Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Poul Gernes. At Louisiana Museum

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Poul Gernes 

at Louisiana Museum of Modern Art


Poul Gernes at Louisiana Museum of Modern Art
Cfr. → Bandiere al Vento ░  Test di Vuesse  Gaudio per “Donna Moderna” | n.43-1989
Artist: Poul Gernes
Venue: Louisiana Museum of Modern Art, Humlebæk
Exhibition Title: Jeg kan ikke alene – vil du være med?
Date: June 2 – October 16, 2016





Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Louisiana Museum of Modern Art, Humlebæk
Press Release:
Cool, colorful, provocative, wildly experimental and visionary – Louisiana’s exhibition on Poul Gernes is a powerful humorous, beautiful and ambiguous story about one of the truly great Danish artists of the post-war generation.
Poul Gernes (1925-1996) is widely known for his large public decorations such as the Palads Cinema in Copenhagen and Herlev Hospital—the latter being Denmark’s biggest artwork. Today, Gernes appears both as a colorful and optimistic designer and as the inveterate critic of capitalism, but also as a pioneer of a new conception of art and the artist’s role in society.
With this extensive exhibition, Louisiana wants to point to several possible entry points to the experience of Gernes’ art. We are introduced to both the artist with an exceptional talent for making large, effective images, and on the other hand a Gernes with a rigorously experimental practice, in which art, in keeping with the reorientations of the 1960s, should be torn down from the easels and engage others—the people, all of us—to help carry out the works. Or with Gernes’ own words: “I cannot alone—want to join in?”