Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

edited by in data
¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Helena Almeida.CORPUS

edited by in data

Helena Almeida at Wiels


Helena Almeida at Wiels
Artist: Helena Almeida
Venue: Wiels, Brussels
Exhibition Title: Corpus
Date: September 10 – December 11, 2016
Helena Almeida at Wiels

Helena Almeida at Wiels
Helena Almeida at Wiels
Helena Almeida at Wiels
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Wiels, Brussels
Press Release:
Helena Almeida, who is considered one on the most distinguished contemporary Portuguese artists, has been recognised since the 1970’s as a major figure in performance and in conceptual art. Born in 1934 in Lisbon, where she lives and works, Helena Almeida explores and calls into question traditional forms of expression, painting in particular, driven as she is by a constant urge to exceed the space delimited by the picture plane. Her WIELS exhibition recounts the different phases of the artist’s work, from her earliest three-dimensional works of the mid 60’s, which already bear witness to a process of deconstruction of the canvas, all the way to her uses of photography, and later still of video.
Helena Almeida’s work is characterised first of all by the importance of the body. As the conflicted site of both political and personal expression, the body encounters and manipulates the surrounding world – it acts, touches, senses and marks, leaving behind its mobile traces as drawn lines, shaping itself into a variety of outlines and expressive forms. In her earliest abstract paintings, the artist critically addressed the limits of pictorial space and the literal conditions of painting. In the 70’s Almeida extended this play with form, line and colour to photography, in performative compositions inflected with a feminist and postrevolutionary stance towards representation. In her work, the distinct space of the artist’s studio and the female body, fragmented or partly obscured, became recurrent presences.