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vituperare:

why live your life punk rock when you can live it prog rock: long, complicated, and nearly incomprehensible

(Source: gilgameshwulfenbach, via dreamboatcourtney)

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"The temporal structure of the subject is chiasmic: in the place of a substantial or self-determining “subject,” this juncture of discursive demands is something like a “crossroads,” to use Gloria Anzaldua’s phrase, a crossroads of cultural and political discursive forces, which she herself claims cannot be understood through the notion of the “subject.” There is no subject prior to its constructions; it is always the nexus, the non-space of cultural collision, in which the demand to resignify or repeat the very terms which constitute the “we” cannot be summarily refused, but neither can they be followed in strict obedience. It is the space of this ambivalence which opens up the possibility of a reworking of the very terms by which subjectivation proceeds—and fails to proceed."
— Judith Butler, Bodies That Matter (via heteroglossia)

(via poietike)

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poietike:

Nancy Brooks - Brody Merce Drawing, 2011.

The exhibition, SUITES IN SPACE: Merce Drawings and Color Forms, features two new series of works. Merce Drawings are linear compositions executed on top of still photographic images of Cunningham performances, which foreground shapes made by the body as it traveled through space and time. To create Merce Drawings, Brody prints low-res images culled from the Internet onto newsprint. These photographs of dancers’ bodies capture a tilted head or a shift in weight to create fixed points that guide the visual plane. While Brody makes several prints of the same image, each unique work underscores the live act of drawing - the unpredictability and the inscription of movement onto time. The painting-objects, Color Forms, are further meditations on the impression a body leaves behind. For these works, Brody embeds enamel-painted shapes made of lead into shallow clefts carved directly into the wall. An extension of her life drawing practice, they are characteristic of Brody’s investment in transmissions,  transitions and form. @  Andrew Kreps.

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a private spectacle made public

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