Cerinta este clara,insa mai trebuie specificat ca textul va trebui sa fie insotit de ilustratii.Va urez succes si astept reactii.Raspunsurile vor fi publicate peste 4 luni cand ma intorc in tara
Saturday, August 16, 2008
Compunere-task de 4 luni
Cerinta este clara,insa mai trebuie specificat ca textul va trebui sa fie insotit de ilustratii.Va urez succes si astept reactii.Raspunsurile vor fi publicate peste 4 luni cand ma intorc in tara
Thursday, August 14, 2008
iiiiiiiiieeeeeeeee meeeeeeeeeeeen
Ini Kamoze - Here Comes The Hotstepper
din seria "ce le ascultam in copilaria mea tulburata"
din seria "ce le ascultam in copilaria mea tulburata"
Tuesday, August 12, 2008
Sunday, August 10, 2008
Friday, July 4, 2008
Sunday, June 22, 2008
representing the vaginal sex
m-am trezit azi dimineata cu o senzatie foarte frumoasa.
i felt purified in some way.
ma retrag o perioada.intru in vacanta.
norway waits.
have a good summer you all
i felt purified in some way.
ma retrag o perioada.intru in vacanta.
norway waits.
have a good summer you all
Wednesday, June 11, 2008
Tuesday, June 3, 2008
Tuesday, May 27, 2008
Tzutzimutzi acrylic on canvas 110X120 cm 2004- o zi transcedentala cu iz science fiction
TZUTZIMUTZI este cuvantul pe care il folosesc adesea pentru a alinta pe cineva.din plictiseala am dat pe google search la el.credeam ca sunt f originala insa se pare ca nu.iata ce am gasitDomnul pictor de 39 de ani Nicolae Comanescu(bine stiut pentru tablourile sale citadine intoarse cu capul in jos) are pe blogul dumisale o pictura care se numeste exact asa "Tzutzimutzi acrylic on canvas 110X120 cm 2004"
ii puteti vizita blogul(neactualizat din 9 mai 2007) AICI
f tare mi se pare ca TZUTZIMUTZICA domnului pictor imi aduce aminte de prosoapele ieftine de la piata cu fete goale sau semi,cu bichinei a caror bretelute erau ridicate gratios pe cele doua creste iliace si care se ascundeau sfioase dupa un prospo cu marca pepsi
DOMNUL Alex Grey face o arta transcendentala,inefabila (asa cum declara el) si sunt pur si simplu hipnotizata cand ma uit la picturile sale.ma fascineaza faptul ca de fiecare data cand le privesc,toata logica,toate informatiile si convingerile mele se incetoseaza(sunt inca acolo,stiu ca sunt acolo dar nu mai au nici un efect asupra mea)-intr-un cuvant dispar eu ca fiinta fizica si incep sa cant la coardele energetice,la sistemul limfatic,nervos sau sangvin.imi place sincer cum ma simt si nu vreau sa plec de acolo.the most beloved psy-acid worldgata. nu am chef sa mai depan alte senzatii.
vizitati'l AICI si mai ales selectati sectiunea PERFORMANCES-WASTELAND pentru a afla mai multe despre imaginea de sus
Si ca ziua sa fie completa(fiindca a avut detoate) va virusez cu un psy din 1969 cu aroma de SF
In the year 2525 by Zager & Evans
ALEX GREY+ZAGER&EVANS=LA PLANET SAUVAGE a lui René Laloux
Monday, May 26, 2008
Monday, May 12, 2008
marfa noua
se pare ca i'm back in busines again.
odata ce mi-au fost cumparate cateva lucrarele am inceput sa lucrez iarasi ca inainte.
mai multe AICI
dar si in acest SPATIU RESTRANS
Sunday, April 27, 2008
2002 - jaap blonk & maja ratkje - improvisors
Maja Solveig Kjelstrup Ratkje, born 29 December 1973 in Trondheim, is a Norwegian vocalist and composer. She performs and releases music for concerts, recordings, films, installations, theatre, dance and other performances. Maja is a member of SPUNK, a Norwegian improv group, and Agrare, a performance trio consisting of the noise duo Fe-mail and the Swedish dancer Lotta Melin. She has collaborated with, among others, Jaap Blonk and Jazzkammer.
jaap blonk & maja ratkje - improvisorsIn mod surprinzator am descoperit-o pe Maja inainte sa ma sune ERASMUS UNARTE.RO si sa imi spuna ca voi pleca in Norvegia.La inceput am fost cam sceptica in privinta "chestiilor" pe care le face deoarece nu stiam in ce context sa o plasez pe motiv ca mintea mea este un pic "ingusta".Intr-un final am facut un efort si am dezvirginat-o(pe minte desigur) si am savurat fiecare onomatopee.
Se poate servi bine atunci cand desenati chiar de AICI
pofta buna
LATER EDIT:acum mi-am dat seama ca treaba asta nu e f noua urechilor mele.Yoko ono si John lenon pe albumul two virgins tot cam asa ceva prestau,insa intr-un context f "romantic" si bine definit.
Saturday, April 26, 2008
Tuesday, March 4, 2008
Alice in wonderland is Alice Liddell
M-am indragostit de Alice Liddell imediat cum i-am vazut pozele.De Alice mica evident.Un amestec de priviri mature,contemplative si iz de superioritate cu fragilitate,neajutorare si ghidusie.Este superba si nu ma mir cum de Lewis Carroll s-a indragostit de ea.Imi place ca am vazut-o pe adevarata Alice,cea care nu are parul blond si hainutele albastre.E mai faina cea reala pentru ca e intr-un fel ireala,prin privirea atipica varstei ei.Personajul din poveste infatiseaza o Alice Liddell intinsa, precum o caramea, de laudanum.
Cel mai mult ma bucur ca am aflat ca exista si partea a doua a Peripetiilor Alisei, care se numeste Through the looking glass.(exista pe youtube filmul intreg-in 10 parti)
Monday, March 3, 2008
Alberto Giacometti
Eternal gaze
Eternal gaze este o animatie inspirata de evenimente din viata lui Giacometti.Prima data cand am vazut o imagine cu o lucrare a sa a fost acum 8 ani.M-au impresionat f mult(ca si acum de altfel) formele oamenilor sai.Imaginea oamenilor care ii tin companie,imagine care se aseamana cu oamenii mei decrepiti,cocosati si ososi.
"Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, he often carved until they were as thin as nails and reduced to the size of a pack of cigarettes, much to his consternation. A friend of his once said that if Giacometti decided to sculpt you, "he would make your head look like the blade of a knife." After his marriage his tiny sculptures became larger, but the larger they grew, the thinner they became. Giacometti said that the final result represented the sensation he felt when he looked at a woman."
Even when he had achieved popularity and his works were in demand, he still reworked models, often destroying them or setting them aside to be returned to years later.
Even after his excommunication from the Surrealist group, while the intention of his sculpting was usually imitation, the end products were an expression of his emotional response to the subject. He attempted to create renditions of his models the way he saw them, and the way he thought they ought to be seen. He once said that he was sculpting not the human figure but "the shadow that is cast."
Back in his Parisian studio after the war, Giacometti began making the sculptures of slender proportions with highly agitated surfaces with which he is most closely identified. The women all stand, while the men seem to be walking, but they are all ambiguous representations, mysterious and unemotional. He remained in Paris in the same studio he had occupied since the 1920's until the end of his life.
The relationship between figure and space became the core element: The striding or standing figures find themselves in emptyness and isolation. In this intensive-subjective representation, an existential exposure and angst based on the immediacy of the moment is hinted at. To many they are a reflection of the spiritual situation of the time. Just like his sculptures, Giacometti's drawings and paintings depict the lost human being in the emptyness of space with great intensity and sensibility. The formal characteristics are a graphic network of lines, with which Giacometti extracted volumes from areas, and an almost monochrome color scheme used in his paintings
Eternal gaze este o animatie inspirata de evenimente din viata lui Giacometti.Prima data cand am vazut o imagine cu o lucrare a sa a fost acum 8 ani.M-au impresionat f mult(ca si acum de altfel) formele oamenilor sai.Imaginea oamenilor care ii tin companie,imagine care se aseamana cu oamenii mei decrepiti,cocosati si ososi.
"Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, he often carved until they were as thin as nails and reduced to the size of a pack of cigarettes, much to his consternation. A friend of his once said that if Giacometti decided to sculpt you, "he would make your head look like the blade of a knife." After his marriage his tiny sculptures became larger, but the larger they grew, the thinner they became. Giacometti said that the final result represented the sensation he felt when he looked at a woman."
Even when he had achieved popularity and his works were in demand, he still reworked models, often destroying them or setting them aside to be returned to years later.
Even after his excommunication from the Surrealist group, while the intention of his sculpting was usually imitation, the end products were an expression of his emotional response to the subject. He attempted to create renditions of his models the way he saw them, and the way he thought they ought to be seen. He once said that he was sculpting not the human figure but "the shadow that is cast."
Back in his Parisian studio after the war, Giacometti began making the sculptures of slender proportions with highly agitated surfaces with which he is most closely identified. The women all stand, while the men seem to be walking, but they are all ambiguous representations, mysterious and unemotional. He remained in Paris in the same studio he had occupied since the 1920's until the end of his life.
The relationship between figure and space became the core element: The striding or standing figures find themselves in emptyness and isolation. In this intensive-subjective representation, an existential exposure and angst based on the immediacy of the moment is hinted at. To many they are a reflection of the spiritual situation of the time. Just like his sculptures, Giacometti's drawings and paintings depict the lost human being in the emptyness of space with great intensity and sensibility. The formal characteristics are a graphic network of lines, with which Giacometti extracted volumes from areas, and an almost monochrome color scheme used in his paintings
Friday, February 29, 2008
04 : 54 a.m.- sesiune de calendare treminata
misiune completa.
editare dupa 5 ore:
am dormit doar 3 ore si am facut niste retusuri ulterior(mai ales la ultima) dar nu mai am cu ce sa le pozez :( asa ca see you at the shop :P
azi dimineata m-am trezit cu aratatorul de la mana stanga incordat ca si cum as fi tinut o foarfeca in mana(tai cu stanga).mi-e f paradit degetul si ma doare :(
Monday, February 25, 2008
Sunday, February 17, 2008
some silly drawings
i haven't paid any attention to them when they emerged from my mind.just some spontaneus silly drawings i said .but at the end of the process i realized that it was a bit of logique between them.
related with this is the
Hedwig and the Angry Inch - Origin of Love
Thursday, February 14, 2008
Un jour a MNAC
* not related.TITLE: FUR ALIZEA MNAC avec Alain et SES CHATS
ici se trouve la table ou queleques maneqiunes ont mange-seulment la GREEN LIME
chouchoter
je les ai trouve tres magnifique.lire des mots et des phrases jusque au point de la folie
en pleine gloire
comme deux personages des bandes dessinees
Friday, January 18, 2008
despre imprivizatie la o coca cu Roland Kirk
Roland Kirk plays flute with nose Live Montreux 1972
Am scris mai demult despre faptul ca exista doua moduri de a te exprima prin muzica publicului:performand exclusiv in show-uri live cu o orchestra sau un combo ori prin inregistrari de studio.
In ultimul timp nu mai suport albumele de tip studio,iar muzica jazz nu merita sa fie inchisa intre cei patru pereti ai sai,intr-o caseta,cd sau vinyl.Reperezinta un mod de exprimare aerat,fara bariere.
Fiind folosita f mult improvizatia, intra in scena spontaneitatea si cel mai bine poate fi valorificata pe viu,pe moment,chiar atunci cand este conceputa,proaspata,curata(precum o premiera, cand tu primesti primul informatiile intr-un context destinat exclusiv ei).Cred ca tuturor ne place sa mancam o paine calda cu coaja crocanta tocmai scoasa din cuptor.
Domnul Roland Kirk,aici de fata,nu doar ca ofera spectatorilor sa sniffuiasca coca in timpul spectacolului, dar ,si el face acest lucru live.Nasul sau generos ii permite sa mai si cante la flaut cu el.Deci,avem toate elementele pentru a putea crea geneza improvizatiei: coca,doua nari polivalente,cai nazale,creier si alte cai.Este un adevarat performer ce delecteaza toate simturile,care canta la 3 saxofoane deodata si un flaut pe nas plus interventii onomatopeice ocazional.Cum poti sa il inchizi pe Roland Kirk intr-un studio?Cum sa il transformi in date si cifre pe un cd?Cum poate fi el o insituire de
zgarieturi pe o placa de vinilin?
Roland,ca si alti maestri ai improvizatiei nu merita albume audio.Ei merita albume video,pentru ca noi,cei care ii mai ascultam postmortem, sa ii ascultam cu toate simturile.
Improvizatia este inovatie in simturi.In timpul procesului de creatie,ele se exalta reciproc,atat de mult incat 2D-ul devine 3D.Sunetele se propaga prin simturi spre creier nu direct la creier.
Muzica senzoriala nu se diseca,iar simturile detin cheia asocierilor.
Am scris mai demult despre faptul ca exista doua moduri de a te exprima prin muzica publicului:performand exclusiv in show-uri live cu o orchestra sau un combo ori prin inregistrari de studio.
In ultimul timp nu mai suport albumele de tip studio,iar muzica jazz nu merita sa fie inchisa intre cei patru pereti ai sai,intr-o caseta,cd sau vinyl.Reperezinta un mod de exprimare aerat,fara bariere.
Fiind folosita f mult improvizatia, intra in scena spontaneitatea si cel mai bine poate fi valorificata pe viu,pe moment,chiar atunci cand este conceputa,proaspata,curata(precum o premiera, cand tu primesti primul informatiile intr-un context destinat exclusiv ei).Cred ca tuturor ne place sa mancam o paine calda cu coaja crocanta tocmai scoasa din cuptor.
Domnul Roland Kirk,aici de fata,nu doar ca ofera spectatorilor sa sniffuiasca coca in timpul spectacolului, dar ,si el face acest lucru live.Nasul sau generos ii permite sa mai si cante la flaut cu el.Deci,avem toate elementele pentru a putea crea geneza improvizatiei: coca,doua nari polivalente,cai nazale,creier si alte cai.Este un adevarat performer ce delecteaza toate simturile,care canta la 3 saxofoane deodata si un flaut pe nas plus interventii onomatopeice ocazional.Cum poti sa il inchizi pe Roland Kirk intr-un studio?Cum sa il transformi in date si cifre pe un cd?Cum poate fi el o insituire de
zgarieturi pe o placa de vinilin?
Roland,ca si alti maestri ai improvizatiei nu merita albume audio.Ei merita albume video,pentru ca noi,cei care ii mai ascultam postmortem, sa ii ascultam cu toate simturile.
Improvizatia este inovatie in simturi.In timpul procesului de creatie,ele se exalta reciproc,atat de mult incat 2D-ul devine 3D.Sunetele se propaga prin simturi spre creier nu direct la creier.
Muzica senzoriala nu se diseca,iar simturile detin cheia asocierilor.
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