Antonioni dies

Michelangelo Antonioni, Director, Dies at 94. (NYTimes)
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(El Pais)
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Ingmar Bergman dies

Ingmar Bergman, Famed Swedish Director, Dies at 89. (NYTimes)
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Giorgio Agamben, Metropolis

"Many years ago I was having a conversation with Guy (Debord) which I believed to be about political philosophy, until at some point Guy interrupted me and said: 'Look, I am not a philosopher, I am a strategist'. This statement struck me because I used to see him as a philosopher as I saw myself as one, but I think that what he meant to say was that every thought, however 'pure', general or abstract it tries to be, is always marked by historical and temporal signs and thus captured and somehow engaged in a strategy and urgency."
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Michel Foucault, Heterotopias (POR)

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Michel Foucault, Heterotopias

"This space of emplacement was opened up by Galileo. For the real scandal of Galileo's work lay not so much in his discovery, or rediscovery, that the earth revolved around the sun, but in his constitution of an infinite, and infinitely open space. In such a space the place of the Middle Ages turned out to be dissolved. as it were; a thing's place was no longer anything but a point in its movement, just as the stability of a thing was only its movement indefinitely slowed down. In other words, starting with Galileo and the seventeenth century, extension was substituted for localization."
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"For girls, there was, until the middle of the twentieth century, a tradition called the "honeymoon trip" which was an ancestral theme. The young woman's deflowering could take place "nowhere" and, at the moment of its occurrence the train or honeymoon hotel was indeed the place of this nowhere, this heterotopia without geographical markers."
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Vito Acconci (interview)

The Architectural Record Interview: Vito Acconci.
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Jacques Rancière, A Política da Arte

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Jacques Rancière, The Emancipated Spectator

"Being a spectator means looking at a spectacle. And looking is a bad thing, for two reasons. Firstly looking is put as the opposite of knowing. It means being in front of an appearance without knowing the conditions of production of that appearance or the reality which is behind it. Secondly, looking is put as the opposite of acting. He or she who looks at the spectacle remains motionless on his or her seat, without any power of intervention. Being a spectator means being passive. The spectator is separated from the capacity of knowing in the same way as he is separated from the possibility of acting."

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Miwon Kwon, The Wrong Place

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Koolhaas & Houellebecq em Barcelona

Rem Koolhas e Michel Houellebecq em Barcelona no El Pais de hoje.
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Janine Antoni

"I am always taken with the experience of sitting on a seat in the subway and feeling the body heat of someone who sat there before me," Antoni comments. "Maybe I never saw them, but I feel very close. One body recognizes the warmth of another. I seek that recognition in ny work."

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in Martha Buskirk, The Contingent Object of Contemporary Art, The MIT Press, 2003, p. 143.

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Jerry Saltz: Curating

Jerry Saltz, The Alchemy of Curating.
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Texto do antigo crítico do Village Voice (agora na New York Magazine) sobre escolhas e práticas dos curators, "the men in black", no contexto de Veneza, Kassel e Münster.
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STREET LIT:
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Ferran Adriá na Documenta

lê-se no signandsight.com:
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Merthen Wortmann was allowed to watch, as a selected pair of Documenta, visitors to eat the art of Ferran Adria. "After four and a half hours, they are finally taking their coffee. How was it? Challenging. Stimulating. Fabulous. Was it art? Hard to say; but it was definitely an artistic experience. The man says, 'Some things, you suddenly taste again in a purity and intensity, as though it was a drug trip.' The woman says: 'I've rarely given so much thought to what I was actually eating.'"

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Brian Eno

Conferência de Brian Eno na Pop!Tech.
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Enrique Vila-Matas, Paul Auster e Sophie Calle

Vila-Matas e Auster no El País de 23/06/2007.
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Mauricio Kagel - Eine Brise

“O Festival Kagel [Buenos Aires, de 17 a 30 de Julho de 2006] teve sua autêntica linha de partida com Eine Brise (Uma brisa), a obra para 111 ciclistas que Kagel concebeu para uma aprazível cidade alemã habitada por muitos estudantes, cujas condições acústicas certamente são muito diferentes da caótica Buenos Aires. O esquadrão deveria passar às 20h00 na frente do Teatro Colón; às 19h30 procedeu-se a parar o trânsito nas ruas adjacentes, e às 19h45, as escadarias e a calçada da frente do teatro estavam lotadas por uma multidão cheia de expectativas, tanto mais, quanto mais irrepresentável parecia ser a ideia de uma obra para 111 ciclistas! A obra é, efetivamente, uma brisa. Dura o que dura o desfile dos ciclistas, uns noventa segundos; o esquadrão se distribui em agrupações simétricas, e cada intérprete-ciclista tem adjudicada uma série de efeitos vocais e ruídos diversos, embora tudo transcorra numa espécie de mezzopiano. O ruído de base de Buenos Aires encobriu os sussurros de Eine Brise, embora a obra produzisse assim mesmo as suas cócegas, que não são tanto auditivas quanto visuais: umas cócegas que se produzem tanto pela mera representação, como também pelo efeito cômico de seu desequilíbrio entre os esforços quase urbanísticos requeridos para a realização e a fugacidade mais extrema, algo assim como uma gigante miniatura.”
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[VER VIDEO]

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Federico Monjeau, “Maurício Kagel, compositor de vanguarda residente na Alemanha, apresentou-se em Buenos Aires”, Humboldt 94 Ano 49/2007 (versão brasileira).

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(em 1998 os 22º Encontros Gulbenkian de Música Contemporânea foram, em parte, dedicados a Mauricio Kagel, juntamente com Emmanuel Nunes)

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nome

"My work is like the light in the fridge: it only works when there are people there to open the fridge door."

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Liam Gillick, Interview, September 2000, RENOVATION FILTER: RECENT PAST AND NEAR FUTURE (Bristol: Arnolfini, 2000)

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