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The sprawling installation Denkmal 11, Museum of Modern Art, 11 West 53 Street, New York, 2008 by the young Belgian artist Jan De Cock (b. 1976) bends in on itself like a guy studying the lint in his belly button. It's a self-reflexive, mirroring sort of artwork, which, as its title suggests, takes art and the art museum that houses it for its subject—almost as if it were a documentary film directed by, say, Jean-Luc Godard in one of his less linear moods. And, in fact, avant-garde cinema has exerted a formative influence on De Cock. In an interview with curator Roxana Marcoci on the MOMA website, he claims: " In time we will come to consider Godard's 260-minute Histoire(s) du cinéma . . . to be more important in the formulation of twentieth-century culture than Picasso's Les Demoiselles d'Avignon," the latter being, of course, one of MOMA's key holdings. Despite his avowal of film, De Cock chooses to work in photography and sculpture.
Still, the installation does resemble a sort of fractured storyboard. A series of black picture frames of varying sizes hold photographs—some individual, some in diptychs, others in groups—that take us through most areas of the museum: the conservation labs, library, theater, and the collection itself. This presentation, the frames and matte windows cropping many of the photos, cleverly mimics the geometric apertures, such as the interior windows, of the museum's architecture. De Cock also takes a filmic approach to photography, employing tight close-ups, multiple perspectives on the same subject, shots from several angles, and montage. Together, these photos amount to a sort of archival trove that exposes different aspects of the museum over the time the show takes to digest. " Duration factors significantly in my work," he says, a comment reinforced by the times of day printed like wall texts next to each of his " modules," or sets of pictures and sculptural objects.
Frank Lloyd Wright, the suave, romantic playboy, at 85 years old, has one last mission—to seduce that faithless woman of a certain age, New York City. She has been on his list for a long time. This time, though, he will do it his way. Everything is meticulously planned … down to the Plaza Hotel’s Suite # 223, which Wright will completely make over; for Christian Dior’s previous “inferior desecration” of the room simply will not do.
“Pour to start with the beginning, c’est night of spring without the moon in the small borough, without stars, and black of bible, in the streets with the round paving stones, quiet and in uneven wood, drink the in love ones and rabbits which imperceptibly boitillent jusqu’à it [ …]”
[mp3 via edk] [wp] [Ag]
(”Under Milk Wood” translated l’anglais by Jacques B Brunius)
“Dylan Thomas wanted to write a part for the inhabitants of the village where it finished his days, Laugharne (Country of Galle), which "interfere the plays intelligence of Ulysses de Joyce and the country lyricism of the villagers". "Under Milk Wood" ("With Lacteous Wood") described one day of spring in a fishing port, life and dreams of the villagers, figures bouffones and poetic.
Two narrative votes throughout the part lead you by the streets, penetrate the interiors, introduce and reveal the characters whom one will initially intend to dream, to wake up, then to discharge their daily tasks, according to the moments and places' of the day, to attend their loves, their quarrels, their ordinary made eccentricities. The villagers know each other all, covet themselves, scorn themselves, jalousent themselves, like, the gossip go good train, even deaths take share there. Not less than one about sixty characters that l?autor crunches with the ell of his destructor poetic genius, his comic liveliness, and the compassion which it tests for the models of its composition.
Dylan Thomas wanted to write a sharp?uvre and bouffonne, admissible by all. Poet with the innate genius, it engraves the language to the extreme, enriches it by metaphors, adjectives which it invents, of systems of assonance, interlacing the literary kinds unceasingly where are juxtaposed lyricism, dialogues, récitatifs, songs, in order to obtain this astonishing vocal partition which makes him add in subtitle of To lacteous Wood "a part for voice". C’est also its last part. It gave of it reading at the time of its last voyage to the United States. Little time after its death in 1953, the part was published and a version for the radio was recorded by the BBC in 1954 with Richard Burton reading the voice number un.” (National Theatre of Brittany & Commercial Xavier).