Chrono-déclarations

les professeurs espagnols

il n’y a que des imbéciles et des professeurs espagnols qui puissent s’intéresser aux dates


Hans Jean Arp, “Déclaration”, Dada: recueil littéraire et artistique: Dada In Tirol Au grand air Der Sängerkrieg, 1921

charta [ˈxarta]

Erechtheion or Erechtheum
([/ɪˈrɛkθiəm, ˌɛrɪkˈθəm/];
Modern Greek: Ερέχθειο; Ancient Greek: Ἐρέχθειον )
Sounion or Cape Sounion
([/sǒː.ni.on/, /ˈsu.ni.on/, akroˈtirʝo ˈsuɲo];
Modern Greek: Ακρωτήρι Σούνιο Akrotírio Soúnio, Σούνιο Soúnio; Ancient Greek: Ἄκρον Σούνιον Άkron Soúnion; Latin: Sunium; Venetian: Capo Colonne)
Eleusis
([/eˈleu̯.sis/, ɛˈɫeu̯.sɪs];
Modern Greek: Ελευσίνα Elefsína; Ancient Greek: Ἐλευσίς Eleusis)

Cornell University Librbary 01 Andrew Dickson White Architectural Photographs Collection, Division of Rare and Manuscript Collections, Cornell University Library

Acropolis Restoration Service (YSMA) 01Acropolis Restoration Service (YSMA), Hellenic Ministry of Culture and Sports


Sigfried Giedion Temple of Poseidon Cape Sounion August 1933 photograph (gta Archives ETH Zürich Sigfried Giedion)Sigfried Giedion, Temple of Poseidon, Cape Sounion, August 1933 (gta Archives/ ETH Zürich)

SounionTemple of Poseidon, Cape Sounion


In Splendor (Gradivo)

In Splendor (Gradivo), 2018

lores insplendor overview red double

 


Gradiva

‘Les surréalistes ont été fascinés par les jeunes femmes criminelles. Par l’anarchiste Germaine Berton qui avait révolvérisé un rédacteur de L’Action française. Par Violette Nozières qui avait empoisonné père et mère, un père qui l’aurait violée quand elle avait douze ans. Par les deux sœurs Papin, qui massacrèrent leurs deux patronnes, leur arrachant les yeux, leur écrasant la tête.
[Ici] le portrait de trois femmes sans lesquelles l’histoire et l’imaginaire du groupe surréaliste n’auraient pas été ce qu’ils furent.
Deux de ces femmes relèvent de l’imaginaire :
l’actrice Musidora, qui ne se prive pas de conduire des actions criminelles dans le film Les Vampires,
le personnage de roman Gradiva que les commentaires de Freud ont rendu célèbre.
La troisième femme est réelle, trop réelle, et se nomme Nadja ou plutôt Léona Delcourt.’

-La femme et le surréalisme, Philosophie et surréalisme par Georges Sebbag

image

Reproduction of the Gradiva which hung next to Freud’s Couch. Photo by Edmund Engelman, 1938

Marcel Duchamp designed a glass door for André Breton’s gallery ‘Gradiva’.
André Breton writes: ‘You entered the store through a glass door that had been designed and executed by Marcel Duchamp, whose opening silhouetted, as their shadows might, a rather large man and a noticeably smaller and very slim woman, standing side by side.’

image
André Breton et Marcel Duchamp devant la galerie Gradiva, 31 rue de Seine à Paris, en 1937


On view: ‘Garden Variations: From outside to inside and vice versa’
At The Symptom Projects //// On 15/09/2018 – 30/09/2018 //// Curated: Nikos Papadopoulos and Faye Zika //// Artists: Ianthi Aggelioglou, Alexandros Alekidis, Petros Batsiaris, Lizzie Calligas, Panos Charalambous, Prodromos Charalampidis, Martha Dimitropoulou, Espantapajaros project, Penny Gkeka, George Gyparakis, Evi Kalogiropoulou, Christos Kalogiros, Xanthi Kostorrizou, Anna Lascari, Andreas Lyberatos, Despina Meimaroglou, Maro Michalakakos, Vasilis Pafilis, Tereza Papamichali, Rena Papaspyrou, Katerina Papazisi, George Skylogiannis, Fani Sofologi, Efi Spyrou, Yannis Theodoropoulos, Artemis Vasilopoulou, Theodoros Zafeiropoulos


Social Condenser

‘Central to the idea of the social condenser is the premise that architecture has the ability to influence social behavior. The intention of the social condenser was to influence the design of public spaces, with a goal of breaking down perceived social hierarchies in an effort to create socially equitable spaces.’ from Wikipedia

Social Condenser -Alexander DeynekaАлександр Дейнека “В Районном Клубе” ///// Alexander Deyneka “At the local club”

‘In 1927, the editors of the leading Constructivist journal, Contemporary Architecture [Журнал Современная Архитектура], sketched out a radical architectural concept intended to foster a social revolution.
Led by Moisei Ginzburg, the editors declared that it was the duty of the Soviet architect to develop the ‘social condensers of our epoch’.
A ‘social condenser’, they explained, was architecture that ‘shaped and crystallised a new socialist way of life’.
Be it in the form of communal housing, public kitchens, workers’ clubs, administrative buildings, factories or parks, they insisted the social condenser should cultivate a new code of behaviours, norms and habits that would elevate human consciousness and secure the advancement of humanity, through the as yet unrealised potential of socialist organisation.
This was a daring vision based on the imagined virtues of greater human interaction and cooperation.’

from The Architectural Review

Tatry | Tatra mountains

Mieczysław Szczuka (1898 – 1927) was a Polish avant-garde artist, constructivist and productivist. In 1924 co-founds the artistic group ‘Blok’ (Blok Group of Cubists, Constructivists and Suprematists) with Henryk Stażewski, Władysław Strzemiński, Teresa Żarnowerówna among others and they publish the ‘Blok’ magazine. Mieczysław Szczuka was interested in the social functions of art and the utilitarianist ideas deriving from Constructivism, rather that formalism and the aesthetic experience. In 1927 he begins to publish the ‘Dźwignia’ magazine which is supported by the Polish Communist Party.

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WSM

Warsaw Housing Cooperative (WSM)

Warsaw Housing Cooperative was established in 1921, and by 1925 the first colony was built in Żoliborz district.

WSM