Artwork: @WRDSMTH
Street artist WRDSMTH created this paste-up reflecting on the current corona situation and it’s free to download at his website: https://www.wrdsmth.com.
#frommywindowframe
Image: JR in his window frame
Love this. Posted today by JR on IG about self-isolation and creative projects and opportunities.
“A few years ago, the Buddhist monk Mathieu Ricard showed me the book Motionless Journey with photos he took from his window while he was confined in Nepal during a yearlong retreat. It was amazing to see how many different perspectives you can have from a single small window to the outside world… In 2015, the work of the Japanese photographer Masahisa Fukase was presented during the Rencontres d’Arles: During 13 years, he took very moving photos of his wife Yoko from his window… In the film Smoke by Paul Auster (directed by Wayne Wang), Auggie takes the a photo every morning from the same corner. When he shows the 4’000 clichés to his friend, he reacts by saying that they are all the same. And Auggie replies “They're all the same, but each one is different from every other one.” Today, we are confined at home and we must make it a valuable experience. I have asked the students of the Kourtrajmé Photo School @ecolekourtrajme in Paris to do a photo from their confined place every day and to publish it with the hashtag #frommywindowframe
Of course, everyone can participate …. Stay safe, stay home”
Day 1
Image: Day 1 by Marco Godhino (@marcogodhino24)
In response to self-isolation during the covid pandemic, Luxembourg based Portuguese artist Marco Godhino is creating a daily project on Instagram (@marcogodhino24). He’s up to Day 3.
Here’s Day 1.
uncertainty/hope
Image: from @studioolafureliasson
Hope within this space/time of uncertainty.
A quote from writer Rebecca Solnit via artist Olafur Eliasson from his studio’s research wall.
be safe
Artwork: close-up of street art by @pobel.no
Love in the time of Corona…
Keep safe and empathetic everyone! Amid the fear and anxiety, let’s try to help others who need it and share what we can. Be as healthy, compassionate and kind as possible.
And keep falling in love…(and maybe not watch that film Five Feet Apart or anything with “apocalypse” in the title!)
Bia underwater
I’ve always loved the original portrait of Bia de’ Medici by Agnolo Bronzino (1542) that this street artwork is based on. I especially love Joseph Cornell’s version as part of his Medici Slot Machine series (see my short story The Girl in the Box based on the work here).
But this takes it to another level! Created by Florence based street artist Blub (@blub_lartesanuotare) in Ravenna, Italy, it’s Bia underwater with scuba diving mask. It makes me smile.
Artwork: street art by Blub (@blub_lartesanuotare), Ravenna, Italy
people power
Sometimes people power wins against big oil and the politicians supporting the fossil fuel industry.
Norwegian oil company Equinor has pulled out of drilling in the Great Australian Bight.
This is a big win in Australia for environmentalists, indigenous peoples, local South Australian communities and industries, and anyone who loves nature. Such a beautiful, wild and pristine marine environment and whale breeding sanctuary has been saved. It’s been a long, ongoing protest for so many people. Late last year there was a collective sense of dread that drilling was inevitable given the current Coalition government’s support and the approval for the project by the national offshore petroleum watchdog NOPSEMA. There were still more hurdles for Equinor to jump and the Wilderness Society took legal action against NOPSEMA over their consulting (or lack of) process. But Equinor has bailed and there’s now a push to have the Great Australian Bight Marine Park placed on the World Heritage List.
An amazing win. And a HUGE relief.
no noise
A short meditation on the sea, winter and cold water surfing by director Andrew Kaineder in collaboration with Finisterre and featuring surfer, Noah Lane, No Noise (2019). Kind of a teaser for Kanieder’s feature length film, Beyond the Noise. Check it out.
love love love
Artwork: Mural by @adidafallenangel at Underpressure international graffiti festival in Montreal, 2019
Great mural and words by artist @adidafallenangel:
“Honestly, I couldn't care less about Valentine's day but we all know I do care a lot about Love!
To me love is the source of all that is pure and good, the innocent and the honest, the brave and the humble. To me love is an unstoppable force, a universal machine that is packed with so much warmth and light that the sun will pale in comparison to it. Love drives me to be better, to do better, for myself, my loved ones and the world around me. Love gives me hope, it helps me get up in the morning and it fills my heart with a magnificent force that pretty much helps me breath and be present. Without Love I dont even want to exist, to be brutally honest, I believe we are love and that powerful force is part of us for eternity, to stop believing in love is to stop believing in yourself, and there is no greater pain than that. So forget about Valentine's day and embrace everyday that you are here, that you are love and will always be loved by the rest of us, for under the skin we are alike.
Keep love alive, love every day, tell it to yourself and those around you, fear not of love, hold it dearly and let it go, love will always find it's way back into your heart.”
cupid
Artwork: Banksy?? in Bristol, 2020
Cupid—kind of—and maybe a new Banksy in Bristol…
mirage
Artwork: eL Seed, Mirage, 2019
Artist eL Seed (@elseed) recently created an artwork in the city of Al Ula in north-western Saudi Arabia, Mirage. Overwhelmed by the beauty of the natural surrounds, he wanted to make something using his signature style of Arabic calligraphy that would blend with the environment, that would be almost impossible to grasp.
eL Seed relates the story that inspired it:
Artwork: eL Seed, Mirage 2019
“In the 7th century, Jameel Bin Ma'mar was famous as a lover of the lady Buthayna from a neighboring tribe. The story of their romance is that Buthayna’s people turn down Jameel’s marriage proposal because they feel Jameel’s verses praising their love have compromised her honor—merely saying that a woman loved a man was considered a blot on her honor in ancient Arab tribal society. Buthayna is forcibly married off to another man, but she and Jameel continue to be in love with each other, although they never consummate their love. Jamil continues to visit her at Wadi ‘l-Kura (Al Ula), and to complain in verse of his longing. ‘If only the prime of the youth were new and old times come back, Buthayna, should my poetry spend a night in Wadi AlQura, then I’m happy.’ These words summarize the love the poet has for this region and I chose them to shed new emphasis on it to residents as well as visitors. The poetry offers a lens through which to witness the entire landscape. The words come from within the heart of the region and are, in many ways, an ode not only to one woman, but to nature itself. Mirage acts as a metaphor for the love Jameel had for Buthayna; a love so infinite, ever longing to be reached and grasped, like a Mirage.”
It Took Me Till Now To Find You
Artwork: Addam Yekutieli, It Took Me till Now to Find You, mixed media, 2017
The Isreali/Palestinian conflict is one with such a long, fraught and complex history it’s hard to know where to begin to untangle it. Make sense of it. Have an informed position on it. That is unless it impacts on you personally. Then your very life situation becomes the pivotal point on which your perspective turns.
Isreali artist Addam Yekutieli—who also works under the pseudonym ‘Know Hope’ (@thisislimbo; www.thisislimbo.com)— has been creating work, both on the street and in exhibition spaces, that explores this terrain of a complex political and historical reality.
His new exhibition about to open at Gordon Gallery in Tel Aviv, It Took Me till Now to Find You, expands on these themes with the title coming from one of the artworks, an extract from a letter written by a Holocaust survivor to her childhood friend whose father served in the Gestapo.
Yekutieli says: “For this exhibition I collected letters written by Palestinians and Israelis, with the aim of hearing about notions of belonging, of homeland and longing. The authors of the letters come from eclectic backgrounds and various walks of life- left wing, right wing, settlers, military objectors, religious and secular. Each letter is addressed to whichever recipient the author chose fitting. At times, the letter is open ended, and other times it is addressed to someone very specific. The letters are all handwritten on paper in an intimate and personal tone.”
From the letters he took phrases and then scratched them into the surface of replicas of the Segregation Wall that stands between Israel and the Palestinian Territories. Phrases such as: “But I Also Feel”; “As If We Are”; “That Grey Area”; “I Was Proud”; “To Give In”; “Understand My Love”; “I Can Remember”; “Restored By Force”; “Your Home” and “We Only Meet So Far Away”.
As Yekutieli states: “By taking these texts out of their original context it is unclear whom the original author is, allowing it to gain a universal and ambiguous meaning and thus broaden the participation in the political discourse.”
Another significant element is the olive tree, the roots of which are present in each artwork. Besides the olive tree’s significance to both regions, it is the notion of offering an olive branch as a gesture of reconciliation or peace that comes to mind. How in offering these highly personal and disparate narratives from both sides of the the West Bank “wall” that separates Israel and the occupied Palestinian Territories, Yekutieli’s underlying project is to not only reveal the intricacies of living with this conflict, but perhaps to also bring people closer to a more insightful understanding and desire for peace.
The emotional resonance of the artwork (evident in the original letters which are on display for the viewer to read), acts as the vehicle to further explore these complex political realities by acknowledging people’s connection through a shared humanity, finding commonalities through feelings around home, longing, love, jealousy, frustration, anger or hope. This allows the work to speak to diverse people, to create dialogue—and potentially empathy or understanding—over division.
To create a crack in the walls that we erect to separate; to reach a hand out in support, kindness, compassion and hope.
A Yoshitomo Nara Day
Image: Yoshitomo Nara Peace flag
Love Peace
infinitive
Image: @hurley
A poem to reflect on as the year ends. Ursula Le Guin’s Infinitive:
We make too much history.
With or without us
there will be the silence
and the rocks and the far shining.
But what we need to be
is, oh, the small talk of swallows
in the evening over
dull water under willows.
To be we need to know the river
holds the salmon and the ocean
holds the whales as lightly
as the body holds the soul
in the present tense, in the present
tense.
(from Ursula Le Guin’s collection of poems, Sixty Odd, 1999)
wish
Artwork: Millo, Wish 2019, Lecce, Italy (@_millo_)
Street artist Millo’s new mural Wish in Lecce, Italy, speaks about the beauty of connection, and the importance of working together as community. The mural is located in a multi-cultural and multi-ethnic social housing neighbourhood located where one of the biggest court cases against the Mafia was held in the 1990s.
What I love is the red thread twining the two people together and its symbolism. I’ve written before on the the use of red thread particularly in Asian art, where it has potent meaning. For instance there is the Chinese folk legend, “The Red Thread of Fate”. It tells of how when children are born, invisible red threads connect them to their soul mates. Over the years, their lives become closer until they eventually find each other, overcoming social and physical divides that might otherwise separate them. This magical cord might stretch and tangle, but will never break.
In the spirit of the holidays, Millo’s mural has special resonance as hopefully a time of love, connection, empathy and peace. And despite whatever trials and uncertainty we face, of wishing the best for each other and for the coming year.
B. brave
Artwork: Paste-up by DONK, 2013
B. brave
Paste-up by street artist DONK (@donklondon), 2013.
Whatever you’re doing. Wherever you’re at in life.
In DONK’s words: “A gentle reminder that we all need to be brave at times, and that human vulnerability is in fact a human strength.”
B. brave
baby yoda
Too cute, he is. Baby Yoda from the new Star Wars offshoot series The Mandalorian. Love the pairing of the helmeted/masked warrior with the gifted child. And this little guy is over-the-top adorable!
poems for earthlings
Artwork: Adrian Villar Rojas, Poems for Earthlings, Oude Kerk, Amsterdam, 2019
What will remain after the end of humanity, the end of art? What would be the last piece of art made by a human before we disappear from earth?
These deeply unsettling questions are at the heart of Argentinian artist Adrian Villar Rojas’s work.
Rojas’s art blurs fact with fiction, delving into ideas of multiple-universes, alternative evolutionary narratives, alien perspectives, the Anthropocene, and the interrogation of art as commodity, of its questionable endurance into perpetuity through its preservation in art museums. His installations are site-specific and transient, many of the objects destined to be destroyed or to disintegrate. His practice leaves little trace of his projects around the globe, yet each installation is linked by the overarching question of art and its relevance in a civilsation that could end.
Artwork: Adrian Villar Rojas, The Murderer of Your Heritage, Arsenale, Venice, 2011
His most recent site-specific project at the Oude Kerk (Old Church)—recognised as the oldest building and parish church in Amsterdam, located in the Wallen, or Red Light District—titled Poems for Earthlings builds on these ideas and two previous projects from 2011.
Rojas’s installation at the Venice Biennale in 2011 was titled, The Murderer of Your Heritage. Constructed at the Artigliere in the Arsenale, huge sculptures made of clay over a framework of cement, burlap and wood, dwarfed the viewer in a tight and dramatically lit arrangement. These strange hybrid creatures, part machine, plant and fictional, were either from some other planet, or maybe they’re the future inhabitants of Earth. This colossal endeavour was taken further in a site-specific sculpture in the Jardin des Tuileries, Paris. Also titled Poems for Earthlings, the telescopic column seemed at once recognisable and otherworldly, a ruin perhaps of a future civilisation. An alien civilisation? This time-travel, time-looped sculpture was eventually destroyed after its one-month showing.
Artwork: Adrian Villar Rojas, Poems for Earthlings, Jardin des Tuileries, Paris, 2011
The sandbagged and heaped mounds at the Oude Kerk imply a bulwark against threat; a construction of primitive temples or burial sites; of temporary refuge and again, as in so many other works, the futility of preserving our human built environments and artworks indefinitely against the natural incursions of a world in crisis.
breath/respire
finally a sign of life
Something short and beautiful.
A glimpse at choreographer Antonin Rioche’s dance for the Nederlands Dans Theater’s performance Here we live and now currently at the Korzo Theatre in the Hague. It’s titled Finally a sign of life.