HEROIC
POWER
PERFECTION
CONQUEST and SUBJUGATION
SYMBOL OF DOMINANCE
PRIVILEGE
POWERFUL / THE HORSE EMPHASIZING THE POWER OF THE MAN WHO RODE IT...
MILITARY
EMOTIONAL
UNCERTAINTY
LACK OF POWER
BODILY AND PHYSICAL
NO AGENCY FROM THE HORSE
PLAY
SIMULATION
MINITUARISATION
According to Friedrich Schiller’s post-Enlightenment theory, play is a sensuous and edifying, macro-pedagogical social process: if we all heed the call of our Spieltrieb, or “play drive”, civilization can keep its violent impulses in check and fully self-actualize as human.
In the 20th century, play was consistently valorized across the various artistic avant-garde movements, as a wide-ranging common denominator connecting – among other things – Dadaist anarchy, the serendipity of the Modernist genius (Picasso: “I seek not, I find”) and anti-authoritarian playfulness, as expressed in the Situationist International’s slogan from May ‘68: “under the paving stones, the beach!” (where you could, presumably, play in the sand).
In short, play promises a self- destructive Western civilization that it can get back on its feet and that it has a future.
Regarding the West’s capacity for the annihilation of its others, the question is whether play can rescue them too; but that is another discussion, one that relates to that of the child as a regulatory figure or construct between civilized and uncivilized.
LARS BANG LARSEN
Hic Rhodus, hic salta!’
Palle Nielson 1968
THE MODEL
Jim Shaw
MODERN ART and ABSTRACTION COME TO SAVE THE WORLD
Utopias connected to modernism
TAKING THE REIGN OF MODERN ART ALLOWING PEOPLE TO RELATIVISE IT THROUGH ABSUDIST GESTURES
MAKE IT INTO AN ANIMAL
Decor:
YOU CAN RIDE ALONG
TRIGGERS MOMENTS TO PARTICULAR INTEREST:
MOMENTS OF CONFLICT
MOMENTS THAT INSPIRED CHANGE
MODERNIST BELIEF
On a monumental scale traditionally reserved for history painting. Scenography and theatre (satire, theatre of life)
PARTICIPATION:
RIDING THE HORSE THROUGH THE SPACE
MAKE YOUR OWN HORSE HEADS
AGLOMERATION OF HORSE HEADS AS THE EXHIBITION CONTINUES
CONTRIBUTION TO NARRATIVE
TO FORM
Play does not promise progress to flip it into Barbarism. Schiller says Play goes against barbarism
EVA HELENE PADE
Detail GUERNICA by Picasso
Moment of transitions (by Eva Helene Pade) explores social dissolution, unravelling, and collapse. Transitions are places of uncertainty. No unified conclusions nor promise of a better tomorrow. (...) Faced with meaninglessness, rationality falls away. Work subverts and experiments with traditions of Western art, monumental scale traditionally reserved for history painting. Eva replaces glorifying scenes of military victory and classical triumph that fill the wall of western museums with stories from the moment of collapse.
(...) references to Pieter Bruegel the Elder, Goya, Munch, James Ensor and Otto Dix - who all questioned the limits of sanity in the face off absurdity, violence and societal collapse. No solutions in these works, but encouraged a reflection on the absurdity of the present.
Maurizio Cattelan – Novecento (1900), 1997, taxidermized horse, leather saddlery, rope, Castello di Rivoli
This work was shown at the Castello di Rivoli in Turin; a taxidermized horse hung from the baroque ceiling of one of the museum's salons, its legs elongated to give the impression that the force of gravity was stretching it down to the ground.
Cattelan has used taxidermy since the 1990s to explore the emotional relationships and cultural associations between humans and animals. This taxidermy horse is one of the artist’s most iconic works. This work invites us to consider how we feel when we see a horse – usually associated with power and grace – in this submissive position. The title Novecento (‘Nine Hundred’) is an Italian term for the twentieth century, as well as the name of Bernardo Bertolucci’s 1976 film tracing the rise of Italian fascism.
Created just before the turn of the millennium, Cattelan’s horse may symbolise a country exhausted by a century of upheaval and violence. The horse – usually a symbol of strength – is here worn and tired; perhaps embodying a look back at the last century and a warning about the future.
They Shoot Horses, Don't They? is a 1969 American psychological drama film directed by Sydney Pollack/ It focuses on a disparate group of individuals desperate to win a Depression-era dance marathon and an opportunistic emcee who urges them on.
Horse Frightened by Lightning
Eugène Delacroix, between 1825 and 1829
In this watercolour, Delacroix achieves the perfect synthesis of the emotive power of a landscape and that of an animal representation. The plane stretching into the distance and the stormy sky that seems to be its extension provide a background for the frightened, rearing horse, as if for a sculpture. The lighting that crosses the almost unrealistically deep blue sky throws a sharp light on the alarmed animal. The red of its eye and distended nostrils intensifies the panic into a vision. The vehemence of its motion and the gust of the storm ruffle its mane, while its tail is raised in the opposite direction. Delacroix's watercolour embodies all that the horse stood for in the eyes of the Romantics: power, nobility, untamed passion and intensified emotions.
The Procession of the Trojan Horse in Troy by Giovanni Domenico Tiepolo, 1920.
Trojan Horse refers to a wooden horse said to have been used by the Greeks, during the Trojan War, to enter the city of Troy and win the war.
An Officer of the Imperial Horse Guards Charging
Théodore Géricault, 1812
Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is a series of five oil on canvas equestrian portraits of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the King of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps through the Great St Bernard Pass in May 1800.
It has become one of the most commonly reproduced images of Napoleon.
Durer in 1498, The Four Horsemen of the Apocalypse. Death, Famine, Pestilence
Blue Horses or Die grossen blauen Pferde (The Large Blue Horses) is a 1911 painting by German painter and printmaker Franz Marc
Within the Der Blaue Reiter group, artistic approaches and aims varied from artist to artist; however, the artists shared a common desire to express spiritual truths through their art. They believed in the promotion of modern art; the connection between visual art and music; the spiritual and symbolic associations of colour; and a spontaneous, intuitive approach to painting. Members were interested in European medieval art and primitivism, as well as the contemporary, non-figurative art scene in France. As a result of their encounters with cubist, fauvist and Rayonist ideas, they moved towards abstraction.
James Ensor
Exterminating Angel
1889
James Ensor
Grim fandango
Sumantra Mukherjee
Simon Fujiwara introduces audiences to the world of Who the Bær, an original cartoon character that inhabits a universe created by the artist.
Who the Bær can transform or adapt into any image they encounter, taking on the attributes and identities of those depicted within the image – human, animal or even object. In this sense the world of Who the Bær is a world of freedom: Who can be whoever they wish to be, Who can transcend time and place, Who can be both subject and object. Yet Who the Bær may never be able to overcome their one true challenge – to become anything more than just an image.
Several parts of the show: Who is Who? Becoming Who, Church of Who, Who for President, Whoney (Money and wiper capitalism), Only Whoman (robots) etc.
Sam Keogh
Sophie von Hellermaan
Monument Lab / Paul Farber and Ken Lim
here is a horse without nostrils
who has lost its voice, but whose tail laments quietly
while serenading the dinner guest
from this reanimated carcass I could fashion a steed
a sixteen-legged horse fit for the apocalypse
or to ride out and fight against it
(Idleness' Owl)
então um cavalo ruim levantou-se
e falou verdades com coerência
(Cocanha - Várias faces de uma Utopia)
Escultura en hierro de una mujer, con un cesto en la cabeza en el que lleva ladrillos. Es un homenaje a la población civil, encarnada en la figura de una mujer reconstruyendo la ciudad de San Sebastián ladrillo a ladrillo tras el incendio de 1813. Obra realizada en 2013 por la escultora Dora Salazar (Alsasua, Navarra, 1963). Se encuentra en el callejón de Don Álvaro del Valle de Lersundi en la ciudad de San Sebastián, Guipúzcoa, España.
Escultura en bronce y cobre en homenaje a las víctimas del terrorismo y la violencia. Obra realizada en 2006 por el escultor Aitor Mendizábal (Caracas, Venezuela, 1949). Con forma de prisma triangular, el monolito mide cuatro metros de altura y pesa 1.500 kilos. Se encuentra en los Jardines de Alderdi-Eder en la ciudad de San Sebastián, Guipúzcoa, España.
In How I Became a Ramblin’ Man, shot in widescreen format, Rodney Graham casts himself in the role of a cowboy roaming a pastoral British Columbia landscape on horseback. The opening minutes of the soundtrack evoke the surrounding nature: lapping water, clip-clopping horse hooves and leaves rustling in the wind. Then Graham dismounts to sing a song about a solitary man. At the end of the ballad, he gets back in the saddle and disappears into the tall grass, with his guitar on his back. In this film, the artist revisits the lonesome cowboy myth perpetuated in western movies and country music.
A way to escape the glorification of the hero is by individualizing it. The rigidity of trying to get rid the ideology of the hero by individualizing it. It’s a result of consumer society, a society of options. Creative consumers bring meanings, constructing their personalities by looking at their heros. Heros are for grabs. / words by Jan Verword
Repeating the fascination of the hero, it also deconstructing it, but showing the absurd materiality, the ridiculous of this kind of ritual of staging heros.
Friedrich Kunath, Self Portrait
Josefin Arnell
The Bayeux Tapestry - a tapestry with 93 penises
Yuksel Arslan arture 439
JOGO DA GLORIA
o século XIX, designou-se como Jogo da Glória, com adaptações (90 casas em vez de 63), o que era conhecido na Europa como “Jeu de l’Oie” ou “Juego de la Oca”. Este teve origem na Índia e representa originalmente o percurso da vida e da morte – com as diversas vicissitudes da existência: desde o sucesso ao fracasso, prémios e castigos, virtudes e pecados, considerando ainda a morte, o purgatório e o inferno. O Ganso é o símbolo e a referência universal do jogo. Estamos perante uma progressão em espiral (jogando-se com dois dados e peças de várias cores), mas alguns recordam que a origem é a roda do hinduísmo (Samsara), completada pela referência à filosofia budista do Nirvana (presente na consumação do jogo). Na Europa a primeira referência conhecida do que entre nós designamos como Jogo da Glória data de 1617 na obra de Pietro Carrera sobre jogos de mesa. Depois de referir a antiguidade do jogo do xadrez, afirma que estoutro é muito lúdico, tendo sido popularizado em Florença e oferecido por Francisco I a Filipe II de Espanha e I de Portugal. Recorde-se que se discute a origem do xadrez, segundo uns a China, segundo outros a Pérsia. No século XIV na Europa atualizaram-se as suas regras, tal como hoje as conhecemos – e o xadrez tornou-se ciência. Voltando ao Jogo da Glória, deve dizer-se que no início do século XVII conheceu uma grande voga em toda a Europa – sendo conhecido pela designação francesa “Jeu de l’Oye, renouvelé des Grecs”. O nome deve-se à ideia de que se trata de um jogo indo-europeu adaptado pelos clássicos helénicos.
https://e-cultura.blogs.sapo.pt/os-jogos-da-nossa-infancia-702500
Ao escrever “O Testamento de um Excêntrico”, Júlio Verne (1899) baseia o enredo num Jogo da Glória, no qual um milionário decide atribuir a sua fortuna a quem ganhar um jogo que se desenrola nos diversos estados norte-americanos, partindo de Providence (Rhode Island), com chegada a Chicago (illinois). Selma Lagerlof usa o Ganso como o transporte aéreo de Nils Holgersson para dar a conhecer a Suécia aos jovens estudantes (em 1906 e 1907). Já no decurso do século XX, em Portugal, o jogo foi popularizado pela marca Majora, fundada em 1939, no Porto, por Mário José António de Oliveira, pioneira na produção de brinquedos – e na publicação de pequenos contos tradicionais.
a busca vã da glória e a interrogação indiferente sobre a morte e a vida
Juego de la Oca, c.1925
(Game of the Goose, c.1925 )
French School
Sin fecha · colour lithograph · Imagen de ID: 443073
Círculos culturales
Juego de la Oca, c.1925 · French School
Private Collection / bridgemanimages.com
https://www.meisterdrucke.es/impresion-art%C3%ADstica/French-School/443073/Juego-de-la-Oca,-c.1925.html
Bernardo Atxaga en Ababakoak compara el Juego de la Oca con una metáfora de la vida. Las reglas enseñan que la vida es fundamentalmente un viaje lleno de dificultades y obstáculos, donde interviene el azar y nuestra propia voluntad. Si los dados son buenos es fácil llegar al estanque final, donde nos espera la Gran Oca Mayor. La oca sabe andar por la tierra, sabe andar por el agua y sabe andar por el aire, la oca es el animal que la tradición ha elegido para simbolizar la sabiduría, lo bien hecho, la perfección.
El juego de la oca era considerado en la Francia del siglo XVII como un juego antiguo y noble restaurado de los griegos. No obstante, al parecer, este noble juego fue inventado por los alemanes a finales de la Edad Media. Algunos autores piensan que fueron los antiguos propagandistas de las primeras biblias impresas en Alemania quienes difundieron por toda Europa las hojas del denominado «Jardín de la oca».
Se trata de un antiquísimo y popular juego que tenía en sus orígenes connotaciones augurales y adivinatorias, a base de elementos astrológicos. Con el tiempo se sustituyeron las consultas interrogatorias por prácticas de un juego de azar, al igual que sucedió con los naipes, que de una aplicación cabalística y pronosticadora pasaron a ser utilizados para jugar con dinero. Llegado a este punto, fue perseguido como juego de azar y no fue hasta el siglo XIX que se convirtió en pasatiempos infantil y familiar.
Del siglo XVII se conocen hojas alemanas, francesas, flamencas, italianas y mallorquinas. En Mallorca, en la colección de xilografías de la Imprenta Guasp se conservan dos juegos de la oca especialmente destacables. Se supone que al menos uno de ellos es mallorquín, puesto que las monedas que figuran en el centro lo son. El otro ejemplar, difiere esencialmente de los típicos, ya que en vez de las sesenta y tres casillas tradicionales cuenta con ciento veintinueve.
https://www.xilos.org/los-juegos-de-la-oca-de-la-coleccion-guasp/
FROM WIKIPEDIA
The Game of the Goose or goose game is a board game where two or more players move pieces around a track in a stepwise manner, according to a number of steps corresponding to the result of the rolling of one or two dice. The aim of the game is to reach square number 63 before any of the other players, while avoiding obstacles such as the Inn, the Bridge, and Death.
The game's origins are uncertain. According to Adrien Seville, the earliest recorded mention to the game was in a book of sermons by the Dominican friar Gabriele da Barletta published in 1480.[2] Some connect the game with the Phaistos Disc because of its spiral shape but, as Caroline Goodfellow notes, the two games "are unlikely to have been the same".[3] A version of the game was given as a gift by Grand Duke Francesco I de' Medici of Tuscany to King Philip II of Spain sometime between 1574 and 1587.[4] In June 1597 John Wolfe enters the game in the Stationers' Register, as "the newe and most pleasant game of the goose".[5] Another theory links the game to the Pilgrims' Way to Santiago, or the Road to Saint James of Compostela, in Galicia. According to this hypothesis, the game was invented by the Knights Templar, who were in charge of protecting those on pilgrimage to the main holy cities: Compostela, Rome and Jerusalem. [6]
In the 1960s, the game company CO-5 marketed a variant called Gooses Wild. (see also MAJORA in Portugal).
REGRAS
2 jogadores.
Apenas quem tem meias brancas ou meias pretas pode jogar.
11. Games in Spain, Portugal and Latin America
(pp. 259-272)
https://doi.org/10.2307/j.ctvsr51mq.14
https://www.jstor.org/stable/j.ctvsr51mq.14
The Game of the Goose (Juego de la Oca) came to Spain towards the end of the 16th century, as a royal gift to Philip II, giving rise to the variant game of the Filosofia cortesana invented by Alonso de Barros.¹
I am a charcoal horse,
Wormwood Star.
I am hurtling downwards
like an owl with its feathers on fire.
I see the moon, recently full,
but chipped, cracked, and leaking.
Around me, horses are shaking off their riders
and leaving their pedestals.
I am a candle bright horse.
My nostrils draw air, although I am sculpted from clay.
I am a dawn horse reborn,
chased by a lynx through twinned hoops of solid light.
I am drinking from the cup of the Moon,
tasting its dreams and listening to its heart.
I am a traveller, but my journey is just beginning;
I will soon take my first step out into the world.
I am a horse trained in the art of memory.
I travel on leylines through strange encyclopaedias.
My hoofprints can be found in many libraries.
If you can read some truth in these ink stains,
they will not have been bled from my wounds in vain.
The traces of my life inscribed into the larger picture
of life itself – a treasure house within the treasure house.
But who can unlock the meaning of my death?
I am a horse of becoming.
I build myself from within,
helped by unseen hands.
I am born in the airy halls of the mind;
a fruit falling from a tree of light.
My heart is light as a feather,
not yet touched by the mud of the world.
But I must dare to fall in my quest for Love.
REGRAS (variantes)
Ha mecânicas no jogo chamadas de multas e precipícios. As multas originais são:
Ponte: O jogador fica 1 rodada sem jogar
Bonde: O jogador fica 2 rodadas sem jogar
Trem: O jogador fica 1 rodada sem jogar
Carro a vapor: O jogador fica 1 rodada sem jogar
Navio: O jogador fica 2 jogadas sem jogar
Estalagem: O jogador fica 1 rodada sem jogar
Já os precipícios originais são:
Caranguejo (Número 50): O jogador que chegar a esta casa terá que voltar o para onde estava anteriormente antes de
cair antes de chegar no caranguejo
Poço (Número 59): O jogador que chegar a e este número, só poderá a continuar jogar depois que todos os outros jogadores passarem a diante ou outro jogador cair no mesmo precipício.
Morte (Número 68): O jogador que chegar a este número tira a sua marca e perde o direito a jogar.
Inferno (Número 77): O jogador que chegar a este número coloca sua marca para o número 1 (início) e continua a jogar
Purgatório (Número 86): O jogador que chegar a e este número, só poderá a continuar jogar quando outro jogador cair no mesmo precipício para sair e continuar o jogo.
O jogo também possui algumas particularidades como se acontecer que um jogador esteja no número 86 e todos os restantes no número 68, não se pode continuar o jogo, assim se iniciará outro jogo com todos os jogadores de volta para o número 1.
Como também outra dinâmica que se um dos jogadores na primeira rodada tirar 6 e 3 ele ganha o jogo, porém se tirar 4 e 5 ele irá cair no pássaro que o fará chegar na casa de número 18.