quarta-feira, 28 de outubro de 2009

Feng Zhengjie

Reminiscent of Warhol’s screen printed celebrities, Feng’s paintings reflect a vision of futuristic pop. His generic portraits of women are influenced by promotional imagery: their exotic colours, electrified auras, and wind machine hair exude the glamour aesthetic of commodified desire. Feng appropriates these staples of western kitsch as a readymade lingo for a duplicity of ideology. His work is often discussed as capitalist critique, his empty eyed models posing as frivolous and vacant signifiers. Neither western nor Chinese in appearance, Feng’s femmes fatales are a super-hybrid of commercial beauty, a science fiction product of globalisation.

Painted in massive scale, Feng’s canvases replicate the billboards from which they were inspired. Without text, or accompanying products, Feng’s paintings streamline their hard-sell ethos. Removing all distraction, he exposes the essence of temptation, magnifying the sex appeal of fantasy lifestyle and its gulf of intangibility. Transposing these disposable sentiments through his highly refined painting technique, Feng glorifies the allure of advertising as epic, enduring, and numbingly empty.



segunda-feira, 26 de outubro de 2009

Queixa das almas jovens censuradas

domingo, 25 de outubro de 2009



sábado, 24 de outubro de 2009

Ursula K. Le Guin

Happy Birthday Ursula K. Le Guin

UKLbyMWK-4x5-600dpiAccording to the biographical note on Ursula K. Le Guin’s website, she has published twenty-one novels, eleven volumes of short stories, three collections of essays, twelve books for children, six volumes of poetry and four of translation, and has received many awards: Hugo, Nebula, National Book Award, PEN-Malamud, etc.

What the site doesn’t say is that today, she is celebrating her 80th birthday. During those 80 years she has touched the lives of countless people, some who know the warm and fiercely intelligent person, and others who are readers and have met her only through her fiction. The impact of the person and her work has made a far deeper imprint than the ink on a page.

As part of an online celebration, we’re asking people to wish her a happy birthday. Please share, if you have a favorite memory of her or her fiction. To start us off, here’s Robert Silverberg.

Dear Ursula:

45 years ago, when you were a mere wee girl, editor Cele Goldsmith of AMAZING STORIES introduced you to me at the 1964 Oakland Worldcon as one of her most promising new writers. Cele didn’t exactly say what it was you were promising, but I’ve noticed that you’ve written a story or three over the succeeding years, and I’d say the promise has been kept.

Happy birthday, Ursula! Live long and prosper!

Robert Silverberg



terça-feira, 20 de outubro de 2009



“There is only one difference between a madman and me. I am not mad.” — Salvador Dali


Her Morning Elegance / Oren Lavie


The unlikely combination of Salvador Dali and Walt Disney is the subject of Dali and Disney: The Art and Animation of Destino, on view at The Dayton Art Institute through January 3. This special display showcases eight Dali prints and the short animated film Destino.

In 1946, Salvador Dali began a collaboration with Walt Disney Studios on a short animation piece called Destino, slated to be part of a proposed feature film. After eight months – during which Dali produced paintings, pen-and-ink drawings and storyboards – Disney abandoned the project for financial reasons. In 1999, Walt Disney’s nephew, Roy Disney, resurrected Destino from the Disney vaults, and the film was finally completed in 2003. Dali and Disney: The Art and Animation of Destino displays eight limited-edition prints of art Dali created for the film, and visitors will be able to view the animated short, which has only been seen in limited release since its completion.

Dali and Disney: The Art and Animation of Destino is on view in Gallery 209, adjacent to the museum's Great Hall. The display is free and open to the public during regular museum hours.

Dali and Disney is organized by The Dayton Art Institute and is on loan from the collection of Dr. Lawrence and Holley Thompson.



Beauty of Math !

1 x 8 + 1 = 9
12 x 8 + 2 = 98
123 x 8 + 3 = 987
1234 x 8 + 4 = 9876
12345 x 8 + 5 = 98765
123456 x 8 + 6 = 987654
1234567 x 8 + 7 = 9876543
12345678 x 8 + 8 = 98765432
123456789 x 8 + 9 = 987654321

1 x 9 + 2 = 11
12 x 9 + 3 = 111
123 x 9 + 4 = 1111
1234 x 9 + 5 = 11111
12345 x 9 + 6 = 111111
123456 x 9 + 7 = 1111111
1234567 x 9 + 8 = 11111111
12345678 x 9 + 9 = 111111111
123456789 x 9 +10= 1111111111

9 x 9 + 7 = 88
98 x 9 + 6 = 888
987 x 9 + 5 = 8888
9876 x 9 + 4 = 88888
98765 x 9 + 3 = 888888
987654 x 9 + 2 = 8888888
9876543 x 9 + 1 = 88888888
98765432 x 9 + 0 = 888888888

Brilliant, isn't it?

And look at this symmetry:

1 x 1 = 1
11 x 11 = 121
111 x 111 = 12321
1111 x 1111 = 1234321
11111 x 11111 = 123454321
111111 x 111111 = 12345654321
1111111 x 1111111 = 1234567654321
11111111 x 11111111 = 123456787654321
111111111 x 111111111 = 12345678987654321


domingo, 11 de outubro de 2009

Stop the bullets. Kill the gun.

MUTO a wall-painted animation by BLU

sexta-feira, 9 de outubro de 2009

Chet Baker

Chet Baker knew the jazz life in all its ugliness. Bruce Weber loved him for it. Want to understand both men? See "Let's Get Lost" at the Ken beginning tomorrow for a week.

Baker was Cool when it mattered, his music a feather on the wind. He played trumpet. And he sang, in a little voice full of romance and longing. He was James Dean before Dean was, a wild kid from Oklahoma who was a natural at playing jazz. No one seems to know why.

Charlie Parker, who hired Baker before anyone heard of Baker, told Miles Davis to watch out for that little white kid on the West Coast. He knew how to play, Bird said. Miles didn't believe him.

Someone once said Baker sounded like Miles. No way. His tone was in that soft, dark middle range like Miles', but Baker was vulnerable. Miles was in your face, even with that tone. Miles played a lilting "My Funny Valentine" that burned with tension. Baker sang it and made you cry.

Bruce Weber is a photographer, mostly fashion. You know his work for ads like Calvin Klein. Dark romantic shots of men, mostly, often in briefs. He loved dark tones and soft sensuality. No wonder he loved Chet Baker.


In the late 1980s he shot a film that looked like his photographs. He called it "Let's Get Lost" and it was a kind of documentary on Baker. It's not anything close to linear. It's scattered. The sound is all over the place. It's difficult to stay with. But it was all about Chesney Henry Baker Jr ... forever Chet.

That's another thing about Baker. He was beautiful. Women loved him. Men wanted to be him, or with him.

In the mid-1950s, Baker was the trumpet player in jazz. Not Dizzy. Not Miles. Chet. There was plenty of resentment about that. Jazz was black music. Chet was white and he forever had to live down that resentment.

Baker was most popular as a musician when he played in what was then an original idea, a pianoless quartet with baritone sax player Gerry Mulligan. That lasted less than two years in fact, but for many jazz fans, it was Baker's entire career. That's all he was, that warm trumpet in Mulligan's band. They must not have ever heard Chet Baker sing.

Later Chet had trouble getting gigs, so much of his nomadic life was spent in Europe, when he could. Most countries wouldn't let him in. Chet was a heroin addict. A bad heroin addict and he was, if not proud of it, at least not unhappy about it. He loved the rush. It drove him from gig to gig, drug deal to drug deal. He gigged to get drugs. Drugs and music, that was Chet Baker.

In all its black-and-white beauty, "Let's Get Lost" captures that life Chet Baker lived. He cooperated in the filming. So did many of the women he lived with or married, and there were many of them, mostly unimportant things to Baker. They were just people to be with between gigs and drugs.

And those drugs killed that beauty, that outward exterior that Bruce Weber so obviously loved. To see Chet as a young man was inspiring. They made movies about him. "All the Fine Young Cannibals" with Natalie Wood and Robert Wagner was one.

To see him after the drugs, and after the beatings he took from dealers who knew he was a trumpet player so they knocked out his teeth, was horrific. Weber gets all that on film, that and the pain he caused those he was closest to in life, like his kids.

Chet died in 1988 before "Let's Get Lost" was originally released. He fell, or was pushed, from the upper stories of a hotel in Amsterdam. Suicide? Not Chet, he actually loved his life. Murder? Maybe, but most people think he was probably just sitting in the window and nodded out.

"Let's Get Lost" is not an easy film to watch. A lot of that is because Weber is not really a filmmaker. It's unfocused. The sound is of little importance, the story disjointed. But it's beautiful to see. It's beautiful to watch Chet Baker . . . and to hear him play his warm trumpet and sing in the little, vulnerable voice.

Let's get lost, lost in each others arms
Let's get lost, let them send out alarms
And if they think we're rather rude
We'll tell the world we're in a crazy mood
Let's defrost, in a romantic mist
Let's get crossed, off everybody's list
We'll tell the world that we have found each other
Darling, let's get lost


segunda-feira, 5 de outubro de 2009

Charles Baudelaire


Sois sage, ô ma Douleur, et tiens-toi plus tranquille.
Tu réclamais le Soir; il descend; le voici;
Une atmosphère obscure enveloppe la ville,
Aux uns portant la paix, aux autres le souci.

Pendant que des mortels la multitude vile
Sous le fouet du Plaisir, ce bourreau sans merci,
Va cueillir des remords dans la fête servile,
Ma Douleur, donne-moi la main; viens par ici,

Loin d'eux. Vois se pencher les défuntes Années,
Sur les balcons du ciel, en robes surannées;
Surgir du fond des eaux le Regret souriant;

Le Soleil moribond s'endormir sous une arche,
Et, comme un long linceul traînant à l'Orient,
Entends, ma chère, entends la douce Nuit qui marche.



domingo, 4 de outubro de 2009

Mercedes Sosa - Zamba para no morir

Foi-se embora.