There, on the soft sand, a few feet away from our elders, we would sprawl all morning, in a petrified paroxysm of desire, and take advantage of every blessed quirk in space and time to touch each other: her hand, half-hidden in the sand, would creep toward me, its slender brown fingers sleepwalking nearer and nearer. Humbert Humbert (Nabokov) evokes his sexual awakening and nostalgia for such purity, elusive as the grains of sand that shelters […]
He constructed his own model of vision with cameras that manufactured himself. Taking refuge in a cabin stocked with a few books of optics, philosophy and art, a particular world was built not by the naivete of believing to fulfill his dreams but by the freedom to keep dreaming. After studying fine arts in Prague during the early years of the Communist regime, Miroslav Tichý opted for an outsider life in his hometown, Kyjov life. […]
The French verb méduser retains the etymology derived from the Greek myth about the monster whose gaze petrifies, Medusa. Perseus resisted the temptation to face her and brought the shield so that the Gorgon, being reflected in it, would succumbe to fear of contemplating herself. The Gorgonea gaze, médusant look, is fascinating and lethal. Even at the risk of dying, who is magnetized, fascinated, will not want to look away. Fascination is the perception of […]
We are beings of desire, Lacan said, and as such, incomplete. Our wish is to be object of desire, be recognized and completed by the Other, he placed another in the unconscious. Sartre also understood the desire as a lack only in the imaginary plane can be solved. Apropos of Flaubert concluded that in literary creation is where you can live a life of pure desire, dwelling among existences whose lack of organs make impossible […]
To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word «nude,» on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed. (Kenneth Clark, Naked, nude and ideal form) From our […]
Miss Van’s dolls don’t require external mechanisms to move, don’t demand the male gaze to be defined, eroticism is born and dies in themselves. Masquerade lovers, they dabble with endless fugitives identities: nymphs or witches, showgirls or shepherdesses, sadistic countesses or lubricous girls… They started on the street, provoking passer-by with their slanted eyes, but soon percolated into galleries and museums. The CAC Malaga didn’t want to be outdone, inviting them to occupy its rooms. […]
Loving nature is outdated, thought the aristocrat Des Esseintes, who after wasting half of his fortune in worldly pleasures invested the rest in his artificial paradise away from the Parisian triviality. Mechanical fishes, monstrous hothouse flowers, a turtle with precious stones in the golden shell, a design to match the carpet. With this character, Joris-Karl Huysmans marked the zenith and the decline of decadence. The title of the novel, À rebours, summarizes his intention to […]
Since in the eighties contributed to forge what is known as Fura language, Marcel·lí Antunez Roca has continued bluring the boundaries between spectator and performer, between scenic language and visual arts, street and classical theatre, folk art and advanced technology. In their projects coexist the use of sophisticated interactives with experiences that keep intact the umbilical cord with his origins: the family butchery, the abattoir, village festivals…, as inheritance of a worldview linked to rural […]
