Le Guin’s Carrier bag theory explaining how containers have always played an essential, and perhaps, underestimated role throughout the whole history of mankind the container understood as the body, the dwelling space, the library, the museum, the womb, the matrix.Ĭomforts consists of a series of meticulously hand-embraided textiles, that besides from their geometrical patterns and particular bleached and dyed color schemes, immediately triggers the haptic and perhaps even synesthetic sense in any visitor, who is able to imagine how comfortable a blanket wrapped around you feels like and how any kind of fabric functions as something protecting as a separating layer and connecting point between our bodies and the world. The former functioning literally as striking, sculptural containers for anything, any thought, any idea, any purpose or simply pure energy. Bringing his personal archive consisting in 10 years of gathering bits and pieces from here and there, he has within the past month been assembling these almost “forgotten” images in new/old, intuitive/orchestrated constellations of Principles.ĭuring his residency at CCA Andratx, Monies has besides continued developing two ongoing series of works: his ceramic and polystyreneContainers and his tapestr圜omforts. 6: “Cause and Effect”, stating that the chance is merely a term in describing something that is unknown to our planes of existence. Karl Monies believes less in chance by working accordingly to the7 Hermetic Principles, one of them being correspondence, “As Above, So Below”, another one being the pendulum movement of Rhythm, and perhaps most interestingly is in this context the principle no. The kingdom above or the darkness below it is for him to choose.” His destiny is nowhere spelled out, nor is his duty. Monod concludes, inspired from the Existentialists, that “man knows at last he is alone in the unfeeling immensity of the universe, out of which he has emerged only by chance. Inspired by the title of the book by the French Nobel-Prize winning biochemist Jacques Monod from 1970, CCA intends to question the relationship between chance encounters, coincidences and opportunities and the necessity to make a choice. You can bet, though, that they’ll be reading the dispatches from France with eager eyes, and ramping up the consumer research at home, just in case.įind more of the author’s work here.Kristian Kragelund (DK), Elisabeth Molin (DK), Karl Monies (DK) andĬCA Andratx is excited to present the group exhibition Le Hasard et la Nécessité which unfolds four different artistic expressions delving into the space between Chance and Necessity. The US industry is rather more business than show, and until such time as the studios feel they can cast Depp without provoking a backlash, he will remain in the naughty corner. It would be premature, though, to assume that one well-received screening in France amounts to a Hollywood comeback for Depp, even if it does come hot on the heels of a renewed contract with Dior for the fragrance Sauvage, for which the actor is expected to earn $US20 million over three years. Or you could attribute it to a peculiarly Gallic tolerance for the vagaries of human interactions. You could chalk that up to a resolve to separate the art from the artist, an admirable respect for the presumption of innocence (no criminal charges have ever been proven against Allen or Depardieu, though Polanski was found guilty in the US in 1978 of raping a 13-year-old, fleeing the country before sentencing). Long after accusations of predatory behaviour or worse had been levelled against Roman Polanski, Woody Allen and Gerard Depardieu – who is currently facing a rape charge, and has been accused by 13 other women of sexual harrassment – these men have been invited back. If it transpires that we have just witnessed the second coming of Jack Sparrow, the French film industry’s premiere showcase is a fitting location for it. There were no protesters to muddy the waters, either conveniently, the city of Cannes had announced on the weekend that all demonstrations would be banned on public roads for the duration of the festival, in order “to guarantee public order during an exceptionally big and international event”. Outside, the crowds lining the Croisette screamed their appreciation for his return. Nor was the enthusiasm contained to the cinema. Even allowing for the fact such responses are close to de rigueur at Cannes red-carpet events, it must have come as a massive relief. Jeanne du Barry is his comeback, and on opening night it was met with a seven-minute standing ovation. Other than televised court proceedings and a bizarre cameo at the MTV awards in August 2022, in which he dangled from the ceiling in a space suit, Depp has not been seen on screen since being dropped from two major Hollywood franchises, Pirates of the Caribbean and Fantastic Beasts and Where to Find Them, three years ago.
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