More Taking A Punt

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In Venice the boats continue to arrive at the Paul Cox designed, redesignated Australia(n) Processing Centre~Offshore.



The banks of the canal are looking worn now and much of the Giardini foliage has been trampled as the boatpeople numbers increase.



Cultural emigres and other desperate persons, each hoping for a Temporary Exhibition Visa to the proposed Australia(n) Pavilion ~Offshore.



The new arrivals quickly assimilate into the watching crowd.



Many are umbratects, or umbrellatects, and all distinctive as such. Theirs is perhaps the keenest interest in the Venice Biennale~ Australia(n) Pavilion~Offshore project.



There are many entire families. Above, parents watch for boats as their children fish.

There are unaccompanied minors, too. And children who are lost or separated. Below, a boy panics.

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9/11

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Oddly, perhaps; subconsciously, intuitively... the first image that comes to mind is by El Greco. In the beginning was the Word (LOGOS)

The Adoration of the Name of Jesus

The subject is based on a text in the gospel of St Paul, but it can also be read as an allegory of the victory of the Holy League over the Ottoman fleet at Lepanto in 1571. The figure dressed in black in the foreground is identifiable as King Philip; the man in the yellow robe as a doge of Venice; the old man opposite him as the pope; and the figure on the left as Don John of Austria, the commander of the Christian fleet at the battle. In the heavens is a monogram formed from IHS–the first three letters of the name Jesus in Greek, also In Hoc Signo and Jesus Hominum Salvator.

from Wikipedia

The Third of May, 1808
by Goya (1814)

26 April 1937
Guernica (1937) by Pablo Picasso.

It was created in response to the bombing of Guernica, Basque Country, by German and Italian warplanes at the behest of the Spanish Nationalist forces, on 26 April 1937, during the Spanish Civil War. (Wikipedia)

a detail of Guernica :

20-2-1919
Date of a postcard correspondence, send from St Philbert, France,
addressed to Chere petite Marie et Luciess
L' Aéroplane (1909)
The postcard image

To end this anniversary sequence

Crawl or fly out (1973)

by Colin McCahon, from his Jet out series

see them all here

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Temporary Exhibition Visas : Unofficial Processing Process

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In Australia, the Government and Opposition continue to argue the merits and possibilities of establishing an Australia(n) Offshore Facility.

Julia Gillard enlists Tony Abbott on offshore processing of asylum-seekers
by Matthew Franklin / The Australian

Meanwhile, in Venice the queues continue to grow at the proposed Visa Processing Facility, the previous Australia(n) Pavilion in the giardini of the Venice Biennale. New Arrivals desperate to gain a Temporary Exhibition Visa to the still-hypothetical Offshore Australia(n) Pavilion have been pressuring Australian Officials for some form of status documentation .

Although it has no legal validity, to mollify the visa seekers Officials have begun rubber-stamping the various proffered identity documents.

Venice portrait studios are said to be exceptionally busy.
What backdrop would you prefer, Signora?
Something 'offshore'?
Something to show off your umbrella?
Certainly...

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ManStyling Marvellous Melbourne

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Melbourne Spring Fashion Week begins today.

We Who Are Men at bLOGOS/HA HA are looking forward to

In conversation : ManStyling
( event information here )



It's always a joy to behold any (dis)play of Richard Nylon (above), a participant in the ManStyling discussion; as it is to follow the adventures in vêtements of bLOGOS/HA HA's favorite French fashion correspondent, Louis Marchon.

This is Louis in tableau vivant as the Actor of Looking (Fashion)

Theatre of the Actors of Regard

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Offshore Australia(n) Pavilion for Venice Biennale

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Yesterday, the High Court of Australia ruled 6:1 against the legality of the Australian Government's proposed offshore asylum-seekers swap-deal, the so-called Malaysia Solution.

☂ ☂ ☂ ☂

Several months ago we suggested here "in line with Australia's current immigration self-portrait, the next Australian Pavilion for the Venice Biennale could be sited offshore".

Since then we've been contacted by an umbratect (of Melbourne's Black Bats) who has already done just that.

bLOGOS/HA HA understands that the Australian Government and the Australia Council are aware of this development. And that their support for it is under active consideration.

The proposal is :

☂ that International Travelers (IT) to the Venice Biennale who wish to enter the Offshore Australia(n) Pavilion (OAP) be required to meet strict Eligibility Criteria (EC) [yet to be determined]
☂ that the present, Philip Cox designed, Australia(n) Pavilion in the Giardini be retained, but not for the purpose of staging exhibitions
☂ rather, that it serve as an orderly, regional, application and assessment Processing Facility (PF) re. eligibility to access the offshore site
☂ that those determined as Eligible (E) be required to fully fund own visitation costs : i.e. at no cost to Australian Tax Payers (ATP)
☂ that those determined as Eligible (E) agree to travel blindfolded to and from Exhibition Australia (EA)
☂ that those determined as Eligible (E) be issued Temporary Exhibition Visas (TEV)
☂ finally, that the location of the Offshore Australia(n) Pavilion remain known only to Australia(n) Officials (AO)

click image to enlarge

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Choisissez! c'est à la carte

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Regardez!
la carte postale

one cart upon another
meta-cart (1912)

click image above to enlarge

Look!
Theatre of the Actors of Regard

one regard upon another
meta-art

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Disappearance Day Centenary

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Today is the 100th anniversary of the theft of Leonardo da Vinci's Mona Lisa [aka La Gioconda/La Joconde] from the Musée du Louvre, Paris, by Vincenzo Peruggia (below).

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Here are a few of y/our postcards from around that time

click image to enlarge

all of which, under your image, recount the bottom line :

LA JOCONDE, de Léonard de Vinci
Disparue du Musée du Louvre le 21 Aout 1911

On this first card someone's over-written that, upside down
so you can glance down and read,
and over your lovely mouth there's a smudge of postal ink

or somesuch

It's the sort of thing could provoke a young Marcel
to pen a saucy mot and
add a hairy frame a swell
o' tongue et la langue, even

by Marcel Duchamp (1919) : click image to enlarge

Here's another postal souvenir to celebrate this day and date.

Just three weeks since your disappearance,
the sender signs their initials and their date (Le 13/9/11)

over the monogram of the printer,

or is it of the publisher?

or some passing engraver tagger?

The more you are
the less you are

The less you are
the more you are
Infinitely Empty

Supreme Goddess as Void
with projection-space for image

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HAPPY RETURNS OF THE DAY

from all your admirers at

bLOGOS/HA HA

Who, ME? US? WE?

.

Here's another from the Paris EXPOSITION UNIVERSELLE.



A souvenir from LA MAISON DU RIRE (The House of Laughter), an expo presentation by the journal LE RIRE (Laughter),
a favourite of bLOGOS/HA HA.

This is a 1900 drawing of the exterior of La Maison du Rire.
(It's from here)

And, especially for all our PUPPET CULTURE subscribers, an interior view of the above : LA SALLE DES MARIONNETTES.
(From here)

The exterior frieze presents the grand parade of passing persons.

The souvenir emphasises the same.
These are, you are, we are...
Types de la Rue.

And what of the communiqué?

This self-declaring card of backwards regard??

Carte rétrospective ...

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"............. .......!."

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Dear Old Friends!

Next, five years after the first Venice Biennale
(see our Venezia 1895 blog here), this postcard from Paris's
EXPOSITION UNIVERSELLE DE 1900
Le Chemin de fer Electrique et la Plate-Forme mobile
(The electric railway and mobile platform)

click image to enlarge

Our bLOGOS/HA HA expo correspondent James begins his report with a quote :

". . . . . . . . . . . . .
. . . . . . . ! ."

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Internationale Universelle Generale View

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Another opening, another show. And another card to tell the tale.

The previous postcard was from the first Venice Biennale, 1895.

This time it will be Paris and the Exposition Universelle of 1900.

As always, who's in and who's out constructs the larger exposé, whether Esposizione Internationale (Venice) or Exposition Universelle (Paris). Below are the National Pavilions that made the cut for Paris 1900.

bLOGOS/HA HA regards these with a certain lost-in-space curiosity, especially at this time when project Australia has just announced there is to be a new\different|other/Australia(n) projection-space for the next Venice Biennale.

Maybe, in line with Australia's current immigration self-portrait, the next Australian Pavilion for the Venice Biennale could be "sited offshore" at either Christmas Island or Nauru (Howard Government; endorsed by present Abbott Opposition) or at Timor-Leste, New Guinea or Malaysia (Gillard Government).

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At bLOGOS/HA HA we've long appreciated the over-ma(r)king palimpsestry of Arnulf Rainer. Below is the cover of a recent book that surveys Rainer's practice, epitomised here by a handmade bloodcolour markover & signature.

With that in mind, here is the earlier mentioned 1900 postcard, a Vue Generale of the Exposition Universelle, overmarked with a shitearthcolour brushstroke & signature (R. Appert).

click image to enlarge

click image to enlarge

On the other side the same fine pen addresses all this to

Mademoiselle Betsy Castreman
76 rue des Brasseurs
à Mamur
Belgique

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exhibition announcement

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The fine art of the exhibition announcement. Something already disappearing as many galleries defer to email announcements.

Here's one from the heap, from 1895. Something on the back of which one might pen an account to another.



Something for a stamp, for an obliteration. Something to be sent, to be delivered, to be received.



Something to be kept, perhaps, to be put somewhere ...



... to show someone sometime.

Prima Esposizione
Internationale d' Arte
della Citta di Venezia • 1895

click to enlarge

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Your Message Here

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We are the sandwich men.

Give us
This day
Our daily read.

1 June 1904 - 1 June 2011


For the price of a postcard, Bergeret's L'Homme sandwich
(an incarnation of the Supreme Goddess as Void, with projection space for image) offers the public this personalised projection-space plus its carrier. See ye this! See ye this!

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What a fabulous 1 June 1904 evening of dazzlements the writer has listed.

How fortunate the invitee, Monsieur François Jaupitre.



Is it a personal enticement to Monsieur, we wonder, with belly dancing and much more, written by the Tiber Tigresse herself? Or is it one of many, so written, and sent to a soiree set?

Ah, reminiscences of

for the benefit of Mr. Kite
There will be a show tonight on trampoline
The Hendersons will all be there
Late of Pablo-Fanques is there, what a scene
Over men and horses hoops and garters
Lastly through a hogshead of real fire!
In this way Mr. K. will challenge the world!
The celebrated Mr. K.
Performs his feat on Saturday at Bishopsgate
The Hendersons will dance and sing
As Mr. Kite flies through the ring don't be late
Mrs. K assures the public
Their production will be second to none
And of course Henry The Horse dances the waltz-!
(Circus organ music)
The band begins at ten to six
When Mr. K. performs his tricks without a sound
And Mr. H. will demonstrate
Ten somersets he'll undertake on solid ground
Having been some days in preparation
A splendid time is guaranteed for all
And tonight Mr. Kite is topping the bill.
(Circus organ music.)

Being for the Benefit of Mr. Kite Lyrics
Composed by John Lennon; credited to Lennon/McCartney;
recorded by The Beatles, 1967

The Fall

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Following on from the previous post, regarding the chaos at the Warrnambool Grand Annual Steeplechase, this 1910 postcard.

The Fall, as enacted by horse and rider.



The Fall, performed with empty pockets.
(Theatre of the Actors of Regard)

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O the Circle ( will be broken )

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VICTORIA'S jumps industry is facing more controversy after a riderless horse leapt into the crowd at yesterday's Grand Annual Steeplechase in Warrnambool, leaving seven people in hospital.

Jumps racing under fire again after horse leaps into crowd
Andrew Eddy, Warrnambool
THE AGE / page 1. / 06/05/2011

click here for ARTICLE
click here for PHOTOS

"They wouldn't have seen it coming because of the height of the fence. It would have come straight through the fence at them," Mr Wild said. "There were people running everywhere and I could hear the screaming and a horse among all the people over there."



Seven people were injured by the runaway horse and taken to Warrnambool Hospital. They included a two-year-old girl with a fractured collarbone, a 12-year-old girl with an injured foot and an 80-year-old woman with shoulder and hip injuries.



Victorian Racing Minister Denis Napthine said he had asked Racing Victoria to a conduct broad review of spectator safety, as well as to investigate yesterday's incident. "The safety of spectators at horse racing events is of paramount importance. I have asked Racing Victoria to report back to me on existing safety measures and any recommendations to improve spectator safety," Mr Napthine said.



Racing Victoria chief executive Rob Hines said an investigation would be launched into all incidents during yesterday's race, but denied the race reflected poorly on jumps racing and thoroughbred racing in general. "What we saw today was a freakish accident where a horse left the course and went onto a public road where people were watching the race, and unfortunately they had no idea the horse was coming," he said. "But only two of the horses actually fell and while we are very concerned about the injured spectators, I doubt it will impact on horse racing's image as the incident was simply freakish."



Australian Jumps Racing Association president Rodney Rae said the incident was totally unexpected. "No one could have foreseen something like this happen. It is similar I suppose to a car leaving the track in a grand prix race and going into the crowd," he said.

click to enlarge

images of the spectators courtesy Theatre of the Actors of Regard

For the first time in the race's 134-year history, just two of the eight starters in what is the country's most gruelling steeple event finished the race. No horses or riders were seriously hurt.

The 5500-metre, 33-fence race was eventually taken out by last year's winner, the 11-year-old Al Garhood, ahead of the other remaining contender, Awakening Dream



Activist group the Coalition for the Protection of Racehorses will protest in Melbourne today to call for an immediate end to jumps racing.

with apologies to Daniel Buren, 1968

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