#willendorf

eucanthos

collusion

WillendorfVenus, Limestone, 28,000–25,000 BCE. (upper paleolithic) Vienna Museum of Natural History

Franz West, Laokoöns federnder Kopf (Lessingstudie), 2002 [head+stand]

Ai Weiwei, Coca-Cola Vase, 2009 Han dynasty vase and industrial paint

Armed hand composite and found bandages

Nature est morte 2025 Venus, piment, mortier... Gouache paint 16x18 cm 350 €

The source of the materials used to make the Venus of Willendorf, a 30,000-year-old figurine that counts among the world’s oldest artifacts, have long eluded experts. The figurine, which resembles a woman with fulsome breasts and round hips, is made of a rock known as oolite, which isn’t native to Willendorf, the village in Austria where it was found. At long last, how the oolite made its way to Willendorf appears to be solved.

An anthropologist with the University of Vienna and two geologists said on Tuesday that the Venus of Willendorf’s oolite most likely came from an area in the north of Italy near Lake Garda. The findings by Gerhard Weber, Alexander Lukeneder, and Mathias Harzhauser put forward in their paper, which appears in the peer-reviewed journal Scientific Reports, have the potential to reshape how experts understand the movement of various peoples during the Paleolithic era.

Working in collaboration with the prehistorian Walpurga Antl-Weiser and the Natural History Museum in Vienna, which owns the Venus of Willendorf, the team of researchers closely examined the figurine to determine its origins. They relied on a technique called micro-computed tomography, which uses extremely high-definition photography to offer cross-sections of objects.

Inside the oolite, they discovered remnants of shells and limonites, a kind of large grain. Some of the limonites appear to have fallen out of the figurine as it was being carved, leaving depressions behind. The experts suggested that the Venus of Willendorf’s gaping belly button was the result of this—a happy accident that was embraced by its maker.

If indeed the oolite came from northern Italy, it means that the sculpture’s maker likely traveled across an area where the Alps are sited. But because glaciers that have since melted once covered those mountains, the creator likely circumvented the Alps.

Because the oolite went from Italy to Austria, it probably means that the people of civilization that the sculpture’s maker belonged to “looked for and inhabited favorable locations,” Weber said in a statement. “When the climate or the prey situation changed, they moved on, preferably along rivers.”

mother

1 'artist' unknown Venus of Willendorf (c28000-25000BCE) limestone  http://smarthistory.khanacademy.org/nude-woman-venus-of-willendorf.html

2 artist unknown snake goddess, Minoan Civilization, Crete (c1600 BCE)

3 artists unknown Empress Theodora, mosaic in church of San Vitale, Ravenna, Italy (6th Century)  http://smarthistory.khanacademy.org/byzantine-justinian.html

4 Ana Mendieta (1948-85) Cuba/ USA Silueta   search at http://www.moca.org

5 Piero della Francesca (1415-92) Madonna of Mercy, detail (c1460) oil and tempera on panel

6 poster from Mehboob Khan's 1957 film Mother India http://www.youtube.com/watch?v=yNFPjvT5PJM   http://www.youtube.com/watch?v=JzJHnADcpa8

7 Cindy Sherman Untitled (1989) 

8 Maïmouna Patrizia Guerresi () As a photographer, sculptor, and installation artist, ‘Maïmouna’ Patrizia Guerresi reveals unique and authentic sensibilities in her narration of the beauty and subtleties of racial diversity and multiculturalism. Over an established career, she has developed her own symbolism, which combines cosmological and ancestral traditions belonging to various European, African, and Asian cultures. Her personal commitment to Baifall Sufism has led her to produce an aesthetic that is able to bridge time, space and civilisations, as well as figuration and abstraction.

The human body is seen as the nucleus and temple of the soul, a place that houses a delicate, higher awareness; the very conduit for encompassing natural and cosmic forces. More about mysticism than any singular religion, her work is visionary in that it restores those elusive qualities of sacredness and unity in our frequently dehumanising and fragmented contemporary visual world. Her classic iconographic style explores the universality of human experience and reclaims the often hidden nurturing powers of feminine energy. Presented as a kind of free flowing epic, the viewer is left to read the significance of her imagery and quietly meditate on its potential to personally engage with its audience. As if her figures were speaking directly to each one of us.

From her earliest experiments with the physicality and archetypal imprinting of the psyche, through to her latest, evermore metaphoric ‘inner constellations’, Maïmouna insists on a cross-cultural discourse and an expansion of the boundaries that normally dictate our individual attitudes. She invites us to see further and to look deeper – past skin colour, preconceptions, and ethnic landscapes – into the wider paradigm of inclusion. She leads us through apparently simple notions of dimensionality into the exquisite, mystical and fragile complexities of life from within. Rosa Maria Falvo,writer and curator, www.chobimela.org

Perspective on the relationship between women and society, with particular reference to those countries in which the role of women is most marginalized. For over twenty years Guerresi’s work has been about empowering women and bringing together individuals and cultures in an appreciation for a context of shared humanity, beyond borders – psychological, cultural, and political. She uses recurrent metaphors such as milk, light, the hijab, trees, and contrasting white on black to create awareness of the vital unifying qualities of the feminine archetype and its special healing potential. Guerresi’s art is uniquely authentic. Her work is inspired by personal experience and cultural contexts that reference universal myths, the sacred realm, and the female condition, all of which are seen as vital expressions of the human form: an essentially spiritual and mystic body. Through photographs and videos of silent, austere, veiled women in domestic scenes and individual poses, her work functions as both metaphor and provocation. Guerresi’s images are delicate narratives with fluid sequencing, as well as rational analyses: women dressed in white, enveloped in chadors, fixed within their own tradition and isolated from and by it in the contemporary world. Her Fatimah image suggests the woman as Mother- Earth supporting us in the original energy cycle of Space-Universe-Infinity. www.maimounaguerresi.com

9  The Cholmondeley Ladies  (c1600-10)  oil paint on wood 886 x 1723 mm       British School 17th century   (1600‑1699)

La semaine dernière, j'ai retrouvé mes amis Julien et Katie à Remoulins dans le Gard (Languedoc). On est allés à Vallon-Pont-d'Arc (Ardèche) visite la réplique de la fameuse Grotte Chauvet dont les peinture rupestres datent de l'aurignacien.

Le petit musée de l'Aurignacien (surtout des fac-similés) :

la célèbre Vénus de Willendorf - Autriche , -30000 ; chevaux en ivoire - Vogelherd, Allemagne

mammouths en ivoire - Vogelherd, Allemagne

félins en ivoire, Vogelherd, Allemagne

crâne de l'Homme de Cro-Magnon, Dordogne