MASCARA DE CERA

There are people who are born to make music, others are born to hearing.
Whenever was part of this second group.
I'm just an addict... addicted to music.
Maybe it's a habit, I gotta use, even if it's, rock, jazz or the quiet storm.
Gosto mais de música que de lasanha.

THE RESIDENTS is my Biggest Addiction.
Other musical priorities are:
OLD TIME RELIJUN-ARRINGTON de DIONYSO, R. STEVIE MOORE, THE RED KRAYOLA,SHRIMP BOAT, SMEGMA,THE FIBONACCIS, THE SUN CITY GIRLS, LEGENDARY PINK DOTS, ESKIMO, SLINT, FRANK ZAPPA, CAPTAIN BEEFHEART, THE VELVET UNDERGROUND, HENRY FLYNT, PATTI SMITH, THE FEELIES, PERE UBU, THE CLASH, JOY DIVISION, SNAKEFINGER, MILES DAVIS, SUN RA, KRAFTWERK, ANAL MAGIC & REV. DWIGHT FRIZZELL, MOONDOG, THE WORK, RAYMOND SCOTT, SLAPPY, HAPPY, ART BEARS, NAKED CITY, HENRY COW, BONGWATER, SHELLAC, BLURT, GLAXO BABIES, WEEN, THIS HEAT, THE SEA AND CAKE, SAVAGE REPUBLIC, TUXEDO MOON, XTC, CAN, FAUST, THINKING FELLERS UNION LOCAL 282,THE EX, DANIEL SMITH- DANIELSON FAMILE,TOMAHWAK, FANTOMAS, MR. BUNGLE, MIKE PATTON, SUICIDE, THE GO-BETWEENS, STEREOLAB, SPACEMEN 3, CHROME, PRIMUS -LES CLAYPOOL, PRAM, BEACH HOUSE, THE OLIVIA TREMOR CONTROL, SWELL MAPS, SILVER APPES, MORPHINE, TELEVISION, DEVO, FLYING LIZARDS, THE POP GROUP, MINUTEMEN, MISSION OF BURMA, FUGAZI, WOVEN HAND- 16 HORSEPOWER- DAVID EUGENE EDWARDS, CHAD VANGAALEN, CRIME CITY SOLUTION, DAMIEN JURADO, DAVID DONDERO, CHELSEA WOLFE,THE BOOK OF KNOTS, FUGS, PEARLS BEFORE SWINE-TOM RAP, UNITED STATES OF AMERICA-JOSEPH BYRD, FAMILY, GODZ, BONZO DOG DOO DAH BAND,PENTANGLE,SLOVENLY, CHEER-ACCIDENT, SHOCKABILLY, EUGENE CHADBOURNE, BUTHOLE SURFERS, VAMPIRE RODENTS,TARWATER, COIL, THROBBING GRISTLE, SWELL, KEVIN COYNE, DAEVID ALLEN, ZOOGZ RIFT, SLEEPYTIME GORILLA MUSEUM, MX-80 SOUND, PAPA M, STUMP, RENALDO AND LOAF, THE BOOKS, NEW THRILL PARADE, NEW WET KOJAK, DAVID KILGOUR, LOW, VIC CHESNUTT, JOE HENRY, ALEJANDRO ESCOVEDO, JON WAYNE,THE TAPE BEATLES, THE GUN CLUB, MAKE-UP,THE DENGUE FEVER, THE PAPER CHASE, RED RED MEAT, KARL BLACK- SOCK HEADDED PETERS- LEMON KITTENS, THE MUSIC TAPES, 17 PYGMIES, THE SHAGGS, BOBB TRIMBLE, ALTERNATIVE TV, FISH AND ROSES, DIABLO SWING ORCHESTRA, POP D`ELL ARTE, MLER IF DADA,TOM ZÉ, WALTER FRANCO, OS MUTANTES, CAETANO VELOSO, MILTON NASCIMENTO, ARNALDO ANTUNES, VINICIUS CANTUARIA, CAZUZA, CEREBRO ELECTRONICO, CORDEL DE FOGO ENCANTADO, ROGERIO SKYLAB, MUNDO LIVRE SA, NAÇÃO ZUMBI, ALÇEU VALENÇA, ANT- BEE, JOHN WILKES BOOZE, BILL FAY, WOVEN HAND, EL GUAPO, DAVID GRUBS, TORTOISE, SAM PREKOP, LUNGFISH, MAN MAN, LYDIA LUNCH, MARK KRAMER,THE FIERY FURNACES, HENRY KAISER, HOME & GARDEN, LOUNGE LIZARDS, JOHN LURIE, ANTON FIER- GOLDEN PALOMINOS, BOB DRAKE, MY DEAD IS DEAD, MICHAEL YONKERS, MINIMAL COMPACT, AKRON FAMILY, SWANS, THESE IMMORTAL SOULS, UNREST WORK & PLAY, THE TAPE BEATLES, SWOLLEN MONKEYS (Ralph Carney), SHELLEY HIRSCH, NEW YORK GONG, GONG, WALL OF VOODOO, LIARS, TIM HUEY, TOM WAITS, TRACHTENBURG FAMILY, THE TRIFFIDS, THE CRUEL SEA, THE MEKONS, THE METOD ACTORS, THE MISTAKES, THE MOUNTAIN GOATS, THE NEW CREATION, THE PIN GROUP, THE RENDERS, BRUCE HAACK, LOREN MAZZACANE CONNORS, GLEN BRANCA, ALBERT MARCOEUR, LOS ANGELES FREE MUSIC SOCIETY, THE POLYPHONIC SPREE, MICROPHONES, GARY WAR, RAILROAD JERK, MODERN LOVERS, LOVE, HAWKWIND, RAIN PARADE, RALPH CARNEY, ROBERT WYATT, LUCIA PAMELA, RON SEXSMITH, ROWLAND S. HOWARD, SAFETY SCISSORS, RICHARD HELL & VOIDOIDS, SACCHARINE TRUST,THE NOTWIST,QUICKSPACE, ROY MONTGOMERY, THE CLEAN, THE BATS, RUN ON, LOVELY LITTLE GIRLS, LONG FIN KILLIE, SAFETY SCISSORS, BRIDE OF NO NO, TONE DOGS, TREAT HER RIGHT, TRIPOD JIMMIE, LIFTER PULLER, THEY MIGHT BY GIANTS, GANG OF FOUR, SOUL COUGHING- MIKE DOUGHTY, MAZARIN, KARATE- GEOFF FARINA, SECRET STARS, THE CHURCH, BLANK DOGS, FROG EYES, JOAN OF ARC, BLACKOUT BEACH, DIRTY BEACHES, PURE X, MAGIC TRICK-TIN COHEN, CHRIS COHEN, DAVID BAZAN, YUNG WU, WAKE OOLOO, DRIVE BY TRUCKERS, CAMPER VAN BEETHOVEN, U.S, MAPLE, MARTIN NEWELL, ERLAND and The CARNIVAL, CRIPPLED BLACK PHOENIX, CALIFONE, THE BLACK HEART PROCESSION, CLOUD CULT, EZRA FURMAN and THE HARPOONS, EFF BARZELAY, BORN RUFIANS, FERGUS & GERONIMO, CHAIN AND THE GANG - Ian Svenonius- WEIRD WAR,- THE MAKE UP, MOONFACE, THREE MILE PILOT, LIFE WITHOUT BUILDINGS, PINBACK, MAGIC HOUR, MAJOR STARS, MAPS & ATLASES, MEGAFAUN, MENOMENA, TAME IMPALA, AMPS FOR CHRIST, ARBOURETUM, TRUE WIDOW, NANA GRIZOL,TIMBER TIMBRE,THE IMPOSSIBLE SHAPES, THE LOVE EVERYTHING,THE MAE SHI, DEAD SKELETONS, THE SHIPPING NEWS, LES SAVY FAV, SILKWORM, DIANOGAH, THE COMSAT ANGELS, GASTR DEL SOL, 31 KNOTS, 90 DAY MEN, ORANGE JUICE,
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The Future Meets Its PastBERN, 1969 The artist Alighiero Boetti with installations, pictured at top, in the original show.
By HOLLAND COTTER
VENICE — What’s new in contemporary art? Old. We’re in an age of remake culture, an epidemic of re-enactment fever. Young painters are working in styles that were hot half a century ago. Yesteryear’s performance art is being re-performed. Exhibitions that have been done and done — on Matisse, Picasso, European abstraction — are being done again.
Has the art industry, noted for its nanosecond memory, suddenly become history-conscious? Is the art market, like Hollywood, nervous about anything but proven brands? Is art just plain out of ideas? Whatever the answer, the replicants keep arriving, a recent and particularly ambitious one being an ultrafastidious reconstruction of the 1969 show “When Attitudes Become Form,” at the Prada Foundation in Venice.
The original version, which took place in Bern, Switzerland, has a near-mythical reputation as a late-20th-century landmark. It brought together some of the most adventurous young European and American avant-gardists of the day, exponents of post-Pop, post-Minimalist, supposedly anti-market trends like Conceptual and Process art. It presented them at a high moment of political and cultural turmoil internationally, and in what has been perceived as a radically loosened-up exhibition format, with art created communally, spontaneously, on the spot.
The actual event was fairly low-key. Bern was no one’s idea of an art capital. The exhibition site, a kunsthalle built in 1918, was drably undistinguished. The show opened in the gray month of March, ran for barely a month and drew only a small, bemused crowd.
Puzzlement was understandable. The work, by almost 70 artists, jammed into two floors and a nearby annex, wasn’t quite sculpture and certainly wasn’t painting. Its mediums included ice, fire, broken glass, lead, leather, felt, fluorescent tubing, peas, charcoal and margarine. Ropes snaked through rooms; electric wires wound down a staircase. Nothing was framed or on pedestals or behind stanchions, and visitors trampled on work, though it was hard to tell where the art ended and the damage began.
Some damage was art. A piece by the American “earth artist” Michael Heizer consisted of craters punched with a wrecking ball into the pavement outside the museum. While popular reaction over all ranged from grumpiness to hilarity, officialdom took a more serious view. Certain kunsthalle staff members were so outraged that they effectively forced the resignation of the institution’s director, Harald Szeemann, who was also the exhibition’s curator.

The Future Meets Its Past
BERN, 1969 The artist Alighiero Boetti with installations, pictured at top, in the original show.

By HOLLAND COTTER

VENICE — What’s new in contemporary art? Old. We’re in an age of remake culture, an epidemic of re-enactment fever. Young painters are working in styles that were hot half a century ago. Yesteryear’s performance art is being re-performed. Exhibitions that have been done and done — on Matisse, Picasso, European abstraction — are being done again.

Has the art industry, noted for its nanosecond memory, suddenly become history-conscious? Is the art market, like Hollywood, nervous about anything but proven brands? Is art just plain out of ideas? Whatever the answer, the replicants keep arriving, a recent and particularly ambitious one being an ultrafastidious reconstruction of the 1969 show “When Attitudes Become Form,” at the Prada Foundation in Venice.

The original version, which took place in Bern, Switzerland, has a near-mythical reputation as a late-20th-century landmark. It brought together some of the most adventurous young European and American avant-gardists of the day, exponents of post-Pop, post-Minimalist, supposedly anti-market trends like Conceptual and Process art. It presented them at a high moment of political and cultural turmoil internationally, and in what has been perceived as a radically loosened-up exhibition format, with art created communally, spontaneously, on the spot.

The actual event was fairly low-key. Bern was no one’s idea of an art capital. The exhibition site, a kunsthalle built in 1918, was drably undistinguished. The show opened in the gray month of March, ran for barely a month and drew only a small, bemused crowd.

Puzzlement was understandable. The work, by almost 70 artists, jammed into two floors and a nearby annex, wasn’t quite sculpture and certainly wasn’t painting. Its mediums included ice, fire, broken glass, lead, leather, felt, fluorescent tubing, peas, charcoal and margarine. Ropes snaked through rooms; electric wires wound down a staircase. Nothing was framed or on pedestals or behind stanchions, and visitors trampled on work, though it was hard to tell where the art ended and the damage began.

Some damage was art. A piece by the American “earth artist” Michael Heizer consisted of craters punched with a wrecking ball into the pavement outside the museum. While popular reaction over all ranged from grumpiness to hilarity, officialdom took a more serious view. Certain kunsthalle staff members were so outraged that they effectively forced the resignation of the institution’s director, Harald Szeemann, who was also the exhibition’s curator.

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