Consciousness of calendars

One of my hobbies - flashed 15 years ago and still smoldering interest in Tarot cards. I tried several decks - Marseille, which Alehandro Khodorovsky restored, decorative maps of Salvador Dali, even a cat Tarot, but usually use the famous deck of Tot, drawn by Lady Frida Harris in 1938–1943. I studied it with the help of Gerd Tsigler’s leadership, but you can do without this fervor of the brochure. The main thing is to understand the principle of the tarot: cards should be resonated with the subconscious and draw secrets from it. The deck should be handled carefully, it is recommended to be stored under a pillow in a velvet bag, like a jewelry so that it is used to the owner and answered his questions. If the contact is established, you begin to see the desired and real in the figure, and then capture omen.

But why not act like this in other images - for example, painting, devoid of magical ideas? I decided to try the tarot method on ordinary wall calendars and succeeded. The choice of the next calendar is an important ritual for me, I spend it on the day of the winter solstice and spend a lot of time, looking at numerous samples. Sometimes the calendar comes into conflict with the unconscious and is not able to identify and suggest anything, but often the desired resonance arises. Of course, not the same as from the Tarot, but there are interesting coincidences.

2012 went to me under the sign of Edward Hopper. This is not an artist close to me, but, obeying the instinct, I chose his calendar, and every month he gave me wise tips or simply responded to circumstances. Last January, for example, I could not catastrophically defeat the cold, and on the calendar this month was accompanied by the well -known picture “ Pharmacy ” (1927). There were many such coincidences, and at the very end of the year I got to the Paris Grand Pale on the popular Retrospective Hopper. They say that 6 thousand people a day visit it, but I prudently came an hour before the closure and did not stand in line.

In one of the halls I had to linger for a long time: there was a slide show with the covers of American magazines (mainly tourist), which Hopper made out for the sake of earnings after a second return from France. It is interesting how a fragment of a lost life arises from non -existence. Millions of covers are destroyed, as well as the magazines themselves with all their articles and passions, but these three dozen become museum value, although they are a little better than others. The same story with Jack the Ripper, Dr. Krippen and papen sisters: thousands of villains are forgotten, and their names have survived for centuries.

The second unexpected hall is entitled "Anthract". Before the late Hopper masterpieces, the curator of the exhibition in the Grand Palail was inserted by a hooligan wedge: the installation of Philip-Lorca of Dikoria, famous for portraits of male prostitutes in Los Angeles. Formally, this anthrax is explained by the fact that the photographer uses light in the spirit of Hopper, however, the storm itself, as follows from this interview, the curatorial solution surprised:

Edward Hopper, according to the notes of his wife Josephine, led quite an unhappy, but strictly heterosexual life. The neighborhood of his paintings with portraits of eighty Los Angeles Hustlers Puritanin-Hopper would probably outraged. But dead artists with curators do not argue, and the audience is used to everything.

While I was looking at the prostitutes, they decided to close the Grand Pale for the night. Quiet museum people appeared and began to exhibit visitors. Everyone meekly obeyed, only one fan of art, a shaving -headed Perraron, screamed with bass: “Fascists! You have no right! Merde! Merde! " And he yelled so long. Museum silence was broken in the most outrageous way, no one looked at Hopper's paintings, everyone stared at the crickens, so that a unique work of contemporary art was spontaneously born before my eyes.

For 2013, I chose the calendar of Caspar David Friedrich. As a child, I went to the Hermitage in a circle of studying Western European art, and his landscape "Ugolinovs Mountain" invariably fascinated me. The overseas calendar has not yet reached me, so I’m not sure if there is a great picture “The Death of Hope” in the ice, in which the main cipher of the coming year is perhaps hidden.