map of nowhere

Grayson Perry. Map of Nowhere, 2008. Purple color etching from five plates, ed. 10/15. UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Purchased with funds provided by the Helga K. and Walter Oppenheimer bequest.

British artist Grayson Perry was awarded the Turner Prize for his provocative ceramic vases in 2003. A monumental etching recently acquired by the Grunwald Center for the Graphic Arts demonstrates Perry’s skills as a printmaker. It combines a diagram of the artist’s body with a medieval map of the world. The composition is riddle with allegorical references to the artist’s own identities and witty allusions to current social, political, and economic themes. Churches for Microsoft and Starbucks, and an Elizabethan portrait of a woman titled St. Claire, Perry’s alter ego/patron saint, are a few of the images that adorn this iconographic tour-de-force.

sunrise today

all the history of grief

Archibald MacLeish "Ars Poetica" (1926)

A poem should be palpable and mute As a globed fruit, Dumb As old medallions to the thumb, Silent as the sleeve-worn stone Of casement ledges where the moss has grown -- A poem should be wordless As the flight of birds.                     * A poem should be motionless in time As the moon climbs, Leaving, as the moon releases Twig by twig the night-entangled trees, Leaving, as the moon behind the winter leaves, Memory by memory the mind -- A poem should be motionless in time As the moon climbs.                     * A poem should be equal to Not true. For all the history of grief An empty doorway and a maple leaf. For love The leaning grasses and two lights above the sea -- A poem should not mean But be.

irrelephant

irrelephant irrelephant irrelephant

Mata mua

PAUL GAUGUIN - "Mata Mua (in olden times)", 1892 - oil on canvas, 91-69 cm. - Madrid, Thyssen Museum - view high resolution image

Gauguin travelled to the tropics searching an artistic redemption, a comeback to the 'primitive' and the 'exotic' that could help him to find a way in which his Art could be 'purified'. "Mata Mua (in olden times)" is a powerful and fascinating composition divided in two parts by a giant tree that majestically stands over a red and purple river. The two women at the right represent the present of Tahiti, while the group of women in front of a big statue of an idol represent the past, the "primitive" Tahitian way of life.

Leona Aline

Somebody named Leona Aline, just sent me an email...wish she was really somebody, wish it was really an email, not just another computer virus, not just another way of stealing from me...

masses

Serra

truly out of focus

lost in the supermarket

Avenida da Liberdade

jardins

Emil_Nolde

Coffee

C

When I awoke with cold
And looked for you, my dear,
And the dusk inward rolled,
Not light or dark, but drear,

Unabsolute, unshaped,
That no glass can oppose,
I fled not to escape
Myself, but to transpose.

I have so often fled
Wherever I could drink
Dark coffee and there read
More than a man would think

That I say I waste time
For contemplation’s sake:
In an unencumbered clime
Minute inductions wake,

Insight flows in my pen.
I know not fear nor haste.
Time is my own again.
I waste it for the waste.

Found at http://shigekuni.wordpress.com great blog !

seminal

O anjo da história

"Há um quadro de Klee intitulado Angelus Novus. Representa um anjo que parece preparar-se para se afastar de qualquer coisa que olha fixamente. Tem os olhos esbugalhados, a boca escancarada e as asas abertas. O anjo da história deve ter este aspecto. Voltou o rosto para o passado. A cadeia de factos que aparece diante dos seus olhos é para ele uma catástrofe sem fim, que incessantemente acumula ruínas sobre ruínas e lhas lança aos pés (…)".
Walter Benjamin, Gesammelte Schriften, I, 2, "Über den Begriff der Geschichte", p. 697 (tradução de João Barrento, in O Anjo da História, p. 13). 


encontrado aqui

Lisboa

deep blue

Nadie se muere jamás

                                                            25 January 1882 – 28 March 1941


"Nadie se muere jamás, siempre queda detrás el lugar desde el que viene su eco. Escucharlo es el tributo."
encontrado aqui

love this

"Like most of Hodgkin's work, this painting refers to a particular place and to memories of a specific moment. Hodgkin paints from memory, often working on a picture over the course of several years. His sweeping brushstrokes are expressive, almost violent. Although the painting is abstract, there is a dark, cave-like area in the middle of the painting, towards which the 'figures' in red paint appear to be leaning. This gives the appearance of depth. Hodgkin often paints the frame, as is the case with this picture, making the painting like an object in itself."

more here

Manhã

The sun over the river is not only pretty today,

it is very pretty.

The girl holds the boy's hand,

kisses him on the cheek and arranges his cachecol.

It is very cold.

(These are the things I choose to keep.)

morning

O sol sobre o rio não está só bonito hoje,
está muito bonito.
 A rapariga dá a mão ao rapaz,
beija-o na face e ajeita-lhe o cachecol.
Faz muito frio.
(Estas coisas escolho guardar).

XXth century blues

a bit of an explanation

inner city blues

re-usable

Water

Water

If I were called in
To construct a religion
I should make use of water.

Going to church
Would entail a fording
To dry, different clothes;

My litany would employ
Images of sousing,
A furious devout drench,

And I should raise in the east
A glass of water
Where any-angled light
Would congregate endlessly.

Philip Larkin

Mandaeism

Nem só espécies animais ou vegetais correm o risco de extinção hoje, também gente, culturas, línguas sofrem a mesma ameaça...só a nossa inteligência nos pode salvar, porque no fim morremos todos.


"Mandaeism or Mandaeanism (Mandaic: Mandaiuta, Arabic: مندائية‎ Mandā'iyya, Persian: مندائیان) is a monotheistic religion with a stronglydualistic worldview. Its adherents, the Mandaeans, revere Adam, Abel, Seth, Enosh, Noah, Shem, Aram and especially John the Baptist. They are sometimes identified with the Sabian religion, particularly in an Arabian context, but actually Mandaeism and Manichaeism seem to be independent – to some degree opposing – developments out of the mainstream Sabian religious community, which is extinct today.

Mandeans seem to be indigenous to Mesopotamia and are certainly of Pre Arab and Pre Islamic origin. They may well be related to theAssyrians who are also Semitic, Aramaic speaking indigenous Pre Arab and Pre Islamic inhabitants of Iraq. They are Semites and speak a dialect of Aramaic known as Mandaic.

Mandaeism has historically been practised primarily around the lower Karun, Euphrates and Tigris and the rivers that surround the Shatt-al-Arab waterway, part of southern Iraq and Khuzestan Province in Iran. There are thought to be between 60,000 and 70,000 Mandaeans worldwide,^[1] and until the 2003 Iraq war, almost all of them lived in Iraq.^[3] Many Mandaean Iraqis have since fled their country (as have many other Iraqis) because of the turmoil of the war and terrorism.^[4] By 2007, the population of Mandaeans in Iraq had fallen to approximately 5,000.^[3] Most Mandaean Iraqis have sought refuge in Iran with the fellow Mandians there. There has been a much smaller influx into Syria and Jordan, with smaller populations in Sweden, Australia, the United States, and other Western countries.

The Mandaeans have remained separate and intensely private—reports of them and of their religion have come primarily from outsiders, particularly from the Orientalists J. Heinrich Petermann, Nicholas Siouffi, and Lady Drower. An Anglican vicar, Rev. Peter Owen-Jones, included a short segment on a Mandaean group in Sydney, Australia, in his BBC series "Around the World in 80 Faiths.""

Wikipedia entry

le déréglement du monde aka as punch

Acho extremamente apaixonante esta ideia de seguir as palavras, de saber donde elas vêm...

www.aminmaalouf.net

Ando a ler o seu livro "Um mundo sem regras" e é muito interessante. Recomendo.

love, let us be true

"...
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night."


Matthew Arnold: Dover Beach


once again found here

Consolation

Andalucia y Sorolla

mais aqui

noite

2 pianos

a little night music

great

passeio nocturno

sometimes you feel like this

Cathedral

Late Echo

John Ashbery: Late Echo

Alone with our madness and favorite flower
We see that there really is nothing left to write about.
Or rather, it is necessary to write about the same old things
In the same way, repeating the same things over and over
For love to continue and be gradually different.

Beehives and ants have to be re-examined eternally
And the color of the day put in
Hundreds of times and varied from summer to winter
For it to get slowed down to the pace of an authentic
Saraband and huddle there, alive and resting.

Only then can the chronic inattention
Of our lives drape itself around us, conciliatory
And with one eye on those long tan plush shadows
That speak so deeply into our unprepared knowledge
Of ourselves, the talking engines of our day.

found here - Obrigado.

Heigh Ho