tuesday 30 april 2002

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What the hell is the Fibonacci Series?


tuesday 30 april 2002

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Yaël Davids / untitled / photo / 68,5 x 101 cm / 1995

"Holes, parts, openings, gaps, gaping, wounds, scars, slits; these are just some of the words Davids' art encourages us to contemplate, and in extrapolation we must consider the meanings these words convey."


> Yaël Davids (Akinci Galerie, Amsterdam)


monday 29 april 2002

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 Hella Jongerius:
 Embroidered Tablecloth


"A 14th century copper red vase from China and a 15th century cobalt blue Ming vase were points of departure for the Embroidered Tablecloth. Decorative forms such as dragons and flowers on the vase were used to allow for a new pattern of openwork or embroidery. Ceramic decorations are closely relating to textile techniques such as embroidery."

Meer geborduurd porselein - en de befaamde rubberen wastafel - van Hella Jongerius op Jongeriuslab.


saturday 27 april 2002

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Ghada Amer: Encyclopedia of PleasureGhada Amer: Encyclopedia of Pleasure (detail)

In de installatie 'Encyclopedia of Pleasure' gebruikte Ghada Amer de teksten van een erotische handleiding uit de Islam van de 11de eeuw:

"In her current installation at Deitch, Ms. Amer uses passages from an 11th-century book written by a Muslim man titled the "Encyclopedia of Pleasure." In the book he earnestly tries to catalog, scientifically, all aspects of sexual pleasure for both men and women.

On the 57 boxes stacked and scattered around the gallery like moving crates summoning the idea of leaving an old home for a new one Ms. Amer fitted canvas slipcovers embroidered with sections from the encyclopedia pertaining to women, including her favorite chapter, "On the Advantages of a Nonvirgin Over a Virgin."

uit Stitch by Stitch, a Daughter of Islam Takes On Taboos in de New York Times (login: jandevries / password: jandevries).


saturday 27 april 2002

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Ghada Amer (unknown title)Ghada Amer (detail)

Deze week zag ik het werk van de Egyptische en islamitische Ghada Amer, abstracte schilderijen met daar overheen borduurwerk van erotische taferelen. Ghada Amer vertelt in een interview:

"I think the language of painting is a language invented by men. It is not a critique, I love painting! Female artists have been taught art history and the construction of the 'tableau' which is a totally masculine vision and that is ok, but we (women) have to be conscious about it. This is someting I am very sensitive to and wanted to reconstruct. I did this first by using images from pornographic magazines invented by men, for men. I wanted to re-present the woman within a medium that was identifiably female in order to empower the images (what I call double-submission) and liberate them through the power of seduction."

Ghada Amer's werk is t/m 19 mei te zien in De Appel (English site here) in Amsterdam.


thursday 25 april 2002

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  Maria Roosen:
  Kan met kabeltrui
  (Jug with cable-knit sweater)


"DERTIEN DINGEN DIE MARIA ROOSEN HEEFT GEDAAN (in willekeurige volgorde):

Een bol van bramentakken gerold.

Glazen borsten laten blazen.

Pantoffels voor de reus besteld.

Een reuzenrozenkrans om een middeleeuws standbeeld gehangen.

Een tent verankerd met glazen kannen.

Penissen gekleid.

Glazen kannen een truitje aangetrokken.

Spiegelende borsten in een pruimenboom gehangen.

Lederhosen met vloeibaar gas gevuld.

Geveegd met een bezem van wilgenkatjes.

De wereld weerspiegeld in een zwarte glezen bol."

uit: 'Ziezo', een boek van Bianca Stigter over Maria Roosen.


thursday 25 april 2002

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 Jenny Holzer: Lustmord

Holzer maakte van het werk 'Lustmord' verschillende varianten, waaronder een krantenbijlage:

"Lustmord" is written from three different perspectives (the Observer, the Perpetrator and the Victim) regarding the rape of women in wartime. The "Lustmord" photographs, images of the text written on human skin, originally were presented in the magazine of the Suddeutsche Zeitung, reaching five hundred thousand readers. The ink used on the cover of this magazine contained women's blood."

De New York Times over Jenny Holzer's Trusms.


thursday 25 april 2002

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 Jenny Holzer: Lustmord (screen saver)

"Lustmord is one of the very first artist produced screen savers. It continues Holzer's examination of relationships between language and experience and the individual and society."

Jenny Holzer's Lustmord ("The color of her where she is inside out is enough to make me kill her") op artmuseum.net.


wednesday 24 april 2002

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  Muntean/Rosenblum:

 'She felt a strong sense ...'


"She felt a strong sense of lurking evil - the experience of pleasure coupled with the certainty that it will end."

Muntean & Rosenblum


monday 22 april 2002

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Peregrine Honig: C is for Crush   Peregrine Honig: Tallow Bird

Acryl op zondagse handschoenen. 'C is for Crush' en 'Tallow Bird' van Peregrine Honig.


sunday 21 april 2002

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  Louise Bourgeois: Art is a guaranty of
  sanity


saturday 20 april 2002

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  Thomas Ruff: nudes c02



"In the world of images of internet-pornography, Ruff achieves to discover modern 'Nude Paintings', that are obscene, exhibitionistic, pervert, sometimes clumsy and sometimes slick, but often contain a stance for ?beauty?. With his transformation, he wants to produce a certain respect, despite the seemingly abnorm subject matter and to give them some kind of dignity back."


Thomas Ruff's nudes


friday 19 april 2002

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Sue de Beer: Sasha     Sue de Beer: Two Girls

"We see the bloody interior of her torso, yet her expression is one of ennui. What happened, or is about to happen, is less important to de Beer than the way the body occupies space."

> Sue de Beer


thursday 18 april 2002

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  Marlene Dumas: Before or After the Revolution?

"Insisting that we recognize how inevitably linked intimacy and discomfort are, Dumas makes it her business to root out the well-hidden, but always-present, perversity that is immanent to pleasure - whether we like it or not."

Uit een artikel over Marlene Dumas, naar aanleiding van de tentoonstelling 'Name No Names' in het New Museum of Contemporary Art.


wednesday 17 april 2002

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  Berend Strik: Blowjob
  (stitched on porno photo)


wednesday 17 april 2002

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'Work No 220: Don't worry' en 'Work No 203: Everything is going to be alright' van Martin Creed.


tuesday 16 april 2002

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analoog (bn.)

1. Een analogie inhoudend => overeenkomstig, analogisch

2. Met overeenkomstige functie

3. De gegevens verwerkend en representerend in de vorm van fysische grootheden <=> digitaal

analogy (noun)

1. Drawing a comparison in order to show a similarity in some respect.

2. An inference that if things agree in some respects they probably agree in others.


tuesday 16 april 2002

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Michael Raedecker: Pinch

"Painting is a very slow form of art. Embroidery is even slower. I think I really like that slowness. If you use the thread, you really have to make an effort to make the work."

Michael Raedecker - schilder en borduurder - vertelt over zijn werk.


sunday 14 april 2002

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thursday 11 april 2002

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Nummer [0083] en meer. Marcel van Eeden's Tekenlog nog vier dagen in levende lijve te bezichtigen bij Galerie Maurits van de Laar in Den Haag.


wednesday 10 april 2002

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"To me, a sculpture is the body. My body is my sculpture."

Louise Bourgeois


tuesday 09 april 2002

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Rachel Whiteread: Untitled (Amber Bed)

"You've said that furniture functions as a "metaphor for human beings" and all of your furniture pieces your bed pieces in particular tend to evoke absence and loss."

If Walls Could Talk: An Interview with Rachel Whiteread ter gelegenheid van de tentoonstelling 'Transient Spaces' in het Guggenheim Museum New York.


monday 08 april 2002

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"Something output by a computer will look the same everytime; I'm interested in the imperfection, the part that is off."

(Dubieuze uitspraak van de Amerikaanse kunstenares Margaret Kilgallen van wie op dit moment werk te zien is op de Whitney Biennale 2002. Tragisch 'detail' is dat Margaret afgelopen zomer op 33-jarige leeftijd overleed.)


sunday 07 april 2002

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Ribs, 1987. Terra-cotta, ink, and thread, 22 x 17 x 10 inches Kiki Smith: 'Ribs'

"I think I chose the body as a subject, not consciously, but because it is the one form that we all share; it's something that everybody has their own authentic experience with."


Kiki Smith




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