segunda-feira, abril 30, 2012

via Instagram

via Instagram

domingo, abril 29, 2012

sábado, abril 28, 2012

art saturdays

Manuel Santos Maia - alheava

sexta-feira, abril 27, 2012


Collier Schorr, 'On His Knees' (2001-2002)

Polyamorous in NY

quinta-feira, abril 26, 2012

american horror story


she makes the show worth it!

identity as we know it

terça-feira, abril 24, 2012


Johnny Guitar is the weirdest Western ever made, concluding with a shoot-out between two women
as the men stand by helplessly and watch.

wasted rita & the ultimate study on artistic precarity

by Wasted Rita | for sale here

Tonight [April 20th], the group W.A.G.E. (Working Artists and the Greater Economy), will release the results of the artists survey they conducted with Artists Space, a gallery in Soho. The survey found that 58% of the nearly 1,000 artists interviewed (including visual and performing artists) received no compensation at all for exhibiting or presenting their work at nonprofits in New York. In the weeks prior to these survey results being released I had been conducting my own, informal survey of the artists participating in this year’s Whitney Biennial, and found that none of those exhibited in the galleries that I exchanged emails with were paid to include their work — arguably one of the most important exhibitions of young and contemporary artists in the city. At most they had some of the costs of bringing the work to the museum covered, such as transporting or installing the work. But according to the W.A.G.E. survey, 58% of the artists they surveyed didn’t even have their expenses reimbursed. What W.A.G.E.’s survey finally makes transparent, is a reality that most artists have known for many years — by and large, most cultural institutions in the United States do not pay artists when exhibiting or presenting their work.


the bad in eachother

domingo, abril 22, 2012

loving friendship

Just Kids

The air was filled with sweetness
incredible and bright
like a gleaming sari
in the Indian wind
fish were in the net
and the salt ran through our fingers
and tears were swept away
by lover bony hand
and fair companions
fenced their prayers
sketches and linguistics
that glowed like enie arms
and none could know the price
no soul had ever bid
and under foot the clover
crushed in carelessness
and rows were kept
upon the solemn banks
smiles drawn from blood
etched upon a window
pierced with dreams of god
all we ever asked for
all we ever knew
was such incredible
that from the well
we drew

Patti Smith, 1988

> source, facebook


qr'x vivant test

sexta-feira, abril 20, 2012

Haute couture

via Instagram

quinta-feira, abril 19, 2012

A man tried to immolate himself in front of O'Porto's Municipal Chamber protesting against the police violent 'effort' to remove the group of people that were occupying Fontinha's neighborhood. A year ago the same group of people, or the same movement, had been protesting against Rui Rio's (the President of the Municipal Chamber) measures against the occupy movement that took place in the same place.
The group, also called Escola da Fontinha (Fontinha's School), decided to take this place and with everyone's implication make it a better place for the 'forgotten' community of people that lived there, creating a school and activities that would enhance the way of life of the people living in that neighborhood, known as an uneasy place place in the city and with people living in poor conditions, and deprived from learning facilities as well as a social endeavor to promote better living conditions.

Quoting Daniel Pires: The ESCOLA DA FONTINHA is the major possible sign of citizenship and creativity, within a city. (...) The way today's actions took place is regrettable and defeats everyone's hope of those who believed in the possibility of creating a different school, the school of Life.

Some say that this is just another stage of the movement, and higher powers claim that the group was not following the rules they're first told if the movement was to move forward. Yet and either way, all the energy spent in destroying what does not harm anyone and creates benefit to this small population - rippling through a network of human actions that struggle to create a new way of thinking - is, undeniably, a waste of power from a man that has throughout the last years erased any hint of improvement and creativity, throwing people into an abyss of despair and disbelief where the Future is an infinite accumulation of question marks.

The New York Times has for a few times mentioned the city as one of the main cities in Europe to visit, Travel Agencies take advantage from the low-cost flying companies to promote this city as an amazing place to spend a few days, for us that live here walking on empty streets, watching a population that keeps on growing old and hearing from the youth's mouths that 'anywhere but here', we wonder... A city is made from what it has to say, from the difference resultant from combining various contents, for what culturally can offer, this is not the city where this happened today. Where a man, in a sign of despair, tried to immolate himself to prove that something was wrong.

quarta-feira, abril 18, 2012


"I AM SITTING IN A ROOM" (1969) - Alvin Lucier

Use the following text or any other text of any length:

"I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any sem- blance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physi- cal fact, but more as a way to smooth out any irregularities my speech might have."

Record your voice on tape through the microphone attached to tape re- corder #1.

Rewind the tape to its beginning, transfer it to tape recorder #2, play it back into the room through the loudspeaker and record a second genera- tion of the original recorded statement through the microphone attached to tape recorder #1.

Rewind the second generation to its beginning and splice it onto the end of the original recorded statement on tape recorder #2.

Play the second generation only back into the room through the loud speakerand record a third generation of the original recorded statement through the microphone attached to tape recorder #1.

Continue this process through many generations.

All the generations spliced together in chronological order make a composition the length of which is determined by the length of original statement and the number of generations recorded.

The versions in which one recorded statement is recycled through many rooms.

Make versions using one or more speakers of different languages and in different rooms.

Make versions in which, for each generation, the microphone is moved to different parts of the room or rooms.

Make versions that can be performed in real time.

sexta-feira, abril 13, 2012

in love with this...

"Lasso", short movie by Salla Tykkä

via Pedro Vaz Simões after having posted it on Facebook.

still on photography: Alan Cumming & Bathrooms...


[Breakdown at La MaMa]

According to our sources, actor Alan Cumming does not have a problem with authority. Editors at Headmaster magazine, the art publication for the “sophisticated man-lover,” assigned Cumming to go around documenting public restrooms as a homoerotic homage to filmmaker Peter Greenaway’s 1985 documentary, 26 Bathrooms.

Full story here

Photos: Alan Cumming/Headmaster


The 'fat' woman that takes pictures with handosome guys...

Webcam Series. Jen Davis

a film by: Sufjan Stevens

terça-feira, abril 10, 2012

I'm sure it is: Stupid Mistake

SHAMElessly good

I'm begining to know myself. I don't exist.

I'm begining to know myself. I Don't exist.

I'm begining to know myself. I don't exist.
I'm the space between what I'd like to be and what others
          made of me.
Or half that space, because there's life there too...
So that's what I finally am...
Turn off the light, close the door, stop shuffling your
         slippers out there in the hall.
Just let me at ease and all by myself in my room.
It's a cheap world.

by Álvaro de Campos

quarta-feira, abril 04, 2012

in development...

Going back a few years the question raised comes to be the same as when means of communication as the telephone or television first came to be part of the artists endeavor to produce objects that dealt with those same means of communication. Now the question comes to this Telepresence Technology and what are artists and scientists developing in terms of re-questioning the human experience in the study of presence.


Could we relate this to the abolishing of the fourth wall in Theatre practices? When that wall (which we can call to the surface of the projection screen) becomes a window to another real space spectators no longer exist, instead spect-actors arise and both groups can interact synaptically inducing the brain a feeling of sharing the same space, and therefore enhancing the experience of human interaction.

Daniel Pinheiro

hot out of the oven

terça-feira, abril 03, 2012

Robert Heinecken

domingo, abril 01, 2012

Perfume Genius by Michael Stipe

I first saw Mike Hadreas, A.K.A. Perfume Genius, perform a few summers ago in Long Island City at MoMA PS1, and then ran into him again in Berlin, the summer before last. I recently Skyped with him on the eve of the release of his new album, Put Your Back N 2 It, for EVB, with the following conversation fairly unexpurgated.

read more:


Christian Marclay's "Telephones" (1995)

later on he could have added this one: