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I’ve collected quite a few vintage dragons – see what treasures they’re guarding!
Source: oneletterwords.com
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Les plus belles œuvres des artisans japonais.
Tsuba 鍔 / 鐔 - garde de sabre
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Mike Worrall, “Sculling the Forest” 1991-1996, oil on panel. B. 1942, Matlock Derbyshire, UK.
Source: images.squarespace-cdn.com
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'grater divide,' 2002 in mona hatoum - centro de arte de salamanca (2002)
metamatar-deactivated20250401
of all art to post without context, this feels particularly egregious these days.
From Rape is a Border by Michael Dango in Artforum:
Take Grater Divide, 2002. The work is ridiculous: a standing metal cheese grater more than six feet high. Installed in a gallery, it works as a room divider, but the holes make privacy impossible. The wall is a weapon rather than a shield: A person undressing behind it could be cut as well as peeped at, opened up by sharp edges made for shredding. The work is not only an enlargement of a grater, however, but also a miniaturization of a divide, prototyping, in particular, the West Bank barrier Israel had begun to construct on appropriated Palestinian land. A person traveling through a border checkpoint may be asked to undress—strip searches are not prohibited by Israeli law. In the United States, they have been allowed ever since the 1985 Supreme Court case United States v. Rosa Elvira Montoya de Hernandez, which originated with the cavity search of Hernandez, who was traveling to Los Angeles from Colombia. In both countries, the coercive invasion of bodies is more likely to be visited on people of color, who are disproportionately singled out for selective or heightened “screening.” This word’s very meaning is reframed, or enlarged, by the Grater Divide.
Gloria Anzaldúa, the queer Chicana theorist of Borderlands/La Frontera (1987), called the United States–Mexico border an “open wound” where “the Third World grates against the first and bleeds.” All borders are graters: not solid walls but permeable ones whose pores are sharpened to pierce what passes through.
(h/t @/earnedmagic)
'In the age of migrants, curfews, identity cards, refugees, exiles, massacres, camps and fleeing civilians,’ as Edward Said wrote, Hatoum’s is an art of ‘belligerent intelligence’, one that’s ‘hard to bear’ and necessary, one that offers ‘neither rest nor respite’.
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Sergio Sarri Opere 1967 2017
Walter Guadagnini
mostra galleria Robilant + Voena ,Milano 2017
Alveare D'Oro Certosa di Pavia 2017, 160 pagine con 64 opere
Edizione stampata in tiratura limitata di mille copie
euro 35,00
email if you want to buy :[email protected]
Il rapporto tra l’uomo e la macchina in 30 opere pittoriche di medio e grande formato di Sergio Sarri, che riassumono 50 anni di attività dell’artista, in ambito Pop, con figure umane e parti anatomiche, meccanismi e riferimenti al linguaggio del fumetto, all’illustrazione e al cinema. In mostra alla Galleria Robilant+Voena.
Curata da Walter Guadagnini, che ne firma pure il catalogo, l’esposizione presenta circa trenta opere di vario formato realizzate in un lasso temporale molto ampio, che mostrano in maniera coerente l’evoluzione di una poetica da sempre alimentata dalla dicotomica fascinazione uomo-macchina. Influenzata dai mass media, dal cinema sperimentale e dai fumetti, l’intera opera di Sarri pare appropriarsi di un linguaggio autonomo, capace di raccontare più storie contemporaneamente, un linguaggio che cresce e si sviluppa tra i sentieri della Pop Art, non tanto romana ma, al contrario, legata a quegli ambienti del nord Italia più vicini alle esperienze inglesi e francesi, restituendo la complessa figura di un artista poco noto.
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Viamor - Moebius
“I went to Italy for a month, to Naples and Rome, and one day, I was walking through the streets, when I saw an artesan making little notebooks, with nice paper and nice covers. So I bought one. At the time, I thought I would give it to somebody as a present, but I should have known better. I can never resist a notebook.So I began filling it with drawings. I drew in every kind of situation: in the train, in the plane, waiting for friends, waiting for a car, in coffee shops, in the street, in bed, at the hotel. Everywhere. I tried to do these drawings without any kind of preconceived ideas, just following my inspiration. I emptied my mind and let the drawings emerge. If there is a repitition of characters and themes, which there is, it is because it is like a psychic map of my spiritual landscape at time.”
—Moebius, from The Art of Moebius, 1989
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selections from Jean Giraud’s Blueberry Portfolio, published by Gentiane in the mid-1980s. the portfolio is comprised of mostly unlettered reproductions of individual panels from the comics series. I included 4 of my favorite of those, as well as the special edition plate, followed by the 4 painted plates.