fears of multiplication

Some day you will seat in your flat and you will call your love cat. He will come, but as much green as milion others which will come with him... That was happend already with Sandy Skoglund's cat, so prepare youreself and be ready for that day. See more multiplicate, atomic animals on: http://www.sandyskoglund.com/

BBC NEWS: no comment:)

Max Ernst: The Virgin Spanking the Christ Child before Three Witnesses, 1926

"Ernst" in German means "serious"...

period of love

Raoul Hausmann (July 12, 1886 – February 1, 1971) was an Austrian sculptor and writer. He was one of the key figures of Dada in Berlin (moved there from Vienna). He was recognizable because of his conceptual creativity and radicalism.
But perhaps seeing him only through his political-engagement doesn’t let to understand his personality. Series of not well known photos of Vera Broido, which I have found in Berlinische Gallerie (Museum of Contemporary Art), suggests that he have also contemplative, romantic and melancholic part of his nature.

Vera Broido was born in St Petersburg in 1907, the daughter of two Russian Jewish revolutionaries. In 1914 when Vera was only seven, her mother was exiled to Western Siberia for her anti-war attitudes; so Vera boarded the Transiberian Express and set off with her mother for a place so far away that even the newspapers didn't reach her. Thanks to father she could emigrate to Germany. During her stay in Berlin she meets Hausmann becoming his model and partner between 1928 and 1934.

Their intensive relationship results in series of photos with very intimate atmosphere.

Photos focused on Vera, showing several parts of her body in very contemplative manner.

On the field of his visions of Vera, Hausmann effectuates also kind of self-observation. He was fascinating as much in Vera’s body and her being, as in his own process of seeing her and the question how this seeing determines their relation.


He has known that things are passing away very un-expectedly and that inspired him to focus on mysticism of the single moment as the only opportunity in which he was in able to feel closeness to Vera.

He explores his own voyeurism as only manner to define his feelings.

This voyeurism which could changes into obsession realize in general very sad truth about the nature of every contact between two people. In fact the moment of someone’s appearing

is pendant to her absence.

catched in action

Emilio Vedova at work in his studio in Venice:

Emilio Vedova (August 9, 1919 − November 25, 2006) was an Italian modern painter, considered one of the most important to emerge in his country's artistic scene after World War II. Vedova was born in Venice into a working-class family. Between 1930 and 1935 the artist worked in a factory, for a photographer and restorer, as an artist he was mainly an autodidact. After an initial formative experience within Expressionism, he joined the group "Corrente" (1942-43), which included other artists such as Renato Guttuso and Renato Birolli. He participated in the Resistenza and played a key role in the post-war Italian art movement, which was opening up and contributing originally to the European avant-garde. His work exerted a significant influence on the Arte Povera group.

His formal experiment with un-consious and sensitive spreading colour on the irregular-shaped-like canvases must be recognise as a kind of action painting and meta-language's, self-reflexive statement about painting at all. It brings to consideration some resemblance with such artists like Jackson Pollock, Jasper Jones (Shaped Canvases) and the whole group of Geometric abstract artists, minimalists, and hard-edge painters, which elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. But to define influence between abstract artist seem to be much more complicated than in figurative painting.

Jackson Pollock at work in his studio, NY 1920:

space of imagination / imagination of space

This very esthetic nude, which was accidentally found in internet and which comes from one Art Gallery in Xian only supperficially focuses on women's body. Figure of filigree women at the front recalls very suggestively the figure of Courbet's Real Allegory (1855) and turns ours reception in other direction.

Relation between two figures seen to be paralel. Their juxtaposition to the background exposes the same problem. Field of the "paint in paint" from Courbet's representation seem to be as much flat in comparison with representation of the model, as traditional chinese fresco in confrontation with 3-dimensional figure in the forderground of the paint from Xian's Gallery.

See also other inspiration:

John De Andrea Allegory: after Courbet, 1988.

about continuity in art beyond time and space.

Several portraits were painted of Gabrielle D'Estrées and her sister, the Duchess of Villars. This one where the sister is pinching Gabrielle's nipple is one of the most famous. As a kid I was intrigued by it, because at least to modern eyes it isn't immediately apparent that they're sitting in a bathtub. Instead they look as though they're standing naked at the window, or like horses emerging from behind the door of a stable. This paint done in 1595 inspires imaginary of Wang Qingsong, who adapted this concept for own photography made in 2003. But is the new version as much provocative as the old one?

good art in bad use?

something about old political caricature...