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Closers luna sky fleet costume6/10/2023 And I loved Annie Hall (1977): Diane Keaton, her outfits and personality, the joyfulness of it. My ex-husband was a huge Woody Allen fan and at the time (for the record, I was very young) I had a loose sense that Allen was bad but didn’t know the details. I hate to admit that on my honeymoon in New York I watched Woody Allen play the clarinet at the Carlyle. If contemporary art is an unstable typology, then a publication devoted to its criticism might attend to the points at which it. And the purpose served by these juxtapositions might be the same: not to flatten different forms of cultural expression into the increasingly stretched and unstable category of contemporary art, but to generate new meanings through the friction that occurs when various forms rub up against each other. Given that we will publish Millar’s text in close proximity to a piece on the Brazilian artist Arthur Bispo do Rosário, who used his time in a psychiatric institution to create a body of work that advanced his divine mission, and a review of the latest Gwangju Biennale, which promises to focus on responses to the political crises of the present, something similar might be said of e-flux Criticism’s program. In his forthcoming essay on Peter Hujar and Steven Lawrence’s Newspaper project, John Douglas Millar quotes the art historian Marcelo Gabriel Yáñez as saying that the purpose of that publication “was that images were brought together from disparate contexts, mixed up, and placed together in a way that forced meaning and correspondence beyond their apparent lack of connection and/or hierarchical distinctions.” The card repeats the police record from December 1938, when Bispo was arrested in Rio de Janeiro and diagnosed with “paranoid schizophrenia.” It was the month of Bispo’s revelation. He is described as “indigent,” a wandering Black beggar bearing no documents. The descendant of Black slaves, Arthur Bispo do Rosario (1909/11–1989) spent forty-one years of his life in mental health institutions while accomplishing his “mission.” On the side of the short exhibition text, another mugshot-like portrait of the artist is displayed on the patient card from Colônia Juliano Moreira, the hospital where Bispo was interned. Its central piece, Manto da apresentação, catches the eye with a multiplicity of details, inscribed with colored threads against a light-brown ground: signs and drawings of objects, names, numbers, abbreviations, and streets of Brazilian cities, utensils, boats and a model of a large sailing ship.Ī photographic portrait of the artist wearing his magnum opus reveals not a fashion designer but a Brazilian psychiatric patient. A number of extravagant garments, marked by generous color schemes and complex embroidery, open the first of three luminous rooms in “All Existing Materials on Earth,” curated by Tie Jojima, Aimé Iglesias Lukin, Ricardo Resende, and Javier Téllez.
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