May 1, 2017
Henri Cartier-Bresson, Alberto Giacometti, rue d'Alésia, Paris, 1961.
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Henri Cartier-Bresson, Alberto Giacometti, rue d'Alésia, Paris, 1961.
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Only the sea, murmurous behind the dingy checkerboard of houses, told of the unrest, the precariousness, of all things in this world.
Albert Camus, The Plague, 1947
Alessandro Baricco, City, 1999.
It's this damnable precariousness that gets to me!
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#stimulating #interactive @avidlearning #roundtable #lunch by @asadlalljee Thank you asad thank you #MadhuRuia thank you #Essar for 'Fluid Painting Moving Canvas' such a provocative #conversation taking up different interpretations & actions of #art. I especially enjoyed @navjotaltaf who is concerned about #ecology a personal #cause & #concern for me Famed #artist #Navjot Altaf on social issues related to ecology nature preserving nature working with her art projects to create awareness #nishajamvwal #nishajamvwalluxury #contemporaryart #aesthetic #practices #instrumentalisation of #artists & #precariousness #uncertainty #of the #world (at Essar House KK Marg Mahalaxmi)
“A precarious regime of aesthetics is developing, based on speed, intermittence, blurring and fragility. Today, we need to reconsider culture (and ethics) on the basis of a positive idea of the transitory, instead of holding on to the opposition between the ephemeral and the durable and seeing the latter as the touchstone of true art and the former as a sign of barbarism.“
Nicolas Bourriaud, “Precarious Constructions. Answer to Jacques Rancière on Art and Politics”, Open, nº 17, 2009.