domenica, maggio 25, 2008
"Dopo l'esperienza maturata coi rifiuti, De Gennaro sarà un eccellente responsabile dei servizi segreti." (Jena)
mercoledì, maggio 21, 2008
"Prima di tutto vennero a prendere gli zingari e fui contento perché rubacchiavano. Poi vennero a prendere gli ebrei e stetti zitto perché mi stavano antipatici. Poi vennero a prendere gli omosessuali e fui sollevato perché mi erano fastidiosi. Poi vennero a prendere i comunisti e io non dissi niente perché non ero comunista. Un giorno vennero a prendere me e non c'era rimasto nessuno a protestare. Non l’ha detto Veltroni." (Jena)
sei mesi di galera per chi rischia la vita per arrivare clandestinamente in italia sono sicuramente un dissuasore efficace...come ripulire il percorso dei ministri per il primo consiglio in quel di Napoli...cuore che non vede...non duole!
martedì, maggio 20, 2008
Appunti sul Paese Semplice (di Wu Ming, editoriale del n. 22 di Giap, VIIIa serie, maggio 2008)
giovedì, maggio 15, 2008
The trashcan laureate - Robert Rauschenberg's generous, epic vision captured the chaos of modern America. Jonathan Jones pays tribute to the man who first made him want to write about art - Thursday May 15, 2008 - The Guardian - When I was growing up in north Wales in the 1970s, the only place you could see modern art was on television. That was where I first encountered the art of Robert Rauschenberg, who has died aged 82. It was while watching a glass box in our lounge that I fell in love with his generous vision of what art might be. For me, Rauschenberg's 1955-59 work Monogram - a stuffed goat standing placidly on a plinth of interlayered painted scraps, its woolly body stuffed through a rubber tyre - will always be associated with the critic Robert Hughes' powerful Australian voice. In his landmark BBC series, The Shock of the New, Hughes explained that - of course - the goat is a sexual metaphor. "Goats are the oldest metaphors of priapic energy. This one, with its paint-smutched, thrusting head and its body stuck halfway through the encircling tyre, is one of the few great icons of male homosexual love in modern culture ... " Listening to this, I knew nothing about Robert Rauschenberg. I didn't know that in the 1950s, when he created his famous "combines", works that sensually and melancholically combine found objects with great daubs of paint, he was involved in a triangular relationship with artists Jasper Johns and Cy Twombly. (Rauschenberg's marriage to Susan Weil, and its breakup after the birth of their son Christopher, added another strand to his highly charged and personal imagery.) But you really don't need to know that, or even to see Monogram as Hughes did. Nowadays, the most obvious fact about Monogram is that it anticipates Damien Hirst's animal vitrines by more than three decades. Perhaps Hirst was watching TV, too, that night; perhaps he was struck by its comedy and mystery. Monogram got me interested not just in Rauschenberg, but in wanting to write about art. And, in a very Freudian way, I have avoided ever seeing the original - as if to preserve my 14-year-old television memory. Robert Rauschenberg was one of the most generous, intelligent artists of the modern world, and I think of my encounters with his work as great events in my life. Rauschenberg's Bed (1955) uses a patchwork quilt a friend had given him, a real dirty pillow and sheet, scribbled on with pencil and splattered with paints. You see, looking at it, how he was always in some sense an abstract expressionist painter, loving to slap on the colours as freely as Jackson Pollock. Pollock, too, incorporated real objects into his work, embedding nails and cigarette butts into the surfaces of his paintings. But not like this. If Monogram revives the satyrs of antiquity in a derelict tyre yard, Bed is smeared with the aftermath of passion. When I first saw it at the Museum of Modern Art in New York, in the early 1990s, my partner and I were living in New England, with a mattress on the floor - pretty much like Rauschenberg's. I remember the asphalt burning on a hot New York day, the steel-framed mass and vertiginous shadows of the city; you saw materials for Rauschenberg assemblages on every corner. On the tabletop at home in Providence, I played around with photographs and paint, trying to be Rauschenberg. Nirvana's Heart-Shaped Box was playing, Bill Clinton was president, and there were artists at work on every 10th porch. I was in love with America the beautiful, with Rauschenberg its trashcan laureate. For me, Rauschenberg's art is about love, history, politics. From my very first visits to the Tate Gallery (as it was called in those days), one of my favourite works there has been Rauschenberg's 1962 painting Almanac, a fractured montage of silkscreened news photographs that drift spectrally through mists of white paint. Rauschenberg's silkscreen paintings convey the dissonance and conflict of 1960s America - the space race, poverty, his native South - but in an allusive and unresolved way. Its simultaneous engagement with the rich epic of America, and its inability to find sense in it, is reminiscent of Thomas Pynchon's 1960s novels, The Crying of Lot 49 and V. Rauschenberg's 60s paintings mourn JFK; a great series of prints transpose Dante's Inferno to the political struggles of the decade. When I look at Rauschenberg, I see the terrible broken epic of modern America. No question, he will be remembered as one of his country's great artists. I'm headed for Tate Modern to toast Almanac.
martedì, maggio 13, 2008
sabato, maggio 10, 2008
mercoledì, maggio 07, 2008
la vendetta della madre di Michel Houellebecq: 'My son, the bastard'
uno che per due cazzotti muore non è una vittima ma un perdente da diffamare!!! è iniziata l'indegna manovra per tirar fuori 5 deficienti figli di genitori altrettanto indegni e amici vari pronti a dipingerli come bravi ragazzi che non hanno mai fatto male a una mosca, a meno che non fosse giudea!!
lunedì, maggio 05, 2008
Alemanno è sposato con la figlia di Rauti...che sodalizio nerissimo!! (il figlio si chiama Manfredi)
e se con un passaparola telematico tutti coloro che non hanno nulla da nascondere mettessero in rete i loro redditi...non 2005 ma quelli che a fine mese presenteranno con i 730 o 740? sarebbe un bel modo per bruciare tante code di paglia e far abbassare a qualcuno le antenne!
bravi ragazzi, un po' esuberanti quando si trovavano in gruppo e con un piccolo problema: faticavano a tollerare chi si dimostrava diverso da loro...se fossero stati romeni ci sarebbero state le fiaccolate, ma assomigliano troppo ai propri figli per muovere l'indignazione...sono gli stessi che non si fermano quando investono un pedone o un ciclista, scocciati di aver strisciato il suv di papà...vuoti in modo assoluto, specchio dei tempi...
venerdì, maggio 02, 2008
Alemanno prima di toccare il museo dell'Ara Pacis di Meier potrebbe allenarsi a demolire i palazzacci del camerata Ciarrapico e dei suoi amichetti!
giovedì, maggio 01, 2008
"Il primo discorso di Schifani è stato una durissima requisitoria contro la mafia. Ma la mafia sa che stava scherzando." (Jena)
'Father of LSD' dies aged 102 Dr Albert Hofmann, who discovered psychedelic drug which 'turned on' 1960s counterculture, has died.
