Stefano Dionisi in Farinelli (1994).
Jan van Hemessen – Judith with the Head of Holofernes (c. 1540). Detail.
‘The discomfort with Judith’s use of violence is common among Christians in the modern West but does not go back earlier than about 1600. In the early centuries of the Christian era, Judith was assimilated in Christian art as a type of the praying Virgin or the church or as a figure who tramples Satan and harrows Hell. She was sometimes grouped with other violent women, such as Jael and even Queen Tomyris, who beheaded Cyrus the Great, but Judith’s depiction does not reflect any anxiety or ambivalence. The figure of Judith herself remained removed and unreal, separated from real sexual images and thus protected. The new sculptures and paintings that appear in about 1600, however, differ significantly. Violent depictions of the decapitation were created, especially that by Caravaggio, and Judith became a threatening character to artist and viewer. Contemporary with Caravaggio’s violent Judith is a painting by Christofano Allori which depicts Holofernes in the likeness of the artist himself.’ [x]
Acum, numai bine ce am simtit absurdul* Invierii si vidul Mormantului, sa ne intoarcem la cei Morti.
Pictura de mai sus, executata de un obscur Pierre-Henri de Valenciennes, ilustreaza gasirea mormantului lui Arhimede de catre Cicero. De aia se si cheama Cicéron découvrant le tombeau d’Archimède (1787).
Episodul gasirii mormantului este povestit de catre Cicero in cartea sa Tusculanae disputationes. Ceea ce ar surprinde, probabil, un cititor contemporan care s-ar aventura in randurile de mai jos este faptul ca respectivul ‘scientist’ nu s-a bucurat nici pe departe de faima – imho, nemeritata – de care se bucura astazi. In aceeasi albie a uitarii cazusera multi altii, inclus Aristotel – caruia ii mancau soarecii cartile in ceva beci plin cu apa. Astazi, multumita stavrolatrilor, respectivii sunt predati in scolile de pe tot cuprinsul universului – presupunand ca o sa fie facute scoli pe Marte, fiti siguri ca o sa fie predati si pe acolo. In ce mod insa sunt predati – aka, cat au de-a face chestiile latrate astazi intre patru (sau mai multi) pereti cu cele originale – e o alta discutie…
Dau si textul orijinal in paran si teze – in caz ca vrea cineva sa o faca pe’a grozavul in fata blocului.
[Traducere: J. E. King (1927)]
I shall call up from the dust and his measuring-rod an obscure, insignificant person belonging to the same city [Syracuse], who lived many years after, Archimedes. When I was quaestor I tracked out his grave, which was unknown to the Syracusans (as they totally denied its existence), and found it enclosed all round and covered with brambles and thickets; for I remembered certain doggerel lines inscribed, as I had heard, upon his tomb, which stated that a sphere along with a cylinder had been set up on the top of his grave. Accordingly, after taking a good look all round (for there are a great quantity of graves at the Agrigentine Gate), I noticed a small column rising a little above the bushes, on which there was the figure of a sphere and a cylinder. And so I at once said to the Syracusans (I had their leading men with me) that I believed it was the very thing of which I was in search. Slaves were sent in with sickles who cleared the ground of obstacles, and when a passage to the place was opened we approached the pedestal fronting us; the epigram was traceable with about half the lines legible, as the latter portion was worn away.
[ex eadem urbe humilem homunculum a pulvere et radio excitabo, qui multis annis post fuit, Archimedem; cuius ego quaestor ignoratum ab Syracusanis, cum esse omnino negarent, saeptum undique et vestitum vepribus et dumetis indagavi sepulcrum; tenebam enim quosdam senariolos, quos in eius monumento esse inscriptos acceperam, qui declarabant in summo sepulcro sphaeram esse positam cum cylindro. Ego autem, cum omnia collustrarem oculis – est enim ad portas Agragianas magna frequentia sepulcrorum -, animum adverti columellam non multum e dumis eminentem, in qua inerat sphaerae figura et cylindri. Atque ego statim Syracusanis – erant autem principes mecum – dixi me illud ipsum arbitrari esse quod quaererem. Immissi cum falcibus famuli purgarunt et aperuerunt locum: quo cum patefactus esset aditus, ad adversam basim accessimus; apparebat epigramma exesis posterioribus partibus versiculorum dimidiatis fere] [x]
Holocaust Memorial, Berlin, by Peter Eisenman (architect)
Cand te apleci sa speli la piciorul crucii, nu uita sa speli si Crucea.
Hakanaï is the union of two Japanese characters – one meaning “man” and the other “dream” – used to define the ephemeral and the fragile.
In this dreamlike environment, a single dancer moves within a cube, interacting with the images projected on its walls, tracing arcing parabolas and sine waves with hands, arms, and feet.