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Oblique Strategies (Brian Eno & Peter Schmidt)

Unlike the Fluxus scores that Eno had used years earlier, which were essentially directives for performance, the Oblique Strategies cards were idea-generating tools and tactics designed to break routine thinking patterns. While born of a studio context, Oblique Strategies translated equally well to the music studio. For Eno, the instructions provided an antidote in high-pressure situations in which impulse might lead one to default quickly to a proven solution rather

Juego de manos (Joan Ponç)

Recuerdo que con frecuencia tenía dolores de cabeza, y mis padres me decían: «reza un Padrenuestro y se te pasará». Yo rezaba uno tras otro, pero el dolor, lejos de desaparecer, aumentaba; por fin llegaba mi abuela y me decía: «¿por qué estás rezando, es que tienes dolor de cabeza?». Me daba una aspirina y el dolor desaparecía milagrosamente. Quién sabe si, por esta razón, me inspira más fe la

Reality Properties: Fake Estates (Gordon Matta-Clark)

Starting in the summer of 1973, artist Gordon Matta-Clark purchased fifteen lots in the city of New York, fourteen in Queens and one in Staten Island. The specificity of these plots is to be tiny residual areas, often inaccessible parcels of land escaped for some reasons to the rules of the grid and the interests of the real estates. These “unuseless” spaces, sometimes even narrower than a person’s shoulders, were

Extracción de la piedra de la locura (El Bosco)

Pedestal del mundo (Piero Manzoni)

The Clock (Christian Marclay)

Artículo en El País

One Year Performance (Tehching Hsieh)

Persistir con el bosque (Jesús M. Sánchez)

747 (Chris Burden)

1973

Uninvited Guests (Edvard Munch)

1932-1935