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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
GIORGIO MORANDI * Resistence and Persistence
28-03-09 Sugerido por: Begoña Santa Cecilia 


On the occasion of Giorgio Morandi 1890-1964 at the Metropolitan Museum of Art, September 16 to December 14, 2008, we post abstract painter Sean Scully's 2005 essay on his Italian forebear. This essay was first published in Sean Scully Resistance and Persistence: Selected Writings Edited by Florence Ingleby, (Merrell, London/New York, 2006) and is reproduced here, for the first time in an art magazine and on the internet, with kind permission of the publisher... but not here (we are on he trial)


Giorgio Morandi Still Life (Natural Morta) 1953
oil on canvas, 8 x 15-3/4 inches
Washington DC, The Phillips Collection
© Giorgio Morandi by SIAE 2008

            Giorgio Morandi was born in Bologna in 1890.  He studied art at the Accademia di Belle Arti from 1907-15.

            He lived all his life with his three sisters, Anna, Dina and Maria Teresa.  From the age of 20 until his death he lived in a flat at Via Fordazza 36, and in the family country house in Grizzana in the mountains 35 km from Bologna.  He traveled to Venice where he saw Monet and Cézanne, but largely throughout his life he moved very little, being content to live and work in his simple rooms in Bologna, and his home in Grizzana.  And it was only in 1956, at the age of 66, that Morandi made his one and only trip abroad, which was to attend an opening of an exhibition he had in Winterthur. Morandi died in Bologna in 1964.

            Crucially, Morandi never visited Paris, the center of Art in the first half of the 20th century, which is like not visiting New York or London now.  When I was a student passing through the halls of the Tate Gallery in London, looking for role models, I would consistently pass a typically small painting by Morandi.  It seemed to upset and disturb everything else that was going on. It was as if it was participating in the Modernist dialogue, since its spirit was 20th century, and clearly painted after the discovery of abstraction, but then again, stubbornly refusing to participate with appropriate enthusiasm.  It seemed to be permanently hung on a short wall.  So you saw it between seeing other paintings that were of course always bigger. Everything, it seemed, was bigger than the Morandi.  Nothing else was as self-effacing.  And nothing else was so awkwardly sealed. So you'd see Morandi after you'd looked at one painting and you turned your body and your head to look at the next, and as you were leaving one room to go into another room you'd see the Morandi again.  Not fitting in.  NOT playing the game.  Being a part of it and not being a part of it, so therefore in the margin of the communal conversation, the common consensus built by the surrounding works.   Imagine one sees, for example, a short wall, between big walls that occupy major spaces, as the margin of the architecture, or the transition between one major event and the next; this is where Morandi lived in the museum.  Not exactly an event but a tap on the back of the head.  An appeal to the conscience one might say.  A worrying doubt.  Made by a doubter: who raises the disturbing possibility that the modernist juggernaut that we were so happy about, might one day crash and burn.

            And then there would be this small painting that says, yes.  This kind of thing can happen.  And it has happened before.  Rome was for 4000 years the center of the universe known to man.  And it is therefore very Italian to know that the favors of history can wash in and then wash out leaving empty buildings and unfortunately located agendas. 

Giorgio Morandi Still Life 1946, oil on canvas, 21 x 24 inches, London, Tate.
not in exhibition. reproduced from Resistance and Memory, p.9
© Giorgio Morandi by SIAE 2008

One day I'd see it and I'd think, this is great.  It's really weird.  And then another day I'd see it and I'd think to myself that he was an idiot.   And so was the Tate for putting it up all the time.  And then another day I'd see it and I just didn't know what to think.  It wasn't exciting yet it was exciting.  Exciting in its resistance, in its subversiveness.  Someone asked me once if abstraction was subversive.  I did not think so.  And I don't think so now.  It's subversive in the sense that it makes or helps people to think free.  But it's not trying to bring some other structure down to be seen.  It makes it's own space or has invented its own space.  A space, that didn't previously exist.  This, coincidentally, Morandi did.  This small painting used a space that was not used before, or could not usefully be used by anything else.  The architecture of the idea, was to say yes. Correct.  But what about this?  That was big, this is small.  That was a statement, this is a state.  That Morandi was making an art of figuration during an epoch characterized by a wholesale march towards abstraction was, in itself, an act of defiance.  However in his case the defiance was wrapped in a cloak made of humble subversion.  His paintings were not merely opposite in subject.  His "opposite" subject was painted apparently meekly in colors that were pale and seemingly tired, as if defeated at the outset of their contest with international abstraction.  Like a boxer who fights each round without getting up from his seat in the corner of the ring.  As if in a sense to make a demonstration of rising for the contest, would be far too conformist and compromising.  Morandi paints in pale, nearly dead color, which itself cannot or will not rise to full spectrum. It will not reach across space to communicate visualpower, but makes you reach across space toward it. We do the walking.  The painting does the waiting.  It lets you, in fact invites you to walk past it and ignore it: It is only after you have seen many other paintings that you return to it, with your doubt.  Morandi embodies the patience and the diffidence of history. 

            The undersized painting that is pallid at birth, doesn't need to be defeated by time and by its offspring history.  Morandi, who is full of history, understands it can begin in life that way.  As if it has already been weakened by time as it is being made.       

            Morandi, the priest of subversion and reverence, sits in his small room stroking his humble surfaces with a vibrating acceptance of the impossibilities and necessity of resistance.  Resistance to the majority and resistance to progress.  When Fascism was rising in Europe like a galloping fire, Giorgio Morandi was a young man at art school, and trying to articulate his place in the contemporary world.

            He began his public life as an artist with an active dialogue with the visual ideas of his day, the most dominant of which was Cubism.  His landscape and still life paintings from around 1913 and 1914 demonstrate a willingness to do what all young artists must do: which is to learn the lessons of recent Art.  However in Morandi's case this dialogue is short lived, and his rejection of Internationalism is born of a deeply felt negative reaction to war and its consequences.  Thus Morandi began his unique journey by traveling in the opposite direction to his contemporaries.


            To see and to work.  To paint in a way that was predetermined and to paint a subject that was always virtually the same.  Thus to simultaneously liberate the painting style which represented the subject without prejudice: as I would call it, and the freedom to read that subject as space, light, color and form.  Morandi paints things that exist, though they are stripped of all burdensome references to social function and history or political contexts.  His discreetly expressive painting style is in concertwith a subject that is also discreet, in the sense that they are vessels and containers who's meaning is open and exists outside clearpolitical or functional reference.  We are free to enjoy them and feel them as we might an abstract painting, yet they are faithful and mysterious representations of objects that were there.  Huddled together in familial dependencies.  So that their edges touch, and the bodily groupings and their contact enables them to stand humble yet noble on their simple shelf.  They stand for themselves, but they don't articulate exactly what that is.

Giorgio Morandi Natura morta 1919
oil on canvas, 14-1/8 x 17-1/4 inches
Courtesy of Eni © Giorgio Morandi by SIAE 2008

            The sameness of his subject amplifies the imaginative response.  He has learned the lessons of abstraction.  He has understood how powerfully repetition, and visiting the same or similar motif again and again can open up emotional depth and interpretive range.  Abstraction abstracted reality to reach the non-objective shore of new experience.  Morandi reverses this journey and returns this possibility to simple observed reality.  In this he is very different from Cézanne, his great example.  Cézanne never knew abstraction until he was an old man, even though he pioneered it by making painting systematic.  Yet, in his way, he overcame appearance with structure.  This, Morandi did not have to do, since the appearances of things in the world had already been conquered by abstraction.

            I once watched a film of Cézanne painting.  He moved as a bird moves, and his head was rapidly inclined toward the subject, the canvas, the subject and the canvas.  Back and forth in a  triangular relationship between the painter, the subject and the painting.  This, Morandi did also, since he was painting his jars or the view out of his window in Grizzana.  Always in a triangle.  When I paint I look at the canvas on the wall, and I paint it.  I move back and forth, between my seat and the painting, in a straight line, between me and the work.  The painting being the subject and the object, all in one.  There is no triangle.  Everything I need to make the painting is in me when I start.  And this difference is crucial.  There are similarities, but the difference is profound.

            Robert Irwin has described Morandi as making a unique kind of Abstract Expressionism.  While being able to identify with this generous view, and being equally in favor of Morandi's work as Irwin, I would describe Morandi oppositely.  The Abstract Expressionists worked in an atmosphere that benefited from group support, and furthermore their position in world culture was advanced from being in the right place at the right time.  The various group photographs that were taken of De Kooning, Pollock, Krasner, Motherwell, Newman et al testify to the cultural momentum of which they were the positive recipients.  The Abstract Expressionists were working harmoniously with contemporary cultural history and their careers were enlarged accordingly.  They were working on the back of European Art, as exemplified by Surrealism and geometric abstraction, whilst rejecting and improving it in favor of a new "heroic" American Art.  They had the writers such as Greenberg, Sandler and Hess, and the monied patrons such as Peggy Guggenheim, as well as the construction of new Art palaces in America to contextualize critically, to buy and exhibit, these powerful new works.

            The simple fact that Morandi, even today, still represents a "cause" that other artists feel obliged to assist, shows how resistable the work of Morandi was.  Morandi's paintings were not really collected, because they simply didn't fit.  Because when the great collections of America and Europe were being assembled in the fifties and sixties what largely "fitted" was major abstraction.

            Many painters like to argue that the "subject" of Morandi is not important, and that one can ignore the figuration on his work, in order to enjoy the abstraction.  However Morandi's work was ignored by the major institutions for good reason.  And simply put, it is not abstract.  And it therefore cannot even legitimately be seen as a form of Abstract Expressionism.  It should be read as figuratively based.

            As a counterweight to the dominance of American painting of the fifties, Morandi holds a position that cannot be challenged, and today seems to yield an array of possible influences and examples for young painters.  Morandi's work doesn't negotiate with Abstract Expressionism as does, say, the work of the important French artist, Yves Klein, who competes with America for scale and conceptual directness, or like other Europeans such as Soulages, Schumacher and Tapies who worked on a similarly large scale.  Morandi's extreme originality is achieved as a counter-point to all this.  He is the authentic opposite.  He doesn't attempt to compete with American Art: he does the contrary, which is what American Art cannot do since no culture can effectively represent the opposite of itself.

            I was talking to a friend once on the 'phone about a painting I had just finished.  The painting is called "Wall of Light Sky".  She was asking me to describe it.  After a few minutes I said, "look, I can describe it to you, by describing something that can't really exist."  I told her, since it was made of many greys that were mixed in with pink and red and blue, that it was maybe like a Morandi on a giant scale that was drawn on a broken grid.  So I was talking of the way a simple subject could be given a compressed complex history, by being overpainted in uncertain colors.  This made everything clear to her even though I had described the impossible: since a giant Morandi is the opposite of what a Morandi is.  What its sense of being is, and what it registers itself as in the world of Art.

Giorgio Morandi Natura morta 1954
oil on canvas, 10-1/4 x 27-1/2 inches
Mart, Museo d'Arte Moderna e Contemporanea di Trento e Rovereto,
Collezione Augusto e Francesca Giovanardi
Archivio fotografico Mart © Giorgio Morandi by SIAE 2008

            Morandi is the opposite of heroic scale Abstraction in every way.  That Morandi worked in isolation is part of the central meaning of his work.  He chose to resist modernism in a way that Jackson Pollock did not and did not have to. Pollock, for example, was working in a rising culture that had just won a world war, and played a major role in defeating fascism.  The United States had been flooded with grateful, eager to be patriotic immigrants after World War II, and it was glowing with self-belief.  New York represented openness and freedom and importantly: wealth.  There was no reason why its artists should resist its direction.  They were, after all, the equivalent of Masaccio working in Florence in the 14th century.  New York was the new Florence, and was a golden gate to a future of freedom and wealth.

            Morandi's world was very different.  His world was not big, in the sense that it was expanding into light.  It was small, in the sense that in the midst of personal crisis, fascism and impending darkness, Morandi had to paint in a corner out of "what was left".  What he could salvage.  Not what was possible, in terms of invention, growth and freedom: but what he could hold onto, as a human being, in a context of failed hope and danger. 

            In 1915, when Italy entered World War I, Morandi was conscripted into the Italian army. This event caused him to suffer a nervous breakdown.

            It is also the case that politically speaking, Modernism, as exemplified by Futurism in Italy, had been on occasions loosely connected with Fascism.  After his breakdown Morandi withdrew into a quiet life of teaching.  There he could create a distance from the polarized world of political extremes, war, and the Italian avante garde.  This is when, I believe, Morandi began to actively separate himself from the International community of artists, to create his own private space populated by his mute, hand sized, familiar figures.  The subject, of his intimate scale vases and boxes and jars, gave him stability and the peace vital for his mental well-being.  With this extremely unique subject he was able to rebuild himself emotionally, and begin the gradual formulation of a great understated body of work that was a return to small scale painting in the tradition of Chardin and Manet. 

            His personal crisis in the face of the non-negotiable image of progress, as widely understood in 1915 Italy, is what forced him to turn away from Modernism.  His escape and his solution is what have made him into a great artist for us today.  We still revere the modernist masters of the 2oth century, though now they seem as if they are from another age.  However Morandi sits more comfortably and truthfully for us, on our highway of doubt.  His alternative to modernism corresponds with the temperature of our own time, precisely because it is anti-heroic and therefore the opposite of Abstract Expressionism.

            During the years immediately after his breakdown, Morandi was still engaged in a modernism of sorts: though now it was Pittura Metafisica.  In reality this meant he was gradually moving away from Internationalism and the influence of Cubism towards a National style.  It is symbolically important that in his Pittura Metafisica period Morandi painted a form of construction or still life that was contained within its own box.  Cubism broke up the solidity of the object, fractured it and spread it out over the picture plane.  Pittura Metafisica, as exemplified by Morandi's painting, Still Life 1918 (Galleria Nazionale d'Arte Moderna, Roma), established a dream world where objects sit silently and in a protected context.  They are secure and framed inside the picture and therefore, metaphorically and symbolically, not in direct contact with the outside world.  By 1920 Morandi had positioned himself in his own box, which was his modest studio, where began to paint his "still life" paintings in solitude.  This represents a journey away from international engagement, through a National engagement, and ultimately into a private world where he stayed for the rest of his working life.

Sean Scully Wall of Light Burren 2003
Oil on linen, 75 x 85 inches, courtesy Galerie Lelong, New York

            Modernism represented by the Futurists Boccioni,  Severini and Balla stood for progress in the painting world of Italy in 1913.  The interaction with the machine and its dynamic movement was reflected powerfully in their paintings.  Their engagement with the machine world was responsible for their force since they fed off the juggernaut of progress.  However like the Suprematists and Constructivists before them in Russia, the paintings of the Futurists lacked sensibility.  One only has to look at the paintings of Rosanova and Malevich to see that they are painted with a kind of generic neutrality. To find a profoundly personal painting style for the Suprematists or the Futurists was not the point of their work or of their mission, which was to represent in paint an International idea.  The representation of movement in for example,Dog on a Leash1912 by Giacomo Balla, is dynamic, but it is also mechanical in style.  This undoubtedly was the point, since an overly subjective or personal worldview would have appeared anti-progressive and bourgeois.

            It is against this backdrop of Fascism, modernism and its opposition to a personal and private sense of poetry that Morandi made his small revolution. This radical resistance, a stand for the individual as a spiritual being, made with humble work in a small room in Bologna should not be underestimated.  By slowly withdrawing into his own private box, Morandi constructed a reality that gave him time to think and work against the way large masses of Europe were moving.  Morandi worked in the shadows of his studio, for the existential position, to feel as an individual.  This is fundamental to the gradual formulation of a masterful sensibility.  

         Morandi paints like no other, before or since. His brushstroke is in complete philosophical agreement with the subject, the scale and the color of his paintings.  It is expressive, though it is modest, and not so expressionistic as to disturb the sense of meditative silence that inhabits all his paintings. 

Still Life c.1957 (The University of Iowa Museum of Art) carries a signature in the left lower corner that is huge in relation to the size of the painting.  The signature stands for the individual as author.  And for the uniqueness of touch that runs through the painting.  As is typical of Morandi the color is pale and profoundly gentle.  Two jars, two boxes and one vertical bashful shape, probably standing for a jar, huddles protected in the middle of the group, partially hidden by the bodies of its familial neighborly objects.  All the figures close the space between them, and all the figures contain space within their bodies.  The absence of earth color gives the two front figures weight and absence of weight simultaneously, so they appear lit-up.  The two boxes behind them make a backdrop that has sculptural force.  The central figure is compressed, pushed into the position of protected and captive.  This quiet drama takes place on a grey, bent interior horizon which gives the centralized composition its place, and its insecurity.  Morandi's hand is everywhere, dominating the weak color, yet allowing the whole composition to pulsate evenly.  Even the shadows running around the figures as a dark grey collar locks them into place, and the light from the back of the surface is allowed to leak out through the laconic brushstrokes of the painter.  He is timeless yet vital, timorous and seemingly threatened by something outside, yet determined and stoic in his will to be. To be human.  To stand noble, modest and resistant to the violence of the world.

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Rating: 4.4 - 31 voto(s).

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24-03-08_ Arkipelag TV * Hans Ulrich Öbrist
19-02-08_ Landings 6+7: sobre avestruces, Arthur Danto y el fin del arte
24-03-08_ Paul McCarthy's Low Life Slow Life: Part #1
09-02-08_ La EDAD de ORO
04-02-08_ Double Agent * ICA London
24-03-08_ Heterocronías y estratos * Nicolas Bourriaud en Murcia.
03-02-08_ Interview with Juha Huuskonen (Pixelache)
01-02-08_ Una exposición de mierda
24-03-08_ El intelectual y el administrador
08-06-08_ Shut Up and Paint * On Julian Schnabel music
26-01-08_ Cómo cobrar 12 millones por algo titulado 'La imposibilidad física de la muerte en la mente de alguien vivo'
25-01-08_ Maria Teresa Hincapié * 1954 - 2008 
25-03-08_ Siete motivos para no asociarse a VEGAP, y uno solo para pertenecer a ella.
26-03-08_ Les Grands Ensembles * Pierre Huyghe
16-01-08_ arcad[i]as y convulsiones, perro muerto en tintorería: los fuertes (II)
24-03-08_ A journey that wasn't * Pierre Huyghe
30-12-07_ Dirty Dali * A private view 
24-03-08_ MONOTO * Entrevista
27-12-07_ Interview with Mark Mothersbaugh (DEVO)
05-01-08_ Paul McCarthy at the S.M.A.K
01-01-08_ El fenómeno vvork.com
22-12-07_ Devo * Bruce Conner
04-01-08_ Courbet indomable
26-12-07_ Camuflaje artístico para la guerra
26-12-07_ El artista como "War Profiteer"
01-01-08_ Featured Resources: December 2007 Selected by Alejandra & Aeron
16-12-07_ Emotional Sytems, contemporary art between emotion and reason
25-12-07_ Feministaldia 2007: taller de GWLP sobre mujer, postporno y hardcore
19-12-07_ Arcad[i]as y convulsiones perro muerto en tintorería: los fuertes (I)
04-01-08_ ¡VIVA EL FRACASO!
16-12-07_ Jaume Plensa * Entrevista
16-12-07_ 4 Películas * Gordon Matta-Clark
12-01-08_ El aura de lo digital
25-11-07_ Portikus * Ben van Berkel & the Theatre of Immanence
25-11-07_ Siempretodavía * Everstill
21-11-07_ Más y Más Malas Artes
21-11-07_ Reina la razón en El País????
22-11-07_ Sinestesia (en la era digital)
28-11-07_ Jorge Diezma * Eso ahí queda
24-11-07_ PALERMO at Duesseldorf
12-01-08_ HÉRCULES: devaluación y plusvalía [ dossier AGUT, Pep]
18-10-10_ Martin Heidegger * La pregunta por la técnica
05-11-07_ Pep Agut * HERCULES
06-11-07_ Hackers And Painters
15-10-07_ Sound is Material
01-10-07_ Who's there...
10-10-07_ Formas de institucionalización de las obras de net.art en el mundo del arte
09-10-07_ Val del Omar. FUEGO EN CASTILLA
04-10-07_ Ibon Aranberri: la memoria estancada
24-11-07_ The Aura of the Digital
27-09-07_ Arqueologías del futuro
29-09-07_ Artistas del No
23-09-07_ Lost. Aitor Lajarín
18-09-07_ La simpleza
23-09-07_ Passengers
10-09-07_ Un caldo indigesto
10-10-07_ The Fundamentals of Sonic Art and Sound Design
25-09-07_ Itinerario visual: abriendo ventanas (puertas)
07-09-07_ Imágenes del otro lado
27-09-07_ La reflexión de la mirada
02-09-07_ Bodypoliticx
26-08-07_ Concretismo  & Neoconcretismo
10-08-07_ Game Art
26-08-07_ La (im)posibilidad de atrapar el fantasma del deseo (José Luis Guerín)
26-08-07_ Nada se destruye, todo se transforma
25-08-07_ Reconstrucción del vacío
25-08-07_ Inland Empire: la esquizofrenia inevitable [1 & 2]
30-08-07_ A-desk: documenta en pocas palabras
01-08-07_ Los timos con más arte
24-07-07_ Las Vanguardias
09-07-07_ Cultural Institutions & Community * MAC
01-08-07_ UBU * Featured resources_ summer '07
07-07-07_ Stroom Den Hagg
03-07-07_  Formas de institucionalización textual de las obras de net.art en el mundo del arte.
31-01-08_ Andy Warhol * Life and Death (2006)
01-07-07_ Documenta sin documentos
26-06-07_ De Julia Fullerton-Batten a Seton Smith pasando por Rineke Djistra PHE07
05-07-07_ La cultura del fraude
21-06-07_ El regreso al orden *  Sobre la 52 Bienal de Venecia
28-06-07_ Neo Rauch at the MET
06-06-07_ UbuWeb Featured Resources June 2007
17-05-07_ Killing Time * Cuban Artists
17-05-07_ Access Denied
14-05-07_ Dana Schutz * Stand by Earth Man
10-05-07_ Cultura RAM * José Luis Brea
07-05-07_ CENTROS DE ARTE:  Chus Martínez y Ferran Barenblit
06-05-07_ Ireland at Venice 2007
03-05-07_ John Baldessari: Music
31-05-07_ El mundo del arte
23-04-07_ Nos Pagan por limpiar, no por hacer arte
16-04-07_ Time Based Text, the gesture in computer art
16-04-07_ Proyecto: La institucionalización del arte en españa
15-04-07_ The Abjection Collection
13-04-07_ Malota en Mad is Mad
09-04-07_ UbuWeb Featured Resources April 2007 Selected by Anthony Huberman
05-04-07_ Procesado de imagen. Silencio
02-04-07_ Imágenes congeladas
02-04-07_ El soporte sigue en la pared
29-05-07_ Beckett directs Beckett
23-03-07_ A Bit O' White * Een Neetje Wit * Un Peu de Blanc
20-03-07_ Alex Katz * The Jewish Museum
20-03-07_ Spanish Painting from el Greco to Picasso
20-03-07_ Wilhelm Sasnal 
23-07-07_ El autor como productor
10-03-07_ Kosuth: "Vivimos un saludable estado de descontrol"
08-03-07_ Christiane Löhr * Naturaleza Silenciosa
07-03-07_ Scorpio Rising * Kenneth Anger
07-03-07_ Kubelkas talks
04-03-07_ ¿Qué historia es la que nos quieren contar?
12-03-07_ La mala crítica
05-07-07_ Retrato del artista como crítico cultural
03-03-07_ Dan Flavin * La mística del material
26-02-07_ Péter Forgács - Wittgenstein Tractatus
23-02-07_ Cross sections of yesterday * Gordon Matta Clark
22-02-07_ 'Lost' y 'Desperate Housewives', de David Lachapelle
22-02-07_ ARCO: decoración (excesívamente) cara
11-07-07_ (Re)construyendo un afuera
06-11-07_ Matthew Barney: The Cremaster Cycle
19-02-07_ Francis Bacon (con un par de huevos) ejem 
12-02-07_ These are pearls that were his eyes
11-02-07_ Cardiff & Bures Miller: La metafísica del sonido
11-02-07_ LA EXPOSICIÓN INVISIBLE. Obras sonoras del siglo XX
11-02-07_ Art Fair TOKYO 2007
09-02-07_ Nuevo arte casero
11-07-07_ One11 [1992] * A film by John Cage
03-02-07_ El profeta de la nueva melancolía
02-02-07_ People Like Us & Ergo Phizmiz - Boots!
01-02-07_ Del lápiz al píxel * Fantasmagoría. Dibujo en movimiento
01-02-07_ Transforming e-waste into art
28-01-07_ Hacer cantera
07-07-07_ Art market stupidity
22-01-07_ The AD Generator
22-01-07_ The way we loop "Now"
18-01-07_Index. Coup de parole
19-07-07_ Interview with Art Orienté Objet
12-01-07_ Piece by Piece
04-01-07_ Ten Commandments for Gilbert & George (1995) 
02-01-07_ Premio Turner. La hora del cambio?
06-01-07_ Joan Morey: «El artista y su trabajo son objetos fácilmente reemplazables en este sistema»
29-12-06_ Slomo Video
28-12-06_ Audio-Visual Art and VJ Culture
04-08-08_ Popaganda: the art crimes of Ron English
19-12-06_ Se busca a la chica que va enmedio en el taxi
18-10-10_ La obra de arte en la época de su reproductibilidad técnica
15-12-06_ Keith Tyson
16-12-06_ Texte zur Kunst * Porno
13-12-09_ Drawing Restraint 9 * Matthew Barney [ updated 20_11_'07 ]
16-12-06_ Sampler * Ricardo Echevarría
11-12-06_ The projection project
09-12-06_ Bill Viola * Anthem
07-12-06_ Una mala broma
15-12-06_ Vicent Todolí * entrevista
09-12-06_ Sergio Prego * Black Monday
03-12-06_ Stan Douglas *  Viena Secession
02-12-06_ Vídeo y puertas al campo
30-11-06_ Lyon Biennial 2007 
24-11-06_ La visibilidad de un artista
23-11-06_ Sobre la idea de hablar * Pep Agut
27-11-06_ Chomsky vs Foucault. Human Nature * Justice versus Power.
15-11-06_ Soledad de unas uvas
10-11-06_ Alex Katz Paints Ada * The Jewish Museum
22-11-06_ How Art Made the World
15-11-06_ Fuera de campo, con nosotros
02-11-06_Terayama Shuji - Experimental Image World
01-11-06_ Ampudia, la (in)digestión del arte
01-11-06_UbuWeb Featured Resources Nov-Dec 2006 Selected by Ingrid Schaffner
30-10-06_Prospección de un lugar * Taller Lara Almarcegui
30-10-06_Hacia la ciudad 'replicante'
01-11-06_Ritual Ov Psychick Youth
24-10-06_Robert Morris * Exchange
23-10-06_El código morse
22-10-06_David Link * Poetry Machine 1.0
26-10-06_¿Una napsterización del arte?
18-10-06_TEOR/eTica * Estrecho dudoso
18-10-06_Turning * Antony and the Johnsons with Charles Atlas
18-10-06_Dos españoles en la Bienal de Sao Paulo
01-10-07_ Jonas Mekas * 365 Shorts
09-10-06_Gary Hill * Como suenan las imágenes
16-10-06_Disinformation TV: The Complete Series
03-10-06_Unbounded Freedom
30-09-06_Muntean/Rosenblum * Memento mori
29-09-06_P2P Art
29-09-06_Intentos de escapada
28-09-06_ Bustamante, en el extremo
27-09-06_Piracy is the New Black (Again)
09-10-06_... aquí ...ahora ...nunca * josé maldonado
21-09-06_CCNOA (Center for Contemporary Non-Objective Art)
28-09-06_Pasaporte a Berlín
20-09-06_Eva hesse * Jewish Museum N.Y.C
27-09-07_ Stan Brakhage * 2 de 300 ( o más )
18-09-06_Raymond Pettibon * El copyright obstaculiza la creación
17-09-06_José Luis Brea * El tercer umbral
14-09-06_CONFLUX 2006
13-09-06_Bienal Internacional de Arte Contemporáneo de Sevilla 2
13-09-06_Yve-A. Bois: « La crítica precisa más discusión y menos poesía »
12-09-06_On collaboration
09-09-06_Illusion is a revolutionary weapon
01-06-07_AHmérica !¿ [ crónicas americanas ] vol.1 + 2 + 3
07-09-06_Abstracción cálida y guerra fría. 1946-1956
06-09-06_Done Anything Dangerous Lately?
05-09-06_The Pile
04-09-06_Lewis LaCook * The Ghosts of Colors
02-09-06_Live webcast of Burning Man
01-09-06_The art of provoking the art world
13-09-06_Bruce Nauman * Videos
20-08-06_The wonderful world of irational.org
20-08-06_Desestructurando la imagen
18-08-06_Interview * Ricardo Miranda Zúñiga
18-08-06_The Residents * The River of Crime
17-08-06_TV Party!
15-08-06_The Eighth Square * Museum Ludwig
17-08-06_Colección(ando) * CAAC
13-08-06_GLOBOS SONDA * Reinventar la modernidad
13-08-06_Détournement as Negation and Prelude
31-10-10_ Steve Roden * Soundwalk
10-08-06_Werk Ltd
10-08-06_Nothing * Nada
06-08-06_PICNIC ‘06 Cross Media Week
06-08-06_Yes Bruce Nauman
07-09-06_The Dawn of DIMI
04-08-06_Scope Miami 2006
04-08-06_Buchenwald Memorial * Esther Shalev-Gerz
31-07-06_Cybernetic Serendipity
30-07-06_Los comisarios se la juegan
06-08-06_Tacita Dean * Esquivar la ficción
26-07-06_The Best Surprise Is No Surprise
26-07-06_NO(HA)LUGAR. Balance(s) del arte español.
24-07-06_Obra de arte asesina?
24-07-06_En el país de Alicia
22-07-06_ORIGEN de Bleda y Rosa
18-07-08_ Dan Graham & The Static (Audio Arts Supplement, 1979)
20-07-06_Guy Debord - Critique de la separation
02-12-07_ Ernie Gehr * Serene Velocity
30-06-06_Matthew Barney * Drawingrestraint
30-06-06_Radio Gallery
30-06-06_Los tiempos muertos de Alicia Framis
29-06-06_Guerrilla Girls * Going ape
26-07-06_Juan Hidalgo * biografías y corbatas
28-06-06_ Damien Hirst * En descomposición
27-06-06_PhotoEspaña premia la pasión por el detalle de Hiroshi Sugimoto
26-06-06_This is America * Centraal Museum, Utrecht
30-06-06_Interview * United Visual Artists
26-06-06_La Espera * Avelino Sala
26-06-06_Switch on the power! * Ruido y políticas musicales
22-06-06_5 Days to the End of Art
26-06-06_Sonar... Sonar... Sonar...
16-06-06_Santiago Sierra * Del minimalismo al sentimiento de culpa
16-06-06_Salla Tykkä * De Appel
16-06-06_Especulaciones aun tiempo
13-06-06_Storefront for Art and Architecture
11-06-06_Yoshua Okon * Realidad y ficción no son categorías ni aisladas ni abstractas
10-06-06_Alva Noto * Fades
04-09-07_ José Luis Brea * Art.matrix
08-06-06_La ascesis de Malevich
08-06-06_D3Sombra * Emanuele Mazza
08-06-06_Técnica, ética y violencia del sentido
08-06-06_CENDEAC * Actividades Junio-Julio 2006
08-06-06_For Immediate Release
05-06-06_Michel Foucault * Of Other Spaces (1967), Heterotopias.
05-06-06_Matthew Barney versus Donkey Kong
04-06-06_Montserrat Soto * Archivo de archivos (1998-2006)...
03-06-06_Chema Alvargonzález * Bienvenidos al mercado irreal
05-06-06_Kunsthaus Graz * Inventory
01-06-06_Antoni Abad gana el Ars Electronica
05-06-06_Robert Gober
05-06-06_Project Arts Centre
24-05-06_Distrito cu4tro * Atelier van Lieshout
24-05-06_Galería Juana de Aizpuru * MACHÍN
24-05-06_Museum Ludwig, Cologne
23-05-06_ediciones originales * carles congost the congosound
05-06-06_Marcel Duchamp: The Creative Act
20-05-06_'Efecto Doppler' en la Tate Modern
05-06-06_DESTE Foundation (Athens)
06-06-06_Huis | Festival a/d Werf, Utrecht // De Appel, Amsterdam
06-06-06_Tina B — The Prague Contemporary Art Festival
07-06-06_Shock tactics
17-05-06_La historia no se repite
07-06-06_sonambiente berlin 2006
07-06-06_Netherlands Architecture Institute * Museum Boijmans Van Beuningen * Nederlands fotomuseum
07-06-06_Akureyri Art Museum, Iceland
07-06-06_frieze announces international art writer's prize
04-05-06_MUSAC * Globos sonda /Trials Balloons
30-04-06_Patricia Gadea, la oscura luz de una pintora
04-05-06_Joseph Beuys Sonne Statt Reagan, (1982): el vídeo.
04-05-06_Outrageous and Contagious
28-04-06_Lawrence Weiner * X Y&Z
28-04-06_Que no ondeen las banderas
28-04-06_John Martin, lux ex tenebris
28-04-06_Agirregoikoa o no ceder al deseo del amo
07-06-06_e-flux projects * Martha Rosler Library
26-04-06_Representaciones Árabes Contemporáneas. La Ecuación Iraquí
25-04-06_Las listas del Mal (en este caso pintores)
07-06-06_Tom Sachs in Milan * Fondazione Prada
23-04-06_Tecnologías y estrategias para la creación artística * Altea Mayo '06
22-04-06_Fernando Renes * Mis animales y yo
21-04-06_Daniel Buren * Les Cabanyes de ceràmica i spill
21-04-06_Serpentine Gallery and e-flux announce Agency for Unrealised Projects (AUP)
21-04-06_WHY BERLIN ! No. 6 – Exhibitions in Berlin April – August 2006 and more
20-04-06_MIRADOR 06 * O.K Centre for Contemporary Art
20-04-06_Sin.con.texto * Una nueva velocidad
02-04-08_ Instinto Básico: Trauma y Re-atrincheramiento 2000-2004
22-04-06_José Luis Brea * La crítica de arte - después de la fe en el arte
19-04-06_El ir y venir de África
19-04-06_Thomas Locher * el escenario de la ley
19-04-06_Pierre Huyghe * Lo que la verdad esconde
08-04-06_Oportuna y chocante: Bienal de Berlín
08-04-06_Diango Hernández, el artista demediado
08-04-06_Las esculturas de luz de Christian Herdeg
08-04-06_Joana Pimentel
07-04-06_Timeless Universe * Universo Atemporal
02-04-06_The Youth of Today * Schirn Kunsthalle
01-04-06_Peter Zimmermann y la fábrica de chocolate
01-04-06_Una idea es una idea es una idea * Luis Bisbe
02-04-06_Pintura ni en pintura
30-03-06_MADRID PROCESOS 06 Convocatoria de producción para proyectos artísticos
31-03-06_Takeaway exhibition highlights
30-03-06_ARTIUM de Álava convoca su programa de BECAS '06
29-03-06_Frankfurter Kunstverein * A New Departure
27-03-06_El Retorno de J.V. Marjov a Valencia
26-03-06_Calendar of upcoming events
27-03-06_Un misterio de 38 toneladas (sigue la saga)
26-03-06_Para todos los públicos
25-03-06_Juan López, desde lo público
03-04-06_Douglas Gordon
25-03-06_Humildad y gloria * FCS
24-03-06_MUSAC | Lo Siniestro
22-03-06_Preus museum | Skate Culture
22-03-06_ARTIUM abre a la Red su Base de Datos
29-03-06_Hiato Berlines | crónica dxd
22-03-06_INTRACITY- art públic i mediació social
21-03-06_III Jornadas de Arte Contemporáneo
21-03-06_Signs of Psyche. Psychoanalytical Perspectives on Art
19-03-06_Eulàlia Valldosera | Lugares de Trabajo
18-03-06_Threshold | Faisal Abdu’Allah & Charlie Dark
17-03-06_N e t e r o t o p i a
16-03-06_Reclaim the Spectrum | Festival Zemos98 8ª Edición
16-03-06_Stefano Cagol | Galleria Civica di Arte Contemporanea
15-03-06_Subterráneos | Seminario de Manuel Delgado y Compañía
13-03-06_Guillermo Paneque
13-03-06_Guff and nonsense
12-03-06_Desde el lado trágico de la revolución conservadora
10-03-06_Young British | British art and a scent of scandal
09-03-06_Otto Dix
05-03-06_Joan Fontcuberta | Googlegrams
03-03-06_Deva Sand
01-03-06_An art that eats its own head
28-02-06_III Convocatoria de Becas / MUSAC
24-02-06_Revoluciones Por Minuto
24-02-06_Ángela de la Cruz
23-02-06_Esta casa es una ruina / MP & MP Rosado / "Desajustes
17-02-06_4º Encuentro Internacional de Performance
21-03-06_La pupila de cualquier bicho... / Entrevista con Jorge Diezma
17-02-06_International Biennial of Contemporary Art of Seville (BIACS)
17-02-06_Paul Sharitts en EACC
07-02-06_Archivo F.X.: La ciudad vacía
07-02-06_MUSAC EN ARCO
07-02-06_ENTREVISTA: Benjamin Buchloh
03-02-06_300 Words from London: Dan Flavin - All Light Now
03-02-06_Fernando Sinaga, territorio introspectivo
03-02-06_Ugo Rondinone
03-02-06_Valérie Mréjen
01-02-06_Going Out in Berlin: New Faust Opera, Beuys on Film, Forsythe
29-01-06_Curro González y Manuel Ocampo, cara a cara
29-01-06_Y de repente... Roman Signer
29-01-06_Golpes de efecto / James Rielly
26-01-06_ OVERGADEN, Copenhagen, Denmark is seeking an Artistic Director as of May 1, 2006.
25-01-06_Contra la Desgana / Jesús Palomino
27-01-06_«Bricomanía» con Jan de Cock
27-01-06_Is Damien Hirst the most powerful person in art?
23-01-06_HIRAKI SAWA
23-01-06_Entrevista a Pedro G. Romero
23-01-06_Rosemarie Trockel: Subversivamente femenina
20-01-06_Crítica: What Good Are the Arts?, by John Carey
19-01-06_Perdidas 38 toneladas de Serra... Richard
17-01-06_Dark Places
18-01-06_WHY BERLIN ! No. 5 – Exhibitions in Berlin January / April 2006
16-01-06_Contraluz / Sergio Barrera
16-01-06_Apaga y vámonos / Light art from artificial light
16-01-06_En la brecha / Sergio Prego
16-01-06_Copyright y el brillante futuro digital de los museos
13-01-06_Lessness / Ricardo Echevarría
12-01-06_fotoencuentros '06
12-01-06_5e Biennal d’Art Leandre Cristòfol
13-01-06_Festival Internacional MEM
13-01-06_Sin mancharse las manos
11-01-06_Class of Wolfgang Tillmans
11-01-06_Seeing Out Loud
10-01-06_KW Institute for Contemporary Art is looking for a curator
05-01-06_ARTIUM 2006
04-01-06_The most buoyant art movements of 2005
04-01-06_Minimalism & Market
04-01-06_Jorge Diezma en Luis Adelantado proximamente...
22-12-05_Mike Kelly: Day is done
18-12-05_Ignasi Aballí, la obra abierta
08-11-09_ Vanessa Beecroft: Desnudas flores de ceniza"VB53"
18-12-05_Video Art On Video IPods
18-12-05_Cuando el vecino llama a la puerta
15-12-05_Hiroshi Sugimoto: End of Time
15-12-05_Pedro Garhel: hasta pronto¡!
19-03-06_Entrevista: Martí Anson, artista
11-12-05_The Power Plant
07-12-05_Light Art from Artificial Light
05-12-05_Fatal Frames / Marcel Pey
03-12-05_Ojos que no ven...
01-12-05_A Brief History of Invisible Art
01-12-05_Olafur Eliasson, 'Notion Motion'
30-11-05_VIB / vídeo
30-11-05_Programa de Estudios Independientes MACBA
28-11-05_Fundación Tàpies: nuevo WEB...
25-11-05_MUSAC inaugurates five new exhibitions...
24-11-05_Rubell Family Collection
30-11-05_Beat less Beat / vídeo
22-11-05_SESSIONS eKAPA 2005
22-11-05_Right about Now: Art and Theory since the 1990s
12-11-05_Little Artist Versus Big Dealer in Sidewalk Showdown
03-11-05_Damián Ortega, ‘Escarabajo'
03-11-05_Permanencias Difusas / CAB
28-11-05_Ignasi Aballí 0-24h
31-10-05_Todo y más / Cabanyal Portes Obertes
31-10-05_The New Art Dealers Alliance (NADA)
23-10-05_Skateboard Fever: 50 años de cultura Skateboarding
22-10-05_Embankment / Rachel Whiteread
05-09-06_Hand Puppet
12-10-05_KEITH HARING. Obra completa sobre papel
11-10-05_Abierto Concurso para cubrir la plaza de Dirección Técnica de Hangar
11-10-05_HIGHLIGHTS. Prudencio Irazabal
05-10-05_Surface Charge
29-09-05_Arts & LEISURE
29-09-05_Atumn in black and white
28-09-05_Francis Alÿs / Seven Walks
27-09-05_Robert Whitman
23-09-05_e-flux video rental slumber party
22-09-05_The Mousetrap
22-09-05_Hussein Chalayan
22-09-05_IDENSITAT Calaf/ Manresa 05
22-09-05_Sesiones animadas
21-09-05_POWER PLANT gallery
21-09-05_WHY BERLIN! No. 4
21-09-05_Monika Weiss
20-09-05_Dora García / Frac Bourgogne
20-09-05_S.M.A.K. is recruiting a Guest Curator
20-09-05_IN CONCERT
20-09-05_OPEN SEASON
08-06-05_Ana Laura Alaez » The Black Angels Death Song
15-01-06_Robert Gober 2 » La falsa fruta verdadera o sin título



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El futuro está escrito en las estrellas... Horóscopo creado por J.G. Ballard y dedicado a todos vosotros.
Aplicaciones y herramientas necesarias para navegar y utilizar los contenidos del limbo electrónico e internet (www).
Artículos de e-limbo* en formato PDF preparados para viajar y aportar información allá donde estés. (y seguir salvando árboles)

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Mais uma edição do podcast Música Livre para o Archivo Vivo, do Centro Cultural da Espanha/AECID. ...
Ante preguntas de oyentes y amigos, puedo responder ahora que Vía Límite continuará en Radio ...
SORPRESA¡!¡! An unreleased version of Talking Heads' "Psycho Killer" with Arthur Russell on cello
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ISSN: 1885-5229    Aviso Legal e-limbo.org*