¿Y Las Meninas Qué Hacen? is a collaborative plattform for art, criticism and propaganda
BM 99Foi há quinze anos que comissariei a primeira Bienal da Maia, pretendendo então que a mesma passasse a ser um ponto de encontro transdisciplinar das artes entre capitais do mundo — o Porto, ou Grande Porto, com a Maia como anfitriã, e as sucessivas cidades a convidar. A primeira cidade visitada foi Xangai, depois seguir-se-iam São Paulo, Tóquio, Seul, Moscovo, etc. Como primeira edição de um projeto ambicioso, dotada de escassos meios financeiros e uma organização improvisada, chegámos até onde foi possível (o volumoso catalogo, já na tipogafia, morreria nos tinteiros das Offset). Esperava que a edição seguinte pudesse consolidar a ideia cosmopolita, aberta e experimental que propus, onde a disseminação intensiva do que por cá fazemos fosse uma vértebra insubstituível do conjunto, e onde a ideia de arte como parte de um universo mais vasto, complexo e contraditório —a que por vezes se chama indústria cutural e criativa— fosse claramente afirmado. Mas tal não aconteceu. O meio provinciano que é o nosso preferiu parecer e preferiu a cultura alcoviteira e palaciana do costume. A Bienal da Maia viria a morrer poucas edições depois. E assim regressámos paulatinamente à mediocridade, ao oportunismo rasteiro e à periferia. Contentes?More

BM 99

Foi há quinze anos que comissariei a primeira Bienal da Maia, pretendendo então que a mesma passasse a ser um ponto de encontro transdisciplinar das artes entre capitais do mundo — o Porto, ou Grande Porto, com a Maia como anfitriã, e as sucessivas cidades a convidar. A primeira cidade visitada foi Xangai, depois seguir-se-iam São Paulo, Tóquio, Seul, Moscovo, etc. Como primeira edição de um projeto ambicioso, dotada de escassos meios financeiros e uma organização improvisada, chegámos até onde foi possível (o volumoso catalogo, já na tipogafia, morreria nos tinteiros das Offset). Esperava que a edição seguinte pudesse consolidar a ideia cosmopolita, aberta e experimental que propus, onde a disseminação intensiva do que por cá fazemos fosse uma vértebra insubstituível do conjunto, e onde a ideia de arte como parte de um universo mais vasto, complexo e contraditório —a que por vezes se chama indústria cutural e criativa— fosse claramente afirmado. Mas tal não aconteceu. O meio provinciano que é o nosso preferiu parecer e preferiu a cultura alcoviteira e palaciana do costume. A Bienal da Maia viria a morrer poucas edições depois. E assim regressámos paulatinamente à mediocridade, ao oportunismo rasteiro e à periferia. Contentes?

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hyperallergic:

(via An Artist’s Ark Meets Its Fate on Lake Superior)
DULUTH, Minn. — It was a magnificent sight when it first launched. Floating 20 feet from shore, Sean Connaughty’s “Ark of the Anthropocene” seemed to glow on the dark waves of Lake Superior, drawing on real science, Biblical narrative, and science fiction all at once. Bobbing up and down, the concrete biosphere was painted white with three solar panels reaching into the air, an object that looked like a spacecraft set to sea.
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Conceptual art sensitive re-makes

hyperallergic:

(via An Artist’s Ark Meets Its Fate on Lake Superior)

DULUTH, Minn. — It was a magnificent sight when it first launched. Floating 20 feet from shore, Sean Connaughty’s “Ark of the Anthropocene” seemed to glow on the dark waves of Lake Superior, drawing on real science, Biblical narrative, and science fiction all at once. Bobbing up and down, the concrete biosphere was painted white with three solar panels reaching into the air, an object that looked like a spacecraft set to sea.

READ MORE

Conceptual art sensitive re-makes

The American Dream revisited.

The American Dream revisited.

art-documents:

Rachel Whiteread

Serene Rachel…

art-documents:

Rachel Whiteread

Serene Rachel…

(via fyeahwomenartists)

moma:

Friday & Sunday: See a restored print of Howard Hughes’ classic World War I fighter pilot film Hell’s Angels. 
[Hell’s Angels. 1930. USA. Directed by Howard Hughes]

Can we see it online?

moma:

Friday & Sunday: See a restored print of Howard Hughes’ classic World War I fighter pilot film Hell’s Angels

[Hell’s Angels. 1930. USA. Directed by Howard Hughes]

Can we see it online?

e-flux-e-flux:

Land Art Live 2014
Programme of artist interventions at Land Art sites in Flevoland
landartlive.blogspot.com

e-flux-e-flux:

Land Art Live 2014

Programme of artist interventions at Land Art sites in Flevoland

landartlive.blogspot.com

artslant:

Pierre Huyghe, «Untilled (Liegender Frauenakt)», 2012, Collection Ishikawa, Okayama, Japon; © Adagp, Paris 2013.
more here: http://bit.ly/1aEnfac
harpersbazaar:

The Best Looks From New York Fashion Week: Spring 2015
Photo Credit: Imaxtree
oystermag:

'XS' Shot BY FEELTHEFUTURE For Oyster 105
©António Cerveira Pinto - Xangai, Hotel Room, 1999

©António Cerveira Pinto - Xangai, Hotel Room, 1999

e-flux-e-flux:

NUMBER NINE: ELIZABETH PRICE 
6 September 2014–1 February 2015
JULIA STOSCHEK COLLECTIONSchanzenstrasse 54D 40549 Duesseldorf
www.julia-stoschek-collection.net

e-flux-e-flux:

NUMBER NINE: ELIZABETH PRICE 

6 September 2014–1 February 2015

JULIA STOSCHEK COLLECTION
Schanzenstrasse 54
D 40549 Duesseldorf

www.julia-stoschek-collection.net

creativetime:

Check out these incredible photos from our friend Sam.

samhorine:

kara walker - may 2014

Enigma…

hyperallergic:

(via Satan, You’ve Changed)
At the beginning of this year, the Satanic Temple of New York revealed its designs for a monument of the devil. Proposed to be placed on the grounds of the Oklahoma State Capitol, it is a challenge to the permission of religious viewpoints on the grounds represented by the granite monument of the Ten Commandments there since 2009. The statue — now lodged in a secret Red Hook warehouse while its future remains in limbo — depicts a seated goat-headed Baphomet, with two children at its side, and even a place for visitors to sit on Satan’s lap.
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¡El Diablo se merece un monumento!

hyperallergic:

(via Satan, You’ve Changed)

At the beginning of this year, the Satanic Temple of New York revealed its designs for a monument of the devil. Proposed to be placed on the grounds of the Oklahoma State Capitol, it is a challenge to the permission of religious viewpoints on the grounds represented by the granite monument of the Ten Commandments there since 2009. The statue — now lodged in a secret Red Hook warehouse while its future remains in limbo — depicts a seated goat-headed Baphomet, with two children at its side, and even a place for visitors to sit on Satan’s lap.

READ MORE

¡El Diablo se merece un monumento!

huffingtonpost:

GORDON PARKS’ 1950S PHOTO ESSAY ON CIVIL RIGHTS-ERA AMERICA IS AS RELEVANT AS EVER

An exhibition of Parks’ rare color photographs, entitled “Gordon Parks: Segregation Story,” will go on view this fall at The High Museum of Art in Atlanta. The photos capture a particularly disturbing moment in American history, captured via the lives of an African American family, the Thorntons, living under Jim Crow segregation in 1950s Alabama. See all of the photos here.

Gordon Park: history by photography