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Mar 9, 2022 － Online participatory project women art resistance art for Ukraine
The events of 1939 should have been a lesson to everybody. This is especially true now when an impossible new war has begun. Here is an excerpt of my film Looking for a Fatal Dystopia (1939).
Documentaries of that time show us an utopia of peaceful life with aeronauts conquering stratosphere, and everyday life with athletic parades and military exercises. Meanwhile, nearby the real fightings are already happening, and tension is growing everywhere on the threshold of the global war.
This film uses the materials of the Russian State Documentary Film and Photo Archive (RGAKFD) for 1939.
Yulia, Moscow Video, 2’56
Lettre du 28.2.2022
Difficile de traduire le présent, je ne peux que tenter de retracer les derniers jours et tisser quelques liens entre les choses.
Le mercredi 23 février je prends l’avion de Paris pour Prague.
Le lendemain, le jeudi 24 février, les nouvelles nouent l’estomac, focalisent toutes pensées sur l’invasion de l’Ukraine par Poutine.
Avant de partir, j’ai relu Europeana, une brève histoire du 20.siècle, de Patrik Ourednik.
J’ai un étrange sentiment d’être restée dans le livre. Une phrase particulièrement me revient : « Et les Russes disaient que l’Europe allait à sa perte et que les catholiques et les protestants l’avaient complètement corrompue et ils proposaient de chasser les Turcs de Constantinople et de rattacher l’Europe à la Russie afin de sauvegarder la foi.»
Le jeudi soir je retrouve Simona, avec qui j’ai pris le même vol la veille.
C’est son anniversaire et je suis désolée que la date soit aujourd’hui si dure à porter.
Elle nous invite à voir une pièce de théâtre sur Jan Patočka -un des principaux philosophe tchécoslovaques et signataire de la Charte 77- qui parle de sa tragique fin dû aux interrogatoires brutales de la police en 1977. La représentation théâtrale de l’histoire est recouverte par un brouillard de l’actualité.
To read more (+Czech and English version) :
Swan sketch 2022
HD video – 45”
to flee in search of security or to stay to fight
fuir en quête de sécurité ou rester pour se battre
PEACE in UKRAINE
МИР НА УКРАÏНИ
the name of the place – village, city… – and country where the work was made:
Champtoceaux 49 & Nantes 44, France
I filmed this in Odessa in 2012. The original work was shown in a wooden structure inspired by Gustav Kliutsis’s drawings. The title comes from Battleship Potemkin by Sergei Eisenstein.
major seaport and formerly headquarters of the Imperial Russian fleet. It is famous for its Jewish heritage, its humour, its writers and its counterpart on New York City’s Brighton Beach.
Sergei Eisenstein’s film The Battleship Potemkin celebrates a famous mutiny in 1905, a precursor to the Russian Revolution of 1917, showing the solidarity of the Odessan citizens with the brave sailors rising up against their oppressors. This film has one of the most famous scenes in cinema, of Imperial Cossack guards shooting the onlookers who are cheering the sailors of the Potemkin.
Intravenous Antibiotics 5.45am
Walk and toilet 6.35am
Call home 7.45am
Toilet, Body and teeth Wash 9.15am
Walk around circular corridor 9.45am
Walk around circular corridor 2pm
Intravenous Antibiotics 3pm
Film out of window 3.15pm
Call home 7.30pm
Walk around circular corridor 8pm
Toilet and wash teeth 9pm
Vitals Checked at 5.30am
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Feb 28, 2022 － The Crown Letter is an online participatory art project created during the lockdown. It is a worldwilde open platform for the free expression of women …SEO titleTitle Page Separator Site title SlugMeta descriptionThe Crown Letter is an online participatory art project created during the lockdown. It is a worldwilde open platform for the free expression of women artists, a cartography of the intimate over time and space, offering a meeting place for a community of subjectivities. The Crown Letter is released every Tuesday since 21st April 2020.
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STOP INVASION OF UKRAINE * THE CROWN LETTER
Digital print 2022
Dans les archives de ma grand-tante, classeur Collaborations diverses 1964, je trouve le scénario d’Une Femme mariée et une lettre de Jean-Luc Godard.
“Paris, le 19 juin 1964. Jean-Luc Godard à Mme Marcelle Ségal.
Voici la lettre que l’héroïne de mon prochain film est supposée vous écrire ainsi que nous en avions bavardé ensemble il y a quelques jours ; en fait il y a deux lettres. Ces deux lettres ont été écrites par Mademoiselle Macha Méril qui jouera le rôle principal. Je lui ai dit de les écrire telles qu’elle les sentait elle-même, en tant que Macha Méril, mais dans la situation du personnage du film. A mon avis, seule la lettre n°1 doit être prise en considération. […] Il nous faudrait votre réponse vers la fin de la semaine prochaine afin de pouvoir la faire imprimer en accord avec le bureau de Mme Gordon-Lazareff. Vous pouvez toujours me joindre à mon bureau […] Sentiments distingués. Jean-Luc Godard.”
Click here to see and read more
https://player.vimeo.com/video/674228850?h=243f989338&dnt=1&app_id=122963 FINAL TEST
Single channel HD video, 1′ 38″, 2022
elle h cim 2022
HD video – 45”
My daughter LK received it as a gift from my friend LK , and we made this puzzle together during the first lockdown. Sun was shining bright in Paris at this time, and we had just to watch spring coming, remember ? Since then, this is our personal sunshine made from puzzling times, dedicated to Michelle D. : Spring is coming again, soon.
The orientation of the temples must have been determined by certain stars, whose position in the sky changed over time, and this orientation was so quintessential that the temples of the earlier complexes had to be re-erected several times. It was not dilapidation that motivated the repeated construction work, but a religious necessity to follow the stars in the orientation of the temples. This is explained by the temples having been rebuilt upon old foundations, a thing which can be proved to have occurred.
Wedding Feast in Archangel
The choir meets once or twice a week to sing traditional folk songs from Pinega. They gather in each others’ homes to rehearse and enjoy food and company. Like sisters, like the Crown sisters, they keep each other going and make art together. Some of them are in fact cousins from the same village. They have been on tour to Norway and elsewhere but mostly sing in Archangel. One of them had just got married and invited me to the feast. I look forward to feasting again (and maybe even singing) with my Crown sisters in the spring.
https://player.vimeo.com/video/673962044?h=208649b245&dnt=1&app_id=122963 Feuilleton of spinning swinging wishing Girls XXVI – Property of Michelle Deignan
Saint Agatha, detail from a painting of Francisco de Zurbarán
Saint Agatha bearing her severed breasts on a platter, by Piero della Francesca (c. 1460–1470)
Giovanni Cariani (c.1485-1547) – Portrait of a Young Woman as Saint Agatha
Agatha holding her severed breasts (her iconographic attribute) on a platter ((Complesso domenicano di) Santo Stefano, Accademia Carrara, Bergamo, Italy)
Birds Blackcurrant Jelly
1) “A Breast for a Breast”
In this free world, still lives a colonizer named “Cancer”; who greets in silence through the mountains that shield us. It’s been days since he tried to conquer and colonize you, your body and your very own belongings. “Get Comfortable”, you said… For you knew no one can invade your safe space, your brave space. As you move ahead and build yourself to fight back, I offer you a breast for a breast; In solidarity, in strength and in hope. Mine are as tender as yours but much smaller to be defined But they are breasts after all. Existent or non-existent, they will always fight is all I know. A Breast for a breast, let us put your cancer to rest.
2) “Imagining Michelle”
“Saint Michael the Archangel, defend us in battle. Be our protection against the wickedness and snares of the devil; May God rebuke him, we humbly pray… As we go on to recite this prayer to the patron of my parish church, I can’t help but draw similarities to Michelle. Drawing parallels to the origin of her name and representation of St. Michael; I can’t reverse my vision of Michelle as a warrior, fully armed with helmet, sword and shield, as she fights her battle.
Par tous les seins
https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1211292703&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=trueanamendesana · Ana MENDES Week88
Self-portrait is a play based on the collection of my personal details, from my birthday to the track of diseases in my family. I always collected my personal details and wondered what is the role that inheritance plays in our life. It could be a police questionnaire, a health survey or a manifesto against all the interrogatories that we have to fill in over our lives. But, it is not. It is just a self-portrait. Perhaps, automatic.
Mysteries – for Michelle Deignan
Manuela Morgaine Medusa coronata – Epidemic variations.
Dettie FlynnFive Waves of Desperate Optimisme … Still Care, 2 mins. 20 sec.
Anne DubosNature is Ancient
ERASE THE BORDERS – a collective art work for Bienal Sur 2021 (Argentina)
Alors que le vent d’automne s’apprête à balayer toutes les feuilles,
La ligne d’horizon, elle, se dévoile.
Shelter, London, 21st September 2021
Letter from London: In the Circus
It is the start of term. I am drawing with the new students in real life. We meet in the middle of Arnold Circus, at the bandstand, an octagonal structure set high on a mound and circled by seven plane trees. The ground about the bandstand is slightly raised and curved, like a cake, and the wide floor is covered with dry brown leaves that have been left to pile and rustle. You must go up two flights of stairs to get to the top, and when you get there, it is autumn.
Dettie Flynn Letter to Glasgow: Salvaging from Dettie Flynn for and about LIZA DIMBLEBY, 8mins12sec
Ivana Vollaro Frontera portuñola– ERASE THE BORDERS a collective art work for Bienal Sur 2021.
Aurelia Mihai … şi cel moldovean / … And the Moldavian one
ERASE THE BORDERS a collective art work for Bienal Sur 2021 (Argentina)
ERASE THE BORDERS a collective art work for Bienal Sur 2021 (Argentina)
The boundaries here represent forest cleared to grow crops of soya, palm oil… The fields have borders, the forest – a rich green canopy – does not. Many areas of Amazon rainforest are legally – but not always actually – protected indigenous lands. Fires are being set, or allowed to spread, to clear forest to plant fields of soy. The political borders of indigenous lands are being erased by fire and capital. The boundaries were brought in to parcel up the forest and impose a way of seeing land and place that is not shared by those who live there. Borders are made to keep people in, and out, but don’t keep out much else without a lot of work. Borders are strange and unnatural and depend on a deliberate blindness – turning a blind eye to what they do – to be recognized. Trees, birds, fish, insects, fungi travel thousands of miles and get called ‘native’ or ‘invasive’ species – though they don’t know it.
Michelle Deignan Paint the world in gold, Single channel HD video, 59″, 2021
Katja Stuke Luxus für alle (Luxury for everybody) Düsseldorf 2021
Catherine Radosa Dialog, Photography of the letter sent to Adriana Bustos for the exhibition of The Crown letter at the Bienal Sur.
Manuela Morgaine We are Worlds
ERASE THE BORDERS – a collective art work for Bienal Sur 2021 (Argentina)
Ana Mendes Drawing Series VI, 2021, performance/installation, 50 cm x 30 cm, exhibtion view CIK, Sweden ©Ana Mendes
Marcelle 1. Le nom.
Les jeunes de son entourage l’appelaient tante Marcelle autant par déférence que par affection. Pour les amis, elle était Marcelle, pour les autres Madame Ségal. Seule l’administration l’appelait Madame Marcelle Schereschewsky dite Ségal. Cela avait quelque chose d’offensant. Elle était Schereschewsky par son père, Segall par sa mère. Pour des raisons de commodité, elle avait choisi Ségal au début de sa carrière de journaliste. more
https://player.vimeo.com/video/609213077?h=6f56391756&dnt=1&app_id=122963 Feuilleton of spinning swinging wishing Girls XX
Feuilleton de Filles oscillante, filante, souhaitante XX
performance with camera, 3 mins 6 secs
https://player.vimeo.com/video/609140414?h=1c280b38a7&dnt=1&app_id=122963 Safe, HD video, 1’30”
More than a dream – Tribute to Christo
I have received hundreds of video and sound clips of trees and forests from around the world. I am touched and grateful, and relieved, that so many people have been inspired to join in this collective project. Looking through some of the clips, I wanted to touch the trees and smell the pine needles, the banana palms, the cypress trees – to smell smells I’ve never encountered before because I’ve never been in these forests. I stepped outside for some air and sky and walked to the little park near my studio. This is where I filmed the first horizon for the Crown Letter that gave me the idea of asking people to send me their horizons. The leaves are beginning to fall but it’s not full on autumn yet, though I found some irresistibly shiny conkers which I’ve brought back.
And now I have just painted these treelines from some of the clips that have been sent to me. I wanted to make something that I could touch, that was wet and alive like the trees and ponds were when they were filmed.
I am going to cut these into postcards and send them to Adriana in Argentina so that she can take them to the Bienal Sur and arrange them in any order she likes.
They say knowledge power, single channel HD video, 34″, 2021
La semaine dernière Manuela nous a invitées à écrire en Argentine, pour Biennal Sur.
Elle nous a dit qu’on pourrait envoyer une à plusieurs cartes postales chacune, qui seraient exposées sur un grand panneau horizontal transparent de manière à les voir de chaque côté et pour faire face à la verticalité de l’édition des lettres numériques qui seraient imprimées sur de grands rouleaux de papier peint.
J’ai préparé 10 enveloppes roses, 10 cartes blanches — Les mêmes cartes blanches qu’on avait utilisées avec Natacha pour le film sur la vie de Warburg — et 10 photographies ; des surimpressions que je collectionne depuis longtemps. Puis 10 timbres, que j’ai trouvés dans le bureau de ma grand-mère.
Je ne sais pas encore ce que j’écrirai. Mais chaque dimanche, avant d’envoyer un image en ligne, je tracerai des lettres sur une carte blanche, que j’accompagnerai d’une photographie. J’aime l’idée qu’a chaque envoi se fixe une nouvelle idée, un message d’amour pour mes Crown Sisters.
Letter from Glasgow: Looking Out, Looking In
People have started to visit the house. I have watched them, in my rooms, in my chairs, precisely lit by familiar angles of light and shadow specific to these interiors at certain times of day, the faces I had seen only on the street, blurred and over exposed for most of the past two years. Inside, we reclaim the space and shifting light of intimacy. more
The snail moves, only forwards, thanks to its foot, which is a gigantic muscle which contracts and lengthens alternately: this is the phenomenon of crawling. The average speed of a snail is one millimeter per second, or six centimeters per minute. The glands of snails also secrete different types of mucus containing many compounds that both allow it to move more easily by sliding over obstacles and even attach itself vertically to certain walls. Mucus is also part of the composition of the shell. Thick, it hardens and dries on contact with air, leaving a brilliant trail in the light. The songs and noises of the snails all seem to be reduced, with variations, to a single physical phenomenon: under the effect of a sudden and rapid retraction of the animal, withdrawn from its element and excited, a mass of gas, like air bubbles, trapped in a cavity is violently expelled and passes through a narrow orifice, encumbered with more or less viscous liquid, and it bubbles: the noise produced thus may go from a simple twitter to an almost musical sound close to kissing. Likewise, the contact between the snail’s shell and a glass pane emits, during the movement of the animal, a noise similar to that of a wet finger on a glass; the shell playing, opposite the glass, the role of a bow on a stringed instrument. Some snails produce plaintive calls when caught. In captivity, Planorbis corneus emit a high note, similar to the sound produced by a flute, with each daily feeding. Helix aspersa, utter cries of agony when cooked alive. These noises were at the origin of European beliefs, attributing to the “song” of snails a premonitory value.
Z. avançait sur un volcan en éruption. Les explosions se succédaient au rythme de la canonnade. Des fragments de rochers pulvérisés retombaient en faisant trembler la terre dans un large périmètre alentour. more
I wanted to photograph this procession of figures as they passed across the wall, so certain and elegant in outline, so removed from the actual, more awkward and garishly painted bodies who had given them life. But I was too absorbed in following the movement of my friend’s voice and the shadows passing behind her, holding the two of these together, and could only imagine reaching into my bag for the trapping camera. I could not risk such an interruption. I listened and watched and let them pass. more
J’ai passé l’été seule dans un château comme en quarantaine, pour occuper mon temps, j’y ai inventé un nouveau rituel, une vague réminiscence du Jeu de Paume réactualisé par le plaisir, qui semble ne pas s’assouvir, de la contemplation des accessoires gantés multicolores qui embellissent notre quotidien. more
Letter from Glasgow: In the Garden
This Saturday a group of us played music in the walled gardens of the old Gartnavel Asylum. We had been invited as part of a Covid commissioned theatre project. A few people were allowed into the garden to hear us and we played old Klezmer tunes, Breton and Scottish folk tunes under an ancient pear tree. The garden before us was full of flowers and herbs, abundant and well tended, behind us loomed the West House of the Asylum, with glass doors opening on to a terrace
The Return of Sweetness
Circular Cruise, single channel HD video, 1′ 22″, 2021