The Film Music Of Toru Takemitsu
: The Film Music Of Toru Takemitsu
Future Disco Presents: Poolside Sounds
: Future Disco Presents: Poolside Sounds
A Voice Through The Door
Conrad Herwig: A Voice Through The Door
C.P.E. Bach: Keyboard Sonatas
Danny Driver: C.P.E. Bach: Keyboard Sonatas
Recomposed By Max Richter: Four Seasons
Max Richter: Recomposed By Max Richter: Four Seasons
Music for the Quiet Hour/The Drawbar Organ
Shackleton: Music for the Quiet Hour/The Drawbar Organ
Vallejo Nocturno 2013 -in Polanco
29.-
en los instantes del exceso
del descentramiento más radical
en la segunda fase de la discusión de
mi experiencia trágica en los límites
con algo así como un periscopio
o un ojo parecido a un poste de luz
espié la pena desnuda de estos arenales
vidrio/concreto
y acero fundido
from las afinidades electivas blog
The project presents an appropriately simple and direct extrapolation of an existing archetypal form within a sustainably modest footprint. It provides a significantly expanded series of connected interior volumes that harness access to sunlight, ventilation and strengthened links to tree canopies and sky, with extension of key existing materials and finishes to retain some memory of its previous incarnation.
An inserted ground floor open living volume is generated by extension of the original envelope and internal levels to an averaged plan footprint of former lean-to’s, followed by a rear first floor addition that extrudes the previous floor plate and gable-ended roof form over the new ground floor. The cathedral volume is retained within the new first floor room arrangement and an extrapolated ceiling-to-wall junction scribes the wrapped alignment of all element heights, lightly bridged to raked ceiling planes by opalescent polycarbonate - while a generous carved void and open stair vertically expands the relationship between two previously unrelated floors.
Fine steel plate elements contrast rusticated weatherboards and expanses of fixed glass and western red cedar external-face sliding doors & pivot windows offer varying degrees of openness and enclosure to temper light and air, strengthening connections to its setting. Two living spaces reflect contemporary patterns of use to enable separation of adult and children functions when required. The ground floor area provides a ‘day’ space for meals preparation, dining and expansive enjoyment of rear gardens, while the upper living room provides an ‘evening’ space for relaxation, separation from utilities and enjoyment of district views - with an adaptable third bedroom providing flexibility for future use as a study.
Vallejo Nocturno 2013 - Belgian Restaurant/Bar
Lush Life
I used to visit all the very gay places
Those come-what-may places
Where one relaxes on the axis of the wheel of life
To get the feel of life from jazz and cocktails
The girls I knew had sad and sullen gray faces
With distingue traces that used to be there
You could see where they'd been washed away
By too many through the day, twelve o'clock tales
Then you came along with your siren song
To tempt me to madness
I thought for awhile that your poignant smile
Was tinged with the sadness of a great love for me
Ah yes, I was wrong
Again, I was wrong
Life is lonely again and only last year
Everything seemed so sure
Now life is awful again
A trough full of hearts could only be a bore
A week in Paris could ease the bite of it
All I care is to smile in spite of it
I'll forget you, I will while yet you are still
Burning inside my brain romance is mush
Stifling those who strive
So I'll live a lush life in some small dive
And there I'll be
While I rot with the rest of those
Whose lives are lonely too
Neo Rauch, Aprilnacht, 2011, oil on canvas, 118 1/8” x 98 3/8”
From ArtPulse Magazine, Stephen Knudsen writes:
The 10-foot-tall April Night breaks ranks by reeling back into something calm and quiet. Reasons for this are difficult to deduce, as Neo Rauch has become increasingly guarded about his personal iconography. Though he understands the impulse to have his rhetorical inventory explained, ultimately he feels the work best reveals its intellectual and visceral evocations over time in non-verbal space. Speaking with Hanna Schouwink, gallery partner and long-time advocate of Rauch, one gets more ringside clues into the work. She spent time with the artist in his studio while this body of work was in production. Ms. Schouwink confirmed Neo Rauch’s concerted intention to pare down April Night, remarking that originally there were three figures in the painting. The calm in April Night feels like a good exhale-a counterpoint to the super-packed and active imagery of the artist’s other paintings.
In April Night, the building, excavating, carrying and pulling of a typical Rauch painting is reduced to thinking. The two figures lounge on stumps, communing with an owl and an owl’s head-not unlike the bizarre Max Beckmann paintings with figures holding fish in unholy ways. All of his work acknowledges the limitations and yet the great will power in human energy, and interpreting his iconography at that starting point is often effective.
The owl can be seen as the wide-eyed hunter in search of inspiration. The woman and man, with their eyes closed, are trying to decipher and process that inspiration. They signify the artist as hunter, with paintbrushes placed in the falconry gloves. However, sometimes there is no inspiration. Sometimes the artist finds it. Rauch does not stop there, because the thinking and the introspection are written in some code in nature. Stumps make letters on the ground, and branches seem to spell something out in the sky. It does not matter what the message is other than some kind of information about to ignite.
Neo Rauch has lived most of the 51 years of his life in or near Leipzig, Germany, the city of his birth. Even while East Germany was communist, he stayed and was conditioned in a way that those artists who left for the free West could never be. He witnessed the limping economy of communist East Germany (GDR) and the sprawl of uninspired gray concrete that was the Berlin Wall. He saw Leipzig poison itself with industrial waste, and he experienced the physical and psychological repression-all of this constant until the euphoric reunification of Germany when he was 30 years old. In the 1980s, Rauch studied painting at Leipzig’s Academy of Visual Arts, choosing to embrace the figure in painting even though it was certainly distasteful that the figure was key to Social Realism, the GDR-sanctioned art. Indeed, signifiers of coping with repression, as he experienced it, populate his works. In April Night, the figures wear the coats of East German border guards-a nod to the past and the long-vanquished wall. The man also wears guard boots, but as a 21st-century fashion update the woman’s boots are pink. . . .
. . . . April Night evokes the idea of thought, both intellectually and viscerally. We intellectualize the thinking figures, but we also feel the invitation to meditate through the formal qualities of the work. The painting plays down Mr. Rauch’s characteristic wild, graphic-like design, and he gets the idea of thought across in a new way, here, by allowing figures, objects and ground to tonally merge more than usual. In a sense, a little Leonardo sfumato has taken hold, and I am not simply speaking just of the little smoke from the fire. Forms dissolve in the atmosphere of twilight. This is a quiet color language that speaks to the electrical impulses of thinking, which are akin to the voltage through the power line and April’s near emergence into a Northern European spring.
Even the process of the painting is about a stream of thought let loose. Rauch works without any preparatory drawings and photographic mediation, starting with an object or face and letting it evolve organically. In a recent interview with Rita Pokorny, Mr. Rauch said that hopefully the work becomes “an animal, a living thing…As soon as I have the feeling that the thing has blood circulating through it, a nervous system, a skeleton, then questions as to the message become completely marginal.”2 Rauch clearly wants the viewer to come away moved on a gut level rather than just an intellectual level.
MOSSLESS: This photo is a Polaroid, right? How do you like them Polaroids?
SABINO: Yes
it is! Hmm, I like Polaroids but I’ve never liked any particular format
in any particular way. Some people take beautiful photos using film,
intant or digital. A good photo is a good photo, I guess. Although my
favorite Polaroids are probably from Dusdin Condren or Jody Rogac.
ML: How long have you had your blog for?
SA: I
started my tumblr blog on October 2008. At first it was a personal
bookmarking blog as many others have, but I quickly became more
interested on sharing than saving images for myself.
ML: What kinds of photos usually stick out as good photos?
SA: There are so many kinds of good photos
that I’ve decided to gather on my blog, the ones that I find
aesthetically attractive. I love photos showing the beauty of people,
color, landscapes, warmth, light or anything else.
ML: What are your favourite tumblr blogs and why?
SA: Audreyhepburncomplex,
because she has a great eye finding beautiful images and that
influenced my blog more than anything else. And I would say that inthearmsofsleep, foralskelse and mypeterpancomplex are probably my favorite photo-sharing tumblrs, I’ve found many of my flickr contacts trough them.
