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...

Joanna Bloom ░ Exaggerated Stories

edited by in data
 Joanna Bloom, Trophy #21, 2018, ceramic with low fire glazes and underglazes, 7 x 12 x 6 inches.
JOANNA BLOOM: EXAGGERATED STORIES
JANUARY 4–FEBRUARY 1, 2019

Select Works
Installation Images
Press Release







IMMEDIATE RELEASE | November 16, 2018, Portland, Oregon: Adams and Ollman is pleased to present a solo exhibition of new works by Joanna Bloom. For this show, the artist’s first at the gallery, Bloom elaborates upon her experiments with the ritual forms of the trophy and the bowl. Bloom’s ceramic sculptures reference numerous sources—the rich history of self-taught art, material culture, family relationships, ceremonial objects, and the landscape of the Pacific Northwest, where the artist lives and works. Initially borne of explorations in collage and clay, Bloom has reimagined the trophy form—traditionally a symbol of victory and a marker of elite status—as a site embedded with intensely personal questions about achievement and recognition. In the group of works on view at Adams and Ollman, Bloom continues these investigations as she highlights the intersections of acknowledgment and invisibility, success and failure, internal dialogue and public perception. The comforts of repetition—found both in the sculptures’ recurrent forms and textures—and the domestic associations of floral and shell-like motifs are subverted by imperfections and irregularities. Petal-shaped crowns teeter uncertainly upon towers of organic bulges, collars marked with uneven, hand-drawn lines, and resolute but misshapen pedestals. Others wear loosely and lovingly shaped floral discs upon the soft valleys and precarious sags of their bodies, as though they are at odds with the attention drawn by their decoration.
(...)