Showing posts with label picture post. Show all posts
Showing posts with label picture post. Show all posts

Sunday, 1 November 2020

Picture Post #59 Proscenium



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'


Posted by Martin Cohen

      

To me, this image has a theatrical quality, almost a grotesque aspect. Look at the man's hand, on his leg, like a dead thing… the awkward tilt of his head. And how thin and sickly the whole body, in this seedy room with the dirty backdrop. 

Yet, at the time, this was modernity, and sophistication. This image represented new technology: think 'Steve Jobs' and iPhones.

The photo was taken exactly 127 years ago, that man could be my great great grandfather, which is to say not so incredibly a remote relation. Yet something has changed, and a certain innocence has been lost even in our celebration of sophistication.

Oh, and why did I call this post ‘Proscenium’? I came across the term reading about the new, trendy visual presentations. It's a term describing the part of a theatre stage in front of the curtain.  The two figures are thus playing out a very ancient routine - that also points to a very different future.



Sunday, 31 May 2020

Picture Post 55: Making Assumptions



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Martin Cohen



A Twitter friend of mine posted this image with the comment: “Believe in your limitations”.

I wasn’t sure what to make of that, but he explained that he was being “quietly subversive” which I took to meaning gently mocking religious iconography. That aside, though, I think the image does illustrate something important about the way our minds process images. The traffic lights are not, in fact, the Buddha's eyes, yet the impression that they might be is so compelling that it makes us re-evaluate the Buddha himself.

I say ‘himself’, as Buddhas are traditionally male, indeed in some cultures being female is formally an inferior state and an obstacle to following the Buddhist philosophy. Of course, being male or female might not actually have any implications for the ability to transcend this world and reach ‘nirvana’ – yet for centuries such quick assumptions have prevailed.

Which brings me back to this image, because it illustrates nicely the way that we link things that in reality are completely unconnected, due to them fitting a strongly preconceived ‘pattern’. Such assumptions are not necessarily good or bad. But perhaps we should be on guard against them. Which maybe fits with my friend‘s cryptic comment after all.

Sunday, 5 April 2020

Picture Post #53 The Courage to Stand Alone



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl


Florence Airport, January 2020

How we perceive images depends on how much we ‘cut out’ of them, or ‘cut in’ to them. When things get isolated in an image, the reading we attribute to it, changes. Still, we may want to make a distinction between an image that has a so-called ‘life of its own’ and images that purely illustrate. What is the difference?

In these current weeks, in regard to the quarantine of the COVID-19 virus, we can clearly see that the interpretation of images depends on what our mind perpetuates. We read images in regard to a situation and laugh, cry, or skip intrepidly to the next one. They serve as a momentum to a specific state of mind.

The above image of the lonely girl with a suitcase at a big airport might illustrate many situations. If we would write COVID-19 below the photo, we would grasp it. Alike the slogan: stop child-abuse, or ‘we do not leave anyone behind’, serving as a slogan for an air company. The picture of the little girl is therefore adapting to our purposes.

If we see and understand solely what we want to see, do we mostly fail to see, or understand? Maybe, for pictures and videos whose purposes cannot be exchanged, are rare. With a vast cybernetic landscape to attain to, how come the illustrative production is so high, while images that take a life of their own seem to lack?

Then are we ourselves merely illustrative, rather than unique to situations?

Sunday, 5 January 2020

Picture Post #52 - The Township



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Thomas Scarborough

Hastily boarded-up window 
at New Rest, in South Africa's Eastern Cape
It is hard to know where to begin, describing the township here.

Many houses, the doors or windows have been taken. Including the neighbour's, twice. Severely damaged through crime, he put in reinforced concrete frames. It did no good. They made off with his ceiling, plumbing, and much of the plaster, too. Every second house, broken glass is replaced with broken boards, carpet tiles, plastic.

A resident came round yesterday. Someone tried to batter down his door, he said, when he was in bed. The door was ruined, but they didn't get in. He armed himself. Then a sergeant came round. If they found someone dead on his floor, he said, he would go straight to jail. My host sleeps with a loaded rifle next to his bed.

A few nights ago, criminals mounted a vast raid on a group of townships, including this one. I had two locks on my car damaged. A friend had a window smashed, too. The same day, in front of me, a man flew off a pickup truck which swerved recklessly to avoid potholes, and those are filled with water from broken pipes. He hit the tar at speed, and lay motionless in a storm gutter. I was the only one to help him, and was astonished that he could (slowly) get up, although he was bloodied all over.

Plastic waste tumbles down the hillsides, and recently carved ravines scar the earth. People are gaunt, their teeth are out, their clothes are ragged. Even the neighbour came begging for bread.

Sunday, 1 December 2019

Picture Post #51: Nobody Excluded



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.' 

Paris, October 2019.
Picture credit: Olivia Galisson

Posted by Tessa den Uyl

Activists draw attention to global ecological devastation in front of the fountain of Place du Châtelet. This monument was ordered by Napoleon in 1806, and built by the sculptor Boizet. It pays tribute to the victories achieved in battle, and reminds us of Napoleon’s decision to provide free drinking water to all Parisians.

Victories bring along statues, which serve historical commemoration -- though foremost, symbolically, they are built upon the idea of a future. A future that, seen from a once-upon-a-time perspective, might not have been that imaginable, as to how it would turn out.

The beginning of the world alike the end is not new to our imagination. But things have changed. We have interfered too much in the flux of ecology, for profit. We might think we are smart, but how smart we truly are will have to be proven. For neither rage nor love might provide a statue to remember.

This planet does not care about our extinction. Though we are this planet -- for without it, we simply wouldn’t be. This is not new to our imagination. More recent, instead, is the question whether our extinction is truly a problem, or do we make it a problem because we have created a mess? This time, what is foreseen is that nobody is excluded.

Sunday, 3 November 2019



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.' 

Posted by Jeremy Dyer *

This is a detail from a great work of art. Which one? Whose? We are expected to admire it, to marvel and to learn. 

What if I told you that it was a detail from one of Pollock's works? Would you then try to 'see' the elusive essence of it? On the other hand, what if I told you it was merely a photo from above the urinal in a late-night restaurant? Does that make it any more or less 'art'? 

If everything is art—the sacred mantrathen the reverse corollary must also be true. Nothing is art.


* Jeremy Dyer is an acclaimed Cape Town artist.

Sunday, 6 October 2019

Picture Post #49: Vision in a Suitcase



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.' 


Posted by Tessa Den Uyl

Florence, 2019


The Venus by Botticelli, the David by Michelangelo, the Thinker by Rodin, names which resonate, and celebrate moments in our history which are now in the lap of technology. With new materials and with lasers, these images, and thus the names, are copied and cast into gadgets which we can grasp quickly and transport (even) in hand luggage.

These persons had a vision. In this light it just seems odd to exploit ready-mades for commerce that are not urinals, thinking of Duchamp’s ‘Fountain’ and placing a non-art object in an art space.What happens in this shop window might be thought of as the reverse. The art (and its creator) are objects available to everyone. But nothing within these statues reminds us of a vision. They are vision-less, though apparently they remind us of something else.

Does this mean that, when we have merely heard about something, scraps of such something are enough to live through the original, with all its implications and compulsiveness, in which and for which the creation came into being?

Sunday, 4 August 2019

Picture Post #48: Philosophic Reflections on a Lunar View of Earth



Image Credit: NASA/JSC  This view taken  July 20, 1969,  from the Apollo 11 spacecraft shows the Earth rising above the moon's horizon. 

Posted by Keith Tidman

Half a century after the Apollo 11 astronauts stepped onto the heavily pockmarked moon, a quarter of a million miles away, much of the world has recently been savoring again the grandeur of the achievement. 

The feat symbolized humankind’s intrepid instincts. To venture into space as explorers once riskily did across Earth’s threatening oceans and landmasses. To satisfy a gnawing curiosity, placing footprints, as those astronauts did, onto unknown and little-known shores.

From this comparatively short distance, Earth still looks startlingly small and lonely — even humble, given its cloaking by the atmosphere. How might the image of our planet change, then, as cameras peel back even farther: from elsewhere in the Milky Way and well beyond? After all, distances in space eventually become light-years.

As Earth shrinks with distance, does the meaningfulness of our planet and its inhabitants shrink in parallel, in the vast cosmic backdrop? Or do, say, the ‘volume and mass’ of what fundamentally matters about us rebelliously remain the same, no matter Earth’s size in the surrounding expanse? 

A rebelliousness that, one might submit, emerges from a web of human ‘consciousness’ that stretches around the planet — the collective synapses of seven billion people ceaselessly firing: the churn of dreams, imaginings, creations.

The seeming peacefulness here is just that: ‘seeming’. The pacific panorama masks the authentic nature of Earth: roiling with both natural and human activity. The phantom tranquility conceals one particular instinctual human behaviour: successive wars filling millennia of history. One has to wonder what in the human genome leads mankind to war to remedy differences and quench hegemonic cravings.

As we gaze, from moon’s vantage point, upon the orb of Earth, with its thin coating of air and water, we are starkly reminded of how vulnerably brittle the Earth’s environment is. And the responsibility humanity has as active guardians, to nurture the planet as the planet symbiotically nurtures us. Critical to the survival of our species.

What happens if we poison or exhaust the planet? Or will nature itself, being perhaps indifferent to humanity and coolly subjecting us to its whim, thereby render the planet uninhabitable, leading to another major extinction event? Are we only renters, not owners? Has the lunar walk deceived us into thinking we can leave Earth behind and inhabit somewhere else? Is that humanity’s imperative?

Is there a solemnity about the rearward-looking scene of a distanced Earth — an evocation of awe, prompting reflection? Is there ‘an aloneness’, too? The silence of space contrasts with the known cacophony of Earth, the latter a buzzing hive of devices that magnify our voices and boisterously shout our presence. Will that cacophony continue or ultimately end?

Anyone whose culture might have included the pre-digital-age children’s game of marbles might nostalgically recognise, from this lunar distance, the surface appearance of Earth, with the gauzy, seemingly chaotic swirling patterns on Earth’s surface. Our mind’s eye might give recognisable form to those patterns.

Future generations will grasp, better than us, how this one step on another cosmic body, however craggy and nearby it is, served to spur far more ambitious tours through space, whether by human beings or sophisticated thinking apparatuses — to face down the harsh environment of space as we  scratch our exploratory itch.

PP #48: Philosophic Reflections on a Lunar View of Earth



This view taken  July 20, 1969,  from the Apollo 11 spacecraft shows the Earth rising
above the moon's horizon. (Image credit: NASA/JSC)

Posted by Keith Tidman

Half a century after the Apollo 11 astronauts stepped onto the heavily pockmarked moon, a quarter of a million miles away, much of the world has recently been savoring again the grandeur of the achievement. Reaffirmation of the ‘giant leap for mankind’ legendarily beamed back to Earth, and the ambitious revisualisation of our space-based destiny and vistas.

The feat symbolised humankind’s intrepid instincts. To venture into space, as Earth-bound explorers once riskily did across threatening oceans and landmasses. To satisfy a gnawing curiosity, placing footprints, as these resilient astronauts did, onto unknown and little-known shores. And in the doing, be in awe of the oneness and most-fundamental architecture of humanity — the very nature of our being.

From this comparatively short distance, Earth still looks startlingly small and lonely — even humble, given its cloaking by the atmosphere. Yet, humankind might discover it isn’t alone; the cosmos brims with habitable planets. In that endeavour, how might the image of our planet change, then, as cameras peel back even farther: from elsewhere in the Milky Way and well beyond? As distances in space turn into light-years.

As Earth shrinks with distance, does the meaningfulness of our planet and its inhabitants shrink in parallel, in the vast cosmic backdrop, contesting humankind’s immodestly self-styled honorific of ‘exceptional’? Does our reality change? Or do, say, the ‘volume and mass’ of what fundamentally matters about us — our purpose — rebelliously remain unaffected, defining our place in the larger scheme, no matter Earth’s size in the surrounding cold expanse? 

A rebelliousness that, one might submit, emerges from a web of human ‘consciousness’ that stretches around the planet — the neurons and synapses (connectomes) of seven-and-a-half billion people ceaselessly firing: the stuff of dreams, imaginings, creations. Integral, perhaps, to a larger cosmic consciousness: and again, the stuff of dreams, imaginings, creations.

The seeming peacefulness in the image at top is just that: ‘seeming’. The pacific panorama masks the true nature of Earth: roiling with both natural and human activity. The phantom tranquility conceals one of our instinctual human behaviours: successive wars filling millennia of history. One wonders what idiosyncratically in the human genome leads mankind to war to remedy differences and trifling grievances, as well as quench hegemonic cravings. All the while paradoxically juxtaposed with the astounding complexities of humankind’s diverse civilisations and cultures.

As we gaze, from moon’s vantage point, upon the orb of Earth, with its thin coating of air and water, we are reminded of how vulnerably brittle the Earth’s environment is. Especially at the environment’s intersections with not-uncommonly remorseless technology. Existential risks abound. We’re reminded of the responsibility humanity has as active (proactive) guardians, to nurture the planet as the planet symbiotically nurtures us. Critical, we might agree, to the survival and continued evolution of our species.

What happens if we misguidedly, even disinterestedly, poison or exhaust the planet, as it hangs precariously in space? Or might nature, perhaps indifferent to humanity and coolly subjecting us to its whim, itself render the planet uninhabitable — leading to another major extinction event? Are we only renters, not owners? Did the lunar visit introduce a new imperative: to leave Earth behind and inhabit somewhere else?

Is there a solemnity about the rearward-looking scene of a distanced Earth — an awe that prompts reflection? A scene made all the more evocative by our believing that Earth is immersed in a sort of cosmic sea — of dark matter, dark energy, quantum fluctuations, and more. Is there the perception of ‘aloneness’, too, our seemingly distanced from everyone and everything else in that cosmic sea? The silence of the gaping, inky space contrasts with the cacophony of Earth, the latter a hive of devices that magnify our voices and echo our presence. Will that cacophony continue, or ultimately go silent?

In that presence, we marvel that humankind, dwelling on the comparatively tiny planet seen from the lunar perspective, nevertheless has the cognitive wherewithal to ponder and increasingly understand the cosmology of the whole universe: its beginning, its evolution, its current circumstances, its future. A study in the making, propelled by an irresistible impulse to know.

Anyone whose culture might have included the pre-digital-age children’s game of marbles may nostalgically recognise, from this lunar distance, the surface appearance of Earth, with its gauzy, chaotically swirling patterns. We admire its familiarly abstract beauty. All the while suspecting that there’s order interweaving the deception of chaos. Surrounding this marble-like Earth is a bewildering stillness and blackness — a blackness majestically interrupted, however, by galaxies and stunning phenomena like the Pillars of Creation.

Future generations will grasp, better than us, how this one step on another cosmic body, however craggy and nearby the moon is, served to spur far more ambitious tours through space, whether by human beings or sophisticated thinking apparatuses — to face down the harsh environment of space as we inexorably scratch our exploratory itch.

Sunday, 5 May 2019

Picture Post #46 A Machine to Peek Into the Universe’s Core



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Keith Tidman 

The Large Hadron Collider, siad to be the most complex machine ever built by humanity.
Image courtesy of CERN
tale of scale.  The CERN Large Hadron Collider, a Brobdingnagian* machine searching through the Lilliputian world of subatomic particles. This, we are told, to better understand the universe at the smallest scale. The human mind is challenged to take in the machine’s ‘cathedral’ dimensions. I think that the aim of this cathedral, however, is more than just inspiring awe, or reverence, or faith.

Rather, for me this towering monument — testament to human tool-making — has a very different purpose: to pull back the shroud so that humanity can peek into the remarkable inner world of our cosmos, and what it tells us about aspects of reality. Case in point: the confirmation of the Higgs boson a few years ago, whose field gives other particles their mass — ‘convenient’ for a universe like ours, including us.

There’s the hard-core science to all this, to be sure, with international collaboration at its best. But just like more-conventional, faith-based cathedrals, doesn’t this image also inspire humanity to speculate about the cosmology and meaning of this universe that we occupy, our own purpose, and the values we ought to revere? Doesn’t it serve and reward humanity’s instinctual sense of curiosity, imagination, and inspiration — the fertile seedbed of human discovery?



* After the fictional land in Jonathan Swift's 1726 satirical novel Gulliver's Travels occupied by giants

Sunday, 3 March 2019

Picture Post 44: The Lifeboats



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Martin Cohen

      
‘Life Is a Shipwreck, But We Must Not Forget To Sing in the Lifeboats’.

It’s a great thought, and can be found on the internet attributed to Voltaire, but it doesn’t sound quite like the great French philosopher, and indeed Garson O’Toole is probably right to point at a later book editor commenting on the world view behind Voltaire’s bitterly witty story, Candide.

Here in these images surely, the passengers do not sing, but seem instead curiously withdrawn, as if trying to shut their eyes to an awful sight. And indeed that might be just what they were doing, as these plucky little lifeboats were chugging away from a Titanic, sinking and still packed with thousands of desperate passengers. Second and Third Class ones, that is. For the real scandal of the Titanic was not that it sank, not even that its Captain was so dilatory in asking for assistance (or the boats around in offering any) but that the social conventions of the era implied that most of the lifeboats were for First Class passengers only, with no mixing. Though to be sure, the small number of officers and  richer passengers left on the boat did mix with the other passangers later... in the cold grey waters of the Atlantic.

Facts-wise, then, the fact is that the first six lifeboats were at less than one third loaded capacity, and the passengers were only First Class passengers or… Ship’s Officers. Six underloaded boats like the ones in the picture, which had a capacity for 40 persons meant 150 passangers drowned to defend the niceties  of wealth.

That said, Captain Edward Smith was on the bridge at 2.13am, seven minutes before the Titanic disappeared beneath the waves, and went down with the ship.



Read more…

http://www.icyousee.org/titanic.html#life

Sunday, 3 February 2019

Picture Post #43: The Signpost



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Thomas Scarborough

    


A signpost on a public road in South Africa’s remote Suurveld. What stood out for me immediately was the letter ‘O’. The signmaker, a long time ago, clearly made a better job of the ‘O’s than the other letters. Some day, I thought, one may make out little more than the ‘O’s.

Great men and women of the past left our civilisation with vital signposts: the rule of law, universal suffrage, equal rights, and more. Some of their signposts are no longer clearly seen, nor are the reasons why they put them there. How well are our signposts made today, for tomorrow?
 


Picture Post #43: The Signpost



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Thomas Scarborough

    


A  signpost on a public road in South Africa’s remote Suurveld. What stood out for me immediately was the letter ‘O’. The signmaker, a long time ago, clearly made a better job of the ‘O’s than the other letters. Some day, I thought, one may make out little more than the ‘O’s.

Great men and women of the past left our civilisation with vital signposts: the rule of law, universal suffrage, equal rights, and more. Some of their signposts are no longer clearly seen, nor are the reasons why they put them there. How well are our signposts made today, for tomorrow?



Sunday, 6 January 2019

Picture Post #42: Space in a Nutshell



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl

Picture credit:  A Mundzuku Ka Hina, communication workshop, Maputo, Mozambique
   
Things might look a bit disorientating in this picture. Who’s going where? All move and get blocked. To unblock, one needs movement. 


But where does movement occur? When there is space. And is the suggestion of space not primarily evoked by the idea of chaos? 




Back to the picture above. All were moving to a point that ultimately leads into an impasse. ‘The road’ no longer exists, so to speak. 
Symbolically, this image reflects the Taoist notion that the essence of life consists in never stopping the flow, for no point will ever reward us.




Then perhaps chaos is chaotic only by a misconception about space?


Sunday, 2 December 2018

Picture Post 41: Playing with Shadows











'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Martin Cohen


Sabine Weiss  Chairs, Paris, 1952

I like this simple image, to me a trompe l’oeil, or trick on the eye, although literally the phrase refers to things like those doorways to imaginary gardens painted on walls.

I managed to find out a little about the photographer in this case. Sabine Weiss, born in 1924 in Switzerland and still alive, living there although since 1995 a French citizen, is described as a representative of the ‘French Humanist photography movement’ — which showcases ‘Les villes, la rue, l'autre.’

Ah, ‘the other’... The French do seem to always return to that theme.For these two iron frame chairs, ‘the other’ certainly lurks just behind them changing their sense and indeed ‘presence’.

The French Humanist photographers claim to document their surroundings through an unbiased and non-critical lens. A guide for one exhibiton explains that she is praised for making ‘full of light, making play with shadows and blurred areas’ and, above all, for her ‘reconciliation with reality’.

I suppose a photographer should do that.

Sunday, 30 September 2018

Picture Post #38 What Happened Next to the White Rabbit



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

A shop window in Paris, captured en passant by Tessa den Uyl
      
This cozy scene reminiscient of Lewis Carroll's imaginary ‘wonderland’, is in fact, something rather more grim.

No surprise would fall upon us to discover a boar’s head hanging on the wall in a hunter’s lodge. But most often today, to encounter embalmed animals in non-rural houses reminds of gestures of excess that echo as non-virtuous.

This shop window in the centre of Paris offers a sitting room full of real dead animals. Yet perhaps it is not the embalmed animals that particularly draw the attention here, but rather the way that they are displayed with more or less anthropomorphic features.

The White Rabbit, in Lewis Carroll's famous story, Alice in Wonderland, occupies a particular role: he appears at the very beginning of the book, in chapter one, wearing a waistcoat, carrying a pocket watch, and in a great hurry muttering ‘Oh dear! Oh dear! I shall be too late!’ And Alice encounters him again at a stressful moment in the adventure when she finds herself trapped in his house after growing too large.

Most emblematic of all though, the Rabbit  reappears as a servant of the King and Queen of Hearts in the closing chapters of the book, reading out bizarre verses as ‘evidence' against Alice. In this scene, the stuffed white rabbit, too, seems to have a prosecutorial air, rather as though the animal is a judge surrounded by courtroom flunkeys.

In Alice’s case, the White Rabbit’s case for the prosecution is so convincing that the Queen of Hearts immediately announces ‘Off with her head!’ at which point, mercifully, Alice wakes up. In this real-life shop, too, a similar return to earth is marked by a neatly framed message held by the only fake animal in the shop.  It notifies the observer that all the animals have died naturally in zoos or zoological parks. Potential clients can presumably put their consciences to ease.

Aristotle mentioned that art is a representation of life, of character, of emotion and actions, and in contemporary art, animals in formaldehyde are exhibited in famous museums for world-scaring prizes. So why not admire a similar thing by looking into this shop window? Yet there is a repulsion.

Is it a reduction of the animal - or is it rather the excess - the building up of animals into fine decor for homes? Or is the display less commercial than in itself an artistic exploration? Or is it more a philosophical challenge, something to do with Aristotle’s notion that we seek to discover the universal hidden in a world of the everyday and particular?


Sunday, 5 August 2018

To Be is to Inherit












'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'



Posted by Tessa den Uyl and Martin Cohen


Picture credit: Harry Rutter

Words, by repeating their connotation, their application seems to follow rather rigid schemes, hence we might even think that, after all, words work. Authority depends on making words effective. Don’t move! Stop! Words that are not only verbal but follow a series of physical gestures as well, that we should understand, not question.

Now let us enter this door in the picture above. After all, there is written welcome. If there would be a person behind that door we would be told we are not allowed to be there. “Have you not read there is written No Entry?” Well no, we focused on the welcome, and would a welcome not be open to all?

This is not how it works, and we do understand this. Even when the combination of more words clearly carries along a form of incongruous meanings, most often the no rejects the yes.   

Being human is to be ambivalent by nature. We cannot avoid contradictions within our own selves, a plural reading of meaning, of relations. But somehow we have learned that property is connected to prohibition. Exclusion is our logic. Hence this is why, in our language, a welcome can be offered to some but not to all?

Sunday, 1 July 2018

PP #37 A Celebration of Brashness!



'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

A postcard presentation of Times Square
      
Times Square, New York.
‘The soft rush of taxis by him, and laughter, laughters hoarse as a crow’s, incessant and loud, with the rumble of the subways underneath - and over all, the revolutions of light, the growings and recedings of light - light dividing like pearls - forming and reforming in glittering bars and circles and monstrous grotesque figures cut amazingly on the sky.’
During the so-called Jazz Age, that is the optimistic time after ‘the Great War’ and before the Depression, the rise of Nazism and the Second World War, F. Scott Fitzgerald’s metaphor in his book The Beautiful and Damned, reflects so well the human despair combined with hope.

Acts of freedom and expression intertwine to be heard and noticed, to forget and to distract, to employ, and to  hope... In those days, Times Square must have appeared promising, like a colourful stamp on the continent. But what did its message say?

Ideas about segregation and freedom brought ‘silent’ new horizons and made former distinctions tremble. With all there was to come, in those years of the Roaring Twenties, all the layers that combine to make a society were looking for ‘a voice’ and the call echoed, near and far. 
 
People rather grandly called Times Square the ‘crossroads of the world’ and in those days, that might have well been so. And today, on the edge of the square, the NASDAQ controls a good slice of the world’s wealth and the New York Times does likewise for the world's news. 
 
Yet it is after dark, after the office day has finished, that the square really comes alive. Doubtful is whether that liveliness today, is filled with the same complexity and struggle, or with that necessity literally and symbolically to survive. While it once stimulated a proper voice, ‘light dividing like pearls’, now Times Sqaure embraces more of a homogenisation and offers monstrous grotesque figures cut amazingly out of the sky.


Monday, 4 June 2018

Picture Post #36 A postcard from Taroudant









'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'


Posted by Tessa den Uyl and Martin Cohen

A postcard from Taroudant, Maroc

One piece of advice offered is to lower the gaze, to not allow it to dwell, as if the eye serves distraction.

The woman seated in front of the painting is possibly homeless. Her posture dissolves with the two figures on the wall, characterised by their carved-out eyes, and urge us to imagine where this woman can put her gaze.

Eyes and hearts, their combination invites a myriad of symbolic attributions. One of them is that a woman with her eyes can reach the man in his heart. The carved-out eyes suggest that women, even when veiled, still look (and distract), which they should not... Or is the image saying something quite different, that the time for women to be veiled is consigned to history and that these days we can 'forget about the eyes’?

An eye is connected with light, and light with reflection. The ‘seduction’ begins with the question of where the reflection should pose its attention.

Sunday, 1 April 2018

Picture Post #34: An Omission in Addition









'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'


Posted by Tessa den Uyl and Martin Cohen


Havana, Cuba 2018    Picture credit: Patrizia Ducci

As your eye enters this image, it moves between characters, names and signs that we recognise and do not recognise. We have some knowledge of some but not of others, and so, along our limited acknowledgment we move forth, leaping over the unknown parts.

Above a closed entrance on a building, seemingly in disuse, is written the word ‘circus’. Kirkos or krikos in ancient Greek, meaning something curved, something that is happening all around. In Latin, circus means circle. The idea of ‘something’ happening in a circle is whispered to us by the letters of   an alphabet that we happen to read.

What of the two portraits painted? One on each side of the entrance. They seem to enhance the bricks that should keep the outside from the inside. Yet these depictions do not seem to deal with whatever was the forgotten function of the building - if the word circus has, or once had, anything to do with the building at all.

Visible is a form of what is called decay, a melancholic deterioration that somehow relates the images and characters to ‘their’ past. And when a stranger sprouts in their midst, he does not seem to belong  with either the portraits or the building, far less with a circus.

And yet, the presence of the stranger completes this image in which past time is always present time. In this way, the stranger hands us the possibility of revisiting what we think to recognise, what we think we know, and rediscover it as more mysterious.





Recent Comments