Hans Richter Dadascope 1961

WILLIAM S. BURROUGHS - THE FINAL ACADEMY DOCUMENTS

Goddess (1960) - Satyajit Ray

La Déesse (Devi) est un film indien de Satyajit Ray réalisé en 1960.
Doyamorjee est la jeune bru d’un noble du Bengale, Kalindar. Après un rêve il voit en elle la réincarnation de la déesse Kali et, malgré les réticences de son fils, lui voue une vénération démesurée. Devenue objet de culte, la jeune fille est astreinte à une vie religieuse. Jusqu’à ce que la destinée reprenne ses droits.

Dayamayee (Sharmila Tagore) is happily married to Umaprasad (Soumitra Chatterjee - The World of Apu), the son of an upper-class family in 19th Century Bengal. This changes when a vision convinces her father-in-law (Chabbi Biswas) that she is the Goddess Kali returned to earth. He coaxes Dayamayee to fulfill her role as a living deity and transforms the house into a temple for her worship. The new Goddess is soon visited by the poor and sick from across the land. Shaken by their suffering, she performs her divine duty out of human compassion. But inevitably her plight as a woman made Goddess wears her down; the incense burnt as offering makes her suffocate and takes hold of her sanity.

Satyajit Ray's keen vision and lyrical approach to narrative makes Goddess a deeply enigmatic film, simultaneously uncertain and curious in the face of the supernatural. In its initial release, the film raised the ire of religious leaders across India. Despite the controversy, it won the President's Gold Medal. It also received a nomination for the Palme d'Or at Cannes, six years after Pather Panchali received a special award at the same festival, cementing Ray's international repute.

Bears all the hallmarks of Ray's best work: gracefulness, exquisite pacing and composition, love for his characters and a deep regard for the power of silence to tell a story -- San Francisco Chronicle

Ray's study of the destructive power of superstition is typically compassionate...Intelligent and moving -- Total Film

Goddess (1960) - Satyajit Ray

In this scene Doyamoyee (Sharmila Tagore) slowly begins to believe she's the reincarnation of the Hindu goddess Kali. The people of the rural Bengal village come to her for healing as a man sings a devotional prayer about her.

Lune 100911

Herbert List

Anna Magnani, 1956

Herbert List (Hamburg 1903 - Munich 1975), born in Germany, was a classically educated artist who combined a love of the photographic medium with his fascination with surrealism and classicism. From the 1930's to the 1950's List, a multilinguist and world traveler created a stunningly personal and beautiful body of work.

Herbert List 'told' Italy to the world through his intense black and white pictures between years 1940 and 1950. In that time he spoke about forms, bodies, matter: a earthly metaphysics with which he succeeded, in every photograph, in revealing truths hidden in the perfect forms of classical art as well as in a thorax lying under the sun, in the rough hands of a porter of Termini Railway Station, in the narrow alleys of Trastevere or in the Ligurian coast. It's the naked, real life, that at first rises and then crush, leaving us breathless.


Italy (1940-1950) by Herbert List (I / 2)


Italy (1940-1950) by Herbert List (II / 2)

Florence, 1939

Victor Brauner - Plan

Plan
plan de plan
L'exposition
Plan

à la Galerie
Alexandre Jolas
196, Boulevard Saint-Germain
dès le 12 janvier, 1966

 

When my thoughts take form

                                         

This project was filmed by the muddy riverside of Deptford. 

The work is inspired by the ideas of primordial instinctive knowledge, 

butoh dance and the concept of malleable gender. Idea and concept: 

by Karolin Bertilsson and Sarah Armstrong - 

both Scandinavian choreographers and professional contemporary dancers.    

                                                               

Tarkovsky polaroids and Meredith Monk's music

Andreï Tarkovsky

Meredith Monk

Radovan Ivsic et Toyen - LE PUITS DANS LA TOUR

                                                    IV

     Distraite, elle s'assit à même l'écorce nue et rugueuse d'un chêne. Debout, il lui fit, non sans quelques réticences, la première confidence :
     - Ce soir-là, il y a longtemps, l'orage était dans l'air. Je maudissais les rafales
de vent qui troublaient les voluptueuses formes des nuages, auxquels le soleil descendant dans sa gaine de montagnes donnait la couleur de chair, lorsque d'un flanc vaporeux sortit l'interminable fil des grues se dirigeant vers les ombres du Nord. A cet instant-là, je crus connaître la grande migration : la terrifiante aile, assoiffée des lointains, me poussa au milieu du corps et, pris de frayeur, j'y apposai la ligne de vie et la ligne de cœur ainsi.
     En lui prenant la main, il fit de ses doigts un anneau de tendresse. Elle sentit avec chaque fuseau l'inépuisable richesse du corail vif et s'égara tellement qu'elle entendit à peine ce qu'il ajouta :
     - Il y a aussi le palais rose, inaccessible presque, derrière tes dents. 



                                                                  V


     Dans le noir, il s'éloigna d'elle et, devenant le spectre lunulé de son corps, s'assit en face du bouquet des lèvres, il parlait s'en prêter attention à sa voix où mûrissait le rubicond épi de maïs et sans se demander si elle l'écoutait.
     - tel le la dans le lit labile de l'alcool.
     Il ressentit une si grande félicité en prononçant ces dernières paroles qu'il ne découvrit pas immédiatement pourquoi il les avait dites.
     - C'est le I qui fait jouir l'habitant de ma bouche.
Et comme pour savoir gré à sa langue de lui avoir indiqué un horizon nouveau, il la mena vers la fragrance de la table étroite afin de lui faire connaître le vertigineux goût de la fraise nocturne.
     - Dans l'hinterland de la luette, il y a le lin, il y a le Nil – soupira t-elle, sombrant.

 

                   
                 (Texte de Radovan Ivsic, pointes sèches de Toyen.
                   Extrait de la revue « L'Archibras » n° 1, avril 1967)

JEAN DELVILLE

Jean Delville (January 19, 1867 -- 1953) was a Belgian symbolist painter, writer, and occultist. He founded the Salon d'Art Idealiste, which is considered the Belgian equivalent to the Parisian Rose & Cross Salon and the Pre-Raphaelite movement in London. During the last decades of the 19th century, many people in the West reacted to the materialism and hypocrisy of the period by developing an interest in esoteric, occult and spiritual subjects. The enthusiasm for these ideas reached its peak during the 1890s, the decade when the Belgian painter and writer Jean Delville was at the height of his powers. Delville was born in the Belgian town of Louvain in 1867. He lived most of his life in Brussels, but also spent some years in Paris, Rome, Glasgow and London. He began his training at the Brussels Academy of Fine Arts when he was twelve, continuing there until 1889, and winning a number of top prizes. He began exhibiting professionally at the age of twenty, and later taught at the Academies of Fine Arts in Glasgow and Brussels. In addition to painting, Delville also expressed his ideas in numerous written texts.
"Understood in its metaphysical sense, Beauty is one of the manifestations of the Absolute Being. Emanating from the harmonious rays of the Divine plan, it crosses the intellectual plane to shine once again across the natural plane, where it darkens into matter." (Jean Delville)

Medusa

L'école de Platon

LE FRISSON DU SPHINX

Au pays des Huros, Rhamsès et Sésostris,

mais au temps des Latins et quand la rouge Rome

dressait de bronze et d'or ses empereurs flétris,

c'est l'heure où l'infini planète du cœur de l'homme,

Pareil à l'orbe élu des grands nimbes sacrés

dont la tête des saints futurs doit être ceinte,

la lune en fleur sourit ses rêves éthérés

dans l'encens sidéral frôlant la terre sainte.

Au loin des sables bleus du biblique désert,

couché dans son secret et sa béatitude,

le monstre égyptien, de son œil entr'ouvert,

fixe l'éternité parmi la solitude.

Nul souffle dans la nuit. Mais, parfois, obstiné,

le hurlement lointain d'un vieux fauve qui rôde

et renifle à longs traits, vers l'horizon tourné,

les tragiques relents du grand crime d'Hérode.

(Jean Delville 1897)

Portrait of Madame Stuart Merrill, Mysteriosa

                                                       

Orpheus

                                                     

The Idol of Perversity (1891 - Jean Delville)

                                                

The turned tree

ROGER GILBERT-LECOMTE

                                                 LA TEMPÊTE DES CYGNES

                                                                      ou

                                                 LA CONQUÊTE DES SIGNES

Lorsque les bleus Enfants trop naïfs vont se perdre

Aux chimériques bras d'une idole imbécile

Aux cornes d'un trois-mâts maléfique & fossile

Pour abriter leur cœur de soleil dans la cendre

Souvent, ayant caressés les fleurs autochtones

Trop longtemps au départ, ils vieillissent avant

D'avoir brûlé leurs doigts au moindre galhauban,

et vont se momifier au sel noir de l'Automne

Car ils n'ont pas connu les dangers que prépare

Au cœur trop pur le culte illusoire du blanc

Le blanc pourrit dans l'œuf lorsqu'il est ovipare

Pourrissent les couleurs comme pourrit le blanc

Le soleil qui se lève a besoin de béquilles,

L'horizon se contourne au son d'un scrofuleux,

Les rois boivent sans soif des alcools sulfureux

Mais nous avons caché le tonnerre en nos quilles.

Noirs comme des culs

Dahoméens appartenant aux sarcophages

Où dorment les Obis de plumes revêtus

Blancs comme la rage

Et les fruits pourrissent dans leurs mains d'or velu

Ont l'odeur de destin que nous avons voulu.

(Extrait des « Oeuvres complètes » tome II

de Roger Gilbert-Lecomte,

Éditions Gallimard 1977)

 

Bernice Kolko

Kahlo by Kolko

Bernice Kolko, was born in Poland and emigrated to the United States with her family at the end of the first World War. In 1932 she began her photographic career during a trip to Vienna, Austria where she worked with the celebrated Rudolph Koppitz. In 1934, upon her return to the United States, she settled in New York and had an exhibition at the gallery of the RKO radio station at Rockefeller Center. She participated with the Works Project Administration Project, an undertaking that gave great impetus to the arts after the Great Depression.
At the beginning of the Second World War, Kolko enlisted in the American Army and worked as a photographer. At the end of the war, she traveled to Los Angeles and worked with Man Ray; her experimental projects of that period include superimposed and solarized images, as well as work with abstract shapes. When she arrived in Mexico City in 1951, she had already had her work shown at several exhibitions, and received immediate media attention.
During the first year of her stay, she began a friendship with Diego Rivera and Frida Kahlo, the Siqueiros and the Chavez Morado family; she began a photographic project that dealt with Mexican artists and intellectuals of the time. Diego Rivera wrote:
"Her photographs have seemed to me to possess the highest technical quality, sensibility, curiosity and excellent taste. She chooses what is essential and which best expresses the subjects she chooses; her works are truly notable. In my opinion hers is the work of a great artist" .
Kolko traveled throughout the country, creating a trove of thousands of images while always calibrating intellectual and artistic work. Out of those trips her project Mujeres de México—Women of Mexico—was born.
Sophia Vackimes, Curator

Frida Kahlo in her garden at Coyoacán, 1952

FRIDA KAHLO Traveling Exhibit
    

THE DIARY OF FRIDA KAHLO, AN INTIMATE SELF-PORTRAIT

1 January 1953
xxxx 1953, Winter
Bernice Kolko
I think she
is a great art-
ist. She photographs re-
ality admir-
ably. (she is not a
Communist) An
American
citizen - Hungarian Jew
She says she is for
peace, but ........?

Α & Ω

Collage papiers, Cadavre Exquis
réalisé avec Cerkita Zünd

Teatro sin fin - Alejandro Jodorowsky Roland Topor Fernando Arrabal the panic movement.

Edgar Allan Poe, S. H. de Roos "THE CITY AND THE SEA" (édition clandestine)

THE CITY AND THE SEA
This edition, composed in "Ergmont"-type with "Erasmus"
initials both designed by S. H. de Roos, has been
printed in secret in the office of The "Busy
Bee", somewhere in occupied Holland. The
edition is limited to 500 numbered
copie on Dutch handmade
paper.

The city and the sea

Annabel Lee

The conqueror worm

 The raven

The sleeper

The bells

Nahui Olin. Una mujer de los tiempos modernos

Edward Weston - Nahui Olin, 1926

Carmen Mondragón o Nahui Olin (8 de julio de 1893 - 23 de enero de 1978) fue una poetisa y pintora mexicana, nació y murió en la Ciudad de México.
Junto a Dolores Del Rio, Guadalupe Marín, Antonieta Rivas Mercado, María Tereza Montoya, Frida Kahlo, Tina Modotti, Lupe Vélez y María Izquierdo, Mondragón formó parte de ese grupo de talentosas mujeres que durante las décadas de los 1920 y 1930 produjo uno de los períodos más activos y fascinantes de la cultura y el arte en México.
Hija del general Manuel Mondragón, recibió una educación privilegiada en México y Francia. Todos sus contemporáneos describieron su hipnótica y erótica belleza, la cual puede ser fácilmente constatada por las muchas fotografías que de ella existen.
Casó con el militar y pintor Manuel Rodríguez Lozano, y vivió con él en Francia y España por ocho años, pero a la larga la bisexualidad de Rodríguez Lozano implicó el fin del matrimonio, pues hay razones para creer que Mondragón era ninfómana. También se dice que ella asesinó al hijo de ambos, lo que causó la separación de la pareja.
De regreso en México Mondragón se sumerge en la vida artística del país, desayuna con José Vasconcelos y cena con Xavier Villaurrutia platicando del "Ulises", el teatro que habían fundado Rivas Mercado, Salvador Novo y el mismo Villaurrutia. También posó para Diego Rivera. Poco tiempo después inició una intensa y tormentosa relación con el pintor Gerardo Murillo, también conocido como Dr. Átl, el cual la bautizó con el nombre de Nahui Ollin, símbolo de renovación azteca. La relación terminó con la misma intensidad con la que inició, salvo que al final el odio logró desplazar al amor.
Si bien varias de sus pinturas y poemas no carecen de talento, Carmen Mondragón debe su celebridad más a su biografía que a sus trabajos. Fue la primera mujer que usó una minifalda en México y siempre gozó y exhaltó su sexualidad. En Hollywood posó desnuda para el fotógrafo Edward Weston, en lo que es quizás la mejor serie de retratos del estadunidense.
A los cuarenta años Mondragón, luego de tener y abandonar a varios amantes, se retira de la vida pública. Las siguientes décadas las pasaría en el centro de la ciudad, siguiendo una vida modesta, sola y rodeada de gatos. Hacia el final de su vida su lucidez se deterioró.
Al igual que con Frida Kahlo, en México existe un reciente y renovado interés por la vida y obra de la hermosa Nahui Olin.

Antonio Garduño (1885-1948) | Nahui Olin, Place, c. 1927

Nahui Olin. Una mujer de los tiempos modernos
Ensayo documental sobre la vida y obra de Carmen Mondragón, conocida como "NahuiOllin". Guión y dirección Eduardo Quiroz, producción Lourdes Villagomez, Fotografía en video Antonio Pardo.

Nahui Olin, fotografía de Antonio Garduño

Nahui Olin et le peintre Manuel Rodríguez Lozano 1913

Nahui Olin - Menelik

Nahui Olin - Autorretrato en el Puerto de Veracruz

The Night Life of Trees

"Everyone knew that holy spirits live in the Sembar tree. As night falls, its daytime visitors depart - bees, a bird, and two chameleons."

"The Night Life of Trees was conceived when Tara brought Gond artists down to Chennai to work with them; the Gond live in the northern state of Madhya Pradesh, 600 kilometres from the city of Bhopal. 'We noticed there was a tree in every story they told -- ask them to draw a person, they draw a person under a tree. Ask them for a river, they draw a river running past a tree. Ask them for a bird, and it's a bird sitting in a tree.' "
'The Night Life of Trees', Tara Books
Art: Bhajju Shyam, Durga Bai and Ram Singh Urveti.
Design: Gita Wolf and Rathna Ramanathan.