"Five, six, picks up sticks; Seven, eight, lay them straight
I like simple, practical, emotional,
quiet, vigourous art.
I like the simplicity of walking,
the simplicity of stones.
I like common materials, whatever is to hand,
but especially stones. I like the idea that stones
are what the world is made of.
I like common means given
the simple twist of art.
I like sensibility without technique.
I like the way the degree of visibililty
and accesibility of my art is controlled
by circumstance, and also the degree
to wich it can be either public or private,
possessed or not possessed.
I like to use the simmetry of patterns between time,
places and time, between distance and time,
between stones and distance, between time and stones.
I choose lines and circles because they do the job.
(...)."
E porque no mesmo livro, numa entrevista com Martina Giezen (1985), se aborda o texto de cima, achei importante registar aqui o seguinte excerto.
"Martina Giezen: In 'Five, six, pick up sticks', there were some problems with the translation. I did not exactly know how to translate certain words or expressions. 'Lines and circles do the job'. 'Do the job' cannot be literally translated into Dutch. Can you say, 'they are useful for me, for what I want to express?'
Richard Long: Exactly. They do the job for me. I am not at all interested in 'formalism', I use lines and circles for their power."
Richard Long: Selected Statements & Interviews. (2007) Turfnell, B (ed.). Haunch of Venison.
Sunday, May 17, 2009
Richard Long
Monday, May 4, 2009
Monday, April 27, 2009
Sunday, April 26, 2009
Cinestesia
"In order to see the images more clearly, people would climb onto the rock and walk within the image fields."
"The images themselves were orchestrating a spatial dance: bodies were moving in relation to them (...) and sometimes it was obviously necessary to touch the carvings. (...) this force of the image was quite independent of verbal exegesis."
"Kinaesthetic approaches (...) stress the role of the carnal human body: perception is regarded as being both afforded and constrained by the sensuous human body."
"Rock art [from a kinaesthetic approach] is a relational nexus of images, material qualities of rocks, and landscapes."
"A truly phenomenological study of imagery is grounded in the kinaesthetics of bodily movement."
Tilley, C. (2008). Body and Image. Left Coast Press, Inc.
Friday, April 24, 2009
"Following the Path of the Deer"
Cajados, renas e antropomorfos. Perspectivas mesolíticas na Noruega Ocidental.
Tilley, C. (2008). Body and Image. Left Coast Press, Inc.
Tuesday, April 21, 2009
Visões
Monday, April 20, 2009
Semelhantes mas diferentes
Saturday, April 18, 2009
Sobre como a migração dos símbolos não implica necessariamente uma migração dos sentidos. As apropriações, as descontinuidades, as rupturas, etc., ocorrem com a mesma naturalidade e pertinência que as ideias de evolução, tradição...
