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

Michaela Eichwald ▒ Ergriffenes Dasein

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Michaela Eichwald at Reena Spaulings

Micheala Eichwald at Reena Spaulings
Artist: Michaela Eichwald
Venue: Reena Spaulings, New York
Exhibition Title: Ergriffenes Dasein

Date: September 29 – October 27, 2013
Micheala Eichwald at Reena Spaulings
Micheala Eichwald at Reena Spaulings
Micheala Eichwald at Reena Spaulings
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Reena Spaulings, New York
Press Release:
Reena Spaulings presents Ergriffenes Dasein, an exhibition of new paintings by Michaela Eichwald. To produce this work, the artist rented a studio in a castle in Plüschow, a coastal village about 2 1/2 hours North of Berlin. Translated roughly as “gripped being” or “being moved to tears being,” the exhibition’s title repeats that of Eichwald’s first show at the gallery in 2008.
Dienst am Alien (Servicing the Alien), is a large panoramic abstraction painted on deep brown Pleather. Painted on unstretched linen normally used for cleaning and pressing blankets, Kultur der Abgewandtheit (Culture of Diverted Awareness) presents a sort of encrusted vista in acrylic, lacquer, tempera and ink, and has been stapled directly to a blue wall. Using rolled out lengths of found fabrics to extend rambling, landscape-like abstractions that seem to read like pictographic texts, Eichwald also sometimes isolates a single, brutalist form within an otherwise blank rectangle: a pinkish, lung-like shape hovers against bright yellow Pleather in one work, and in another a cartoonish golden silhouette stands against a slightly stretchy denim-blue material used for making raincoats. Schwäche (Weakness) has been installed vertically in one of the gallery windows.
This is Michaela Eichwald’s third solo exhibition at RSFA. Recent exhibitions include Der Meteorit soll kommen at Mathew gallery/Berlin (2012), Contemporary Art Daily at Dépendance/Brussels (2011), Morror (with Michael Krebber) at International Project Space/Birmingham (2010), The Classical at Vilma Gold/London (2009), and Total Awareness of All Dimensions (Dimensions Variable) at Aachener Kunstverein/2009. In 2012 she won the Prix Lafayette at the Fiac fair in Paris, which included an upcoming solo exhibition at the Palais de Tokyo. Eichwald also administers a blog called uhutrust.com