"Artworks are the virtual traces of a ceaseless process of becoming." -- Henri Focillon

"THESE HANDS" call for entries

"THESE HANDS" call for entries
Click photo to view details of newest CHRISTINE TARANTINO project.

FLUX-USA welcomes visitors from over 40 countries daily. Artists, curators, and other arts leaders who wish to contribute to this blog, please contact me. tarantinochristine@yahoo.com


September 2012

Christine A. Tarantino - Hjuler BROTKATZE collaborations on exhibit at FzKKe Gallery, Germany, Sept. 1 - 30, 2012. http://fluxusa.blogspot.com/2012/09/brotkatzen-exhibit-opens-sept-1.html

With the Blood of a Daylily - Poems & Drawings by the Homeless Poet by Christine A. Tarantino, published by Words of Light:

THESE HANDS PRAY FOR GERONIMO, a visual poem of American Indians, by Christine A. Tarantino, published by Words of Light:

Christine A. Tarantino's ECDYSIS, snake skin artist book exhibited with 99 other book artists in Italy, curated by Maddalena Castegnaro. http://fluxusa.blogspot.com/2012/09/mirabilibrimostra-internazionale-di.html

Christine A. Tarantino, Sign and Language Group Exhibit, Open Stal, The Netherlands.

Christine A. Tarantino series of 40,"Being Human" published by Redfoxpress, Assembling Box #20, Ireland.

RED LIPS - What is Your Version for Me? by Christine Tarantino is published by Words of Light now available in print or eBook formats. New version includes ALL 42 artists from 13 countries plus additional text and images by Christine Tarantino.

August internet art exhibit @ CHRISTINE TARANTINO COLLECTION features artist STEVE RANDOM. http://christinetarantinocollection.blogspot.com/2012/08/steve-random-usa.html

WORDS OF LIGHT BOOKS, Art Publications By Contemporary Artists, new blog offering various format books published by Christine A. Tarantino. www.wordsoflightbooks.blogspot.com

Christine A. Tarantino/Words of Light publishes THE SKY EMBRACES THE GREAT WORLD by Walter Festuccia. http://www.lulu.com/shop/walter-festuccia/the-sky-embraces-the-great-world/paperback/product-20294750.html

Christine Tarantino, "Instant Person 1 & 2", self-portraits with Polaroid Camera for POLAROID MADNESS, project of Franticham, Ireland. On-line exhibit and exhibition Kassel, Germany during the DOCUMENTA 2012.http://wordsoflightart.blogspot.com/2012/02/no-426-instant-person-1-2.html
Exhibition "INSTANT PEOPLE"250 polaroid self-portraits by 175 artists from 22 countries.11.– 23. Juli 2012 Zur Eröffnung der Ausstellung am Mittwoch, dem 11. Juli 2012 ab 19 Uhr möchten wir Sie und Ihre Freunde herzlich in denKasseler KunstvereinWerner-Hilpert-Straße 2334117 Kassel, einladen.

Christine A. TARANTINO, "Ecdysis" artist book exhibited at Villa Excelsa, Sannicola, Italia. Curator, Maddalena Castegnaro
Opening night: http://fluxusa.blogspot.com/2012/07/naturalia-animalia-artist-book-exhibit.html

July internet art exhibit @ Christine Tarantino Collection features Anna Banana, Darlene Altschul, & John Mountain.

"THESE HANDS" call for entries, newest project from Christine TARANTINO.

June internet art exhibit @ Christine Tarantino Collection features Antoni Miró.

"Fear No NewNew Art" artist book published by Redfoxpress, Assembling Box #19, Ireland.

"E-mail Between the Artist & Her Lover" artist book exhibited Villa Giulia, Italia. Curator Marisa Cortese.

"WHO AM I?" artist book exhibited Mostra Internazionale, Italia. Curator Virginia Milici.

"RED LIPS of Christine Tarantino", art booklet by Bruno Chiarlone published in Italy. http://fluxusa.blogspot.com/2012/05/red-lips-of-christine-tarantino-by.html

May internet art exhibit @ CHRISTINE TARANTINO COLLECTION features artist RYOSUKE COHEN.

Christine TARANTINO, "RED LIPS FOR DALAI LAMA" exhibition @ INviso, Padiglione TIBET, Associazione
Sal Viana frazione Saliana Pianello del Lario (CO)curated by Ruggero Maggi. http://fluxusa.blogspot.com/2012/04/inviso-padiglione-tibet-cura-di-ruggero.html

April internet art exhibit @ CHRISTINE TARANTINO COLLECTION features artists Daniel C. Boyer and Richard Canard. http://christinetarantinocollection.blogspot.com/2012/04/daniel-c-boyer-richard-canard.html

Christine Tarantino, "NEWNEW ART Mono-Prints" published in
"Franticham's Fluxus Assembling Box Nr 18", Redfoxpress, IRELAND.

DODODADIANI featured this month in internet art exhibit at
Christine Tarantino Collection. Dododadiani internet art exhibit.

RED LIPS Project: What is your version for me? Send to:
tarantinochristine@yahoo.com or RED LIPS, Box 121, Wendell, MA 01379 USA
"Sometimes I need red apple. Sometimes I need red
Nam June Paik
Your RED LIPS art modification will yield online documentation, mailed
documentation, and potential publication. Please include a mailing address with
your submission.

Christine Tarantino, "Better Together: Harmony; Radiance; Consciousness; Evolution",
International Mother Language Day Art Exhibit, Kathmandu, NEPAL, by invitation of Rafique Sulayman, Curator.

Christine Tarantino, "Flux-USA Gallery of Stars with Lucy Chew Intervention" http://wordsoflightart.blogspot.com/2011/12/no-403-flux-usa-galaxy.html
exhibited in Group Show: Fluxfest Chicago 2012 (Chicago, USA) FROM THE ARCHIVE Mailart and Fluxus from the archives of Fluxus/St. Louis. Opening reception Chicago Art Institute, Joan Flasch Library.

February online art exhibits from 'The Christine Tarantino Collection' features Belgian artists Guido Vermeulen and Gerson Wenglinski. http://christinetarantinocollection.blogspot.com/2012/01/guido-vermeulen-and-gerson-wenglinski.html

Christine Tarantino, "RED-BERRY Series" published in "Franticham's Fluxus Assembling Box Nr 17", Redfoxpress, IRELAND.
http://wordsoflightart.blogspot.com/2011/05/no-377-red-berry-stained-series.html http://www.redfoxpress.com/ass.box17.html

FAX Exhibit, The DeVos Art Museum, Michigan, USA, curated by Ribas; organized by The Drawing Center and ICI, NYC. TARANTINO "I of the EYE-FAX", asemic writing series: http://wordsoflightart.blogspot.com/2012/01/no-416-i-of-eye-fax.html

Wooden Postcard Exhibit, Stehekin Post Office, Stehekin, Washington, USA. Work by Christine Tarantino: http://christinetarantino.blogspot.com/2012/01/outgoing-wooden-postcards-mail-art.html

Christine Tarantino, "PhotoBooth" work published in new book, "Photobooth Performances" by Ginny Lloyd.

Christine Tarantino, Mail Art and Video Performance at Galleriea Terre Rare, Bologna, Italy, January 28 - February 8, 2012. Project of Maurizio Follin, Italia. http://fluxusa.blogspot.com/2012/01/no-commercial-potential-phaze-ii-show.html

Christine Tarantino, RED LIPS for Dalai Lama, collage exhibited at Venice Biennial Tibet Pavilion – Palazzo delle Esposizioni Sala Nervi - Torino, project of Ruggero Maggi, Milan, Italy.

Christine Tarantino exhibited at Foundation IK New Year Celebration Exhibit "I WISH", The Netherlands, by invitation of Ko de Jonge.

The Christine Tarantino Collection, newest Christine Tarantino art blog started on January 1, 2012. Showcasing selected works from my 20 year collection of works on paper from artists around the globe.

Christine Tarantino-Hjuler BROTKATZE Collaboration exhibited at GALERIE "Offenes Atelier D.U. Design", Austria, Barbara Rapp, Curator.




El sábado 28 pasado se inauguró la segunda temporada del Espacio Cultural de Villa Ituzaingó.
Se presentó la muestra ¨GADES, vientos del pueblo¨ , 24 grabados de Antoni MIRÓ en homenaje del desaparecido bailarín flamenco Antonio Gades, realizados en 2010, la cual con esa actividad comenzó su itinerancia por la región.
También participó LA TERTULIA DE MARÍA y dentro de ella danza folklórica a cargo de Anibal Jorge y Elizabeth Castro y capoeira por Mayarí Cantoni.
Cuentos y poesía por María Carbajal y Anibal Jorge.
Se proyectaron cortometrajes de Charles Chaplin y documentales de Antoni Miró.



Bern Porter And Mark Melnicove Music for Children of All ages LP

TRD WD # 22 Bern Porter and Mark Melnicove “Music for Children of All Ages Vol. 1" 12” LP. 300 pressed. Wholesale $9 each.

Born on Valentines Day 1911, in Maine’s northernmost county, Bern Porter was a North American artist, writer, publisher, free thinker and scientist who found meaning in the things that others discarded or ignored. Porter is known in mostly underground circles as one of the earliest and most prolific practitioners of Found poetry. Through his gleaning of Founds in recycle bins, telephone books, and repair manuals, he created hilariously cunning, sometimes irreverent works of art that often bear his signature, as well as an anti-copyright statement. Many of these works have been published in collections over the past 70 years. On top of all this he was a sharer of knowledge who opened his home, “The Institute of Advanced Thinking,” in Belfast, Maine, to dropouts, artists, children of all ages, and anyone who felt like dropping by. In celebration of the 100th anniversary of Bern’s birthday, Turned Word Records presents this 34 minute LP of performed poetry, philosophical musings, and general word play, by Bern Porter and longtime collaborator, Mark Melnicove. Though Porter is not known for his sonic explorations, this Lp is quite musical, channeling improvisational song chant modality and rhythm oriented slamesque poetry. On side B we hear what should be Bern’s most famous work “The Last Acts of St. Fuck You.” While a child is gently cooing in the background, the acts are presented in alphabetical order. All this is on vinyl for the first time ever. Many of the pieces have never been heard outside of a small circle of friends. Includes loose leaf booklet of rare photos and 20 founds, most never before published. Hand stamped offset printed covers on re-cycled jackets. Mastered by Caleb Mulkerien. Edited by Dan Beckman-Moon.

HEY!!! WE HAVE A WEBSITE/shop!!!!!!!


TRD W/d Records
P.O. BOX 286
Belfast, Maine 04915

Phone # 207 338 1416

Letter for CAVELLINI from Gianni Romeo - Torino

Brigata Topolino - Performance - Florence 28-05-2011


Di-segni poetici (Matino- LE)

oggi :
Di-segni poetici
MACMa - Museo Arte Contemporanea Matino 'L. Gabrieli', Matino (LE)

Mostra di Poesia visiva dalle collezioni del Museo d'Arte Contemporanea di Matino che conta oltre 450 opere provenienti dalle donazioni 'L.Gabrieli', 'V. Balsebre', 'E. Miglietta', 'M. Bentivoglio' e di vari autori
della poesia verbo-visiva italiana.
comunicato stampa
Il 29 Maggio 2011 alle ore 19.30 presso la Chiesa della Pietà di Matino, s’inaugura il Museo Arte Contemporanea dedicato al pittore matinese Luigi Gabrieli, maestro, dal 1943 al 1960, della Regia Scuola Artistica di Lecce (oggi Liceo Artistico Pellegrino). L’artista, aperto agli sviluppi dell’arte contemporanea, contribuì al rinnovamento della cultura salentina sollecitando al “nuovo”, con la sua didattica e con la sua arte, il gusto artistico di quegli anni marcatamente influenzato dalla scuola napoletana dell’Ottocento. Sotto la sua guida si sono formati allievi attualmente artisti di notorietà provinciale e nazionale tra cui Fernando De Filippi, Ercole Pignatelli, Armando Marrocco, Romano Sambati, Salvatore Esposito e tanti altri.

Il Museo Arte Contemporanea Matino “L: Gabrieli” (MACMa), nato dal progetto del Sindaco Giorgio Primiceri, dell’Assessore ai Beni Culturali Antonio Costantino e di Salvatore Luperto (curatore d’arte), a tutt’oggi conta oltre 450 opere provenienti dalle donazioni “L.Gabrieli”, “V. Balsebre”, “E. Miglietta”, “M. Bentivoglio” e di vari autori della poesia verbo-visiva italiana. Il Museo “L. Gabrieli” è il primo in Puglia ad accogliere importanti autori della Poesia Visiva tra cui Eugenio Miccini, Lamberto Pignotti, Michele Perfetti, Adriano Spatola, Mirella Bentivoglio, Lucia Marcucci, Emilio Isgrò, Franco Vaccari, Luciano Caruso, Martino Oberto,William Xerra.

Nelle Scuderie del Palazzo Marchesale Del Tufo, magistralmente restaurate dagli architetti Tobia Scarpa e Alberto Torsello, sarà inaugurata la mostra di poesia verbo-visiva “di-segni poetici” e sarà presentato il relativo catalogo, curato da Salvatore Luperto e Anna Panareo. Il testo illustra la storia della poesia verbo-visiva in Puglia e in Italia attraverso gli interventi di autorevoli studiosi di un’équipe formata da Antonio Lucio Giannone, Eugenio Giannì, Marinilde Giannandrea, Carla Lezzi, Michele Afferri, Alessandra Guareschi e con i contributi di Mirella Bentivoglio, Sergio Cena, Giovanni Fontana, Ruggero Maggi, Martino Oberto e Lamberto Pignotti.

Durante la cerimonia interverranno autorità politiche e personalità della cultura tra cui Fernando De Filippi (Direttore AA.BB.), Tonino Cassiano (Direttore Museo Provinciale), Aldo Bello (Direttore Rivista Apulia).

Artisti: Paolo Albani, Anna Lisa Alloatti, Fernando Andolcetti, Richard Anthoi, Ignazio Apolloni, Davide Argnani, Maryse Aspart, Nanni Balestrini, Gianni Baretta, Vittore Baroni, Marilla Battilana, Carlo Battisti, Dino Bedino, Toni Bellucci, Mirella Bentivoglio, Carla Bertola, Luigi Bianco, Tomaso Binga, Anna Boschi, Antonino Bove, Ferruccio Cajani, Carlo Canè, Emma Caprini, Ugo Carrega, Luisella Carretta, Luciano Caruso, Bruno Cassaglia, Luciano Cattania, Giorgio Cegna, Sergio Cena, Cosimo Cimino, Mario Commone, Bruno Conte, Vitaldo Conte, Carlo Marcello Conti, Silvio Craia, Gianluca Cupisti, Alda D’Alessio, Mauro Dal Fior, Betty Danon, Laura P. D’Andrea, Raffaele De Bernardi, Antonio Del Donno, Fabio De Poli, Chiara Diamantini, Marcello Diotallevi, Anna Esposito, Luigi Fagioli, Maria Pia Fanna Roncoroni, Vittorio Fava, Fernanda Fedi, Vincenzo Ferrari, Gio Ferri, Carlo Finotti, Alfio Fiorentino, Giovanni Fontana, Nicola Frangione, Gino Gini, Elisabetta Gut, Pino Guzzonato, Randi Hansen, Emilio Isgrò, Elena Lacava, Maria Lai, Michele Lambo, Sveva Lanza, Paola Levi Montalcini, Oronzo Liuzzi, Arrigo Lora-Totino, Marco Maffei, Ruggero Maggi, Franco Magro, Alfonso Malinconico, Marcello Malquori, Mauro Manfredi, Marco Marchiani Mavilla, Lucia Marcucci, Stelio Maria Martini, Gianni Martinucci, Eugenio Miccini, Enzo Miglietta, Enzo Minarelli, Adamo Modesto, Emilio Morandi, Massimo Mori, Riri Negri, Martino Oberto, Ilaria Occhigrossi, Luciano Ori, Maurizio Osti, Marco Parentela, Francesco Pasca, Enzo Patti, Giancarlo Pavanello, Giuseppe Pellegrino, Walter Pennacchi, Michele Perfetti, Lamberto Pignotti, Antonello Ricci, Gianpaolo Roffi, Antonio Sassu, Alba Savoi, Greta Schodl, Danilo Sergianpietri, Gianni Emilio Simonetti, Carlo Alberto Sitta, Adriano Spatola, Franco Spena, Giovanni Tinti, Luigi Tola, Anna Torelli, Franco Vaccari, Agostino Tulumello, Emilio Villa, Pino Viscusi, Alberto Vitacchio, Rodolfo Vitone, Simona Weller, William Xerra.

Inaugurazione 29 Maggio 2011 alle ore 19.30
presso la Chiesa della Pietà di Matino

MACMa - Museo Arte Contemporanea Matino 'L. Gabrieli'
Palazzo Marchesale Del Tufo – Matino
ingresso libero ___________________________
(Kindness of Antonio Sassu, Italia)

poesía visual por Almandrade/: Poetry that comes in through the eyes

El nombre Almandrade - en realidad el artista se llama Antonio Luiz M. Andrade - está asociado a una singular estrategia dentro de lo que se llama arte contemporáneo. El artista plástico, poeta y arquitecto ha producido una obra que se encamina hacia una estética minimalista, hacia una poética que se expresa utilizando un vocabulario mínimo, ya sea pictórico o linguístico. Almandrade es uno de los principales nombres de la poesía visual de Brasil de los años 70.
Según Nicolás Bernard, la ciudad de Bahía, en Brasil tiene sus supersticiones y sus sorpresas culturales, entre ellas Joao Gilberto y Glauber Rocha y por qué no, se pregunta, Almandrade. En definitiva, un artista que viene sorprendiendo desde hace treinta años con el rigor, la sutileza y la coherencia de trabajar con distintos soportes seguido por una tradición de un saber singular.

poesía visual por Almandrade Para entender el origen y la esencia del concepto de "poesía visual",utilizamos la entrevista concedida por el poeta Antônio Luiz M. Andrade -ALMANDRADE - al periodista Rodrigo Leão de Souza. ALMANDRADE es eldueño de un estilo en el que el minimalismo es la guía de su estética,y trabaja en el poema como quien lapidates un diamante. Él esuno de los creadores del Grupo de Estudios de Lengua en la Bahía queSemiótica de la revista editada en 1974. Responde a las preguntascon el conocimiento de un verdadero maestro, y parece estar enfadada por elnegligencia con los trabajos de la artista en una sociedad dominada por lamedios de cultivo, por la moda, por lo que es fácil y desechable. Reporter - ¿Por qué el poema corto el paradigma de la poesía brasileña actual? ALMANDRADE - No tengo suficiente información para afirmar que a cortopoema es el paradigma de la poesía actual. En mi caso, el arte y la poesíame hizo usar un repertorio con pocos signos verbales o imágenes como el trabajoherramientas. Tengo como referencias: la vanguardia poética, el constructivismoy el arte conceptual. Más tarde me acerqué a las conferencias realizadas porItalo Calvino, que eran principalmente acerca de la ligereza "perdidomonumentos y pinturas en las paredes de los museos / cuevas moderna ". Periodista - ¿Qué hay en común entre los monumentos perdidos ypinturas en las paredes de la cueva? "Todo pasa, pero el tiempo"? "Círculosenganchado en los círculos "?" regreso continuo "? ALMANDRADE - La poesía es hacer con el lenguaje, un ejercicio quetoma el lenguaje a un límite, destruye el significado que todos losdías. "... Tan lejosde lo posible, y no llegar "(Bataille). En mi poesía hayimágenes, a veces absurda, contradictoria, las relaciones extraño ... sóloposible en el lenguaje poético. El poeta es libre de transformar lael orden y el sentido de las cosas. Pero podemos acercarnos más a la lógica dela rutina diaria, un problema para los lectores de resolver, que soncómplices de los significados de una obra poética. Como dice Borges: / "Eluno que lee mis palabras les está inventando "/. - Por ejemplo: las cuevasy sus inscripciones visuales son los museos de los hombres primitivos. Eltiendas de los hombres modernos de sus imágenes visuales (artísticos)en los museos (la actualcuevas). / "Todo es íntimo, en el desorden / del sufrimiento / Reporter - ¿No cree usted en el sufrimiento colectivo? ¿Cuándo se puedeel sufrimiento se organizar? ALMANDRADE - La respuesta anterior también podría ser una respuesta a estaque se trate. El lenguaje poético no es un portavoz "para el sufrimiento,dolor o la risa, están presentes en la poesía, sino como un símboloelementos, que forman parte de la naturaleza humana, y el proyecto alos hombres sussentimientos, su aflicción y su felicidad en lo que leen over: "la razón / es un pensamiento / sin salida" / Reporter - ¿Cuáles son las salidas más allá de cartesiana? ALMANDRADE - Esto podría ser una provocación. No sé si haysalidas, además de la risa. / "Los límites de mi lenguaje son los límitesde mi mundo "/, (Wittgenstein). La poesía es una forma de pensamiento que seNo respondió, pero las preguntas del pensamiento. Y la razón / "... es sólo elimperfección de la inteligencia "/, como São Tomás de Aquino dice. Periodista - Usted fue uno de los creadores del Grupo de la LenguaEstudios en el que editó la revista llamada Semiotica Bahía en 1974.¿Cuáles son los caminos que abre Internet para el estudio de la semiótica? ALMANDRADE - Estamos deslumbrados por Internet, como si fuera a resolvercualquier cosa o hacer que los hombres más inteligentes. La verdad esque es sólo unasignifica que puede ponerse al servicio de cualquier área temática: lafabricación del contacto esmás fácil, (esta entrevista, por ejemplo) es el intercambio de informaciónmás fácil, se puede hacer investigaciones y obras públicas, pero nolos producen. Reporter - ¿Cuándo puede un objeto ser un poema? ¿Cuándo puede unasola palabra que unapoema? ¿Cuáles son los límites de la poesía concreta y la poesía visual? ALMANDRADE - La poesía, por ser diferente de la prosa en su escritoforma, siempre ha sido una declaración visual. La poesía concreta es lael reconocimiento y la afirmación de la poesía también como arte visual, que elpoema-proceso asumido en su radicalidad, en mi opinión, lo que provocó unala ruptura entre el poema y la literatura. Cuando hago un poemavisual, me sientoque estoy hablando con el arte gráfico de la literatura. Un objeto ouna palabraasume la forma poética cuando se toma, incluidos o se trasladó a lacontexto poético, cuando se transforma ciertas emociones que tenemos enla poesía. Me recuerda a Valery. Periodista - ¿Qué le han Bahía que no tiene más? DesdeCaetano y Gil apareció, no hemos visto un artista que te gusta venirde Bahía. ¿Es una crisis de Bahía o se trata de un brasileño? ALMANDRADE - A mí me parece ser un problema internacional. En elcaso de la música bahiana (o tal vez, la música brasileña), su mercado se hacrecido, pero su calidad no ha mejorado. Somos parte de una civilizaciónque tiene tiendas y comercios, un principio de ética. Hoy en día,pensar es que sepasado de moda. Cuando la cantidad llega a ser más importante que la calidad,hay algo mal! ... o se trata de pensar que está mal? ...Walter Benjamim llamado cine como el arte más grande. Periodista - ¿Hay un arte más grande que el otro? ALMANDRADE - Es necesario reflexionar acerca de la declaración de Benjamin enrelación con el lugar y hora en que fue concebida. (En el cenit derevolución industrial). No hay un arte más grande que el otro.Las cosas diferentes conocidos por una sociedad no vienen en pares, y sonmás importante dentro de sus propias especificidades. Periodista - ¿Cuál es el papel del escritor en la sociedad? ALMANDRADE - El papel del escritor es escribir, para producir conocimientoy cuestionar su propia naturaleza, inventar otras relaciones con el mundo.Pero en una sociedad dominados por la cultura mediática, por la moda,con lo quees fácil y desechable, y que desprecia a la reflexión, el escritor, elpoeta y el artista son personajes inútiles que pasan su tiempola recuperación de una especie de poesía y una forma de conocimiento que se hanpérdida o desdeñado. Al hacer esto, escritores, poetas y artistaspueden ayudar alos hombres sino sus recuerdos. www.expoart.com.br/almandrade -------------------------------------------------------------------------------------------- To understand the origin and essence of the concept "visual poetry",we use the interview given by the poet Antônio Luiz Morais Andrade -ALMANDRADE - to the reporter Rodrigo de Souza Leão. ALMANDRADE is theowner of a style in which minimalism is the guide of his aesthetics,and he works on the poem like someone who lapidates a diamond. He isone of the creators of the Group of Language Studies in Bahia whichedited the magazine Semiótica in 1974. He answers to the questionswith the knowledge of a true master and seems to be vexed by thenegligence to the work of the artist in a society dominated by themedia culture, by fashion, by what is easy and disposable. Reporter - Why is the short poem the paradigm of the present Brazilian poetry? ALMANDRADE - I do not have enough information to affirm that the shortpoem is the paradigm of the present poetry. In my case, art and poetrymade me use a repertoire with few verbal or pictorial signs as workingtools. I have as references: the poetic vanguard, the constructivismand the conceptual art. Later I got closer to the conferences made byItalo Calvino, that were mainly about lightness "lostmonuments/paintings on the walls of museums/modern caves". Reporter - What is there in common between lost monuments andpaintings on cave walls? "Everything passes, but time"? "Circleshooked on circles"? "Continuous return"? ALMANDRADE - Poetry is making with the language, an exercise thattakes language to a limit, destroys the daily meanings. "...go as faras possible, and not get there" (Bataille). In my poetry there areimages, sometimes absurd, contradictory, strange relationships... onlypossible in the poetic language. The poet is free to transform theorder and the meaning of things. But we can get closer to the logic ofthe daily routine, a problem for the readers to solve, they areaccomplices of the meanings of a poetic work. As Borges says: /" Theone who reads my words is inventing them"/. - For example: the cavesand their visual inscriptions are the museums of primitive men. Themodern men stores their visual images (artistic) in museums (moderncaves). / "everything is intimate/ in the disorder/ of the suffering/ Reporter - Don't you believe in colective suffering? When cansuffering be to organize? ALMANDRADE - The previous answer could also be an answer to thisquestion. The poetic language is not a 'spokesperson' for suffering,pain or laughter, these are present in poetry, but as symbolicelements, they are part of human nature, and men project theirfeelings, their affliction and their happiness on what they read orsee: "reason/is a thought/with no way out"/ Reporter - What are the exits beyond Cartesian? ALMANDRADE - This might be a provocation. I don't know if there areexits, besides laughter. / " The limits of my language are the limitsof my world"/, (Wittgenstein). Poetry is a form of thought that doesnot answer, but questions the thought. And reason / "...is only theimperfection of inteligence"/, as São Tomás de Aquino says. Reporter - You were one of the creators of the Group of LanguageStudies in Bahia which edited the magazine called Semiotica in 1974.What are the paths that internet opens for the study of semiotics? ALMANDRADE - We are dazzled by internet, as if it were going to solveanything or make men more intelligent. The truth is that it is only ameans that may be at service of any subject area: making contact iseasier, (this interview, for example) exchanging information iseasier, it can make researches and works public, but it will notproduce them. Reporter - When can an object be a poem? When can a single word be apoem? What are the limits of concrete poetry and visual poetry? ALMANDRADE - Poetry, for being different from prose in its writtenform, has always been a visual statement. Concrete poetry is theacknowledgement and affirmation of poetry also as visual art, that thepoem-process assumed in its radicalism, in my opinion, provoking arupture between poem and literature. When I make a visual poem, I feellike I am graphic art talking to literature. One object or one wordassumes the poetic form when it is taken, inserted or moved to thepoetic context, when it transforms certain emotions we have intopoetry. It reminds me of Valery. Reporter - What did Bahia have that it does not have anymore? SinceCaetano and Gil appeared, we have not seen an artist like them comingfrom Bahia. Is it a Bahia crisis or is it a Brazilian one? ALMANDRADE - It seems to me to be an international problem. In thecase of Baiana music (or maybe, Brazilian music), its market hasgrown, but its quality has not improved. We are part of a civilizationthat has shopping as an ethic principle. Nowadays, to think is to beold-fashioned. When quantity becomes more important than quality,there is something wrong!... or is it thinking that is wrong?...Walter Benjamim named cinema as the greatest art. Reporter - Is there one art bigger than the other? ALMANDRADE - It is necessary to reflect about Benjamin's statement inrelation to the place and time it was conceived. (at the zenith ofindustrial revolution). There is not one art bigger than the other.The different things known by a society do not come in pairs, and aremore important within their own specificities. Reporter - What is the role of the writer in the society? ALMANDRADE - The role of the writer is to write, to produce knowledgeand to question its nature, to invent other relations with the world.But in a society dominated by the media culture, by fashion, by whatis easy and disposable, and that despises reflection, the writer, thepoet and the artist are useless characters who spend their timerecovering a kind of poetry and a form of knowledge that have beenlost or disdained. By doing that, writers, poets and artists can helpmen save their memories.




Underground - autoprocuzioni - artindipendenti Creativa 12 a Firenze - 28 maggio 2011


otto ore di immersione totale nei
linguaggi delle arti contemporanee
in mezzo agli artisti, poeti, musicisti,
performer giunti a Firenze da tutta
Italia e dall'Europa
Firenze - 28 maggio 2011
Piazza Annigoni dalle 15 alle 23

ingresso libero e gratuito

Klikka il link per vedere locandina, pieghevole e foto della piazza:

i_artindipendenti.html (Kindness of Franco Piri Focardi, Italia)

Spooks by Jan Theuninck, 2010

Spooks are used to say that other people see ghosts and thus betray themselves...
In der Politik ist der Red Herring eine Propagandainstrument, um den Gegner oder dessen Bevölkerung zu desinformieren. Ebenso wird er zur Diskreditierung eines Gegners gegenüber der eigenen Bevölkerung genutzt.


Ai Weiwei: the dissident artist by Hari Kunzru

Each day that goes by I think of Ai Weiwei and I am sick to my stomach. I cannot enjoy making art while this visionary artist is suffering. -Christine Tarantino


Ordeotraipse - New Audio Bloggage

New audio blog with tapes from the 80's and 90's mostly picked by blindfolded crazy tongs. First three gems from The Church Of Subgenius, Fake Stone Age and Crackerjack Kid.

Find it HERE.


Lynn Hershman Leeson's "!Women Art Revolution" Premieres in New York

!Women Art Revolution
June 1–9, 2011
IFC Center, New York

2008 Film/Video grantee Lynn Hershman Leeson premieres !Women Art Revolution at IFC Center in New York on Wednesday, June 1. Tickets go on sale this Friday.

!Women Art Revolution (!W.A.R.) is a documentary that combines interviews, artwork and rarely seen archival film and video footage, collected over the past 40 years, to detail the evolution of the feminist art movement in the United States from 1968 to the present. The film ties the feminist art movement to 1960s anti-war and civil rights demonstrations, showing how historical events, such as the all-male protest exhibition against the invasion of Cambodia, sparked the first of many feminist actions against major cultural institutions. !W.A.R. also details major developments in women's art during the 1970s, including the opening of alternative art spaces such as the AIR Gallery in New York and the Los Angeles Woman's Building. Chronicling the work of activists in recent decades, the film focuses on the Guerrilla Girls, the Women's Art Coalition and other similar groups, as well as the publications and spaces they've engendered.

Written, directed, narrated and edited by Leeson, !Women Art Revolution will be distributed nationwide by Zeitgeist Films. Special events throughout the film's IFC Center run include introductions to the film by the following artists and activists:

•June 1: Kathleen Hanna (6:00pm and 8:00pm)
•June 2: Howardena Pindell (2:00pm), Carolee Schneemann (6:00pm), Bob Alotta (8:00pm)
•June 3: Janine Antoni (noon), Howardena Pindell (2:00pm), Joyce Kozloff (6:00pm), Martha Wilson (8:00pm)
•June 4: B. Ruby Rich (6:00pm), Guerrilla Girls Frida Kahlo and Kathe Kollwitz (8:00pm)
•June 5: Howardena Pindell (2:00pm), B. Ruby Rich (6:00pm)
•June 6: Carey Lovelace, Connie Butler (6:00pm)
•June 7: Carey Lovelace, Faith Ringgold (6:00pm)
The full list of showtimes will be available at IFCCenter.com later this week.

Coming soon to a theater near you! Browse other upcoming screenings of !W.A.R. here.

About Creative Capital
Creative Capital is a national nonprofit organization dedicated to providing integrated financial and advisory support to artists pursuing adventurous projects in five disciplines: Emerging Fields, Film/Video, Innovative Literature, and Performing and Visual Arts. Working in long-term partnership with artists, Creative Capital’s pioneering approach to support combines funding, counsel and career development services to enable a project’s success and foster a sustainable practice for its grantees. In its first decade, Creative Capital has committed more than $20 million in financial and advisory support to 325 projects representing 406 artists, and has reached an additional 3,700 artists in more than 50 communities around the country through its Professional Development Program.

Creative Capital currently receives support from The Andy Warhol Foundation for the Visual Arts, Doris Duke Charitable Foundation, The TOBY Fund, The Nathan Cummings Foundation, The Andrew W. Mellon Foundation, The Rockefeller Foundation, the William K. Bowes, Jr. Foundation, the Muriel Pollia Foundation, Catharine and Jeffrey Soros and more than 150 other institutional and individual donors.

Tinamaria Marongiu, ITALIA

fotografia"Frammenti di Futuro"

"Frammenti di Futuro": "Videofoto"
Complesso Monumentale Santa Caterina , Finale Ligure (Savona)
Festa dell’Inquietudine a Finale Ligure il 27-28-29 maggio 2011.
gli autori qui sotto indicati ammessi alla sezione finale che si terrà durante la Festa dell’Inquietudine a Finale Ligure il 27-28-29 maggio 2011
Si ringrazia vivamente tutti coloro che hanno pertecipato.
Andersen Karin -(Bologna)
Boniforti Luciano -(Bergamo)
Bortoletto Fulvia e Pierluigi-(Savona)
Ceglia Elisa-(Torino)
Di Berardino Valentina-(Pescara)
Gruppo Sinestetico – Albertin, Sassu, Scordo -(Padova)
Laghi Benelli Luciano-(Forli)
Lottero Cristina-(Savona)
Schirato Stefano-(Pescara)
Tibaldi Roberto-(Bra-Cuneo)
Vecchi Umberto-(Novara)
Zino Stefano-(Genova)


Concorso Fotografico “Frammenti di Futuro”
L’edizione 2011 della Festa dell’Inquietudine, organizzata dal Circolo degli Inquieti di Savona in collaborazione con Comune di Finale Ligure, Provincia di Savona, Regione Liguria e Fondazione A. De Mari, che avrà luogo a Finale Ligure dal 27 al 29 maggio ha fissato come tematica dell’evento il rapporto tra Inquietudine e Futuro.
In questo contesto e con il Patrocinio della Festa, l’Associazione Culturale Frammenti organizza una selezioneconcorso a premio dal titolo “Frammenti di futuro” rivolto agli autori che intendono esprimersi con la fotografia sul tema conduttore della festa: Il Futuro.

La Giuria:
Linda Finardi – esperta dei linguaggi comunicativi
Giacomo Cicciotti – autore di multivisione
Nino Idini – fotografo team Canon
Luca Bochicchio – critico d’arte – Unige
Silvano Possillipo – psicoanalista AMP
Coordinatore Gino Russo – associazione frammenti

(Kindness of Antonio Sassu, Italia)

Paul Tiililä, FINLAND

(Kindness of Paul)


Ai Weiwei - The 2011 TIME 100 - TIMEApr 21, 2011 ... "Ai Weiwei is the kind of visionary any nation should be proud to count among its creative class."



invito: June 4-5 th, 2011, Italia

evento parallelo - parallel event


4-5 giugno 2011
June 4-5th, 2011

Letture, Performance
Readings, Performance and more
inaugurazione dalle 10 alle 20
opening from 10 a.m. to 8 p.m.

artisti presenti:
ITALIA Tiziana Baracchi - Mariano Bellarosa - Mirta Caccaro - Pino Conestabile - Laura Cristin - Francesco Cucci - Adolfina De Stefani - Maurizio Follin - Gabriella Gallo - Mauro Gentile - Claudio Grandinetti - Alfonso Lentini - Antonello Mantovani - Giosuè Marongiu - Tinamaria Marongiu - Valentino Montanari - Claudio Romeo - Roberto Sanchez - Roberto Scala - Renato Sclaunich - Renata e Giovanni Strada - Tito Truglia
FRANCIA Daniel Daligand - Michel Della Vedova - Rémy Pénard
GERMANIA Peter Kustermann
GRECIA Evmorfia Rachouti
SPAGNA Isabel Jover - Cesar Reglero


GARAGE N.3 Gallery
via Cavallotti 83B

Biennale arti visive, architettura, cinema, teatro, balletto…e la Poesia? Forse il terreno è troppo insidioso e poco remunerativo per interessare. Da un male deriva un grande bene. Da sempre il nostro percorso invece è stato caratterizzato da Arte e Poesia, motivando il credo di Guillaume Apollinaire. Un percorso che il sistema dell’arte genericamente ha sostituito con i nuovi santoni della comunicazione. Quindi il Poesy Pavilion non può non sottolineare e ribadire l’importanza e la valenza dell’atto poetico alla base di ogni atto artistico. E’ questo il significato dell’incontro del 4 e 5 giugno 2011 presso il Garage N. 3 Gallery spazio espositivo dell’Ambasciata di Venezia e punto di riferimento per il network della Cultura da sempre indipendente da un sistema dell’arte obsoleto. Quindi un evento parallelo per non confondersi con la fiera delle vanità in una Venezia che ha svenduto il suo ruolo culturale in nome dell’apparenza.

Giancarlo DA LIO

(kindness of Tiziana Baracchi)

Bob Dylan famous [70th] birthday, May 24th

!!!Happy 70th Birthday, Mr. Dylan!!!


Mario Loprete

MARIO LOPRETE Black power olio su tavola 75 x 150 2011


Via Goffredo Mameli 9Roma
Inaugurazione mercoledì 25 maggio ore 19.00

Curatori Vittorio Pavoncello e Giuseppe Salerno

Da un'idea di Vittorio Pavoncello un gemellaggio virtuale tra il Giorno della Memoria (27 gennaio) e la Giornata Mondiale dell'Africa (25 maggio) 50 artisti offrono il loro libero contributo alla trattazione di tematiche sul razzismo che accomunano le due ricorrenze.

Le influenze dell'arte africana sulle avanguardie del ventesimo secolo sono ben note tanto da essere incluse in ciò che i nazisti definirono "arte degenerata". Ciò che risulta curioso, paradossale e inquietante è il fatto che mentre l'arte occidentale andava sempre più aprendosi a mondi e culture altre, senza alcuna discriminazione razziale e prefigurando quella che sarebbe divenuto un pianeta multiculturale, la società si chiudeva in forme di segregazione sempre più ferree fino a giungere all'eliminazione sia delle persone fisiche sia delle arti che a quella mescolanza di forme e modelli si andava ispirando. Gli artisti delle avanguardie storiche, nell'aprirsi alle forme d'arte africana, sperimentavano in senso positivo quella de soggettivazione dell'identità che nei lager nazisti veniva imposta come privazione di qualunque diritto umano. Molti furono gli artisti che s'ispirano alle teorie intraviste, nelle sculture e geometrie decorative africane, come nuove forme di interazione dello spazio e del tempo. Fra questi Picasso, Braque, Derain, Matisse, Kleee Modigliani, per citarne solo alcuni.
Una mostra che unisca oggi artisti contemporanei su temi che vanno dall'avanguardie storiche, alla schiavitù, alla Shoah, all'Africa e all'Europa incrementa il dialogo fra i due continenti, quello europeo e quello africano, in un unico spazio culturale unito dall'arte. E come gli artisti occidentali vedevano nei volti delle maschere africane un archetipo con il quale confrontarsi, oggi, che sempre più i volti i gesti della shoah ci appaiono come maschere, il confronto è con un archetipo che è la stessa memoria.
La rassegna si arricchisce, nei giorni di esposizione delle opere, con i seguenti eventi:

25 maggio h 19
"Variazioni su Al Jolson" ovvero "Il Dolore del Contrasto"
Ro' Rocchi performance
Alpha Dieme ai tamburi
h 20
Isabella Venantini danza
AFRO-EMBE' di Artale Afro Percussion Band musica

26 maggio h 18
Laura Boldrini e Anna Foa
(Immigrazioni e concetto di Genocidio)

27 maggio h 18
Gemma Vecchio Associazione Casa Africa

28 maggio h 18
letture dei poeti
Roberto Piperno, Deborah D'Agostino, Ribka Sibhatu , Ndjock Ngana, Michele De Luca,Michela Zanarella, Rossella Pompeo, Lucia Cenni

"I piedi di Abele Bikila" spettacolo performance di Stefano Lucarelli
Galleria Spazio Ottagoni
Via Goffredo Mameli, 9 -00153 Roma

Contatti: Vittorio Pavoncello 366 4545656 SpaziOttagoni 335 6158199

mail art collage piece sent by Dirk Vekemans,

puis.1 déformée au lavage par l'objectif du konica minolta trucmuche puis.2 ironed with paint.net software

Charleroi 1911-2011

Istvan Kantor - Monty Cantsin Amen.By Damian Rogala (Albums), FB

Great photos of great performance art...intensity and passion!



PROXY GALLERY (now showing: the africa collection): Select and assemble your own custom art exhibition with catalogue! Ultra hi-res art files, suitable for printing, are delivered in one custom pdf/ebook. Thousands of enlarged (custom, patented algorithms) and enhanced photographs (now, likely several hundred thousands, soon over a million,) mostly low-res cellphone, web-cam, and low-end digital camera self-portraits (self-packaging), culled from dating/social websites -- as you might expect, there is some explicit content (more than is permitted here unfortunately: you really should see them all, but it probably makes little difference) -- fascinating and occasionally disturbing. I've decided to also add a set of painting-filters -- this was good, as it enabled a 'recovery' of many more worthwhile images, and also clouded any possible erogenous/irregular corporate claims, but the project now extends beyond my life-span. I could easily make small paintings from these images but who support that activity? It's interesting to find the balance/inertia point between the look of photo and painting, and it speaks to the current social/heroic condition! Often it makes faces look squinty so it's necessary to 'bring-back' facial aspects. The display images on this site are but quick approximations of the larger art files which simply don't scale -- kinda like paint on canvas. Another advantage of the painting filters is that they drastically reduce the file sizes and make it well-nigh impossible for someone to covertly res-up these display images for printing. It's quite incredible to realize that many of these pictures were only 3-4K or so when I started to work on them. You may realize that this is not the first time I've collected anonymous found-public imagery: notably dumpster-diving (bicycling with backpack at midnight,) at photofinishers' in the 70's. And of course, there's the "Insatiable Abstraction Engine" -- collections from newsgroups. [http://bbrace.net/insatiable-abstraction.html] But come to think it, nearly all my work involves repeated multiples or collections of imagery. My new friends. Whenever possible I retained any color casts, cropping and lighting. The portraits are actually very considered, sometimes selections made/altered merely to obscure the identity that they wished to presumably portray initially. Sunglasses are a popular ruse, as are close-ups of cleavage, butts, tattoos, feet and groins. (Curiously, I've yet to see a picture of hands... ok, now I have: some intricate fingernails and the love/hate finger-tats.) Many feature-obilerating camera-flash-portraits in the bathroom mirror. Many of course, occur in and around motorized vehicles. Only one (so far) in a grocery store. And some, but surprisingly few, are filched from somewhere online, but this must be a risky choice in the event of an 'actual encounter.' How much introductory information/description do you want to put out there to begin with? There are some very creative, even artful, solutions to this dilemma. Various select groups of portraits are included in each PDF 500-page ebook/catalogue for $250 (sorry about the price but it was a hellish amount of work and I guarantee you won't be disappointed or YMB), and can be ordered directly. The images contain sufficient resolution to print them out on letter-size/A4 paper for an instant exhibition. Use my verified Paypal account to have the DVD delivered at no charge: [bbrace@eskimo.com; http://bradbrace.net/buy-into.html] Or, even better, assemble your own catalogue/exhibition at the Proxy Gallery storefront [http://cart.iabrace.com/]. Art files are only $1 each. My new friends. Having been recently kicked-off Facebook (there was an anonymous report of a depicted nipple!), and losing 5,000 so-called friends - it was the perfect place to host a social-media profile-portrait-collection, I've decided to also open an online storefront where individual high-res files will sell for only $1/each. [http://cart.iabrace.com] How hypocritical to object to profile pictures that were on FB to begin with; but it's fun to now position coloured boxes and bars over n•pples, c•nts and c•cks. How idiotic is that? The prints of course required different custom algorithms and some masterful retouching -- they look great! Technically given the incredibly diverse range of imagery it was difficult to make them all equally legible; despite a variety of intricate processing directives, the scripts would inevitably crash or be unable to render a decent image. These were handled individually as were the painting-filters. If I receive a reasonable number of orders, I'll offer additional states of the union or countries... but California had to be the place to begin. Sure to be a collectors' (socio-anthropologists') item! An amazing and compelling, collective portrait! The interspersed military/gangster imagery (or maybe something else), also introduces a new spin on the hopes for this already tenuous social-media culture. I've had to organize/sub-divide these in some fashion, so by state/country seems to be the prevailing approach. And given how often workers are compelled to move around, there's more of a local difference in cultural self-perception, body language, and social-sexual proclivity than you might expect. It really is a perhaps overlooked (overly-present), socially significant era when a massive proportion of the population is able to individually exorcise their self-imagery instead of being routinely dependent on existing systematized systems of portraiture and presentation -- which is not to say that it's entirely free from stylistic-cultural-corporate constraints and codification (and why, for now at least, I left the imagery in a nearly random arrangement), but the individual, probably for the first time ever, is seen freely negotiating a shifting porous skein of varied reception... well, something like that... what does it matter in this big world of shuffled lies... ( commissioned encaustic paintings on 12x12" panels of any subject are available for $15,000US ) http://cart.iabrace.com

Mary Cassatt, Jean Tinguely, famous birthdays May 22nd

Mary Stevenson Cassatt (pronounced /kəˈsæt/; May 22, 1844 – June 14, 1926) was an American painter and printmaker. She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
Though women of her day were discouraged from pursuing a career, Mary Cassatt enrolled in Philadelphia’s Pennsylvania Academy of the Fine Arts at age 16. Not surprisingly, she found the male faculty and her fellow students to be patronizing and resentful of her attendance. Cassatt also became frustrated by the curriculum’s slow pace and inadequate course offerings. She decided to leave the program and move to Europe where she could study the works of the Old Masters firsthand on her own.
- Wikipedia

Jean Tinguely (22 May 1925 in Fribourg, Switzerland – 30 August 1991 in Bern) was a Swiss painter and sculptor. He is best known for his sculptural machines or kinetic art, in the Dada tradition; known officially as metamechanics. Tinguely's art satirized the mindless overproduction of material goods in advanced industrial society.

Jean Tinguely, creator of machines that draw, play, explode, and capture our imagination,
spent countless childhood hours in the Swiss forest creating a story that would become a model for his future artwork. ...