Hello and welcome to my journal! Originally from Thessaloniki, Greece but living in Northern Europe for the past 30 years -the last ten of which in my adopted hometown Brussels, I try to surround myself with nice people & music & visual art & dance, because they make everyday life bearable & beautiful & rich. This is my growing collection of life’s little pleasures I wanted to share with you, but mainly keep and remember so that they don’t fade away…
Since end of August 2016, my path brought me to the Big Apple. While I try to absorb the differences in life & culture, and try to grasp the sheer size of New York, I’ll be sharing my impressions in The Humble Fabulist.
”We interact with an infinity of objects from birth to the grave.
Over time our ‘belongings’ become more steeped and resonant with memory and nostalgia. In many ways, personal objects express aspects of who we are — our identity: our values: our statements and choices.
The passages of time through which we exist become defined by the objects with which we interact.
The artefacts contained within the earthen mound — partially buried — partially excavated — have all played a part in my life.
I have had a special connection to each item presented — a connection that has been hard to relinquish.
In time, we will all disappear from this earth.
This is our destiny.
What will we leave behind? Who will remember us — and for how long?
The mound is a glorious metaphor for the ultimate conclusion of all material manifestations.
We cling — consciously or unconsciously to ‘things’ that are endowed with emotional significance — keeping memories alive,while the uncomfortable awareness of the inevitable moment of departure is held at bay.‘
Annie Lennox, May 2019
The exhibition was accompanied by a printed “field guide” in which Lennox annotated many of the objects on display, identifying the objects and adding recollections, personal stories, and provenance. [source & guide]
Second day in Mass MoCA, because it would have been impossible to absorb so much art, all at once!… (tickets were valid for two consecutive days then, this may have changed post-Covid).
…”Each wall drawing begins as a set of instructions or a simple diagram to be followed in executing the work. As the exhibition makes clear, these straightforward instructions yield an astonishing—and stunningly beautiful—variety of work that is at once simple and highly complex, rigorous, and sensual. The drawings in the exhibition range from layers of straight lines meticulously drawn in black graphite pencil lead, to rows of delicately rendered wavy lines in colored pencil; from bold black-and-white geometric forms, to bright planes in acrylic paint arranged like the panels of a folding screen; from sensuous drawings created by dozens of layers of transparent washes, to a tangle of vibratory orange lines on a green wall, and much more. Forms may appear to be flat, to recede in space, or to project into the viewer’s space, while others meld to the structure of the wall itself, like gauze.” [source]
Images of wall drawings:
793A – Irregular wavy color bands 340 – One of a Six-part drawing 396 – A black five-pointed star, a yellow six-pointed star, a red seven-pointed star, and a blue eight-pointed star 414 – Drawing Series IV (A) with India ink washes (detail of 24 drawings) 527 – Two flat-topped pyramids with color ink washes superimposed 439 – Asymmetrical pyramid with color ink washes superimposed (plus us in playful mood, trying to agree which wall would work best in our home)
It occupies nearly an acre of specially built interior walls that are installed—per LeWitt’s own specifications—over three stories of a historic mill building situated at the heart of MASS MoCA’s 19th-century, former factory campus. A landmark collaboration of MASS MoCA, Yale University Art Gallery, the Williams College Museum of Art, and the Sol Lewitt estate, over 60 artists and art students spent six months rendering 105 large-scale wall drawings spanning the artist’s storied career.
”Traditionally made by hand with dirt and other organic material such as clay, horse dung, hay, and water, adobe is among the earliest of human building materials. Due to their remarkable strength, sundried structures were extremely durable and functioned as some of the earliest architectural foundations for indigenous communities across the Americas. Adobe construction is still prevalent across the Southwest, a source of both strong and readily available building materials and income for the skilled laborers who use it.
Esparza explores adobe as both material and politics, creating what he has termed “brown architecture:” “My interest in browning the white cube — by building with adobe bricks, making brown bodies present — is a response to entering traditional art spaces and not seeing myself reflected. This has been the case not just physically, in terms of the whiteness of those spaces, but also in terms of the histories of art they uphold” (“Rafa Esparza,” ArtForum, November 21, 2017).”
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