Pingapa ▌PLUS▼

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

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¨ 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

Balthus ● Cats and Girls - Paintings and Provocations

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Balthus: Cats and Girls

Balthus (Balthasar Klossowski) (French, Paris 1908–2001 Rossinière). Thérèse, 1938. The Metropolitan Museum of Art, New York, Bequest of Mr. and Mrs. Allan D. Emil, in honor of William S. Lieberman, 1987 (1987.125.2). © 2011 Artists Rights Society (ARS), New York
The exhibition is made possible by the Eugene V. and Clare E. Thaw Charitable Trust, the Pierre and Tana Matisse Foundation, and Diane Carol Brandt.

Balthus

Cats and Girls—Paintings and Provocations

September 25, 2013–January 12, 2014

Accompanied by a publication

Balthus is best known for his series of pensive adolescents who dream or read in rooms that are closed to the outside world. Focusing on his finest works, the exhibition will be limited to approximately thirty-five paintings dating from the mid-1930s to the 1950s. Between 1936 and 1939, Balthus painted his celebrated series of portraits of Thérèse Blanchard, his young neighbor in Paris. Thérèse posed alone, with her cat, or with her two brothers. When Balthus lived in Switzerland during World War II, he replaced the forbidding austerity of his Paris studio with more colorful interiors in which different nymphets daydream, read, or nap. The exhibition concludes with images that he created of Frédérique Tison, his favorite model, at the Château de Chassy in the Morvan during the 1950s. Never before shown in public will be the series of forty small ink drawings for Mitsou, in which the eleven-year-old Balthus evoked his adventures with a stray tomcat and which were published by the German poet Rainer Maria Rilke in 1921. This is the first exhibition of the artist's works in this country in thirty years. Four works belong to the Museum's collection and the rest—with the exception of several loans from France, England, Switzerland, and Australia—will come from museums and private collections in the United States.