David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :
'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)
(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.
We are sTARdust
We are van Golden
Daan van Golden, White Painting, 1966
Daan van Golden, Malevich Sleeping, 1989
Daan van Golden, Neuss, 1988
sTARing Diane van Golden ] Theatre of the Actors of Regard (
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
The images and text below are from Sotheby's online catalog
IMPRESSIONIST & MODERN ART - EVENING SALE
(16 May 2017).
Kazimir Malevich
1879 - 1935
SUPREMATIST COMPOSITION WITH PLANE IN PROJECTION
Oil on canvas
21 by 20 7/8 in.
53.3 by 53 cm
Painted in 1915.
Estimate
12,000,000 - 18,000,000
Nikolai Khardzhiev, Moscow & Amsterdam (probably acquired from the artist in the 1930s)
Galerie Gmurzynska, Zurich (acquired from the above in 1994)
Acquired from the above by the present owner
(probably) Petrograd, Galerie Dobycina, 0.10: The Last Futurist Exhibition of Paintings, 1915-16
Moscow, Salles de B. Dmitrovka 11, K. S. Malevich. His Path from Impressionism to Suprematism, 1920
Berlin, Deutsche Guggenheim; New York, Solomon R. Guggenheim Museum & Houston, The Menil Collection, Kazimir Malevich: Suprematism, 2003-04, illustrated in color in the catalogue
London, Tate Modern, Malevich, 2014, no. 90, illustrated in color in the catalogue
Basel, Galerie Beyeler, In Search of 0.10: The Last Futurist Exhibition of Painting, 2015-16, illustrated in color in the catalogue.
Kazimir Malevich 1878-1935 (exhibition catalogue), Russian Museum, St. Petersburg; Tretyakov State Gallery, Moscow & Stedelijk Museum, Amsterdam, 1988-89, no. 21-22, illustrated in a photograph n.p.
John Milner, ed., Kazimir Malevich and the Art of Geometry, New Haven & London, 1996, illustrated in a photograph p. 135
Andréi Nakov, Kazimir Malewicz. Catalogue raisonné, Paris, 2002, no. S-159, illustrated p. 215
Evgenia Petrova & John E. Bowlt, eds., A Legacy Regained: Nikolai Khardzhiev and the Russian Avant-Garde, St. Petersburg, 2002, illustrated p. 270
Malevich and Film (exhibition catalogue), Fundação Central Cultural de Belém, Lisbon & Fundación La Caixa, Madrid, 2002-03, illustrated in a photograph p. 15
Andréi Nakov, Malevich. Painting the Absolute, Farnham, 2010, vol. II, illustrated in color p. 165
Kazimir Malevich,
Suprematist Composition with Plane in Projection
By Aleksandra Shatskikh
At the famous 0.10: Last Futurist Exhibition of Paintings in Petrograd in December 1915, Kazimir Malevich exhibited 39 paintings, marking the emergence of innovative Russian painting into the world of international avant-garde art. Malevich created a new terminological definition for his canvases, the suprematism of painting, which was soon shortened to one word: “Suprematism.” In Malevich’s opinion, these suprematist works showed the absolute power and domination, or the supremacy, of color in painting. Their subjects were devoid of any resemblance to objects or phenomena that were present in the real world. Indeed, another definition favored by Malevich was “безпредметное искусство,” or “subject-less” art, which is normally translated into English as “abstract art.”
full text here
Aleksandra Shatskikh, PhD is an art historian. Her book Black Square: Malevich and the Origin of Suprematism was published in 2012
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Theatre of the Actors of Regard
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
#6: extract from the trial
Judge: Defendants, do you understand the charges brought against you? Tolokonnikova? Do you understand the charges?
Nadya [stands up]: No, I don’t understand. Because…
Judge [interrupting]: Understood, okay, sit down.
Nadya: Can I read the explanatory note…
Judge [interrupting]: Don’t rush. Alekhina, do you understand the charges against you?
Masha: I don’t understand the charges against me.
Judge: What do you not understand?
Masha: I would like to explain that…
Judge [interrupting, shouting]: WHAT DON’T YOU UNDERSTAND ABOUT THE CHARGES?
Masha: I don’t understand the ideological side of the question [pauses] I don’t understand on what basis they make statements about my motives [pauses] I don’t understand why I can’t explain.
Judge [irritated]: Do not rush things!
Masha: I’m not…
Judge: You will be given the word! AND NOW I AM ASKING YOU A QUESTION: DO YOU UNDERSTAND THE CHARGES BROUGHT AGAINST YOU? JUST NOW THE PROSECUTOR ANNOUNCED WHAT YOU ARE ACCUSED OF.
Masha: I don’t understand…
Judge [irritated]: What don’t you understand, please explain, what don’t you understand?
Masha: I just explained…
Judge: Repeat it again
Masha: I don’t understand the ideological side of the accusation regarding mine and… regarding our motives.
Judge [sighs]: Okay, sit down. Samutsevich, do you understand the charges?
Katya: No, I don’t understand.
Judge: What don’t YOU understand?
Katya: I don’t understand almost all of the paragraphs of the accusation. I think they are unconvincing and untenable. That is, the grounds on which such statements are made were unexplained.
Judge: Please, Prosecutor, can you explain once more?
[The girls are trying to speak with their lawyers and being in the glass cage with only one window in the middle, the lawyer and the girls have to bend in order to communicate and hear each other]
Theatre of the Actors of Regard
Pussy Riot members in court, Moscow, 3 August 2012.
left-right : Nadezhda Tolokonnikova, Yekaterina Samutsevich and
Maria 'Masha' Alyokhina. Photo by REUTERS / Maxim Shemetov
Prosecutor [speaks in a low voice and very fast, not bothering to explain, Katya is trying to bend closer to the window in the cage, so she can hear what the prosecutor is saying]: Your Honour, regarding the accusations, they are clear enough and what they are based on will be provided to the court and to the defendants during the trial in the form of a victims’ questioning, in the form of written material and evidence. And all three defendants are accused of hooliganism, which is in flagrant violation of the order, expressing a clear disrespect for society, committed with motives of religious hatred and enmity by the group of people by prior agreement.
Judge: Do you understand?
Masha: No I don’t, since the Prosecutor has read only a small part of the 140 pages.
Judge: The prosecutor stated the charges brought against you, all the evidence will be studied during the trial.
Masha [Trying to say something, but the Judge doesn’t let her]: …But…
Judge: At this stage of the trial the Prosecutor doesn’t have to provide any evidence.
Masha [She looks confused about the fact that the Judge doesn’t let her say a word]: I don’t understand. I insist that the indictment is read in full.
Judge: I repeat once again. [speaking loudly] At this stage of the trial, the Prosecutor does not provide any evidence and only states the charges that have been brought against you. The evidence will be examined.
Masha: I’m not talking about the evidence; I’m saying that the indictment hasn’t been read in full and what has been read I don’t understand.
Judge: The Prosecutor stated…
Masha [interrupts the judge]: I don’t understand what the basis for the accusation is…
Judge [interrupting and yelling]: The basis will be presented later.
Masha: It doesn’t become clearer…
[Girls’ lawyers laugh]
Judge: The prosecutor stated the charges.
Masha: I have already said everything, I have nothing to add. Sorry.
Katya [Gets up from the bench]: The accusation hasn’t been formulated fully.
Judge: Okay, you think that the accusation hasn’t been formulated…Er… Do you plead guilty to the charges presented to you? Tolokonnikova?
[Note that even though the girls said that they haven’t understood what they have been accused of, the Judge is asking whether they plead guilty]
Pussy Riot trial : video transcript continues here.
Theatre of the Actors of Regard
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
regarding an uncertain disposition
Hermes Trismegistus - Theatre of the Actors of Regard
l a u g h a l f u l l
l a u g h a l f u l l
l a u g h a l f u l l
l a u g h a l f u l l
l a u g h a l f u l l
laughalfull
O
laughTAR cLub
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
Everyone loves T & P in their box orifice sma shit
'Asses of Fire'.
After that, who could f f f fu get this grate scene
FIAPCE
...from T & P in 'Not Without My Anus'.
Up Date : Terrance & Phillip to sTAR in
'E is for Effart, F for Art'
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
On Kawara — Silence
Members’ Party and Private View
February 6, 2015
Solomon R. Guggenheim Museum
5th Ave at 89th Street
New York City
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
watch : final three rap battles
read : final three rap battles
HAND SPACE Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
Roland Barthes was rarely photographed without a cigarette in his mouth : w|hence breath, fire, light, colour, smoke, fumes, animation, signal, parole :
words, speech, story, conversation, lecture ...
Breathing-in breathing-out, the image body of
le maitre Barthes conducts with his two batons
bLineage re. Smoke Signals Read In Mirrors
Cigarette in parole hole, pigment pen in hand,
all in unison.
Red and read / read verses red ...
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
enso
circle, way of mind
enso (regard)
sTARing
CJ of JAHM
Theatre of the Actors of Regard
enso (regard)
sTARing
yOu of YOU
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
In the beginning was The Literature Club
Going forward, as they say...
Today follows on from yesterday
The Logos Club from The Picture Club
The Seventh Function of Language
from HHhH with Sight Gag
Ceci n'est pas une hache / This is not an axe.
La trahison des images / The Treason of Images h/ere
Ceci n'est pas une hache / This is not an axe.
La trahison des images / The Treason of Images FIAPCE
Ceci n'est pas une haiche / This is not an aitch.
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
Theatre of the Actors of Regard
This month marks 15 years since
the inception of the Foundation Picture Club,
a very special event that occurs every month
just for AGWA Foundation Members.
You're invited to join our expert Gallery Guides
on an adventure through art to further develop your understanding of the treasures in your State Art Collection.
This month's Picture Club is titled
and will be looking at works by
David Noonan and Mike Parr.
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ARTWORK CREDITS
Nathan Beard
Untitled (Portrait with Yaai) 2016
photographic decal on glazed porcelain, PVD coating
25 x 36 cm, 28.5 x 39 cm (framed)
© Nathan Beard
Photo: Uri Auerbach
___________________________________________
detail
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someone looks at something...
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from MCA (Sydney) for their
Annual Appeal
photo : Daniel Boud
and from MUMA (Melbourne) for their
Boiler Room Lecture: Ritual intimacy
Christian Thompson, We bury our own (Energy matter) 2012.
Courtesy of the artist, Sarah Scout Presents, Melbourne, and
Michael Reid, Sydney and Berlin.
detail
A Person Looks At A Work Of Art/
someone looks at something...
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Melbourne Football Zen Mind
- - - - - - - - - - - - - - - - - - - - -
with a feather duster
Theatre of the Actors of Regard
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A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
Io non lavoro per i miei contemporanei, lavoro per il futuro
(I don’t work for my contemporaries, I work for the future.)
—Medardo Rosso
Received with thanks
—bLOGOS/HA HA
It's the continuum, stupid.
—FIAPCE
Mother matrix and the Unfinished Sympathy (sic)
from Willendorf to Leonardo and Michelangelo,
Messerschmidt, Muybridge, Medardo Rosso,
Giacometti, Fontana...
Medardo Rosso, La vecchia (The Old Lady), 1883
Medardo Rosso, Carne altrui (Flesh of Others), 1883–84
Medardo Rosso, Aetas Aurea (The Golden Age), 1884-85
Medardo Rosso, Enfant au sein (Child at the Breast), 1889–90
Medardo Rosso, Rieuse (Laughing Woman) [first cast c.1890]
with Rosso's own photography as animated in 2015 by
illustrator and graphic artist Jonathon Rosen
Medardo Rosso, Madame X, 1896. Wax with plaster interior
Medardo Rosso, Madame X regarded regarded, 1896-
Theatre of the Actors of Regard
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
