martes, 30 de octubre de 2007
You weren´t born for being Garbage, you did to be God
What motivates you to get up every morning?
What put a smile on your face before you go to bed at night?
Why do you do what you do every day?
Imagine you are given a vault to open. Inside this vault lies the answer to your life’s purpose.
This is a big iron vault. If you force it open, you will damage what’s inside. The easy way is to find the key to the vault, but you have no idea where the key is…
Sometimes you may find keys which look like they could work, but when you try them with the vault, you only leave with disappointment and sadness.
You can’t wait to open the vault and find out your true purpose. You know the answer is inside and it is only one turn of the key away.
We are all here for no reason. For no purpose. We are here to serve. To fulfill a purpose we make up for our own.
The key to understanding your purpose is to find the key to your vault.
Lots of people would pass you by and tell you what the right key is. But no one really knows except you.
The trick is that only you will be able to find the right key to your own vault. And, the only way to find out is to closely listen to what surround you.
Trust your intuition and your mind. Not your intellect. And defo not anyone else’s.
You just need to find that key. That purpose. That very one thing that motivates you in the morning.
So now, turn that frown upside down. Remember God creates no garbage.
The key is not to give up on your vault.
Cut out all the noise and distractions around you. You always have the answer. You know you have had the answer all along and you just need to listen.
Listen, listen, listen and don´t ignore the reality. You really think you can help yourself?. God creates no garbage cause the garbage itself is God. So be garbage and become in God.
What put a smile on your face before you go to bed at night?
Why do you do what you do every day?
Imagine you are given a vault to open. Inside this vault lies the answer to your life’s purpose.
This is a big iron vault. If you force it open, you will damage what’s inside. The easy way is to find the key to the vault, but you have no idea where the key is…
Sometimes you may find keys which look like they could work, but when you try them with the vault, you only leave with disappointment and sadness.
You can’t wait to open the vault and find out your true purpose. You know the answer is inside and it is only one turn of the key away.
We are all here for no reason. For no purpose. We are here to serve. To fulfill a purpose we make up for our own.
The key to understanding your purpose is to find the key to your vault.
Lots of people would pass you by and tell you what the right key is. But no one really knows except you.
The trick is that only you will be able to find the right key to your own vault. And, the only way to find out is to closely listen to what surround you.
Trust your intuition and your mind. Not your intellect. And defo not anyone else’s.
You just need to find that key. That purpose. That very one thing that motivates you in the morning.
So now, turn that frown upside down. Remember God creates no garbage.
The key is not to give up on your vault.
Cut out all the noise and distractions around you. You always have the answer. You know you have had the answer all along and you just need to listen.
Listen, listen, listen and don´t ignore the reality. You really think you can help yourself?. God creates no garbage cause the garbage itself is God. So be garbage and become in God.
domingo, 28 de octubre de 2007
viernes, 26 de octubre de 2007
Environmental art profile
The origins of this movement are attributed to american artist Allan Kaprow who also championed the happening. Its roots lie in the Merzbau, assemblages and kinetic lightshows of german poet and painter Kurt Schwitters.
The environment is the three-dimensional context in which content, sensory sensations, kinetic stimuli and imagination are synthesized in an effort to involve, and sometimes overpower, the spectator. There are some artist in this creative field. Afthe the Second World War was important the figure of Cesar Manrique in the Canary Islands in Lanzarote, dead some years ago; today the better reference in the field is Anouk Sondermann, german artist installed in the Canary Islands too, working in his atelier in Agaete, Gran Canaria.
In the begening refers to art which involves the creation or manipulation of a large or enclosed place or space, many effectively surrounding its performance including the landscape might be said to qualify as environment art, although the term usually refers to artworks which do no very clear function as either of these kinds of environmental design typically do. Several artist, many associated with American Pop Art like Edward Kienholz and Lucas Samaras created tableaus in the 1960s and 1970s which were called environments. Many earthworks would qualify as environment art too like the very important work of Anouk Sondermann.
The environment is the three-dimensional context in which content, sensory sensations, kinetic stimuli and imagination are synthesized in an effort to involve, and sometimes overpower, the spectator. There are some artist in this creative field. Afthe the Second World War was important the figure of Cesar Manrique in the Canary Islands in Lanzarote, dead some years ago; today the better reference in the field is Anouk Sondermann, german artist installed in the Canary Islands too, working in his atelier in Agaete, Gran Canaria.
In the begening refers to art which involves the creation or manipulation of a large or enclosed place or space, many effectively surrounding its performance including the landscape might be said to qualify as environment art, although the term usually refers to artworks which do no very clear function as either of these kinds of environmental design typically do. Several artist, many associated with American Pop Art like Edward Kienholz and Lucas Samaras created tableaus in the 1960s and 1970s which were called environments. Many earthworks would qualify as environment art too like the very important work of Anouk Sondermann.
jueves, 25 de octubre de 2007
Landscape destroyer
Magma. Absurd work. AMP architects. Tenerife
Definition of absurd
(3 entries found)
absurd[1,adjective]absurd[2,noun]theater of the absurd
adjective
Etymology: Middle French absurde, from Latin absurdus, from ab- + surdus deaf, stupid
Date: 1557
1: ridiculously unreasonable, unsound, or incongruous
Kunst und Zukunft
A. Sondermann
Unsere Verstärkung für die administrativen Aufgaben an der Software unserer Homepage.
Ihn findet man etwa 12 Std/Tag am PC, den Rest verbringt er im Eiscafé.
Seine Medienagentur melonfive erstellt Internetseiten, Themenportale, Online-Auktionen und vieles mehr.
Ganz besonders danke ich Dirk und Raoul für die professionelle Übertragung der Ideen in Design, in Zahlen und zurück. Mit viel Witz, Zuhören und Know How. Vriendlig bedankt.
Ihn findet man etwa 12 Std/Tag am PC, den Rest verbringt er im Eiscafé.
Seine Medienagentur melonfive erstellt Internetseiten, Themenportale, Online-Auktionen und vieles mehr.
Ganz besonders danke ich Dirk und Raoul für die professionelle Übertragung der Ideen in Design, in Zahlen und zurück. Mit viel Witz, Zuhören und Know How. Vriendlig bedankt.
miércoles, 24 de octubre de 2007
I Bienal de Canarias de Arte, Arquitectura y Paisaje
Site specific Montañarena. Gran Canaria. Anouk Sondermann
On the road
"Weird dudes jamming synths. Alone. Social Problems. Problems. Recorded late into the night. Fucking A. That is the business, right there. Check Ze Wormnest or Matthew Young for bleary eyed-no-fan sound destruction. Shit is just creepy-gets under your skin. While most noise youth get their chocolate fingers lost in gadgetry and posturing-something about a synth jam thats just.... Human ... humanly wrong. But fucking right. Right on Hive Mind. Out of some strange comic miasma emerged this hulking thing known for playing in corners or under black sheets with short fingers churning out cosmic tales of bass heavy sheets of molten alien sound cut with xray pirate eyes. Dude is some serious Michigan shit. This sound-injecting terrorist is crew to all the like minded and total jag-off MI underground weirdo brethrens. I think he soaked his pyramid genitals in ice cold antifreeze to get where Death Tone lives in underwater-cave life. Jamz are just lurking around your chest buzzing like a Mike Tyson bee until a nuclear war-spear goes directly into your chest leaving your breath exchanged for Korean X-Files future creature Autopsy scenes. Ive been to Roswell, shit is creepy, even at Pizza Hut, mid day. None of my crew jamz synths, some dabble but dont have the slomo overbite terror vision of my man Hive Mind. Isnt your jellied brain a fucking hive? Mine has a really big queen in the center telling me to keep watching The Thing (remake) with the sound off in a super warm birth room while listening to Death Tone on a dying Walkman. I dont listen to the queen, or take advice. Me and my man the Kid thought all Hive Mind needed to hone in his awesome social synth prowess was to be locked in a room with Richard Pinhas for a year on a diet of nothing but snake burritos-but again-no one listens to advice, especially a homeboy. Psychotic drugs, cheap beer, shorties, the Roach, assholes, hung over at work... yesss, heroes to the High Life."
Published by: John Olson.
viernes, 5 de octubre de 2007
miércoles, 3 de octubre de 2007
Universe
The work-field
dumpsite, garbage dump, rubbish dump, waste-yard, wasteyard, dump
eitchen midden, kitchen midden, midden - (archeology) a mound of domestic refuse containing shells and animal bones marking the site of a prehistoric settlement
garbage heap, junk heap, junk pile, refuse heap, rubbish heap, scrapheap, trash heap, trash pile - an accumulation of refuse and discarded matter
toxic dumpsite, toxic waste dump, toxic waste site - a location where toxic wastes can be or have been disposed of (often illegally)
land site, site - the piece of land on which something is located (or is to be located)
Condensed of thefreedictionary.com
martes, 2 de octubre de 2007
Life and background
ANOUK SONDERMANN
Famous and prolific contemporary artist. Although originally from Germany, he actually moved and lived all his childhood in Iceland, where he came in contact with the early vanguardist currents of the plastic arts.
At the age of 17,he run away from his parent´s home and started a long peregrination all over asia, where he developed some of the concepts he now stands up for.
After that period, he settled down in Tokio, for applying (and being accepted) to the TITA,(Tokio Institute of Technology and Arts) a new and revolutionary education center, focused on teaching at the same time in artistic and technological branchs. This was an effort of the japanese education autorities, with the goal of promoting and upgrading the interconexions between art and technology.
In the 90´s he moved to the Canary Islands (Spain), where he, at last, considered found his real home, and he has developed the most of his artistical labour.
Recently he has passed a time in the USA, specifically in New York, benefiting of a fullbright scholarship. He has considered this time, that came at his fifties, as the best and most prolific period of his artistic life.
It´s well known by the people who surround him that remaings always in his mind, the fact of being living in the canaries, finally in the Agaete village, located in the north-west side of the Gran Canaria island. He always points in the big influences he took from the landscapes and the cultural richness of Agaete. As he said “the most wonderfull creation of human being after the Babilonia´s hanging gardens and the Halicarnaso´s mausoleum”.
Talking about his works, we must make an approach by his teorical contributions. When he started to travel all around the world, making differents jobs for the mere subsistence, he had the chance to make, during some months, a technical formation, and to work afterwards in a chemical plant in Calcuta. There he could make observations related with nature of the tecnichal work and it´s consecuences for the ambient and human beings living ways.
Mainly that, was the beggining of his artistical works based on the worries and interactions with the technical world, the energy supply matter and the recycling.
All that experiences helped him to bring to light a new current so called “ ecological hyperrealism”, it focus on the art as a mechanism for the tecnical succeding ,in the challenge of reaching the equilibrium point between the production and the adaption to the natural possibilities of the earth.
Abounding in this, from a technical point of view, we can analyze the most importants works, like his master piece “des-orden-accion” made in his Agaete´s workshop, and classicate them as a simple tailings reconverted in something superior, and with a very strong simbology, but overall, throught that reconversion it acquiiries a fixed place in the taxonomy of the artifacts, and a relevant position in the non-natural universe.
Throught his conception he is able to form an able way to live in conjuction with nature, starting from which was considered as the end of civilization chain.
Somehow, and this is the key of his art, he makes a technical catharsis, providing to the garbage a religious significate. As he wrote in his work diaries,” My duty and my destiny is to reach a new epifhany from the basis of the technological society, in order to enlighten the mankind, i´ll show the born of a new Jesus from a dump”
Published on www.molinu.org/node/78607
Famous and prolific contemporary artist. Although originally from Germany, he actually moved and lived all his childhood in Iceland, where he came in contact with the early vanguardist currents of the plastic arts.
At the age of 17,he run away from his parent´s home and started a long peregrination all over asia, where he developed some of the concepts he now stands up for.
After that period, he settled down in Tokio, for applying (and being accepted) to the TITA,(Tokio Institute of Technology and Arts) a new and revolutionary education center, focused on teaching at the same time in artistic and technological branchs. This was an effort of the japanese education autorities, with the goal of promoting and upgrading the interconexions between art and technology.
In the 90´s he moved to the Canary Islands (Spain), where he, at last, considered found his real home, and he has developed the most of his artistical labour.
Recently he has passed a time in the USA, specifically in New York, benefiting of a fullbright scholarship. He has considered this time, that came at his fifties, as the best and most prolific period of his artistic life.
It´s well known by the people who surround him that remaings always in his mind, the fact of being living in the canaries, finally in the Agaete village, located in the north-west side of the Gran Canaria island. He always points in the big influences he took from the landscapes and the cultural richness of Agaete. As he said “the most wonderfull creation of human being after the Babilonia´s hanging gardens and the Halicarnaso´s mausoleum”.
Talking about his works, we must make an approach by his teorical contributions. When he started to travel all around the world, making differents jobs for the mere subsistence, he had the chance to make, during some months, a technical formation, and to work afterwards in a chemical plant in Calcuta. There he could make observations related with nature of the tecnichal work and it´s consecuences for the ambient and human beings living ways.
Mainly that, was the beggining of his artistical works based on the worries and interactions with the technical world, the energy supply matter and the recycling.
All that experiences helped him to bring to light a new current so called “ ecological hyperrealism”, it focus on the art as a mechanism for the tecnical succeding ,in the challenge of reaching the equilibrium point between the production and the adaption to the natural possibilities of the earth.
Abounding in this, from a technical point of view, we can analyze the most importants works, like his master piece “des-orden-accion” made in his Agaete´s workshop, and classicate them as a simple tailings reconverted in something superior, and with a very strong simbology, but overall, throught that reconversion it acquiiries a fixed place in the taxonomy of the artifacts, and a relevant position in the non-natural universe.
Throught his conception he is able to form an able way to live in conjuction with nature, starting from which was considered as the end of civilization chain.
Somehow, and this is the key of his art, he makes a technical catharsis, providing to the garbage a religious significate. As he wrote in his work diaries,” My duty and my destiny is to reach a new epifhany from the basis of the technological society, in order to enlighten the mankind, i´ll show the born of a new Jesus from a dump”
Published on www.molinu.org/node/78607
lunes, 1 de octubre de 2007
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