da salomè / cb

o x / miron tee. 2022

wittgenstein in free download

link all’articolo:
https://www.artribune.com/editoria/libri/2022/01/ludwig-wittgenstein-open-source-wikimedia/

download:
https://www.wittgensteinproject.org/w/index.php?title=Project:All_texts

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link e materiali da/per “il cotone” (biblion/zacinto, 2021)

Marco Giovenale, Il cotone

Il cotone
Biblion/Zacinto, Milano 2021
collana Manufatti poetici, diretta da Paolo Giovannetti, Antonio Syxty e Michele Zaffarano

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scheda editoriale:
https://www.biblionedizioni.it/prodotto/il-cotone/

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Presentazione del libro @ La finestra di Antonio Syxty, 2 dicembre 2021, con interventi critici di Gian Luca Picconi:

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estratti dal libro su Niederngasse (sito):
http://www.niederngasse.it/rubriche/recensioni/il-cotone-marco-giovenale

(e instagram):
instagram.com/p/CY0pklbqQyM/

 

 

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“il cotone”, di mg, su niederngasse

grazie a Paola Silvia Dolci e a Niederngasse (sito e instagram) per l’ospitalità data al Cotone.
qui i linK:

niederngasse.it/rubriche/recensioni/il-cotone-marco-giovenale

instagram.com/p/CY0pklbqQyM/

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mg, tre testi + un’annotazione, su lpls

grazie a Pasquale Vitagliano per aver pubblicato su LPLS tre testi, tratti da Strettoie (Arcipelago Itaca), Delle osservazioni (Blonk) e La gente non sa cosa si perde (Tic).

qui il link:
lapoesiaelospirito.it/2022/01/14/poesia-italiana-del-xxi-secolo-61/

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il diario di anne frank (radio onda rossa, 18 gennaio, ore 14)

dalla rubrica
Tutta Scena Teatro
★ Radio Onda Rossa 87.9 fm

martedì 18 gennaio 2022, ore 14

● IL DIARIO DI ANNE FRANK

di Frances Goodrich e Albert Hackett
traduzione Alessandra Serra e Paolo Collo
con (in ordine di apparizione) Antonio Salines, Eleonora Tosto,
Raffaella Alterio, Francesca Bianco, Veronica Benassi, Vinicio Argirò,
Tonino Tosto, Susy Sergiacomo, Fabrizio Bordignon, Roberto Baldassari
regia Carlo Emilio Lerici
aiuto regia Martina Gatto
una coproduzione Teatro Belli / Compagnia Mauri Sturno

Lo spettacolo è tratto dall’opera omonima e Premio Pulitzer per la
drammaturgia nel 1956.
Otto Frank, unico sopravvissuto, ritrova nella soffitta il diario tenuto
da sua figlia Anne. Dalle pagine, riprendono vita le vicende della
famiglia ebrea nella Amsterdam occupata dai nazisti. È il 1942, e i
tedeschi danno la caccia agli ebrei di casa in casa. Prima del tragico
finale, Anne vivrà 2 anni nel rifugio segreto con la compagnia della sua
famiglia, della famiglia Van Daan e del dottor Dussel.
I dieci attori ci raccontano la loro quotidianità, in un sottile confine
ed equilibrio tra tragedia e leggerezza. Le circostanze, inusuali e
inimmaginabili, mostrano caratteri diversi e contrastanti, egoismi e
simpatie, paura e speranza, e lo sbocciare di un giovane amore.

Roma – Teatro Belli, 21>23 gennaio 2022
info https://www.teatrobelli.it/index.php?page=inscena&idc=889

opus 17 / eliane radigue. 1970

Eliane Radigue

Opus 17 (2CD)

l’humidité – 1970-78

textimagepoem blogzine

SUNDAY, JANUARY 16, 2022

jim leftwich, a page from No Such Thing As Repetition (2001)

jim leftwich
Death Text Book 8 (2003)
When bears prevail Take ___ breath (microbooks, 2011)
Pixies—-Calcium (2010)
Things Rescued From Eternal Nonexistence (2001)
No Such Thing As Repetition (2001)
WHAT (1996)
turtle fish sun flower. cat kite beetle boat. (2001)
noodle had (2001)
quasi-letteral anti-calligraphy (2011)
mead memo (2007)
mead memo (2004-2007)
mead memo (2002-2006)
mead memo (2006)

Labels: 2001asemic writinghistoriographyjim leftwichmicropress publishingongoing researchvisual poetry

POSTED BY JIM LEFTWICH AT 8:20 AM 

performance / angelo pretolani. 2009

Stringe con entrambe le mani un calice colmo di miele. Allunga le braccia in avanti. Reclina lentamente la testa indietro. Apre la bocca in un finto sbadiglio.

Da questa performance è stata tratta la seguente opera: Gocce di ceralacca su stampa digitale e matita su cartoncino, 31×21,5 cm.

Angelo Pretolani, 2009

história da poesia visual brasileira _ 2019

Thanks to Yuri Bruscky

Here’s the PDF file of the catalog of the exhibition História da Poesia Visual Brasileira (History of Brazilian Visual Poetry), held in Sesc Bom Retiro (São Paulo/SP, Brazil), in 2019. Curators: Yuri Bruscky, Paulo Bruscky, Adolfo Montejo Navas. The expo also included a sound poetry section.

https://www.academia.edu/49351891/Hist%C3%B3ria_da_Poesia_Visual_Brasileira_Cat%C3%A1logo_Sesc_Bom_Retiro_2019_

This publication was linked to a second (and summarized) version of the exhibition, which was originally held in 2016 at the Museu de Arte Moderna ALoísio Magalhães/Mamam (Recife/PE, Brazil) — and resulted in a more extensive book in terms of compiled works and republished historical/anthological texts (to be digitally available soon).

The pdf also here:

Fai clic per accedere a historia_da_poesia_visual_brasileira_cat.pdf

 

jacqueline de jong: upstairs-downstairs 1984-88

Sandro Ricaldone

JACQUELINE DE JONG
Upstairs-Downstairs 1984-88
The Works on Paper
Pippy Houldsworth Gallery – London
21 January 2022 – 12 March 2022

Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better. (Samuel Beckett)

Pippy Houldsworth Gallery presents Upstairs-Downstairs 1984-88: The Works on Paper a solo exhibition of previously unseen works by Jacqueline de Jong. This marks the first opportunity to see the complete group of the artist’s drawings related to her Upstairs-Downstairs paintings from the mid 1980’s, a series of works that is central to her wider oeuvre.

In 1985, de Jong was one of only 16 artists selected from 400 applicants to make work for the interior spaces of the new city hall in Amsterdam. The building had caused such controversy that it took over 60 years to come to fruition, but the final design by Wilhelm Holzbauer and Cees Dam was met with much acclaim, and City Hall was finally opened in 1988. De Jong was particularly interested by the central stairways and lobbies of this post-modern building, and subsequently made 27 paintings in response to these specific areas. The works remained in situ until parts of the building were demolished in 2017, after which they were acquired by the Amsterdam Museum.

The drawings featured in the exhibition at Pippy Houldsworth Gallery reveal the artist’s initial ideas for the commission, as well as glimpses into her working methods while contemplating it. Unlike their painting counterparts, the works on paper have remained removed from the public eye and in the artist’s own collection since inception. In the words of Juliette Desorgues, Curator of Visual Arts, MOSTYN, Wales:

“Each drawing consists of bold, primary acrylic paint and thick black charcoal linework used to delineate monstrous, hybrid figures, set within a multitude of backgrounds, some representing claustrophobic interiors, or sea- and landscapes, and others devoid of any setting. A key common pictorial trope that defines the series as a whole is the presence of a central staircase, echoing the one found in the location it was commissioned for and which gave the series its suggestive title. At times sinuous, other instances imposing in stature, or depicted only faintly through a black line, the staircase becomes a theatrical prop which sets the stage for erotic, violent and humorous encounters.

As the title of the series suggests, the figures are in a process of constant movement ascending and descending the staircase. They hurriedly, humorously and violently enter and exit the picture plane. Like the Theatre of the Absurd, defined by post-war playwrights such as Samuel Beckett, Eugène Ionesco and Jean Genet, which itself found inspiration in the silent films of Charlie Chaplin and Buster Keaton, their behaviour twists and turns aimlessly. A theatrical or filmic performance of tragi-comic chaos unfolds on canvas.

It is the very medium of art itself that is subverted throughout de Jong’s aesthetic language. Her work moves playfully in a process of constant flux and experimentation, following Beckett’s staccato riddle which opened this text, caught in a play between failure and renewal. As we circle back to this Beckettian dictate, de Jong’s work may be defined as one of the most prescient and distinctive of the post-war era and beyond”.

The exhibition runs concurrently with the artist’s solo museum survey exhibition, The Ultimate Kiss, inaugurated by WIELS, Brussels, in 2021; currently on show at MOSTYN, Wales; and touring to Kunstmuseum Ravensburg, Germany, later in 2022.

A small publication with the full text by Juliette Desorgues accompanies Jacqueline de Jong’s Upstairs-Downstairs 1984-88: The Works on Paper, and is available on request from Pippy Houldsworth Gallery.

jacqueline de jong: the ultimate kiss

Sandro Ricaldone

JACQUELINE DE JONG
The Ultimate Kiss
Mercatorfonds, 2021

“The Ultimate Kiss” is the most comprehensive international publication dedicated to the art of Jacqueline de Jong (The Netherlands, 1939).

Actively involved in the European avant-garde networks of the 1960s, and well-known as a former member of the Situationist International and publisher of The Situationist Times, De Jong has always maintained a dedicated studio practice at the core of her manifold activities for over six decades.

This book presents the full scope of De Jong’s artistic production: from the artist’s earliest expressionist abstractions to her recent painterly reflections on migration and the refugee crisis; from her graphic and print work to her experiments with potatoes as sculptural material. The Ultimate Kiss offers a thorough re-evaluation of an artistic oeuvre that has long remained under the radar and aims to posit De Jong as one of the most resourceful artists of our time.

The artistic, cultural and intellectual importance of De Jong’s art is traced in five essays and a conversation with the artist. Devrim Bayar discusses the artist’s formative years amidst the dynamic developments of the post-war European avant-garde, with a focus on the post-Cobra and post-Surrealist Belgian context. Juliette Desorgues situates the oeuvre of the artist within the space of theatricality, performativity and ‘the stage’.

In an interview with Alison Gingeras, the artist discusses her practice in relation to current political and cultural developments. De Jong’s playfully provocative embrace of violence and sexuality is the subject of an essay by Xander Karskens, while Annabelle Ténèze takes the notion of the rebound to look at the restless multidirectionality that lies at the heart of De Jong’s artisthood. In her personal account of three encounters with the artist, Niña Weijers portrays De Jong and her daily working practice.