São Paulo é realmente uma cidade surpreendente, pesquisando fontes para o blog na rede descobrir o MESP Museu erótico de São Paulo, localizado na Av. Brigadeiro Luis Antônio, daí revolvi escrever esse post.

Quem costuma passar em frente ao casarão observa-se uma placa onde se lê “Canal X Locadora de Filmes Eróticos”, trata-se de uma locadora que divide o espaço com o Museu. Na verdade, não é um museu porque não existe um curador, apenas um colecionador Alfred Smith Palliser. Peruano radicado no Brasil há mais de 30 anos, começou a guardar peças relacionadas ao erotismo quando fazia suas viagens pelo mundo. O acervo é composto por algumas réplicas que o próprio Alfred comprou pelo mundo a fora. O maior orgulho dele é sem dúvidas o calendário do ano de 1955 com a incrível Marilyn Monroe, segundo ele é original da época. Esse calendário é marcado pelo choque causado a sociedade, para eles a nudez era um absurdo. Conta ainda com amuletos em forma de piroca (não sabia que pinto dava sorte), espartilho e cinto de castidade, um quadro recheado de clitóris de vários tamanhos, outro com diversos tipos de vaginas, cartazes de filmes eróticos e replicas de quadros de Pablo Picasso e o colombiano Botero. Ele Ficou famoso pintando mulheres um pouco acima do peso nuas.

No segundo andar é uma réplica de um quarto de bordel do século 19. Além da estátua que representa Priapus (deus romano da fecundidade). Na antiguidade as mocinhas virgens, que estavam prestes a se casar, eram afloradas por ele. Neste ritual diziam fazer bem na gestação e na vida sexual (e dizem que estamos na época da perdição).

Ainda tem mais coisas curiosas para se ver por lá, exibe um filme pornô legendário de 8mm que data de 1948, atribuído a Marilyn. Para quem gosta de uma sacanagem, quer dizer da cultura erótica é uma prato cheio.

Por algum problema ou coisa do gênero o site está fora do ar, apenas o da locadora funciona. Para maiores informações:

 Museu do Erotismo de São Paulo/Canal X Vídeo Locadora:

Avenida Brigadeiro Luís Antônio 2543 – Jardim Paulista/SP.

Tel.: 11 3289-7575 (das 12h às 22h)

canalxvideo@terra.com.br

Visitantes deverão ser maiores de 18 anos

“Dada e Surrealismo riscoperti”. Provocazione, dissacrazione, inconscio, rivoluzione… queste sono solo alcune parole chiave legate ai due movimenti. Ma il titolo e gli artisti esposti parlano da sé: Jean Arp, Costantin Brancusi, Victor Brauner, Alexander Calder, Salvador Dalì, Giorgio de Chirico, Marcel Duchamp, Max Ernst, Paul Klee, René Magritte, Andrè Masson, Joan Miró, Henry Moore, Erik Olson, Francis Picabia, Pablo Picasso, Man Ray, Yves Tanguy… più altri nomi probabilmente meno noti (di qui il “riscoperti” nel titolo), comunque tutti artisticamente e storicamente importanti, per un totale di più di 500 opere esposte.

Prestiti da: Association Marcel Duchamp (Villiers-sous-Grez), Centre Georges Pompidou, Musée national d’art moderne, Centre de création industrielle (Parigi), Fondation Arp (Clamart), Galleria Nazionale d’Arte Moderna (Roma), Matisse Foundation (New York) e altri ancora consultabili -assieme all’elenco di tutte le opere, selezione delle principali e altre informazioni generali- sul sito ufficiale riportato qui sotto.

Ci sono ancora tre mesi di tempo (fino al 7 febbraio 2010), la mostra è al Complesso del Vittoriano a Roma e il costo è di 10 euro (7,50 euro la riduzione). E il venerdì e il sabato è aperta fino alle 23.30!

fabio

http://www.comunicareorganizzando.it/mostre.asp?id=167

Photo by VC Ferry

“We don’t grow older, we grow riper.” – Pablo Picasso

VC Ferry

All Rights Reserved

© 2009

Tom Zohar as Einstein, Tim Parker as Picasso.  Photo: Adam Brick
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By Carol Davis

CARLSBAD, California–New Village Arts Theatre in Carlsbad is currently mounting Steve Martin’s (yes THAT Steve Martin of Roxanne, Father of the Bride and The Jerk) 1993 intellectual fantasy Picasso At The Lapin Agile about two earthmovers who meet, discuss and predict the future.Just for starters the characters at the center of Martin’s imaginary world of up and coming Celebs are Pablo Picasso and Albert Einstein who were both in their 20’s when this ‘meeting’ took place.

In this little whim of  (the piece is about 75 minutes long) Martin’s,  he puts them together at a favorite watering hole The Lapin Agile that was known to host artists, writers, the new century avant–guarde as well as  regulars. Picasso would have been 23, Einstein 25. Both were at the peak of making breakthroughs in their careers. Einstein was about ready to publish his Theory of Relativity (1905) that would change the world of physics and Picasso would enter his blue period.

But the romp isn’t about blue periods or relativity theories; it’s about a fictional meeting and conversation the two might have had, had they met. What would they talk about, you ask? How about genius, or contributions to the world, or women, sex, or the future (that’s a big one) or arts and sciences and their contribution to the world?

Played out against the background of Tim Wallace’s peach colored bar with lots and lots of paintings adorning the walls, Ashley Jenks lighting design and Mary Larson’s fitting costumes, the action (or lack there of) in the bar suddenly becomes a beehive of activity when the play opens. There is owner /bartender Freddy (Brian Abraham) and Germaine (Kristianne Kurner) who is both mistress and waitress and way ahead if her time as she predicts that there will be air travel among other things some day.

In an unusual move Freddy steps out of the playing area to take a program from an audience member claiming that Einstein came on to the scent too soon. The characters are listed in order of appearance; he came on third instead of fourth. It took everyone by surprise.

Regulars include Gaston, (Eddie Yaroch) who suffers from a weak bladder problem and is off and running to the bathroom every two minutes (the running joke), Sagot the photographer/art dealer (Sandra Ellis- Troy), the coo-coo inventor Charles Dabernow Schmendiman (Kyle Lucy), Suzanne (Amanda Morrow plays several roles) who claims to be a friend of Einstein’s and of course Picasso (Tim Parker), and the outsider Einstein (Tom Zohar) who has yet to become a somebody. 

When Einstein walks in to the wrong bar looking for a woman he’s supposed to meet, Freddy becomes intrigued with the man. He’s even more fascinated when he gets stumped by a simple arithmetic problem he’s doing and finds that Einstein can solve it along with a series of more intricate ones in seconds in his head. Einstein is so unlike any of the other customers who frequent the place because he’s both unaffected and down to earth, he becomes somewhat of an odd ball in those circles and Freddy continues to be fascinated. It is Einstein rather than Picasso who centers the play.

That said, everyone seems to know Picasso who is already somewhat of a celeb and a self-absorbed womanizer who tries to seduce all the women who come through the door. It’s difficult even comparing the two. He’s a mystery to Einstein who can’t seem to make him out. When the two geniuses finally get a chance discuss their differences with pencil and paper (it’s a formula Picasso demands looking at Einstein’s notes) it turns out they agree more than not.

Using his sharp wit and quick one-two punch, Martin takes the opportunity here to conclude that the contributions each give to the world of art and science do go hand in hand and cannot exist without each other. Arts and science are after all not that much different in the final analysis as they shape the world in which we live.

And with one broad brush stroke in predicting the future, Martin brings another character in the form of an Elvis (Greg Wittman) look a like (I even bumped into one the other day at Kaiser Permanente Hospital in San Diego) in an effort to predict that perhaps some day a Las Vegas skyline may loom on the horizon along with his other predictions like air travel, clothes made of wax, the banning of smoking in restaurants, a ‘modernized Hiroshima’ and possibly a venue for stand up comedians.  Why not?

Tom Zohar shares a resemblance to Einstein when he first walks into the bar neatly groomed but shortly thereafter ruffles his hair to look even more  like the mad (but younger version) scientist we see pictures of in books. Zohar a talented actor in every show doesn’t disappoint as Einstein in this production. Amanda Morrow is perfect as all three women, different yet alike, Eddie Yaroch is fun as Gaston disappearing into then bathroom to relieve his kidneys and returning with a sense of relief. Brian Abraham and Kristianne Kurner play well off each other and Tim Parker plays the lover boy Picasso with an unconvincing eye but ever the flirt. Sandra Ellis-Troy is always bigger than life and Kyle Lucy is great as the over the top mad Schmendiman. All this is done under the watchful eye of director Dana Case.

New Village Arts makes the piece more enjoyable and fun than others seen by this reviewer in past productions. It plays through Dec. 9.

 For more information visit www.newvillagearts.org

See you at the theatre.

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Carol Davis is a San Diego based theatre reviewer.  She may be reached at davisc@sandiegojewishworld.com

“It Takes A Long Time To Become Young.”- Pablo Picasso

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Sir X Pablo Picasso Stencil

Sir X stencil art of Pablo Picasso doing work on the street. Sir X just launched a new website, check it out here!

GUITAR PLAYER by Bob Kessel
after Pablo Picasso

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“GUITAR PLAYER” by Bob Kessel, is based on the works of Pablo Picasso from his early “Blue Period”. It can be purchased as a signed and numbered limited edition original fine art print.
Contact Bob Kessel for prices and availability.

Pablo Picasso’s Blue Period refers to a series of paintings in which the color blue dominates and which he painted between 1901 and 1904. The blue period is a marvelous expression of poetic subtlety and personal melancholy and contributes to the transition of Picasso’s style from classicism to abstract art.

For Picasso the blue period was an exercise in painting scenes of low light conditions. He would borrow from the Spanish painter El Greco, the light-yellow, almost white, macabre skin color that adds to the mystique and sense of death of Picasso’s blue period paintings.Although Picasso’s blue period melancholy was sincere, the people he painted have an element of pathos and melodrama. The reason for the starving artist myth having become so popular, is that intellectuals and artists at the beginning of the twentieth century would like to see themselves as such. To them an artist was a social outsider by definition and they would indulge in cultivated depression and romanticize their own supposed martyrdom.

Last week I was walking across campus with a friend and colleague, Terry Martin who teaches art at William Woods University.  Terry was telling me a fascinating story about a autistic girl in one of his past art classes.  Young Katherine had sketched a spiral pattern on paper and when Terry asked her to talk about it, she said it was a picture of God.  The point in the center of the page meant that God is the smallest of all things.  The spiraling line extending off the page meant that God is bigger than all things. 

The child’s insights are profound.  For as long as people have thought about these things, they have used spatial metaphors to stress both God’s transcendence and God’s immanence.  God is the great, mysterious “Other”, the Holy One who is high above the heavens, “in light inaccessible hid from our eyes.”  God is more than our eyes can behold and unlike anything else we can know or experience.  And yet, and yet….God is near to us.  He is present and in the neighborhood. The God who is big enough to fill all in all is all big enough to become small.  Taken together, the insights suggest that God is both without and within and that faith needs both a telescope and a microscope.  Now, how do you draw that? 

Follow the lead of a little girl.  When Terry told me this story, a flurry of biblical texts came to mind.  Isaiah, the Hebrew prophet said so long ago, a “little child shall lead them.”  Jesus reminded us centuries later, “unless you turn and become like children, you will never enter the kingdom of heaven” and “out of the mouth of infants and nursing babies you have prepared praise.” 

Or take Picasso who is reported to have said, “"It took me four years to paint like Raphael; it took me a lifetime to learn to paint like a child."

The original sketch is long since gone but I encouraged Terry to paint a piece in tribute to the little girl.  Here is Terry’s artwork and what follows is the story in his own words.

The Saturday art class was a mix of all ages, the youngest student was named Katherine, and she was about thirteen years old and was autistic. Others members of the class were older adults, eight female, two male, all eager to learn new artistic skills so they might enrich their retirement years. The mother of young Katherine went to school with me and knew I was investing some volunteer time teaching art to autistic kids. She was sure the Saturday morning summer workshop would be good for Katherine. I hoped mother and daughter would not be disappointed!

I was concerned the class might be too advanced and the older adult students might intimidate Katherine. My concern increased when I tried to introduce the students to one another and Katherine visibly withdrew, making little or no eye contact with the rest of us. I introduced myself to the class and showed some examples of the abstract style of painting we would be doing. I shared with the class some examples of my art. I followed up with a demonstration of some basic acrylic painting techniques and in the process, I made eye contact with all the students except my youngest student. She had withdrawn to the end of the third table in the room. It was a table used mostly for supplies. Some of the older women had tried to talk to Katherine, with little response from the thirteen year old. They did not know she was autistic, I did not tell them. I allowed them to believe she was shy, it might have been a mistake I am not sure. Katherine seemed content to flip through her sketch book and occasionally sketch; yet I did not want to neglect her, so I made every effort to include her in the relaxed process of painting and talking mostly about art and travels. The day progressed and soon it was time for a lunch break. Most of the students brought brown bag lunches. Katherine’s mother had packed a lunch for her and I noticed the lunch contained a big red apple. I sat by her and opened my sack lunch, talking to her in the process. As she began to eat, I followed suit and a few words were exchanged. This was the opportunity to ask if I could see her sketch book. In contrast to the older students who brought all kinds of expensive paint brushes and supplies, she had only a drawing tablet and a pencil. But, what a sketch book it was! I was amazed by the imaginative drawings and fantastic science fiction type images in the pages of her book. Some of the other students also began to notice her art and with just a slight smile she seemed pleased. After lunch we returned to the morning’s effort, paintings began to take form and some constructive criticism was exchanged. Katherine was back at the unoccupied third table pretty much removed from the exchange, but somehow a little more connected to our newly formed artistic community.

More determined to draw her into the community, I asked what she was drawing. The tablet was almost filled and I did not know how many pages were added during my class, I saw her flip over another page and place her pencil firmly down in the middle of the page. Then I watched her make a continuous line from that middle point around and around in a beautifully symmetrical spiral design! Never stopping, but carefully continuing the line she drew until the page was full. I approached her with praise for her spiral design and asked her about the shape. I wondered: could I describe the form and use the word spiral? I was astonished by what she said, when I questioned her about her line drawing! “Well, (she exclaimed in a voice loud enough for students away from her table to notice), this is like GOD, the tiniest of all things (she pointed to the point where she first started drawing the line) and too big to fit on the page.” Then in the most astonishing way she continued the line off the surface of the page and onto the surface of the table! GOD is too big to fit in my drawing and because GOD is at the same time the smallest of all things, God is everywhere part of in and around everything. The class was silent the chatter gone the moment was profoundly reverent and peaceful. The other students had heard her and watched her make a drawing come to life. The community of artistic spirits was exalted and the class soon concluded. We said goodbye and I knew this had been a special art class!

The years have passed and Katherine is grown now, but I still teach art classes to autistic youths and have met other special students who are creative and special in their own ways. These students often possess unique insights and inspire me as Katherine did. I think of Josh, and Ariel who painted with me last summer.

These special students can illuminate us with their imagination and creativity if we get to know them better.

Tre spanske malere står som milepæler i Vestens kunsthistorie. Diego de Velázquez var hoffmaler på 1600-tallet, og hans “Las Meninas” er et sentralt bilde. Francisco de Goya avbildet spansk liv i en av landets mest voldelige perioder. Den mangfoldige 1900-talls-mesteren Pablo Picasso er anerkjent som en av moderne kunsts grunnleggere. Dessuten må El Grecos navn tilføyes. Han var født på Kreta, men levde i Spania, der han malte religiøse scener i en svært personlig stil. (2008, Gyldendals Reisguider)

Francisco de Goya

Den påkledte maja 1800-1803

Francisco José de Goya y Lucientes (født 30. mars 1746, død 16. april 1828), av mange kalt «den moderne kunstens far», var en spansk maler og grafiker. Han var mesteparten av livet tilknyttet hoffet i Madrid, og arbeidet for kongene Karl IV og Ferdinand VII. Goya var en fremragende portrettmaler i tradisjonen fra Velázquez og Rembrandt, og han hadde stor påvirkning på senere kunstnere som Édouard Manet. Goyas arbeider er preget av en personlig stil og en sterk sosial samvittighet. Han produserte historiske og samfunnsdokumentariske komposisjoner, og karikaturer av hverdagsliv og eventyrscener. Blant hans sterkeste og mest kjente arbeider er en serie bilder som fremstiller krigens grusomhet og lidelser.
Goya ble gradvis døv fra 1792. Mot slutten av livet levde han en innesluttet tilværelse, og produserte skremmende og gåtefulle bilder som omhandlet galskap og tilværelsens skyggesider. Hans malerier fra denne perioden kalles “Pinturas negras” og sies å foregripe den senere ekspresjonistiske kunsten.
Goya tilbragte de siste årene av sitt liv i selvpålagt politisk eksil i Bordeaux i Frankrike.
Kilde:wikipedia

MINOTAUR OVER SLEEPING GIRL by Bob Kessel
after Pablo Picasso

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Bob Kessel’s art series “HABLO PABLO” is based on the works of Pablo Picasso. These pictures and many others, can be purchased as signed and numbered limited edition original fine art prints. Contact Bob Kessel for prices and availability.

Picasso used horses and bulls, specifically the Minotaur, as representations of himself in his later works. Picasso frequently depicts “the beast” as blind, angry, and slightly confused, often led by the hand of a young girl. The Minotaur, a half-bull-half-human creature from Greek myth, lived on the island of Crete, imprisoned in the Labyrinth of the notoriously cruel king Minos. The Minotaur sated his appetites, both sexual and gastronomic, on young maidens and is frequently regarded as an icon of sexual perversion and cruelty. Picasso’s later representations, then, in which the self-referential Minotaur requires the gentle guidance of a child is ironic. The Minotaur alludes both to Picasso’s famous sexual appetites and to an emotional or psychological distance between himself and the women in his life; indeed the artist depicts himself as entirely different species from the women in these paintings!

Vollard Suite: Minotaur Caressing a Sleeping Woman  (1933)  by Pablo Picasso

Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso (25 October 1881 – 8 April 1973) was a Spanish painter, draughtsman, and sculptor. He is one of the most recognized figures in 20th-century art. He is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-Cubist Les Demoiselles d’Avignon (1907) and Guernica (1937), his portrayal of the German bombing of Guernica during the Spanish Civil War.

Picasso demonstrated uncanny artistic talent in his early years, painting in a realistic manner through his childhood and adolescence; during the first decade of the twentieth century his style changed as he experimented with different theories, techniques, and ideas. Picasso’s creativity manifested itself in numerous mediums, including painting, sculpture, drawing, and architecture. His revolutionary artistic accomplishments brought him universal renown and immense fortunes throughout his life, making him the best-known figure in twentieth century art.

Source and complete biography: http://en.wikipedia.org/wiki/Pablo_Picasso

Ahora resulta, que a ojos de los yanquis, somos algo ‘cool’ sobre lo que hacer canciones. Para muestras, dos botones:

Pues lo dicho: si gente tan cool en el indie mundial como David Bowie y Vampire Weekend se rinden a nuestros encantos, les voy a dar otro motivo para que se inspiren…

Quando sono solo confessò il famoso pittore Pablo Picasso, non ho l’imprudenza di chiamarmi artista, per lo meno nel senso alto e nobile della parola. Sono solo un pagliaccio pubblico, un ciarlatano da fiera. Queste sorprendenti parole le pronunciò, negli ultimi anni della sua vita, ad intellettuali e giornalisti seri. Ho dipindo cose per persone che desideravano cose particolari, sensazionali, eccentriche o scandalose nell’arte. Meno mi comprendevano, più mi ammiravano. L’arte di picasso, se, secondo le sue stesse parole può essere chiamata arte nel senso alto e nobile della parola, continua ad essere ammirata da tanti. Quelle forme strane colori provocanti, figure umane mostruose, cose che non dicono niente è una prova impressionante del dislocamento dell’anima della società d’oggi. Se la musica, la pittura, la scultura esprimano lo stato dell’anima umana, dobbiamo riconoscere che l’anima dell’umanità è abbastanza distorta. Sono finite, nell’arte, le belle leggi dell’armonia, proporzione, equilibrio, prospettiva e colore così come esistono in natura. Oggi tutto è degenerazione, aberrazione, furia, caos, disperazione, disubbidienza e un desiderio frenetico di bruttezza e morte, più che di bellezza e di vita.

FEMME NUE DEBOUT A SA TOILETTE by Bob Kessel

“FEMME NUE DEBOUT A SA TOILETTE” by Bob Kessel, is from his art series “PICASSO IN PARIS” based on the works of Pablo Picasso. This picture and many others, can be purchased as signed and numbered limited edition original fine art prints. Contact Bob Kessel for prices and availability.

“The only way to know is to find out for yourself.” -Bob Monroe

Simple words and a simple sentence but so profound. You could tell someone something so many times for so long, but they’ll never get it until they experience it, and then they’ll be in your face with it all.

Hey, man. That’s what I’ve been telling you for the past twenty years! I’m glad ya finally understand and that you’re excited about it . . . but you’re not the first, so calm the hell down.

“We have invented nothing.” -Pablo Picasso

Pablo Picasso

Ok, so far we have examined a number of art controversies, either through this blog or through our weekly “Art Issues”. But what we have not discussed is it’s place in the development of art. The link provided at the bottom of the page is to an article about art controversies and censorship in the 20th century. 

The article highlights a number of different controversies, the impact on people at the time, and places that controversy into context with our view of art history now, showing how influential such controversies have proven to be.

What I want you to do is read the article, give me your impressions, and then tell me if you think controversy has become a necce4sary part of the development of art. Do you think that as an artistic culture we try to shock or innovate with our controversies? Without controversy will art become stale? Or are we damaging the culture of the arts with our controversial approaches? Think about it. And be sure to read the article carefully. 

http://www.csa.com/discoveryguides/art/overview.php