❤9
Gruppo T exhibition at Galleria Pater with Lucio Fontana
Alfio Di Bella
Milan, 1960
“…the Group T (so called referring to the concept of time, as a new variable of becoming in a space-time dimension that fully involves the user), while relying on a collectivist idea of the artistic work that led to the proposition of works with the signature "Gruppo T", never completely dissociated production from individual personalities as it did elsewhere for other groups who chose to sign their works only and exclusively behind a sign. For more than a decade the works and actions of Group T have raised the problem of the habitability of the work (environment-work) and its interaction with the spectator, becoming the pioneers of operating modes then gained in the next decade.”
[x]
Alfio Di Bella
Milan, 1960
“…the Group T (so called referring to the concept of time, as a new variable of becoming in a space-time dimension that fully involves the user), while relying on a collectivist idea of the artistic work that led to the proposition of works with the signature "Gruppo T", never completely dissociated production from individual personalities as it did elsewhere for other groups who chose to sign their works only and exclusively behind a sign. For more than a decade the works and actions of Group T have raised the problem of the habitability of the work (environment-work) and its interaction with the spectator, becoming the pioneers of operating modes then gained in the next decade.”
[x]
❤2
Jørn Utzon
Espansiva
Hellebæk, Denmark
1969
“The Espansiva system was designed to offer the user complete freedom of choice for planning their building as well as for extending and altering it at any time. […]
Each type of module configuration has different circulation within its larger composition. This allows the compositions to both inform and be informed by the configurations intended use. This flexibility of purpose was Utzon’s main concept while designing Espansiva.”
[x]
Espansiva
Hellebæk, Denmark
1969
“The Espansiva system was designed to offer the user complete freedom of choice for planning their building as well as for extending and altering it at any time. […]
Each type of module configuration has different circulation within its larger composition. This allows the compositions to both inform and be informed by the configurations intended use. This flexibility of purpose was Utzon’s main concept while designing Espansiva.”
[x]
❤3👍2
hold on to the
subject.
The mind
quite easily
wishes to
switch to the next
tangentially connected
thought or story.
*
Then,
before you know it
you are lost. Or
perhaps what you
want is
to be lost? We
don't know what we're
doing and
we're doing it.
*
We don't know
what we are
doing and
we are
doing it,
and everything is stolen
anyway.
From 'Cheap Lecture' by Jonathan Burrows and Matteo Fargion, commissioned by Cultureel Centrum Maasmechelen and Dans in Limburg, 2009.
'Cheap Lecture' is a rhythmic spoken performance with music, which borrows its structure from John Cage's 'Lecture On Nothing'. The shape of the text above is a visual image of the rhythm of the words when spoken, and each line represents a beat. The gaps between printed words suggest the flow or hesitation in our speaking, and an asterisk is a counted pause.
subject.
The mind
quite easily
wishes to
switch to the next
tangentially connected
thought or story.
*
Then,
before you know it
you are lost. Or
perhaps what you
want is
to be lost? We
don't know what we're
doing and
we're doing it.
*
We don't know
what we are
doing and
we are
doing it,
and everything is stolen
anyway.
From 'Cheap Lecture' by Jonathan Burrows and Matteo Fargion, commissioned by Cultureel Centrum Maasmechelen and Dans in Limburg, 2009.
'Cheap Lecture' is a rhythmic spoken performance with music, which borrows its structure from John Cage's 'Lecture On Nothing'. The shape of the text above is a visual image of the rhythm of the words when spoken, and each line represents a beat. The gaps between printed words suggest the flow or hesitation in our speaking, and an asterisk is a counted pause.
❤5
Lygia Clark
Diálogo: Óculos
1968
«Lygia Clark’s interest in researching human interplay and group-dynamic processes also led to her designing diverse objects that were applied as a means of discourse and communication. The «eyeglasses» […] not only help sharpen vision, they produce a new way of seeing.»
[x]
Diálogo: Óculos
1968
«Lygia Clark’s interest in researching human interplay and group-dynamic processes also led to her designing diverse objects that were applied as a means of discourse and communication. The «eyeglasses» […] not only help sharpen vision, they produce a new way of seeing.»
[x]
❤4👍1
“She had been born with the veil in her eye. A severe myopia stretched its mad dening magic between her and the world. She had been born with the veil in her soul. Spectacles are feeble forks only just good enough to catch little bits of reality. As the myopic people know, myopia has its shaky seat in judgment. It opens the reign of an eternal uncertainty that no prosthesis can dissipate.
From then on she did not know. She and Doubt were always inseparable: had things gone away or else was it she who mis-saw them? She never saw safely. Seeing was a tottering believing. Everything was perhaps. Living was in a state of alert.”
— Hélène Cixous, Jacques Derrida, Savoir from Veils
From then on she did not know. She and Doubt were always inseparable: had things gone away or else was it she who mis-saw them? She never saw safely. Seeing was a tottering believing. Everything was perhaps. Living was in a state of alert.”
— Hélène Cixous, Jacques Derrida, Savoir from Veils
❤3