Zhang Huan - Ash Buddha (2007)
Georges Braque, Le musicienne, 1917
The definitive representation of the “fleeting moment”.
"Cubism was a singular event in the history of art, you might say the most astounding transformation in the entire history of art. In Cubist painting, solid, apprehensible reality, located in space and fixed in time, crumbled; and, like Humpty Dumpty, its pieces could not be reassembled. Objects fractured into visual fragments then were rearranged so that the viewer would not have to move through space in an allotted period of time in order to view them in sequence. VIsual segments of the front, back, top, bottom, and sides of an object jump out and assault the viewer’s eye simultaneously.” - Leonard Shlain, Art and Physics: Parallel Visions in Space, Time, and Light
Eastern and Western concepts of time are as different as the two conceptions of space. In the West most people believe the past is something we have left behind and cannot see unless we turn around, while the present is where we exist momentarily as we stride confidently facing forward into the future, in front of us. But in a more accurate metaphor, the Chinese liken time to a river and human awareness to a man standing on its bank facing downstream. The future approaches him from behind and becomes the present only when it arrives alongside where he is standing and he is first conscious of it out of the corner of his eye. Thus, before he can assimilate the present, it is past already. The present washes away to become history in front of the observer. The recent past is nearer and it can be seen more clearly. The distant past is far away ahead of him, its features only dimly perceivable. Instead of squarely facing the oncoming future in the Western metaphor, this more accurate allegory acknowledges how the present, as we all know, continuously blindsides us from an angle of vision that assures that we will be unprepared.
— Leonard Shlain, Art and Physics: Parallel Visions in Space, Time, and Light
Borondo -Espagne- « glass scratching »
Comme Vhils (http://pourtoutlartdumonde.tumblr.com/post/62881665148/vhils-portugal-street-art-ecologique-vhils), Borondo participe à la réinvention du street art, sa dernière trouvaille : le « glass scratching » ou « grattage de verre ».
« Là où la crise a frappé, il y a beaucoup de magasins fermés et vides. Tu grattes un peu la vitre et soudainement tu peux voir à l’intérieur. Je trouve ça assez poétique, le verre a quelque chose de magique. Des fois je fais l’inverse : je peins des spots publicitaires lumineux en noir et je laisse transparaître la lumière en grattant. » Il confesse que cette technique a également un avantage pratique : « C’est une astuce pour ne pas être arrêté par la police : techniquement, tu es juste en train d’effacer de la peinture sur une vitre. »
Tom Phillips - A Humument (1966-73)
“In 1966 Phillips set himself a task: to find a second-hand book for threepence and alter every page by painting, collage and cut-up techniques to create an entirely new version. He found his threepenny novel in a junkshop on Peckham Rye, South London. This was an 1892 Victorian obscurity titled A Human Document by W.H Mallock and he titled his altered book A Humument.
The first version of all 367 treated pages was published in 1973 since when there have been four revised editions. A Humument is now one of the best known and loved of all 20th Century artist’s books and is regarded as a seminal classic of postmodern art.”
Comparison is an act of violence against the self.
— Iyanla Vanzant (via burtoo)
Motohiko Odani - Malformed Noh Masks (2007-8)
In the end there doesn’t have to be anyone who understands you. There just has to be someone who wants to.
— Robert Brault (via 33113)