My mother died one summer— the wettest in the records of the state. Crops rotted in the west. Checked tablecloths dissolved in back gardens. Empty deck chairs collected rain. As I took my way to her through traffic, through lilacs dripping blackly behind houses and on curbsides, to pay her the last tribute of a daughter, I thought of something I remembered I heard once, that the body is, or is said to be, almost all water and as I turned southward, that ours is a city of it, one in which every single day the elements begin a journey towards each other that will never, given our weather, fail— the ocean visible in the edges cut by it, cloud color reaching into air, the Liffey storing one and summoning the other, salt greeting the lack of it at the North Wall and, as if that wasn't enough, all of it ending up almost every evening inside our speech— coast canal ocean river stream and now mother and I drove on and although the mind is unreliable in grief, at the next cloudburst it almost seemed they could be shades of each other, the way the body is of every one of them and now they were on the move again—fog into mist, mist into sea spray and both into the oily glaze that lay on the railings of the house she was dying in as I went inside
Ahead of the holiday season, Sharon Van Etten releases a pair of songs, “Silent Night” b/w “Blue Christmas.” Van Etten’s rendition of “Silent Night” is broody and minimalistic, emphasizing her muscular voice over droning synth. It was recorded in 2018 for the “The Letter,” a short film by Eric Paschal Johnson that received a Vimeo Staff Pick Award. In Van Etten’s cover of the holiday classic "Blue Christmas,” her voice prettily mulls over lulling, simplistic guitar. It originally appeared on a benefit album called Do You EAR what I Ear in 2009 for the Association to Benefit Children, an outstanding New York-based service dedicated to permanently breaking the cycles of abuse, neglect, sickness and homelessness among disadvantaged children and their families. Today, the two tracks are available to digitally stream anywhere for the first time.
‘Lost But Never Alone’ (Official Video), taken from the new album ‘Magic Oneohtrix Point Never’ out now on WARP | https://magic.pointnever.com/
Directed by Josh & Benny Safdie Written by Josh & Benny Safdie and Ronald Bronstein Edited by Benny Safdie Produced by Sebo Bear, Eli Bush, Miranda Kahn, Jake Fleischman Executive Produced by Elara Pictures Production Company MIRMADE
Oneohtrix Point Never’s ‘Lost But Never Alone’ is written, produced, performed and engineered by Daniel Lopatin with additional guitar synth by Nate Boyce.
DEVON - Cam “Ash” Rice MOM - Angela Wildflower DAD - Timothy Stickney ONEOHTRIX POINT NEVER - Daniel Lopatin ENGINEER - Matt Cohn
Opening concert for the 2020 season with works by Lachenmann, Dowland, Kourliandski, Biber and Scelsi | Liederhalle Stuttgart, September 2020
00:00:11 - Helmut Lachenmann: "... two feelings ...", music with Leonardo 00:23:39 - John Dowland: Weep you no more, sad fountains 00:28:25 - Dmitri Kourliandski: possible places for violin and orchestra 00:39:39 - Heinrich Ignaz Biber: Battalia for strings and basso continuo (Ed. By Nikolaus Harnoncourt) 00:51:25 - Giacinto Scelsi: Anahit, lyric poem on the name of Venus for violin and 18 instruments
Helmut Lachenmann, speaker Patricia Kopatchinskaja, violin and vocals Teodor Currentzis, vocals Axel Wolf, lute SWR Symphony Orchestra Conductor: Teodor Currentzis
Black Square (2006–) is an ongoing project in which Simon collects objects, documents, and individuals within a black field that has precisely the same measurements as Kazimir Malevich’s 1915 suprematist work of the same name.
Taryn Simon was born in 1975 in New York, where she currently lives and works. Collections include Centre Pompidou, Paris; Tate Modern, London; Museum für Moderne Kunst, Frankfurt am Main, Germany; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; and Solomon R. Guggenheim Museum, New York. Institutional exhibitions include A Living Man Declared Dead and Other Chapters, Tate Modern, London; Neue Nationalgalerie, Berlin (2011, traveled to Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Corcoran Gallery of Art, Washington, DC; and Ullens Center for Contemporary Art, Beijing, through 2013); Contraband, Centre d’Art Contemporain Genève, Geneva (2011); A Polite Fiction, Fondation Louis Vuitton, Paris (2014); Rear Views, A Star-forming Nebula, and the Office of Foreign Propaganda, Jeu de Paume, Paris (2015); 56th Biennale di Venezia (2015); Action Research / The Stagecraft of Power, Garage Museum of Contemporary Art, Moscow (2016); Galerie Rudolfinum, Prague (2016); A Soldier Is Taught to Bayonet the Enemy and Not Some Undefined Abstraction, Albertinum, Dresden, Germany (2016); An American Index of the Hidden and Unfamiliar, Louisiana Museum of Modern Art, Humlebaek, Denmark (2016–17); An Occupation of Loss, Park Avenue Armory, New York (2016); The Innocents, Guild Hall, East Hampton, NY (2017); Paperwork and the Will of Capital, Musée d’art contemporain de Montréal (2017); Shouting Is Under Calling, Kunstmuseum Luzern, Lucerne, Switzerland (2018); A Cold Hole + Assembled Audience, MASS MoCA, North Adams, MA (2018); and An Occupation of Loss, presented by Artangel, London (2018).
Black Square (also known as The Black Square or Malevich's Black Square) is an iconic painting by Kazimir Malevich. The first version was done in 1915. Malevich made four variants of which the last is thought to have been painted during the late 1920s or early 1930s. Black Square was first shown in The Last Futurist Exhibition 0,10 in 1915. The work is frequently invoked by critics, historians, curators, and artists as the "zero point of painting", referring to the painting's historical significance and paraphrasing Malevich.
