Suspended in Void
People who miraculously survived falls create these illustrations to thanks Virgin Mary for saving their lives
Worker falls from a window. September 27, 1928
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Thrills and Chills by Daily Lazy Projects
Daily Lazy Projects presents Thrills and Chills at Art Athina 16-19 May 2013 (stand P34)
The exhibition Thrills and Chills includes works that present variations of reality and challenge the relationship between optical and spiritual, illusiοnal and corporeal.The concept of the exhibition is based on selected texts taken from the stand-up performances of Bill Hicks. The collected text provides various narrations about drug use and how Hicks made philosophical comments on the meaning of existence and the perception of reality. Still very provoking and controversial the references on drug use attempt to argue about therelationship between reality, consciousness and illusion.
That’s an act, that’s a frying pan, that’s a stove, you’re an alcoholic! Dude, I’m tripping right now, and I still see that that’s a fucking egg, alright? I see the UFO’s around it, but that’s a goddamn egg in the middle. There’s a hobbit eating it, but goddammit that hobbit’s eating a fucking egg! He’s on a unicorn. But, no, th- th-tha- that’s a fucking egg. How dare you have a wino tell me not to do drugs!…How about a positive LSD story? That would be newsworthy, don’t you think? Anybody think that? Just once, to hear a positive LSD story:“Today, a young man on acid realized that all matter is merely energy condensed to a slow vibration. That we are all one consciousness experiencing itself subjectively, there is no such thing as death, life is only a dream, and we are the imagination of ourselves…here’s Tom with the weather…..No, I don’t do drugs anymore, either. But I’ll tell you something about drugs. I used to do drugs, but I’ll tell you something honestly about drugs, honestly, and I know it’s not a very popular idea, you don’t hear it very often anymore, but it is the truth: I had a great time doing drugs.Sorry. Never murdered anyone, never robbed anyone, never raped anyone, never beat anyone, never lost a job, a car, a house, a wife or kids, laughed my ass off, and went about my day…..The world is like a ride in an amusement park. And when you choose to go on it you think it’s real because that’s how powerful our minds are. And the ride goes up and down and round and round. It has thrills and chills and it’s very brightly coloured and it’s very loud and it’s fun, for a while. Some people have been on the ride for a long time and they begin to question: “Is this real, or is this just a ride?” And other people have remembered, and they come back to us, they say, “Hey, don’t worry, don’t be afraid, ever, because this is just a ride.” And we kill those people.
Bill Hicks
Participating Artists: Adrian Scicluna, Artan Shabani, Alexandros Laios, Andreas Ragnar Kasapis, Christoph Höschele, Diamantis Sotiropoulos, Dan Beudean, Daniel Kingery, Dimitris Antonitsis, Daniel Kannenberg, Daniel Jackson, Dimitris Foutris, Debombourg Baptiste, Dionisis Christofilogiannis, Dritan Hyska, Efrosini Asteri, Emma Dixon, Eva Mitala, Fabian Fobbe, Filippos Kavakas, Gabriel Braun, Georgia Sagri, Giorgos Tserionis, Halina Kliem, Hannah Giseler, Helidon Gjergji, Ioana Daniela Iacob, Jenny Oellerich, Joulia Strauss, Katerina Papazisi, Konstantinos Emmanouilidis, Kostas Roussakis, Leonidas Giannakopoulos, Leontios Toumpouris, Manolis Panayiotou, Margarita Bofiliou, Maria Dabow, Maro Michalakakos, Martin Skauen, Marlon Wobst, Maro Fasouli, Michelle Jezierski, Nikos Kanarelis, Nikos Larios, Nikos Tranos, Oana Farcas, Panos Papadopoulos, Patrick Alt, Pavlos Kapalas, Peter Eramian, Pius Fox, Renata Kaminska, Spiros Hadjidjanos, Stelios Karamanolis, Tarohei Nakagawa, Tomaž Kramberger,Tula Plumi,Yorgia Karidi, Yorgos Kontis, Yorgos Stamkopoulos, Radu Cioca, Vassiliea Stylianidou, Vassilis Karouk, Viktor Timofeev, Zoi Gaitanidou
the image is courtesy of Cathryn Drake
Daily Lazy Projects was founded in 2011, in Athens, Greece. The current dl_p team comprises artists Dionisis Christofilogiannis, Stelios Karamanolis, Tula Plumi, Yorgos Stamkopoulos. Our goal is to present projects touching on contemporary art issues through collaborations with artists, curators, organizations, and other practitioners involved in the arts. The scope of activities includes three residences, in Athens, Cluj-Napoca and Berlin and will involve other cities in an endeavor to negotiate the notions of “art scene” and “art center.”
Thrills and Chills is part of PlatformProject@ Art-Athina,Coordinator : Artemis Potamianou
A conversation with Marcel Duchamp
Jean Antoine: When you started out, you painted like everyone else;
you created art. Then you became the man whom Andre Breton called “the
most intelligent man of the twentieth century”. So, does that mean,
since you have given up painting, that you associate painting with
stupidity?
Marcel Duchamp: No, not stupidity. First of all, I want to defend myself a little against the charge of being the most intelligent man in the world. It’s fairly easy for someone to call you that, but it’s fairly difficult to convince yourself that you are. And I find it hard to believe, because first of all you have to understand the word “intelligent” in the way he meant it and I’m not sure that I know what he meant; and there are any number of ways of being intelligent. I accept it because it was said by Breton whose opinions I respect greatly, but that’s all.
But you haven’t answered my question about the problem of painting and stupidity?
No, no, not at all. No, stupidity has got nothing to do with it. It’s simply an activity which has been a little overestimated and is regarded as something of major importance. Personally, I don’t believe it is all it’s cracked up to be. It’s one of those human activities that is not crucially important. That’s what I mean; especially now, when it has become completely esoteric and everyone paints, everyone buys it and everyone talks about it. I wonder if it counts for anything at all when it comes to expressing more profound thought.
When you gave up painting, did you believe that painting was dead?
No. First, you know, I haven’t given up painting; if I get an idea for a painting tomorrow, I’ll do it. I didn’t make any hard and fast resolutions at all, of any kind. I simply stopped because I didn’t have anything more to say at the time. I had run out of ideas; ideas don’t come as easily as all that. As I have never been in the habit of working at my easel every morning from eight am, I only feel inclined to work when something stirs me in some way. Then I try to find a way of expressing the idea and there isn’t one. There hasn’t been one for a long time and that’s all I can say. But I didn’t make any hard and fast decisions about giving up painting at all.
Tell me something about your urinal which you sent to the Independents Exhibition, signed R. Mutt?
That was a bit of an exception, as it was sent to the first Independents Exhibition in New York and, as is the case with all the Independents Exhibitions, there was no hanging committee. The whole point of the Independents Exhibition was to enable artists to satisfy their need to exhibit without having to submit their work to a hanging committee. So I sent that piece under the impression that there would be no problem having it accepted and that afterwards we would see how the public reacted to it. But the organisers, or the hanging committee, decided against exhibiting it. It was too shocking, I suppose, even though it was not obscene or pornographic, or even erotic. As the organisers couldn’t find any reason to suppress it or reject it, they dumped the piece behind screens where it could no longer be seen and we lost sight of it for the whole exhibition. We didn’t know where it was and it was only at the end of the exhibition, when everything was being dismantled, that we found the piece hidden away and realised what had happened.
What is more, I was on the organising committee, so I resigned and I never again exhibited at the Independents Exhibition.
Marcel Duchamp: No, not stupidity. First of all, I want to defend myself a little against the charge of being the most intelligent man in the world. It’s fairly easy for someone to call you that, but it’s fairly difficult to convince yourself that you are. And I find it hard to believe, because first of all you have to understand the word “intelligent” in the way he meant it and I’m not sure that I know what he meant; and there are any number of ways of being intelligent. I accept it because it was said by Breton whose opinions I respect greatly, but that’s all.
But you haven’t answered my question about the problem of painting and stupidity?
No, no, not at all. No, stupidity has got nothing to do with it. It’s simply an activity which has been a little overestimated and is regarded as something of major importance. Personally, I don’t believe it is all it’s cracked up to be. It’s one of those human activities that is not crucially important. That’s what I mean; especially now, when it has become completely esoteric and everyone paints, everyone buys it and everyone talks about it. I wonder if it counts for anything at all when it comes to expressing more profound thought.
When you gave up painting, did you believe that painting was dead?
No. First, you know, I haven’t given up painting; if I get an idea for a painting tomorrow, I’ll do it. I didn’t make any hard and fast resolutions at all, of any kind. I simply stopped because I didn’t have anything more to say at the time. I had run out of ideas; ideas don’t come as easily as all that. As I have never been in the habit of working at my easel every morning from eight am, I only feel inclined to work when something stirs me in some way. Then I try to find a way of expressing the idea and there isn’t one. There hasn’t been one for a long time and that’s all I can say. But I didn’t make any hard and fast decisions about giving up painting at all.
Tell me something about your urinal which you sent to the Independents Exhibition, signed R. Mutt?
That was a bit of an exception, as it was sent to the first Independents Exhibition in New York and, as is the case with all the Independents Exhibitions, there was no hanging committee. The whole point of the Independents Exhibition was to enable artists to satisfy their need to exhibit without having to submit their work to a hanging committee. So I sent that piece under the impression that there would be no problem having it accepted and that afterwards we would see how the public reacted to it. But the organisers, or the hanging committee, decided against exhibiting it. It was too shocking, I suppose, even though it was not obscene or pornographic, or even erotic. As the organisers couldn’t find any reason to suppress it or reject it, they dumped the piece behind screens where it could no longer be seen and we lost sight of it for the whole exhibition. We didn’t know where it was and it was only at the end of the exhibition, when everything was being dismantled, that we found the piece hidden away and realised what had happened.
What is more, I was on the organising committee, so I resigned and I never again exhibited at the Independents Exhibition.
A conversation with Adamantios Kafetzis
The DIEUF-DIEUL de Thiès never had the chance to release any
of their material, not even a single cassette. They at least had the chance to
be heard and appreciated by Moussa Diallo however, who believed in their talent
and musical skills; this is why he insisted on recording them free of charge
and without any reward.
First they recorded
3 tracks in 1980, then one year later they recorded 12 further tracks to
release as a cassette. The producers of that period didn't want to invest in a
group from Thiès; it was during the time when the monopoly of one group from Dakar
had already begun, leaving little space for other bands to breath. This is the
reason in fact that the lifespan of DIEUF-DIEUL ended abruptly in 1982, when
they were already in Dakar for a contract with the Jandeer night club. When the
gigs began at Jandeer the group of Dakar was seriously threatened and as a
result their promising LP, which had already been recorded never came out and
thus their contract was no longer valid, just like that.
EVERY FRIEND OF MY FRIEND IS MY FRIEND (PART 2) / Chert
EVERY FRIEND OF MY FRIEND IS MY FRIEND (PART 2)
NORMA MANGIONE GALLERY AT CHERT, BERLIN
Francesco Barocco - Carol Rama
Michael Bauer - Horst Ademeit
Raphael Danke - Karin Székessy
Ruth Proctor - Gavin Murphy
Stefanie Popp - Winnifred Birts
Michael Bauer - Horst Ademeit
Raphael Danke - Karin Székessy
Ruth Proctor - Gavin Murphy
Stefanie Popp - Winnifred Birts
05/03/2013 - 13/04/2013
Chert, Skalitzerstr. 68
10997 Berlin
Miriam Böhm, Charlotte Posenenske, James Turrell / The Other Space
Miriam Böhm, Charlotte Posenenske, James Turrell
The Other Space
9 March – 19 April 2013
Tempelhofer Ufer 22
10963 Berlin-Kreuzberg
mail@wentrupgallery.com
10963 Berlin-Kreuzberg
mail@wentrupgallery.com
In the Studio #114 Athanasios Argianas
Athanasios Argianas is based in London http://timeisnotdurational.info/
''kids throwing shapes outside my space in the Sao Paulo biennial building, which kind of was my studio for last september.."
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Carl Sagan, Stephen Hawking and Arthur C. Clarke - God, The Universe and Everything Else (1988)
Stephen Hawking, Arthur C. Clarke and Carl Sagan (via satellite) discuss the Big Bang theory, God, our existence as well as the possibility of extraterrestrial life.
Utsushi - in search of Katsuhira's tiger.
A short documentary film that follows classical Japanese metal artist Ford Hallam as he recreates a lost masterpiece by the 19th century Mito tsuba artist, Hagia Katsuhira. The project and filming was funded by Mr Bob Morrison and took place from June to October 2009.
There is something between me and the world outside @ MANZONI/SCHÄPER gallery
There is something between me and the world outside
Barbara Breitenfellner, Damien Cadio, Mélanie Delattre-Vogt, Katharina Ziemke, Gregor Gleiwitz, José Herrera and Miron Schmückle
MANZONI/SCHÄPER
Potsdamer Straße 77-87
Haus H
D-10785 Berlin
Haus H
D-10785 Berlin
In the Studio #112 Ilona Németh
photos: Jonathan Ravasz
Ilona Nemeth is based in Dunajská Streda, SK
Space Shuttle Cockpit
These rare photos capture the Flight Deck (cockpit) of the Space Shuttle Endeavour, fully powered for one of the final times. Just a few weeks later, at 9:58am EDT on May 11, Endeavour was powered down for the final time in history. It was the last of the three space shuttles to have power. Below, other views show the mid-deck, gutted of its lockers and storage areas, and three final photos show the white room entrance in the Orbiter Processing Facility, signed by thousands over the years.
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