[] Paula Rego

[] The red Sun . Le soleil rouge . Calder

(1965). Lithograph, composition (irreg.): 20 5/16 x 27 5/16" (51.6 x 69.4 cm); sheet: 21 15/16 x 31 7/8" (55.7 x 81 cm). John B. Turner Fund.

Disponível em:
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A922&page_number=49&template_id=1&sort_order=1

Calder . Untitle

1932. Ink on paper, 10 1/4 x 30 1/8" (26 x 76.5 cm). Nina and Gordon Bunshaft Bequest.

Disponível em:
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A922&page_number=18&template_id=1&sort_order=1

[] Many . Calder

1931. Ink on paper, 19 5/8 x 25 1/2" (49.7 x 64.8 cm). Gift of Mr. and Mrs. Klaus G. Perls.


Disponível em : http://www.moma.org/collection/object.php?object_id=33553

[] The Catch II . Calder

1932. Ink on paper, 19 1/8 x 14 1/8" (48.4 x 35.8 cm). Gift of Mr. and Mrs. Peter A. Rübel.

Disponível em: http://www.moma.org/collection/object.php?object_id=33553

[] Calder . A Universe

1934. Painted iron pipe, steel wire, motor, and wood with string, Overall: 40 1/2 x 30" (102.9 x 76.2 cm). Gift of Abby Aldrich Rockefeller (by exchange).
Alexander Calder (American, 1898-1976)

"Just as one can compose colors, or forms, so one can compose motions," Calder stated shortly before making this work. One of Calder's first mechanized mobiles, A Universe presents his abstract vision of the cosmos. A small red sphere and a larger white one suggest planets and move along curved wire paths at different speeds, completing a full cycle in forty minutes. Calder constructed a motor that propelled the spheres' movements, using his training as a mechanical engineer.

Reflecting on his work of this period, Calder commented, "At that time and practically ever since, the underlying form in my work has been the system of the universe." His personal fascination with the solar system was part of a wider phenomenon, prompted in part by the discovery of Pluto in 1930. Calder's interest in astronomy and physics was not one-sided, however. When A Universe was first exhibited at the Museum, Albert Einstein reportedly stood transfixed in front of its slowly moving orbs for the entire forty–minute cycle''.

Disponível em: http://www.moma.org/collection/object.php?object_id=81054

[] Untitled (L'apocalypse) plate 1 Stanley William Hayter

Artist: Stanley William Hayter
(British: 1901-1988) (Biography)
Year: 1930
Medium: engraving and drypoint
Dimensions: 11-11/16 x 8-3/8" platemark
Signature: pencil, lower right
Edition Size: 18/60
Annotations: editioned in pencil
Reference: Black and Moorhead 49
Paper: antique-white wove Arches JB
State: iii/iii
Publisher: Editions Jeanne Bucher, Paris, May 1932
Pric

Comments: The 1st of 6 plates included in the portfolio "L'apocalypse", a surrealist collaboration between the artist, who had done the prints as unique works, and the author, George Hugnot, who wrote the text in response to the prints rather than the other way around. They were published by Editions Jeanne Bucher in Paris, 1932.

Disponível em: http://www.annexgalleries.com/cgi-bin/gallery.cgi?Stanley-William-Hayter++16231

[] Metamorphosis of Love (Faust's Metamorphosis) Stanley William Hayter

Metamorphosis of Love (Faust's Metamorphosis)

Stanley William Hayter

Details

Artist: Stanley William Hayter
(Eng./French: 1901-1988) (Biography)
Year: 1931-2
Medium: engraving and mezzotint
Dimensions: 5-7/8 x 4-1/4" pm
Signature: unsigned
Edition Size: proof edition of 5, outside editions totalling 137
Annotations: title in lower margin in unknown hand
Reference: B&M 60
Paper: cream Edita Prioux laid paper
State: unrecorded between ii and iii with light mezzotint
Publisher: New Review Editions, Fontenay-aux-Roses, Paris

Comments: done for a collection of poems by George Reavey with 6 engravings by Hayter, May 1932. Dedicated to Thomas McGreery.

Disponível em: http://www.annexgalleries.com/cgi-bin/gallery.cgi?Stanley-William-Hayter++13848

[] Le combat . Hayter

Title:

Combat

Artist:

Hayter, Stanley William (1901 - 1988)

Date: 1936 Movement: Surrealism Theme: Battle Scene Technique: Engraving Museum: Museum of Fine Arts Location: Boston, MA, USA
Description: Technique: Engraving and soft ground (textile) etching, and scorper, Size: 39.7 x 48.8 cm

Unique URL: http://www.terminartors.com/hayter-stanley-william/combat-1009695-p



Artist: Stanley William Hayter
(British: 1901-1988) (Biography)
Year: 1936
Medium: engraving, scorper and soft-ground etching
Dimensions: 15-13/16 x 19-1/2" platemark
Signature: pencil, lower right
Edition Size: 7/30
Annotations: pencil titled, dated and editioned
Reference: Black & Moorhead 102
Paper: heavy, antique white Kochi
State: x/x
Publisher: artist at Atelier 17

Comments: Often illustrated as a classic Surrealist print, Combat was done as a response to the Spanish Civil War and has a kinship with Picasso's Guernica, done a year later. The plates, state proofs and drawings for Combat are at the Brooklyn Museum. A full description of the creation of this print is in Black & Moorhead, pages 48-53. "Combat" is illustrated on page 33, figure 10 in the British Museum catalogue The American Scene / Prints from Hopper to Pollak, Stephen Coppel, 2008

Disponível em: http://www.annexgalleries.com/cgi-bin/gallery.cgi?Stanley-William-Hayter++16195

[] Up Over the Horizon . Calder

Title:

Up Over the Horizon

Artist:

Calder, Alexander (1898 - 1976)

Date: 1931 Movement: Surrealism Theme: Abstract Technique: Pen and ink Museum: Hirshhorn Museum and Sculpture Garden Location: Washington, DC, USA
Description: Material: paper, Size: 50 x 65.2 cm,

Unique URL: http://www.terminartors.com/calder-alexander/up-over-the-horizon-1012021-p

[] The Circus . Calder

Title:

The Circus

Artist:

Calder, Alexander (1898 - 1976)

Date: 1932 Movement: Surrealism Theme: Genre Technique: Pen and ink Museum: National Gallery of Art Location: Washington, DC, USA
Description: Supplement of technique: pen and black ink on wove paper, Size: overall: 51.4 x 74.3 cm

Unique URL: http://www.terminartors.com/calder-alexander/the-circus-1012058-p

[] Cowboy and Rope Ladder . Calder

Title:

Cowboy and Rope Ladder

Artist:

Calder, Alexander (1898 - 1976)

Date: 1932 Movement: Surrealism Theme: Genre Technique: Pen and ink Museum: Museum of Modern Art Location: New York, NY, USA
Description: Material: paper, Size: 48.3 x 35.7 cm,

Unique URL: http://www.terminartors.com/calder-alexander/cowboy-and-rope-ladder-1012056-p

[] Calder, Alexander - Circus Interior

Title:

Circus Interior

Artist:

Calder, Alexander (1898 - 1976)

Date: 1932 Movement: Surrealism Theme: Architecture Technique: Pen and ink Museum: Museum of Modern Art Location: New York, NY, USA
Description: Material: paper, Size: 48.1 x 35.5 cm

Disponível em: http://www.terminartors.com/calder-alexander/circus-interior-1012055-p

[] Hayter, Stanley William - Cirque Hayter, Stanley William - Cirque

Date: 1933 Movement: Surrealism Theme: Abstract Technique: Engraving Museum: Indianapolis Museum of Art Location: Indianapolis, IN, USA
Description: Technique: engraving and mezzotint, Size: 11 3/4 x 15 1/2 in. (sheet)

Disponível em: nique URL: http://www.terminartors.com/hayter-stanley-william/cirque-1009690-p

[] Firekites AUTUMN STORY - chalk animation

[] Coisas animadas . de brincar

Disponível: http://lojaquer.blogspot.com/

[] My Favourite Things

http://vimeo.com/5177243

[] Diane Borsato

'Wondering How Long He Can Keep Up the World

Video
Mississauga, Ontario, 2005

Description

I came across a soccer ball designed to look like a globe. My father is an avid soccer player and fan. I asked him to perform for a video – to see how long he could keep the ball up in the air by “juggling” it with his knees, feet and head.

In the video we are heard negotiating everything from the terms of the performance art to international relations. I pushed him relentlessly to continue “keeping up the world”, until he quit, exhausted and dripping with sweat.

The video was shot in my parents’ Mississauga, Ontario driveway in 2005.'

'Artifacts in my Mouth

Performance/ intervention and photographs
Ste. Hyacinthe, Québec, 2003

Description

I was given permission to put museum artifacts in my mouth. I opened the vitrines with the technician, and was allowed to experience the objects, with my tongue, lips, and sense of smell. I was permitted to put a peacock’s head, an Egyptian statuette, a lasso, an unknown bone, and a model of the moon into my mouth for a brief period.

The work was enacted at the Museum of Ste. Hyacinthe in Ste. Hyacinthe, Quebec in 2003.'

Disponível em:

http://dianeborsato.net/

http://www.christofmigone.com/html/links.html

[] Ciclo de cinema/ ambiente

Ciclo Cinema & Ambiente

2009-09-04 17:40:26

'Em colaboração com a Cinemateca Portuguesa, o Programa Gulbenkian Ambiente vai apresentar no dia 15 de Setembro, terça-feira, às 21h30, na Cinemateca, a primeira sessão do ciclo Cinema & Ambiente, com o filme Safe, de Todd Haynes. O objectivo deste ciclo de cinema é motivar uma discussão alargada com o público sobre a temática ambiental, contando para isso com o contributo de personalidades públicas de áreas diversas, convidadas para comentar os filmes.

Realizado em 1995, Safe conta a história de Carol White, que desenvolve uma doença ambiental inexplicável, criando alergias a todo o tipo de químicos do quotidiano. Acaba por lhe ser diagnosticada a “doença do século XX”. Após a projecção, Teresa Gouveia irá lançar o debate a partir deste filme, que questiona o ambiente artificial em que vivemos.

A segunda sessão do ciclo, comentada por Inês Pedrosa, realiza-se a 13 de Outubro com o filme alemão Die Wolke (“A Nuvem”), de Gregor Schnitzler, 2006, em que dois jovens vivem uma relação amorosa no contexto de um acidente nuclear perto de Frankfurt que lança o pânico no país.

As sessões do ciclo Cinema & Ambiente são todas de entrada livre e realizam-se mensalmente na Cinemateca.

10 Nov, 21h30: Medicine Man (“Os Últimos Dias do Paraíso”), de John McTiernan, 1992. Comentado por Susana Fonseca

15 Dez, 21h30: The Trigger Effect (“Efeitos na Escuridão”), de David Koepp, 1996. Convidado a anunciar

12 Jan, 21h30: Five, de Arch Oboler, 1951. Convidado a anunciar

9 Fev, 21h30: Soylent Green (“À Beira do Fim”), de Richard Fleischer, 1973. Convidado a anunciar

9 Março, 21h30: Into the Wild (“O Lado Selvagem”), de Sean Penn, 2007. Comentado por Paula Moura Pinheiro

13 Abril, 21h30: Les Glaneurs et la Glaneuse (“Os Respigadores e a Respigadora”), de Agnès Varda, 2001. Comentado por Helena Roseta

11 Maio, 21h30: Wind across the Everglades (“A Floresta Interdita”), de Nicholas Ray, 1958. Convidado a anunciar

8 Junho, 21h30: Le Monde du Silence, de Jacques-Yves Cousteau e Louis Malle, 1956. Convidado a anunciar

O ciclo Cinema & Ambiente termina no dia 13 de Julho com o filme The Happening (“O Acontecimento”), realizado por M. Night Shyamalan em 2008, numa sessão comentada por Viriato Soromenho-Marques, Coordenador Científico do Programa Gulbenkian Ambiente'.

Disponível em: http://www.gulbenkian.pt/index.php?object=101&blog=87&secId=88&articleId=1996

[] 'altermodernism' - Manifesto - Bourriaud . Tate Trienal

Altermodern – Manifesto

Travel, cultural exchanges and examination of history are not merely fashionable themes, but markers of a profound evolution in our vision of the world and our way of inhabiting it.

More generally, our globalised perception calls for new types of representation: our daily lives are played out against a more enormous backdrop than ever before, and depend now on trans-national entities, short or long-distance journeys in a chaotic and teeming universe.

Many signs suggest that the historical period defined by postmodernism is coming to an end: multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal.

The times seem propitious for the recomposition of a modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects: an altermodernity.

If twentieth-century modernism was above all a western cultural phenomenon, altermodernity arises out of planetary negotiations, discussions between agents from different cultures. Stripped of a centre, it can only be polyglot. Altermodernity is characterised by translation, unlike the modernism of the twentieth century which spoke the abstract language of the colonial west, and postmodernism, which encloses artistic phenomena in origins and identities.

We are entering the era of universal subtitling, of generalised dubbing. Today’s art explores the bonds that text and image weave between themselves. Artists traverse a cultural landscape saturated with signs, creating new pathways between multiple formats of expression and communication.

The artist becomes ‘homo viator’, the prototype of the contemporary traveller whose passage through signs and formats refers to a contemporary experience of mobility, travel and transpassing. This evolution can be seen in the way works are made: a new type of form is appearing, the journey-form, made of lines drawn both in space and time, materialising trajectories rather than destinations. The form of the work expresses a course, a wandering, rather than a fixed space-time.

Altermodern art is thus read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history. This gives rise to practices which might be referred to as ‘time-specific’, in response to the ‘site-specific’ work of the 1960s. Flight-lines, translation programmes and chains of heterogeneous elements articulate each other. Our universe becomes a territory all dimensions of which may be travelled both in time and space.

The Tate Triennial 2009 presents itself as a collective discussion around this hypothesis of the end of postmodernism, and the emergence of a global altermodernity.

Nicolas Bourriaud

Disponível em:

http://blog.tate.org.uk/turnerprize2008/?p=74