MARCEL BORRÀS (1990) & MARC MARÍN (1987): YACIMIENTOS ARQUEOLÓGICOS DE UR Y KISH (IRAQ, 2011-2015, ISAW, NUEVA YORK)

La exposición From Ancient to Modern. Archaeology and Aesthetics (ISAW, Nueva York, febrero. junio de 2015) presenta un documental sobre los yacimientos sumerios de Ur y Kish, rodado por Marcel Borràs en diciembre de 2011.

Una primera versión fue mostrada en la exposición Antes del diluvio. Mesopotamia, 3500-2100 aC, en Caixaforum, Madrid y Barcelona, en 2012.

Una segunda versión, más larga, con imágenes inéditas, seleccionadas entre las cien horas de grabación, y montadas por Marc Marín (asistente en el comisariado y el montaje de la muestra), se ha incluido en la exposición de Nueva York.

ANDREW NORMAN (1979): FARNSWORTH, FOUR PORTRAITS OF A HOUSE (CUATRO RETRATOS DE LA CASA FARNSWORTH, 2004)

http://andrewnormanmusic.com/archives/129

Hermosa composición, del joven músico Andrew Norman, fascinado por la arquitectura, y las texturas de los paramentos  -de la que se puede escuchar legalmente un fragmento-, que evoca la naturaleza que se descubre desde el interior acristalado de la villa Farnsworth, en Chicago, de Mies van der Rohe (1945-1951).

THOMAS ADÈS (1971): LES BARRICADES MYSTÉRIEUSES (1994, BASADO EN EL TEMA DE FRANÇOIS DE COUPERIN DE 1717)

Sobre este compositor contemporáneo británico, véase su página web

From Ancient to Modern. Archaeology and Aesthetics (ISAW, Nueva York. Inauguración: 11 de febrero de 2015)

Dirección: Jennifer Y. Chi & Pedro Azara, con Marc Marín
Coordinación: Jennifer Babcock
Conservadora: Angela Nacol
Montaje: Misha  Leiner (CoDe) , con Pedro Azara y Marc Marín
Filmaciones: Marcel Borràs
Música: Joan Borrell
Catálogo editado por la Princeton University Press, 2015


Fotos: Tocho, ISAW, Nueva York, 9 de febrero de 2015

Se puede consultar la página web de la exposición desde hoy


TEXTOS ORIGINALES DE LA EXPOSICIÓN

Nota: Los textos definitivos son más breves

“An artist whose eye had been educated by the Egyptian, the Sumerian and the Cycladic” (David Sylvester on Alberto Giacometti, 1966)

"For me, Sumerian sculpture ranks with Early Greek, Etruscan, Ancient Mexican, Fourth and Twelfth Dynasty Egyptian and Romanesque and early Gothic sculpture, as the great sculpture of the world. It shows a richness of feeling for life and its wonder and mystery, welded to direct plastic statement born of real creative urge.... [I]ts greatest achievement is found in the free-standing pieces ... and these have tremendous power and yet sensitiveness.... See the alabaster figure of a woman which is in the British Museum ... with her tiny hands clasped in front of her. It is as though the head and the hands were the two equal focal points of the figure--one cannot look at the head without being conscious also of the held hands. But in almost all Sumerian works the hands have a sensitiveness and significance; even in the very earliest terracotta figures, where each hand seems no more than four scratches, there is a wealth of meaning there." (Henry Moore, “Mesopotamian Art”, The Listener, 1935)

"From 3378 BC (date man´s 1st city, name and face of creator also known) in unbroken series first at Uruk, then from the seaport Lagash out into colonies in the Indus Valley and, circa 2500, the Nile, until date 1200 BC or thereabouts, civilization has ONE CENTER, Sumer, in all directions, that this one people held such exact and superior force that all peoples around them were sustained by it, nourished, increased, advanced, that a city was a coherence which, for the first time since the ice, gave man the chance to join knowledge to culture and, with this weapon, shape dignities of economics and value sufficient to make daily life itself a dignity and a sufficiency."
(Charles Olson, "The Gate and the Center", Human Universe)

“The eye, in […] Sumerian fixes (jesus, in these glyphs, how, or stones, how, with any kind of device, the eye takes up life (contra Greek, Rome, even, Byzantine)” (Charles Olson, Selected Writings).