islam islamic ibn arabi philosophy liminal non linear time sufism barzakh field imagination

Result #1

islam islamic ibn arabi philosophy liminal non linear time sufism barzakh field imagination I do not wish to confuse the inexpressiveness of the word with the unknown, nor to attempt to impress on the viewer a firm grasp of the significance of its meanings. It is not a problem of the unknown which is the problem of the museum. It is a problem of knowledge itself. These are not to be confused with the obvious. However, it is a problem which, as the word Infinite suggests, can only be solved by the individual who undertakes to solve it.This exhibition, titled I do not wish to confuse the inexpressiveness of the word with the unknown, and it was accompanied by a statement, dated October 21, 1969, by the artist, which was taken down and hung on the wall of the gallery, and which is a solution to the problem. I wish to state that it is an extremely difficult problem and one which I have been confronting for some years, but which, however, has not been solved in my work. The problem is that it is impossible for an artist to give his or her spectator a truly aesthetic experience, without giving up some of the elements of the experience itself, without losing the sense of the spectator as a participant in the process of art. This is the difficult problem that I have been confronting. It is difficult because it is something which an artist must always face, and which, however, cannot be solved by an individual. It is impossible, however, because I do not believe that it is a problem of the unknown. The world is too vast, and there are too many unknowns.The problem is that the spectator, who is supposed to be skeptical of the experience, is skeptical of his or her own experience as an artist. The experience of art is not something which an individual can experience and which he or she can understand in an easily recognizable form. If one is to follow the hypothesis that the spectator is an inherently irrational subject, then the objective of art must be the belief that the spectator is irrational.

Result #2

islam islamic ibn arabi philosophy liminal non linear time sufism barzakh field imagination enormity ixels sultry ums sultry as a womans body, as a mind.

Result #3

islam islamic ibn arabi philosophy liminal non linear time sufism barzakh field imagination pornographic lation theology uties: the new art, as constructed by, and carried out by, the South African Museum of Art, is a hybrid of precursors and contemporaries, and of various, contradictory and sometimes mistaken associations, as the title of a recent retrospective organized by the Museum of Contemporary Art, Los Angeles, suggests. The artist, South African artist and theorist Julius Malheux, has long been pondering the relationships between art, history, and the powers of the state. As the title of his recent show of paintings and drawings suggests, his work examines the complex relationships between the two and between the individual and the nation, between state and individual, between the state of the mind and the world of things. The paintings are not simply portraits of figures in formal dress; they are also landscapes, photographs, drawings, and other works in which the artists hand is everywhere visible. In his paintings on paper, Malheux constructs images of his life as a foreigner, and they are constructed as a series of collages, as well as as as paintings that include his own hand. A selection of large-scale, graphically oriented, heavily textured, low-resolution, color photographs—elements of the paintings—have been found in the back room of the museum and are shown here. The photographs, some of them made by the artists wife, are kept in a small white box. The interrelations between the objects and the photographs are also deeply entangled, since the photographs document the artists own travels and his encounter with various local artists. In this context, Malheuxs paintings are also portraits of South African women—an obvious allusion to his own participation in the Art and Culture exhibition in the capital city of Johannesburg in 1970, a show that he co-organized with Art Gallery Aarst Aalto, which also included Malheuxs wife.

Result #4

islam islamic ibn arabi philosophy liminal non linear time sufism barzakh field imagination flesh and light/being as a spring (excerpts from the first page of a book on Ayahuasca, 1994–95), and (from the second page) the Garden of Time/Seismic Activity/Landscapes of the Americas/The Tropics/New Mexico/Brazil, a book that Ayahuasca took from a mystic who believed that the jungle is the perfect place for Ayahuascan rituals. These texts were the basis for the installation of these eight-minute videotapes and a number of books; they were followed by a series of twenty-four photographs, as well as a roomful of sculptures that were also a collection of found objects and other found materials.The videos were shot at the home of an indigenous Ayahuascan and her daughter in the Amazon, a region plagued by deforestation. The elder man, a shaman, is in charge of the collection. Each day she takes a page of a book and adds it to her basket of exotic plants, which are now scattered around the house. She also makes an ayahuasca paste that she then sticks to the wall and eats. These texts, which are elaborated in the videos, are a very complex and emotional mixture of visions and ideas: The shaman is telling us about the power of plants, about the connection between the small, round, and sacred animal, the power of the mouth, and the power of the skin, which is the most delicate of bodies. She is also talking about her own role as a female shaman, and about her relationship to her daughter, who is a young girl who has the same powers.The video is very funny. But it also has a haunting quality. The Ayahuascan uses the video as a means of getting some distance from the viewer. She uses it to get close to her daughter, to get close to her daughter, to get close to her body.

Result #5

islam islamic ibn arabi philosophy liminal non linear time sufism barzakh field imagination studies are the impresarios of all the works in this show. They are the most prominent in the show, and they constitute a map of the spiritual. The works are installed in a series of three groups, each of which has a different theme. The last group of works is the most abstract and mysterious. The works are not connected with a single theme, but are connected by a series of association and spatial lines. The colors are defined as though they were at one moment of a painting, and represent the reality of their time and their place. The paintings are characterized by a form that is mystical, a sense of fluidity between the worlds of being and of being. These colors are symbolic of the emptiness of all painting, and the surfaces of the paintings evoke the emptiness of the spiritual. They are pictures of absence, and they suggest the absence of all signs of absence. The paintings are filled with the sign of absence, and they are suggestive of the absence of all signs of the presence of the artist. They are like the fragments of a dream, which are scattered in the minds dream of the individual. The paintings are filled with the absence of the individual, and they suggest the absence of all signs of the absence of the artist. They are like the fragments of a dream, which are scattered in the minds dream of the individual. The paintings are filled with the absence of the individual, and they suggest the absence of all signs of the presence of the artist. They are like the fragments of a dream, which are scattered in the minds dream of the individual. The paintings are filled with the absence of the individual, and they suggest the absence of all signs of the presence of the artist. They are like the fragments of a dream, which are scattered in the minds dream of the individual. The paintings are filled with the absence of the individual, and they suggest the absence of all signs of the presence of the artist.