Bairro dos Navegantes / Porto salvo / Oeiras
A conurbation is an urban area comprising a number of cities or towns which, through population growth and expansion, have physically merged to form one continuous built up area. It is thus a polycentric form of agglomeration.
A metropolitan area usually combines one or several conurbations with peripheral zones not themselves necessarily urban in character, but closely dependent on the conurbation(s) in terms of employment and commerce.
Oeiras
10 Freguesias: Algés, Barcarena, Carnaxide, Caxias, Cruz Quebrada - Dafundo, Linda-a-Velha, Oeiras e São Julião da Barra, Paço de Arcos, Porto Salvo e Queijas.
Área 45.8 km²
População Total 162 124
Resolving Conflict by Superficial Means // Mark Titchner
Analogue Fountain
(The Dreamachine and its principles.)
1. The Dreamachine, a device developed by artist Brion Gysin and mathematician Ian Sommerville, was designed to stimulate brain activity by corresponding a frequency of flickered light with the brain’s intrinsic electrical activity. The device can be simply constructed with only a cardboard cylinder, a light bulb and a record player.
The Dreamachine requires extended and concentrated use.
The Dreamachine is viewed with eyes shut.
2. Language and the world are one. Our possibilities and our potential are locked within the fold of a few abstract marks and there permutations.
Was this mankind’s greatest act of will or greatest act of submission?
As has been said many times before the universe is nothing but a huge permutation but let us consider a smaller proposition. Does a word mark its corresponding action? By unravelling and permutating a word are we able to stimulate or instigate action?
As the man said, "Rub out the word!"
3. Discussion dissuades action.
A simple interaction.
Turn the handle!
Begin the permutation!
Let the cylinder spin!
See the light dance!
Excertos tirados do info site sobre o trabalho do artista
Mark Titchner está nomeado para o Prémio Turner 2006.
documentino II
J. - Oh, you're such a Calvinist. The way I see it is if it is something that you enjoy, you should do it, why make things difficult. I guess it also has something to do with experimenting. Most people we know drink and maybe take drugs so it's just taking it and making art out of it.
(Douglas Gordon making an interview to Jonathan Monk)
"Monk invites a group of friends to spend an evening in a Bar. Nothing very original there, if not that certain tables in the Exhibition Bar and the Salat fedet are covered with blank canvas. You can guess the rest. The evening passes, the ash-trays fill up and the beers follow one after another. (...) in Monk's art bars are specially chosen from the new social habits for which they are the vehicle, for their capacity to develop new forms of Utopia based on everyday and for the contemporary mythologies which logically follow from them."
"in Capitalist society, work is the cause of all intelectual degeneracy of all organic distortion"
documentino I
Jonathan Monk with his collection of Sol Lewitt books
(photographed in the style of Ed Ruscha c. 1971), 2000
b/w photograph
24 x 18 cm
'In contrast, much of Monk's recent work emphasises the very aspects of modernist art with which art historians have difficulty. His piece, A Brush With Death, acknowledges a sympathy, maybe even a nostalgia for a timewhen Jackson Pollock could get drunk and paint masterpieces without any sense of irony. However, Monk clearly knows that these days are gone and that artists now operate in a social space where they must think as well as make, discuss as well as present.'
'His tongue-in-cheek methods often recall procedural approaches typical of 1960’s Conceptualism, but without sharing their utopian ideals and notions of artistic genius. Instead, Monk grounds his conceptual approach in more commonplace concerns, that of personal history, his family, even pets, whilst still alluding to the types of systems and processes that artists such as Sol LeWitt employed so rigorously. While much of his work is gently playful and tinged with nostalgia for the late 1960’s, it also challenges the idea of purity in modern art, demystifying the creative process and suggesting alternative models for how art and the role of the artist can be interpreted.'
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