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

Llyn Foulkes █ Retrospective at New Museum

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closing soon (Sept 1):Llyn FoulkesNew Museum, 235 Bowery, NYCAn influential yet under-recognized artist of his generation, Foulkes makes work that stands out for its raw, immediate, and visceral qualities. Coming from a tradition of West Coast artists working in assemblage in the ’60s, such as Ed Kienholz and Bruce Conner, Foulkes has consistently challenged audiences and expanded his work into new territories. His presentation at the New Museum features nearly one hundred works from the scope of his fifty-year career. These range from the emotionally charged constructions of the early 1960s and his impeccably painted landscapes of the American West, to his deeply disturbing portraits from the late 1970s and his remarkable recent narrative tableaux, which seamlessly blend painting with found materials to create an extraordinary illusion of depth. His diverse body of work resists categorization and defies expectations, distinguishing Foulkes as a truly unique and significant artistic voice.
closing soon (Sept 1):

Llyn Foulkes

New Museum, 235 Bowery, NYC

An influential yet under-recognized artist of his generation, Foulkes makes work that stands out for its raw, immediate, and visceral qualities. Coming from a tradition of West Coast artists working in assemblage in the ’60s, such as Ed Kienholz and Bruce Conner, Foulkes has consistently challenged audiences and expanded his work into new territories. His presentation at the New Museum features nearly one hundred works from the scope of his fifty-year career. These range from the emotionally charged constructions of the early 1960s and his impeccably painted landscapes of the American West, to his deeply disturbing portraits from the late 1970s and his remarkable recent narrative tableaux, which seamlessly blend painting with found materials to create an extraordinary illusion of depth. His diverse body of work resists categorization and defies expectations, distinguishing Foulkes as a truly unique and significant artistic voice.