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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

Tom Wesselmann ░ La Promesse du Bonheur

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  Tom Wesselmann at Nouveau Musée National de Monaco

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Artist: Tom Wesselmann
Venue: Nouveau Musée National de Monaco
Exhibition Title: La Promesse du Bonheur
Curated by: Chris Sharp
Date: June 29, 2018 – January 6, 2019
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Full gallery of images, press release and link available after the jump.
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Images
courtesy of Nouveau Musée National de Monaco
Press Release:
The Nouveau Musée National de Monaco presents Tom Wesselmann, La Promesse du Bonheur from June 29, 2018 until January 6, 2019 at Villa Paloma. This exhibition curated by Chris Sharp gathers 26 works—paintings, sculptures, drawings—from 1963 to 1993.
Taking its title from Stendhal’s celebrated claim that, “La beauté n’est que la promesse du bonheur,” (Beauty is but the promise of happiness), this focused survey will be dedicated to a number very specific aspects of Tom Wesselmann’s production. These aspects include Victorian and post-Victorian sexuality, questions of female agency, their relationship to postwar economic abundance, and of course, the relationship of beauty, as well as the erotic to anticipation.
Concentrating on the artist’s portrayal of woman, which has been known to draw fire for its purported objectification, this exhibition argues for a much more nuanced understanding of Wesselmann’s rapport with the female subject. Indeed, with this survey, a certain sense of female agency will become apparent, which in itself is symptomatic of a crucial historical shift from Victorian repression to economic abundance associated with postwar American consumerism, as both described and quite literally embodied in Wesselmann’s work. Long considered one of the key American Pop artists as well as one of its great formal innovators, Wesselmann’s specific critical contribution to the movement has been a source of debate for decades. This survey intends to clarify this debate, locating his prodigious and penetrating contribution in the taboo subject of sexuality, portrayals thereof, and its indissociable link to the boundless promise conveyed by the cultural, material and economic bounty of postwar American society.
Link: Tom Wesselmann at Nouveau Musée National de Monaco