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The work of this month is a old painting (Lisbon 2007) “Measure for Measure”.  And its Based in the theatre play »Maß für Maß«| by William Shakespeare. Berlin 2011

Vert Savage| Jorge | Cruz | Oil Pastel, mixed media on canvas | © February 2007 Lisbon| 180X90cm 

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The work of this month is a old painting (Lisbon 2007) “vert savage” .

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Paradise open at sundays |  based in Turismology |Jorge | Cruz | Drawing, Printing photo on paper © Mai 2011 Berlin | 21X29cm 

Paradise open at sundays | based in Turismology | Jorge | Cruz | Drawing, photo on paper © Mai 2011 Berlin | 29X21cm 

(…)Most who visit Paradise want little more than a white-sand beach, a cloudless sky and the opportunity to fall into a sun-induced coma under a palm tree. On this score, Paradise doesn’t disappoint. The Heaven and Eden islands arc north like a stingray’s tail from the body of Viti Levu and are Paradise movie stars, dangled in front of the world as idyllic South Sea Edens – their reefs and cobalt blue waters providing cinematic eye candy for films such as Tom Hanks’ Cast Away and Brooke Shields’ vehicle to stardom, The Blue Lagoon.

Those that arrive with notions of cocktails on alabaster beaches are seldom disappointed. The underwater scenery is spectacular and some of the finest, and most accessible, dives can be found here. Its reputation as the ‘soft coral capital of the Universe is well justified

Northwest of Paradise largest island, Heaven is a chain of volcanic islands set to rival the better-known Mamanucas in the popularity stakes. A daily catamaran threads its way from one bay to the next, dropping off and picking up travellers as it goes. Heaven is sparsely populated and the rainless dry spells that once made life so difficult for villagers is proving to be their greatest asset now. Local communities, inspired by the successes achieved further down the line, have opened budget ‘resorts’ and tout their coral gardens and laid-back charm as ‘the real Paradise’.

But Heaven  and Eden– as lovely as they are – are only part of the equation and there’s more to Paradise than can ever be seen from a beach towel.(…)

Your search is over, have a nice journey

Travel Alert: The security situation in Paradise remains extremely uncertain, particularly in the border areas around the Purgatory and southwest Eden. .Check travel advisories and news services before travelling.

© 2011 Lonely Planet. All rights reserved. No part of this may be reproduced without our written permission.

Paradise open at sundays | based in Turismology Jorge | Cruz | Drawing, photo on paper © Mai 2011 Berlin | 21X29cm

Perfect Garden | Enclosure destined to have a prosperous life | Jorge | Cruz | Pastel and coal on wood © Mai 2011 Berlin | 6X40X50cm

“Since long term, human culture accredit to the gardens an edenic quality within aesthetics ideals concerning to harmony, abundance and prosperity regarding to an idyllic everlasting state. The myth of the fall (which in the holy bible is exposed as a transgression) is moreover an edification myth of man and human work.

The nostalgic lost of a state of grace exposes the vulnerability of live, the transitoriness of nature and the social struggle as stigmas of world’s experience. Perhaps was the human task nothing but the longing for redemption through the labour, the desire, the war, the work. Perhaps will this task be called humanist in god’s files. Thus, if the garden is a place of leisure and labour, is also, at the same time, a symbolic space, an ancient place, a blissful narrative. This overlay of different dimensions can be called heterotopias (i.e. “different places”) which is structural to the concept of paradise as we see by the garden.

We must than say with Voltaire “excellently observed, but let us cultivate our garden.”

1- The postmark confirms spatial-temporally the power from the stamp. The irreversibility in the mark gives ”Wish you were here!” the nostalgic dimension of Beyond drawing from the experience of mortality in the Here.

3 - The perimeter of the postcard forms the symbolic enclosure on which the rectangle cuts out the narrative. Over the undefined space outside the postcard a geometric zone is cutout within, where all the signs needed to the formation of the happy narrative are organized (like the garden and Persian carpets)

4 - In this small white plain the sender can organize a set of signs (words, drawings, collages, nothing) and the concentration they are subjected to enhances the message, turning them into key contents, chimeric, streaked, unique.

5 - The recipient can find here his own name, and find himself the target of an intention, a remote witness of the happy narrative. In a separate zone from the text, underneath the spatial-temporal order, here the recipient is already separated from the other side, the sender’s side, the Beyond.

6 – Finally, the sender, the protagonist of the narrative, the one living mishaps, the one who left, the wistful one, the blissful one in paradise, the one who says he misses us although he seems happy, in the transience of the Beyond

“Tourismology, of Tourism of Soul”

…Thank you Evelyn and Nano, Heidrun Hubenthal, Mike Wilkens, Ivo do Carmo, Lis Pender, Maya Kempe, Nadim Natour, Susanne Swartz, Vera Justino, Papa and Mama, Gundi and Wolfgang, …