Tag Archives: New York Times

Fṛm Đ Ny Yorc Tîmz │ Boris Johnson is a terrible leader. It doesn’t matter.

Prime Minister Boris Johnson of Britain and President Biden in Cornwall, England, on Thursday. Despite all the havoc Mr. Johnson’s Conservatives have caused, the party is in a stronger position than ever.Credit...Pool photo by Toby Melville
Prîm̦inistr Boris Jonsn v Britn n Prezidnt Bîdn in Cornẉl, Ñgḷnd, on Ʈrzde. Dspt ol ɖ haṿc Mr Jonsn’z Cnsrṿtivz hv cōzd, ɖ parti z in a strongr pziśn ɖn evr. Credit: Pūlfoto bî Tobi Mlvil

Boris Jonsn z a teṛbl līdr. It dz’nt matr.

(Transcription of a New York Times article of June 11, 2021)

LUNDN — Boris Jonsn, Britn’z frīẃīlñ, clǎniś prîm̦inistr, z abt t ple host.

Saḿl R̋l, Jūn 11, 2021

On Jūn 11, ɖ de aftr a prîṿt mītñ wɖ Prezidnt Bîdn, Mr Jonsn z scejld t welcm uɖr Grūp v 7 līdrz t Cornẉl, on ɖ sǎʈ-wstn cǒst v Ñgḷnd, t dscus clîṃtćenj, ɖ globl pandemic rcuṿri n ɖ rtrit v libṛl dmocṛsi arnd ɖ wrld.

Yt Mr Jonsn me hv uɖr ʈñz on hiz mînd. Ovr ɖ past fy munʈs, a siriz v scandlz n aḷgeśnz hz pt ɖ prîm̦inistr undr unyźl preśr. Ɖr hv bn akześnz v c’rupśn, rports v bitr rîvlriz on hiz closist tīm n, t top it of, xplosiv tstiṃni fṛm hiz formr ćīf advîzr, Doṃnic Cumñz, ɖt leid rsponsbiḷti fr ɖ hanḍlñ v ɖ pandemic in Britn — ẃr ovr 125,000 ppl hv daid v Covid-19 — sqerli at Mr Jonsn’z dor. Stori bî stori, scandl bî scandl, Mr Jonsn hz bn xpozd az a slapdaś, vīnl, incompitnt līdr.

Bt it dz’nt sīm t matr. Ɖ Cnsrṿtivz, dspt ɖ cntrovsi, r stl cumftbli ahd in ɖ poulz — n īvn manijd t dfit ɖ opziśn Lebr Parti in a rīsnt bîilex́n, clemñ ɖ norʈīstn cnstitẏnsi v Hartḷpul fr ɖ frst tîm. N Mr Jonsn, fr ol ɖ ǎtrej n acriṃni, cn grīt hiz felo globl līdrz in a spirit v trîumf. Wɖ hlʈi apruvlretñz n at ɖ hlm v a parti bostñ an 80-sīt mjoṛti, hiz pǎr z aśurd.

Gvn Mr Jonsn’z inaptitude fr ofis, bresñli iluṃnetd bî Mr Cumñz’z tstiṃni, ɖt’s qt rmarcbl. Spīcñ t Parḷmnt fr ovr sevn aurz on Me 26, Mr Cumñz, hu mastrmîndd Mr Jonsn’z ilex́n win in Dsmbr 2019 — bt hu wz ǎstd fṛm hiz rǒl az ćīf advîzr a yir lêtr — tòr intu ɖ guvnmnt’s caṭstrofic mshanḍlñ v ɖ pandemic, iviṣretd ɖ prîm̦inistr’z caṛctr n dclerd him “unfit fr ɖ job.”

Mr Jonsn’z iniśl fełr t tec ɖ vîṛs sirịsli z wel dokmntd, bt sm v ɖ dītelz wr stl astoṇśñ. Acordñ t Mr Cumñz, Mr Jonsn iniṣ́li clemd ɖt ɖ c’roṇvîṛs “z onli cilñ 80-yir-oldz” n wontd t b injctd wɖ ɖ c’roṇvîṛs lîv on teḷviźn t śo ɖt ɖr wz nʈñ t wuri abt. (Az it hapnd, Mr Jonsn cntractd ɖ vîṛs in lêt Marć n spent a wīc in a hospitl.)

Ɖ reṿleśnz cem agnst a bacdrop v rports xpozñ ɖ Cnsrṿtivz’ doji dīlñz jrñ ɖ pandemic: Covid-19 contracts wrʈ biłnz v pǎndz gwñ t frendz v Cnsrṿtiv lwmecrz wɖ no xpirịns in ɖ hlʈsectr, biznistîcūnz wɖ d’rect lînz t ɖ prîm̦inistr t pś ɖer inṭrests n a laviś reṇveśn v ɖ prîm̦inistr’z rezidns at Dǎnñ Strīt ɖt involvd a sīcrit dneśn bî a Tori bacr. Tōc v slīz n Britn’z “ćumocṛsi” hz prmietd īvn ɖ tipicli loyl pejz v ɖ rît-wñ pres.

Bt Mr Jonsn (huz repyteśn fr nt jst svîvñ c’rir-endñ cntrovsiz bt ʈrîvñ on ɖm hz ŕnd him nicnemz lîc “Teflon Jonsn,” “Hūdīni” n, les flatrñli, “ɖ grīst piglit”) hz cǒstd ʈru ɖ trbyḷns. Ingulft in scandl, un’seḷbli popylr — ɖs hz olwz bn ɖ esns v brand Boris. In hiz tstiṃni, Mr Cumñz rcōld cmplenñ t Mr Jonsn ɖt ɖ hanḍlñ v ɖ pandemic wz “ceos.” “Ceos z’nt ɖt bad,” ɖ prîm̦inistr rplaid, acordñ t Mr Cumñz. “Ceos mīnz ɖt evrwn hz t lc t m t si hu’z in ćarj.”

Ɖ ceos me sūt Mr Jonsn, bt fr Britn it hz bn devstetñ. Ɖ ultiṃt prūf v ɖ prîm̦inistr’z felñz jrñ ɖ pandemic lîz nt wɖ Mr Cumñz bt in ɖ concrīt numbrz: Mr Jonsn hz léd Britn t wn v ɖ hîist Covid deʈrets in ɖ wrld, oṿsīn wn ɖ wrst ic̣nomic dǎntrnz in ɖ Grūp v 7 n impozd ɖ ʈrd-strictist locdǎn gloḅli. Ɖ s’xes v ɖ neśn’z vax̣neśnprogram — Britn hz dlivrd mor dosz ɖn eni uɖr cuntri in Yṛp — hz let Mr Jonsn rīfrem ɖs traɉdi az a trîumf. Bt fr tnz v ʈǎzndz v grīvñ faṃliz, it cmz az litl conṣleśn.

Yt fr ol ɖ sṗsific pkliaṛtiz v Mr Jonsn’z prsona — a diziyñ blend v dspśn, bṛvādo n slf-depriceśn — ɖ jarñ diṣnns ɖt dfînz hiz guvnmnt, at wns ilectṛli s’xesfl n soṣ́li dstructiv, z nt ptiklr t ɖ cuṛnt prîm̦inistr. In mni wez, it z ɖ stori v ɖ modn Cnsrṿtiv Parti. Ɖ parti’z fǎndñ promis, leid dǎn in Roḅt Pīl’z Tamwrʈ Maṇfsto in 1834, wz t stop Britn fṛm bcmñ a “ppćl vortx v ajteśn.” Sins ɖ Cnsrṿtivz rgend pǎr in 2010, Britn hz bcm jst ɖt, wɖ tū reḟrenḍmz, ʈri prîm̦inistrz n for jenṛl ilex́nz.

Ɖ Cnsrṿtivz hv fluriśt in ɖz cndiśnz, winñ ć jenṛl ilex́n sins 2010 wɖ a larjr śer v ɖ vot ɖn ɖ last. Bt ɖ spôlz v vicṭri hv nt bn wîdli śerd. Wejz hv nt rizn agnst infleśn fr ɖ longist pirịd sins ɖ Npolionic ira, a ʈrd v ćildṛn nǎ gro p in poṿti, n stetwelfér z nǎ wn v ɖ stinjiist in ɖ dveḷpt wrld.

In Cornẉl, ẃr Mr Jonsn wl host ɖ Grūp v 7 līdrz in a btīc sìsîd hotel, Britn’z sośl n ic̣nomic miẓri z plen fr ol t si. In 2008, Cornẉl wz wn v ʈri eriaz in ɖ Ynîtd Cñdm t sufr amñ ɖ wrst levlz v depṛveśn in Yṛp; nǎ it z wn v sevn. N ɖ numbr v nebrhdz in Cornẉl ɖt ranc amñ ɖ most dprîvd in Ñgḷnd hz mor ɖn dubld sins 2010. Acrs ɖ cuntri, Tori rūl hz cǒinsîdd wɖ a cōrṣnñ v livñcndiśnz.

Stl, ɖ Cnsrṿtivz swagr on, unṗtrbd, mbi īvn eṇjîzd, bî ɖ ceos n depṛveśn arnd ɖm. Ɖ vot t līv ɖ Yṛpiyn Yńn in 2016 — léd, oṗtynisticli, bî Mr Jonsn — rīcnfigrd ɖ ilectṛl map n rījuṿnetd ɖ Cnsrṿtiv Parti. Brexit’s “Yir Ziro” ifct, az wn Cnsrṿtiv ministr pt it, alaud ɖ parti t riinvnt itslf az an anti-istabliśmnt fors, ẃl rtenñ its wlʈi bacrz, n t tap intu ɖ drīmz n añzaytiz v Ñgliś naśṇlizm mor pswesivli.

Dspt ol ɖ haṿc ɖ Cnsrṿtivz hv cōzd, ɖ parti z in a strongr pziśn ɖn evr. N Mr Jonsn — ɖ man hu sīmz onli evr t fel upwd, blunḍrñ fṛm wn s’xes t ɖ nxt — z at its bìtñ hart. Hiz felolīdrz, fy v hūm pzes cmpaṛbl s’kṛti, me wel lc on envịsli.

***

Mr R̋l z a jrṇlist hu raits ofn abt Britn’z poḷtics n culćr.

***

MOR ARTICLZ Fṛm Đ Gardịn

Instroduction to Ñspel

GÜNTHER FÖRG: LEAD PAINTINGS │ White Cube, Mason’s Yard, London → 11 July 2015

GALLERYARTIST

“In ɖ ledpentñz, jịmtric abstraẋnz md wɖ acrilic pênt on ledśītñ, rold or rápt arnd a wŭdn panl or frem, Frg aproćz culr intyitvli, imployñ miniml n elimntl comṗziśnl dvîsz t rdys pêntñ t its pyr esns”


London

VERENA PARAVEL & LUCIEN CASTAING-TAYLOR: LEVIATHAN │ Crawford Art Gallery, Cork → 22 August, 2015

GALLERY  ARTISTS

“Fiś n fiśñcru resl amñst ɖ elimnts fr ɖer rspctv lîvz, ẃlst śrilñ sìgulz plunj intu ɖ sì t clct ɖ spýlz v xes fiśñ”

Philip Hoare GUARDIAN 18 November 2013
Gail Tolley LIST 18 November 2013
Kee Chang ANTHEM 1 March 2013
A O Scott NEW YORK TIMES 28 February 2013
TATE
WHITNEY

Continue reading VERENA PARAVEL & LUCIEN CASTAING-TAYLOR: LEVIATHAN │ Crawford Art Gallery, Cork → 22 August, 2015

SHIFTING SANDS: HYBRID RITUALS & SYMBOLS IN CONTEMPORARY CULTURE │ Modern Art Oxford → 12 July 2015

GALLERY

ARTISTS
Serena Korda, Dr. Lakra

“Đ sculpćrz, c̣lāźz n drw̃z prizntd in ɖs xibiśn rīć intu ɖ past n mix tṛdiśnl fôclor wɖ simblz v cntmprri culćr.”

Continue reading SHIFTING SANDS: HYBRID RITUALS & SYMBOLS IN CONTEMPORARY CULTURE │ Modern Art Oxford → 12 July 2015

LYNETTE YIADOM-BOAKYE SELECTS FROM THE V-A-C COLLECTION: NATURES, NATURAL AND UNNATURAL │ Whitechapel Gallery, London → 14 June 2015

David Hockney: 30 Sunflowers, 1996. Oil on canvas, 72 x 72 in. (182.9 x 182.9 cm.)
David Hockney: 30 Sunflowers, 1996. Oil on canvas, 72 x 72 in. (182.9 x 182.9 cm.)

GALLERY WEBSITE • CURATOR

ARTISTS INCLUDE
Nikolay Bakharev • Enrico DavidPeter Doig • David Hockney • Gary Hume • Jaan Toomik • Andy Warhol

Emily d’Silva UPCOMING 22 March 2015

Continue reading LYNETTE YIADOM-BOAKYE SELECTS FROM THE V-A-C COLLECTION: NATURES, NATURAL AND UNNATURAL │ Whitechapel Gallery, London → 14 June 2015

LOVE IS ENOUGH: WILLIAM MORRIS AND ANDY WARHOL │ Modern Art Oxford → 8 March 2015

Luv z Inuf drwz tgɖr îconic n rerli sīn wrcs bî tu jaynts v ɖ 19ʈ n 20ʈ senčriz. Ɖs uncnvenšnl combinešn v ātists’ wrc z kretd bî Trnr Prîz-winñ ātist Jeṛmi Delr, hu sáits Moris n Wōhol az hiz tu grtst ātistc inflụnsz.

Delr drwz mni ṣprîzñ cnẋnz btwn ɖz tu ātists, hu left an indeḷbl māc on ɖer jeṇrešnz n āğbli ɖoz ɖt folod. Moris n Wōhol bʈ istablišt printmêcñ biznisz n dstribytd ɖer wrc ʈru ny fwmz v maspṛduẋn. Bʈ wr načṛl c̣laḅretrz hu wrct wɖ ɖ prominnt ātists v ɖer tîm t dveḷp wrcñmeʈdz ɖt dd mč t rīdifîn ɖ ātist’s rlešnšp t ɖ stydio n factri. Moris ačivd ɖs ʈru hiz mastrñ v crafțecnīcs n hiz rjẋn v industrı̣l prôsesz, n Wōhol ʈru ɖ actiṿtiz v ɖ Factri, ẇč ofn paṛdid ɖ industrı̣l culčr v ɖ mid-lêt 20ʈ senčri.

Wrcs swst fṛm public n prîvt c̣lẋnz acrs ɖ YC n ɖ YSA includ a paṇl fṛm ɖ epic n rerli sīn Hóuli Grêl taṗstrīsiriz cmplitd bî Wiłm Moris in 1896. Alñsd wl b šôn a ṣlẋn v Wōhol’z îconic silcscrīnz n ācîvl mtirı̣l fṛm ɖ trežrtrov ɖt z ɖ Wōhol Myziym in Pitsbrg, includñ a sînd fôṭgraf v Šrli Templ pôstd t a ʈrtīnyirold Andi fṛm ɖ actṛs in 1941.


Abt ɖ Kretr

Jeṛmi Delr studid Āthistri at ɖ Cwtold Instityt n at Susx Ynivrṣti. Aftr mītñ Andi Wōhol in 1986, h spent tu wīcs at ɖ Factri in Ny Ywc. H bgan mcñ ātwrcs in ɖ ŕli 1990z, ofn šowñ ɖm âtsd v cnvnšnl gaḷriz. In 1993, ẇl hiz pẹrnts wr on hoḷde, h sīcṛtli yzd ɖ famlīhom fr an xibišn tîtld Ôpn Bedrūm.

For yirz lêtr h pṛdyst ɖ myzicl pfwmns Asidbras wɖ ɖ Wiłmz-Fẹri Band, n bgan mcñ āt in c̣laḅrešn wɖ uɖr ppl.

Delr stêjd Ɖ Batl v Ōgrīv in 2001, cmišnd bî Ātenjl n Čanl 4, drctd bî Mîc Figis, a riinactmnt ẇč brwt tgɖr arnd 1000 vetṛn mainrz n membrz v historicl ssaytiz t rīstej ɖ 1984 claš btwn mainrz n ṗlīs at Ōgrīv, Ywcšr.

In 2004, Delr wun ɖ Trnr Prîz fr Memrībucit (2003), a dokmntri abt Txs.

H hz sns md a nmbr v dokmntriz on subjcts renjñ fṛm xotc reslr Êdrı̣n Strīt t dîhād inṭnašnl fanz v ɖ band Dpeš Môd.

In 2009 Delr undrtc a rôdtrip acrs ɖ YS fṛm Ny Ywc t Los Anjlīz alñ wɖ an Iraci sitizn n a YS worvetṛn, towñ a car dstrýd in a boṃtac in Bagdad. Ɖ projct, It Z Ẇt It Z, wz prizntd at ɖ Ny Myziym, Ny Ywc; ɖ car z nâ pāt v ɖ Impirı̣l Wormyziym’z C̣lẋn. In ɖ sem yir, h stêjd Pṛsešn in Mančestr, involvñ ptisipnts, cmišnd flôts, corı̣graft myzic n pfwmnsz, crietñ an od n seḷbreṭri spectcl.”

GAḶRI WEBSAIT



ĀTIST’S WEBSAIT

Continue reading LOVE IS ENOUGH: WILLIAM MORRIS AND ANDY WARHOL │ Modern Art Oxford → 8 March 2015

FATAL CONSEQUENCES: THE CHAPMAN BROTHERS AND GOYA’S DISASTERS OF WAR │ Fitzwilliam Museum, Cambridge → 8 February 2015

“Ɖ siriz v 83 ečñz Ɖ Dzastrz v Wor (1999) bî Jêc n Dīnos Čapmn adapts n sbvrts Goia’z siriz v ɖ sem tîtl, bt olso coments on ɖ cruwltiz n fêtl consiqnsz v lêtr worz. Ɖs xibišn šoz hâ ɖ ātists mnipyletd ɖ imijri n impact bî printñ a secnd vršn in ẇît ñc on blac pêpr, n a ʈrd vršn on pêjz fṛm a čîld’z culrñbc, wɖ čilñ n smtmz comic ifct. Ɖs z ptklrli strîcñ ẇn vyd agnst a ṣlẋn v prints fṛm Goia’z orijinl siriz, rvilñ ɖ fl consiqnsz v ɖ Čapmn Bruɖrz’ invnšn n inṭvnšn.

Fêtl Consiqnsz z dzînd t cómpliment ɖ cncuṛnt Sîḷnt Pātnrz xibišn, ẇč olso includz ɖ Čapmn Bruɖrz’ wrc. It z pāt v a sīqns v xibišnz on ɖ ʈīm v wor mācñ ɖ sentīnri v ɖ Frst Wrldwor, n in ɖs cês olso mācñ ɖ 200ʈ anivrsri v ɖ Spaniš Pninsylr Wor, ẇč wz ɖ subjct v Goia’z siriz.”

GAḶRI WEBSAIT


Continue reading FATAL CONSEQUENCES: THE CHAPMAN BROTHERS AND GOYA’S DISASTERS OF WAR │ Fitzwilliam Museum, Cambridge → 8 February 2015

ALIBIS: SIGMAR POLKE 1963–2010 │ Tate Modern, London → 8 February 2015

Sigmar Polca wz wn v ɖ most inseṣ̌bli xperimntl ātists v ɖ twentịʈ senčri.

Ɖs retṛspctv z ɖ frst t brñ tgɖr ɖ unyžli brwd renj v mīdia h wrct wɖ jrñ hiz fîv-deced c̣rir – nt onli pêntñ, drōñ, ftogṛfi, film n sculpčr, bt olso nôtbcs, slîdpṛjẋnz n fôtocopiz. H wrct in of-ɖ-wōl mtirı̣lz renjñ fṛm mītiordust t gold, bublráp, snêljūs, ptetoz, st n īvn yrenı̣m, ol ɖ ẇl rzistñ īzi caṭġrîzešn.

Polca’s rlentḷsli invntv wrcs renj in sîz fṛm ɖ intiṃsi v a nôtbc t monymntl pêntñz. H tc a wîldli dfṛnt aproč t āt-mcñ, fṛm hiz rsponsz t cnsymrssayti in ɖ 1960z t hiz intrest in travl, drugz n comynl livñ in ɖ 1970z n hiz incrisñli xperimntl practis aftr 1980.

Bnʈ Polca’z irevṛnt wit, pṛmiskys intelijns, n čansóṗrešnz le a dīp sceptisizm v ol oʈoṛti. It wd b impsbl t undrstand ɖs atityd, n ɖ crı̣tivti ɖt gru ât v it, wɖt cnsidrñ Polca’z bîogṛfi n its setñ. In 1945, nir ɖ end v Wrldwor II, hiz famli fled Sîlīža (in preznt-de Pôḷnd) fr ẇt wd sn b Sôvı̣t-okpîd Īst Jrṃni, n ɖen iscept agn, ɖs tîm t West Jrṃni, in 1953.

Polca gru p at a tîm ẇn mni Jrmnz dflctd blem fr ɖ atroṣtiz v ɖ Natsi pirı̣d wɖ ɖ alibî, I dd’nt si enʈñ. In verı̣s wrcs in ɖ xibišn, Polca opozz mni Jrmnz v hiz jeṇrešn’z tendnsi t ignor ɖ Natsi past, az f picñ of ɖ scab t riôpn ɖ wūnd.”

GAḶRI WEBSAIT

Continue reading ALIBIS: SIGMAR POLKE 1963–2010 │ Tate Modern, London → 8 February 2015

MARINA ABRAMOVIĆ: 512 HOURS │ Serpentine Gallery, London → 25 August 2014

MRĪNA AT MIDNÎT:

De 1, De 2, De 3, De 4, De 5, De 6De 7, De 8, De 9, De 10, De 11, De 12, De 13, De 14, De 15, De 16, De 17, De 18, De 19, De 20, De 21, De 22, De 23, De 24, De 25, De 26, De 27, De 28De 29, De 30De 31, De 32De 33, De 34De 35De 36, De 37De 38De 39De 40De 41De 42, De 43De 44De 45De 46De 47, De 48De 49De 50De 51De 52, De 53De 54, De 55De 56De 57, De 58De 59, De 60De 61De 62De 63, De 64

“In a ynīc wrc crietd fr ɖ Srpntîn, ɖ inṭnašnli aclemd ātist Mrīna Abraṃvič wl pfwm in ɖ Gaḷri fr ɖ jrešn v hr xibišn: 10am t 6pm, 6 dez a wīc. Crietñ ɖ simplist v invîrnmnts in ɖ Gaḷri spêsz, Abraṃvič’z onli mtirı̣lz wl b hrslf, ɖ ōdı̣ns n a ṣlẋn v props ɖt š me or me nt yz. On arîvl, vizitrz wl bʈ litṛli n meṭforicli līv ɖer bagij bhnd in ōdr t entr ɖ xibišn: bagz, jacits, ilectronic iqipmnt, wočz n camṛz me nt acumṗni ɖm.

Ɖ public wl bcm ɖ pfwmñ bodi, ptisipetñ in ɖ dlivri v an unpresdentd mmnt in ɖ histri v pfwmnsāt.

Mrīna Abraṃvič z a pạnir v pfwmns az an ātfwm, yzñ hr ôn bodi az subjct n objct, š hz pšt ɖ fizicl n mentl limits v hr biyñ. Ɖs z ɖ frst mêjr pfwmns bî Abraṃvič sns hr monymntl pìs Ɖ Ātist z Preznt, at ɖ Myziym v Modn Āt, Ny Ywc, in 2010, in ẇč vizitrz wr invîtd t sit in sîḷns oṗzit ɖ ātist n gêz intu hr îz fr an unspesifîd amânt v tîm. Abraṃvič pfwmd ɖs wrc evri de fr ʈri munʈs.

Ɖ perd-dân nêčr v ɖs xibišn corispondz t Abraṃvič’z intrest in ɖ historicli wel-istablišt rlešnšp btwn āt n nuʈñṇs; vižl ātists includñ Roḅt Bari, Jon Cêj, Mẹri Eḷn Caṛl, Roḅt Ŕwin, Ìv Clîn, Gŭstav Metsgr n Yôco Ôno (t nem onli a vri fy) hv ol xplord ɖ nošn v mtirı̣l absns wɖn ɖer practis. Ɖ îdīa v emtiṇs – v miniṃlizm, rduẋn n simpliṣti – plez an intrinsic rôl in Abraṃvič’z ôn wrc, n hz incrisñli led t mr n mr v ls n ls, a loñstandñ em ɖt š rcwdd in hr Ātist’s Lîf manifsto v 2009. It z ɖs jrni twdz iṃtiriaḷti ɖt hz led hr t ɖs ynīc mmnt in hr wrc, ẇr š wl cmit t an unscriptd n impṛvîzd pfwmns in ɖ gaḷrīspês.

In ɖ ŕli 1970z, az a yuñ ātist in Belgred, Abraṃvič bgan xplorñ ɖ rlešnšp btwn ātist n ōdı̣ns. Sns 1978 š hz cnductd a siriz v wrcšops wɖ ātstydnts, yzñ a siriz v simpl xsîzz t incris fizicl n mentl awerṇs. Ovr ɖ cws v hr c̣rir, Abraṃvič hz cntinyd t dveḷp ɖz wrcšops, xpandñ ɖer scôp t rīč a jenṛl public, ʈru ɖ Mrīna Abraṃvič Instityt.

Ɖ xibišn bî Ed Atcinz têcs plês cncuṛntli at ɖ Srpntîn Saclr Gaḷri, brññ tgɖr tu xtrōdnri ātists fṛm dfṛnt jeṇrešnz hu fôc̣s on pfwmns, ɖ bodi n lanĝj.”

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