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 lin...

It Rained Again░ Adamo│Atassi│ Bakowski│ Maunz│ Rebet

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opens Sun, Jan 11, 6-8p:“It Rained Again” David Adamo, Farah Atassi, Wojciech Bąkowski,  Lionel Maunz, Christine RebetBureau, 178 Norfolk St., NYC“It rained again. Past tense, repeat. Of precipitation, of movement, of falling from the sky. Again, but before. The exhibition is a stage for the past tense to repeat. The frozen flow of a pewter river, the disintegrated perspective of an exploded interior, the silent chisel, the halted brush. The exhibition on view is implicitly frozen, finished, passed.Bąkowski opens the exhibition with repetition. Counting footsteps with deliberate rhythm and sustained minor chords. A faint view into a banal grey world slowly turning and progressively vanishing.This is a degeneration of seconds. With afterglows and echoes of preceding seconds.The main room is a boneyard. movement is implied but halted in statuary forms and still images plied from animation. The body of the viewer moves, counting steps as through Bąkowski’s obscured landscapes. The Lost Lady Found is conjured by the reflections of Rebet’s inky brush. Through the looking glass of the magician’s screen of deception, the disappeared are re-imagined. Atop the central tomb, the rider of maunz’s cast-iron saddle is equally vanished, envisioned through the reflection in a subterranean mineral torrent. Adamo’s carved, twisted figure looms over the room as a wicker man stretching skyward. Atassi’s painting depicts the setting itself: the disintegrated space of an exhibition. The layers of patterns and complex renderings in perspectival space suggest the tenuous constructs and fictions inherent to the staging of an exhibition. Here the histories of production, of labor, of imagination and turmoil are only echoed. The vestiges of the past are made manifest for you the viewer, wet from the rain, again.” - thru Feb 15
opens Sun, Jan 11, 6-8p:

“It Rained Again”
 David Adamo, Farah Atassi, Wojciech Bąkowski,
 Lionel Maunz, Christine Rebet

Bureau, 178 Norfolk St., NYC

“It rained again. Past tense, repeat. Of precipitation, of movement, of falling from the sky. Again, but before. 

The exhibition is a stage for the past tense to repeat. The frozen flow of a pewter river, the disintegrated perspective of an exploded interior, the silent chisel, the halted brush. The exhibition on view is implicitly frozen, finished, passed.

Bąkowski opens the exhibition with repetition. Counting footsteps with deliberate rhythm and sustained minor chords. A faint view into a banal grey world slowly turning and progressively vanishing.

This is a degeneration of seconds. With afterglows and echoes of preceding seconds.

The main room is a boneyard. movement is implied but halted in statuary forms and still images plied from animation. The body of the viewer moves, counting steps as through Bąkowski’s obscured landscapes. The Lost Lady Found is conjured by the reflections of Rebet’s inky brush. Through the looking glass of the magician’s screen of deception, the disappeared are re-imagined. Atop the central tomb, the rider of maunz’s cast-iron saddle is equally vanished, envisioned through the reflection in a subterranean mineral torrent. Adamo’s carved, twisted figure looms over the room as a wicker man stretching skyward. Atassi’s painting depicts the setting itself: the disintegrated space of an exhibition. The layers of patterns and complex renderings in perspectival space suggest the tenuous constructs and fictions inherent to the staging of an exhibition. Here the histories of production, of labor, of imagination and turmoil are only echoed. The vestiges of the past are made manifest for you the viewer, wet from the rain, again.” - thru Feb 15