away, away, says hate,
closer, closer, says love
_________
types of love:
eros : sensual-erotic love, the desire of the beloved object the desire to become a lover, the passion; the procreative love
anteros: the not returned, revengeful love
philia: friendly, mutual love
agape: selfless and supportive love, also charity and love for the enemy, which focuses on the well-being of others.
__________
love objets:
self-love: self-love is generally considered to be always present; physical self-love is also known as masturbation excessive self-love or pathological self-love is called narcissism.
partner love: Sexual love can be distinguished into counter-sexual (heterosexuality) and same-sex love (homosexuality) martial love often has an institutionally significant role in society love models (polygamy) that are not based on exclusive relationships between two people play a role in non-european cultures - in rare cases also in the west („polyamoria“)
family love: In addition to partnership love, love between close relatives (fatherly love, motherly love, child loe) and friendship in human communities
charity: charity is, in the sense of religion and ethics, primarily for those in need whereas philanthropy extends it to the common love of humanity
love of objects and ideas: In recent times in particular, love of animals or love for nature one also „loves“ one’s hobbies or passions a Ideals can also be loved, for example by the term love of freedom or patriotism.
love of god: teh love of god plays a special role, in its general form the love of god for his creation and in particular for mankind, which is a prerequisite for god’s love in various (not all) religions.
pbject-less love: love as a basic attitude does not require an object for christian mystics like master eckhart. Love is understood here as unconditional opening. the philosopher and the metaphysicist jean emile charon describes this „universal“ love as „the finality of evolution“ and „self-transcendence of the universe“.
33rd Bienal de São Paulo
Affective Affinities
September 7–December 9, 2018
http://bienal.org.br/?l=16
Affective Affinities
Affective Affinities is the guiding principle behind this Bienal. The expression brings together Goethe’s concept of Elective Affinities (1809) and Mário Pedrosa’s thesis “On the Affective Nature of Form in the Work of Art” (1949).
As a key figure in the history of art and a political activist, Pedrosa played a unique role in Brazilian modern thought generally and in the early editions of the Bienal de São Paulo specifically: “I was inspired by Pedrosa’s commitment to the diversity of artistic languages, his conviction that art is an expression of freedom and experimentation, his faith in the artist, and the social and transformative role that art can play by expanding sensibility,” explains Pérez-Barreiro.
The title is explicitly not a theme for the exhibition, instead it reflects the way in which it was conceived. Just as in Goethe’s book the relationship of the protagonist couple is impacted by the arrival of guests (a process he discusses in terms the affinities between chemical elements), in a parallel manner the curators of the 33rd Bienal de São Paulo are interested in showing the artistic and cultural links and affinities and the multiple influences that are intrinsic to the artistic process.
In an attempt to align thought and feeling, creation and reflection, the 33rd Bienal de São Paulo is conceived as an exhibition that favors experience over discourse, discovery over theme and plurality over uniformity. By questioning power relations within the art world and distributing decision-making, the 33rd Bienal de São Paulo aspires to reaffirm the power of art as a unique place to focus attention in, to, and for the world.
"Dysfunctional Formulas of Love" at The Box, Los Angeles
September 14–November 4, 2017
If your first associations with Colombia are cocaine, paramilitary violence, and the rapacious plunder of natural resources by neo-colonialist corporations, then you are only half right, according to this spirited, unkempt, and organizationally flawed exhibition of Colombian artists at The Box, Los Angeles. Along with all these clichés (eagerly resold to Western audiences through film and television), Colombia is a society of familial warmth and communal resilience, a place where humor, love, and magic play important roles in the survival of its people.
Curators Víctor Albarracín Llanos (who is Colombian) and Corazón Del Sol (who grew up there) allow all of these narrative threads to entwine through the work of 32 artists, most of whom live in Colombia but some of whom now reside elsewhere. One is Los Angeles-based Gala Porras-Kim, who fled Colombia when she was a child, packing hastily in the middle of the night after her family was threatened. The small trove of items she brought with her is arranged on a low table as an untitled and undated installation: comics, letters, some dried leaves, and a cheat sheet for Mortal Kombat 3 (1995). Collectively, the objects reaffirm a tired narrative of dysfunctional Colombian life, but individually they are testament to its inverse—Porras-Kim's apparently happy and normal childhood.
Across a doorway in the gallery hangs a bead curtain (Fiebre Super Nórdica, 2016) by Nicolás Vizcaíno Sánchez, its blue, green, orange, and red pattern recalling an infrared digital display. The design is a reference to the POV of the alien in the first Predator film (1987), whose face appears also in the beadwork on a traditional Emberá necklace, hanging beside the curtain. Sánchez's slightly convoluted conceit is that since, in the movie, the terrifying Predator intimidated Americans from entering the jungle, by resurrecting the monster he might protect the Emberá Katío people, who have been displaced from their lands in the Chocó region by paramilitary activity connected to internationally funded resource extraction. (Before the 2016 ceasefire, the curators told me, the drug cartels performed a similar deterrent function.)
An impressive ink on paper drawing by Carolina Caycedo, Genealogy of Struggle / Genealogía de la Resistencia (2017), shows a broad tree inscribed with the names of environmentalists around the world who were murdered in the past year. Shockingly, these are too numerous to count, and many of them (though by no means all) are Colombian. However, the drawing's placement, sidelined in a cinder block-walled corridor, seems almost disrespectful. Which brings us to the main weakness of the show: the curation feels driven by the eternal dilemma of art school degree shows—how to fit too much into too little space—rather than by the opportunity to enhance meaning through judicious placement of works.
Llanos and Del Sol may not wholly disagree, their approach seemingly governed by the belief that more is more, and that unforeseen cross-pollination and discourse amongst artworks is not just to be welcomed, but actively engineered through the convivial intermingling of works and a light curatorial touch. This dynamic is compounded by another factor in the organization of the show: since many artists are unable to travel for the exhibition, each has been paired with a Los Angeles-based emissary, who is also encouraged to contribute their own response to the work by their counterpart. Responses are being added during the course of the show, although some local emissaries were present from the beginning and activated works on their partners' behalf. At the show's opening, L.A.-based actress Elyse Poppers (best known as Paul McCarthy's muse) could be seen pressing her face to a three-inch hole bored through the gallery's exterior wall and hissing at men who walked by on the street. The performance, a work by Colombian Liliana Vélez, is titled -pss-pss- (2012/17).
The best works in the exhibition lean only lightly, or not at all, on the potentially all-consuming tropes of contemporary Colombian struggle. In one corner of the main space Te Amo (2017) by Henry Palacio, a huge sagging phallus made from black trash bags inflated by a fan, bears the eponymous message, crudely applied in white tape. The celebrated Colombian painter Wilson Díaz is represented by two oil on unstretched linen paintings, one double-sided and free-hanging. Palmera (2017) welcomes visitors to the gallery with a picture of palm trees that is, in Wilson's rendering, just a poster on a bare brick wall with a table fan and a curtain placed in front. As with many other works in "Dysfunctional Formulas of Love," the painting is as much a conjuration of a fantasy (though whose fantasy is unclear) as it is a document of present conditions. It is simultaneously realist and romantic. A statement of love is a declaration of faith in what might be, as well as what is.
Jonathan Griffin is a writer living in Los Angeles. A contributing editor for frieze, he also writes regularly for Art Review and Art in America. His book On Fire was published last year by Paper Monument.
LINKS TO ONLINE TEXTS AND MATERIALS
Michael Hardt. About Love. 2007 (in 6 parts)
https://www.youtube.com/watch?v=ioopkoppabI
https://www.youtube.com/watch?v=2P0OU6GlelE&t=9s
https://www.youtube.com/watch?v=JTTz8AZzLkM
https://www.youtube.com/watch?v=ndnkjnMxxLc
https://www.youtube.com/watch?v=3cjlxOGHZHw
https://www.youtube.com/watch?v=f6ZvsQ_hAt0
Michael Hardt on The Politics of Love and Evil
https://www.youtube.com/watch?v=hwOMLLOLLuQ
Michael Hardt: Assembly (audio)
http://novaramedia.com/2017/10/14/michael-hardt-assembly/
Michael Hardt: Assembly (video)
https://www.youtube.com/watch?v=gjjLWPowDCU&feature=youtu.be
Sarah Ahmed
Keynote 2:“Brick Walls: Racism & Other Hard Histories,” Unsettling Conversations, Unmaking Racisms & Colonialisms
Extra Bodies – The Use of the ‹Other Body› in Contemporary Art
18. November 2017–4. Februar 2018
Eröffnung: Freitag, 17. November 2017
Ai Weiwei, Vanessa Beecroft, Guy Ben-Ner, Oscar Bony, Christoph Büchel, Clegg & Guttmann, Gino de Dominicis, Maria Eichhorn, Jens Haaning, Yves Klein, Yoshua Okón, Yuri Pattison, L.A. Raeven, Edwin Sánchez, Christoph Schlingensief, Santiago Sierra, Jonas Staal, Teresa Margolles, Stephen Willats, Carey Young, Artur Żmijewski
Die Ausstellung untersucht ein künstlerisches Phänomen, das sich in den 1990er Jahren verstärkt abzeichnet und zu Beginn des neuen Jahrtausends einen Boom erlebt: Es ist die künstlerische Praxis, auf ‹andere Körper› zurückzugreifen. Diese ‹anderen Körper› werden von den Künstlern aufgrund ihrer spezifischen sozialen oder biosozialen Rolle ausgewählt – und könnten somit auch als Statisten (engl.: «extras») bezeichnet werden. Alle Arbeiten zeichnen sich durch ihren «Aufführungs»-Charakter aus. Auffällig ist dabei, dass der Betrachter weder eingebunden noch zur Teilnahme eingeladen wird. Anders als in vielen künstlerischen Produktionen, die unter dem Begriff der Relationalen Ästhetik diskutiert werden, wird Partizipation hier nicht eingefordert. Die umfangreiche Gruppenausstellung bespielt unter Einbezug zahlreicher Werke aus der Sammlung beide Stockwerke des Museums und diskutiert die unterschiedlichen Präsentationsmodi und Funktionen von Statisten in ihren sozialen und biosozialen Rollen.
Die Ausstellung wird kuratiert von Raphael Gygax. Im Rahmen der Ausstellung erscheint im Januar bei JRP | Ringier die deutschsprachige Publikation Extra Bodies – Über den Einsatz des ‹anderen Körpers› in der zeitgenössischen Kunst.
http://erotikfactory.ch/
McKenzie Wark
Molecular Red: Theory for the Anthropocene (On Alexander Bogdanov and Kim Stanley Robinson)
McKenzie Wark
Molecular Red: Theory for the Anthropocene (On Alexander Bogdanov and Kim Stanley Robinson)
http://www.e-flux.com/journal/63/60889/molecular-red-theory-for-the-anthropocene-on-alexander-bogdanov-and-kim-stanley-robinson/
Image on the left:
A fan representation depicts Kim Stanley Robinson's terraformed planet from the Red, Green, and Blue Mars trilogy.
New York book launch: What's Love (or Care, Intimacy, Warmth, Affection) Got to Do with It?