http://performa-arts.org/blog/tv/

hugo boss odulu 2009

established sanatci odulunun en bi alasi bu hugo boss prize. alanlarin yeni uretimlerine cogunlukla yaramiyor. ornek olarak; gecen sene odulu kazanan emily jacir'in venedik'teki filistin pavyonu icin onerdigi ama gerceklestiremedigi projesi, vaporetto istasyonlarinin adlarini arapca olarak degistirmek, hayalkirikligiydi dogrusu. bu yilki finalist listesi cok saglammis, seviyoruz hepimiz ayarinda, politik dogruculukta da sinir tanimiyor. koymadan edemedim. gorseller bizden, tahminler sizden.

Levi-Strauss by J. M. G. Le CLÉZIO

The Savage Detective:

CLAUDE LÉVI-STRAUSS, anthropologist, writer and adventurer, died just over a week ago at age 100. He died discreetly, which was as he had lived, though he was the most eminent and probably the last French philosopher. His ideas had as much influence on his contemporaries as the work of Jean-Paul Sartre and Albert Camus.

His edifice, structuralism — the theory of a structural unity in all cultures — was built on the work of the linguist Ferdinand de Saussure and on the sociology of Marcel Mauss. But Mr. Lévi-Strauss’s great achievement was that he managed to reshape the simple art of gathering information about so-called primitives. In his book “La Pensée Sauvage,” published in 1962, he showed these “primitive” people as the equals of those in the most elevated cultures of the civilized world. (In English, this title is translated as “The Savage Mind,” though the title in French may also suggest the flower called “wild forget-me-not.”)

What always struck me most about Mr. Lévi-Strauss’s thought was his ability to dodge the traps of modern ethnology, sometimes so much like old colonialism. There is an enormous difference between Mr. Lévi-Strauss and his most notable predecessors, E. E. Evans-Pritchard or Bronislaw Malinowski: his humanity and his melancholy kindness, which made him reluctant to go into the field for fear of intruding on the people he studied or finding himself disappointed by what had been lost to the evolution of modern times.

Still, Claude Lévi-Strauss overcame his reluctance and went, opening our minds to the extraordinary complexity of the Bororo’s and Nambikwara’s way of life. He expressed in his books the beauty and intelligibility of myths. And he kept in his heart the warmth and the modesty of the young man he once was, a man who was struck by a pessimistic sympathy for dying civilizations, dying people.

Mr. Lévi-Strauss was — and would have liked to be remembered as — a simple witness to the course of modern time. He was never sure that what he had put to light would even survive the present, an inevitable and bitterly lucid truth elucidated in “Tristes Tropiques,” one of his most famous books: “The world began without the human race and will certainly end without it.”

our dear lisi at dia- warning warum

buruk

"Karar elbette sevindik ama geç kalınmasa daha mutlu olabilirdik. Ne yazık ki çok geç kalındı. Onun için üzüntülüyüz. Bu 109 günlük bürokrasi onu ölüme götürdü. Bugün öğlen saatinde kendisi ile görüştüm. Bugün af beklediğimizi söyledim. Kendisi bu konuda duyarlılık gösterdiği için teşekkür etti. Karara sevinemediğini söyledi.”

bir donemin sarkisi bitiyor: roll'un sonsuzdan bir onceki sayisi

roll birlikte buyudugum dergilerden biriydi; olmazsa olmazlarimdan.
muzik kafami acan.
maddi olarak zorlandiklarini duymustum ama derginin kapanacagina ihtimal vermezdim.
buradan bize veda mektubunu yollamak duser:


TENK YU ŞEYTAN
Müsaadenizle bir veda sigarası yakalım, bir veda “kalem”i yuvarlayalım. Diyarbakır meyhanelerinde “kalem” deniyor “yolluk”a...
İlk yudum Turgut Uyar’ın ruhuna:
“Efendimiz acemilik. Bir taş alacaksınız, yontmaya başlayacaksınız. Şekillenmeye yüz tutmuşken atacaksınız elinizden. Bir başka taş, bir başka daha. Sonunda bir yığın yarım yamalak biçimler bırakacaksınız. Belki başkaları sever tamamlar. Ama her taşa sarılırken gücünüz, aşkınız, korkunuz yenidir, tazedir. Başaramamak endişenizin zevkiyle çalışacaksınız.”
İkincisi de Uyar’a:
“Nedir sonsuzdan bir önceki sayının adı diyelim sonsuz eksi bir hayatın adıdır bu.”
Üçüncüsü Latin aşkına:
“Sonuncu yoktur, sondan bir önceki vardır!”
Dördüncüsü, 144. Roll’a, sonsuzdan bir önceki sayıya. Veda sayısına. 13 yıl önce bu mevsimde şeytana uyduk. Uyunca da, baktık olmazsa olmayacak, zaten olmuş olmayacak olan, “olan oldu bir defa, bari hepimize yarasın” deyip yola çıktık. 13 yıl önceki kasım ayının ilk günlerinden bu yana 144 defa buluştuk –altı da “özel”i, toplam 150.
Yaradı valla. Hepimize yaradı.
Ya şeytana uymasaydık?
George Harrison, “Beatles olmasaydı dünya sıkıntıdan patlardı” demiş. Doğru. fiu da doğru: Roll olmasaydı sen-ben-o sıkıntıdan patlardık.
Vedalaşırken gözlerinden öpelim Léo Ferré’yi: Tenk yu şeytan! Bize Roll’u verdiğin için.

suursuzluk

mide bulantilari esliginde takip ettik daga kaldirma seks kolesi yapma muhabbetlerini.
hani oyle bir durum ki soylenecek bir sey yok. kufret dur, kudur.
yazmamazlik da olmaz dedim.
cok gorduk bu zeki kadin kendini kurban gormez muhabbetlerini, hani diyor ki rojin "zeki" mizahtan anlamiyor, kendini oyle goruyorsa yapabilecegim bi sey yok.
oyle sutten cikma ak bir kasik; kendi bakis acisi o kadar dogru o kadar hakli
belli ki sayin yazarimizin mizaci misali pek hassas "otekilik" ayarlarina agir gelmis acilim durumlari.
bu parfumu cok iyi taniyalim kokusu daha cok cikacak; kirk tutam macoluk, elli tutam egitimli kibar fasizm, seksen kok kadin dusmanligi, ustune ayarinca birim tahammulsuzluk, esas kokuyu yakalamak icin temel madde suursuzluk.

vice de form gets marcel duchamp prize

Saâdane Afif winner of the Prix Marcel Duchamp 2009 for the project Vice de Forme : In Search of Melodies (FIAC 2009 Cour Carrée - galerie Michel Rein 22.10-28.11.09).

Saâdane Afif presents Vice de Forme : In Search of Melodies (2009) , the result of a formal and musical research. To create this sculpture, Vice de Forme, the artist chose to reconstruct the dialogue between a caricature of a nuclear power plant by Reiser (1974) and the suggestive work by Man Ray entitled Presse Papier à Priape (1920) completed with song lyrics by 12 artists, musicians, writers, and art critics written for the work.
With Louis-Philippe Scoufaras, on the piano, the artist sought possible accompaniment for each. These rough snippets of songs form the base of this new work presented at the gallery Michel Rein, played for the first time at the private view and truthfully recorded by a mechanical instrument.
The piano, nth of these sculptural vanities defying time, continues to inhabit the space, rendering in loop these odes, offered to the Vice de Forme; the muse-object. Winded by the live performance, this melancholic sculpture with its elementary forms will spin for the duration of the exhibition.

performa'ya buyrun. bu yil ahmet ogut de dahil.

Performa, a biennial of new visual art performance, returns to New York for its third edition at venues throughout the city for three weeks in November. Eleven new commissions and six New York premieres are featured in the three-week program, while the biennial kicks off with a unique food event that’s billed as an installation-cum-happening. Blurring the boundaries between visual art, music, dance, and other media, more than 150 international artists are participating in more than110 events at an array of public and private sites.

Commission standouts include Mike Kelley’s performances based on high-school yearbook photos of extra-curricular activities; Candice Breitz’s presentation of identical twins improvising the same script on duplicate sets; Arto Lindsay’s multidisciplinary parade down a city street with more than 50 dancers and performers using cell phones as musical instruments; Yeondoo Jung’s mix of a live magic show with a cinematic interpretation of it; and Christian Tomaszewski’s construction of a giant space-suit sculpture that houses a fashion show inspired by the Soviet space program and sci-fi films.

The premiere program brings Keren Cytter’s theatrical production about a man and a woman who are transformed into the opposite sex; Tacita Dean’s feature film of choreographer Merce Cunningham and his company of dancers rehearsing in an abandoned automobile factory; Loris Greaud’s staging of a fireworks display in Abu Dhabi via a video on the MTV screen in Times Square; and recent works by Alica Framis, William Kentridge, and Joan Jonas, which come to the city for the first time.

Among other Performa highlights are Fischerspooner’s pop spectacle, combining music, theatre, and dance that can be viewed in the round at MoMA, and Brody Condon’s performance/installation mixing William Gibson cyberpunk novel Neuromancer with Bauhaus-inspired sculptural props and Gamelan music at the New Museum. Meanwhile, in another merging of art and illusion, artist Glenn Kaino and magician Ryan Majestic transform the Slipper Room into an experimental laboratory for probing our understanding of reality.

...

duyduk ki madonna out kizi inmis: can you believe she is 12?