Olafur Eliasson: OPEN
MOCA, LA
Sept 15, 2024 – July 6, 2025

You’ve got a life.

That sound that comes out of you for the first time.

That is

beyond light and shade

I see light. And yellow, blue.

now. what do we do.

for the future.

’As a result of confusing the real world of nature with mere science we are destroying nature. We are so tied up in our minds that we lost our senses…time to wake up.

what is reality.

obviously no one can say! because it isn’t words.

It isn’t material, that’s just an idea……

Reality is…..the point cannot explained in words

we must survive

an go on

we must go on‘

like water.

like wave.

is to trust it. drift like a cloud. flow like the water.

seeing that all life is a magnificent illusion.

and there is absolutely nothing to be afraid of.

- Alan Watts

quxnb photo documentary from Antarctica Emperor Penguin colony

only one world

inspiration has been sent

Two weeks, at Balse.

melancholy sunset feel that I love, forgive me.
what a feeling…
here, now. qui, addesso. You don’t have to be strong.

You don’t have to be so strong.

That is 8888
Yellow - seems to be the theme here.

Just feel this smooth, NYC, NALI.

because when we are bruised, we should dance, to recovery.

in the neverplace in this super modernity, where there is no single identity, relation, only solitude and similarity, we create our own meaning.

I waited with introspection

and now tell me everything

DJ sets:

Elsewhere Records: Nofar*Nagar - Live Set (130822)

Have I become so heartless? Yes, I go upside down at times.

but i think not. What they gave me is so strong.

so beautiful. and no one can take it away.

we have been given

that we have in us is true, it exists.

so, please, do tell.

do listen.

till next time.

Charles A. Balse

Loie Hollowell Overview Effect
Nov 9, 2024 – Jan 18, 2025
PACE, Los Angeles

Words of Wisdom

Chiharu Shiota The Soul Trembles
**From 11 December 2024 To 19 March 2025**
Grand Palais, Paris - Emma de Felice

Emile Bernard, who watched Cézanne at work on a watercolor of Mont Sainte-Victoire in 1904, described the way in which color patches were used, essentially, throughout the late work: "His method was remarkable, absolutely different from the usual way and extremely complicated.

He began on the shadow with a single patch, which he then overlapped with a second, and a third, until these patches, hinging one to another like screens (faisant ecrans), not only colored the object but molded its form. I realized then that it was a law of harmony that directed his work, and that the course these modulations took was fixed beforehand in his mind He deduced general laws, then drew from them principles which he applied by a kind of convention, so that he interpreted rather than copied what he saw. His vision was much more in his brain than in his eye."

Lawrence Gowing - Cezanne” The Logic of Organized Sensations

Page 189, Conversations with Cezanne

Vollard's account of the sittings in 1899 provide incidentally the best evidence we have that Cézanne thought of relationships of color as actual conjunctions of form. Vollard ventured to mention two patches of bare canvas in the hands of his portrait-and received an answer that astonished and intimidated him. "If my study in the Louvre presently goes well, perhaps tomorrow I shall find the right color to fill the white spaces. Just understand, if I put something there at random, I should have to go over the whole picture again starting from that spot."15 It is understandable that the gaps were not mentioned again, and the canvas remains bare at these points to this day. The studies that Cézanne made in the museum were pencil drawings, particularly from Baroque sculpture, which emphasized its rhythmic sequences-studies, in fact, of a style that would seem to have no point of contact with the rectilinear severity of Vollard's portrait. But for Cézanne the relationships of color—and color existed only in relation-ships; the story makes clear that he was unable to apply it in any other connection-were evidently akin to the physical articulation of forms that he drew in line in the museum. The linear sequences of the Baroque exercised the very faculty that was employed in his procedure of placing color patches side by side.

Lawrence Gowing - Cezanne” The Logic of Organized Sensations

Page 192, Conversations with Cezanne

To follow Cézanne's thought we have to feel the force of his terminology. Here too he seems to have been well aware of the situation. Over and over again the crux of his art theory was a definition of the terms that he was using or a meditation on the validity of definitions. Theory was indispensable to him, though from another standpoint it was obviously superfluous - totally useless. He told Bernard, who was the recipient not only of the largest part of his theoretical teaching but of his warnings against art talk, that he did not want to be right in theory but in nature. In a jocular mood at a café, he announced to Aurenche that it was not his business to have ideas and to develop them. But it was his business, and he remained haunted by the two parallel necessities. For painting one had to have both a way of seeing and a system of thought-both une optique and une logique. Devoting oneself entirely to a study of nature, one tried

"to produce pictures that are an instruction." Fifteen years earlier, he had already explained his isolation: "I must tell you... that I had resolved to work in silence until the day when I should feel myself able to defend in theory the results of my attempts." His regret in the last months of his life was that he could not "make plenty of specimens of my ideas and sensations." The two aspects of painting were inseparably coupled. They occupied him equally. "There are two things in the painter," he announced in the fifth of the "opinions" that Bernard recorded, "the eye and the mind; each of them should aid the other. It is necessary to work at their mutual development, in the eye by looking at nature, in the mind by the logic of organized sensations, which provides the means of expression."

Lawrence Gowing - Cezanne” The Logic of Organized Sensations

Page 194, Conversations with Cezanne