'scrap_art'에 해당되는 글 19건

  1. 2009/05/05 나무가 되는 법
  2. 2008/10/19 Get out of my room
  3. 2008/08/07 Black Sun -Sue de beer
  4. 2008/08/07 Chen Shaoxiong: Third Street, 2001
  5. 2008/08/03 Tim Lee
  6. 2008/08/03 Terence Koh "Gone, yet still"
  7. 2007/09/13 Glocolisation, genealogies
  8. 2007/09/03 I was the mother inside the mother
  9. 2007/08/31 10th International Istanbul Biennial announces the list of exhibitions and artists
  10. 2007/08/28 On a Movie Set, Using Stand-Ins for Actors and Director

나무가 되는 법

scrap_art 2009/05/05 02:40

나무가 되는 법.

신체를 단련하여 전신이 근육질이 되게끔 한다.
마당, 산, 평야 등 어느 곳이나 흙이 있고 양지 바른 곳을 찾아 자리를 정한다.
이 책에서는 가능한 한 고향으로 가는 것을 권하고 싶지만, 경우에 따라서는 어느 곳이든지 가능하고 심지어는 큰 화분을 이용하는 것도 무방하다.
발을 흙에 묻고 팔을 쳐들어 일정한 자세를 취하되 그 자세는 자신의 성격, 평소 생활 자세등을 반영하는 것이 좋다. 이를테면, 곧거나, 굽었거나, 비틀린 자신의 성격을 반영하거나, 또는 평소에 직업상, 습관상 많이 취하던 자세를 응용할 수도 있다.
그 자세로 움직이지 않고 눈을 감은 채 어떠한 말도 생각도 하지 않는다.
사전에 남에게 발치에 물을 부어 달라고 부탁하지 않되, 누군가 발치에 물을 부어주면 막연히 행복해한다. 그러나, 그 사람을 기억하지 않는다.
피로와 고통에 대해서도 생각지 않는다.
생명을 유지하기 위해 밤이 되면 다시 사람이 되어 음식물을 섭취한다.
나무로서의 자신에 가능한 한 빨리 익숙해지도록 노력하고, 음식물 섭취하는 시간을 줄요간다.


<변신술> 중에서. 김범.


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Get out of my room

scrap_art 2008/10/19 00:17
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Andro Wekua
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Black Sun -Sue de beer

scrap_art 2008/08/07 05:25
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"..an insistence without presence, a light without representation: the Thing is an imagined sun, bright and black at the same time. It is a well-known fact that one never sees the sun in a dream, although one is often aware of some far brighter light."

- Julia Kristeva Black Sun: Depression and Melancholia

http://www.suedebeer.com/index.html
작가 홈페이지.

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Chen Shaoxiong: Third Street, 2001

scrap_art 2008/08/07 05:11
Chen Shaoxiong: Third Street, 2001
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http://www.universes-in-universe.de/asia/living-in-time/11/english.htm
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Tim Lee

scrap_art 2008/08/03 23:31
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http://manja.org/t/events/2008/70.jpg&w=500
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Terence Koh "Gone, yet still"

scrap_art 2008/08/03 17:56

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http://wien.art49.com/art49/art49wien.nsf/0/C4A039F8DBA4CDA1C125704B005616A2?OpenDocument&lang=EN
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Glocolisation, genealogies

scrap_art 2007/09/13 17:00
we should constantly be seeking to demonstrate that the "genealogies" of modern art in different regions of the world,

<Glocolisation, art Exhibitions and the Balkans>, Zoran Eric
,<Third text> Volume 21, 85
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I was the mother inside the mother

scrap_art 2007/09/03 00:37
"나는 어머니 안에 있는 어머니다. (I was the mother inside the mother)"
Niki de Saint-Phalle, 1930.10.29 ~ 2002.5.21
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10th International Istanbul Biennial announces the list of exhibitions and artists

scrap_art 2007/08/31 07:51
10th International Istanbul Biennial announces the list of exhibitions and artists

The 10th International Istanbul Biennial will not be a conventional thematic exhibition, rather; it will emphasise artistic production based on collective intelligence and the living process of negotiating with physical sites. The Biennial will focus on urban issues and architectural reality as a means of exposing different cultural contexts and artistic visions regarding the complex and diverse forms of modernity.

More than 100 artists and artist groups from 35 different countries will exhibit more than 150 projects throughout the 10th International Istanbul Biennial.

10th International Istanbul Biennial will explore the venues through titles implying the venues' role in Istanbul's political, economic and social aspects of its modernisation process.

http://www.iksv.org/bienal/english/

more..

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On a Movie Set, Using Stand-Ins for Actors and Director

scrap_art/scrap_film 2007/08/28 16:10
On a Movie Set, Using Stand-Ins for Actors and Director

Thanks to movies like "36 Fillette," "Romance" and "Fat Girl," Catherine Breillat has acquired a reputation for both fearlessness and perversity. Her two most recent movies, "Anatomy of Hell" and "Sex Is Comedy," arriving in New York theaters within a week of each other, will no doubt extend that reputation, though in different ways. The newer movie, "Anatomy of Hell," which opened last Friday, takes her fascination with female sexuality to a new extreme of literal-minded explicitness. "Sex Is Comedy," which was completed in 2002 and which opens at Film Forum in Manhattan today, is much less graphic than "Anatomy," and it is probably Ms. Breillat's most restrained and self-critical film. There is less nudity and less on-screen sex than in her previous movies, but a good deal more self-exposure.

Rather than delve into the clinical details of sexual desire and behavior, Ms. Breillat reflects on what it means for a filmmaker to conduct such an inquiry and to use other people's bodies in the service of her own will. The result is a minor, meandering film that shows a family resemblance both to François Truffaut's peerless "Day for Night" and to a more pedestrian genre, the director's commentary "extras" that bulk up so many current DVD's. "Sex Is Comedy" (which ends, by the way, in tears) might work best in a boxed set with "Fat Girl," Ms. Breillat's strongest movie, and the one it refers to most directly.

Roxane Mesquida, who played the slimmer, older sister in "Fat Girl" (which is known in France as "À Ma Soeur," or "To My Sister"), here portrays an actress playing a similar part. We don't know what, apart from the loss of her character's virginity, the movie is about. Though the layers of Ms. Mesquida's performance turn out to be crucial to "Sex Is Comedy," most of the film is concerned with the relationship between the director (Anne Parillaud) and her pouty, loutish leading man (Grégoire Colin). She alternately coddles and berates him, and their scenes of tenderness and tension illuminate Ms. Breillat's main concern, which is the power struggles that take place on film sets between actors and directors.

To the extent that Ms. Parillaud's performance is Ms. Breillat's self-portrait, it is both admirably unflattering and sneakily self-aggrandizing. The director, whose name is Jeanne (her stars are identified only as "the Actor" and "the Actress") occasionally has a private moment of self-doubt, but she is otherwise ruthlessly committed to being in control. To the assistant who is her confidant (and possibly her lover), she declares that she hates actors, and she resorts to all kinds of aggression and manipulation to get what she wants from them.

Most of "Sex Is Comedy" concerns the preparations for a single scene, and it recreates the complexity, absurdity and sheer tedium involved in counterfeiting the realities of sex (or anything else) on screen. Accordingly, the film itself is at times confusing, often amusing and frequently dull. But it may satisfy some of the curiosity that viewers - admiring, repulsed or ambivalent - have felt in watching Ms. Breillat's unflinching and radical forays into eroticism. How much of the sex in her films is real? How do she and her actors make it seem that way, even when it isn't? Is her realism a matter of emotional nakedness, or the physical kind? The ingenuity of "Sex Is Comedy" is that it pretends to satisfy this curiosity, only, at the end, to force us once again to reckon with those uncomfortable questions, as the director treats herself to the last laugh.

http://movies.nytimes.com/2004/10/20/movies/20sex.html?ex=1188446400&en=b09fe2ad72e3c800&ei=5070
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