The Spoken Word (poetry) exhibit consists of two installations in adjacent galleries. The first one, Libyan Sybil, deals with an ancient oracular excerpt about the futility of human interactions. The second, in Lithuanian, is a poem written and gifted to me by the noted poet, Sandra Avizienyte. Although filled with sadness between two individuals, it ends with a glimmer of hope. These two installations interrelate with each other visually and poetically.
The thought fragments were created by taking my previous paintings, mounting them on board, and cutting them up into palm-sized fragments. These fragments contain my previous art works, brain scans, brain waves, writings. These are truly fragments of my mind.
-Audrius Plioplys
About the artist: For over 40 years, Audrius Plioplys has been both a professional artist and a neurologist-neuroscientist.
His art work is neo-conceptual: a metaphorical investigation of thinking and consciousness. With over 50 individual exhibits and 100 group shows, his works are displayed in museums, universities and major art collections internationally. Plioplys has transformed the artist’s studio into a neurobiology research laboratory: he has merged neuroscience with art.
www.plioplys.com | Installation at the Lithuanian Center | Libyan Sybil | Vieniems / Vien Jiems
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I AGREE
Lyrics
Aw, who’s the queen of the locker room?
Who’s the cream of the crop?
Poor Joey took her to the matinee
Said, «God, she wouldn’t stop!»
Holy muscle of love
My heart’s a muscle
Well, I must have come to that crazy age
Where ev’rything is hot
‘Cause I don’t know if the things I’m thinking
Are normal thoughts or not
Holy muscle of love
Well, I got a muscle of love
Yeah
Ooh
I read Dad’s books like I did before
Now things are crystal clear
Lock the door in the bathroom now
I just can’t get caught in here
Holy muscle of love
Well, I got a muscle of love
Holy muscle of love
I got a muscle of love
Holy muscle of love
My heart’s a muscle of love
Holy muscle of love
Well, I got a muscle of love
Yeah, yeah, yeah
Must be a gift from above
Yeah, yeah, yeah
(Hallelujah, hallelujah, hallelujah)
(Hallelujah, hallelujah, hallelujah)
(Hallelujah, hallelujah, hallelujah)
ALICE COOPER, MICHAEL BRUCE
Universal Music Publishing Group
Returning to his isolated New Mexico hometown to visit his dying father, a hotshot San Francisco poetry-slam artist (Kuno Becker) quickly reverts to abusing drugs and booze, which hastened his departure three years earlier. Director Victor Nunez, who made two accomplished indie films in the 1990’s (Ruby in Paradise and Ulee’s Gold ) misses the mark this time with a stale story line and hackneyed screenplay by William T. Conway and Joe Ray Sandoval. Nunez has scripted all of his other films, which are typically spot-on at capturing the cadences of his character’s lives. Unfortunately, the dialogue here is littered with cliches, and Ruben Blades as the dying father is the only character that registers with any degree of authenticity. With Miguel Sandoval and Persia White.