On literature, art and thought
Install Theme
Lo fascinante de la actividad artística, tanto si hablamos de una catedral gótica como de un montón de ladrillos alineados en una galería, es que permite indignarse, reír o participar a la manera del ciclista dominguero.

Dante no es únicamente severo, Félix de Azúa

The Process Behind the Painting →

A Review of ‘Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell’ in Princeton

Left: Mark Rothko’s “Untitled” (1968). Right: Gerhard Richter’s “Abstract Painting (613-3)” (1986).

CreditLeft: Photograph by Douglas J. Eng / Artists Rights Society (ARS), New York. Right: Photograph by Douglas J. Eng

Le suspens du sens - Starobinski →

The Edgar Allan Poe Digital Collection →

Poe archive from UT Austin goes online.

(via  mostlysignssomeportents)

Un Beckett destructor →

socks-studio:

The Banality of Everyday Life: Domestic Interiors painted by Vilhelm Hammershøi (1864-1916)
http://socks-studio.com/2014/06/02/the-banality-of-everyday-life-domestic-interiors-painted-by-vilhelm-hammershoi-1864-1916/
Vilhelm Hammershøi (1864-1916) was a Danish painter known for his low-key atmospheres and his very limited palette of grey tones and mostly desaturated hues used to depict architecture, landscapes and portraits. However the artist is mostly celebrated for his interiors, enfilades, contrejours, d…
Read more on:
http://socks-studio.com/2014/06/02/the-banality-of-everyday-life-domestic-interiors-painted-by-vilhelm-hammershoi-1864-1916/
domestic territories, painting, Architecture, Art, Territories

socks-studio:

The Banality of Everyday Life: Domestic Interiors painted by Vilhelm Hammershøi (1864-1916)

http://socks-studio.com/2014/06/02/the-banality-of-everyday-life-domestic-interiors-painted-by-vilhelm-hammershoi-1864-1916/

Vilhelm Hammershøi (1864-1916) was a Danish painter known for his low-key atmospheres and his very limited palette of grey tones and mostly desaturated hues used to depict architecture, landscapes and portraits. However the artist is mostly celebrated for his interiors, enfilades, contrejours, d…

Read more on:
http://socks-studio.com/2014/06/02/the-banality-of-everyday-life-domestic-interiors-painted-by-vilhelm-hammershoi-1864-1916/

domestic territories, painting, Architecture, Art, Territories

socks-studio:

The Victory Atlas: Collages by Elena Damiani
http://socks-studio.com/2014/04/02/the-victory-atlas-collages-by-elena-damiani/
Elena Damiani (Lima 1979) is an artist based in London, concerned with “the conceptual significance of archives and the persistency with memory in a society fearful of forgetting”. Her practice develops along the lines of a collector of books, photographs, videos and record. All the…
Read more on:
http://socks-studio.com/2014/04/02/the-victory-atlas-collages-by-elena-damiani/
Collage, maps, Art, Culture, Territories

socks-studio:

The Victory Atlas: Collages by Elena Damiani

http://socks-studio.com/2014/04/02/the-victory-atlas-collages-by-elena-damiani/

Elena Damiani (Lima 1979) is an artist based in London, concerned with “the conceptual significance of archives and the persistency with memory in a society fearful of forgetting”. Her practice develops along the lines of a collector of books, photographs, videos and record. All the…

Read more on:
http://socks-studio.com/2014/04/02/the-victory-atlas-collages-by-elena-damiani/

Collage, maps, Art, Culture, Territories

Why We Walk →

John Updike Beautifully Explains How Difficult It Was To Read John Cheever's Tortured Journals →

'La causa de la II República' - Josep Quetglas →

Una visió global plena de referents internacionals sobre la voluntat d’humanització de la República, per part de l’arquitecte i pensador Josep Quetglas.
Copio aquí la part més local i tendra de l’entrevista:
'Quan inauguraren les escoles del poble Montuïri, el febrer de 1935, hi havia a l’entrada, acabat de plantar, un tarongerar. El vespre abans de la inauguració, els nins i els mestres, d’amagat, van omplir les joves branques de taronges madures, fermades amb vetes, per poder oferir el sendemà la imatge dels primers fruits que donava l’escola. Els altres fruits eren nins amb bates blanques i espardenyes noves, que aprenien a llegir i a dutxar-se, a escriure i usar un wàter (quants de wàters hi havia a Mallorca, l’any 35?).
Les escoles de la República ens adreçaven cap un món que els poderosos no ens han deixat conèixer, però encara avui, maltractades, poc cuidades, esbucades a casos, mostren que era possible i que els nostres padrins ho intentaren. Aquestes escoles són el fet cultural més important de la Mallorca del segle XX, i del que duim del XXI.’

(Source: walkerartcenter)