the magazine is on vacation till 1 september 2017

 

Gitta Pardoel...Restore Place

Ali Rashid

 

The latest works from Gitta Pardoel seem to go about furnishing space through raw, recycled material. She visualizes by these works, details of nature through her artistic vocabulary. She processes the material (wood) to expand the significance of place and to index the ideas, after stripping the material from its decoration. In doing so she let us measure our surroundings in a new way. The places now furnished with this crude material leads their expression through the neutrality of its material and the spontaneity of the performance.

 

 

Heck ... Let the white define itself

By : Ali Rashid

 

A friend of me who lives in Madrid once said to me: “Ali, you have to think about the commercial face of art. The white painting is very difficult to sell so you should besides your own educated research of white also try to produce work for the art-market.
After the economic crisis that hit Europe and indeed the whole world, many serious galleries had to close because of bankruptcy. While some galleries stayed after leaving their stringent look on art and so became more flexible

 

 

 

 

 

 

Interview with Nidhal Chamekh

By Emma Chubb

 

Born in Dahmani, Tunisia, in 1985, Nidhal Chamekh studied fine arts in Tunis and Paris, where he now lives. Chamekh exhibits two works in All the World’s Futures, curated by Okwui Enwezor for the 56th Venice Biennale 2015: De quoi rêvent les martyrs? (What do martyrs dream about?) 2012, a series of twelve drawings completed over two years, and The Anti-Clock Project (2015), a new work produced for the exhibition and comprised of a three-dimensional model and eleven drawings.

 

 

 

 

 

Poetry, Nature and Jerusalem: An Interview with the American Poet Philip Terman

Edited By:Saleh Razzouk

 

In philip Terman's poems you find two major elements: nature and judaism.

It seems that terman's judaism is not specific. He reads his metaphysical words in the wake of material signification. He prays often in the temple of nature. Just to discover that loving, sacred and all magic powers that transcend over reality are among us, inside the family life, the daughter, brother, mother and father.

 

 

Mignon by Goethe

 

Translated by: Murray Alfredson

 

Know you the country where the lemon flowers?

The oranges glow gold through dark-leaved bowers;

from heavens’ blue the gentle breezes blow;

quiet the myrtles, and tall the laurels grow

 

 

 

One Hundred Love Sonnets: XVII BY PABLO NERUDA

 

TRANSLATED BY MARK EISNER

 

I don’t love you as if you were a rose of salt, topaz,

or arrow of carnations that propagate fire:

I love you as one loves certain obscure things,

secretly, between the shadow and the soul.

I love you as the plant that doesn’t bloom but carries

 

 

 

“After Theory:

Terry Eagleton and the Political Inertia of the Modern Intellectual”

 

by Haider Al-Kabi

 

The view of the current, crisis-ridden situation of theory, as presented by Terry Eagleton’s book After Theory, reflects the socio-political environment in the midst of which modern theorists work. The proliferation of theories, on the one hand, and the haziness and uncertainty of the positions of theorists, on the other, make it increasingly

 

Deer Descending

 

Philip Terman

 

 

Perhaps she came for the apples,

 

or was flushed out by the saws powering

 

the far woods, or was simply lost,

 

Judith Scott—Bound and Unbound

 

Ila

 

Judith Scott—Bound and Unbound will be on view in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum from October 24, 2014, through March 29, 2015. Focusing on Scott’s critically acclaimed fiber-wrapped, three-dimensional constructions, the exhibition features more than sixty works, including a selection of works on paper.

Chohreh Feyzdjou: l’Oeuvre au Noir

 

By Michel Dewilde

 

In the past months, the installation Untitled by the artist Chohreh Feyzdjou (1955 Teheran – 1996 Paris) was part of the exhibition Unedited History . Iran 1960 - 2014  , curated by Catherine David at the Musée d’Art Moderne de la Ville de Paris. It was great to see Feyzdjou’s work incorporated in a comprehensive Iranian group exhibition. Though her work has been a part of major international exhibitions, such as Okwui Enwezor’s Documenta 11, she was seldom included in an Iranian show.

I met Chohreh Feyzdjou in Paris in 1994, whilst preparing the exhibition Zij-Sporen [1]. She had left Iran in the seventies

started 1 MAY 2010                 email : info@ila-magazine.com

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