More:
Wikipedia
Monthly Photo
More at Meessen De Clercq and Le College des Bernardins
hat tip: http://janetspeier.tumblr.com/
Vangel Naumovski, Pearls of Youth, 1973
Vangel Naumovski, Atlantis, 1977
Vangel Naumovski, Sunset Garden, 1968
Vangel Naumovski, Prohibited Thoughts, 1973
Vangel Naumovski, Playful Girls, 1975
Vangel Naumovski, Lake Bride, 1973
Vangel Naumovski, Spiral Galaxy, 1981
Vangel Naumovski was born in 1924 in the Macedonian city of Ohrid (then part of Yugoslavia). He was interested in art at a young age, but this lead nowhere as he left school after third grade and worked a series of odd jobs — gardener, farmer, butcher. After a stint in the army, he enrolled in art school in Skopje in 1946, lasting a year. He then worked in a woodcarving shop in Ohrid for thirteen years. During this time he was painting, initially in a folk myth style which lead to him being considered a Naive artist.
In the early 60s his painting morphed into the gooey surrealism seen here. He first exhibited in Yugoslavia in the 50s, and later had one-man shows in Rome, London, Paris, and Toronto. At some point he started a gallery in his home in Ohrid (still open?). He died in 2006.(…)
More via A Journey Round My Skull
Beijing #41, China 2003
Paris #02, Trocadero, Paris 2003
Mumbai #02, Taxi Driver, Mumbai 2006
Chine #02, Forbidden City Wall, Beijing 2003
Hong Kong #05, Hong Kong Stock Exchange 2008
Bruxelles #05, Atomium 2008
More via Young Gallery
hat tip: giancarlo drago
René Burri, Cuadra San Cristobal by Luis Barragan, Mexico, 1976
Casa Gilardi, 1975-77
Luis Barragan
© Armando Salas Portugal/Barragán Foundation, Switzerland
Cuadra San Cristobál,
Los Clubes, 1966-68
Luis Barragan
© Armando Salas Portugal/Barragán Foundation, Switzerland
Fuente de los Amantes,
Los Clubes, 1966
Luis Barragan
© Armando Salas Portugal/Barragán Foundation, Switzerland
Roof terrace of Barragán’s home at Calle Ramírez, Mexico City
Luis Barragan
© Armando Salas Portugal/Barragán Foundation, Switzerland
Capilla de Tlalpan,
Mexico City, 1953-1960
Luis Barragan
© Armando Salas Portugal, Barragán Foundation, Switzerland
Barragan’s home at Calle Ramirez, Mexico City
Luis Barragan
© Armando Salas Portugal/Barragan Foundation, Switzerland
via MORNINGOOOD
via Magic Words
“Portrait of Jean Cocteau by Irving Penn”
As part of the Guggenheim’s “Chaos and Classicism” exhibition, curator Charles Fabius had organized a theatrical performance Coup De Foudre, based on Jean Cocteau’s film, The Blood of a Poet (1930). Paul Miller (DJ Spooky) had rescored the original film with his music to Melvin Van Peebles‘ spoken word accompaniment and choreographer Corey baker’s (of Ballet Noir and Fela!) dance performance.
” Corey Baker – COUP DE FOUDRE/Performance Photos by Enid Alvarez”
“Jean Cocteau – The Blood of a Poet, Film still by Sacha Masour”
Cocteau had made this film with the support of Coco Chanel after having just come out of opium rehab. The film itself is a patchwork of metaphors, at times a puzzling reflection of the artist’s exploration of art and dreams,”a descent into oneself,” as Cocteau once put it. The artist enters his own psyche through the metaphoric device of a mirror, opening doors to his own subconscious imagination into childhood memories, dreams, sexual ambiguities and fears, which lead to exhaustion and a flirtation with death. Eventually the artist recovers and destroys the muse of his imaginations. Yet, this poetic film’s premise remains open to speculation.
“DJ Spooky -Paul Miller, Melvin Van Peebles, Corey Baker at Guggenheim, October 10, 2010, photo: Kisa Lala”
While Melvin Van Peebles translated Cocteau’s poems with a contemporary bent, Cory Baker added his own body movements as gestural vignettes to emphasize and reinterpret the actions of the film. Baker said after his performance, that he studied the main character, and in order to interpret the fluid movements of the film, he decided on making his gestures supple, less angry, approaching it with an actor’s perspective, infusing the production with ‘choreographic paragraphs’ – as opposed to creating one long piece.
“A still from Jean Cocteau’s The Blood of a Poet. Photograph: Kobal Collection”
In the era of silent films, the actor’s movements and gestures were naturally amplified. Cocteau having worked with Diaghliev and Ballet Russes, was a master of movement, and also, ahead of his times as a multi-disciplinary artist.
Paul Miller (aka DJ Spooky), just returned from the North Pole, offered his interpretation: “The film is actually a poem: Cocteau is thinking of the film set as a code made into poetry, made into an architectural, physical space,” posited Mr. Miller, in a statement as equally opaque as the film.
Miller’s score began with a live solo cello played by the Telos Ensemble, and an electronic mix, which he ‘conducted’ using his iPad. His wonderful score actively paced the film’s non-narrative flow.
“Cocteau’s film was post geographic,” said Miller. As a DJ and musician, the era between the wars was a source of many inspirations – as disparate as Kurt Weill, Josephine Baker and Apollinaire. “The war had shattered everybody’s sense of continuity, and jazz was the soundtrack,” stated Miller.
The DJ also believes that his use of audio montage is in parallel to our ‘collage, non-linear imagination.’
“Sampling” he says,”is playfulness with memory; no one remembers anything exactly the same way.”
Whoever has the economics has the power to transform memory. The notion of regionalism, geography and limitation had passed: “For 21st century purposes anything goes.” Miller said. “We are bombarded with masses of nothingness like a Bush speech.” For Miller, it is about culling rhythm out of the chaos.
“Corey Baker performs at COUP DE FOUDRE/Performance Photos by Enid Alvarez”
Chaos and Classicism: Art in France, Italy, and Germany, 1918-1936, Jean Cocteau, The Blood of a Poet (Le sang d’un poète), 1930 – 35 mm black-and-white film, with sound, 50 min. can be seen at the Guggenheim Museum, New York City. October 1, 2010-January 9, 2011
Text: Kiša Lala
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e. e. cummings: if i believe
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