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Simon Taylor

Simon Taylor

https://orcid.org/0009-0008-6687-4647

l’imagination au pouvoir: the theory of modern art & the crucial “Giorgione effect” according to Enrique Vila-Matas

When back in May ’78 I was able to interview Salvador Dalí in his Cadaqués house, the painter kept going on about a Venetian painting: “A while ago, just before you arrived, I was looking again at Giorgione’s Tempest. There is a soldier, and a naked woman holding a

uncanny valley

Port St. Willow

because after this Enrique Vila-Matas writes…

…during these minutes I was able to think things over and put an end to any further queistions I might still ask myself about the possible, or impossible, relationship between innovative art and a bottle of perfume belonging to a Nazi woman, about the possible relationship between innovative art and

MINUS Theatre at International Applied Theatre Symposium: The Performance of Hope

Simon Taylor & Minus Theatre A workshop in thief (theatre of imitation, expression & f___ery) The work of Minus Theatre is unique in its openness to the use in performance of different first languages (in Boneseed, February 2015, Brazilian Portuguese, Cantonese and English were spoken together on-stage) and for

enjoying power, powerlessness, and may extinction come hereafter … after a while at least, give us at least time to have a bit of a think about it first

Power, Powerless- ness, Thin- king, and F- uture by Bernard Stiegler

Enrique Vila-Matas, Pierre Huyghe, Ai Weiwei and I at Kassel, Documentas 12-13

“I’d been fascinated at the beginning of the seventies by some questions that had been put to Alain Robbe-Grillet, which made him writhe against theories like an upside-down cat: “Let’s say I’m old-fashioned. For me, all that counts are the works of art.” “The works of art!