7 kortposter fra Barcelona
Living things: Picasso Figure / Still-life
ONLY CHERRIES
They didn't want me around
Said I couldn't have no cherries
Or watch them pick cherries
Or even stand near the table
Where one of those Kultur-Kookie-Klucks
With the big fat-legged smile
Was fixing to pop a nice red cherry
In on top of his gold spoon
You know I don't like those people
Who act as if a cherry
Was something they'd personally thought up
(fra Kenneth Patchens Hurrah for everything, 1960, optrykt i We meet, 2008, købt i boghandlen La Central, læst i ingen ende på tøjbutikker)
They're gone, devil take them. Born to trouble like most women, those two flametops worse tham most. He's sorry he fucked up and led the Reaper here, but in truth it would probably be better if the kid were quickly taken and dispatched, not to drag her suffering out. If they catch her now, and they will, she's in for it, all the worse for the time it takes them. She's a rebellious little vixen, if little is the word, and that get's up the Reaper's nose. She wants a self of her own, will not shut up, play the submissive mute. Not smart. Patient schemers like Little Furball have shrewder ways; makes them warped and bitter but they last longer with more of their parts intact.
The lark's wing ringed in the blue of gold meets the heart of the poppy asleep in the field adorned with diamonds
Living things: Picasso Figure / Still-life
From 1907, Picasso opned his work to metamorphosis. he incresingly made one thing into another. In particular, he turned figures into things and things into figures, or even created things that were also figures. This exhibition brings together sketches, studies. prints and paintings to show some of the ways in which this happened in Picasso's work thorugh the Cubisdt period and then between 1924 and the early 1930s as he engaged with and responded to the Surrealists. It is called 'Living Things' because Picasso's exchanges between figures and objects animate the inanimate. Heads are also gutars, still-lives become automa, and finally, in the later rooms, objects perform like actors on stage or are pulled apart as if the defenceless victims of attack.
(pjecetekst til udstilling på Museu Picasso)
(pjecetekst til udstilling på Museu Picasso)
ñam ñam
una tapeta?
TAPES ...molt bones!
BRAVES
BOMBES DE LA BARCELONETTA
TAPA D'OR
RUSSA amb PICOS de JEREZ
CROQUETTES de PERNIL IBÉRIC
OUS ESTRELLATS al GUST
TRUITA de TRÉMPO
BIKINI COMMERC 24
PINXO de XAI "ALHUCEMAS"
COCA de RECAPTE
Mc FOIE - BURGUER
PERNIL IBÉRIC de GLA
BOUQUERONES al LIMÓN
LACÒN IBÈRIC
TOMÀQUET amb HUEVAS DE TONYANA
- per suca-hi pa!!!
(spisekortet fra TAPAS,24, aftrykt på "bestikpose")
INFORMED CONSENT FOR ACCESS TO THE WORKS ON DISPLAY IN THE CILDO MEIRELESS EXHIBITION AT THE MACBA
THE MACBA informs Mr./Ms
........................Lars...Bukdahl....................................................................
That some of the works by the artist Cildo Meireles on display at MACBA may involve a high degree of risk to visitors. Specifically
Através
1983-89 (2007)
Installation
Courtesy of the artist
General risks:
There are a number of street barriers, pieces of garden fencing, blinds, railings, aquariums formed to make a labyrinth and so on, which make up a 12m x 12m square which will have a ball of cellofan in the middle.
The floor will be covered with 8 tons of broken glass.
There is a risk of suffering injuries to the upper an lower extremities as a result of blows and/or cuts produced by slips and falls during your tour of the installation.
You may not enter the istallation unless you have the adequate footwear (closed, with a thick sole).
Personal risks:
All doubts that I have after reading/seeing the information prior to making this visit have been comprehensively resolved.
The signing of this document indicates I recognise having recieved all necessary indications concerning the risks involved, my personal decision to subject myself to them and my waiving of any possible future actions for damages I may incur as a result of the forseeable risks of which I have been duly informed.
I give my consent.
BOMBES DE LA BARCELONETTA
TAPA D'OR
RUSSA amb PICOS de JEREZ
CROQUETTES de PERNIL IBÉRIC
OUS ESTRELLATS al GUST
TRUITA de TRÉMPO
BIKINI COMMERC 24
PINXO de XAI "ALHUCEMAS"
COCA de RECAPTE
Mc FOIE - BURGUER
PERNIL IBÉRIC de GLA
BOUQUERONES al LIMÓN
LACÒN IBÈRIC
TOMÀQUET amb HUEVAS DE TONYANA
- per suca-hi pa!!!
(spisekortet fra TAPAS,24, aftrykt på "bestikpose")
INFORMED CONSENT FOR ACCESS TO THE WORKS ON DISPLAY IN THE CILDO MEIRELESS EXHIBITION AT THE MACBA
THE MACBA informs Mr./Ms
........................Lars...Bukdahl....................................................................
That some of the works by the artist Cildo Meireles on display at MACBA may involve a high degree of risk to visitors. Specifically
Através
1983-89 (2007)
Installation
Courtesy of the artist
General risks:
There are a number of street barriers, pieces of garden fencing, blinds, railings, aquariums formed to make a labyrinth and so on, which make up a 12m x 12m square which will have a ball of cellofan in the middle.
The floor will be covered with 8 tons of broken glass.
There is a risk of suffering injuries to the upper an lower extremities as a result of blows and/or cuts produced by slips and falls during your tour of the installation.
You may not enter the istallation unless you have the adequate footwear (closed, with a thick sole).
Personal risks:
All doubts that I have after reading/seeing the information prior to making this visit have been comprehensively resolved.
The signing of this document indicates I recognise having recieved all necessary indications concerning the risks involved, my personal decision to subject myself to them and my waiving of any possible future actions for damages I may incur as a result of the forseeable risks of which I have been duly informed.
I give my consent.
Date and place: Barcelona 11/3 2009
Signature: Lars Bukdahl
Signature: Lars Bukdahl
ONLY CHERRIES
They didn't want me around
Said I couldn't have no cherries
Or watch them pick cherries
Or even stand near the table
Where one of those Kultur-Kookie-Klucks
With the big fat-legged smile
Was fixing to pop a nice red cherry
In on top of his gold spoon
You know I don't like those people
Who act as if a cherry
Was something they'd personally thought up
(fra Kenneth Patchens Hurrah for everything, 1960, optrykt i We meet, 2008, købt i boghandlen La Central, læst i ingen ende på tøjbutikker)
They're gone, devil take them. Born to trouble like most women, those two flametops worse tham most. He's sorry he fucked up and led the Reaper here, but in truth it would probably be better if the kid were quickly taken and dispatched, not to drag her suffering out. If they catch her now, and they will, she's in for it, all the worse for the time it takes them. She's a rebellious little vixen, if little is the word, and that get's up the Reaper's nose. She wants a self of her own, will not shut up, play the submissive mute. Not smart. Patient schemers like Little Furball have shrewder ways; makes them warped and bitter but they last longer with more of their parts intact.
(fra Robert Coover's Stepmother, 2004, købt i La Central, hotelmorgenlæsning)
The lark's wing ringed in the blue of gold meets the heart of the poppy asleep in the field adorned with diamonds
Drop of water on pink snow
Hair pursued by two planets
(titler på malerier af Miró fra 1967, 1968 og 1968 i den sidste sal på Fundació Joan Miró)
There's no answer to the state of Kentucky [hvor HDS bor]. Again you're looking for an answer and there is none.
I only eat so I can smoke and stay alive.
Oh yeah, Marlon and I talked about this stuff all the time. On the phone once he said, "What do you think about me?" And I said, "I think you're nothing." And he goes, "Bahhahaha!
Hang on, I gotta take this call. "Hey brother. That's great, man. Yeah, I'm being interviewed by this Esquire guy. We're talking about nothing. I've got him well-steeped in nothing right now. He's stopped asking questions."
(fra interview med Harry Dean Stanton om "What I've learned" i særnummer af Esquite, købt i Barcelona Lufthavn, læst i flyet på vej hjem)
There's no answer to the state of Kentucky [hvor HDS bor]. Again you're looking for an answer and there is none.
I only eat so I can smoke and stay alive.
Oh yeah, Marlon and I talked about this stuff all the time. On the phone once he said, "What do you think about me?" And I said, "I think you're nothing." And he goes, "Bahhahaha!
Hang on, I gotta take this call. "Hey brother. That's great, man. Yeah, I'm being interviewed by this Esquire guy. We're talking about nothing. I've got him well-steeped in nothing right now. He's stopped asking questions."
(fra interview med Harry Dean Stanton om "What I've learned" i særnummer af Esquite, købt i Barcelona Lufthavn, læst i flyet på vej hjem)
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