Calder/Miró

Calder Miro calder_miro

My old Sandy, this burly man with the
soul of a nightingale who blows on mobiles
this nightingale who makes his nest
in his mobiles
these mobiles scraping the bark
of the orange-coloured
sphere
where my great friend Sandy lives

Poem written by Miró for their 1961 exhibition “Miró-Calder” at Perls Gallery in New York

Miro by Calder

Portrait of Miro by Calder

Alexander Calder and Joan Miró first met in 1928 when the American artist visited Miró’s studio in Paris. Since then they maintained a deep and mutually inspiring friendship lasting almost 50 years during which they exchanged ideas, letters, paintings and gifts and collaborated on numerous exhibitions. There is a remarkable similarity in their creative sensibility. They were both heavily influenced by the surrealist movement, taking their inspiration from the unconscious, and applied heavy symbolism in their abstractions. They also shared a thematic interest in the circus and astrology.

Alexander Calder, Mobile au plomb Joan+Miro+-+The+Birth+of+the+World+
Calder’s mobiles have been been described as “living Miró abstractions” (Genauer, Emily, New York World-Telegram, 15 February 1936)

Joan Miro - Circus 1934

Circus. Joan Miró. 1934

calder-alexander-sandy-1898-19-1-circus-rider-

Circus Rider. Alexander Calder

Constellations by Miro

Constellations by Miro

Calder constellation 2

Constellation by Calder

the-flight-of-the-dragonfly-in-front-of-the-sun MIRO

The Flight of the Dragonfly in Front of the Sun. Joan Miro

Calder

Painting by Calder

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Geometry

Ojeikere

Untitled. J.D. ‘Okhai Ojeikere. 2004.

direcciones Enio Iommi 1945

Direcciones. Enio Iommi. 1945.

popova_constcomposition (1)

Constructivist Composition. Lyubov Popova. 1921.


Build Your Own Body

hanna holch Jean Arp Torso  Guy-Bourdin-English-16

1. Hanna Holch

2. Torso by Jean Arp

3. Guy Bourdin


In the Jungle

Cat in the Jungle. Gabriel Orozco. 1992

Cat in the Jungle. Gabriel Orozco. 1992

Gas Station. David LaChapelle. 2012

Gas Station. David LaChapelle. 2012

Lago Tarsila do Amaral

Lago. Tarsila do Amaral

Forest. Jean Hans Arp

Forest. Jean (Hans) Arp

Liam+Stevens+Amazon+3

Amazon. Liam Stevens.

Monica Ramos

Monica Ramos

Self Portraits

Kat in the Jungle. Kathleen Tompsett. 2014


Toilet

by Hugo Williams

I wonder will I speak to the girl
sitting opposite me on this train.
I wonder will my mouth open and say,
‘Are you going all the way
to Newcastle?’ or ‘Can I get you a coffee?’
Or will it simply go ‘aaaaah’
as if it had a mind of its own?

Half closing eggshell blue eyes,
she runs her hand through her hair
so that it clings to the carriage cloth,
then slowly frees itself.
She finds a brush and her long fair hair
flies back and forth like an African fly-whisk,
making me feel dizzy.

Suddenly, without warning,
she packs it all away in a rubber band
because I have forgotten to look out
the window for a moment.
A coffee is granted permission
to pass between her lips
and does so eagerly, without fuss.

A tunnel finds us looking out the window
into one another’s eyes. She leaves her seat,
but I know that she likes me
because the light saying ‘TOILET’
has come on, a sign that she is lifting
her skirt, taking down her pants
and peeing all over my face.

The Old In Out. Sarah Lucas. 1998

The Old In Out. Sarah Lucas. 1998


Exploring the Surreal

Need some help getting to grips with Surrealism? The Doctor will see you now.

Peter Capaldi, a former art student, and the latest actor to play Doctor Who, settles down on Freud’s couch to deliver his wry take on the Surrealist movement.

‘Unlock Art’ is Tate’s new short film series, offering a witty inside track on the world of art.  Doctor Who actor Peter Capaldi joins forces with rock duo The Kills, comedian Frank Skinner, Girls star Jemima Kirke and other celebrity art fans to introduce some of the big ideas that have shaped art history. A new film is released each month, with topics ranging from the history of the nude and the nature of the art market, to Pop art.

Thanks to Tate, Unlock Series


Value

Cildo Meireles

‘I like dealing with paradigmatic things’, Cildo Meireles has said, ‘material things that are recognized by the public in their everyday lives, things that are at the same time matter and symbol. Money, for example.’ From the blatant exhibition, on a pedestal, of a wad of banknotes secured with rubber bands, Money Tree 1969, to the gold thread and gold nails inserted, respectively, into a great mass of straw in Fio (Thread) 1990–5 and plain wooden crates in Ouro e Paus (Gold and Wood) 1982–95, the conundrums of value have continued to fascinate Meireles. Money Tree ‘points towards the problem of the value of the art object and the discrepancy between use-value and exchange-value’. It consists of 100 one-Cruzeiro notes and was offered for sale for twenty times that amount. One wonders what it would fetch today; in inflationary Brazil at the time it was made, Meireles joked, money was the cheapest material. Much later, for Occasion 2004, the artist contrived a scenario in which the public would be faced by money in the most direct way. This ensured that our attention would be drawn away from speculative thoughts about the art object, and back to ourselves. We encountered a small, elegant, open receptacle containing new banknotes in the centre of a brightly lit room lined with three big mirrors on three of the walls,producing endless recession images. One of the mirrors was two-way. Viewers reacted in various different ways to the presence of the naked cash, and then, leaving the room and looking back through the two-way mirror, saw other people where they themselves had been a moment before, becoming voyeurs. As a last clandestine fling, Meireles became an ironic counterfeiter, printing a large number of bills – Zero Cruzeiro 1974 and Zero Dollar 1978– the latter with the help of the designer/engraver João Bosco Renaud. Reducing official value to zero, the subversive Cruzeiro notes are embellished with the portraits, not of some illustrious figure of the Brazilian pantheon, but of two individuals effectively excluded fromBrazilian society, whose civil rights are minimal: a Kraô Indian on one face and the inmate of a mental asylum on the other (Meireles knew both these men).

Cildo Meireles: On the nature of things by Guy Brett and Vicente Todolí. Click to read more

Money Tree

Money Tree

Zero Cruzeiro

Zero Cruzeiro

Occasion

Occasion

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