Last week I was in Sarajevo and visited an exhibition opening in gallery Duplex 100m2. The exhibition was great, but I caught this corner in a side room, a painting and poster showing Radenko Milak‘s work, and another wall object. It says: “The war is over! Let’s go to Venice.” Somewhat blurry images, which made my thoughts sharp.
Well, is it? And if yes, what war? As Venice Biennale is indeed celebrating world’s differences and joint life ahead (its slogan being “All the world’s future”), I can’t help thinking about all wars that are currently taking place, world’s past and the future that seems more complicated and blurry as never.
Recently in Tokyo, I saw beatifully decorated inside windows by various designers. This one caught my attention: for intricate miniature jewelery pieces, for reference to Japanese sakura, for reminding on digital world that we are operating in with a – sharp yet poetic – video…
…and where clothes are flying
The exhibition Kendell Geers 1988 – 2012 can be seen in Haus der Kunst in Munich until 12.05.2013
I spent several days in December in Oslo. You may not believe but first thing that comes to my mind is – light! And then color! And then some more light!
The color was more indoors. Somewhat lazy and unwillingly I went to City Hall, only to discover that it was a real gem. One may say it is kitsch or another that it is too much of national and soc-realistic portrayals of the history and local population; I may say that is was, in today’s abundance of images and reincarnations of power and force – just fresh, unexpected and alive. What you say?
What you have seen here are details from ceilings, walls, doors and interior.
Not so far away another fascinating indoors, Oslo Opera House, designed by Snohetta – and again light:
Although mother nature did its magic and outside are predominantly monochrome colors, human touch did its magic and, as beauty is in the eye of beholder, some of you may appreciate a whole different angle on Scandinavian outdoors:
When in Oslo, don’t miss two things: Oslo Opera House and Astrup Fearnely Museum. Here are some messages and impressions from the second one.
This museum has been built between 2006 and 2012 and designed by designed by Renzo Piano Building Workshop. The complex is itself very nordic: very light, very ethereal, very transparent and minimalistic. Or is it just a huge sail? Inside, on the other hand, is colorful and loud, as one of the world most complex and diverse private collections found its place there. The collection itself dates to 1960s and museum displays it not in chronological view but in its full visual richness and expression. I may say that I learned here about Bjarne Melgaard and have never seen before so many damien-hirsts at one place. However, another piece was perhaps more intriguing:
Tom Sachs, “London Calling”, 2004
Is it electric cupboard? Or self-reflection board? Or serves only as a visual composition?
The exhibition is curated in the way that the visitor is engaged herself in the art, from just observing, going and out or avoiding it, to picking up the posters or candies from the floor and taking them with (yes, ‘the art pieces’ they are!).
Or – others are just – honest:
More about it you may found in their own blog.
… and this beautiful folio comes from the present-day Uzbekistan, Samarkand. It is attributable to the calligrapher ‘Umar Aqta’, who made this to the ruler Timur. It represents a beautiful calligraphy from Timurid period, written in muhaqqaq style and depicting Sura al-Qisas (28: 82-84).
This belongs to the one of most probably largest copies of Qur’an ever produced: each line is almost one meter long and each page over two meters tall. The legend goes that the ruler was quite unimpressed when the calligrapher presented him with a Qur’an copy that could fit under his signet ring; the calligrapher then produced a next copy so large that it was brought to the ruler Timur on a cart.
Folio from the “Qur’an of ‘Umar Aqta'”, late 14th-early 15th Century, the Met