September 23, 2014
Fette Sans, Untitled, 2014.

Fette Sans, Untitled, 2014.

September 22, 2014
The colours which approach the dark side, and consequently, blue in particular, can be made to approximate to black; in fact, a very perfect Prussian blue, or an indigo acted on by vitriolic acid appears almost as a black.

Johann Wolfgang von Goethe, Theory of Colors, 1810, in Thirty-Six Shades of Prussian Blue by Joshua Cohen for Triple Canopy, issue 8, 2010.

4:13pm  |   URL: http://tmblr.co/ZHpmay1RPvU0a
  
Filed under: linked excerpts 
September 22, 2014
Fette Sans, from the series I am afraid you could have been misled, 2014.

Fette Sans, from the series I am afraid you could have been misled, 2014.

September 22, 2014

Fette Sans, La Reprise, 2014.

One year ago, and now.

September 21, 2014
Fette Sans, Untitled, 2014.
—
When someone says you are being obscene, say yes I am. When they say you are being wrong, say yes I am. When they say you are being selfish, say yes I am.
Mehreen Kasana, from A Woman of War, for The Nation, June 2014. Via. More.

Fette Sans, Untitled, 2014.

When someone says you are being obscene, say yes I am. When they say you are being wrong, say yes I am. When they say you are being selfish, say yes I am.

Mehreen Kasana, from A Woman of War, for The Nation, June 2014. Via. More.

September 21, 2014
Top, Kerry James Marshall, Portrait of a curator (In Memory of Beryl Wright), 2009, acrylic on pvc, 30 7/8 x 24 7/8 x 1 7/8 inches. Via. Bottom, detail from the taxidermy scene by Walter Potter, The Death and Burial of Cock Robin, 1854, which features around 100 British birds, many of which are now extinct. Via.
—
The interesting question is no longer whether or not the image is a construction, but rather in what ways this process is structured.
Timur Si-Qin. Via. More.

Top, Kerry James Marshall, Portrait of a curator (In Memory of Beryl Wright), 2009, acrylic on pvc, 30 7/8 x 24 7/8 x 1 7/8 inches. Via. Bottom, detail from the taxidermy scene by Walter Potter, The Death and Burial of Cock Robin, 1854, which features around 100 British birds, many of which are now extinct. Via.

The interesting question is no longer whether or not the image is a construction, but rather in what ways this process is structured.

Timur Si-Qin. Via. More.

5:43pm  |   URL: http://tmblr.co/ZHpmay1RKwJPw
  
Filed under: diptych quotes 
September 21, 2014
I am finally on a monitor which I love so much, with all my heart. It is behind me a bit, over my left shoulder, and I lie in the bed and look up at it the whole time, craning my neck. It's my heart rate and blood pressure and the baby's heart rate and my contractions. I tell them again and again about my pregnancy, totally uncomplicated -- perfect even. I've been in labor for 28 hours. No one cares. No one gives me a medal or bats an eye. They write it down. I wonder if they believe me. I wonder if they can know the pain I've been in. I wish for a way to communicate pain more precisely than a scale of 1 to 10. But the scale is subjective, I long to say. We have no way to know. I hate this. I say 7, 8. I don't know. It's the worst pain I've ever felt but I have never had my arm cut off. That's what I always imagine to be the worst pain: having a limb chopped off. I save 10 for it, out of respect. I want to save 9 for the moment the baby tears its way out of vagina. So what's left is 8. I want to seem brave so I say 7, but then I worry they won't understand the immediacy of the situation so I come back with 8. I shrug. I try to communicate in a gesture that I don't agree with their method, with these yellow emoticons, with the spanish above it. DOLOR. I have stared at this sign so much, waiting for some answer to come from it. MUY DOLOROSO.

Meaghan O’Connell, from What It Felt Like to Get an Epidural After 32 Hours of Labor, 2014. More.

Giving birth, the excruciating, brilliant, immediate essay by O’Connell that boiled my brains down last night. Subscribe to her TinyLetter and read it all, then never procreate. Or do.

See also, The study makes visible a disturbing set of assumptions: It’s not just that women are prone to hurting—​a pain that never goes away—​but also that they’re prone to making it up.

And,

She has a medical-identification tag that she clips to a silicone wristband — she has eight in different colors, which she mixes and matches with her wardrobe. On the back of the tag it reads, “Cannot feel pain — sweats minimally.

September 18, 2014
Top, screen capture from In A Glass Cage, directed by Agustí Villaronga, 1987. Via. Bottom, photograph by Rory Mulligan, from the series Sam I Am, 2014. Via.
—
We cannot reason ourselves out of our basic irrationality. All we can do is learn the art of being irrational in a reasonable way.
Aldous Huxley, The Island, 1962, p.178. Via.

Top, screen capture from In A Glass Cage, directed by Agustí Villaronga, 1987. Via. Bottom, photograph by Rory Mulligan, from the series Sam I Am, 2014. Via.

We cannot reason ourselves out of our basic irrationality. All we can do is learn the art of being irrational in a reasonable way.

Aldous Huxley, The Island, 1962, p.178. Via.

6:28pm  |   URL: http://tmblr.co/ZHpmay1R6N2Qj
  
Filed under: diptych quotes 
September 12, 2014

Fette Sans, Untitled [Foire du Trône], 2014.

See also, SATAN, SALSA!.

September 12, 2014
ULTRA PANDA, SATAN, SALSA!, 2014. LP, 300 copies, 33 rpm, black vinyl, 180g.
The record is out September 14th and is available on Chanmax, Bigoût, and on Amazon (mp3 only). You can already listen to two of the tracks here (yet, my favorite in Tabayo). Ultra Panda will be playing in Paris October 11th at Le Nouveau Casino, indeed, you should go.
I shot the cover, on my first day ever spent at La Foire du Trône in Paris. Thank you David for bringing me there, and Sébastien for letting me invade your music since 1998.

ULTRA PANDA, SATAN, SALSA!, 2014. LP, 300 copies, 33 rpm, black vinyl, 180g.

The record is out September 14th and is available on Chanmax, Bigoût, and on Amazon (mp3 only). You can already listen to two of the tracks here (yet, my favorite in Tabayo). Ultra Panda will be playing in Paris October 11th at Le Nouveau Casino, indeed, you should go.

I shot the cover, on my first day ever spent at La Foire du Trône in Paris. Thank you David for bringing me there, and Sébastien for letting me invade your music since 1998.

September 9, 2014
Top, screen capture from Ed Atkins, Ribbons, 2014, Four channel 4:3 in 16:9 HD video with four 4.1 channel surround soundtracks, 14 minutes. Watch a 2:22 min excerpt. Bottom, Peter Fischli & David Weiss, Monument,1984, C-print, 9 1/4 x 13 inches; 24 x 33 cm. Via.
—
Narrative structure is prison; it is tradition; it is a lie; it is a formula that is imposed.
Dušan Makavejev. Via.
Watch Sweet Movie, 1974.

Top, screen capture from Ed Atkins, Ribbons, 2014, Four channel 4:3 in 16:9 HD video with four 4.1 channel surround soundtracks, 14 minutes. Watch a 2:22 min excerpt. Bottom, Peter Fischli & David Weiss, Monument,1984, C-print, 9 1/4 x 13 inches; 24 x 33 cm. Via.

Narrative structure is prison; it is tradition; it is a lie; it is a formula that is imposed.

Dušan Makavejev. Via.

Watch Sweet Movie, 1974.

12:45am  |   URL: http://tmblr.co/ZHpmay1QM0QXm
  
Filed under: diptych quotes 
September 5, 2014
Fette Sans, Untitled, 2014.

Fette Sans, Untitled, 2014.

September 5, 2014
In probably his best-known piece “The Third Memory,” from 1999, he tracked down John Wojtowicz, whose failed robbery of a Brooklyn bank in 1972 became the basis for Sidney Lumet’s film “Dog Day Afternoon.” Mr. Huyghe built a reproduction of the film set and asked Mr. Wojtowicz, who had criticized the movie’s accuracy, to retell and re-enact his story for the video. Yet it turned out that Mr. Wojtowicz’s memories of what really happened and what “happened” to Al Pacino, who portrayed him in the movie, had become inextricably mingled into a new kind of reality.

Randy Kennedy, Conceptual Anarchy - Pierre Huyghe’s Unpredictable Retrospective, for the NYT, September 2014.

His exhibition opens November 23rd at the Los Angeles County Museum of Art.

1:47pm  |   URL: http://tmblr.co/ZHpmay1Q3Ysr3
  
Filed under: linked excerpts