Ascend

I have a head for heights it’s true, but no stomach for the depths. Strange then to have plumbed so many.

Jeanette Winterson, Written on the Body

Shot from the window of a Boeing 777 traversing the Sahara, near Tassili n’Ajjer, Algeria, en route from Abuja to London last week.

Grounded now for two or three weeks for some long overdue surgery, painful but a relief to be out of the air for a while!

Created with iPhone 6S for WordPress Weekly Photo Challenge, Ascend.

serene

Death, therefore, the most awful of evils, is nothing to us, seeing that, when we are, death is not come, and, when death is come, we are not.
– Epicurus

we chase it
for eternity
yet, what do we lose

in our (endless)

chase
for, that
serene

(moment)

and
can
we find
it
before that
door

closes?


a dark slice of poetry for wordpress weekly photo challenge – Serene

*shot with fujifilm x100f with fixed 23mm (35mm full frame equivalent) lens at ISO1250, f/4 and 1/60s*

muzej savremene umetnosti

Delighted to hear the news that the Museum of Contemporary Art is opening again after ten long years. Six years ago, it featured in one of the first posts that I wrote on, what was then my new blog, belgradestreets.

belgradestreets

Decided to add an extra post today, a sort of ‘Sunday Supplement’.

Yesterday, whilst shopping at Ušće for some of the random necessities of life, I wandered across the swathe of parkland that lies along the river toward what seemed a rather fascinating yet random group of sculptures set among the grass and trees, it became clear that they were not random but some of the outdoor (and now quite weathered) exhibits of Belgrade’s Museum of Contemporary Art.

Sadly closed for repairs since being damaged in the bombing of 1999 the Museum’s collection numbers some 35,000 works of art produced since 1900 in Serbia and the former Yugoslavia.

This lonely and decaying building, partly hidden behind fencing, is located near the confluence of the Sava and Danube and was designed by Ivan Antić and Ivanka Raspopović in 1960 with construction taking place between 1960 and 1965, Wikipedia states that…

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banal ball(s)

Writing in today’s Observer newspaper, Laura Cumming’s review followed the headline (at least in the print version) ‘These swings don’t mean a thing’ describing the Superflex installation in the Turbine Hall of the Tate Modern as ‘by far the worst Turbine Hall commission in the history of the Tate Modern’, and went on to suggest that, if she were Hyundai (who sponsored the commission), she’d ask for her ball back.

I am no art critic, but I wonder if her review missed part of the essential point of the Tate Modern? It is an open expansive space, much of which can be viewed freely. A space where those unfamiliar with art can have their eyes opened, their lives changed. The vast expanse of the Turbine Hall is indeed a challenging space for any artist to fill, no matter how sweeping their ambition or profound their talent.

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