“…Wonderful is the position or location of this cross in its place. It is in a niche dimly lighted, both its arms are sunk in recesses in the floor. But the recesses of the arms and the foot are large, disproportionately so to what they hold, yet does not the cross touch the wall, but is absolutely free from any contact with it; and this is the wonderful story about the cross that hangs in the air without support, and yet it stands as firmly as though it were attached by the strongest nails, or bonded to the wall, which is not, for all these recesses are large, so that a man can put in his hand and feel that there is no fixture in the back or the head of the cross…”
-Excerpt from Felix Faber’s account (1483) , Excerpta Cypria; Materials for a History of Cyprus, Claude Delaval Cobham.
“…In paintings, the eyes are often what seem to elicit the most hostility: acts of vandalism and iconoclasm tend to target depictions of the gaze, because the eyes are where the miracle of illusion takes place day after day…
And so Giuseppe Sacchi’s graffito on Piero della Francesca’s fresco doesn’t just remind us of the fact that Giuseppe Sacchi – unlike those images – was a living creature made of flesh and blood. It also reminds us of the magical bond that for thousands of years now has linked human fate to the fate of images”
-Excerpt from An Eye for An I by Massimiliano Gioni, If Mind Were all There Was, Nine Themes on Giuseppe Sacchi, with Seven Drawings by Victor Man and Andro Wekua.
(detail) Jewllery shop’s window at Ile Saint-Louis, Paris, June ’13.
(detail) Mike Kelley exhibition at Centre Pompidou, Paris, June ’13.