BALSE NEWSLETTER 039

 

light and shadow,

light to shadow.

light, Hammer museum, UCLA.

Shadow, I don’t remember where anymore.

spiace, ho dimenticato.

At Home: Alice Neel in the Queer World

September 7—November 2, 2024

David Zwirner, Los Angeles

Few weeks, at Balse.


Let’s just take a deep breath,
let’s just ask the Baobab Tree for the next 30 minutes.
you’re welcome.

oh so dumb Europe dumb Europe dumb Europe

language, language, tyranny of words, theory of general semantics. worlds are symbols, not reality, they are high level abstractions.


There’s no coming back. All the things we had…. They’re just memories.

rust, trust, wait for dusk. wait for us.

feel my touch. what if i wait for you…

what do you want from me.


Falling together…

This Time, now clouds.

so obvious, speak louder than me.
There is no heaven, headphones on.

fuck it,
anti-fragile


Breath(e): Toward Climate and Social Justice


to family and friends
wondering, what would Georgia O’Keefe say?

FIRELEI BÁEZ - The Fact That It Amazes Me Does Not Mean I Relinquish It

13 September 2024 – 5 January 2025

Hauser & Wirth, Downtown Los Angeles



Devote Your ENTIRE Life - to be in exile, PP (Prague Photographer)

FKA twigs - Eusexua
cccccbgktcituuuijlgeltljntnlljlkllvtnegjfecr/cccccbgktcitdklgkfkcidrkd


DJ sets:

N/A - none…niente.

till next time. 4 sure

Charles A. Balse

 
 
 

Words of Wisdom

 

He claims that this method of working, which is his alone, is the only correct one, the only one leading to a serious result. He mercilessly condemns all preference for simplification which does not pass through submission to nature by means of a meditative and progressive analysis. If a painter is easily satisfied, it is because, according to Paul Cézanne, his vision is mediocre, his temperament practically worthless.

Leonardo da Vinci put forth a similar idea in his treatise on painting when he said, "The painter who has no doubts will profit little from his studies. When a work of art surpasses the judgment of the creator, he who works advances little; but when his judgment rules his works, those works become more and more perfect if inconsistency does not interfere." The artist will arrive at self-knowledge and the perfection of his art not through patience, therefore, but through love that gives insight and the desire to analyze in greater depth and to improve. He must extract from Nature an image which will be, properly speaking, his own; and only through analysis, if he has the strength to press it to the end, will he make himself known ultimately, unambiguously, abstractly.

page 37 -

Documents of Twentieth-Century Art

Conversations with Cézanne

Michael Scott Doran, Julie Lawrence Cochran (Translator), Richard Shiff (Introduction)


One should never say "model"; one should say "modulate." Shadow is a color like light, but it is less brilliant. Light and shadow are nothing more than a rapport between two tones.

Everything in nature is modeled after the sphere, the cone, and the cylinder. If the artist learns to paint according to these simple figures, he will then be able to do all he desires.

Drawing and color are not distinct from one another; gradually as one paints, one draws. The more harmonious the colors are, the more precise the drawing will be. Form is at its fullest when color is at its richest. The secret of drawing and modeling lies in the contrasts and affinities of colors.  The "effect" makes the painting, it unifies and concentrates it; and to produce this, a dominant patch is necessary. The artist must be a laborer in his art and discover early on his means of realization. He becomes a painter through the very qualities of painting itself. By exploring its coarse materiality. The painter must become classical again through nature, or, in other words, through sensation. It all comes down to this: to have sensations and to read nature.

page 39 -

Documents of Twentieth-Century Art

Conversations with Cézanne

Michael Scott Doran, Julie Lawrence Cochran (Translator), Richard Shiff (Introduction)


Here is the way Cézanne's palette was prepared when I met him in Aix:

Yellows

Brilliant yellow

Viridian (Veronese green)

Naples yellow

Greens

Emerald green

Yellows

Chrome yellow

Green earth

Yellow ochre

Raw sienna

Vermillion

Blues

Indian red (red earth)

Cobalt blue

Ultramarine blue

Prussian blue

Peach black

Burnt sienna

Reds

Madder lake

Carmine lake

Burnt crimson lake

EMILE BERNARD


page 79 -

Documents of Twentieth-Century Art

Conversations with Cézanne

Michael Scott Doran, Julie Lawrence Cochran (Translator), Richard Shiff (Introduction)


Nate Lowman: Parking

September 7—November 9, 2024

David Zwirner, Los Angeles

Main Studies

 
 

Maria Nepomuceno: Nasci de uma flor

Date: 5.31 (fri.) – 7.6 (sat.) 2024

nca | nichido contemporary art

 

APPENDIX:

 

Titus Kaphar - Exhibiting Forgiveness

September 13–November 2, 2024
GAGOSIAN, Beverly Hills



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Candillari's Ear and Heart / カンディラーリの耳と心

Yarn/Wire: Challenge to Difference / ヤーン・ワイヤー 相違の挑戦








 

Yoriko TAKABATAKE LINE(N)

2024.6.15 Sat - 7.27 Sat

Shugo Arts, Tokyo

 

COMING UP


Patricia Iglesias Peco

Las plantas de ese jardín conservaban en la sombra sus colores

October 26 - November 30

Francois Ghebaly, Los Angeles

Arthur Jafa - nativemanson

Sprüth Magers, Los Angeles

September 14–December 14, 2024

THE UNBOXING PROJECT

an iterative curatorial project by Hyunjoo Byeon and Minjin Chae

November 2 - December 21, 2024

Various Small Fires (VSF), Los Angeles

Umar Rashid

The Kingdom of the Two Californias. La Época del Totalitarismo Part 2.

November 2–December 21, 2024

BLUM, Los Angeles

Sabine Moritz

Frost

November 8–December 21, 2024
GAGOSIAN, Beverly Hills

Walead Beshty

Profit & Loss

November 7 – December 21, 2024

REGEN PROJECTS, Los Angeles

Liang Fu / Chantal Khoury / Daniel Pitín / Nadia Waheed

November 9 – December 21, 2024

NICODIM, Los Angeles

Allison Schulnik: Dumb Phone

Isabella Cuglievan: A ripple and a nest

Devin Troy Strother: Scenes for Josephine

November 16 - December 21, 2024

The Pit Los Angeles

Thom Mayne
Shaping Accident

18 Sep 2024 - 4 Jan 2025

LA LOUVER, Los Angeles

Julia Yerger

When Lottery
November 09 - January 04

Chateau Shatto, Los Angeles

Hiroshi Sugimoto: Form is Emptiness, Emptiness is Form

15 November 2024 – 11 January 2025

LISSON GALLERY, Los Angeles

Gustav Metzger

And Then Came the Environment

13 September 2024 – 12 January 2025

Hause & Wirth, Downtown Los Angeles

Post Human

September 12, 2024–January 18, 2025

Jeffrey Deitch, Los Angeles

Sara Berman

Lapdogs and Fools

November 23, 2024 — January 18, 2025

VIELMETTER, Los Angeles

Bernard Frize

Shadows, Spirits and Clouds

Christian Boltanski

Animitas (Chili)

16 November 2024 - 18 January 2025

Merian Goodman Gallery, Los Aneles

FORM AND FEELING

Curated by Ashton Cooper

NOVEMBER 2, 2024 - JANUARY 18, 2025

NIGHT GALLERY, Los Angeles

CYNTHIA DAIGNAULT

The Lemon

October 26, 2024 - January 18, 2025

NIGHT GALLERY, Los Angeles

Loie Hollowell

Overview Effect

Nov 9, 2024 – Jan 18, 2025
PACE, Los Angeles

William Eggleston: The Last Dyes

Inquire

November 16, 2024—February 1, 2025

David Zwirner, Los Angeles

Views of Planet City - Visions of the Future

Sep 13, 2024 - Feb 16, 2025

SCI-Arc (Southern California Institute of Architecture)

Breath(e): Toward Climate and Social Justice
HAMMER, LA

Sep 14, 2024 – Jan 5, 2025

Atmosphere of Sound: Sonic Art in Times of Climate Disruption

September 14, 2025 - May 31, 2025

UCLA Art|Sci Center presented at CAP UCLA

PST ART: Art & Science Collide

GETTY CENTER, LA

A landmark regional event that explores the intersections of art and science, both past and present

Olafur Eliasson: OPEN

The Geffen Contemporary at MOCA, LA

Martin Creed: Work No. 3868 Half the air in a given space
OCMA

July 3, 2024 – February 16, 2025

Simone Leigh

May 26, 2024 – January 20, 2025

LACMA

Firelei Báez

The Fact That It Amazes Me Does Not Mean I Relinquish It
13 September 2024 – 5 January 2025
Hauser & Wirth, DTLA

Gustav Metzger

And Then Came the Environment
13 September 2024 – 5 January 2025
Hauser & Wirth, Downtown Los Angeles

Alta / a Human Atlas of a City of Angels

January 13, 2025- Apr 27, 2025

Library Foundation of Los Angeles and Los Angeles Public Library

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Plugged In: Art and Electric Light

Norton Simon, SEPTEMBER 20, 2024 – FEBRUARY 17, 2025

 

BALSE NEWSLETTER 038

 

Nikko, Japan

Aoyama, Tokyo

Shibuya, Tokyo











Two weeks, at Balse.

no, several weeks.


Let’s filter this



Revisiting Pesoa - , who ‘despised utility and purpose’

the realms of uselessness. Observant.

self is fragmented.

we die many times.

life is a dream, billions of years to come.

so limited by knowledge.

club Asia, Shibuya, Tokyo


The Baccarat BK theme song that is

Jamie XX, all the way.
brilliant.
the perfect, in the moment.
Jamie xx - Waited All Night (ft. Romy & Oliver Sim) - emotions
Jamie xx - The Feeling I Get From You - tonight, here we are.
Jamie xx - Breather - extreme coolness, so BKK contemporary


Breathe, be grateful for this present moment, right here, right now.

I swear, they were playing this that night.







Siem Reap, Cambodia

The Most Influential Japanese Photographer EVER // Eikoh Hosoe Mishima Moriyama

also the theme of new life

What I would call sora for my dj/music categorization, 5 stars - the sky, in Japanese - Ben Böhmer - Best Life (feat. JONAH) (Official Visualiser)





Shinjuku, Tokyo

Shinjuku, Tokyo

some where near Nikko, Japan

 

Gaien mae, Tokyo

Gaien Mae, Tokyo

Shibuya, Tokyo

 
 

Words of Wisdom

 

Cornelius Agrippa in The Occult Philosophy, one of the most influential theurgic texts of the Renaissance, states the Neoplatonist ethos succinctly when he writes that the "world is an elemental, celestial and intellectual triad where every lower thing is ruled by something higher and receives that mighty influence whereby-through angels, heavens, stars, elements. animals, plants, metals and stones —the archetypal and supreme Craftsman transfers his omnipotent powers into us, having made and created all of them to serve us."

Elysium: A Visual History of Angelology

Ed Simon - pg 118



Bangkok, Thailand



Krishnamurti's major theological contention could be summarized by his statement "Truth is a pathless land," the belief that the angelic, or the divine, or the transcendent, or the absolute must forever be inaccessible to logical language, that no route can bring the initiate to that kingdom, and so the only means of approaching it is poetic rather than rational. At a 1929 address in the Netherlands, Krishnamurti proclaimed, "Truth, being limitless, unconditioned, unapproachable by any path whatsoever, cannot be organized ... A belief is purely an individual matter, and you cannot and must not organize it. If you do, it becomes dead, crystallized; it becomes a creed, a sect to be imposed on others... Truth cannot be brought down, rather the individual must make the effort to ascend to it." Just as quantum mechanics posits that all sorts of truths about the universe —say, the exact location or velocity of an individual particle —must remain ambiguous and are only decided upon by the arbitrary intercession of the observer, Krishnamurti describes something similar about the divine. Despite his training in Theosophy, such beliefs are perfectly consistent with many interpretations of Eastern religions, but they're also congruent with the idealist mystical belief that the universe only exists if it's being observed, and that God and his retinue are always doing the observing. Both Krishnamurti and Bohm were radical monists, believing in one substance, but rather than matter that substance was mind. The conclusions of quantum mechanics-demonstrated by mathematics and proven by experimentation-were disturbing to physicists who had been trained in the static model of Newtonian science; that some results seem to require consciousness appeared anathema to them. Yet the numbers were what the numbers were, the observations and experiments revealed what they had. On some level, there was a wisdom to assuming that the counterintuitive logic of quantum theory implied that consciousness permeated existence, as that would be the only way to make any sense of such strange results. As Bohm would audaciously declare in an essay published in 1987 in the collection Quantum Implications: Essays in Honor of David Bohm, "Even the electron is informed with a certain level of mind."

Elysium: A Visual History of Angelology

Ed Simon

Page 340





Bangkok, Thailand




Conversations with Cezanne

October 11, 2024

When Lecomte evaluated Cézanne so intelligently in 1899, "abstraction" had not yet settled into its twentieth-century, formalist definition. Nor had images called "abstract" abandoned representational reference, as they would begin to do not long after Cézanne's passing. The meaning of

"abstraction," circa 1900, was fluid and confused, an amalgam of contested notions. Regardless of anything Cézanne said, it was his technique that caused many of his witnesses to link the autonomy of his form and the purity of its beauty to a process of abstraction. This turn in interpretation entailed a certain irony: "form" and "beauty" were conceptual entities suited to endless verbal philosophizing, precisely what Cézanne disliked in Bernard among others. To reconcile abstraction, itself an "abstract" notion with the very physical nature of Cézanne's painting, most of those familiar with him claimed that his abstraction developed from the senses, not the intellect—more intuitive harmony than science of color, more spontaneous rhythm than planned geometry. This variant of "abstraction" broke from the term's nineteenth-century connotation of intellectual excess (we still say that certain arguments are "too abstract," or that a mentally distracted person has an "abstract" look). Lecomte's perception that Cézanne's style satisfied antithetical demands coming from impressionist naturalism and symbolist idealism was ingenious and should have been adequate to the situation; but other commentators began to acknowledge somewhat different alignments, cognizant of competing notions of "abstraction." For Denis, the conflict between Monet's impressionism and Gauguin's symbolism amounted to a dispute between sensualist lovers of nature and rationalist devotees of abstract form. Reacting to attitudes that troubled him in others, Denis complicated matters by switching sides in the ongoing debate. First he praised, then he denigrated abstraction, lamenting Cézanne's inadvertent role in furthering it.

     Why all this happened is crucial to the historical fortune of Cézanne's art. At the beginning of the twentieth century, Denis (like many others) observed that artists of his own age were being dehumanized by the leveling effects of modern urban life-mechanization, commodification, standardization, social regulation—all leading to impoverishment of both intellectual and spiritual experience. He argued that the remedy could be found in an "abstract ideal, the expression of inner [mental] life or a simple decoration for the pleasure of the eyes.", Under the circumstances, the representational arts would strive to mask out dull environmental realities, "evolving toward abstraction." However much this kind of "abstraction" might appeal to the intellect and imagination (subjective "inner life"), it would retain a distinct material component, located in a purified form and a straightforward procedure (the objective "beauty" of "a simple decoration"). Cézanne was exemplary because his marks appeared independent of any strict mimetic function and were also very physical, therefore representing a material (not conceptual) abstraction of the painting process. This was an aestheticized, humanized materialism, intense in both sensation and spirit; it seemed fit to counter the anesthetizing materialism of modern bourgeois existence.




page 30 -

Documents of Twentieth-Century Art

Conversations with Cézanne

Michael Scott Doran, Julie Lawrence Cochran (Translator), Richard Shiff (Introduction)






Bangkok, Thailand

Bangkok, Thailand










Aoyama, Tokyo, Japan

Main Studies

 
 

Bangkok, Thailand

Bangkok, Thailand

 
 

APPENDIX:

Bangkok, Thailand

 



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At Pioneer Works, Earl Howard and ICE, The opening venue since 2016

Inspired Inspiration : ブルックリンの閃き合い
 

Bangkok, Thailand

 

Siem Reap, Cambodia

Bangkok, Thailand