Posts Tagged ‘ICA’

El Corazon Sangrante/The Bleeding Heart

Friday, November 1st, 1991

FRIDA KAHLO’s Self-Portrait with Thorn Neck­lace and Humming­bird shows her in a jungle with butter­flies in her hair and a humming­bird dangling from a thorn neck­lace that pierces her neck, drawing small red drops of blood. “I never painted dreams,” she said. “I painted my own reality.”

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Rosemarie Trockel

Saturday, May 25th, 1991

All these images are oblit­er­ated, defaced, lost. It’s about those marginal, mundane expe­ri­ences that are for some reason signif­i­cant to her. There are certain things about her work that are myste­rious. They remain myste­rious. And she trea­sures that myste­ri­ous­ness.”

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Ilya Kabakov/Soviet Conceptual Art

Sunday, January 6th, 1991

When you look up, all those frag­ments convey a vertig­i­nous sense of disin­te­gra­tion, and decay. But when you look down, every­thing is compressed onto a single shiny surface, and it’s beau­tiful. All that debris — all that waste and pain — is trans­formed into art.

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Censorship and the Arts

Saturday, June 9th, 1990

It takes a lot of courage to be an artist. All kinds of things get in the way, but the thing that gets in the way the most is fear. That’s why the threat of censor­ship is so dangerous to Art. Art helps us to see the beau­tiful — and also to face the ugli­ness in life. Artists need to be free to show us the world as they see it — to tell it like it is.

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Sophie Calle

Wednesday, January 24th, 1990

SOPHIE CALLE borrows elements from detec­tive novels, philo­soph­ical inves­ti­ga­tions, the film noir, the nouveau roman, docu­men­tary photog­raphy, love letters, art movies, B‑movies, John Cage’s theo­ries of random­ness, and Joseph Beuys’s actions. She combines them in star­tling ways, as medi­ta­tions on the myste­rious spaces between self and other.

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Yoko Ono

Sunday, January 7th, 1990

Every viewer who chooses to partic­i­pate will have a different expe­ri­ence. For me, it was a moving medi­ta­tion on loss, change, and getting a second chance. As one of the char­ac­ters in William Faulkn­er’s novel The Wild Palms says, “Between grief and nothing, I will take grief.”

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My Day Without Art

Monday, December 4th, 1989

Standing at the center of the spiral, I see the backs of all the chairs facing away from me, and feel a tremen­dous shock of lone­li­ness and loss. Looking down from the balcony, I see that the chairs are the begin­ning of a spiral that could go on forever.

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The Situationists

Saturday, January 28th, 1989

The Situ­a­tion­ists called for an art of excess, delirium, outrage, and social change. They believed that capi­talism had turned contem­po­rary life into a society of “spec­tacle” that its inhab­i­tants could only passively watch and consume. Situ­a­tionism would bring art out of the museums and into the streets, and sabo­tage the society of spec­tacle by creating situ­a­tions in which people could turn their own lives into a creative expe­ri­ence.

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Frances Hamilton: Pieces of Time

Sunday, May 22nd, 1988

FRANCES HAMIL­TON’s art doesn’t come from the head; it comes from the hand and the heart. And that’s why a show of her work is always so rewarding. Her images stay with you, growing richer and deeper, as time goes by. They trigger memo­ries. Major or minor, they touch a chord.

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