The power of a muse lies in her meaninglessness

 Gueorgui Pinkhassov 

Altermodern: Tate Triennial 2009

Marcus Coates Firebird, Rhebok, Badger and Hare 2008  © The artist. Photo: Jo Ramirez

Want to know what's happening in contemporary art now? Then visit Altermodern, the fourth Tate Triennial at Tate Britain. This selection of new contemporary art presents some of the best that current British art has to offer, alongside international artists who are working with similar themes. It includes artists working in all media, from painting, to film and video, to extraordinary installations and features many new works being shown for the first time. This year's Triennial has been curated by Nicolas Bourriaud who co-founded the influential contemporary gallery Palais de Tokyo in Paris in 2002.

Bourriaud is proposing the new art term 'Altermodern' to describe how artists are responding to the increasingly global context in which we all now live. Altermodern claims that the period defined as postmodernism has come to an end and a new culture for the 21st century is emerging. Increased communication, travel and migration are having a huge effect on the way we live now. Altermodern describes how artists at the forefront of their generation are responding to this globalised culture with a new spirit and energy. Is postmodernism dead? What does it mean to be modern today? Come along to the exhibition and decide for yourself.

3 February  –  26 April 2009

A hand book for Richard Long

Shall we meet?

Richard Long

Do manifesto surrealista (clique para ler na íntegra)

Swift é surrealista na maldade.

Sade é surrealista no sadismo.

Chateaubriand é surrealista no exotismo.

Constant é surrealista em política.

Hugo é surrealista quando não é tolo.

Desbordes-Valmore é surrealista em amor.

Bertrand é surrealista no passado.

Rabbe é surrealista na morte.

Poe é surrealista na aventura.

Baudelaire é surrealista na moral.

Rimbaud é surrealista na prática da vida e alhures.

Mallarmé é surrealista na confidência.

Jarry é surrealista no absinto.

Nouveau é surrealista no beijo.

Saint-Pol-Roux é surrealista no símbolo.

Fargue é surrealista na atmosfera.

Vaché é surrealista em mim.

Reverdy é surrealista em sua casa.

Saint-John Perse é surrealista a distância.

Roussel é surrealista na anedota.

Vogais - Claude Lévi-Strauss

A negro, E branco, I rubro, U verde, O azul, vogais,

Ainda desvendarei seus mistérios latentes:

A, velado voar de moscas reluzentes

Que zumbem ao redor dos acres lodaçais;

E, nívea candidez de tendas e areais,

Lanças de gelo, reis brancos, flores trementes;

I, escarro carmim, rubis a rir nos dentes

Da ira ou da ilusão em tristes bacanais;

U, curvas, vibrações verdes dos oceanos,

Paz de verduras, paz dos pastos, paz dos anos

Que as rugas vão urdindo entre brumas e escolhos;

O, supremos Clamor cheio de estranhos versos,

Silêncios assombrados de anjos e universos;

- Ô! Ômega, o sol violeta dos Seus Olhos!

tradução Augusto de Campos

The magic carpet

Pantone - Gerard Richter

4900 Colours is parallel to Richter's design for the south transept window of Cologne Cathedral, which replaced the stained glass that was destroyed in World War II. The window, unveiled in August 2007, comprises 11,500 hand-blown squares of glass in 72 colours that are derived from the palette of the original Medieval glazing. The Seemingly arbitrary distribution of colours was generated using a specially developed computer programme and this renewed interest in using chance to define composition led the artist to develop the concept for4900 Colours.

Richter produced the first in his series of grid paintings in 1966 in which he replicated, in large scale, industrial colour charts produced by paint manufacturers. As with his photo-paintings, the use of found material as a source removed the subjective compositional preferences of the artist, however, the Colour Chart Paintings took this a step further, eradicating any hierarchy of subject or representational intent, and focusing on colour to create an egalitarian language of art.

O refugio do escritor

Chanel com o fotógrafo Cecil Beaton - 1937

Hellooou

A Vida

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