Chegam com baixo preço de Hong Kong
e têm só quatro dedos,
tanto numa mão como na outra
com que seguram a ferramenta, ou ainda
a raqueta de ténis ou então, com graça,
um ramo de flores.
Obtidos por prensagem de uma massa plástica colorida,
não se estragam
e - isto é certo -,
em grupos ou isoladamente,
sobreviverão ao género humano.
Isto consola. O seu ar criativo comove-nos,
pois a nossa vida
é só trabalho e canseiras;
mas os Schtrumpfs são alegres por natureza
e para eles o martelo, a gadanha,
o telefone são eternos brinquedos.
A Ratazana
Günter Grass
"oh! isto é tão contemporâneo"
MARINA ABRAMOVIC - BALKAN EROTIC EPIC (2005)
(Balkan Erotic Epic is a multi-channel video installation
based on Marina Abramovic’s research into Balkan folk
culture and its use of the erotic.)
(Balkan Erotic Epic is a multi-channel video installation
based on Marina Abramovic’s research into Balkan folk
culture and its use of the erotic.)
4oolhoos
um filme de trinta e quatro
para trinta e quatro (presentes).
um clássico muito novo: moderno.
l' atalante - jean vigo - 1934
ontem no teatro do campo alegre.
para trinta e quatro (presentes).
um clássico muito novo: moderno.
l' atalante - jean vigo - 1934
ontem no teatro do campo alegre.
#91
E posto que viver me é excelente
cada vez gosto mais de menos gente.
Uns Poemas de Agostinho
Agostinho da Silva
cada vez gosto mais de menos gente.
Uns Poemas de Agostinho
Agostinho da Silva
"oh! isto é tão contemporâneo"
CARAVAGGIO (MICHELANGELO MERISI)
AMOR VINCIT OMNIA (1601-1602)
("Love Conquers All", known in English by a variety of names including
Amor Victorious, Victorious Cupid, Love Triumphant, Love Victorious,
or Earthly Love - @ Wikipedia)
AMOR VINCIT OMNIA (1601-1602)
("Love Conquers All", known in English by a variety of names including
Amor Victorious, Victorious Cupid, Love Triumphant, Love Victorious,
or Earthly Love - @ Wikipedia)
#21
“Só pode ser Clarissa”, concluiu.
E o certo é que estava ali, à sua frente.
Mrs. Dalloway
Virginia Woolf
E o certo é que estava ali, à sua frente.
Mrs. Dalloway
Virginia Woolf
"oh! isto é tão contemporâneo"
MALEVICH (KAZIMIR SEVERINOVICH)
WHITE ON WHITE (1918)
After the Revolution, Russian intellectuals hoped that human
reason and modern technology would engineer a perfect society.
Malevich was fascinated with technology, and particularly with
the airplane, instrument of the human yearning to break
the bounds of earth. He studied aerial photography,
and wanted White on White to create a sense of floating
and transcendence. White was for Malevich the color of infinity,
and signified a realm of higher feeling.
For Malevich, that realm, a utopian world of pure form,
was attainable only through nonobjective art. Indeed,
he named his theory of art Suprematism to signify
"the supremacy of pure feeling or perception in the pictorial arts";
and pure perception demanded that a picture's forms
"have nothing in common with nature." Malevich imagined
Suprematism as a universal language that would free viewers
from the material world.
(@ - The Museum of Modern Art, MoMA Highlights, New York:
revised 2004, originally published 1999.)
WHITE ON WHITE (1918)
After the Revolution, Russian intellectuals hoped that human
reason and modern technology would engineer a perfect society.
Malevich was fascinated with technology, and particularly with
the airplane, instrument of the human yearning to break
the bounds of earth. He studied aerial photography,
and wanted White on White to create a sense of floating
and transcendence. White was for Malevich the color of infinity,
and signified a realm of higher feeling.
For Malevich, that realm, a utopian world of pure form,
was attainable only through nonobjective art. Indeed,
he named his theory of art Suprematism to signify
"the supremacy of pure feeling or perception in the pictorial arts";
and pure perception demanded that a picture's forms
"have nothing in common with nature." Malevich imagined
Suprematism as a universal language that would free viewers
from the material world.
(@ - The Museum of Modern Art, MoMA Highlights, New York:
revised 2004, originally published 1999.)
"oh! isto é tão contemporâneo"
MALEVICH (KAZIMIR SEVERINOVICH)
BLACK SQUARE (1915)
In his book The Non-Objective World, which was published
abroad as a Bauhaus Book in 1927, Malevich described the
inspiration which brought about the powerful image of the black
square on a white ground:
I felt only night within me and it was then that I conceived
the new art, which I called Suprematism.
He created a suprematist “grammar” based on fundamental
geometric forms; in particular, the square and the circle.
In “Zero-Ten! (0.10) exhibition in 1915, Malevich exhibited his
early experiments in suprematist painting. The centerpiece of
his show was the Black Square, placed in what is called
the red/beautiful corner in Russian Orthodox tradition;
the place of the main icon in a house.
(@ Wikipedia)
BLACK SQUARE (1915)
In his book The Non-Objective World, which was published
abroad as a Bauhaus Book in 1927, Malevich described the
inspiration which brought about the powerful image of the black
square on a white ground:
I felt only night within me and it was then that I conceived
the new art, which I called Suprematism.
He created a suprematist “grammar” based on fundamental
geometric forms; in particular, the square and the circle.
In “Zero-Ten! (0.10) exhibition in 1915, Malevich exhibited his
early experiments in suprematist painting. The centerpiece of
his show was the Black Square, placed in what is called
the red/beautiful corner in Russian Orthodox tradition;
the place of the main icon in a house.
(@ Wikipedia)
#81
- o musgo é lento como a sombra -
•
Façamos greve de tempo
•
o primeiro sangue
é o que mete medo.
•
e duma varanda um pingo cai
de um vaso salpicando o fato do bancário
Poesia
Luiza Neto Jorge
•
Façamos greve de tempo
•
o primeiro sangue
é o que mete medo.
•
e duma varanda um pingo cai
de um vaso salpicando o fato do bancário
Poesia
Luiza Neto Jorge
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