"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.


Almandrade - Brazilian poetry

To understand the origin and essence of the concept "visual poetry",
we use the interview given by the poet Antônio Luiz Mário Andrade -
ALMANDRADE - to the reporter Rodrigo de Souza Leão. ALMANDRADE is the
owner 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 is
one of the creators of the Group of Language Studies in Bahia which
edited the magazine Semiótica in 1974. He answers to the questions
with the knowledge of a true master and seems to be vexed by the
negligence to the work of the artist in a society dominated by the
media culture, by fashion, by what is easy and disposable.

Reporter - Why is the short poem the paradigm of the present Brazilian

ALMANDRADE - I do not have enough information to affirm that the short
poem is the paradigm of the present poetry. In my case, art and poetry
made me use a repertoire with few verbal or pictorial signs as working
tools. I have as references: the poetic vanguard, the constructivism
and the conceptual art. Later I got closer to the conferences made by
Italo Calvino, that were mainly about lightness "lost
monuments/paintings on the walls of museums/modern caves".

Reporter - What is there in common between lost monuments and
paintings on cave walls? "Everything passes, but time"? "Circles
hooked on circles"? "Continuous return"?

ALMANDRADE - Poetry is making with the language, an exercise that
takes language to a limit, destroys the daily meanings. "...go as far
as possible, and not get there" (Bataille). In my poetry there are
images, sometimes absurd, contradictory, strange relationships... only
possible in the poetic language. The poet is free to transform the
order and the meaning of things. But we can get closer to the logic of
the daily routine, a problem for the readers to solve, they are
accomplices of the meanings of a poetic work. As Borges says: /" The
one who reads my words is inventing them"/. - For example: the caves
and their visual inscriptions are the museums of primitive men. The
modern men stores their visual images (artistic) in museums (modern
caves). / "everything is intimate/ in the disorder/ of the suffering/

Reporter - Don't you believe in colective suffering? When can
suffering be to organize?

ALMANDRADE - The previous answer could also be an answer to this
question. The poetic language is not a 'spokesperson' for suffering,
pain or laughter, these are present in poetry, but as symbolic
elements, they are part of human nature, and men project their
feelings, their affliction and their happiness on what they read or
see: "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 are
exits, besides laughter. / " The limits of my language are the limits
of my world"/, (Wittgenstein). Poetry is a form of thought that does
not answer, but questions the thought. And reason / "...is only the
imperfection of inteligence"/, as São Tomás de Aquino says.

Reporter - You were one of the creators of the Group of Language
Studies 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 solve
anything or make men more intelligent. The truth is that it is only a
means that may be at service of any subject area: making contact is
easier, (this interview, for example) exchanging information is
easier, it can make researches and works public, but it will not
produce them.

Reporter - When can an object be a poem? When can a single word be a
poem? What are the limits of concrete poetry and visual poetry?

ALMANDRADE - Poetry, for being different from prose in its written
form, has always been a visual statement. Concrete poetry is the
acknowledgement and affirmation of poetry also as visual art, that the
poem-process assumed in its radicalism, in my opinion, provoking a
rupture between poem and literature. When I make a visual poem, I feel
like I am graphic art talking to literature. One object or one word
assumes the poetic form when it is taken, inserted or moved to the
poetic context, when it transforms certain emotions we have into
poetry. It reminds me of Valery.

Reporter - What did Bahia have that it does not have anymore? Since
Caetano and Gil appeared, we have not seen an artist like them coming
from Bahia. Is it a Bahia crisis or is it a Brazilian one?

ALMANDRADE - It seems to me to be an international problem. In the
case of Baiana music (or maybe, Brazilian music), its market has
grown, but its quality has not improved. We are part of a civilization
that has shopping as an ethic principle. Nowadays, to think is to be
old-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 in
relation to the place and time it was conceived. (at the zenith of
industrial revolution). There is not one art bigger than the other.
The different things known by a society do not come in pairs, and are
more 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 knowledge
and to question its nature, to invent other relations with the world.
But in a society dominated by the media culture, by fashion, by what
is easy and disposable, and that despises reflection, the writer, the
poet and the artist are useless characters who spend their time
recovering a kind of poetry and a form of knowledge that have been
lost or disdained. By doing that, writers, poets and artists can help
men save their memories.
Entrevista à Luiza Viana: jornal Pnorama

Luiza - Como definiria sua obra - pinturas, objetos, esculturas (no sentido
também da evolução de seu trabalho). Poderia fazer uma ponte com o (seu)
característico de linguagem poética?

*Almandrade* - O rigor e a limpeza gráfica sempre foram para mim uma
Trabalho com poucos elementos, o mínimo de gestos, poucas palavras (poesia).
Comecei no início da década de 70 entre a arte conceitual e a arte
construtiva, não sei se devo falar em evolução, talvez transformação. Tenho
utilizado vários suportes: pintura, escultura, desenho, instalação e a
palavra no caso da poesia, sem misturar uma coisa com a outra, seguido um
método de trabalho. Nos anos 70 falava de "arte contemporânea", hoje um
termo sucateado. O que sempre me preocupou foi a arte como lugar de reflexão

Luiza - O que impele a uma obra plástica ou à poesia?

*Almandrade* - Um desvio sem uma explicação "lógica", fiz arquitetura,
trabalhei com planejamento urbano, fiz mestrado em desenho urbano, mas
sempre fui seduzido pela pelas artes plásticas e pela poesia. Não consegui
me livrar dos seus efeitos.

Luiza - Gostaríamos que falasse sobre seu encontro com Hélio Oiticica ( é
sempre bom reavivar a memória num país que não valoriza seu passado
cultural, mesmo o mais recente). Pode fazer um paralelo entre sua obra e a
do Hélio?

*Almandrade* - Estive com Hélio algumas vezes depois que ele voltou a morar
Rio de Janeiro, mas encontros rápidos. Em Recife, julho de 1979, ficamos
quase uma semana no Festival de Inverno, eu fazendo uma exposição e ele
convidado para fazer um trabalho com "parangolé", foi quando ele se
interessou pelos meus objetos da exposição e ficamos mais amigos. È difícil
fazer um paralelo, eu ainda estou construindo um trabalho e a obra do Hélio
já é parte da história, seria muita pretensão de minha parte. Nas nossas
conversas, sobre o trabalho dele e o que eu estava fazendo, chegamos a falar
no uso do corpo nos trabalhos dele (labirintos, parangolé...) e no caso das
minhas instalações o uso do olho...

Luiza - Décio Pignatari, a respeito de seu trabalho fala em "objetos
franciscanamente... desenhados" e "grafia de cartilha, porém
engenhosamente... simplista, posto que metafísica"; você aponta para a
necessidade um "espectador asceta" que se queira perder no jogo inútil da
obra. Não soa estranho o uso de palavras de cunho religioso na análise da
arte contemporânea?

*Almandrade* - O espectador de arte não é um espectador ingênuo. É preciso
olhar habilitado.
O Décio inteligentemente se utiliza do conceito "Franciscanamente" para
falar das condições materiais do trabalho, dos objetos, não são materiais
nobre, são materiais "pobres" : pedaços de madeira, papelão... construídos
com uma aparente fácil engenharia, sem muitos recursos, mas sem sacrificar a
precisão conceitual. Poderia ser também interpretado "religiosamente

Luiza - Pode falar mais extensamente sobre sua poesia? (poesia concreta,
poema visual; o arquiteto, o professor de teoria da arte, o artista plástico
participam de alguma forma no seu fazer poético: os temas, o olhar, o uso de
vocábulos determinados, etc.

*Almandrade* - Comecei participando de grupo de poesia quando era estudante
colégio, mas a pintura sempre me convidava. Através da poesia concreta e do
poema processo descobrir a arte construtiva e depois a arte conceitual e
acabei desenvolvendo um trabalho à margem do circuito cultural baiano. Sou
arquiteto de formação, gosto de trabalhar com a cidade, a arquitetura.
Trabalhar como professor foi uma conseqüência de minhas preocupações com o
discurso sobre a arte... Quando comecei em Salvador na década de 70, eu
tinha que ser o artista e o crítico, para enfrentar a rejeição da província.
Todo trabalho cultural é resultado de outros trabalhos. A minha poesia e
minha arte são resultados da minha formação, das minhas contradições e de
tudo que vi e vejo, de tudo que li e leio.

Luiza - No seu livro "Obscuridades do Riso" a emoção do escritor vem mais a

*Almandrade* - Este livrinho precariamente editado (sem revisão, cheio de
erros) em 82. São pequenos fragmentos escritos entre 1977 e 80. Não sei se
vem a tona a emoção, são textos livres, sem um tema. Nesta época eu estava
lendo: Bataille, Lautréamont, Michaux, Nietzsche...
Luiza - Oscar Wildi coloca que "a vida artistica é o desenvolvimento de si
próprio". O que acha sobre isso?

*Almandrade* - O trabalho de arte é um processo, é resultado de uma vida de
trabalho, como diz Bachelard: "O verdadeiro destino de um grande artista é
um destino do trabalho". E assim a vida e a obra se desenvolvem com a
experiência do tempo.

Luiza - Pensando no seu artigo "O País da Política" publicado no jornal
Panorama - podemos ter esperanças que esta república em que vivemos possa
nos pertencer num futuro próximo? A "democracia" em que estamos mergulhados
poderá dar certo algum dia?

*Almandrade* - Não sei, diante da mídia formando opinião. Um dia eu li o
seguinte comentário provocativo: "Se a democracia deu certo algum dia, foi
na Grécia Antiga". Mas isto é assunto para especialista em política. - E a
poesia, será que vai sobreviver?

entrevista publicada no jornal PANORAMA
(Kindness of
Rrose Selavy)

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