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Warning : Warning Ahead

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Rod May ( 1954 - 2017 )

                          

 Rod May                     photo by Jason Alexandra

Vale Rod May

by David Holmgren ( 30 May 2017 )

One of Australia’s ecological farming pioneers, and a close friend, passed away today. Rod May aged 63 died in intensive care after a road accident between Ballarat and his family farm at Blampied 5 days previously. Rod was a 4th generation farmer on 200 acres at the foot of Kangaroo Hills in the prime red cropping country of central Victoria. In the late 1970’s Rod returned to the farm motivated by interest in self reliance, organics and tree crops and “fell back into farming” as something to do in between starting the Central Victorian Tree Planting Co-op and getting elected to the very conservative Creswick Council.

The Landcare movement emerged simultaneously in several regions across Australia in the late 70’s and early 80’s. One of those places was central Victoria and Rod May played a leading roll in it...

( Full article here )


Rod with Permaculture Design Students - photo Ian Lillington

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DONATE

Leading with this image for our regard, the first of the End of the Financial Year brochures of request arrived today from Heide MoMA.

Theatre of the Actors of Regard  

 Melinda Harper
 Melinda: Harper: Colour Sensation
 Member viewing 2015
 Photograph: Jeremy Weihrauch
 © the artist

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Red MonoKrome | How To Attract TARmen

How To Attract Men

The ART of LIZ RENAY at DEITCH PROJECTS

ART ~ COMMUNISM ~ BAD FEELING

SHANE HASEMAN at KNULP

Theatre of the Actors of Regard

TARmen attracted to Red MonoKrome

TARmen Mitch+Shane

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Fear of Laughter [ No, seriously! ]

Laugh, and the world laughs with you;

Weep, and you weep alone;

For the sad old earth must borrow its mirth,

But has trouble enough of its own.

- opening lines of 'Solitude' by Ella Wheeler Wilcox

Today, in the Rose Garden of the White House ...


Gene Kelly stars as a struggling American artist in Vincente Minnelli's (1951) 'An American in Paris'.

... President Trump announced that he will be withdrawing the United States of America from their commitments on climate change reduction made last year as part of the Paris Climate Accord.
He spoke of his concerns about laughter :

"At what point does America get demeaned? At what point do they start laughing at us as a country? We want fair treatment for its citizens, and we want fair treatment for our taxpayers. We don’t want other leaders and other countries laughing at us anymore. And they won’t be. They won’t be.

I was elected to represent the citizens of Pittsburgh, not Paris..." 

 Everything is on the table : Gene Kelly behind the scenes on
 the set of 'An American in Paris'.

Bringing the Global Community to the Table

Paris 2015 UN Climate Change Conference

 

Harvard Institute of Politics

Introduction : "Good evening and welcome everyone. I'm Drew Faust and I'm very grateful for all of you joining us here today. For many months we have used the word Paris as a shorthand for the International Climate Change gathering that we are here to discuss today." 
( see video here )



President Obama signed the Paris Climate Accord.
But then, the leading actor changed...



"At what point does America get demeaned? At what point do they start laughing at us as a country? We want fair treatment for its citizens, and we want fair treatment for our taxpayers. We don’t want other leaders and other countries laughing at us anymore. And they won’t be. They won’t be.

I was elected to represent the citizens of Pittsburgh, not Paris..." 

World leaders condemn Trump's decision to quit Paris climate deal

- Laura Smith-Spark, CNN, 2 June 2017

"At what point does America get demeaned? At what point do they start laughing at us as a country? We want fair treatment for its citizens, and we want fair treatment for our taxpayers. We don’t want other leaders and other countries laughing at us anymore. And they won’t be. They won’t be.

I was elected to represent the citizens of Pittsburgh, not Paris..." 

Trump's announcement reaches the Editor at bLOGOS/HA HA :

"At what point does America get demeaned? At what point do they start laughing at us as a country? We want fair treatment for its citizens, and we want fair treatment for our taxpayers. We don’t want other leaders and other countries laughing at us anymore. And they won’t be. They won’t be.

I was elected to represent the citizens of Pittsburgh, not Paris..." 

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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 (

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Regardism

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

USD

LOT SOLD. 21,162,500 USD

PROVENANCE

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

EXHIBITED

(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.

LITERATURE

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

CATALOGUE NOTE

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

____________________________________________ 

Regardism

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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…
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.

   

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On Laughter :

regarding an uncertain disposition

 Hermes Trismegistus - Theatre of the Actors of Regard

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