Yearly Archives: 2009

november 6–november 17

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Books

Exhibits

  • “Dense-local y Del Exilio al Insilio ¿somos todos extranjeros?,” Labratorio Arte Alameda, México, D.F.
  • “Pedro Friedeberg: arquitecto de confusiones impecables,” Museo del Palacio de Bellas Artes, México, D.F.
  • “Los desmembrados,” Museo Nacional de Arte, México, D.F.
  • “Remedios Varo y la literatura: para leer a Remedios Varo”/”Hecho en casa,” Museo de Arte Moderno, México, D.F.
  • “De la tierra a la luna”/”Yo uso perfume para occupar más espacio”/”Yoshua Okón: Ventanilla única,” Museo de Arte Carillo Gil, México, D.F.
  • “Tauromaquia: mano a mano”/”Colección Alejandro Alvarado,” Museo Nacional de la Estampa, México, D.F.
  • “Robert Waters: Taparrabo,” Ex Teresa Arte Actual, México, D.F.
  • “Salón de Estampa, seis décadas de producción,” Salón de la Plástica Mexicana, México, D.F.
  • Museo Mural Diego Rivera, México, D.F.
  • Museo Casa Estudio Diego Rivera y Frida Kahlo, México, D.F.
  • Museo de Arte Popular, México, D.F.
  • Museo Franz Mayer, México, D.F.
  • Museo Templo Mayor, México, D.F.
  • Casa Luis Barragán, México, D.F.
  • “Luis Urrutia: Límites de luz,” Casa Lamm, México, D.F.
  • “Sandra Gamarra: Selección natural”/”Jorge Méndez Blake: 3 bibliotecas,” Galeria OMR, México, D.F.
  • “Jay Chung & Q. Takeki Maeda: Outtakes and Excerpts,” Gaga Arte Contemporáneo, México, D.F.

what’s water?

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For David Foster Wallace

This guy got lost in the snow. Then found.
Then came a sense of having lost the snow
or lost water or some infinite thing.

He watched the ME channel, day in and
day out. He couldn’t help it: An old fish
swam by some little fish, asking,

how’s the water? The skeletons in one
show taught parables about greed, envy,
and lust, to show that vices lead to loss.

This little rat got obsessed with
weight lifting and sex, for example.
She preened on, licking her tail & feet.

But the rat had already been lost, clearly,
or had already lost. From the beginning,
she looked thirsty. Her dark eyes peered out

as if toward some infinite thing, some body
of water from which to drink,
across which might be a horizon.

The guy remembered his time in Alaska
when, close to death, he had longed for God
with a purity that felt close to God, how

afterward the longing ebbed, and even
snow went back to being a hassle, often
dirty. The skeleton said truth every time

the rat said beauty. In the wild, you have to
melt snow before you drink it. He had known
that much, to separate the air from water.

(Heather Green, from No Omen.)

noted

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october 31–november 5

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Books

Films

  • Les diaboliques, directed by Henri-Georges Clouzot
  • Il divo, dir. Paolo Sorrentino
  • Velocità, dir. Tina Cordero, Guido Martina & Pippo Oriani
  • Stramilano, dir. Corrado D’Errico
  • Thaïs, dir. Anton Giulio Bragaglia
  • Excelsior, dir. Luca Comerio
  • Amor pedestre (Love Afoot), dir. Marcel Fabre
  • Des pieds et des mains (Feet and Hands), dir. Jacques Feyder & Gaston Ravel
  • Fait-divers (A Collection of Facts), dir. Claude Autant-Lara
  • Les vacances de Monsieur Hulot (Mr. Hulot’s Holiday), dir. Jacques Tati

Exhibits

  • “Art of the Samurai: Japanese Arms and Armor, 1156–1868,” Met
  • “Looking In: Robert Frank’s The Americans,” Met

october 26–october 30

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Books

Films

  • Fados, directed by Carlos Saura

Exhibits

  • “David Mann,” McKenzie Fine Art
  • “Sister Corita Kent,” Zach Feuer Gallery
  • “Lynn Koble: Capacity,” Venetia Kapernekas Gallery
  • “Robert Frank,” Robert Mann Gallery
  • “David Colosi: Imaginary Numbers and Other Calculated Fictions,” Cueto Project
  • “On Top of the Whale,” Mitchell Algus Gallery
  • “Sean Scully: Recent Paintings,” Galerie Lelong
  • “Damián Ortega: CAPITAL Less,” Gladstone Gallery
  • “Stripes/Solids,” Paula Cooper Gallery

on returning

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“At one in the morning, after hours of sobbing and anguish such as no other separation ever caused me, I wrote a letter. I have it now: I have just re-read it and am holding it in my hand, quite without emotion; its paper gives no hint that it is different from any other piece of paper, and the letters are like any other letters in any other sentences. Between my self of that night and my self of tonight there is the difference between the cadaver and the surgeon doing the autopsy.”

(Gustave Flaubert, travel notes, p. 21 in Flaubert in Egypt, trans. & ed. Francis Steegmuller.)

no better than a spacious kennel

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“Mr. Glowry used to say that his house was no better than a spacious kennel, for everyone in it led the life of a dog. Disappointed both in love and friendship, and looking upon human learning as vanity, he had come to a conclusion that there was but one good thing in the world, videlicet, a good dinner; and this his parsimonious lady seldom suffered him to enjoy: but, one morning, like Sir Leoline in Christabel, ‘he woke and found his lady dead’, and remained a very consolate widower, with one small child.”

(Thomas Love Peacock, Nightmare Abbey, chapter 1, p. 2.)