Pingapa ▌PLUS▼

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

edited by in data
¨ 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...

Camille Blatrix █ Heroe

edited by in data

Camille Blatrix at Wattis


Camille Blatrix at Wattis
Artist: Camille Blatrix
Venue: Wattis, San Francisco
Exhibition Title: Heroe
Date: September 8 – November 19, 2016
Note: A publication associated with the exhibition is available for download here.
Camille Blatrix at Wattis

Camille Blatrix at Wattis
Camille Blatrix at Wattis
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Wattis, San Francisco. Photos by John White.
Press Release:
Most objects don’t make it. With time and neglect, most objects become used up and worn down. It happens to cars and to desks and to books and to clothes. It happens to nails and to bolts. It happens to buildings and to bridges. It happens to lungs and to teeth and to bones and to hearts. They fall short. They disappear.
One could (and some do) develop a type of attachment to objects. A certain sentimentality. A touch of pity, perhaps, but also a sense of tenderness, compassion, and even romance. Holding onto something destined to be lost is somewhat heart breaking.
Camille Blatrix’s objects are bittersweet—they are impeccably fabricated but fraught with emotional entanglement. The surfaces are scrutinized,the edges are caressed, each detail is perfected, and yet the metaphors remain abstract and the origin stories never clear. They seem to be the work of a lover, a dreamer, a carpenter, and an engineer all rolled into one.