Magid agrees with those who argue that the Barragán archive should be open to the public and returned to Mexico, but she insists that this is not her focus. “If that’s what my intentions were, I don’t think I’d make art,” she told me. “I’ve always called the archive her lover. To marry one man, she negotiated owning another man, whom she’s devoted her life to. It’s a weird love triangle, and I’m the other woman.” — The New Yorker
Congolese performance and theater group Studios Kabako from Kisangani was announced as the 2014 Curry Stone Design Prize winner this past weekend at an awards ceremony in Brussels...Studios Kabako was established in 2001 to address the various emotions linked to the aftermath of civil war. Located in a city that is isolated geographically and culturally, the studio has provided its community a safe creative haven of dance, theater, and music through its urban interventions and cultural programs. — bustler.net
Wanting to stretch one's fascia, the wood wanting to expand, and the people inside being very minute in comparison with the wood's needs. It's almost as if the house itself is turning and emptying out all the residue of the people, wanting just to be free, free of the people, free of... the spoilage is the word that I'm getting, I just want to keep pushing out further and further and further, and as I do my own body just feels much much more relaxed. — Asher Hartman
Aside from being an emblem of the Arts and Crafts movement and an historical landmark, it turns out the Gamble House in Pasadena, California is also haunted. Or, so it would seem according to performance artist Asher Hartman, who communed with former generations of Gambles in his "psychic reading"...
The ubiquity of digital spectacles and curiosities today is one reason performance art has had its thunder stolen. — nytimes.com
SUBMIT NEWS: submit in 60 seconds!