curation that is life

choice that is in your hands

or is it so?

all an illusion?

時が震える

月が消えてく

time wavers, and moon disappear

Two weeks, at Balse.

Getting closer to people, you have to, in a way immerse yourself, trust, vulnerability, authenticity - Boogie , in black & white, direct emotional connection.

Create your own

When forgotten Paris techno texture, reminds you, forever, profoundly moving.

A.L.I.S.O.N, VIQ & Krosia - Trifecta

brush marks, vibrancy, interaction. figures, multiple figures. no rules, repurposed. composed, staged, extraction, familiarity. placed. not portrtaits of poeple, human body, essence. anatomy.

\

endurance, resilience

/

as birds chirp,

sense of time. purpose, unanticipated.

no body was there to harvest them.

puzzle

sculpture

fragility

ハッピネス

happiness

DJ sets:

none

continuing to think non-places, because reality is not enough. The reverse. The territory of imagination. More than ever.

listen Jancen

]][[You Make Me]][[

till next time.

Charles A. Balse

January 11 – February 23, 2025
David Kordansky, Los Angeles
Sam McKinniss
Lesley Vance

Words of Wisdom

Where, until relatively recently, these aspects of art history were viewed as stable factors, it is now increasingly likely to be stressed that this is not correct at all. An artist's thinking evolves, and it is safe to assume that even Rembrandt and Poussin had days when they achieved very little. People are fallible, after all. Furthermore, a work of art is a record of its history: paint discolours, restoration alters the physical condition. It was discovered only recently, for example, that the Ghent Altarpiece, one of the most innovative paintings in Western art, had as much as 50-70% of its surface overpainted in the sixteenth century. For hundreds of years, countless thousands of people had been admiring the handiwork of a sixteenth-century master with a little Van Eyck thrown in for good measure. The perception of an image is not a stable factor either: everyone brings their personal baggage with them and looks at things with their own specific pattern of expectations. The period eye', as the renowned art historian Michael Baxandall called it, simply cannot be reconstructed in its entirety. In response, a third viewpoint was added to the traditional pairing of iconography and iconology, namely that of semiotics. Through cross-fertilisation with linguistics and the social sciences, which had analysed communication models for much longer, the understanding has grown that meaning is not only provided by the sender (the artist) of a message (the artwork), but that the recipient (the viewer of the artwork) adds meaning too. The brain invariably makes associations and these are similar for everyone but also distinctly individual. When two Europeans see an image of Christ, a non-believer will respond to it emotionally and cognitively in a very different way to a devout Catholic. A strict Protestant with an aversion to idolatry' will view it in another way again.

The challenge when seeking a good understanding of style and iconography (or of form and content) is to grasp the interaction between the two and its constant instability. Why do we see what we see and why do we interpret it the way we do? The way people respond to an image is highly sensitive to shifts and sudden ruptures in context. A photograph of the twin towers of the World Trade Center had an entirely different significance for New Yorkers (and not only them) the day before 11 September 2001 (9/11) than it did the day after. Art historians have not always taken account of this phenomenon.

A New history of western art Page 362

Yosuke Amemiya｜WATARI-UM, The Watari Museum of Art, which has not melted yet.
WATARI-UM, The Watari Museum of Contemporary Art
December 21 (Sat.), 2024 - March 30 (Sun.), 2025
Report by Liee

At the heart of the anorexia of artistic avoidance is the denial of process. We like to focus on having learned a skill or on having made an artwork. This attention to final form ignores the fact that creativity lies not in the done but in doing. "I am writing a screenplay" is infinitely more interesting to the soul than "I have written a screenplay," which pleases the ego. "I am in an acting class" is infinitely more interesting than "I took an acting class a few years ago. In a sense, no creative act is ever finished. You can't learn to act because there is always more to learn. Arguably, you cannot even direct a film because you will always be redirecting it, even years later. You will know then what you might have done and what you will do next if you keep working.

This doesn't mean that the work accomplished is worthless. Far from it. It simply means that doing the work points the way to new and better work to be done. Focused on process, our creative life retains a sense of ac-venture. Focused on product, the same creative life can feel foolish or barren. We inherit the obsession with product and the idea that art produces finished product from our consumer-oriented society. This focus creates a great deal of creative block. We, as working artists, may want to explore a new artistic area, but we don't see where it will get us. We wonder if it will be good for our career. Fixated on the need to have something to show for our labors, we often deny our curiosities. Every time we do this, we are blocked.

The Artist’s Way by Julia Cameron page 139