A German propaganda outpost in Lisbon’s Chiado shopping district in 1943, from the collection of the Calouste Gulbenkian Foundation, Lisbon
Luis Diaz Diaz, Casabarreiro, Friol (Lugo), from his series entitled Music Boxes, a photographic project that revisits the open air stages used for orchestras and concerts during the yearly local festivals in rural Galicia, in northern Spain.
(Selected and exhibited at Brussels Photography and Architecture Biennial 2010)
Van Eyck on Rykwert’s Idea of a Town
If we, today, are unable to read the entire universe and it’s meaning off our civic institutions as the Romans did - loss or gain - we still need to be at home in it; to interiorise it; refashion it in our own image - each for himself this time. To discover that we are no longer Romans and yet Romans still, is no small thing.
Aldo van Eyck, from his introduction to the prepublication of The Idea of a Town in Forum, no. 3, 1963
Isaac de Moucheron (Dutch, 1633-1683), View of the star-shaped bosquet near the end, Plate 8 of a series of views of Heemstete Garden, Utrecht, Netherlands
Launch of Space Shuttle Endeavour on mission STS-111 startles a large bird to flight over nearby waters. Liftoff occurred at 5:22:49 p.m. EDT on June 6, 2002 from the Kennedy Space Center at Cape Canaveral, Florida. (NASA)
Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912
Edward Burra, Collage, 1930
The anxious moment in which we realize we are waiting — our realization of the collision of object time and human time — snaps us from our quotidian or automatic condition, throwing us into a heightened awareness that necessitates our operation within the intuitive and attentive state. Indeed, what makes time sculpture so powerful is that it defines the duration of this intuitive state, and in so doing it is as if the beholder is operating on the object’s time, not human time — stuck in the moment, in a rush of memory and image.
Elizabeth Buhe, Waiting for Art: The Experience of Real Time in Sculpture, Contemporaneity Vol I, 2011
For having lived in Westminster - how many years now? Over twenty, - one feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before Big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air.
Virginia Woolf, Mrs Dalloway, 1925
We ask what it says: and we agree that it says tick-tock. By this fiction we humanize it, make it talk our language… Tick is a humble genesis, tock a feeble apocalypse; and tick tock is not much of a plot.
Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction, Oxford University Press, 1966