Ancient Stones

Tags

archeology, fotografie, Greece, History, landscape, Macedonia, Petres, philosophy, photography

In countries like Greece, the visitor must rely on stones to get a grasp of history and important developments of culture.

During a short journey in May 2019, In the department of Pella, Macedonia, Greece, we followed signs indicating “Ancient Archeological Site of Petres”.

When arriving there, and having parked the rented car and after walking about 400 m, the most surprising elements to us, were ancient big jars, present in many houses, that had been installed to store water (photo 1).

Looking at the plan of the small city, with rectangular houses, one starts to imagine people walking here, more than two thousand years ago. Discussing family affairs, the harvest, trade, threats… (photo 2).

The firm conclusion was: use talk, or writing, as social medium.

Information about the history of Ancient Petres:

“The ancient city occupies a natural mound to the NW of the village of Petres, in the region of Florina. Its total area reached 15-20 hectares and was protected by a fortification wall built of poros stone. The enclosed area included houses, and public buildings erected in a free layout, separated by streets, 2.5 m. wide. The city was founded in the 3rd century B.C. by Antigonos Gonatas, it flourished in the 2nd century B.C. and it ceased to exist in the 1st century B.C. It was again inhabited in the Roman period, but it moved to a different site.

The archaeological evidence leads to the conclusion that the city owed its development to its strategic position on the Egnatia Road and to its commercial exchanges with other Greek cities. The excavations of the site revealed useful information on the types of the private houses, which were continuously used in north-west Macedonia as late as the 19th century.

Excavations on the site were begun in 1982 and are still in progress, along with restoration and consolidation work of the ancient remains.

Wikimapia, with use of infomation of: http://odysseus.culture.gr/h/3/eh352.jsp?obj_id=2653,

 

Judges Report Final Round Figurative Art in Three Dimensions

Tags

3-D, abstract, Dada, decision, fotografie, installation, instruction, jury, kunst, nothingness, photography, ready-made, report, Spain, subversive, three-dimensional, wall

XXth Competion at Art Center VIMOMUX, year 2019

After thorough deliberation, trying to reach consensus and equal imput of the members of the jury, a final decision was reached on the three submitted art-peaces created by Drager Meurtant (NL, 1951)

During the process, the five members from the jury weighed the pros and cons of artistic protuberances, by applying the elementary principles prescribed for separation of figurative versus abstract (Instruction Report #A12B-567, 1983).

“Sorry Jean”

Art-peace One: “Sorry Jean” (2018)

Comments: the raw, primitive nature of the semi-figurative concrete relief, associates firmly with the wall and hence, the placement creates an actuality in addressing contemporary trauma. The integrative character expressed by the circumstantial placement on pre-existing background, makes the art an holistic event. The wholeness further enhances the pertinent relation with contemporary queries into the genesis of soul as sole force feeding eternality.

Decision: accept.

“Solitary Traveller”

Art-peace Two: “Solitary Traveller” (2018)

Comments: this ready-made, sculptural figuration really transpires the solitude, as the title implicates. By referring to the multiple miniature quadrants, the depth of research is enhanced, for the validity of use of objects – that in their history served a different role – in art practice, as this was first employed by Marcel Duchamp (Bicycle Wheel, 1913) or even earlier by the DaDa artist Elsa, the Baroness of Freytag-Loringhoven, with her Enduring Ornament (1913).

The blackish color reflects the loss of relevance of this art-medium for many art-historians. The use of one-sided lighting anguishes the perception by the viewer, in it’s ineluctable blow of the flow of time towards the end, without escape. In this way, the figure announces death, as already can be derived from the two title words.

Decision: accept.

“The Triangle”

Art-peace three: “The triangle” (2019)

Comments: the narrow margin lifting this work from two- into three dimensions serves a function as to elude from fixed barriers, frames and borders. The material applied, and the colors that follow at (superb) lighting are enchanting the spectator. With experience, however, the true meaning comes into vision: a play with prejudice, superstition and ordinary judgement. The host – when placed oppositive this well-crafted work, becomes a graft not able to suppress the primary reaction of being placed in a hostile environment. This conflict deepens the experience, since doubt opens the mind.

Decision: accept (special honor).

Members of the Jury:

Jacques de Santo Torres (chair)

Anna Viltan Navon (secretary)

Karl Hütting Wltack (member)

Vladimir Brosvokic (member)

Faith Runungongo (member)

The directorate of dreams

Tags

abstract, assemblage, dreams, dromen, gedicht, grafiek, graphics, kunst, lino-cut, monoprint, philosophy, photography, poem, poetry, street-view

When dreams arrive, the content is not indicated on the envelope

(Jacques de Santo Torres (1888-1972)

A first dream:

Sitting in the backseat of a car, with increasing speed going down a steep slope and then, the gradual discovery that the driver is asleep, or dead?

Next, a second dream:

Walking through corridors that resemble my former school, realizing that preparations for exams at the end of this year have been poor, that time and perseverance is lacking, always being too late for class and ill-focused…

Then, a third dream :

People are waiting for me, to take charge. To deal and treat conditions of defect, of suffering. Yet, I don’t know the password and I’m not dressed to the occasion. I’m simply not instrumental…

These are dreams that threaten with defeat, that reflect one’s inner perception to be doomed to failure. I do not have a subscription to such dreams. But, once in a while, ill-managed delivery makes these land on my doorstep.

« – »

Can a dream be a memory?

Dreaming Cubistic, Drager Meurtant, August 17, 2017

Can a dream

be a memory

and if so

depends the format

on the shape of the display?

« – »

From dreams I turn to the real world. That is, if the creation of art is part of the real world, and not (more so) placed at the border of the dream-world and the dreadful daily circumstances of life. Some time ago I recited a poem standing opposite of a statue which I had made, and surrounded by spectators and listeners. That time I chose the position of the creator, and the statue was obliged to listen.

« – »

Poem for a statue

Rudimentary, Drager Meurtant (2016)

Statue, you look at me

with your fool’s eyes,

that are no eyes.

Statue, your mouth swears

my imperfection

to tell the truth.

You suck me empty

you drown my power

you feed yourself

with my imagination

and leave me hollow.

« – »

Streaks on the window

Streaks on the window (Drager Meurtant, December 4, 2017)

The streaks on the windows

don’t say nothing,

such as “when do

I see you again?”

at the exit

of the supermarket.

« – »

Bridges are encountered in several forms of dreams. As stated by an expert in dreams: “The bridge often has the significance of crossing or moving from one phase of life, activity or emphasis to another” (reference: Tony Crisp, http://dreamhawk.com/dream-dictionary/bridge-2/).

What if a bridge?

What if a bridge?, Drager Meurtant, lino-cut, 2017 (ed. 1/3)

What if

a bridge exists

only in your dream?

And the abyss

before you

is real?

« – »

Passage

Untitled (Pyrenean landscape 1983, monoprint, Drager Meurtant, 2017

The other night

I ran down a gentle slope

my feet not touching ground

just kicking air

holding my breath from expiring

to continue this state of floating

as long as could be…

 

Sense or no sense

Tags

antenna, antenne, connection, coping, Dada, digital, fotografie, gedicht, gezondheid, health, internet, kunst, philosophy, photography, poetry, poezie, verbinding

Where and when sense switches to no – sense, is illustrated by three poems and images.

Ears

The size of ears / devised to hear signals

of distant life

parallels / the loss of perception

from life nearby.

 

Call center

“Think simple and relax:

by moving this job to Asia / the lady has more time/ to go shopping

and that’s good/ for our economy.”

 

Digital death

We are digitally / close to death

after loosing three / of our passwords

and having forgotten / the birthdate of

our parents.

The screen will snow / and our ears hear

the whistle of / the amazone

going by.

(photos and text (c) Drager Meurtant)

Moment

Tags

abstract, condition humaine, coping, Dada, essential, fotografie, gedicht, kunst, philosophy, photography, poem, poetry

When emotions no longer

are stirred by elements

that pass.

When anger is frozen

by lack of a proper

target.

Then comes the moment

to turn the page.

Wanneer emoties niet langer

worden opgeroepen door elementen

die langs komen,

Als woede is bevroren

bij gebrek aan een geschikt

doel,

Dan komt het moment

de bladzij om te slaan.

(c) Drager Meurtant, text & photo, March 1, 2018

Doubt – Twijfel

Tags

Dada, Decay, direction, found-object, gedicht, installation, instruction, nothingness, poem, poezie, temporary, verval

Doubt

‘Don’t follow me’
the guide said, and
disappeared around the corner.

An instruction needs
critical examination
full of doubt
before being left
behind,
unused.

Twijfel

‘Volg mij niet’

zei de gids, en

verdween om de hoek.

Een aanwijzing dient

steeds kritisch en

met twijfel onderzocht

te worden,

vooraleer deze

ongebruikt achter te laten.

 

<Image and text (c) Drager Meurtant, 2017>

Now tell me . . . / Vertel eens . . .

Tags

abandonned, coping, Dada, emptiness, fotografie, gedicht, health, kunst, philosophy, photography, poetry, poezie, state of life, verlaten

Now tell me

“Hello Doctor, / come in and / please be seated.”

(a moment of silence)

“I prefer we get / to business / right away.

Now tell me:

what use / were you / for society?”

Vertel eens

Hallo Doctor, / kom binnen / en neem een stoel.

(een moment van stilte)

“Ik kom graag / meteen ter zake.

Vertel eens:

welk nut had U / voor de maatschappij?”

An easy path? / Een makkelijk pad?

Tags

Dada, emptiness, fotografie, gedicht, kunst, painting, photography, poetry, poezie, schilderij

Obstacle

Wandering in the forest / the frst impression was / to be confronted by obstacles. //

However, at close inspection / the elements had been constructed /

to bridge a gap.

Obstakel

Dwalend door het bos / was de eerste indruk / te stuiten op obstakels. //

Maar, bij nadere inspectie / bleken de elementen te zijn ontworpen /

om een kloof te dichten.

____________________________________________________________________________________

Do not enter

The medium is clear / that of mixed-media. //

The intention, no … /

the aim is to provide / an easy path through the delta /

of my inner meandering.

Ga niet binnen

Het medium is helder / dat van gemengde techniek. //

De bedoeling, nee … /

het doel is het verschaffen / van een makkelijk pad door de delta /

van mijn innerlijke kronkels.

 

(text and photographs (c) Drager Meurtant, 2017)

Borders, boundaries, barriers and walls

Tags

barrier, confinement, defense, demolition, destruction, limitation, obstruction, position, wall

Humans, and other animals, perhaps even some trees and plants, create borders to defend oneself, to keep out others, or – as an alternative – to lock (imprison) an opponent or prey.

Walking in the mountains, along old pathways of minimal capacity, I encountered barriers formed by steep rocks, that often forced me to return. At other moments, the physical capacity and lack of endurance within, blocked my way of going.

When examining the meaning, or the effect, of a wall (boundary, barrier or border) encountered on our path, or raised by ourselves as means of confinement or defense, differences become evident, depending upon our position.

In five images and texts, I will illustrate these differences.

(1) Bricks (for instance)

Take bricks, for instance / and put them on top / of one another. // This will separate / two parts. // The one you’re in / and the one you’re not in. // Didn’t realize before / that death was just another wall.

 

(2) From the outer into the inner world

Although the world / of our neighbours often looks better / than our own / most people will stick where they are. //

Here / is the passage / from the outer world / into the inner world / but it can be reached only / by crawling in between two iron plates.

 

(3) YOU CANNOT RESTRAIN ME: “No, you can’t “

(related is the following imaginary sensation)

 

(4) Locked

“For a long time / I was locked / in myself / and in the eyes / of other people. //

Until the pressure / became too high / that made me explode”.

(echo from ‘Keefman’, bundle by dutch poet Jan Arends)

 

(4) Every grain of sand

My feet wear off / on a road / that is not indicated. //

Down to the raw flesh and / the pain tells / there is no end /

other than unexpected / as destined by hazard, /

that is bloodless, and astir.

(c) Drager Meurtant, photos and texts 2014-2017)