ted larsen

http://www.tedlarsen.com/index.cfm

andrey molodkin

http://www.russiandreams.info/ru/photographer/molodkin

Aleksandra Mir

http://www.aleksandramir.info/

the future is dynamic

some contemporary (utopian) visions

http://www.dynamicarchitecture.net/

http://www.freedomship.com/

Dan Smith

Wells's First Utopia: Materiality and Portent

by Dan Smith

yelena @ Slash Seconds

http://www.slashseconds.org/issues/003/003/articles/ypopova/index.php

http://www.altertopian.com/Site_3/Cover.html

http://www.kollectiv.co.uk/

Talked to Nigel Rolfe.

He said the most successfull things are those in which you are in... loosing yourself..

mentioned http://www.markusvater.com/

and Tadeusz Kantor

http://en.wikipedia.org/wiki/Tadeusz_Kantor

Douglas talked to me about collage as a medium and way of work.... it's print destination....

reference:

Hannah Höch

Raoul Hausmann

Don't really want anything to do with dada, nor surrealism, but do see similarities in my work :(

good stuff

looking at http://www.simonandtombloor.co.uk

As long as it lasts project is very relevant to my thinking

http://www.simonandtombloor.co.uk/page15.htm

Comrades of Time

The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now....

In order to move further down the narrow path of the present, modernity shed all that seemed too heavy, too loaded with meaning, mimesis, traditional criteria of mastery, inherited ethical and aesthetic conventions, and so forth. Modern reductionism is a strategy for surviving the difficult journey through the present. Art, literature, music, and philosophy have survived the twentieth century because they threw out all unnecessary baggage. At the same time, these lightened loads also reveal a kind of hidden truth that transcends their immediate effectiveness. They show that one can give up a great deal—traditions, hopes, skills, and thoughts—and still continue one’s project in this reduced form. This truth also made the modernist reductions transculturally efficient—crossing a cultural border is in many ways like crossing the limit of the present....

The present has ceased to be a point of transition from the past to the future, becoming instead a site of the permanent rewriting of both past and future—of constant proliferations of historical narratives beyond any individual grasp or control.

Boris Groys Comrades of Time

http://www.e-flux.com/journal/view/99

http://www.utopia.ru/

qubik

Qubik is good.

http://www.qubik.info/qubik.html

Pierre Huyghe

got interested in Pierre Huyghe's work

http://www.tate.org.uk/modern/exhibitions/pierrehuyghe/default.shtm

Pierre Huyghe's strength lies in his understanding of the fact that an image always comes with baggage.

...Within this I have also attempted to indicate new ways of thinking about text, image and discourse and thematic common concerns which enable film and the visual arts to be thought has sharing preoccupations. If we make an imaginary list of these preoccupations, time, place, memory, history and representation we would not necessarily think of moving or still media as the exclusive domain of such concerns, so my point essentially is that it is the preoccupations that become the source of critical commentary, even if the materiality might require a different nuance within reflection. The institutional question contained within these thoughts would lead us logically to suppose that if it is forms of discourse that is shaping the processes of work then this would in turn change the emphasis within critical modes of dialogue. In some respects all these issues might lead to entering into the space created at Tate Modern by Pierre Huyghe which moves across various registers in order to create a single statement which itself undoes the nature of a retrospective gathering of work. What is at issue is not so much the discrete boundary indicated by mediums but the play of spaces between fiction, document, authorship and cultural memory...

Jonathan Miles

I'm interested in work which attempts to appropriate new territories

and in curating outside a good old white cube.

http://www.curatingdegreezero.org

Nature Morte by Joseph Brodsky

people and things crowd in.

Eyes can be bruised or hurt

by people as well as things. 

Better to live in the dark

I sit on a wooden bench

watching the passers by-

sometimes the whole families.

I fed up with light.

This is a winter month. 

First on the calendar. 

I shall begin to speak

when I'm fed up with the dark.

IV

things are more pleasant. Their 

outside are neither good 

nor evil. And their insides

reveal neither good nor bad.

The core of things is dry rot.

Dust. A wood borer. And 

Brittle moth-wings. Thin walls.

Uncomfortable to the hand.

Dust. When you switch lights on,

there's nothing but dust to see.

That's true even if thing

is sealed hermetically.

VII

Summing their angles up

as surprise to us,

things drop away from man's

world-a world made with words.

things do not move, or stand.

That's our delirium.

Each thing's a space, beyond

which there can be no thing.

A thing can be battered, burned,

gutted, and broken up.

Thrown out. and yet the thing 

never will yell, "Oh Fuck!"

time as a subject matter

thinking time

Time can be neither seen or felt, neither heard nor tasted nor smelt. How can something be measured if it’s not perceptible to the senses.  

Time: an Essay by Norbet Elias

thinking artist book

looking at artists books and publishers.

http://www.bookartbookshop.com/docs/publisher_lucey.htm

looking at drawings by susan hefuna and work of Lucy Skaer

Chris Trueman

Chris Trueman is an artist who lives and works in the Los Angeles area. Chris’ paintings explore the idea of identity as the management of multiple micro identities. He creates dynamic paintings that are constructed by fusing essentialized and abbreviated styles, sourced from contemporary and modern painting history that includes abstract expressionism, hardedge abstraction, architectural abstraction and pop art. These paintings are built by piling components, and the interactions that elements have between each other are at times adversarial, whimsical, dynamic, and harmonious. The result is a painting that is both a single object and a composite of multiple paintings — a Frankenstein of pop-abstract-geometric expressionism. 

>depictionandpainting

B.S. Johnson

http://www.bsjohnson.info/

also see
Mitchell, W.J.T (1986) Iconology: Image, Text, Ideology Chicago: University of Chicago,

we were making collages with texts and images for a Finger Forest Zine all evening.   
day later in the studio I've started to make sculptures collaging objects
Suddenly it started to make sense

deadline 1 november

«ГРАНИЦЫ» borders

Contemporary culture can no longer be seen as a single totality, but as an interrelated network – described as an archipelago. It is both unified and separated: an example of the relationship between one and many. Islands of thoughts and forms are clustered together, yet they may not have a total ‘continental’ definition. Artists are not only crossing national borders but also breaching the traditional artistic borders of form and medium. Trangressing these borders, artists link mediums and forms, geographies and time periods.

Nicolas Bourriaud, Altermodern: Tate Triennial, Tate Publishing, 2009 (p13-14).

Painting borders / Живопись граничит

(свежая, новая, молодая) заграничная живопись /границы пограничники заграничники

обозначение территории/ (abstract paining) mapping the terrain

www.youngart.ru

аполена аполена

Find>read>think

TALKING PANTING by David Ryan

and perhaps

Critical perspectives on contemporary painting

 

By Jonathan P. Harris, Tate Gallery Liverpool

size matters?

Martian Gardener paintings started as a series of small paintings (around 20). the sizes are 19x24 up to 42x 59cm ) Drawing inspiration from Russian Icons these paintings are very much the objects, they sat well in hand,(painted on printed textiles stretched over recycled boards)the weight of the boards and the colorful fabric seen on the side gave them the object like presence. The lines are thin and the layers of paint are delicate and almost transparent.
I've decided to make a bigger work (around 120 -160 cm) and almost immediately felt that the way I've painted the small boards does not work on a bigger scale. On a bigger scale delicate lines and thin layers looked more like architectural draft , dry and boring. the bigger painting have stepped outside the well crafted, sacred object category and lost it's presence. The bigger scale needed painting 'to happen' to become more physical, raw, bold... painterly.... 

count it as a failure?!.....

Michel Serres’ ideas on noise/clamour . Serres writes about ‘fuzzy logic’ but ‘mess’ is increasingly being cited as a new paradigm in research methodology and is being transposed to other disciplines and creative practices. See John Law, After Method : Mess in Social Sciences Research, 2004

since end of May working on a black series;

black marker on dozens (30?) postcards 10x15cm +15 A3 posters.

wish I could get hold of the big posters( 200 sm high)  from the boxes on the street. 

Another wish is to be able to print them like that. Silkscreen? he-he very complicated...

thinking about trans post human continued

reading Susan Sontag "Illness as Metaphor and Aids and its Matephors"

"Illness is the night-side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use only a good passport, sooner or later each of us is obliged, at least for a spell, to indentify ourselves as citizens of the other place."  

Maybe technology eventually will be able to prevent any illnesses. Could that be that Sontag's dual citizenship is one of the most basic characteristics of a human?

trans-post human?!

naive artist (re)thinking human.

by Franz Muller

by Johann Fischer

by August Walla

by Jacob Greuter

trans-post human

b y  n a t a s h a   v i t a - m o r e

mind the future!

I (truly) am a futurist :)

http://en.wikipedia.org/wiki/Futurist

http://www.wfs.org/ownermanual.htm