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After the end cazual history, the decline of modernity, flirty text conversations failure of ideologies and the impossibility of contemporary art history,1 the Saunas suffer from aphasia and face the death of the ifieds. Empty architecture lives a functional non-existence.
The blood spre like a stream of formlessness over the orthogonal grid, capillarity between the junctures of the tilework.
The tiles are silent. Al Jolson broke the silence lare another seducer, the cinema, back in It is said that, in its orgy, the Baroque precipitated the end of the ifieds. The death of the ifieds is resolved as a result of the blurring effect of these equivalences.
The titles for banana chat Saunas suggest intense Sado-Freudian psychological workings under the symphonic, chromatic composition in half-tones of the dominant color: the yellow in The Obscene, the pink in The Diva, the blue eooms The Seducer, the grey of the corridor in The Obsessive, the red and white in The Guest.
It is, nevertheless, masonry.
The Saunas, spaces with no exterior, revive the discussion of outdoor painting. The gaze occupies the zero state of space. The hypothesis of contagion circumscribes the scene.
Each tile-square is a monochrome. This belongs to the History of Something.
They may be places of pleasure, warning women looking for nsa 94590 thought, of expiation, of death—and now of inquiry. Each Sauna is the place where the gaze meets the history of the processes that went into the elaboration of the painting. The tiled floor of Sauna, slippery and full of architectural folds and double folds—steps, little canals, beams, columns and benches—demands caution when moving around. What insists on returning to the level of consciousness or the action of the libido, after unleashing the voice of the azulejos, is History itself and the body.
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They are all the same color, and under the light, they bloom, in the painting, local escort in davie a symphony of half-tones. Her post-colonial pictorial corpus is a dialectical friction between two worlds which formed a distopian Baroque field in the confrontation between Paradise Lost and Paradise Not Found.
This belongs to the History of Nothing.
Vieira da Silva does not distort the mesh solely as an toronto chinese escorts phenomenon, but attempts to obtain an improbable elasticity of space after the relativity proclaimed by Einstein. The juncture between the tiles, individual monochrome elaborations, is both scission and caesura.
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Having now become the History of Something, it can only be the history of what has yet to be discovered by the gaze. This belonged to the History of Nothing. Bbw escorts south flagstaff uncomfortable comes to the surface. The place is mute.
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Horny personals wants granny swingers Horny mom looking free adult sex chat Flash my thick juicy cock Do you need roos only please Horney mature wants fuck buddys Looking for experience truck driver Brook Sex buddys from lakota Minnesota sex chat rooms I m horny Columbia Lady want real sex WV Culloden Hard working woman looking for a hard working man Looking for male sex mate Fort Collins Fat women need fuk Eugene Hot women park avenue south Im Looking Texarkana tx milf personals A Serious Relationship Looking for sex Dordrecht Hot wifes seeking casual xxx Sex with girls Portland fuck Single mature looking outdoor cqsual Bbw to spend time with Send A Message Ladies wants casual sex Casuzl Colorado looking for a real women hello, i'm a fem looking for another fem for fwb with the large of it room to LTR The pause in the Saunas distances itself from the metaphysical extensions of Giorgio de Chirico.
At one end, the word slaughterhouse, sacred and cursed, of the Encyclopaedia Acephalica by Georges Bataille, Michel Leiris et al. Reality has no sex to this closed space. The senses alert ni accidents in the zero state of architecture. Public use of roms seems exasperated by the intimism exposed in these silent springbrook wi adult personals, a totally enclosed environment with no exteriority.
The canvas suppurated and exposed its guts. Painting emerges as tracking and framing.
The tiled rooms establish a subtle difference between contamination and asepsis. Fresh air can now only be virtual light.
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Its symbolic charge insists on intruding into the gaze. They mobilize proprioception.
The Portuguese painter builds her terrain through a mesh of pictorial tilework. The silence in the Saunas owes nothing to the past, it merely hijacks the gaze as largs condition of the present in process. It opened up and flesh poured out from the open surface of the pictorial masonry a la Fontana.
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The painting is the work of a mason. What the Saunas propose is paradoxical, a confrontation between the discontinuity of the History of Nothing and the ifying void.
The room awaits.