no heart so true.

mi vida....





"(There Is) No Greater Love"

There is no greater love
Than what I feel for you
No sweeter song, no heart so true

There is no greater thrill
Than what you bring to me
No sweeter song
Than what you sing, sing to me

You're the sweetest thing
I have ever known
And to think that you are mine alone

There is no greater love
In all the world, it's true
No greater love
Than what I feel for you.

more than i'm in love with you

Written by: Sarah Blasko Lead vocals: Sally Seltmann

HUMAN ERROR

HUMAN ERROR_The Photocopier from Household on Vimeo.

Human Error_The Photocopier part of HUMAN ERROR a Household and Dario Utreras Exhibition

Commissioned by Chinese Arts Centre, Manchester



The final video in our series of four.



Inspired by humble office machines; photocopiers, printers and scanners, whose purpose is to speed up and streamline our work. It is easily forgotten how to manage without them. 'HUMAN ERROR' is a series of large-scale interactive sculptures, which invite visitors to collaborate in order to make them function, following the Household ethos.



Open: 19th February - 30th April 2011

Tues - Sat: 10am - 5pm

Sun - Mon: Closed

Bank Holidays: Closed



Chinese Arts Centre, Market Buildings, Thomas Street, Manchester M4 1EU



Director of Photography: Jon Hurley

Sound Design: Bonnie Carr

Special thanks to: Panalux, Netil House, Oliver Bancroft, Sara Nunes Fernandes & Marianne Von Der Heide



For further information please contact:

Sarah at mail@house-hold.org



house-hold.org

diarizado.net

chinese-arts-centre.org

A face with eyes closed – is it like a blind wall?

What we see of things are the things.

Why would we see one thing when another is there?

Why would seeing and hearing be to delude ourselves

When seeing and hearing are seeing and hearing?

The essential is knowing to see,

To know seeing without thinking,

To know seeing when seeing

And not think when seeing

Nor see when thinking. […]

Fernando Pessoa, Heterónima, 1914

burbuja del arte contemporaneo

quiero que la leas y que no te asustes, ya me conoces.

Me conoces

Me conoces,
me has visto al levantarme
despeinada,
me has visto amanecer soñando que te soñaba;
me conoces, ya sabes de mi locura momentánea,
de mi amor por las galaxias, las fiestas
y la gente sonámbula, que deambulan por las casas
cuando las luces se apagan.
Has visto de mi lo mucho que puedo darte
e incluso lo que un día puedo quitarte,
has visto mis sueños, mi idolatría de amante,
de mujer con un corazón gigante que late.
Te he contado mis memorias inagotables
has visto mi aguante, mi capacidad de activista para la paz
y mis armas feroces para la guerra en cualquier instante.
Pudiera verte desde lejos a partir de ahora
y saber que me conoces,
que conoces la locura aplacada
que con paciencia toleraste.
Pudiera verte desde lejos a partir de ahora
y saber que aún conociéndome
decidiste quedarte.

Dira Martínez

we can go babe

I know places we can go babe.
I know places we can go babe.
The high wont fade here babe.
No, the high wont hurt here babe.

I know places we can go babe.
I know places we can go babe.
Where the highs wont bring you down babe.
No, The highs wont hurt you there babe.

Don't ask me when, but ask me why.
Don't ask me how, but ask me where.
There is a road. There is a way.
There is a place. There is a place.

I know places we can go babe
Coming home. Come unfold babe.
And, the high wont fade here babe.
No, the high wont hurt here babe.

So,
Come lay... And wait...
Now wont you lay... and wait... Wait on me.

I know places we can go babe.
Coming home. Come unfold babe.
I know places we can go babe.
Coming home. Come unfold babe.

pura teoria.

Planeando una escapada, qué me queda dicen algunos.
Nunca necesité pedir permiso.
Ayer volví a conocer a alguien.
Con seguridad y firmesa.
Atenta, cuidadosamente.
Todo ocurria en el momento escogido.
Pocas veces fui capaz de aventurarme a desear algo desde las entrañas.
Vale la pena.

Me alegra no saber decir que no.

À bout de souffle (Trailer)

una de esas que te deja queriendo.

aqui vamos.

Scenes from a Globalized Art World

Scenes from a Globalized Art World

October 26th, 2009

by Kelly Huang

Patrick Andrade for The New York Times

I’d like to start my guest blogging with Art21 by bringing up a series of questions surrounding globalization and artistic representation. My primary research interest is in the art market and the forces that shape it. With a background in cultural studies, I tend to approach the market through multiple lenses—analyzing it through its cultural, economic, and social contexts and impacts. In the next few weeks, I hope to present some interesting talking points surrounding this very issue, explore how arts communities are built, and feature artists working in exciting, new ways.

Not only can art expose the norms and hierarchies of the existing social order, but it can give us the conceptual means to invent another, making what had once seemed utterly impossible entirely realistic.

— Michael Hardt and Antonio Negri, Artforum, October 2009.

Last week, the San Francisco Art Institute hosted a panel discussion titled, “Global Art in the Downturn.” Panelists included Hou Hanru and Carolyn Christov-Bakargiev. My first question upon coming across the announcement was, what is the definition of “global art”? This is exactly the question that was first addressed by moderator, Dominic Willsdon of SFMOMA. The agreed-upon definition during the panel discussion was that “global art” included the genres and forms of art that are more popular across the globe, and that it is work presented in biennials, art fairs, and internationally-known institutions, and publications.

There are no set terms or definitions or categories for the levels at which artwork is produced, but what became clear to me in my two years of researching art world ecosystems for my master’s thesis is that artists make conscious decisions about how they want their work to be seen and by whom. At the same time, their agency is limited or co-opted by other art world players, such as curators and dealers who control access to major institutions and exhibitions.

There is no doubt that globalization, or the more nuanced French term mondialisation, has affected the art world as a whole—from the expansion of new markets, to the ability for artists to more easily travel, explore, and present a wider range of ideas, or to the proliferation of biennials and art fairs. How, then, does defining “global art” as the work endorsed by the international art community affect how non-endorsed works or artists are read within a globalized art scene?

During the panel discussion, both Hou and Christov-Bakargiev reflected on their roles as curators of biennials. Hou was the curator for the 10th Biennale de Lyon and the 2007 Istanbul Biennial, and Christov-Bakargiev curated the 2008 Biennale of Sydney and is artistic director for the upcoming Documenta 13. Each feels the desire and need to ensure local artworks or cultural groups are integrated in these international exhibitions, but each also agrees that those works are viewed through a different lens. While biennialization has been blamed for creating pressure for artists to create works that appeal to a Western aesthetic as a result of the mainly-Western curators that direct them, it also has allowed for cities like Havana and Istanbul to host exhibitions that showcase local or regional artists and create value for a non-Western aesthetic. One must think about the makeup of the audience for biennials. Who is looking, who is judging, and what are the expectations?

Documenta11, Kassel, 2002. Photo: Werner Maschmann.

With the release of Michael Hardt and Antonio Negri’s Commonwealth, which follows their highly-influential book, Empire (2000), globalization is again at the forefront of a debate about how aesthetic judgments are made and how cultures are being shaped by them. In the October issue of Artforum, Okwui Enwezor discusses the effects of Empire on the art world. Specifically, Enwezor discusses how the book influenced the way he decided to approach being the artistic director for Documenta11 (2002), which he felt was historically, “one of the epicenters of the imperial regimes of cultural control; it constituted (along with the old circuitry of the museum institution) a type of cultural sovereignty that brooked little tolerance of the hybrid identities, flexible hierarchies, and plural exchanges to which Hardt and Negri would gravitate.” Enwezor’s curatorial approach to Documenta11 is still discussed today for the successful multiplicity of ideas and cultures he was able to cull together. Enwezor gathered a team of six curators to organize programs and exhibitions in Berlin, Lagos, New Delhi, St. Lucia, and Vienna.

With Christov-Bakargiev at the helm for Documenta13, what should we expect? Her usual “smuggling in of chaos”—referring to the inclusion of artworks that may not fit into the term “global art” or of artworks that challenge certain ideologies or hierarchies—as she describes it?

I will leave you with a series of questions that I hope can be discussed in the comments.

This socio-economic moment demands introspection and a reassessment of the hierarchies and modes of organization and presentation in the art world. With the global economic downturn, should we expect to see less market-endorsed artists and more experimental or previously overlooked work to enter into international exhibitions? Will there ever be comfort in a truly multiplicitous diversity? As Hou argued during the panel, “all places want to be part of the global map, but they don’t want to necessarily be part of a monoculture.” Is that the path on which globalization has put us? Can art transcend the paradigms set by the political and market structures that permeate the art world?

gud mud, ¿vamos?

siéntelo.

verdades en la cara

laurie simmons. ven, contraeremos matrimonio, y nuestros hijos heredaran la mitad de tu talento.

Slow Dance from Laurie Simmons Studio on Vimeo.

Watch the full episode. See more ART:21.

De lo general a lo particular. Símil a mi estado actual.

ya no me acuerdo de mi

"No quisiera un fracaso en el sabio delito
que es recordar. Ni en el inevitable
defecto que es la nostalgia de cosas
pequeñas y tontas , como en el tumulto
pisarte los pies. y reir, y reir, y
reir. Madrugadas sin ir a dormir. Sí, es
distinto sin ti, muy distinto sin
ti. Las ideas son balas hoy dia, y no puedo
usar flores por ti. Hoy quisiera
ser viejo y muy sabio y poderte decir lo que
aqui no he podido decirte;
hablar como un arbol, con mi sombra hacia ti. Como un
libro salvado del mar,
como un muerto que aprende a besar, para ti, para ti,
para ti, para
ti."

silvio

last goodbye

This is our last goodbye
I hate to feel the love between us die.
But it's over
Just hear this and then I'll go:
You gave me more to live for,
More than you'll ever know.

Well, this is our last embrace,
Must I dream and always see your face?
Why can't we overcome this wall?
Baby, maybe it's just because I didn't know you at all.

Kiss me, please kiss me,
But kiss me out of desire, babe, and not consolation.
Oh, you know it makes me so angry 'cause I know that in time
I'll only make you cry, this is our last goodbye.

Did you say, "No, this can't happen to me"?
And did you rush to the phone to call?
Was there a voice unkind in the back of your mind saying,
"Maybe, you didn't know him at all,
you didn't know him at all,
oh, you didn't know"?

Well, the bells out in the church tower chime,
Burning clues into this heart of mine.
Thinking so hard on her soft eyes, and the memories
Offer signs that it's over, it's over.

Relation in Time.

A falta de salidas; solo vacío.

Recuerdo haberme intoxicado tres veces en un mes.

Y recuerdo también haberme acercado a mi cura tres veces, una de ellas imposible de efectuarse, pero en fin.

Ahora resulta que existen dos salidas, dos caminos y ya no uno.

No mentía mi madre cuando decía: Cuando una puerta se cierra abre la ventana.

En mi caso no había ventana. Existía solo esa puerta que había saboreado mi nariz un sin número de veces en las que me fue arrojada con fuerza.

Le saque "el ancho" a mis paredes, no medí altura, espesor, hice tan inmensa la salida que ahora solo me encuentro a mi misma cuando logro meterme en un lugar mas pequeño que el que poseía; antes de volverlo nada.

el limite se ha disuelto.

Solo lo que me place.

No lo que no me place.

Parecía sencillo.

El espacio me hizo sujeto.

Podría reconstruirlo, pero va a ser difícil ver todo vacio. Ni siquiera será el caos al que he estado acostumbrada toda mi vida.

Esta vez encontraremos (si me acompañas), un silencio que saca ampollas de lo incomodo e insostenible, ya lo veo venir.

Espacios sin recuerdos, que es peor?

¿Que no me quede nada?

O haber sido yo misma quien quiso desaparecer todo.

Era eso o esperar para siempre lo que nunca jamás sucedió.