Art that can be construed as supporting LGBTQ+ rights
Stephen Lauf

My Retirement at Ury So Far
2021 - 2024

Yesterday was another one of those (happy) Piranesian days. This time at the Pennsylvania Academy of Fine Arts Archive. What a bright, young staff they have there. I was probably most pleased by Laura Piranesi prompting a lively discussion. It was also real nice taking the train into town again; I haven't done that in like 30 years. Looking out the window and seeing all the new (at least to me) development in North Philly and Center City made me feel quite like Rip Van Winkle. Tomorrow I'm attending Thomas Keels' lecture "When Rich People Spend Good Money on Bad Art" at Glen Foerd, after which I'll be heading over to the Glenside Arts Festival, where I'm now sure not to be spending any good money on bad art.


Dear Stephen,
Thank you very much for your prompt and friendly response - it is truly valuable to us!
Your story about the origins of "The Timepiece of Humanity" with Khlebnikov really struck me - so much so that I had to reread his text. It's an amazing coincidence.
Let me tell you about the exhibition:
The exhibition is structured as a meeting of several focal figures. First is Francisco and Severin Infante (father and son). Francisco Infante's work "Birth of Verticality" from the collection of Tretyakov Gallery and his son's kinetic installation "Square" will be presented at the exhibition.
Secondly, Nikolai Morozov and Anatoly Fomenko, who were engaged in the development of an alternative conception of history (New ?hronology). Third is the Russian science-fiction writer and publisher Yuri Petukhov (author of the 1990s cult pentalogy "Stellar Revenge," which gave its name to the project) and contemporary artist Alek Petuk (Aleksei Petukhov), co-organizer of the "Coincidental Institute," a community that studies coincidences (in the lines of the CCRU).
The exhibition will feature an installation by Alek Petuk and the Coincidental Institute (of which I am also a member), VOTIW*, based on Alek's earlier work of the same name, a hermeneutic reductionist novel that presents everything outside as a set of first signs that describe the formation of the universe, time and the individual. The external can be the material-object world as well as human history. [these signs are "V", "O", "T", "I", "W"].
As you can see - the theme of the exhibition uses the theme of duplicity, mirroring and coincidence, including the names of the participants, as well as experimental and alternative theories of operating with time.
In the architecture of the exhibition, I suggested using a U-shaped plan based on the Palladian 9-square grid. In one of its intersections (remembering Masolino da Panicale), we located one column supporting a beam.
When I showed the curators your version of the Vitruvian Man - everyone agreed that it was urgent to write to you. It perfectly complements the "birth of the vertical" idea and the Morozov-Fomenko new chronology. Together we have found a place in the exhibition where an image of The Timepiece of Humanity would be very appropriate. The image is 0.4 x 0.4 meters. We also want to accompany it with an audio recording with a Russian literary translation of your text, which states the concept. The visitor will be able to listen to it through headphones.
Your comments will be very valuable to us.
P.S. We warmly support your desire to provide a personal statement(s) to Russia.
P.P.S. About the meeting of your parents--yes, I found information on your site that it happened in the labor camp, but I didn't know that it was located in Ukraine! That's very epic, of course!
Sincerely yours,
À Bientôt
from best regards curatorial team Yaroslav Aleshin and Alek Petuk


Yura, et al,
Thank you for all of it!
I feel I needn’t say more because I’m well aware that there’s lots of work that you all still have to do.
The exhibition fragment looks very handsome. I wonder though if you’ve given any thought to the whole exhibit itself somehow offering “an alternative picture of the world to the generally accepted one.”
Regarding the concept pdf, I can email you dxf or dwg cad files of all my chronosomatics related drawings. In a day or two I can send you an image of all the cad data, then you can decide whether the actual cad files would be useful to you or not.
Regard the circle/square junctures of the Timepiece diagram, one of the juncture lines has no relation to the male body at all, but aligns rather with the female body, specifically with the interior location of the overies! I’m pretty sure I have a ‘working drawing’ of that but I still have to look for it. (At least I think I’m remembering all that correctly—have to look at the anatomical images I have to be sure.)
As far as my current work is concerned, STELLAR REVENGE is now a distinct part of The Discovery of Piranesi’s Final Project. The notion of “an alternative picture of the world to the generally accepted one” now very much informs the telling of the rest of the ‘story’ which will conclude 9 November 2023.
I’m sure I’ll continue to send more comments, but only if I think they’ll be helpful. ;-)


Quaestio Abstrusa background 120

Quaestio Abstrusa background 129

Quaestio Abstrusa background 132

««««                                   calendar                                   »»»»
Stephen Lauf © 2024.04.26