Street radical
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"It is the grey infused by color
It is the invisible revealed
It is the mundane blown away by awe"
Jason Silva
Jannis Kounellis, "Senza titolo (Notte)"_1996
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www.maxxi.art/events/jannis-kounellis-notte/
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Un omaggio a un artista che ha saputo modificare radicalmente il rapporto fra le opere e chi le guarda.
Il progetto si concentra sul carattere profondamente connesso al teatro e alle azioni performative che attraversa tutta la ricerca di Jannis Kounellis.
Al centro della galleria 5 l’opera Senza titolo (Notte), riprendendo le prime sperimentazioni con l’alfabeto realizzate negli anni Cinquanta, racconta di un distanziamento dell’artista da ogni tipo di gerarchia di visione. Le lettere, come arti di un corpo in movimento, oscillano nello spazio chiedendo di essere decifrate e, allo stesso tempo, osservate come puri segni.
L’opera Senza titolo (Nabucco) fa riecheggiare, in maniera rallentata e con un afflato onirico, le note dell’aria Va pensiero nella galleria che rimane così in bilico fra spazio scenico e spazio espositivo.
A chiusura del percorso un riallestimento dell’opera concepita dall’artista per il chiostro di San Lazzaro degli Armeni a Venezia – in testata – gioca sulla tensione fra i materiali: come una quinta teatrale rimane sospesa a indicare un passaggio e una tensione fra il dentro e il fuori del museo.
As I gazed quietly at a Tulip in Denmans Garden (no apostrophe, apparently) I found myself tempted by a radical hypothesis: that there is actually only one Tulip; one Immortal Tulip.
Certainly, there used to be many millions of them, dotted all around the world, but I suspect that at some point in the last few decades, they came together in a sort of Tulip Conclave, discussed the possibilities of the future for Tulip-kind, decided that it all looked a bit ‘same old, same old’ and, sticking two fingers up to the material world, they promptly coalesced into a single unified energy-based entity… and moved on.
You can do that, allegedly, the coalescing bit, if there are enough of you having the same idea at the same time.
But how, I hear you ask, can we still see acres of Tulips wherever we look, if that is the case?
Simple, says I: as a courtesy to the millions of Tulip lovers around the world, the Immortal Tulip just rapidly changes its position and appearance a few trillion times every second so that it gives the impression that everything is as it was; sort of like a film at the cinema which runs at only 24 frames per second but gives the appearance of real life, complete with smooth, natural motion. This seemingly frantic activity actually costs the Immortal Tulip almost nothing in terms of energy and time, as it now has direct access to the power network of an entire Universe, and, it still gets to bathe in the admiration of the Bees and other onlookers.
However, given that the Immortal Tulip now lives at the speed of light, and given that it only takes a few billionths of every second to perform all of that jumping around, the real question is, what is it doing the rest of the time?
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The Immortal Tulip. Shot in Denmans Garden, Fontwell, West Sussex.
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Usual caveats etc.
Radical thinkers and the intelligently rebellious.
The brutally honest frustrations of a man out of his time, or just another fool that doesn't understand the situation ?
This was my first view, looking up Radical Steps. Flaring sun ...
I used my hand as an improvised lens hood to produce the previous image. But this one has a certain charm, I think.
I thought I'd try something Radical from my collection of Sunflower Photographs from my Garden.
I took these Two Photographs (some time during the summer of 2001) of Sun Flowers that I grew in my Backyard Garden in Pinellas County, Florida. I then Combined and Manipulated them with Photoshop™ to create this Radical Creation !
The Date shown is July 11, 2001, which is the date that the Kodak Lab Scanned my Film.
Disclaimer: These photographs were taken with my Minolta Maxxim 5000 35 mm Single Lens Reflex Camera with Color Slide Film, when I was just learning photograph, so they are very soft & grainy. I brought my Film to a Local Pharmacy, and they sent it to a Kodak Lab for Slide development and the generation of a CDROM with all of the Slides from my two Rolls of Slide Film. I then touched up the Photographs from the CDROM for Exposure and Saturation with Photoshop Elements before I added them to my flickr˜ Photostream.
"We can only receive love to the extent that we unconditionally love and live the truth of ourselves. "❤️
On 24th May 1984, 73135 propels the 1005 Gatwick to Victoria away from the airport.
The previous incarnation of special train provision for Gatwick Airport using the modified 4-VEG units was deemed unsuccessful.
Passengers arriving at Gatwick had (not unreasonably) boarded the first train to London, which might have included a 4-VEG but was more likely to be a Brighton to Victoria service.
In 1984 a radical high profile replacement service was launched. A large marketing campaign was backed by an introduction of a Victoria to Gatwick only service, running every 15 minutes and critically, ensuring at both Victoria and Gatwick, there were trains waiting at dedicated platforms to depart. At a stroke the latter move ensured passengers arriving at either station had a platform to go to and a train waiting for them. Results were immediate, with 38% more passengers using rail to access Gatwick in the first year.
As to the rolling stock: illustrating that British Rail's Southern Region was indeed a direct descendent of the Southern Railway, the solution was very 'make do and mend': Class 73 locomotives with newly cascaded Mark 2 coaches and converted EMU driving coaches operated in push pull mode.
Photograph by an unknown photographer, now part of my collection.