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

Sigmar Polke ░ Photocopierarbeiten

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thru Dec 20:“Photocopierarbeiten” Sigmar PolkeFergus McCaffrey Gallery, 514 W26th St., NYCfeatures multiple sequences of unique manipulated photocopies and an immersive, large sculptural installation, all created between 1995 and 2002. Since the early 1960s, Polke created paintings and drawings culled from halftone images in newspapers, magazines, and books. He enlarged these raster patterns to expose the cell structure, or building blocks, of media representation. Regarding the rasters, Polke stated, “I like the impersonal, neutral, and manufactured quality of these images. The raster, to me, is a system, a principle, a method, structure. It divides, disperses, arranges and makes everything the same. I also like it that enlarging the pictures makes them blurry and sets the dots in motion; I like that the motifs switch between being recognizable and being unrecognizable, the ambiguity of this situation, the fact that it stays open” (Sigmar Polke: Alibis 1963–2010, exh. cat., Museum of Modern Art, p. 53).
thru Dec 20:

“Photocopierarbeiten”
 Sigmar Polke

Fergus McCaffrey Gallery, 514 W26th St., NYC

features multiple sequences of unique manipulated photocopies and an immersive, large sculptural installation, all created between 1995 and 2002. Since the early 1960s, Polke created paintings and drawings culled from halftone images in newspapers, magazines, and books. He enlarged these raster patterns to expose the cell structure, or building blocks, of media representation. Regarding the rasters, Polke stated, “I like the impersonal, neutral, and manufactured quality of these images. The raster, to me, is a system, a principle, a method, structure. It divides, disperses, arranges and makes everything the same. I also like it that enlarging the pictures makes them blurry and sets the dots in motion; I like that the motifs switch between being recognizable and being unrecognizable, the ambiguity of this situation, the fact that it stays open” (Sigmar Polke: Alibis 1963–2010, exh. cat., Museum of Modern Art, p. 53).