andrea_goffo

My conversation with great artist GEORGE CONDO is in the new issue of @musemagazine A huge thanks to @artistgeorgecondo @donkey301239 @destefoundation @musemagazine

Donoussa >>> Schinoussa, Small Cyclades

Athens >>> Hydra

JOAN JONAS Volcano Saga, 1989

JOAN JONAS Organic Honey’s Vertical Roll, 1972-1973 Performance at Musee Galliera Paris

JOAN JONAS Mirror Piece I, 1969 Performance view, Bard College, Annandale-on-Hudson, NY, 1969

SABURO MURAKAMI Passing Through, 1956

NABIL HARB Carter Road, 2019 Python, 2022 Courtesy @nabiljharb

SOUMYA SANKAR BOSE Works from the series A Discreet Exit Through Darkness, 2020 Courtesy @soumyasankarbose and @experimenterkol

Exhibition view of “Jean Prouvé, l’âme du métal” in the Renzo Piano gallery, Château La Coste, France, 2018-2019, featuring a panel from the Fédération Nationale du Bâtiment (left) and two panels from the CIMT

ARIA DEAN Abattoir, U.S.A.!, 2023 “The reason I was interested in that idea is this sort of “sanctioning” of death, but also cordoning it off. It’s as if the slaughterhouse is this major conceptual pin in the development of modernity as we understand it. Especially aesthetically, it really shifts our understanding of what modernism is, if we put killing as a centerpiece.” A.D.

IANNIS XENAKIS Diatope (Polytope de Beaubourg), 1977 Polytope de Cluny, 1972 “An art like music, in itself, without anthropomorphic or realistic reference. This is the meaning of the polytopian adventures (of the Polytopes of Montreal (1967), of Persepolis (1971), of Cluny (1972), of Mycènes (1978), of the Diatope of the Centre Georges Pompidou (1978)). It is that the search for a pan-musical expression.” IX