15 matchs for 1984:
ended up with a pretty good choice all things considered, steven frears the hit (1984).
https://en.m.wikipedia.org/wiki/Streetwise_(1984_film)
this was intense. 1984 Seattle street kids on criterion
Translation:
At the heart of Peter Halley's abstract, geometric and fluo painting is an underground cavernous thing that traps you and frees you at once. A great thing that lasts since the 80s and resists time, because the American artist had seen everything before everyone else. This trick is a paradox that he has taken on the task of formulating himself in many writings that prolong, rather than justify, his painting. "I have always considered that my works are images of something." We squint. Because the works, exhibited there, in Paris, at the Xippas gallery, as everywhere else, since always (Halley does not change of trajectory), appear nothing, if not squares, sometimes rectangles, with in their center parallel bars, and on their sides right-angled lines that lead to other squares, and sometimes to other rectangles. The b-a.ba of abstract art geometric slope: the canvases are dynamic, rhythmic, colorful, point bar. This does not prevent the artist from persisting and signing: "These are images of something." What, then? Convenient answer: geometric art itself.
Logo. At the end of the twentieth century, when Halley took the brushes, this pictorial vein, once dominant and sure of itself, ended up exhausting itself, caricaturing itself, becoming bourgeois, by being no more than Shell emptied of its initial ambitions. To paint a square in the 80s is to quote Malevitch or Mondrian, and all the clique of pioneers and heirs of geometric abstraction who have cited them before. Geometry then sees no further than the tip of his nose, square. She has finished planning for the world of tomorrow. Worse, it has become a mainstream brand, a logo that no longer promotes itself. In short, she is in crisis. This is what Peter Halley soon concluded and revealed, in 1984, when he was 31 years old, in a seminal article in Artforum titled "The Crisis of Geometry": "Where Formerly Written" he, geometry was a sign of stability, order and proportion, there are now only images of confinement and deterrence. "Geometry closes on itself? Worse: it encloses the entire world between its insurmountable lines.
Escape room.
The abstraction of Peter Halley is the image (we are) of today's world: prison, liberticide, dead end. A prison. Its squares are cells with dormers with bars and the lines that connect them, narrow corridors where no one can rush without escaping the vigilance of Big Brother. Whose geometry is the best friend. Widely fed by Michel Foucault's book, Monitor and Punish, Halley notes "the omnipresent deployment of geometric structures in cities, factories and schools, in housing, transport and hospitals, which measure and standardize action. and movement, and to control the population of the nascent industrial age. "
Halley, a painter after Foucault, adds that "this geometrization of the social was extended from the physical environment to the organizational schemas. The dial, map and graph to measure and categorize bodies and their movements. Halley portrays this world, bent to the forms of geometry: capital flows, more or less traceable, financial pyramid schemes, unemployment curves, cadastral plans, colleague's powerpoints, smart cards, escape rooms, video games challenging you to stack blocks without leaving any space between them ...
The exhibition by Peter Halley delivers a faithful, pessimistic and cheerful image, both claustrophobic and repetitive. The artist himself can not cut it: this prison geometry does not leave him anymore. He even sees it in the plans of the ancient burial chambers. And even in the architecture of the gallery he lined the narrow corridors and blind rooms, in the basement, diagrams or blocks of texts, written by the Commissioner, Jill Gasparina. The installation then takes turns the color of a kind of nightclub, lit by a black light, and then at the very end, in this space of toxic green and tense black vinyl, a kind of command room where would meet a crisis cell.
Structures can be seen, examined and created, but they can also be ignored, changed and destroyed. Every structuralism that studies structures always emphasises the whole over individual sections (the whole is greater than the sum of its parts), with a crucial role ascribed to the organisation of structures and the functional relationships between their elements (constituent parts). The same principle forms the basis of Hermann Haken’s (1927) synergetics1 and my fractal analysis2 of structures in quantitative linguistics – which, like the majority of structuralist movements, was preceded by Swiss linguist and semiotician Ferdinand de Saussure (1857–1913). However, this approach deliberately highlights the inadequacy and limited applicability of Descartes’s analytic method (Discourse on the Method, 1637).
The French today understand structuralism or post-structuralism primarily as a monumental philosophic movement represented by Michel Foucault (1926–1984), Roland Barthes (1915–1980), Jean Baudrillard (1929–2007), Gilles Deleuze (1925–1995), Jacques Derrida (1930–2004) and others. In Czech circles, structuralism is justifiably often associated with the Prague Linguistic Circle, whose core members were Roman Jakobson (1896–1982), Jan Mukařovský (1891–1975) and Vilém Mathesius (1882–1945). The Prague structuralists’ aesthetics evaluated a work semiotically as a sign whose parts and whole are bearers of meaning.3
tonight at 8 on tcm:
Described by the New York Times as "a master of movies about the American idiom...one of our most original filmmakers," Les Blank (1935-2013) was a Florida-born documentary filmmaker best remembered for his poetic studies of American musical traditions. But, as reflected in this TCM salute, Blank's idiosyncratic films and short subjects covered a wide range of subjects including Cajun culture in the U.S. (Spend It All, 1971): black Creole life (Dry Wood, 1973); the city of New Orleans (Always for Pleasure, 1978); cooking (Garlic Is as Good as Ten Mothers, 1980); and the polka and its devotees (In Heaven There Is No Beer?, 1984). Of the 11 Blank films shown in our tribute, no less than eight are TCM premieres!
Dietrich Mateschitz was born in 1946, a native of the Styria (Steiermark) region of Austria. As a student in Vienna, he studied world trade and commerce. After graduating, he worked for Unilever, then Blendax, a German manufacturer of toothpaste. This position involved much global travel.
In 1982, Mateschitz visited Thailand and brought home with him a number of energy drinks he sampled there. According to The Economist, Mateschitz was sold on a product called Krating Daeng after it took away his jet lag. He later claimed to consume up to eight of the drinks a day.
Krating Daeng, which is Thai for "Red Bull," was a drink popular among cab drivers and other blue collar workers. It had been produced since the early 1970s by the T.C. Pharmaceutical Co., founded in Thailand in 1962 by Chaleo Yoovidhya, a Blendax licensee. (T.C. Pharmaceutical eventually formed the subsidiary Red Bull Beverage Co. Ltd.)
Mateschitz founded Red Bull GmbH in Austria in 1984 as a 49 percent partner with Chaleo Yoovidhya and his son. The company began marketing its namesake drink in Austria in 1987; a million cans were sold in the year.
The original formula was altered for Western palates. Some ingredients were dropped and carbonation was added. Components of the legendary elixir included B vitamins, glucuronolactone, sodium, and caffeine. One ingredient, the amino acid taurine, was derived synthetically, not from bull testicles, as rumor had it. Red Bull's selling proposition was that it increased stamina and mental concentration, making it a natural for one of the original target users, long-distance drivers. The taste of the thick yellow beverage, said to be akin to liquid gummi bears, lent added distinction to the brand.
Still, Mr. McElheny's fascination is more with stories than with science. A second sculpture in the Rosen show, for example, is part of a continuing series based on a conversation that supposedly took place in 1929 between the Modernist sculptor Isamu Noguchi and the utopian architect and visionary Buckminster Fuller. Their exchange is believed to have posited that the only way to create an object that wouldn't cast a shadow was to make it totally reflective and place it in a totally reflective environment.
So for two of the works, Mr. McElheny built a wall-mounted landscape model in which abstract reflective forms are arranged on a mirrored plane. "It's really a horrible proposal," he said. "You couldn't live in this world. You couldn't escape your own reflection."
Mr. McElheny, who was born in Boston, became involved with glass in 1984, as a student at the Rhode Island School of Design. "I heard this story," he said, "that glass blowing came out of an oral tradition, and that this tradition was passed down from generation to generation. There was an aura of romance and secrecy about it. I wasn't interested in making glass so much as I was interested in this story."
In pursuit of what he felt was "exclusive knowledge, impossible to learn from a book," Mr. McElheny secured an apprenticeship with Ronald Wilkinson, then the head of the White Friars Factory in Britain. "It was a unique opportunity at a historical moment," he said, explaining that many of Europe's family-owned firms were soon to close.
This election season, Creative Time and Lower Manhattan Cultural Council invite you to vent, rage, recite poetry, or perform at the Freedom of Expression National Monument. This giant red megaphone mounted atop a flight of stairs, was originally created in 1984 by Laurie Hawkinson, John Malpede, and Erika Rothenberg for Creative Time's Art on the Beach. It is being represented to coincide with this years election season, and will be on view from August 17 through November 13 in downtown New York's Foley Square. The sculpture will give New Yorkers an opportunity to have a significant impact--both by supporting artistic voices and offering the public a platform for dialogue.
We are currently inviting artists of all disciplines to fulfill the work's provocative potential. The speakers and events will be scheduled on Tuesdays and Thursdays at lunchtime and 4:30pm throughout the fall. Please note, this artwork is open to the public, and we are able to offer promotion of the events on our website, but we cannot offer an honorarium.
Please contact production@creativetime.org if you have a performance that you would like considered for this project."
"The FBI noted that use of almanacs or maps may be innocent, "the product of legitimate recreational or commercial activities." But it warned that when combined with suspicious behavior - such as apparent surveillance - a person with an almanac "may point to possible terrorist planning."
Is this an ANTI-information policy. (For our own good of course.)
