NOIK: i moje? a muzu menit i jmeno klubu? :D:D:D

no já počítal s tvojí nevypočitatelností .)

ale hovno-je to doména i tvoje, pašáka a _era...a odteďka i atomica a teapoda

to je noikova doména :)

A zničit a spálit?

jo mimochodem co vyměnit obrázek v záhlaví?

KHALAVERA: mmm ... jak nečekané

KHALAVERA: blesk je fakt dobrej

chantal joffe jedeeee

KHALAVERA: to je fantastický!

KHALAVERA: ja ten "blesk" miluju

KHALAVERA: hej tak tohle me ted rozsekalo, dik !

Stefanie Bühler










http://www.birgitostermeier.com/artist.php?g_i=4&Stefanie%20B%C3%BChler

Roman Lipski




















http://www.birgitostermeier.com/artist.php?g_i=10&Roman%20Lipski

uryvek z:

Paul McCarthy's 40 years of hard work

...

In McCarthy’s kitchen we discuss the physical invasiveness and looming danger of the enormous installation The Underwater World. McCarthy who has periodically made a living as a construction worker and knows about the forces involved, says that many museum visitors today don’t realise that they need to be cautious when they approach an enormous mechanical work such as this. I mention Chris Burden’s monumental sculpture with a balancing steam roller, and some of the works by Bruce Nauman and Richard Serra, and ask if he believes these overwhelming sculptures which evoke physical sensations are typically American. McCarthy refutes this and insists that he is not a macho artist. But he relates a short anecdote about an encounter with a sculpture by Richard Serra, and the gist of the story, I believe, has some relevance to his own work:

In an almost empty museum McCarthy enters a square gallery with doors at both ends. From each corner of the room a mighty iron sheet juts out diagonally to the middle of the gallery. They don’t quite meet but leave a relatively narrow passageway. In the gallery he meets one other visitor, who sniffs and shakes his head disdainfully, looks at McCarthy and asks, “Is this supposed to be art?” McCarthy replies, “What I find interesting is that it appears to me that the only thing holding these enormous iron sheets upright is the corners of the room.” The man stops dead, regards the iron sheets that probably weigh several tons, sees how they are wedged into the corners of the gallery – turns on his heel and runs out. “I think he got it!” McCarthy chuckles.

Perhaps this physical reaction, the realisation that the work before us is potentially dangerous – is a veritable sign of actually having understood the work – and perhaps this also applies to the feelings of disgust, terror and laughter – that most of us experience immediately when confronted with many of McCarthy’s works. While being redolent with art historic influences and current political references, more than anything they hit you right in the guts.

http://www.modernamuseet.se/v4/templates/template3.asp?lang=Eng&id=3115&bhcp=1

Susanne Starke












http://www.birgitostermeier.com/artist.php?g_i=8&Susanne%20Starke

André Tempel












http://www.birgitostermeier.com/artist.php?g_i=9&Andr%C3%A9%20Tempel

Yudi Noor






http://www.birgitostermeier.com/artist.php?g_i=19&Yudi%20Noor

KHALAVERA: to jo, ale ber to jako pionýrský pokus na který se dá navázat (ostatně tenhle problém, od dob poststrukturalismu, řeší skoro všechny nové teorie). nemají tu zdánlivě ocelovou a neprostupnou stabilitu starých dobrých metod, otevírají nové témata, boří a moc neumí nabídnout účiné metody.
u mě to vedlo až tak daleko, že jsem se obloukem vrátil až k burckhardtovi - totální destrukce příběhu, zaostřeno na detail. a to jsem ho před 10 lety nenáviděl (takový první fackovací panák)

_ER: to zní docela rozkolísaně/nestabilně