domingo, maio 30, 2010

stardom*****



Liza Minnelli performs Beyonce's hit "Single Ladies" in "Sex and the City 2"

Dennis Hopper [1936-2010]



[screen test]

sábado, maio 29, 2010

blogtweet

"Are performing arts and artistic objects doomed to be consumed only by experts?"

should u stay or should u 'next' me?



www.sempalco.pt

segunda-feira, maio 24, 2010

we all need:

Life: A User's Manual

...the plan should not have to do with an exploit or record, it would be neither a peak to scale nor an ocean floor to reach ... [it] would not be heroic, or spectacular; it would be something simple and discreet, difficult of course but not impossibly so, controlled from start to finish and conversely controlling every detail of the life of the man engaged upon it.

see: Georges Perec

Giant City@CCB


Mette Ingvartsen's Giant City @ Festival Alkantara'10

Webtropolis on the run


Kevin Van Aelst

The parallels between what happened to cities like Chicago, Detroit and New York in the 20th century and what’s happening on the Internet since the introduction of the App Store are striking. Like the great modern American cities, the Web was founded on equal parts opportunism and idealism. Over the years, nerds, students, creeps, outlaws, rebels, moms, fans, church mice, good-time Charlies, middle managers, senior citizens, starlets, presidents and corporate predators all made their home on the Web. In spite of a growing consensus about the dangers of Web vertigo and the importance of curation, there were surprisingly few “walled gardens” online — like the one Facebook purports to (but does not really) represent.

in NYTimes

listening to:




From left: David Lynch, Sparklehorse and Danger Mouse

Danger Mouse and Sparklehorse present: DARK NIGHT OF THE SOUL with David Lynch.

sudden flashmob*



SATURDAY NIGHT . LISBON . MARQUÊS DO POMBAL'S SUBWAY STATION . DIRECTION: SANTA APOLÓNIA

*De repente ao trocar da linha amarela para a linha azul para apanhar o metro em direcção a Santa Apolónia comecei a correr, quando olhei para trás a primeira vez a S., a F., a M. e o T. vinham a correr atrás de mim, só por brincadeira, quando voltei a olhar uma multidão seguia-me desenfreadamente, corríamos todos na mesma direcção, a adrenalina começava a subir e toda a gente corria desesperadamente, eu liderava a corrida enquanto ouvia a F. e S. a dar-me indicações para ir pelo caminho certo, já ninguém parava de correr, um homem aproximava-se e tentava mesmo ultrapassar-me... Apercebi-me que tinha sido eu a instaurar o pânico quando ouvi uma menina desconhecida dizer: "Oh, já perdemos este!".
No sábado havia metros toda a noite por causa do Rock in Rio...

a arte da rua



Nos jardins em frente ao CCB passeiam famílias de domingo à tarde, as crianças brincam ao futebol com bolas ou chinelos disparados pelo ar, grupos de turistas apressam-se a entrar ou sair das camionetas para verem um dos grandes spots anunciados nos guias turísticos da capital de Portugal, vários casais de origem oriental decidem casar-se no mesmo dia e preencher os espaços vazios entre o sol e as sombras, que as nuvens vão lentamente desenhando no chão, com poses deslumbrantes de um casamento que não se deve esquecer... outros apenas dormem esquecidos do tempo e aproveitam o domingo na sua plenitude.
Dentro do CCB está a nova exposição do trabalho d'OS GEMEOS no Museu Colecção Berardo até 19 de Setembro deste ano.


Photo:Alex faKso©

"Pra quem mora lá, o céu é lá" é o título da exposição comissariada por Eric Corne do trabalho destes dois gémeos brasileiros que correm o mundo todo (Tate Modern, Art Basel Miami Beach) convida o espectador a fazer parte de um universo de rua dentro de uma sala completamente transformada e baralhada.
Os gémeos tecem um "manto" de diferentes padrões onde tudo se encontra numa mesma harmonia, onde a explosão de cor e quantidade exagerada de informação nos transporta alegremente para vermos de longe as ruas reais, as pessoas reais, um puzzle colorido de pedaços de vida inventada onde nos podemos perder infinitamente em pormenores (alguns cómicos, outros verdadeiramente cáusticos e a maior parte pequenas sátiras da vida real) que só percebemos quando nos aproximamos para investigar melhor aquilo que à partida parece ser um playground para as crianças se divertirem...

in this week print edition of The Economist

Craig Venter and Hamilton Smith, the two American biologists who unravelled the first DNA sequence of a living organism (a bacterium) in 1995, have made a bacterium that has an artificial genome—creating a living creature with no ancestor (see article). Pedants may quibble that only the DNA of the new beast was actually manufactured in a laboratory; the researchers had to use the shell of an existing bug to get that DNA to do its stuff. Nevertheless, a Rubicon has been crossed. It is now possible to conceive of a world in which new bacteria (and eventually, new animals and plants) are designed on a computer and then grown to order.
in "The Economist":

Synthetic biology
And man made life | Artificial life, the stuff of dreams and nightmares, has arrived
May 20th 2010 | From The Economist print edition

sexta-feira, maio 21, 2010

covers



quinta-feira, maio 20, 2010

quarta-feira, maio 19, 2010

when i don't have time to express myself

"you have to fight every day to stop censoring yourself. and you never have anyone else to blame when you do. what happens to artists is that it's not that somebody's standing in their way, it's that their own selves are standing in their way. the compromise really isn't how or what you do, the techniques you use, or even the content, but really the compromise is beginning to feel a lack of confidence in your innermost thoughts. and if you don't put these innermost thoughts on the screen then you are looking down on not only your audience but the people you work with, and that's what makes so many people working out there unhappy. these innermost thoughts become less and less a part of you and once you lose them then you don't have anything else. so many people have so much to say and there are so many really worthwhile things to say that it seems impossible that we could cut ourselves off from this whole avenue of enormous excitement."

from 'cassavetes on cassavetes' edited by raymond carney

terça-feira, maio 18, 2010

&&&&& what?!



HALORY GOERGER & ANTOINE DEFOORT (FestivalAlkantara'10)

Lost track of things?
&&&&& what?! Typing error? Key jammed? Member of the Committee to Stimulate the Use of the Squiggly Plus Sign, known to the Initiated as Ampersand? It’s all possible, and of course, it’s not. Eh?
&&&&& & &&& is a unique, bizarre happening combining an eccentric exhibition with a hilarious live performance consisting of an endlessly repeating loop of scenes and installations that lasts about half an hour. Halory Goerger and Antoine Defoort allow you a glimpse into their weird and wonderful creative brains in this playful, but also highly observant, trip into the future. Ever made music with plants?

'With their performances and interactive installations, Defoort and Goerger gave a very playful perspective on a surreal future with robots and space crafts.' - Simon Leenknegt, Schamper

promo




26 days to go from now...

segunda-feira, maio 17, 2010

you're gonna love...



The new adress is 32, Rue Vandenbranden where the the aptly named Peeping Tom stages a world as seen through the eyes of Gabriela Carrizo and Franck Chartier, whose uncompromising thinking serves a spectacular and ferocious vision.

The flemish company sets the ambience to explore the subject of loneliness within this very small comunity, and how eachone of these peculiar inhabitants faces the consequences of their actions.

sábado, maio 15, 2010

para hoje:




chestnut&sherry



My hair is bold like the chestnut burr; and my eyes, like the sherry in the glass that the guest leaves.

Emily Dickinson

she was gone today in 1886

Emily Dickinson (1830–86). Complete Poems. 1924.

Part Four: Time and Eternity

XX

THE LAST night that she lived,
It was a common night,
Except the dying; this to us
Made nature different.

We noticed smallest things,—
Things overlooked before,
By this great light upon our minds
Italicized, as ’t were.

That others could exist
While she must finish quite,
A jealousy for her arose
So nearly infinite.

We waited while she passed;
It was a narrow time,
Too jostled were our souls to speak,
At length the notice came.

She mentioned, and forgot;
Then lightly as a reed
Bent to the water, shivered scarce,
Consented, and was dead.

And we, we placed the hair,
And drew the head erect;
And then an awful leisure was,
Our faith to regulate.

sexta-feira, maio 14, 2010

the new chaos*


Peer-to-peer file sharing networks have inspired new structures and philosophies in other areas of human interaction. In such social contexts, peer-to-peer as a meme refers to the egalitarian social networking that is currently emerging throughout society, enabled by Internet technologies in general.

The concept of P2P is increasingly evolving to an expanded usage as the relational dynamic active in distributed networks, i.e., not just computer to computer, but human to human.

in, Wikipedia

a grande visita


"the family, founded on indissoluble marriage between a man and a woman"
Pope Benedict XVI

terça-feira, maio 11, 2010

bad reputation...



segunda-feira, maio 10, 2010

go!

domingo, maio 09, 2010

Douglas Gordon’s Tour Visuals for Rufus Wainwright

“Sonnet 10"













The film, designed to accompany Wainwright’s new album All Days Are Nights: Songs for Lulu, was initially inspired by the record’s titular temptress—first immortalized in the plays of Frank Wedekind, now a personal symbol for Wainwright—but soon “dissolved and disintegrated,” he says, leaving only his eye slowly blinking in a sea of blackness. “It’s become very simple and very, very powerful and tragic also,” says Wainwright, who felt an instant connection with Gordon when they first met several years ago.

Douglas Gordon | www.nowness.com

sexta-feira, maio 07, 2010

There are many of us



I'M HERE - A LOVE STORY... by Spike Jonze

Пётр Ильич Чайковский


[wikipedia]

The Tchaikovsky family in 1848.
Left to right: Pyotr, Alexandra Andreyevna (mother), Alexandra (sister), Ippolit, Ilya Petrovich (father).

tweeting

'Tweets are the new quotes'

twittermedia

quinta-feira, maio 06, 2010

carried away

terça-feira, maio 04, 2010

play it. live it. kill for it.


still from David Cronenberg's "eXistenZ"(1999)

segunda-feira, maio 03, 2010

fools


Andy Warhol. Self-Portrait (in Drag), 1981.
Guggenheim Museum, New York



"Num mundo em que a cultura pop incorpora a própria noção de risco e a manipula e encena para fins comerciais, SÓ OS IDIOTAS QUEREM SER RADICAIS pretende subverter essa lógica com a encenação de uma imagem pop, jovem e bela, e fazer do risco não um objecto de consumo de luxo, mas um objecto que se torne essencial para o nosso fundo de comércio filosófico. O único lucro será o de falar de arte e de beleza através da boca de um jovem modelo e actor, uma imagem confirmada pela sua notoriedade televisiva: Ângelo Rodrigues. Ele ensinará filosofia antiga e pós-moderna, toda a história da arte, afirmará valores sobre o bem e o mal, porque «Só duvidam os intelectuais, e eu sou mais do que isso, sou uma coisa que transcende o intelecto, sou trash, sou músculo e profeta»."
SÓ OS IDIOTAS QUEREM SER RADICAIS de John Romão

Colectivo84

a new kind of beauty*

*

I’m interested in what we define as beauty, when we choose to create it ourselves.

Beauty has always been a currency, and now that we finally have the technological means to mint our own, what choices do we make?

Is beauty informed by contemporary culture? By history? Or is it defined by the surgeon’s hand? Can we identify physical trends that vary from decade to decade, or is beauty timeless?

When we re-make ourselves, are we revealing our true character, or are we stripping away our very identity?

Perhaps we are creating a new kind of beauty. An amalgam of surgery, art, and popular culture? And if so, are the results the vanguard of human induced evolution?

2008-2010

Philip Toledano

working


foto: Fátima São Simão
para: No Man's Land | SophieMarie


foto: Eduardo Morais
para: EMBRYO | Sem Palco
| (Sérgio Brás d'Almeida)

Seguidores