notes from rohail's presentation: 

- starts by talking about sound as a physical presence
- connecting it to senses / how they occur and manifest x with refernces to sufism/spirituality
- goes on to talk about the persistent survival of nature in competition with time
- we all have a seed of uniqueness that separates us from each other
- Traditional tuning standards based on nature
- He talks about how tuning standards have changed and he was made to observe it by an ustad who sang the same bar on different notes
- "If a plant is happy in a space, you’ll be happy in that space."
- He can no longer listen to popular rock because the “off-tuned” nature is too vivid to his ears now
- While exploring mysticism, scriptures, he found that there were more feminine attributes (? Ok???)
- Feminine is the thinker, masculine is the doer x feminine “needs” the masculine to do anything — okay cool (y)
- ~ low of resonance ~ GOONJ!

- Talks about a balance of things - everything has 3 parts that cause a resonance between them
- “The randomness in music has healing properties for our soul”
- The world is not a place for the mind that locks itself in a room, in solitude to explore frequencies, souls, nature, mysticism
- Told musicians at coke studio, to skip the notes/give space to the singer who was on a traditional scale. Perfectly working with the traditional x modern OR eastern x western
- “nature is anti-monopoly” // there is redundancy in the system
- If machines were tuned to sound better, if businesses learnt from nature and natural systems, our brains wouldn’t be rattled by the sounds/feelings around us

rohail hyatt / sound / coke studio

muse
berardo coleção

visited this collection twice during my trip to lisboa in 08/22

1. Rhythmus 21 (Hans Richter) x Suprematism 34 (Kazimir Malevich)

these are my notes from the visits. mainly just remembering the works/people that struck something creative/internal

3. Ella Bergmann-Michel

Untitled (OB194)
1925

Untitled (OB196)
1926

indian ink and pencil on paper

2. Sechs Stufen Progression (Max Bill, 1942-43)

why i cared: curatorial choices 💯

why i cared: clean girl look 💅

why i cared: cool frame

4. La Carte Surréaliste, Première Série, Vingt et Une Cartes (1937)

Mixed media on board

why i cared: somehow seemed more authentically stranger than ig surrealists ┐('～`;)┌

5. Untitled (Jindřich Štyrský)

why i cared: 1: yay český umělec; 2: já také mám ill-fitting bundy :_

collage on paper

6. N380B by Francesca Woodman (1976) x A Sensualidade que Avança by Fernando Lemos (1940)

why i care: by women vs men

7. La Rencontre (Jacques Hérold, 1936)

why i cared: just one of the most beautiful things i've ever seen irl. this photo is totally shit in comparison to how the colours shine irl

8. Torso, Self Portrait (Louise Bourgeois,1964)

Bronze with white patina

9. Tot Negre amb Clivelles/ Negro con Grieta (Antoni Tàpies, 1962)

why i cared: yummy textureee!!

10. La Mante, grande (Germaine Richier, 1946 - 1951)

why i cared: the texture tickled something good in my head.

bronze

11. Tropical (William Baziotes, 1959)

Berardo Collection from the First Modernism to the New Avant-gardes of the 20th Century

*fuck picasso

*

why i cared: felt anti-tropical

12. Rauchbild (Otto Piene, 1962)

why i cared:

13. Drawing for the Soup Course at The She She Cafe (Edward Kienholz, 1982)

Mixed media on galvanized metal

why i cared: i think it tells a non-linear story that i don't need to understand

14. Soft Light Switches 'Ghost' Version (Claes Oldenburg, 1963)

why i cared: softness 10/10 + i see his name and always think of "i am for an art"

16. Snow White and the Black Dwarf (Joe Tilson, 1969)

Silkscreen on canvas on wood relief

why i cared: the most inspiring use of text i saw in the permanent collection

Julião Sarmento. Abstracto, Branco, Tóxico e Volátil

Drift (Julião Sarmento, Lawrence Weiner, John Baldessari, 2004)

Projections in loop, panoramic 360º screen , site specific project for Centro Cultural de Belém (multiple channel)

Salto (Sarmento, 1985-86)

Mixed media on canvas

why i cared: composition and textures 15/10

why i cared: 1. the chairs rotate wheeee + 2. just the size of this installation kicked something inside me to imagine bigger things for my work (when appropriate ofc lol) but just to start thinking bigger ╰( ͡° ͜ʖ ͡° )つ──☆*:・ﾟ

Guibert (Sarmento, 2007-08)

why i cared: reminded me of (¬‿¬ )

I Love You Too Much (Sarmento, 2006)

I Love You Too Much (Sarmento, 2006)

why i cared: removal/exclusion of identity along w being physically bound should freak me out but these works didn't do that. maybe its the little security camera in the back but I don’t know what made me think of this as safety. maybe its just some strange patriarchal sense of safety drilled into my head

Abstracto, Branco, Tóxico e Volátil (Sarmento, 1997)

why i cared: I DONT KNOWWW?!!! these were so weird. they got under my skin almost immediately. AGAIN its possible i was left w an impression because they made me think of pain and a woman's body. but genuinely this drawing on the right is literally what i imagine wanting to do every 3.5 weeks of my life. it's an incredibly internal thing that i have to hide so its quite something that this man's work is making me expose these thoughts now. which brings me to thinking about art and it's audiences. what makes a "good" provocative piece of art that doesn't also exploit women and violence? i mean, is this perverted? is my reaction of liking it inappropriate?

one of his pinturas brancas, i can't find the title sorry ・ᴖ・

suck my tongue (Sarmento, 2006)

why i cared: the text

why i cared: as someone who's obsessed w her own body and timely pain her body forces her to feel, this stuck w me. maybe as a reminder that i should explore my own body w my work