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Showing posts with label to read. Show all posts
Showing posts with label to read. Show all posts

Thursday, 30 November 2006

cemitério de pianos


Excerto de Cemitério de Pianos

Não há nenhuma diferença entre aquilo que aconteceu mesmo e aquilo que fui distorcendo com a imaginação, repetidamente, repetidamente, ao longo dos anos. Não há nenhuma diferença entre as imagens baças que lembro e as palavras cruas, cruéis, que acredito que lembro, mas que são apenas reflexos construídos pela culpa. O tempo, conforme um muro, uma torre, qualquer construção, faz com que deixe de haver diferenças entre a verdade e a mentira. O tempo mistura a verdade com a mentira. Aquilo que aconteceu mistura-se com aquilo que eu quero que tenha acontecido e com aquilo que me contaram que aconteceu. A minha memória não é minha. A minha memória sou eu distorcido pelo tempo e misturado comigo próprio: com o meu medo, com a minha culpa, com o meu arrependimento. Quando me lembro de ter quatro anos e de estar a brincar no quintal, não sei onde terminam as imagens que os meus olhos de quatro anos viram e que permanecem até hoje comigo, ou onde terminam as imagens que inventei sempre que tentei lembrar-me dessa tarde. Era uma tarde que passava entre os ramos dos pessegueiros. A luz, disposta sobre a terra, era como figuras de renda, como uma colcha de renda com as formas dos ramos dos pessegueiros e das folhas que tremiam. Depois da copa emaranhada das árvores, devia haver o céu e pássaros porque aquela era uma tarde calma de maio. A minha mãe estava na cozinha. Às vezes, via o seu rosto a olhar-me através do vidro da janela. As minhas irmãs talvez estivessem nos seus quartos ou em algum lugar que eu não conhecia. Eu tinha quatro anos e havia muitas coisas que não conhecia. Estava sentado.



Quilómetro catorze na terra do quintal.

Empilhava tábuas que eram restos de madeira que o meu pai trazia da oficina e fazia casinhas. A cadela passava devagar, com os olhos castanhos perdidos no chão. Debaixo de uma laranjeira, meio enterrado, estava um pedaço comprido de arame enferrujado. Acredito que consigo lembrar-me do momento em que o meu corpo de quatro anos se levantou para, com as duas mãos, puxar o arame da terra. Vejo esse instante com a mesma falta de nitidez com que, agora, olho para o lado e distingo copas de árvores, misturas de folhas, a sucederem-se à minha passagem. Como uma imagem de cores líquidas a dissolverem-se umas sobre as outras...

...

Thursday, 9 November 2006

pedras que se amam


euhei-deamarumapedra | António Lobo Antunes.


A C&L sabe...

Retratos da paixão de um homem e uma mulher que vivem um amor clandestino..

Monday, 6 November 2006

teaser



A técnica teaser em publicidade, é em termos gerais uma técnica que funciona assim...

Friday, 6 October 2006

kafka à beira mar @


kafkaàbeira-mar | haruki murakami

A C&L sabe...

2 personagens estranhas, cujas vidas, é um permanente corre-corre, acabarão por revelar-se repletas de enigmas e carregadas de mistério. Kafka Tamura, uma das personagens, foge de casa aos 15 anos, perseguido pela sombra da negra profecia que um dia lhe foi lançada pelo pai. A outra, Nakata, um homem já idoso que nunca recupera de um estranho acidente de que foi vítima quando jovem, tem dedicado boa parte da sua vida a uma causa - procurar gatos desaparecidos.
“Kafka à beira-mar” é uma clássica história de demanda e, ao mesmo tempo, de uma arrojada exploração de tabus.
O autor da obra, Haruki Murakami, nasceu no Japão, em Quioto, mas cresceu em Kobe, uma cidade portuária onde era fácil conviver com estrangeiros e ter acesso à grande literatura mundial. As suas obras reflectem de certa forma um sentimento de desilusão face à vida urbana moderna e à progressiva deterioração das relações humanas.

Thursday, 28 September 2006

wladimir majakowski


majakowski | Grabstein_Moskau

quotation
"Amar não é aceitar tudo.
Aliás, onde tudo é aceite, desconfio que há falta de amor."


A C&L sabe...

"Iluminar para sempre.
Iluminar tudo.
Iluminar por toda a eternidade.
Iluminar e só.
Esse é o meu lema...
E o do sol..."

wladimir majakowski soviet poet

A nossa hora não é uma hora de arte. Onde está a Música? Para onde foi a Poesia? Por onde anda a Estética? - Refugiram para os abrigos raros, como as aves que vão a esconderijos sabidos, mal a natureza rosna as primeiras vozes de suas tempestades.

Wednesday, 20 September 2006

good books @


evelyn waugh | decline and fall

A C&L sabe...


to read
Scoop
Black Mischief
Vile Bodies
Decline and Fall

Sunday, 17 September 2006

to write an essay


moleskine | modo&modo

A C&L sabe...

People can’t stop talking about it
it has inspired them to be more creative,
forced them to examine their lives more deeply,
and pushed them to see what’s really important to them.
What is it?
A legendary little black book, but not the kind you’re thinking of.
It’s the Moleskine (pronounced “mole-a-skeen-a”) notebook,
whose legend may be more fiction than fact,
spun brilliantly by the Italian company that now manufactures it,
Modo & Modo.



moleskine | revenge

Wednesday, 13 September 2006

couples art


giorgio armani | fashion icon

A C&L sabe...

In this month’s issue of Wallpaper*, our favourite fashion icons choose an architect that inspires them or their work.

Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Giorgio Armani: Architecture certainly does inspire fashion and vice versa. Fashion needs to be presented within an environment that emphasizes its qualities and reinforces the inspiration behind it.

W*: What sort of architecture do you think reflects your aesthetic?
GA: Architecture that is in tune with humanity, that isn’t merely created to shock but is able to embrace the lives of human beings.

W*: How can architecture help sell fashion?
GA: When the design of a shop reflects the principle that its primary function is to provide a backdrop to the garment itself, contributing to its enhancement, then it has achieved its objective.

W*: What were your reasons for your initial collaboration with Tadao Ando?
GA: People talk about my style as being precise and austere, focused on the intrinsic simplicity of form, but also possessing strong impact and a forceful personality. I consider these values in harmony with the creative vision of Tadao Ando.

W*: Are you working on a project together for the future?
GA: Yes, we are refurbishing the interior of Via Bergognone 46, the new space I acquired last year across from the Teatro in Milan. It will be a creative continuation of the previous work completed in Via Bergognone 59, in which I also collaborated with Tadao Ando.

W*: Do you have a favorite building, any building and why?
GA: I am very impressed by the architecture of Pei. In his work there is a pursuit of the sensational, for instance through a wall that terminates in a very sharply angled edge, rather than a projection of a kind of gratuitous futurism that can often seem a little unjustified.

W*: What is your favorite city and why?
GA: I believe that every city has its own soul that should be respected and preserved.

W*: Which location or city do you think could most do with a makeover?
GA: In Italy, for example, the proliferation of buildings, particularly around the provincial towns, should be entirely eliminated rather than made over. More generally, a sense of genuine continuity needs to be re-established, in line with the indigenous traditions of whatever part of the world they relate to.


tadao ando | arquitect icon

W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Tadao Ando: I don't think it’s difficult to collaborate with such an innovative person as Giorgio Armani. He is a smart man with a firm intent and strong will. He is always demanding but his direction is very clear and strong in vision, and mine is equally so. We discussed the concept of design thoroughly together without any compromise. Such a deep encounter and intense relationship has achieved a successful result.

W*: How do you begin to help turn the display of fashion into a memorable event?
TA: I think creativity is common to both architecture and fashion. Fashion has always provided me with lots of ideas and energy for creation, and, in turn, I would like my architecture to provide something new for creation in fashion.

W*: In your opinion, have many fashion "innovators" or designers helped advance public perception of architecture?
TA: I think the collaborations between the architect and the fashion "innovators" help to develop the new audiences who become to be interested in architecture.

Monday, 11 September 2006

11.09




untitled| (from White Nights, Sugar Dreams)

color coupler print - Exhibited in The 46th Biennial Exhibition:Media/Metaphor
Courtesy of the Artist and Jack Shainman Gallery
© Shimon Attie


Quando elas despertam

Procura guardá-las, Poeta,
por poucas que sejam de guardar,
do teu amar as visões.
Coloca-as no meio ocultas nas tuas frases.
Procura detê-las, Poeta,
quando em tua cabeça elas despertam,
de noite ou na luz crua do meio-dia.


KONSTANDINOS KAVAFIS
Tradução de Jorge de Sena

Wednesday, 23 August 2006

next 10 DVDs days 2 see & learn


marcel duchamp | painting

* There is no solution, because there is no problem.
(Il n'y a pas de solution parce qu'il n'y a pas de problème)


A C&L sabe...

1 - TAKE AN OBJECT - Jasper Jonhs has been regarded as one of the most important artists of the late 20th century. Along with Robert Rauschenberg, Jasper Johns startled the art world by introducing ordinary objects into his work, sometimes painting them realistically, at other times attaching the objects themselves to the work. Explaining his methodology, Jasper Johns once said, “Take an Object, do something to it, do something else to it.” At another time he asserted, “What it is – subject matter – is simply determined by what you’re willing to say it is. What it means is simply a question of what you’re willing to let it do.” Jasper’s creations and the reasoning behind them ultimately paved the way for the pop art and minimal art movements that followed. 2 - PLEASURES OF URBAN DECAY (25 min.) - A film by Sam Ball - A beautiful, offbeat film about Ben Katchor, who has been hailed as the creator of the last great American comic strip. His voice guides us through a vast landscape of old New York skyscrapers, neglected warehouses, lay-away stores and all-night cafeterias. Shot like a 1950's film noir, with angular buildings, bridges, billboard advertisements, Pleasures of Urban Decay peers behind the city's facades, helping us uncover the symbolism and romance of New York. Shown at 2000 Sundance Film Festival and the Rotterdam Festival. 3 - BEYOND WORDS: THE MARRIAGE OF ART AND LITERATURE - 27 minutes - Remarkable fine art books are the product of the collaboration of the writer, visual artist, and printer. Interviews with writers (David Mamet, Lee Breuer), artists, printers, and curators offer insight into the creative process of this unique art form. Actors Kevin Spacey, Kathleen Widdoes, and Milo O'Shea read from the works by Kafka, Joyce, and Ibsen. 4 - CHARLOTTE SALOMON: Life or Theatre? - 60 minutes - Charlotte Salomon, a young Jewish painter from Berlin, took refuge in Nice during the war. This is the story of her childhood, her loves, her dreams of painting, the advent of Nazism, her exile in France, her marriage and deportation to Auschwitz. 5 - ALFRED STIEGLITZ: PHOTOGRAPHER - 1982. 26 minutes. English language only. Striking portraits of Stieglitz, his own images, and the works of other photographers he encouraged and influenced, are used to celebrate this seminal figure in the history of photography and modern art in America. 6 - STATIONS OF THE ELEVATED - 1980. 45 minutes
A poetic study of subway trains and the graffiti that covers them. By Manfred Kirchheimer. Music by Charles Mingus. 7 - WATER GARDEN - 1985. 28 minutes - A portrait of Fort Worth's Water Garden, designed by Philip Johnson, a successful public park and an artistic triumph. By Mitchell Johnson. 8 - BART COOK, CHOREOGRAPHER - 30 minutes. English language only. Bart Cook, celebrated dancer from the New York City Ballet, choreographing a new piece with students from the School Of The American Ballet. By Kit Fitzgerald. 9 - EIGHT BY EIGHT or "A Chess Sonata in 8 Movement" - 1957. 70 minutes. English language only. By Hans Richter in collaboration with Jean Cocteau. Photographed by Arnold Eagle. Lyrics by John Latouche. Sung by Oscar Brand. With Jean Arp, Jacqueline Matisse, Yves Tanguey, Julien Levy, Richard Huelsenbeck, Alexander Calder, Ceal Bryson, Willem de Vogel, W. Sandberg, Dorothea and Max Ernst, Jean Cocteau, Eugene Pellegrini, Paul Bowles, Achmed el Yaccoubi, Jose L. Sert, Frederick Kiesler, Paul Weiner. A comprehensive portrait of the Dada movement: a surreal world on a giant chessboard. Master Piece - INTERVIEW SERIES (26 x 60 min.) 26 wonderful interviews by Wim Kayzer. Famous international scientists, writers, philosophers, musicians and artists express their most personal views on the subject of beauty and consolation. Including: Historian SIMON SCHAMA Writer GERMAINE GREER Writer WOLE SOYINKA, Philosopher MARTHA NUSSBAUM, Writer and Philosopher GOERGE STEIN, Philosopher RICHARD M. RORTY, Philosopher ROGER SCRUTON, Writer JOHN M. COETZEE, Writer GYORGY KONRAD, Writer TATJANA TOLSTAYA, Writer DUBRAVKA UGRESIC, Poet and Psychiatrist RUTGER KOPLAND, Psychologist ELIZABETH LOFTUS, Painter KAREL APPEL, Art Historian RUDI FUCHS, and more…

Wednesday, 16 August 2006