hands of the American people.
Besides the ordinary objects submitted to your care, it will remain with your judgment to decide how far an exercise of the occasional power delegated by the fifth article of the Constitution is rendered expedient at the present juncture by the nature of objections which have been urged against the system, or by the degree of inquietude which has given birth to them. Instead of undertaking particular recommendations on this subject, in which I could be guided by no lights derived from official opportunities, I shall again give way to my entire confidence in your discernment and pursuit of the public good; for I assure myself that whilst you carefully avoid every alteration which might endanger the benefits of an united and effective government, or which ought to await the future lessons of experience, a reverence for the characteristic rights of freemen and a regard for the public harmony will sufficiently influence your deliberations on the question how far the former can be impregnably fortified or the latter be safely and advantageously promoted.
To the foregoing observations I have one to add, which will be most properly addressed to the House of Representatives. It concerns myself, and will therefore be as brief as possible. When I was first honored with a call into the service of my country, then on the eve of an arduous struggle for its liberties, the light in which I contemplated my duty required that I should renounce every pecuniary compensation. From this resolution I have in no instance departed; and being still under the impressions which produced it, I must decline as inapplicable to myself any share in the personal emoluments which may be indispensably included in a permanent provision for the executive department, and must accordingly pray that the pecuniary estimates for the station in which I am placed may during my continuance in it be limited to such actual expenditures as the public good may be thought to require.
Having thus imparted to you my sentiments as they have been awakened by the occasion which brings us together, I shall take my present leave; but not without resorting once more to the benign Parent of the Human Race in humble supplication that, since He has been pleased to favor the American people with opportunities for deliberating in perfect tranquillity, and dispositions for deciding with unparalleled unanimity on a form of government for the security of their union and the advancement of their happiness, so His divine blessing may be equally conspicuous in the enlarged views, the temperate consultations, and the wise measures on which the success of this Government must depend.
"The Firing Line," sculpted by Italian American sculptor Pompeo Coppini, was dedicated in 1912, during the era of "Lost Cause" fervor. The inscription reads, "On Civilization's Height / Immutable They Stand."
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
Я был заворожён атмосферой, царившей в Пекине, и приближающаяся гонка казалась лишь химерой, порождённой сном. Все происходящие события неожиданно приобретали искаженные формы вещей невозможных и несуществующих. Само присутствие автомобиля в этом древнем городе казалась более абсурдным, чем бы вид паланкина на лондонском мосту. И ощущение, которое вас не покидает в Пекине, - вы точно заброшены во времени вспять, к неизменному образу и незыблемым формам жизни, установившимся много веков назад. Китайская цивилизация, некогда достигнув определенного рода совершенства и затем, опасаясь потерять свои достижения, отказалась двигаться дальше. Только одна субстанция находилась в движении - это Время. Сам воздух был наполнен каким-то неясным томлением, которое временами обволакивает и захватывает вас, и ни один европеец, который долго жил среди китайцев, никогда не будет утверждать, что смог остаться равнодушным к этой тонкому дыханию китайской "души". И этот воздух, возможно, смешивается с пылью множества старых вещей, проникает в ваши лёгкие, сознание, предавая забвению понятия пространства и времени. Я даже не мог представить себе Италу, двигающуюся по дорогам китайского города и деревни.
"В 8 утра - старт". Да это пустые слова! Безусловно, автомобиль в 8 часов утра должен стоять на месте, и будущие поколения должны обнаружить его на том же самом месте, превращённым в китайский памятник, подобно тем огромным черепахам из камня, которые нынче украшают внутренние дворы храмов, навеки оставшись лишь украшением и символом.
Погода испортилась, день был угрожающе мрачным, небо низким. Вплоть до ночи всё было хорошо; но в течение ночи китайские божества, казалось, пришли к решению немедленно и торжественно открыть сезон дождей, которого мы так боялись.
I was affected by the atmosphere of Pekin, and the approaching competition seemed as the vapour of a dream. All present events suddenly acquired for my mind the distorted proportions of things impossible. The very presence of a motor-car in that ancient town seemed more absurd than would the sight of a palanquin going over London Bridge. To feel Pekin around you is like feeling yourself launched backwards through time to some remote, immutable form of life fixed long ages ago. The civilisation of the Chinese race achieved once a certain kind of perfection and, fearful of losing that, it refused to move further. One thing alone moves now in China, and that is Time. The very air wafts about you a dim languor which in time envelops and wins you, and no European who has lived long among the Chinese people has ever yet proved wholly impervious to that subtle breath of the Chinese “soul.” It mingles, perchance, with the dust of so many old things, and is breathed in through the nostrils with a soothing forgetfulness of space and time. I could not see the Itala in my own mind racing over the roads of Chinese town and countryside.
“ 8 a.m.—start.” But surely these must be empty Words! At 8 a.m. the motor surely must stand still, and future generations must find it on the selfsame spot, transformed into a Chinese monument — like those enormous tortoises of stone that now adorn the inner courts of temples, an ornament and a symbol”
The day broke grey and cloudy: a menacing day it was. Until the night before the weather had been perfect; but during that night the Chinese deities seemed to have decreed the immediate inauguration of the much feared season of the rains.
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
"There will be days when the fishing is better than one's most optimistic forecast, others when it is far worse. Either is a gain over just staying home." ~ Roderick Haig-Brown, 1951.
IMHO, this statement is so true it deserved to be a Law and now it is. : )
I'll be back on Monday evening. I'm Goin Fishin. : )
By Ryan Gander
Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
By Haroon Mirza
A Chamber for Horwitz,
Sonakinatography Transcriptions in Surround Sound, 2015
Wall work: Channa Horwitz
Sonakinatography Composition III, 1996
Haroon Mirza (born 1977, UK) has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. Transcribing a complex working drawing by LA-based artist Channa Horwitz (1932–2013), Mirza turns her notational sequences and matrices into a multi-coloured, sonic score. The electric noise of the currents that light the LEDs in one of the eight possible configurations and colour combinations, as marked by Horwitz, is simul-taneously translated via speakers to audible noise pulses in different octaves. Together, these acoustic, visual interpretations of the Horwitz data result in a choreographed, compositional concert, which is at once computer-programmed and man-made – both ‘live’ and historic.
A Chamber for Horwitz; Sonakinatography Transcriptions in Surround Sound is a conceptual development of an earlier piece by Mirza, titled Adam, Eve, Others and a UFO (2013).
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Photo was processed with two layers of Kim Klassen's "Sunday" texture and one layer of "Stained Linen." Background paper is by Kitty Designs ("Around My Home" kit). Clipping mask made from brushes by Alex Zhang (fireworks) and Skeletal Mess (borders). Fonts are Windsong & VT Portable Remington.
Quote reads:
"The foundation of our national policy will be laid in the pure and immutable principles of private morality; ...the propitious smiles of Heaven can never be expected on a nation that disregards the eternal rules of order and right which Heaven itself has ordained..." and is from George Washington's 1st inaugural address, 1789
“MAGNIFIED, O Lord my God, be Thy Name, whereby the trees of the garden of Thy Revelation have been clad with verdure, and been made to yield the fruits of holiness during this Springtime when the sweet savors of Thy favors and blessings have been wafted over all things, and caused them to bring forth whatsoever had been preordained for them in the Kingdom of Thine irrevocable decree and the Heaven of Thine immutable purpose. I beseech Thee by this very Name not to suffer me to be far from the court of Thy holiness, nor debarred from the exalted sanctuary of Thy unity and oneness.”
— Bahá’u’lláh, Prayers and Meditations by Bahá’u’lláh, XCVI
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
By Ryan Gander
Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
NEU
També la neu passarà i tornarem
als dies clars i oberts.
Fonda, la vida
farà el seu curs immutable i el temps
transcorrerà sense fer gens de cas
dels desficis que ens xuclen i ens exalten.
I també passaran els dies clars
i tornarà la neu, tancant un cicle,
o obrint-lo, tant se val.
Només nosaltres
desapareixerem, i potser tot
per uns instants serà quasi perfecte.
Miquel Martí i Pol
By Jennifer Allora & Guillermo Calzadilla
Jennifer Allora & Guillermo Calzadilla (born 1974, USA and 1971, Cuba) identify and stress hairline fractures in societal systems through performance, sculpture, sound, video and photography.
...Shapeshifter is also an abstraction, this time of the marks left on or by used sandpaper sheets, collected from building sites around the world, representing both destruction and construction, human labour and mechanical erasure.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Resolute, immutable, the foundation upon which society was built;
or delicately, fleeting, as in the wry arch of a brow.
Bailey Gate, constructed in the 13th century to fortify the town of Castle Acre in Norfolk County, England. Each of the rounded cobbles is a piece of nodular chert, a locally abundant building stone.
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
via
A quite lengthy, in-depth analysis including professional case studies around the psychological motivations behind tattooing from the International Journal of Psychoanalysis. Although absolutely a contentious issue whenever postulating any ‘one’ or even primary theory for the practice, the paper offers a well thought-out viewpoint as to the visual manifestation of the internal world (which body/art itself is often held to represent). Regardless of whether the summary is accepted, it offers a deeply rooted rationale for one possible approach
| ‘…What we can safely ascertain is that tattooing constitutes an unconscious visual projection of the situation present in the analytic process, expressing in the transference crucial internal conflicts: in Walter Benjamin’s words, “image is that wherein what has been comes together in a flash with the now to form a constellation.” The tattoo is something of a dialectic snapshot of the state of maternal and paternal relationships, desires for intimacy and distance, commonality and difference, identification and individuation in ‘dialectics at a standstill’ as Benjamin (1999, p. 1088) so famously described the dynamics of images in his Arcades Project. What appears most significant for the visual image of the tattoo is the need for stasis and immutability, as if the standstill produces a degree of stability. This inner stability is threatened by the unconscious fear of potential violation of a taboo which renders abandonment and fusion anxieties unbearable. Tattooing thus represents a marginally successful attempt to create a transitional object by conjoining the actual manipulation of the skin with the symbolic creation of an image. The effort is akin to patching up holes in the transitional space in the attempt to reconstruct it.
Even though the primary distinguishing characteristic of the tattoo rests in the conscious awareness of its function as an expression of individuality, we have also seen that it simultaneously strives to bring about the exact opposite, that is, to enlist the visual image as a way of establishing identification in emulation of and in relation to the targeted objects. It is a veiled expression of individuality in the form of a fashion statement. This invites us to cautious speculation about whether the popularity of tattooing results from the fact that it is fashionable, or whether it is fashionable precisely because it is often the manifestation of a psychodynamic constellation… | full article
Tattoo Concierge | The Artists’ Choice
Tattoos In The Analytical Process appeared first on Tattoo Concierge
Source: www.TattooConcierge.com/tattoos-analytical-process
tattooconcierge.wordpress.com/2017/06/01/tattoos-in-the-a...
View of Mount Etna - 1842
Thomas Cole (1801 - 1848)
Cole wrote a poetic description of this painting after he returned from Italy in 1842: Etna "lifts its snowy head in the warm sunlight, while the base of the mountain is partly veiled in the vapoury atmosphere and the mists of the morning."
Ruins overgrown with vegetation litter the foreground of the image. They are dwarfed by the snow-capped volcanic peak in the distance, a comment on the impermanence of human endeavor and the immutability of nature. A shepherd plays a flute for his flock, referencing the Arcadian life celebrated in ancient Greek and Roman poetry. Asher Brown Durand depicted Cole holding a similar woodwind instrument in his painting Kindred Spirits. The allusion to music and poetry in both works demonstrates thematic continuities between painting and related art forms.
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This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
_____________________________________________
"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
...
Logan Linn is a software engineer at Prismatic, a social news curation and content discovery app for web and mobile. He studied computer engineering and computer science at Virginia Tech.
A plastic cover, its garish colour forming an extreme contrast to the surrounding natural ambience, is blown up into a perfect ball, only to collapse again with a loud bang shortly after its completion, and to then spread across the lawn like a shapeless, carelessly shed plastic skin before the whole process begins again.
Unlike most of the other sculptures in the park, which are based on the principles of permanence and immutability, this object intervenes in its landscaped surroundings as a gesture that continuously repeats itself, thus thwarting its artificially natural framework while at the same time referring to its structure. Among other things, this means that valleys and hills, statics and tectonics are both quoted and alienated by the language of art. This permanent rising and collapsing motion corrects an ingrained interpretative concept of sculptures and objects on the one hand, and constitutes a playful, fast-motion model of geological processes on the other. One of the key characteristics of Werner Reiterer’s art is his effort to destabilise our habits of perception. His intention is not to confuse viewers with outlandish, reference-less artistic feats, but to draw attention to those interfaces where ingrained patterns of behaviour are challenged and where, through a shift of the frames of reference, a vacuum is created that can immediately be filled with a new configuration of content. The dimensions of Reiterer’s pieces are not always fully transparent at first sight – they are visual “games” with a conceptual basis, and they do not manifest themselves in the far-away land of art, but on the level of everyday visual impacts. These principles are also apparent in the luridly coloured intervention in the sculpture park – the balloon that continuously repeats the process of taking and losing shape.
Logan Linn is a software engineer at Prismatic, a social news curation and content discovery app for web and mobile. He studied computer engineering and computer science at Virginia Tech.
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
By Cory Arcangel
Cory Arcangel (born 1978, USA) is a leading exponent of technology-based art, drawn to video games, software and online platforms for their ability to formulate new communities and traditions and, equally, for their rapid obsolescence.
These four projections depict elements of a hacked video game from the early 1990s, its modified cartridges and Nintendo consoles are also on display as the only other components of the work. This endless intro screen captures a foreboding Soviet fighter jet, partially frozen mid-bombing mission over a nameless Middle Eastern country, suspended next to a trio of scudding clouds and computer-blue skies.
Incorporating hacking as an artistic practice, Arcangel remains faithful to open source culture, making his working methods available online and thus superimposing a perpetual question-mark as to the value
of the art object.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
Fourth century Roman glassmakers stumbled into the creation of dichroic ruby glass by mistakenly adding silver and gold dust to a glass batch. This coveted “gold-ruby” glass did not become reliably reproducible until the late 17rth century, when Johann Kunckel developed the first recipe.
Glass in the Baroque tradition was equal parts alchemy, mysticism, and philosophy. The transformation of gold into ruby glass was nothing short of alchemy in its truest form. Purple of Cassius, a gold solution used in the preparation of ruby glass, was produced by dissolving gold and aqua regia (“royal water”). This process was referred to by contemporaries as sol sine vesta “--unclothing gold” or “undressing the sun”—as it allowed the seemingly immutable nature of gold to be further purified.
By 1883, Arthur J. Nash had written a recipe for gold and ruby glass, safeguarded in a locked diary. His formulas followed those of the precious stone itself with the richest shade being “pigeon’s blood.” The highest quality of ruby in the ancient Burmese system of classification.
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
Question 1: It’s written right there in the Bible: “Jesus Christ the same yesterday, and today, and forever” (Hebrews 13:8). So the name of the Lord doesn’t change! But you say that the name of Jesus will change in the last days. How do you explain it?
Answer: Brothers and sisters, the Bible says, “Jesus Christ the same yesterday, and today, and forever” (Hebrews 13:8). This means that God’s disposition and God’s substance are immutable. It doesn’t mean that God’s name will never change. Look with us at the words of God.
God says, “There are those who say that God is immutable. That is correct, but it refers to the immutability of God’s disposition and substance. Changes in His name and work do not prove that His substance has altered; in other words, God will always be God, and this will never change. If you say that the work of God always stays the same, then would He be able to finish His six-thousand-year management plan? You merely know that God is forever unchanging, but do you know that God is always new and never old? If the work of God never changed, then could He have brought mankind to today? If God is immutable, then why is it that He has already done the work of two ages? … the words ‘God is always new and never old’ are in reference to His work, and the words ‘God is immutable’ are in regard to what God inherently has and is. Regardless, you cannot define the six-thousand-year work in one point, or portray it with mere static words. Such is the stupidity of man. God is not as simple as man imagines, and His work will not stop in one age. Jehovah, for example, will not always stand for the name of God; God also does His work under the name of Jesus, which is a symbol of how God’s work is always progressing forward.
God will always be God, and will never become Satan; Satan will always be Satan, and will never become God. God’s wisdom, God’s wondrousness, God’s righteousness, and God’s majesty shall never change. His substance and what He has and is shall never change. His work, however, is always progressing forward, always going deeper, for God is always new and never old. In every age God assumes a new name, in every age He does new work, and in every age He allows the creatures to see His new will and His new disposition” (“The Vision of God’s Work (3)”).
From the words of God, we can see that God is eternally unchanging. That refers to God’s disposition and His substance, but not God’s name. In the course of God’s work to save mankind, He does different works and takes different names in different ages. But God’s substance never changes. God will always be God. That is to say, no matter what God’s name is, be it “Jehovah” or “Jesus,” God’s substance never changes. There is always the same God working. But at that time, the Jewish Pharisees did not know that the name of God would change as His work changed from one age to the next. They thought that their God was just called Jehovah, and He was their Savior. For generations they clung to the belief that “Only Jehovah is God; and there is no savior but Jehovah.” So when God changed His name, and began His work of redemption in the name of “Jesus,” they did everything they could to condemn and resist Jesus. Finally, they nailed Jesus to the cross. They had committed a heinous crime, and they were punished by God. Similarly, in the last days, if we deny the substance of God or the work being done by one God because God has changed His work and name, then we are absurd and ignorant! Because the name which God takes in each age is meaningful. It is a great salvation for man.
God is always new and never old. He is an all-inclusive God. No single name of God can represent all of God. So as the ages pass, God changes His name. God says, “The name of Jesus was taken for the work of redemption, so would He still be called by the same name when He returns in the last days? Would He still do the work of redemption? Why is it that Jehovah and Jesus are one, yet They are called by different names in different ages? Is it not because Their work in these ages is different? Could a single name represent God in His entirety? In this way, God must be called by a different name in a different age, must use the name to change the age and represent the age, for no one name can fully represent God Himself. And each name can only represent God’s disposition during a certain age and needs only to represent His work. Therefore, God can choose whatever name befits His disposition to represent the entire age” (“The Vision of God’s Work (3)” ). “Could the name of Jesus, ‘God with us,’ represent God’s disposition in its entirety? Could it fully articulate God? If man says that God can only be called Jesus, and may not have any other name because God cannot change His disposition, then such words are blasphemy! Do you believe that the name Jesus, God with us, can represent God in His entirety? God can be called many names, but among these many names, there is not one which can encapsulate all that God has, there is not one which can fully represent God. And so God has many names, but these many names cannot fully articulate God’s disposition, for God’s disposition is too rich, and extends beyond the knowledge of man. The language of man is incapable of fully encapsulating God. … One particular word or name is powerless to represent God in His entirety. So can God take one fixed name? God is so great and holy, so why do you not permit Him to change His name in each new age? As such, in each age that God personally does His own work, He uses a name that befits the age to encapsulate the work that He does. He uses this particular name, one that possesses the significance of the age, to represent His disposition in that age. God uses the language of man to express His own disposition” (“The Vision of God’s Work (3)” ). God is a wise and almighty Ruler. He’s so great, bountiful and infinite. No single name could possibly represent God in His entirety. And God only does a part of His work in any one age. He only expresses part of His disposition. God has not expressed all that He has and is. So, for each stage of God’s work, He must use a specific name with age significance, which represents the work of that age, and the disposition He expresses. This is the principle of God’s work and the primary reason God changes His name.
from the movie script of God’s Name Has Changed?!
I made this and the previous photo of a sundial that is a permanent fixture in the Filoli Garden and of the sculpture Immutable Focus by artist Marilyn Kuksht from different side of the garden. In this photo the sculpture Immutable Focus is in the foreground with the permanent Filoli sundial in the background. I shot this using my Canon Powershot SX50.
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
By Ryan Gander
Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
By Susan Hiller
The raw material for her monumental bank of 104 analogue television screens, entitled Channels, is a collection of audio accounts and oscilloscope recordings of people who have experienced death and returned to tell the tale. These vivid stories in many different languages constitute a remarkable contemporary archive, whether the accounts are regarded as metaphors, misconceptions, myths, delusions or truths. The work, first exhibited at Matt’s Gallery in London, considers how such anomalous, near-death experiences might cause interference within our modern belief systems and influence collective cultural life.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Mr Jensen: I'm going to take you into our conference room. Seems more seemly a setting for what I have to say to you. I started as a salesman, Mr. Beale. I sold sewing machines and automobile parts.....hairbrushes and electronic equipment. They say I can sell anything. I'd like to try to sell something to you.
Valhalla, Mr. Beale. Please, sit down.
You have meddled with the primal forces of nature, Mr. Beale. And I won't have it! Is that clear? You think you've merely stopped a business deal. That is not the case. The Arabs have taken billions of dollars out of this country......and now they must put it back! It is ebb and flow, tidal gravity, it is ecological balance.You are an old man.....who thinks in terms of nations and peoples. There are no nations, there are no peoples. There are no Russians. There are no Arabs. There are no Third Worlds. There is no West! There is only one holistic system of systems. One vast and immane.....interwoven, interacting, multi-variate.....multinational dominion of dollars. Petrol dollars, electro-dollars, multi-dollars. Reichsmarks, rins, rubles, pounds and shekels.
It is the international system of currency which determines.....the totality of life on this planet. That is the natural order of things today. That is the atomic......and subatomic... ...and galactic structure of things today. And you have meddled.....with the primal forces of nature! And you will atone.
Am I getting it through to you, Mr. Beale? You get up on your little 21-inch screen... ...and howl about America and democracy. There is no America. There is no democracy. There is only IBM and ITT and AT&T... ...and Dupont, Dow, Union Carbide, and Exxon. Those are the nations of the world today. What do you think the Russians talk about in their councils of state? Karl Marx? They get out their linear programming charts.....statistical decision theories, minimax solutions.....and compute price-cost probabilities of transactions nd investments......just like we do. We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations.....inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale. It has been since man crawled out of the slime. And our children will live, Mr. Beale.....to see that.....perfect world.....in which there's no war or famine.....oppression or brutality. One vast and ecumenical holding company.....for whom all men will work to serve a common profit.....in which all men will hold
a share of stock.....all necessities provided.....all anxieties tranquillized.....all boredom amused. And I have chosen you, Mr. Beale.....to preach this evangel.
Estàtua humana descansant davant del Banc d'Espanya a plaça Catalunya de Barcelona el dia de la Mercè del 2006. El centre de Barcelona estava ple, i vaig tenir que tirar varies fotos abans de aconseguir aquesta on apareix el pallasso ben sol, immutable, davant de desenes de persones que no li feien el més mínim cas.
The early snow of November 2010 froze the roses still in full blooming.
Now they had emerged crispy and papery in their immutable beauty.
(no editing besides raw->jpg adjustments)
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]