Today is the last occasion to visit Julie Béna’s solo exhibition Destiny at Galerie Édouard-Manet de Gennevilliers. In the gallery, an absurd feeling flatness is strongly present: the space has been transformed into a reminiscent of an office, whose aesthetics is predominantly borrowed from the turn of the millennium. A carpet with geometric shapes and figures against they grey background is occupying the floor leading the visitor to discover Béna’s introduction to corporate world, with a body of work solely conceived for the gallery space. With the current exhibition the artist reveals to be faithful to her previous production – that is, finding inspiration from the world of theatre and popular culture in a larger sense, simultaneously transforming and disturbing spatial forms and codes.

This false reality, by definition a corporate one in this particular case, starts right from the entry. As if introducing to a corporate zone, we can find a large TV screen on the wall welcoming the visitor, displaying a dialogue between Miss None and Mister Peanut. This exchange between the two cartoonish-like characters, lacks of meaning and sense: words are pronounced and repeated, forming an attempt for a dialogue. However, the identities are blurred, or rather, they don’t exist.

Courtesy of Joseph Tang gallery, Paris. Exhibition "Destiny", EMBA / Galerie Édouard Manet, Gennevilliers.

Courtesy of Joseph Tang gallery, Paris. Exhibition “Destiny”, EMBA / Galerie Édouard Manet, Gennevilliers.


Courtesy of Joseph Tang gallery, Paris. Exhibition "Destiny", EMBA / Galerie Édouard Manet, Gennevilliers.

Courtesy of Joseph Tang gallery, Paris. Exhibition “Destiny”, EMBA / Galerie Édouard Manet, Gennevilliers.

A large office desk occupies the second room of the gallery: this is presumably the main office space. Its design – this seems to be the apt term to employ in this context – is dominated by the use of steel and glass. In other words, sharpness and precision, almost that of sterility takes over: it resembles of a perfect composition of office decor taken afresh from a sales catalogue, one intended for enterprises. A perfect composition reigns in the space together with a cold and bright lighting guiding my vision: here you can’t find any coffee stains nor piles of papers waiting to be organised. Perhaps functionality and freshness would be suitable terms to be used here, however, perhaps it is exactly for this reason that the space feels primarily flat and empty.

A lack of flavour is the feeling that prevails: this is further enhanced by the vinyl labels that we can find glued on glass plates. These labels are displaying letters that compose words, whose selection seems somewhat arbitrary. This supplementary gesture allows us to contemplate on what is left for these linguistic symbols, once removed from their initial context. The same goes for the space’s interior design: what happens when linguistic references, material symbols and even entire spaces are removed from their original composition and then reselected, cut, copied and assembled in a new framework? This compositional style of Béna borrowed from catalogues continues in the last room of the gallery: a composition of plexy glass divides the space, whose starting point is indicated with a symbol of hand glued on the floor. We can spell letters from the glass, once again forming the word destiny.

Courtesy of Joseph Tang gallery, Paris. Exhibition "Destiny", EMBA / Galerie Édouard Manet, Gennevilliers.

Courtesy of Joseph Tang gallery, Paris. Exhibition “Destiny”, EMBA / Galerie Édouard Manet, Gennevilliers.


Courtesy of Joseph Tang gallery, Paris. Exhibition "Destiny", EMBA / Galerie Édouard Manet, Gennevilliers.

Courtesy of Joseph Tang gallery, Paris. Exhibition “Destiny”, EMBA / Galerie Édouard Manet, Gennevilliers.

A certain internet awareness is legible in Béna’s work: her aesthetic vocabulary finds its inspiration also from the world wide web, while using the components of a digital collage. Despite these multiple layers of symbols and references constructing this collage, simultaneously, a lot is left to be unsaid. Entire holes and symbols of insignificance can be traced throughout the gallery space. There are parts and pieces missing from the puzzle, or rather than missing, they’re unknown. Julié Béna plays extensively with spatial and temporal conditions, disturbing and challenging them. She offers a potentiality of multiple fictions to invent and various parts to be fulfilled. Here, a sole collection of individual portraits is not interesting, it is the whole pattern that characters, events and spaces knotted together that interests us – a potential definition for the word destiny, or alternatively, Destiny.

Béna’s way of treating the space is like looking at an uncharted territory, while pointing to an imaginary beyond. The texture of the real withdraws in front of artificiality, while the time span is strongly overlapping, even disappearing. The artist plays successfully with the idea of ordinary and expected, transforming these notions towards extraordinary and spectacular. Julie Béna treats the question of mise-en-scène almost in a sculptural way: here the strategic choice of corporate environment is particularly interesting. Being by definition a parapublic space, the question on the role reserved for visitors is left unanswered, when finding itself simultaneously accessible and inaccessible. Thus, the real question is whether we are invited to play an active role against the corporate background, or does the set-up rely solely on posthumanist mindset.

Courtesy of Joseph Tang gallery, Paris. Exhibition "Destiny", EMBA / Galerie Édouard Manet, Gennevilliers.

Courtesy of Joseph Tang gallery, Paris. Exhibition “Destiny”, EMBA / Galerie Édouard Manet, Gennevilliers.

Courtesy of Joseph Tang gallery, Paris. Exhibition "Destiny", EMBA / Galerie Édouard Manet, Gennevilliers.

Courtesy of Joseph Tang gallery, Paris. Exhibition “Destiny”, EMBA / Galerie Édouard Manet, Gennevilliers.

Julie Béna studied fine arts the Villa Arson in Nice, France, and at the Royal Academy of Arts in Brussels, Belgium. She has exhibited at the Palais de Tokyo, Fondation Calouste Gulbenkian and Display Art Projects in Paris, Song Eun Art Space in Seoul, Korea, at Nettie Horn in London, Fonderie Darling in Montréal, and was a resident at Le Pavillon at the Palais de Tokyo in 2012-2013.

Julie Béna

Galerie Édouard-Manet

Courtesy of Art : Concept

Courtesy of Art : Concept

Merci d’enlever vos chaussures à l’entrée. I do as expected, taking my shoes off, when entering the Parisian gallery Art : Concept. This gesture is accompanied by an unfamiliar feeling in a public gallery space, triggering a sense of intimacy. I am now allowed to touch the warm and soft carpet covering the gallery’s floor: this chemical-looking sea, as described in the press release, provides a smooth, yet somewhat disturbing ground for the works of the French artist Richard Fauguet. The bright yellow color is flashing in my eyes. Still, I feel comfortable walking around in the space, feels like I’m entering someone’s living room.

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

In the first room of the gallery, a selection of clay heads can be found lying on the floor, displaying the latest work of Fauguet. A moment of tranquility is present, as if the heads were floating, or rather, drifting in the space. Yet, there is a strong feeling of scrutiny announcing its presence – but who is observing who, I am not so sure about. In this personal exhibition of the artist, entitled aptly Bivalve & Monocouche, Fauguet proposes sculptures of clay heads, double faces to be exact, whose eyes are formed of bivalves with empty shells. This rather sculptural, or collage-like approach is contrasted with the use of cubis: folio containers, which are often used for cheap wine, serve as pillows for the resting heads. These marine creatures, devoid of any possible body language, with their poignant, yet empty eyes, evoke inevitably the question on portrait. More precisely, a study on woman portrait is proposed, however through a curious notion of aesthetics: distorted, even dreadful Gorgon figures are suggested with a highly organic approach.

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

The exhibition continues in a smaller room located at the back of the gallery space, where we can once again find clay heads, this time accompanied by glass plate drawings installed on a shelf. This creates a dynamic interplay in the gallery space, when proposing a different kind of study on distorted feminine figures. Once again, something bothering is present: this time seducing poses are disturbed by the visible crack-like compositions on the plate. Again, an act of seduction is taking place, but the abstract figures remain still inaccessible. I can see my own gaze and figure reflecting from the glass.

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Bivalve & Monocouche as an entity reveals to be a collage: a combination of several types of universes, one being essentially organic, even raw, yet combined with a world of still poses and empty-looking eyes. Perhaps a suggestion of a double-headed figure of the God Janus, marking a passageway, a beginning and an ending, or rather a proposal of a figure of Narcissus? This is left open, but the artist succeeds in proposing multiple concurrent universes, and the exhibition as a whole takes shape of a collage, which is constantly being reframed.

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Concerning the history of portraiture, a citation of Georges Didi-Huberman seems apt to end this text, as used in the press release: “The tradition of portrait maybe began the day when our eyes looked down with terror and dismay at a loved and familiar face fallen to the floor and never to get up again” (Georges Didi-Huberman: “Le Visage et la Terre” in Artstudio, summer 1991, n°21).

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Courtesy of Art : Concept

Richard Fauguet was born in 1962 in La Châtre. He lives and works in Châteauroux. His work has been purchased by numerous public collections among which: Fonds National d’Art Contemporain, Paris; Frac Île-de-France, Paris; Frac Limousin, Limoges; MAC/VAL, Vitry-sur-Seine and Les Abattoirs, Toulouse. Several personal exhibitions have been consecrated to his work in the last years: Vivement demain, MAC/VAL, Vitry-sur-Seine (2012) ; Selon Arrivage, Art : Concept, Paris (2011) ; Ni vu, ni Connu, Frac Limousin, Limoges (2011) ; Pas vu, pas pris, frac Île-de-France, Paris (2009).

Art : Concept 

The following text was written, edited, and mixed by Stefano Calligaro-Daria Dumitrescu-Maciej Parzydło.

Photo  Lucian Indrei, Courtesy of Sabot, Cluj

Photo Lucian Indrei, Courtesy of Sabot, Cluj

*A discreet Charm
and a good Crémant to please Picard: Cryptomaniacs you’re advised!
Zalten spighel skuten zitten: – Oui! Oui! compriendo comprindo understand!
Je necesit un pen! Un marker digital pour mon meta-delight se il vous plaît! Imediatmont! aici!
Essenzialmente si tratta di non oltrepassare le zone delimitate dalle linee di obliterazione personale
or lets say it in English: It’s all about business and distractions.
Perennial artiquette s will be rounded with a soft green color in the late winter and spring.
– Availability: twelve months a year with peaks in spring and fall.
The Artiquettes queen is here to help. Please pull off a leaf.

Photo  Lucian Indrei, Courtesy of Sabot, Cluj

Photo Lucian Indrei, Courtesy of Sabot, Cluj

Rotójąca wirófka. Laboratoryjne rozszczepienie of reality. Silicon and liquid-crystal cream.
Digital wellness for missing parts of our biological identity = ****k?? is this the case?
I mean: is it the case to talk about this? and what about? what about Eco-systems floating the Net
and “speak to peak”? -Directions? it seems Enjoyable “oui” Enjoyable! nous epoque, nous divertissement
,,,,PirateBay,,,,la valeur de la virgule dans la société de la digi-langue!

– Artiquettes où êtes-vous?
– ici, je suis ici! dans la monitor!! Gmail, ma Google Docs.

Photo  Roland Vaczi, Courtesy of Sabot, Cluj

Photo Roland Vaczi, Courtesy of Sabot, Cluj

The acid thunder set ups the protest. Migration of pleasure become impossible; Bank crash! Fininito.
Caring or….magnificent, yes magnificent ladies from the Display suddenly stopped feeding sweet bytes of my .sdi, .dsi, .dpa, .dos, .gpr, .row, .aop, .sko, .acy, .qog, .vbd, .etc Even high frequency stream
of space-key is marbly re-invisible and heavy-sweetened!

oh! am I distracting you? taking your attention from the Cheers smiles?:
“WHAT YOU SEE IS WHAT YOU GET, AND YOU AIN’T SEEN NOTHING YET!”

P-O-M P-O-M A-L-G-O-R-I-T-H-M ! P-O-M P-O-M J-U-M-P A T-W-I-S-T !

Photo  Roland Vaczi, Courtesy of Sabot, Cluj

Photo Roland Vaczi, Courtesy of Sabot, Cluj

– Ha! Gentlemen par excellence remember to SHAVE ALWAYS AGAINST (precisely “hair” I can say, but
“soundinity” of that word is not my cup of tea)
Wikileaks to Wikipics .
Kolab Now All you Pam-Pam .
Pom-Pon.
Use your skills to pay the bills.
I love tattoos. And mine symboli z e s who I really am.
– Logician: A sausage has two ends.
– Gentleman: I have two ends.
– Logician: Then you’re a sausage.
– Gentleman: So I am a sausage?
– Logician: And the contrary is also true.
Transcent all these JELL-Os:
[liquorice smells soo good]
agastache blue liquorice picholine blewits, blewits everywhere Lotta Lollies Tutti Frutti phthalocyanine
NO ARTIFICIAL DYES
thank you
TNKU!!

Sabot Gallery

 

Courtesy of Sabine Delafon

Courtesy of Sabine Delafon

I perfectly remember when I got closer to Sabine’s sensibility and I set with her at Bar Love’s counter to share drinks and thoughts about her art activity.

An e-mail exchange begun then and she invited me to visit her studio where she received me with a coffee and a typical Carnival’s cake. I see her like this: a mix between a strong, bitter woman and a sweet child reflecting her daughter Napoline.

Courtesy of Sabine Delafon

Courtesy of Sabine Delafon

My attention was caught firstly by the works with glass she made, a parallelism to the research on self-portrait by shooting herself in passport photos. The following step was to make portraits of people she knew by using the glass and other materials for the details. The answer on one own’s identity is never clear but esoteric.

This subject goes on with the use of her name contaminated by other people that then overstep the artist’s level by wearing Sabine Delafon’s name on a t-shirt – as one of her collaborations with the brand Marios – or sign her business cards.

Courtesy of Sabine Delafon

Courtesy of Sabine Delafon

Then at one point watching her works’ documentation became like a card’s game full of iconic symbols: the four-leaved clover, the heart, the star. Repetitiveness and multitude are her way of spreading these words, making them visible around cities for a wide public and response in a “legal vandalism”.

Another present theme is the survey on “the other half of the orange”, as she likes to define it, by trying to find lookalikes in the universe and human kind here seen as unknown, God and hereafter.

Courtesy of Sabine Delafon

Courtesy of Sabine Delafon

This impossibility gave life to Sabine Delafon Corporation, her fulfill by making people / other artists part of her works. But not even this was enough and The Emilie La Reine Foundation was created with anonymous collaborations and by using a second-name, Emilie, pretending to be a queen. “I am hungry” billboards and artists’ exchanges are on going after that.

I see her as the feminine version of Franco Vaccari.

Courtesy of Sabine Delafon

Courtesy of Sabine Delafon

Sabine Delafon

Tomorrow we are presenting at T.A.M. Martina Bassi’s work in situ: “A curved band, is a bend bang !”, born in Imola, 1988, Martina lives and works in Milan and collaborated closely with us on this project. What follows is a critical text of her work by Dario Giovanni Alì.

Couresy of Martina Bassi  and The Art Markets

Couresy of Martina Bassi and The Art Markets

“Perception is the first step to aquire knowledge and the instrument we need to represent (and understand) the environment. The sight is the sense that we rely on the most to gather data of the reality surrounding us. Martina Bassi’s research is based on these premises, starting from the studies on human’s visual processing of the informations aquired, to their decoding and interpretation by the brain’s activity. Each work is created through an act of observation. Martina selects and records an image of the reality and uses it as the foundation for the process of its decryption and redefinition, choosing simple subjects such as floors, landscapes and human faces. The image is recreated operating manually until it looses its original status. By doing so, the photographic data becomes a formal representation of our visual processes.

Couresy of Martina Bassi  and The Art Markets

Couresy of Martina Bassi and The Art Markets

The artworks aesthetic holds on rigid geometric shapes: framed in trapeziums, ovals and triangles, the images underline the unstable and mutable nature that characterizes them. The use of a frame, or a base structure, reveals to be functional in balancing on visual terms a subject that continuosly slips away from any form of stability or permanent placement. Each work is the result of a game of opposed tensions and continuous imbalances. In Mosaicperspective (2014), the artist’s sign isn’t detectable from the image below. This kind of illusion is obtained through a considerable physical effort and hours of work. The thick layers of lines create a movement along the image, perceptible to the observer as a sort of vibration. Quite the opposite, the heavy base on which is placed imposes itself to the eye as a solid figure. Then again, observing the ramp from a precise point of view, the physical object is turned into a two dimensional image: we’re not in front of a mere reproduction of an objective reality, instead we’re facing a rational reconstruction of it from a specific human perspective.

Courtesy of Martina Bassi

Courtesy of Martina Bassi

In Serie di paesaggi (2014), the sign fulfills an opposite role: it defines and limits the view, outlining the objects. During those visual experiments, the eyes struggle to follow a precise direction, and whether to look at the image or its frame: the dual system of opposite perspectives bewilders the viewer. The heavy frame fixes and closes the movement produced by the blurry image. The eyesight is confused by this illusionary game of contrasting forces, only to be bounced back against a wall of hand traced lines. The act in itself of visually perceiving the reality is put into question, and so our ability to gather knowledge. Her artworks expose the changeability of the visual perception, but also bringing to light the variety of possibilities that the object alone could not allow. Perceiving the world therefore stands for a continuous reconstruction.

Courtesy of Martina Bassi

Courtesy of Martina Bassi

In Self-portrait with Alberto (2014), Martina’s research is open for the first time to a relational dimension. The object of the series isn’t focused on the world surrounding us anymore, it’s rather centered on the human counterpart. The results of this study is a visual summary of what two individuals perceive of one another. Through the sign, here the artist conjoints the interception points of lines from two faces that look at each other. In this manner, the perception of one individual is reduced and formally assimilated to the perception of the other. Martina Bassi’s works, progressively reducing and revealing, present the accuracy of ascientific model, each time put at test, verified or even denied, as it happens with the site- specific work A curved band, is a bend bang! (2015), created inside the bookshop The Art Markets, in Milano. Here the artist opens a new phase of her research. The linearity analysed in her previous works leaves space to a study of the curvature, formalized in a structure that represents a reproduction on a scale of 1:1 in a corner of the bookshop floor.

Courtesy of Martina Bassi

Courtesy of Martina Bassi

Modelled in a curvilinear structure, the work directs the gaze back and forth, from one curve to another, as inviting it nor to rest or slow its movement. In this case, the artist has listened to the requirements of the space she was confronted with. The context, strongly defined – completely different from a white cube – has acted towards a very specific direction in her work, that of a radical loss of weight (physical, and consequently visual). Starting from a surface that imposes itself to our gaze, the artist has obtained an agile and dynamic shape, through a procedure of summary and subtraction that involves even the chromatic range. For every color tone, it has been computed an average, from which a common denominator has been extracted and included within the structure with the use of crayons. The rigorous combination of geometric shapes of the original object has been distorted by the curvy, handmade artist sign. As with Mosaicperspective, here the photographic image and the manual work are not discernible.

Courtesy of Martina Bassi

Courtesy of Martina Bassi

Although in this case, the function carried out by the frame – disappeared from the structure – is executed instead by the bookshop space, configured as a border land between artwork and the outer reality. The visitor is projected in an immersive place that is not out of the artwork, and not entirely inside of it, in a hypotetical doorway regulated by two opposite forces: from one side the solid stability of a physical space, on the other the lightness of a shape that is perceived almost as fluid because of its instability. The doorway is a limit zone that connects and distances the two places at the same time, it can depict an entrance as well as a gateway, depending on the placement established by the subject. Through her work, the artist has managed to create a new and potential place beginning with a real and already existing one. In addition to her usual overlap of signs and prints, this time she’s added an overlap of spaces – the real and the potential one – with no more traceable boundaries. The perception of the detail of a place has launched a process of its complete recoding and reconstitution”.

Dario Giovanni Alì

Courtesy of Cali Thornhill Dewitt and V1 Gallery

Courtesy of Cali Thornhill Dewitt and V1 Gallery

Multidisciplinary artist, Cali DeWitt runs the independent record label Teenage Teardrops, together with his wife Jenna Thornhill DeWitt they also have the photography blog Witch Hat. I learned about DeWitt’s works last year, in occasion of a series of photos he worked on, for an interview I wrote for REVS magazine. Born in Canada, 1973, Cali Thornhill DeWitt lives and works in Los Angeles. We both collaborated closely with Danish label Posh Isolation on various endeavors: he has directed numerous music videos, recently the one for Danish band Iceage. Several books on his work have been published, the most recent one, Grave Yard came out in late 2014 on And Press. Plus, he has recently had exhibitions at Big Love, Tokyo, Human Resources, Los Angeles and Muddguts in New York.

Courtesy of Cali Thornhill Dewitt and V1 Gallery

Courtesy of Cali Thornhill Dewitt and V1 Gallery

The duality of the piece is typical for Cali Dewitt’s practice juxtaposing imagery culled from the internet and other archival sources with word plays lifted from news headlines, spam mail, advertising slogans, street lingo, mundane phrases and a myriad of other influences. Diverting messages such as: GLORY HOLE combined with a photo of a bullet hole, RAPID DECLINE in combination with an image of a beautiful bouquet of lilies, NATIONAL ANTHEM combined with a sequence of images from the Rodney King beating, BUILD MORE JAILS juxtaposed against an eerily beautiful image of the Hollywood Hills burning and SMELL THE ROSES in combination with a flock of B52 planes dropping their payload of death. The exhibition explains immediately the concept of “A subversive and heartfelt result, with a strong signature aesthetic equally punk, internet banner and realtor” mentioned in the press release.

Courtesy of Cali Thornhill Dewitt and V1 Gallery

Courtesy of Cali Thornhill Dewitt and V1 Gallery

Busted On The Hot Spots is Cali DeWitt’s first exhibition with V1 Gallery. Strong imagery that we have grown accustomed to is re-contextualized among the meatpacking walls of Copenhagen. The broken American dream in Europe. An exhibition defined as “immersing”, reflecting a complex and fragmented world, that instead of fostering first world apathy or nihilism, induces defiance and hope in the visitors. In the same tradition as Jenny Holzer, Barbara Kruger, John Giorno and the late great Mike Kelly, Cali DeWitt’s works offer reflection, social critique and engagement. Strategies from advertising and breaking news that we know and are almost immune to, are turned so that each message and work stand out with lasting urgency.

Courtesy of Cali Thornhill Dewitt and V1 Gallery

Courtesy of Cali Thornhill Dewitt and V1 Gallery

V1 Gallery

Teenage Teardrops

Alice Ronchi, I giardini di Henry, 2012 - Courtesy of the artist and Francesca Minini

Alice Ronchi, I giardini di Henry, 2012 – Courtesy of the artist and Francesca Minini

- Hi?
- Halo!
- Halo!!
- Pronto!
- Pronto?
- Satoshi??
- ‘you there?!


Satoshi Nakamoto: believed to be in possession of roughly one MILLION bitcoins.
and Not only

if just Miners would keep the block chain consistent

New Yorker’s Joshua Davis claimed to have narrowed down its identity
to a number of possible individuals:
The Finnish economic sociologist Vili Lehdonvirta
The Irish student Michael Clear,
And a graduate student in cryptography at Trinity College Dublin

Clear strongly denied he was Nakamoto, as did Lehdonvirta

Alice Ronchi, We are all astronauts, 2013 (on-going) - Courtesy of the artist

Alice Ronchi, We are all astronauts, 2013 (on-going) – Courtesy of the artist


- Satoshi??
- Pronto!
- Prontoooo!!

Pressure is squared, and in Switzerland breakfast typically includes
bread butter marmalade honey cheese plus milk, cold or hot chocolate
tea or coffee

Depending on what people had for lunch, dinner can be a full main
course or just some bread cheese dried meat or any other light meal:
Beer is not included
a peer-to-peer system in which users can transact directly with no
need of intermediary.
It can be considered a language, a cryptocoded passage to Nature from
the geopolitical boarders of Space!

Alice Ronchi, We are all astronauts, 2013 - Courtesy of the artist

Alice Ronchi, We are all astronauts, 2013 – Courtesy of the artist


-Mr Nakamoto!
- ‘you there?!

The rounded shape of baskets: Coins, pieces of hard material used
primarily as a medium of exchange or legal tender – standardized in
weight and produced in large quantities to facilitate trade

DIAMETERS! That’s what Mr Nakamoto invented! the measures of galaxies,
the circumference of white SOFT goat cheese!

and a wide range of flavours textures and forms manipulated by
Academics and Students
to entertain the audience! PICKERS

transpositions teleportations penetrations restorations levitations
mental magic!
Mr N has the tendence to re-shape analog signals in theoretical
delights by Palming Sleeving Lapping: -WE-ARE-

Alice Ronchi, Colazione sull'erba, 2014 - Courtesy of the artist and Francesca Minini

Alice Ronchi, Colazione sull’erba, 2014 – Courtesy of the artist and Francesca Minini


The French Drop

T-F-D units applied as measures in neo-futuristic architectures =
Dymaxion cars ALL around! highways streets suburbs thoughts and
domestic activities!

prototypes of rounded structures, innovative features revolving
dresser drawers into foreward thinking, words and shapes designed to
be delivered in cylindrical packages:
SAETTE sucked by circular concrete footing and pronounced as ZAETTEN


-WE-ARE-STARVING-FOR-LANGUAGE-AND-NEOLOGISMS

AWKWARD

Alice Ronchi, Turchino, 2014 - Courtesy of the artist

Alice Ronchi, Turchino, 2014 – Courtesy of the artist


Dialects are in control of our 12 dimensions: collegano gli estremi
delle nostre particelle verbali in scatole tipografiche immense! come
a dire: EYEBROWS!! there is a lot of mystery surrounding geometry, not
only: THERE IS A lot of mystery surrounding

“pure genius”: different time zones: the Caribbean and South America
are possibilities as well

But the most well-known speculations are standing: primary colours and
identities, the Mr N
mustache and the T-F-D global shaping. The perfect pois on the fur of
a dalmatian dog and the stripes of a zebra, wallnuts and nuts – the
metal ones not the “it nuts!” so-on and so-on -
Nature is not as geometrical as we are used to suppose, it’s more like
a 3d-scanned
banana-skin casted in gold, or the rectangular contour of blue-coated
forests re-shaped on shining yellow DO**ar bills.


- Satoshi??
- Pronto!
- Prontoooo!!!!

Dinner is ready!!

 

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