# ... TwistOff / eine Serie leerer Glaeser
      "die Kunst ist frei" (... mal sehen)
# ... muss denn die Kunst ausschliesslich leere Glaeser ablichten ? ... hat sie denn nichts Substanzielles vorzustellen ?
      nun, eventuell laesst sich ein fehlender Inhalt als unsichtbare Botschaft erkennen ?
      also dann: ein Blick in die Speisekammer unserer Grossmutter oder Einsicht in die Kunstgeschichte ?

# ... this week, Peter Schjeldahl sums up the still-life paintings of Giorgio Morandi (1890-1964), now on view at the Met, as “unbeatably radical meditations on what can and can’t happen when three dimensions are transposed into two.” Schjeldahl is not the first writer to fall under Morandi’s spell in the magazine’s pages. In 1965, Natacha Stewart wrote “Bottles,” a fictionalized account of an interview with the reclusive Bolognese artist. And in “Still Life,” published last year, Don Delillo wove an elegiac description of Morandi’s work into a short story about September 11:

What she loved most was the two still-lifes on the north wall, by Giorgio Morandi, a painter her mother had studied and written about. They were groupings of bottles, jugs, biscuit tins, that was all, but there was something in the brushstrokes that held a mystery for her, or in the irregular edges of the vases and jars, some reconnoiter inward, human and obscure, away from the very light and color of the paintings. Natura morta. The Italian term for still-life seemed stronger than it had to be, ominous, even, but these were matters she hadn’t talked about with her mother. Let the latent meanings turn and bend in the wind, free from authoritative comment ... http://www.newyorker.com/online/blogs/goingson/2008/09/natura-morta.html#ixzz2H2AHN3cl
... THE NEW YORKER / ONLINE ONLY / OFFLINE ONLY

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