Cemetery of Staglieno (Genova)




excerpts:

 

Monumento Badaracco (Scultore: Giovan Battista Cevasco)




Monumento Celle (Scultore: Giulio Monteverde)




Monumento Casella (Scultore: Giuseppe Benetti)




Monumento Pastorini (Scultore: Giuseppe Navone)




Monumento Oneto (Scultore: Giulio Monteverde)




Aloïse


Aloïse

Le ricochet solaire


Musée Cantonal des Beaux-Arts de Lausanne: du 02.06.2012 au 26.08.2012

Collection de l’Art Brut: du 02.06.2012 au 28.10.2012


En collaboration avec la Fondation Aloïse


artbrut.ch




Enlevement d’une mariée de Gaule, 1947 circa




C’est Noël, 1946-47





Dpress Hill: Allgemeine Geschichte der Trennungen








Christer Strömholm




Sillans la Cascade, 1960s


: birikforever.tumblr.com



Sillans la Cascade (Home of Louis Pons), 1960s


: sfmoma.org




: fantomatik75.blogspot.com




: fantomatik75.blogspot.com



Suzanne und Sylvia


: monopol-magazin.de







: mastersofphotography.wordpress.com



This post has been suggested by the current exhibition at Michael Hoppen Gallery: michaelhoppengallery.com







Ambrose & Wether: Unfulfilled desires


ambroseandwether.com



















Hans Bellmer & Unica Zürn @ Ubu Gallery


Bound: Hans Bellmer & Unica Zürn

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March 9, 2012 – May 12, 2012


Ubu Gallery

ubugallery.com


“Ubu Gallery is pleased to announce Bound: Hans Bellmer & Unica Zürn, an exhibition of over fifty works created over two decades—spanning the German artists’ relationship—from their meeting at Bellmer’s opening at Galerie Rudolph Springer in 1953 until Zürn’s suicide in 1970. Including anagrammatic drawings, erotic portraits, illustrated manuscripts, photographic collaborations and archival photographs of the artists at their shared flat at rue Mouffetard, the exhibition will continue through May 12, 2012″



Tenir au frais (Keep Cool), 1958




Untitled (Bound Figure), 1963




Untitled, 1958




Hans Bellmer, Untitled, 1958





Léo Quiévreux


Léo Quiévreux

Mini kus! # 5 ‘Future is Now’


Published on the occasion of the Festival Survival Kit, Riga, Latvia. This little book is available HERE


leoquievreux.net







Kraftwerk @ Moma


Kraftwerk – Retrospective 1 2 3 4 5 6 7 8


April 10–17, 2012


Museum of Modern Art

The Donald B. and Catherine C. Marron Atrium, second floor


moma.org


Over eight consecutive nights, MoMA presents a chronological exploration of the sonic and visual experiments of Kraftwerk with a live presentation of their complete repertoire in the Museum’s Marron Atrium. Each evening consists of a live performance and 3-D visualization of one of Kraftwerk’s studio albums—Autobahn (1974), Radio-Activity (1975), Trans-Europe Express (1977), The Man-Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991), and Tour de France (2003)—in the order of their release. Kraftwerk will follow each evening’s album performance with additional compositions from their catalog, all adapted specifically for this exhibition. This reinterpretation showcases Kraftwerk’s historical contributions to and contemporary influence on global sound and image culture. [continue reading]






Wellcome Collection : Brains


Brains: The mind as matter


29 March – 17 June 2012


Wellcome Collection


wellcomecollection.org


“Our major new free exhibition seeks to explore what humans have done to brains in the name of medical intervention, scientific enquiry, cultural meaning and technological change.

Featuring over 150 artefacts including real brains, artworks, manuscripts, artefacts, videos and photography, ‘Brains’ follows the long quest to manipulate and decipher the most unique and mysterious of human organs, whose secrets continue to confound and inspire.

‘Brains’ asks not what brains do to us, but what we have done to brains, focusing on the bodily presence of the organ rather than investigating the neuroscience of the mind”


Phrenological head (Victoire) - Plaster model (copy), c. 1825

This is a plaster copy of a cast from the head of a 24-year-old woman named Victoire, described as an idiot and suffering from microcephaly, a rare genetic condition that restricts brain development. It came from the collection of the British Phrenological Society, which also included plaster casts of the heads of eminent persons and the skulls of other primates for comparison. Phrenology was controversial and dismissed by many as pseudo-science, but the British Phrenological Society survived until 1967.*


The Anatomy of the Brain - Watercolour in book, Charles Bell, 1823

Distinguished British anatomist and surgeon Sir Charles Bell (1774–1842) published the first edition of ‘The Anatomy of the Brain’ in 1802. Bell undertook significant work on the localisation of brain function in the cerebrum (the largest portion of the brain, consisting of folded bulges called gyri) and the cerebellum. This plate shows the “general anatomy and subdivisions of the brain” and membranes, veins and arteries covering it. The pose of the head shows the usual method of positioning it for dissection at the time.*


Pre-operative photograph of female patient with craniopharyngioma - Black-and-white photograph, 1919

Many of the patients in these photographs presented with much more advanced tumours than would normally go unchecked today. The 15-year-old subject of this photograph suffered years of headaches, nausea, convulsions, restricted development and impaired vision before being referred to the famous brain surgeon, Dr Harvey Cushing. She was in and out of hospital for the next 12 years, although the final letter in her file, from her father in 1931, strikes an optimistic note and thanks Cushing for his care.*


Examination of the skull and brain: method of removing the brain after it is severed from the body - Henry W. Cattell, 1903

The brain is notoriously difficult to access and a set of careful procedures are required to remove its protective layers of skin and bone to facilitate removal after death. This delicate process marks the transitional moment between the brain as ‘self’ and the brain as an object of study, when it usually becomes physically disconnected from the spine and is completely exposed. This photograph was made for a textbook on post-mortems.*

 




Lost & Found Project



lostandfound311.jp


Until the day of March 11th 2011, all the photos we have here today were in people’s homes.

After the earthquake hit, a massive tsunami swept away houses, and everything that was inside them. Coastal towns were buried in rubble. Cars, clothes, refrigerators, photo albums: everything was swallowed up and turned to waste as people stood speechless.

As the search for survivors ended and attention turned to the clean up mission, Self-Defense forces, firemen, and policemen who were in Tohoku to help survivors began to pick up photos they found in the mud, and to store them in an elementary school gymnasium. They were not asked to do it, nor did they have a clear sense of their objective. Perhaps they were just desperate to find something in of the rubble that could be saved. Over time, the gymnasium began to fill up with salvaged photographs.

Two months after the earthquake hit, a group called the “Memory Salvage Project” began to sort out the photos and prepare them for return to their owners.
The images were cleaned and digitized by volunteers who came from Tokyo and other parts of Japan.

The images varied in condition, from relatively clean to damaged beyond recognition. Some of the photographs you see here were so badly eroded by bacteria that they could not be cleaned, and therefore could not be returned. But each of these images, kept in a drawers or cabinet, was someone’s treasured memory until that fateful day.

We all take photographs. A few special ones are cherished, and the rest forgotten. We take pictures when we are having fun, when we want immortalize a moment shared with another person. The photographs you see here were also taken under those circumstances. The depth of emotion might vary from snap to snap, but each one captures a point in time that somebody wanted to keep.

What are we supposed to feel and think when we look at these pictures?
Should we be happy that they were found at all, or sad that they will never be returned to their owners? Or should we simply mourn for the dead? The more I struggle to find answers, the more missing pieces I seem to find.

But without looking at the pictures, I don’t think we’ll see anything at all. [continue reading]


 : artdaily.org




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