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.

30 May 2017

Vale, Daan van Golden (1936-2017)

We are sTARdust
We are van Golden

after Joni Mitchel Cumming

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... 


29 May 2017


The images and text below are from Sotheby's online catalog
(16 May 2017).

Kazimir Malevich
1879 - 1935
Oil on canvas
21 by 20 7/8 in.
53.3 by 53 cm
Painted in 1915.


12,000,000 - 18,000,000

LOT SOLD. 21,162,500 USD


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



Theatre of the Actors of Regard  
A Person Looks At A Work Of Art/
someone looks at something... 


28 May 2017

re. Abstract Art

                             re. Art Term : Abstract Art

#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…
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... 


25 May 2017

On Laughter :

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
laughTAR cLub  
 A Person Looks At A Work Of Art/
 someone looks at something... 


23 May 2017

Terrance and Phillip do TAR

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 

...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  
 A Person Looks At A Work Of Art/
 someone looks at something... 


21 May 2017

O.K. It's a date.

 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  
FIAPCE after O.K.  

 A Person Looks At A Work Of Art/

 someone looks at something...



19 May 2017

8 Mile enso (detail )

 watch : final three rap battles

 read : final three rap battles

 HAND SPACE                           Theatre of the Actors of Regard  

 A Person Looks At A Work Of Art/
 someone looks at something... 


17 May 2017

bL/ud Barthes

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 ...

 A Person Looks At A Work Of Art/
 someone looks at something... 


15 May 2017

here we go loop de loop

circle, way of mind

enso (regard) 

Theatre of the Actors of Regard  
enso (regard) 
yOu of YOU
 A Person Looks At A Work Of Art/
 someone looks at something... 


12 May 2017

Logos Clubbing

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
 click image to enlarge  
 La trahison des imagesThe Treason of Images           FIAPCE
 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.

 A Person Looks At A Work Of Art/
 someone looks at something... 


10 May 2017

Picture Clubbing

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.

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

             A Person Looks At A Work Of Art/
             someone looks at something... 

             LOGOS/HA HA 


09 May 2017

Two museum e-nouncements ping in today, extending our Sight Gag medley

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.

 A Person Looks At A Work Of Art/
 someone looks at something... 


08 May 2017

Vale Lou Richards (1923-2017)

Melbourne Football Zen Mind 
- - - - - - - - - - - - - - - - - - - - -
Louie the Lip loses again -
sweeps Swanston Street
with a feather duster

Theatre of the Actors of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something... 


07 May 2017

Medardo Rosso and the Flesh of Others

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

It's the continuum, stupid.

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  
 A Person Looks At A Work Of Art/
 someone looks at something...