May 18th, on my way to the subway, outside my office.
Look at the pictures. The making of the circus. Draw your own conclusions (and yes, the third one is a journalist on top of a wooden box to make her look taller).
Technology is getting easier to use everyday. Take GNU/Linux distributions as an example: anyone can make their own. Does that mean everyone should make their own? Why not? But then, again, we end up with things like Ubuntu Satanic (and their Ubuntu SE 666.10 “Necrophiliac Neuromancer”), Hannah Montana Linux (how far would you go to attract kids to free software?), or Red Star OS (free software for North Korea and non-free browsing?
May 15th I went to the #15M demosntration in Malaga (Spain). As I was by myself, and to document and support “the cause”, I took my camerca and zig-zagged thourgh the crowd, in a kind of amateur sociological analysis of the most interesting social movement in these turbulent times. Here are some not-so-random thoughts:
While no particular spacial organization can be detected in the demonstration, the group dynamics and power hierarchy (even if perceived representation power) applied their invisible forces once more to take the radicals (or most outspoken at least) to march in the front line, families in the middle, and party goers and curious at the back Most “organizers” and “speakers” and “banner-holders and support van drivers” were foreign (mainly Argentinians) Although supposedly devoid of political affiliation, the only ones showing political signs were those without direct political representation in the form of “their own party” (anarchist, republicans, etc) While there was no “organized plan of action” (I wonder if the “assemblies” could get to one without some sort of non-hierarchical order and/or structure), the #cazerolada and #lacaixaesmordor seem to channel the discontempt towards the direct real cause (superficial, first and most apparent, but not necessarily the most important) of the dire social tensions of today: banks and the financial system… although how about the political system that allowed that to happen (from corruption to “democratic” representation)?
On Tuesday I went to the studio of jewelry designer Monique Péan, with Margot Norton (curatorial associate, New Museum, New York).
While it was interesting (in a “makes me sick but I need to learn this even if it seems impossible to achieve without the right connexions” forensics approach) to hear her perfectly polished “politically correct and marketing saavy” bio and artist statement, what really interested me was the striking beauty of fossilized ivory and minerals from the Artic.
Seeking the definition of Art for a while, I can not find one that satisfies me, nor I seem to be able to reach one by myself. Here is as far as I have been able to get so far:
Art is giving the opportunity of being to something that would never be
Wednesday May 2nd, I had the pleasure to meet Fernando Sabater at Instituto Cervantes, NY.
The conversation was lighthearted and included many anecdotes and trvia, but also a good dose of Philosophy and Psychology wisdom and aphorisms (like those by Andrés Newman). Here are some delicious quotes by him:
Dont attack, dont comply Childhood is always bad: wether because it was bad and left you a trauma, or because it was good and it frustrates you to leave it behind Happyness is also hard to bear Skepticism grows, and thats why when I am about to make a statement (particularly if it is a grand one) I end up laughing.
Yesterday I went to Japan Society for the Kota Yamazaki/Fluid hug-hug (glowing) dance.
I must admit, regardless of having read the description and program, that I did not understand anything at all. Not even after hearing Kota Yamazaki explain his work after the show. So, I did the only thing a reasonable person can do when approaching art and not understanding: feel.
While the apparent lack of linear narrative or character identification makes it hard to approach, the dancers movements (rather than the much touted but ineffective light design), unobtrusive (and minimal) sound landscape by Kohji Setoh, and the elegant twist with the hanging wooden props becoming physical space at the end, played together surprisingly well.
