"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.


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.

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