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Planting Faro Seeds in Little Portugal, Montreal

Eclipses have powerful effects that can take years to manifest. So experiencing a life-altering Red Moon Lunar Eclipse conjunct Mars Retrograde on my Aquarian Sun in an Algarve campground wasn’t to be illuminated until a quarter turn of the annual solar cycle…at least!

I was still on crutches recovering from my injury in s hammock and overwhelmed by the feeling of having no idea where the cosmos would carry me under such precipitous connections…

Red Moon rising in the Algarve…

…under the Lunar Eclipse in Aquarius/Leo conjunct the Red Planet on July 26, 2018

I only know that I could never have imagined Helio de Jesus Perera Maestre, who approached me in full ritual regalia complete with his seed bag dangling from the belt of his skin colored shorts just before dawn. He startled me as he made a beeline towards me with an intensity I had only known…in myself!

I was sitting on a bench at the port of Faro where I spent the night before my plane to Berlin. He charmed me with his physical grace and Scottish rogue accent. It didn’t take long to recognize a soulmate in him and I accepted his invitation to breakfast at his family home.

Helio performing under the effects of the Leo on the beach on the Praia on Isla de Faro.

The final Solar Eclipse in Leo on August 11 found me in Faro, Portugal, invited by my soul brother, Helio de Jesus (yes that is his given name!) the most unexpected and breathtaking manifestation of a Hieros Gamos partner that has manifested in full-physical form under my cosmic and world travels circumnavigating the globe and the galactic center.

Preparing the Seeds inside the Faro Medicine Wheel outside the castle.

Helio performing “9000 Seeds” under the Solar Eclipse of August 11, 2018

Due to Helio’s invitation, I missed my flight to Berlin in August 6. He found me an apartment and I fell in love with Faro. I just knew that I wanted to live there when I first arrived.

Demonstrating a love for Faro.

But fate drew me away from my heart’s desire, for I suddenly received funds to return to NYC, which I did on September 20, after spending exactly three months in Spain and Portugal.

Helio gave me a handmade bag with seeds that I attached to my purse.

But how could I have anticipated that a new love would draw me to Montreal on September 26 where I did a seed planting ritual in Little Portugal with the seeds from my pear and his bag…

The pear of Helio de Jesus’ surname Perera beneath a monument with the Portuguese flag of the four elements with the quintessential fifth, the Hieros Gamos in the center. elements with the quintessen

Planting the pear seed to catalyze the 9000 Seed Project in my new base of Quebec.

The view of the planting site under the Portuguese flag in Parc du Portugal, Montreal.

The hexagonal gazebo in Parc du Portugal representing the Hieros Gamos at the center of the Portuguese flag.

The street tribute to the Portuguese immigrants in Quebec.

Entanglement in the Alps: Di Nicola’s “Trauma and Event” and the Third

img_3514-4Descending from the Steinmatte at European Graduate School in Saas-Fee, from left to right: Isaac Linder, Alain Badiou and Vincenzo Di Nicola. According to Di Nicola, he is explaining to his mentor: “my announcement of ‘BADIOU’S SICKLE’ to the man himself! He had a good chuckle, and when we got a little lower in front of some large wild flowers, I said, sometimes shears will do, sometimes a scythe…and sometimes, in the case of the overgrown weeds in the garden of psychiatry, we need ‘Badiou’s Sickle’ to do the job of separating philosophy from its conditions.”
 

Schopenhauer had it easy; he simply had to write his elegant prose to make philosophy and science indistinguishable with literary insights drawn from an inkwell. This is perhaps the reason why he was unknown in his time but had everlasting fame as the philosopher of genius.

Today, reviving the humanities means connecting these separate disciplines to form a holistic human model capable of meeting the challenges of the 21st century. A 30-year correspondence between C.G. Jung and Wolfgang Pauli, the father of modern science, resulted in a mutual prophecy of the 21st century icon, the Hieros Gamos, revealing an emergent holism of the psyche. Yet their joint project failed to meet the stated mission of marrying psychology and science (Roth, 2012).

Now this vision finds success in Jung’s Switzerland. Vincenzo Di Nicola, a Canadian psychiatrist, had a breakthrough while working on his Ph.D. with the French philosopher Alain Badiou in the final years of the Schirmacher laboratory European Graduate School in Saas-Fee.

Di Nicola’s entanglement with Badiou was sourced in the merging of their separate notions of event (philosophy) and trauma (psychiatry). “I decided to examine nothing less than the history of modern psychiatry and its relationship to philosophy by investigating trauma,” he writes in a two-part paper in the American Philosophical Association blog. “During my seminars with Alain Badiou (2005, 2009a), I was struck by the symmetry between his description of the event as an opening and my emerging understanding of trauma as a rupture. When I consulted him, Badiou immediately recognized trauma/event as a fresh and innovative pairing” (Di Nicola, 2017).

Di Nicola’s Trauma and Event throws the symptom-based DSM (Diagnostic and Statistical Manual) and methodological EBM (Evidence-Based Medicine) out the window. It essentially flattens the patriarchal hierarchical model of psychotherapy, which he sums up as hermetically sealed, into mutual observation, a collaboration between patient and healer. “The face-to-face encounter that Levinas described can never be altogether symmetrical but we identify the asymmetry as much as possible and negotiate the differences,” Di Nicola explains. “Psychoanalysis is being conceived more and more as a ‘bipersonal field’ and so much work is going on in this field that Werner Bohleber (2010) refers to an intersubjective turn (Di Nicola, 2017).

This new practice identifies the Di Nicola “orphan” in-between diagnostic categories signaling an unexpected “event” by means of the rupture preceding trauma. The psychiatrist explains the process as one of psychic reorganization following profound insight, or what physicists qualify as a quantum leap. Di Nicola writes about how James Joyce, who was influenced by Freud through the first Italian psychoanalyst, Edoardo Weiss, called this an epiphany: “Joyce’s epiphany is Freud’s insight and may be understood as something that occurs in the eventual site, which I call a predicament. The epiphany or insight is a response to the predicament. We could go so far as to say that the predicament, the eventual site, is a necessary condition for insight. Only a cut, a tear in the world can create the acute sense of a rupture that requires a response. Once the analysand has her epiphany, thoughts, actions and feelings are at first interpreted, and later experienced, differently. For this translation from interpretation to insight to new experience to occur, a deep fidelity must accompany the procedure” (Di Nicola, 2017).

Fidelity fits with the French philosopher’s view of psychoanalysis as love, which means interrelationship, energy flowing from the heart, as opposed to solely from mind. Crossing the border from psychoanalysis to philosophy, we pick up on Badiou’s language for the Event through the psychiatrist’s interpretation: “In my reading of Badiou, the three conditions for an event are: to encounter an event (which is a purely contingent encounter), to give it a name, and to be faithful to it. The subject emerges through the event. By naming it and maintaining fidelity to the event, the subject emerges as a subject to its truth…‘Being there,’ as subjective phenomenology would have it, is not enough” (Di Nicola, 2017).

Alain Badiou lecturing on the “Event as Transcendent from the local origin into the World” in a seminar attended by Lisa Streitfeld. The French philosopher’s August evening lecture on the topic catalyzed the author’s observation of the convergence of the Humanities into the Third.

In other words, proactivity remains essential for a declaration of an event to sustain itself as a self-contained entity. This suggests that a quantum leap culminating with Di Nicola receiving his doctorate in 2012 set the stage for an “Event in Saas-Fee” two years later, when four philosophers (Hart/Negri, Harman and Lovink) followed the French philosopher’s Monday evening talk on the Event (“An arrow into the world”) by announcing a quantum leap into the Third in their respective fields (Streitfeld, 2014).

Marie-Louise von Franz, protege of Carl Jung and collaborator with the Nobel Laurette physicist Wolfgang Pauli, interpreted the triad moving towards the quaternity as the pursuit of the Self, made evident in divination techniques and synchronicities:

The great question is whether the field of the collective unconscious is such an arbitrary random pattern of archetypes, a field in which the excited points are archetypes or does it have some order? Jung has already pointed out that among the different archetypes, there is one which encompasses and regulates all the others and that is the archetype of the Self….Let us say it is an active ordering centre which regulates the relationships of all other archetypes and gives to the field of the collective unconscious a definite mathematical order….In China the dynamic processes are represented by groups of threes and the result is represented by a quaternio….The triads always point to dynamism and therefore to action in a situation, while the quaternios always point to, or describe, the whole situation….So we can now go on with our definition and say the collective unconscious is a field of psychic energy, the excited points of which are the archetypes, and that field has an ordered aspect which is dominated by the number rhythms of the Self, which as you will see are triads and quaternios. With the number oracles and divination techniques one tries to define the process of the Self archetype….Jung points out that the Self is in an eternal process of constant rejuvenation. He compares it to the carbon-nitrogen cycle of the sun, where certain particles are split off and others attracted, giving finally a rejuvenated atom of the same form. It is as though the atom split off particles and attracted others, thus restoring its own form in constant self-renewal (Von Franz, 1980, pp. 65-66).

Synchronicities leading to self-generating perpetual renewal originating in a holistic mathematics of autonomous number (Streitfeld, 2018) point the way to a new modernism in which the Self is a central organizing principle. For Badiouean philosophy originating in mathematics to recognize Jungian psychology culminating with mathematics by way of a cluster of breakthroughs in the humanities reflects a history of scientific inventions arising in clusters:

In honest histories of science one may find such an observation, namely that strangely enough there is a tendency for certain ideas and inventions to crop up in different places at the same time. From a psychological point of view that is not such a miraculous thing. In the spirit of time, so to speak, certain questions and psychological problems are constellated. Then several intelligent people have the same question in mind, chase along the same alley and come to the same results, and that is due to the constellation of an archetype in the collective unconscious (Von Franz, 1980, pp. 71-72).

Di Nicola maintains his consistency with the triad by listing his Saas Fee influences as a triumvirate: Badiou, Foucault and Agamben (Di Nicola, 2017). Badiou’s predilection for organising thoughts in thirds as a phenomenology was made evident in his paper on Marcel Duchamp and the number three (Streitfeld 2018); Di Nicola follows this creative path by declaring that Badiou “offers three profound things to psychiatry: a theory of the subject; a theory of how philosophy works; and a theory of change based on the event.” Furthermore, he clarifies psychiatry’s central task in thirds: a general psychology as a science of human being; a coherent theory of psychiatry as a discipline; and because it proposes to help people, it needs a theory of change (Di Nicola, 2017).

Within the Third space, the in-between realm of Di Nicola’s “orphan,” a correct diagnosis may be made from the 360-perspective of Kairos, or the Aha Moment. With entanglement, the phenomenon of two physically separate particles sharing the same existence and time is revealed through the process of observation of the quantum state for the whole system. In this manner, the new science marrying philosophy and psychiatry catalyzing the 2012-2014 culmination of the Saas-Fee laboratory may also be evident in a therapist/patient observation making a simultaneous quantum leap from the “bipersonal field” to the Third.

Von Franz presents the Chinese method of writing history to “obtain a real picture of the archetypal situation existing at that time” (Von Franz, 1980 p. 71) which she noted “gives the idea of a field”:

The events, one could say, are shown in an ordered time field, and that is the way in which the Chinese use number. Number gives information about the time-bound ensemble of events. In each moment there is another ensemble, and number gives information as to the qualitative structure of the time-bound clusters of events…number is an archetypal representation or idea which contains a quantitative and a qualitative aspect. Therefore, before we can touch the whole problem of divination, we have to revise our view of number and of mathematics. From there we can probably approach certain other factors, which until now we could only confess we could not measure but could only approach with the feeling function (Von Franz, 1980, pp. 71-72).

Di Nicola, familiar with how the quantum leap changes one’s life course, reveals the process through his own experience integrating thought and feeling. This integration was made evident in this analysis of the synchronistic use of the triad in his writing with his mentor, who brought mathematics into continental philosophy: “Deep into my philosophical investigations, Badiou offered this crucial assessment and challenge: ‘You are at a crossroads, either you will abandon psychiatry as such or announce a new, perhaps, evental psychiatry.’ It was an accurate philosophical diagnosis!” (Di Nicola, 2017)

Bringing exiled Jungian post binary thinking into the fold of continental theory, Von Franz’s exploration of synchronicity through ancient methods of divination underscores Di Nicola’s declaration sourced in his infans solaris birthed out of the Third with the great living French philosopher: “What could be more critically relevant to a 21st century science of the mind and of human relations than a return to metaphysics?” (Di Nicola, 2017).

NOTES:

Badiou, Alain (2008). “Some Remarks on Marcel Duchamp”. The Symptom 9. Retrieved from: http://www.lacan.com/symptom/?p=39. June 10, 2008. Accessed February 3, 2013.

Di Nicola, Vincenzo (2012). Trauma and Event: A Philosophical Archaeology. Doctoral dissertation, Saas-Fee, Switzerland/European Graduate School.

Di Nicola, Vincenzo (2017). “Badiou, the Event and Psychiatry”. Blog of the APA (American Philosophical Association), https://blog.apaonline.org/2017/11/23/badiou-the-event-and-psychiatry-part-1-trauma-and-event/. Accessed March 1, 2018.

Streitfeld, Lisa (2014). “Schirmacher Revolution in Saas-Fee: The Badiouan EVENT Takes For(u)m with Michael Hardt, Antonio Negri, Graham Harman and Geert Lovink”, Huffington Post, https://www.huffingtonpost.com/lisa-paul-streitfeld/the-event-in-saas-fee-bad_b_5737080.html

Streitfeld, Lisa (2014). Hermeneutics of New Modernism. New York/Leipzig: Atropos Press.

Streitfeld, Lisa (2018). “The Third Mind: Badiou, Duchamp and the Autonomy of Number as the Phenomenology of a New Modernism”. Hermeneutics of New Modernism. http:hermeneuticsofnewmodernism.wordpress.com.

Roth, Remo (2012). The Return of the World Soul: Wolfgang Pauli, C.G. Jung and the Challenge of Psychophysical Reality. Pari, Italy/Pari Publishing.

Von Franz, Marie Louise (1980). On Divination and Synchronicity: The Psychology of Meaningful Chance Studies in Jungian Psychology. Toronto/Inner City Books.

“Lumen: A Love Story” from Faro

What a synchronicity! On my last posting, I predicted that Faro would be the site of a new modernism…

“289”, with its peering simultaneously into the past and future through the Kairos leap of present, a valuable international marker indicating the timing of a new modernism.

Venus & the Sun merge before the eight Apostles, representing the eight “gates” of Venus journey to and from the aunderworld.

…and it happened!

The opening night festivity to FOME took place in the walled castle of Faro originally built by the Moors in the 11th century via the “newest and most complex” performance by S.A. Marionettes.

What a sight!

This was a stunning work of alchemical theatre about the mythology of Venus, her passage through the eight gates, represented by the eight apostles, and her disappearance into the Underworld where she meets her partner, the Sun, in the mystical conjunctio. The music was so enthralling that I could really feel the pain of her departure as she turns from the union to complete her Underworld journey, from which she rises on the other side of the Sun as the Morning Star.

The performance was an embodiment of the mystical union, complete with the demonstration of the heart opening.

Scroll down to see the light…knowledge of this ancient mythology explaining the disappearance of the brightest star in the sky when she unites with the Sun!

“289” is the Dial Code of a New Modernism

It is rare, anywhere in the world, to experience the delight of an art exhibition so fully integrated into the environment that the visitor is confounded as to distinguish art from artefact, and architectural decay from nature.

Playing on such uncertainty transforming observer into participant is the sheer brilliance of “289”, a multimedia exhibition of 80 artists organised by the invited guest curator, Pedro Cabrita Reis, at the home of the local artists’ collective on the outskirts of Faro.

“289” is the area code for Faro, the capitol of the Algarve, the southernmost region of Portugal. This is not a limiting title but an inclusive gesture, because Cabrita Reis brilliantly integrates the art of the locals with better known Lisbon artists to create a national dialogue.

The image text hanging from the balconies like tapestries references the elitism of this former headquarters of the commandos who attempted to preserve Portugal’s colonial empire while the entrance is marked by a pair of clocks…

Pedro Cabral Santo’s “Featuring Félix González-Torres (the Red Hour)” striped of all but the second hand.

The visitor transforms into participant by virtue of the duality of time: Cronus, chronological time, eradicated by the removal from the clocks of all but the seconds hands, and the cyclical time of Kairos. The paradigm leap into the cycle of life/death/rebirth is provided by other clues outside the entrance: a poster size takeaway manifesto and the curator’s signature offering…

Curator Pedro Cabrita Reis’ “Objectos Encontrados (2018)” includes a patched together homemade cane from a local shepherd.

“289” adds up to one….The Red Hour.

One indicates new beginnings. The pitchfork apparatus renews the role of curator — to serve as the contemporary reaching beyond the light of the present to access ancient wisdom. This makes “289”, guest-curated by the Portuguese art star, a snapshot of his nation’s offering to the global art scene during the crucial summer of 2018.

“Memórias do Barrocal” by Vasco Marum Nascimento: a Portuguese pagan ritual offering.

Foremost is magic that renders process inexplicable: how did the curator manage to find works to superbly fit the nooks and crannies of this colonial estate? Or were works made for the spaces, indicating the exhibition as a unique exercise in collaboration?

Next is the archeology indicated by strategically placed clues indicating death. Outside is an inert figure in the garden and a kind of incinerator. Inside there is Ana Rostron’s installation of broken tombstones…

Ana Rostron’s “Untitled (2018)”

…strategically placed between Paulo Serra’s “Auto-retrato” (self-portrait) as death mask opposite Pedro Barateiros’ black mask…

…a personal/universal narrative of death leading to the skull in the final gallery…

Paulo Briguenti’s “Cobalt Prussian”

This opposes Maria José Oliveira’s uncanny “The Adventurer”, a three part image/text installation reviving the signifier of the fisherman integral to the Portuguese economy.

Tania Simões’ sensual photo of a female body in nature in a light box titled “Sacred Sex” leads the eye to the next gallery where Rui Toscano’s ancient artefact of a drummer is mirrored in a light box.

In another corner, a key work by a local street artist GAT.UNO is also the most political. It is a crude table with a place setting with a candle at the center.

“Prato del Dia” by GAT.UNO

“Prato do Dia (Plate of the Day)” sums up the plight of Portugal being integrated into the E.U and the Euro: the plate of the day at a local cost attracting tourists raising prices beyond what locals can afford.

The cannibalism of a former empire eating its own is reflected in Jorge Neve Rubene Palma Ramos’ “Interiores”, a relic of the opening night feast offering facsimiles of human body parts as entrees.

Paradoxically, Portugal is a nation once-removed from the international art world, yet with a unique geography — on the edge of Europe and gateway to Africa and the Americas— that makes it a crucial contemporary multicultural mecca between three continents. The feeling of being an explorer into a unique world of the archaic may be a rare delight for an art exhibition, yet it is a typical adventure for the traveler in Portugal.

On the roof, Fátima Mendonça’s wall drawing revives the spiral, ancient symbol of life, to signify the transformation into the Third, the archetype of the hierosgamos.

The inherent talent of the Portuguese artist to transfer an indigenous fisherman economy into an art practice of inner penetration into the archetypes is what makes “289”, with its peering simultaneously into the past and future through the Kairos leap of present, a valuable international marker indicating the timing of a new modernism.

The Quantum Leap of the Critic into the Third

Was it merely an accident that the trademark for this historic event has Marilyn above a diptych of Adam & Eve? Marilyn’s split identity — of the celebratory champagne blonde Marilyn Monroe & the brooding brunette Norma Jean — was that of the American Love Goddess resurrecting the pre-patriarchal Venus, with her two faces of the Morning & Evening Star.

The self-reflective event examining the role of the critic taking place in Museo Nacional de Arte Reina Sofia in Madrid was meant to happen in Spain.

I am sharing my optimistic perspective of a quantum shift in the art world based on five events getting considerable media dipoverage in the last 12 months.

The glorious structure of the museum itself was a proclamation of Spain’s official passage into a modernism when it opened in 1992.

The view from the external glass elevator of Reina Sofia.
Yet, strangely the modernism set against the tradition of Spanish art in the Prado where I was immersed in art history while standing before Dutch and Spanish masterworks during my junior year abroad.Spanish gatekeepers — such as Juan Manuel Boner Director Instituto Cervantes Juan Manuel Boner, collector Javier B. Martin and Pablo Jimenez Burillo, Director de la area de Cultura de la Fundacion Cultural Mapfire — holding the institutional keys of the post Franco epoch, appeared in full force to ask self-reflective questions about their own hegemonic rule…

Spanish heavyweight Jose Maria Juarranz de la Fuente (art historian, editor and gallerist) attempts to answer “What are the critical limits? Who criticises the critic?” While sitting beside Tomas Parades, President of AECA Spain.

…But where were the movers and shakers of “la movida” which made Spain politically and culturally one of the most liberated and exciting places in Europe? I learned this in Argentina in 1984, which was attempting to emulate the Spanish freedom in breaking out of their military dictatorship with a transgender aesthetic I struggled to capture as literature in my first novel, Champagne Tango.

I decided to begin my Spanish paper from a subjective view, of my teenage experience with the late night transgender scene revealed in Madrid’s hot spot — le Drugstore in 1978. A decade later, this 360 perspective progressed to my meeting the Spanish auteur Pedro Almavador on the occasion of presenting his first film, the black comedy, Women on the Verge of a Nervous Breakdown (Mujeres al borde de in ataque nervios) at UCLA that would propel him to the global stage upon winning the 1988 Oscar for Best Foreign Film. I remember Pedro telling the audience that he was so involved in his creative process that he never thought about the reaction.

Pedro Almavador was the first artist I heard referencing the Third. It was a flippant response to a didactic question from the audience that provided three speculative ideas regarding Almadovar’s aesthetic strategy. While I can’t remember what the question was, his response still resonates: “All three!”

He got that right! Transgender is the Third which is why I recreate the word as construction/deconstruction: Trans/Gender sourced in a crucial and hidden icon unearthed in a formerly Turkish village, the oldest in Cyprus…

The LADY Of LEMBA is an ancient artifact expressing a bisexual deity that evolved into the Cypriot Love Goddess, KYPRIS, that continues to be repressed by the pro-Hellenism of Cyprus’ archeology, dominated by the Greeks. This is the subject of the new text by Dr Streitfeld, “The Aphrodite Coverup” by Dr. Streitfeld (pictured with responder Jesus Pedro Lorente of AECA Spain).My paper reflects the two decade journey of delivering the Aquarian cosmology of January 23, 1997 into the cultural institutions…ultimately “Reina Sofia” reflecting my new identity as “female philosopher” ruled by the love of wisdom, the meaning of the Greek term.
The certificate for the successful delivery of my paper, “The Hermeneutics of New Modernism: Hermes’ Trans/Gender Third”.

Surely this was an impulse of a new modernism sourced in the Aquarian transgender icon that we see in the Almavador film, yet where was such an aesthetic to be found in a Spanish art dominated by past masters: Picasso, Dali, Goya and El Greco?

Could the problem be — not in the art — but the critical reception by the gatekeepers torn between upholding the Spanish legacy of art and the art intent on smashing that tradition?

Carpe deim!

I seized the moment through the gap of the Third state of critical self-reflection to declare two progenitors of the hermeneutics of a New Modernism, the timing at 11:11

With the coding in the clock (the 11:11 timing reflecting the galactic center as the state of death/rebirth & therefore the final death of postmodernism & the cynical performative impulse to diminish the authentic rebirth of value), Mark Kostabi’s painting — experienced by this author in the “flesh” for the first time in a studio visit during a recent trip to New York City — can now be appreciated as the progenitor of the universal expression of the hieros gamos by way of intertwined faceless, genitalia free yet gendered forms.

Ümit İnatçı has created a visual language inspired by the ancient transgender non-binary icons unearthed on his native island of Cyprus.

Among the great deal of self-reflection on the two and a half days of panels with collectors, institutional directors and even critics, along with papers addressing the topic of criticism in crisis and renewal, there was a representative from the U.K. AICA who neatly summed up the problem of criticism in the last fifty years as that of Conceptualism!

J.J. Charlesworth of Art Review Magazine delivering “La burocratizacion del jucio: cincuenta anos de la crisis de la critica” (pictured with responder Jesus Pedro Lorente of AECA SPAIN) tracing the demise of criticism to Conceptual Art. The conceptualist practice of artists becoming their own curator/critic by way of creating self- contextualising art born not out of process but rather a mental concept. This, he said, was epitomised by the Text/image artists insistent in having the first and last word in the art itself.

A lone contribution that actually depicted art renovation in bricks and mortar was by the architect representing the Spanish innovations in the field.

Maria F. Carrascal Perez (Universidad de Sevilla) revealed the reality behind the myths of artists transforming the devastated urban landscape in New York City and highlights such efforts in her town of Sevilla, forestalled by the crisis of 2008.
Nathalia Lavigne (Universidad de São Paulo) exposed a new form of art delivery without narrative via “Cindy Sherman en el instagram: una reception critica en la era de instagramismo”.

Criticism and poetry frequently blend in the Spanish language.

The integration of poet and critic erupting at the Congress Internacional was captured by “Crisis de expresion”. This short video of Alfonso Gonzalez-Calero Gonzalez (Investigacion y Arte) depicts inner/ outer reflections of the critic flaneur expressed in a feminine voice.

The ghosts of the critical giants of the 20th century were summoned…

Ignacio Asenjo Fernandez’s “Complejidad de las practicals artisticas contemplementarios” analyzed the historical role of the critic as that of interpretation, participation, mediation, diffusion and incarnation.
Dissemination through the culture is a matter of the quantum physics of potential futures.

Then there was the demonstration of the bounty of living a life in arts: the sheer pleasure of being a critic who collects poets and artists as amistades along with works of art.

Maria Jaio Fernando (pictured wit AECA Presidente Tomas Paredes) shared her memories and interpretations of artistic expression blending with poetry in her native Portugal.

The two and a half days of reflection and discussion coming to a close, a 12:30 Roundtable on Saturday was devoted to critics: “Necessita la critica renovacion?”

Blanca Garcia Vega (Catedratica Ha de Arte, Universidad de Valladolid) is moderator for the final panel with AECA Spain critics Jose Luis Martinez Meseguer, Alfonzo de la Torre, Carmen Pollares and Maria Victoria Otero, speaking.
Blanca Garcia Vega in red follows AECA SPAIN President Tomas Paredes reading (above) the letter sent by Lisbeth Rebollo, President of the International Association of Art Critics (AICA) on the importance of the event with a closing proclamation of how remarkably little Spanish artists acceded to the world stage in the 21st century, thereby leaving bare the task of the Spanish critic.

This set the stage for an authentic renewal of art criticism, in Spain and across the globe.

Now, finally we may be able to appreciate such erotically charged art as this:

Rodin’s interpretation of the hieros gamos through his highly erotic rendition of the pieta at the Museo Nacional Thyssen-Bornemisza Museum.

Or this…

Victor Vasarely “The Birth of Art” at the Museo Nacional Thyssen-Bornemisza transforms the cube into the hexagon, thereby resolving the dispute between Wolfgang Pauli and Carl Jung regarding the structure of the hieros gamos.

Lisa Paul Streitfeld, a member of AICA since 2000, is a roving critic and media philosopher.

Neo-Modernism as Social Realism: Nedret Sekban’s “Between Life and Death”

The monumental Nedret Sekban image first grasps the viewer from the huge poster announcing the exhibition down the street from its magnificent location — the Tophane- Amire Center of Arts and Culture in Istanbul.
An intimately engaged view (below) of a gypsy wedding from the Third space  “Between Life & Death” draws in the viewer as participant.  The bride and groom are dancing in a spiral in which the opposites — human/animal, old/young, joy/fear — are wedded into otherworldly ecstasis in which eros and magic are personified.
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 Roman Dugunu (Gypsy Wedding) by  Nedret Sekban (2016)

The retrospective of Nedret Sekban, the longtime professor of painting at Mimar Sinan Fine Arts University, at the majestic domed exhibition space engenders the sacred. Indeed, to look at Nedret’s self-portraits in which he miraculously captures life and death in his face, prompts the question: “Are you a Sikh?”
I had the opportunity to ask Nedret this question when he appeared in the gallery during my second visit, in the last days of 2017. He had one of the most centered and grounded spiritual presences I have ever encountered, and he replied that he is not a Sikh and neither is he an alchemist, though his works infuse the human being with the alchemical elements — fire, water, air, earth — capturing the quintessential element with his invented technique mastered in his recent masterpiece, Where are they going?, which brings the global refugee crisis that affects Turkey like few other countries, into sharp relief.
Crows are a favorite motif as nature’s messengers of death, and therefore imminent change. So are cut flowers, the bouquets which are held by so many of Nedret’s female figures. The sea is another. The power in Sekban’s sea paintings is the overwhelming pressure of waves captured through the emotional force of a controlled brush.
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Estirdi Aiolos by  Nedret Sekban (2004)

The monumental wave, crows, cut flowers, fallen bodies and the sea are all metaphors for the state “between life and death” which is the Third state in which the tensions of opposites are held.
This state of the in-between is captured with the juxtaposition between bodies.
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Birak Beni Uzanayim III by  Nedret Sekban (2008)

What transforms Sekban’s social realism into neo-modernism is in both his subject matter, the feminine as embodiment of cyclical time of life/death/rebirth, and his formal approaches to painting groups of human beings. In Arinma, he captures a gypsy ritual as a triangle of richly embroidered human bodies, with the shaman/priestess at the point. This human ordering, which he slyly puts into his titles ( ), convergences with geometry to transform the human into the sacred.
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Arinma by  Nedret Sekban (2013)

It is a rare painter who captures the primordial feminine in a manner that grabs the viewer, forcing them into participant with the organic surrender to nature. This is evident in his works in the furthest gallery which are titled as the elements.
For example, in organizing the three women into the classical triangle shape of resurrection in the Rite of Spring, the difference is evident between the classical body conceived in the mind and contained within its perfected form and the Sekban primordial body, which extends from the Earth out into space to encompass the quintessential.
The attention to emotion in his figures recalls on a visceral level Kaethe Kollwitz, or Van Gogh.
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Baslar Gece Vardiyasi by  Nedret Sekban ( 1990)

The origins are expressionist, bordering on the surreal.
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Hashatun by  Nedret Sekban (1973)

 

Yet, the development of style — from expressionist to social realism to a neo-modernist embodiment of the opposites, the hieros gamos, reveals to a new generation how the quantum leap is made into a holistic style emanating from the painter himself: through formal arrangements of bodies on the surface, the containment of the cyclical process of life/death/rebirth through the formal elements, including an apt symbol bridging the opposites.
These are what make this Turkish treasure into a Neo-modernist revival of painting in the 21st century. Embedded in his narratives of the human condition is a plea for honoring the feminine body that is united to the earth that sustains it. Here we have a (R)evolution in art that delivers the diligent viewer into the quantum leap into participant in the profound mystery of life, a secret that is so mysterious because it contains its opposite, death.
The one who masters this space between the opposites understands truly what life is — a state of being that demands full conscious participation. Sekban told me that he has no computer or electronic gadget.
Lisa Streitfeld is a critic based in New York and Berlin.

TIME’S UP JAMES FRANCO!

Postmodernism is a movement that refused to die. The aged postmodern icons go on and on…and as prominent critic Eleanor Heartney declared way back in 2004: “There is nothing to replace (them).”

And then, along came James Franco…

By 2008. the movie star had become bored and frustrated with the limitations of his expression confined to acting and the time-consuming grind of the publicity machine…

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James Franco extremely bored while appearing with Amanda Seyfried at the Lovelace press conference at Berlinale 2013. The film was about how the porn star Linda Lovelace was used and abused by the porn industry and was surely a Promethean advance warning to the exposure of abuse in the mainstream industry if Franco was open to the message…(Photo by LPS)

 In 2009, James Franco shattered the boundaries of the insular enclosed art world system when he traveled to museums across the U.S.A. to present and discuss Erased James Franco with the multimedia artist, Carter.

 

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The intersection of art & film: the Aquariann Carter directing the Leo shadow evoked in painting behind James Franco. Photo courtesy of Carter.

 

The short art film Erased James Franco was filmed inside Carter’s installation at Yvon Lambert Paris in the fall of 2008.  The key signifier in the installation had its inspiration in the postmodernist artist Robert Gober, namely a casting of James Franco’s actual leg strategically placed against an open door.

 

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Dr. Francostein & his Monster as the Leo/Aquarius doppelgänger: The multimedia artist Carter directing James Franco on the art installation/set for the filming of Erased James Franco at Yvon Lambert Paris.  (Astro-Portrait of FRANCOSTEIN is the composite natal chart of Franco and Carter, rectified by LPS.)

The exhibition was aptly titled Leg Opens Door/1963, an ontological reference to the Aquarian wave breaking in the sixties cultural revolution.  Carter’s direction for James Franco to perform his ouevre at 50 percent was a real time symbolization of the collective emptying of the Leo personal self to absorb the light of the quantum wave as the Aquarian impersonal Self.

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LEGONTOLOGY signed into zeitgeist by Carter.  Photo courtesy of Carter.

Carter told me that James Franco had AHA Moment while making the film Erased James Franco.  I pursued the actor for over five years to uncover what prompted the quantum leap that made Dr Francostein’s Monster the ubiquitous after-postmodern icon that I personally summed up as: “shattering every possible boundary between creative disciplines”.

My “Missing James Franco” journey across three continents began in April 2013 with the Copenhagen Collapse

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Carter (right) at the 2013 Copenhagen Film Festival to present “Erased James Franco”.  James Franco gamed his former director by appearing via SKYPE to introduce “My Own Private River”, a recut of Gus Van Sant’s “My Own Private Idaho”.  (Photo by LPS.)

By 2010, James Franco was on the red carpet of the Met Gala as doppelgänger to Marina Abramović wearing an identical tuxedo. Other appearances with art stars which revealed an unleashed shadow of celebrity famewhore lurking in the art world into the tabloid media that doesn’t normally focus on art stars.

The signature of the FRANCOSTEIN expression following Carter’s 2008 Aquarian experiment is a dual methodology of intervention and allegiance to meta.

Meta (from the Greek preposition and prefix meta- (μετά-) meaning “after”, or “beyond”) is a prefix used in English to indicate a concept which is an abstraction behind another concept, used to complete or add to the latter.

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James Franco mocking the Mother of Postmodernism in his interventionist James Franco’s Film Stills exhibited at PACE Gallery in Chelsea in April 2013. This astro-portrait of james reveals the asteroid Eris conjunct his Sun and its ruler, Mars, in his 2013 Solar Return.  (Gallery photo by LPS.)

This sums up the after-postmodern which was a media game that to be played successfully determined that the would be media star had to hold the tension of opposites, with his mastery of Web 2.0  multitasking…

JAMES FRANCO AT PC

James Franco triple-tasking his way out of the I Am Michael press conference at the 2015 Berlinale: posing for a fan’s Selfie, chatting with Mahari and avoiding his critic who took this photo.  (Photo by LPS)

James Franco, with years of thespian training, could do this better than any art star.  Therefore, his intention to outdo the avant-garde with his Web 2.0 mastery of smashing boundaries between the disciplines had a purpose…

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Gadget Love Gesturing the Opposites:  Smart phone in hand, James Franco blocks his shadow, Tommy Wiseau from the microphone (Screenshot from YouTube).

…beyond raising his celebrity into a virtual epic of platform-hopping never experienced before in the pop culture.

Meta means about the thing itself. It’s seeing the thing from a higher perspective instead of from within the thing, like being self-aware.

Making a movie about the film industry isn’t meta. Making a movie about making movies is.  —Urban Dictionary

The January 8 telecast of the 2018 Golden Globes presented James Franco with his ultimate meta moment — to appear on stage with his shadow, Tommy Wiseau, whose “worst movie ever”, The Room, was meta-made into The Disaster Artist to win critical praise.

This way James Franco, currently starring in The Deuce, becomes the meta-figure personifying the tension between the opposites — good art vs. bad art — for the critics!

But the meta moment hat followed this triumph, a full decade after that momentous AHA Moment was signified by the pin that he was wearing —

TIME’S UP

 

James Franco, the master of the Web 2.0 meta moment, got a new meaning for both signifiers, The Disaster Artist and Times Up, in the wake of Twitter accusations in “real-time” with his acceptance of the Best Actor in a Drama Award at the Golden Globes.  The flood of accusations to follow were indeed about the FRANCOSTEIN breaking through boundaries, including removing the guards while simulating oral sex for a film scene.  Whether the accusations are accurate or not, the symbolism is apt for Mr. Franco’s meta project:

This is not what I meant when I commended you for transgressing boundaries, Mr. Franco!

In bringing together his own quantum leap into a critically hailed American auteur by way of a postmodern “meta copy” of “the worst movie of all time,” James Franco was doing a real-time performance of the tension of the opposites in which he personally defined the after-postmodern.

But the fallout which has put him on the defensive during his victory run reveals what happens when the human ego believes it can make the myths…

The nine-year reign of James Franco, as the ubiquitous figure of the after-postmodern superseding all other creative expression in this epoch by his sheer omnipresence has come to an end. Astrology confirms this as Uranus leaves Franco’s sign of Aries to move into Taurus this spring.

A new modernist movement has arrived and James Franco’s unexpected meta Moment summed up by signage on Sunset Strip revealing “James Franco’s life and art are getting uncomfortably close” provides a lesson right out of a neo-modernist playbook:

“WE DON’T CONTROL THE STARS, THE STARS CONTROL US.”

 

James Franco would be wise to withdrawal from the limelight and go inward to gaze at his fated star configurations as a means of shedding skins in 2018 and entering the realm beyond the meta: the Möbius strip where outer and inner are wedded in the sacred marriage of opposites.

 

But then, the very speed of the FRANCOSTEIN monster meant stomping on his critics!

Dr. Lisa Streitfeld is a Kultureindustrie theorist utilizing astrology as hermeneutics in the interpretation of contemporary art and pop culture.  She is currently placing two book length texts on the market, “Missing James Franco 3.0: Nine Days at the Berlinale” and “Art & the Stars”, disclosing the ontology of the Age of Aquarius.  

 

You can find her Huffington Post archives at:

https://www.huffingtonpost.com/author/lisa-paul-streitfeld

She can be reached at shivalisapaul@gmail.com