Top, installation view at David Zwirner with screen capture from Francis Alÿs, REEL - UNREEL, , Kabul, Afghanistan 2011In collaboration with Julien Devaux and Ajmal Maiwandi, 20:00 min. Via. WATCH. On September 5, 2001, the Taliban set fire to prints from the Afghan Film Archive, Afghanistan’s national film institute. The bonfire reportedly burned for 15 days, but thankfully, the Taliban only destroyed copies - leaving the negatives untouched.
Bottom, Bruce Nauman, Burning Small Fires, 1969. Artist book in which Nauman ceremoniously burned a copy of Ed Ruscha’s book Various Small Fires, taking a picture of each flaming page and creating his own book from the results. Via.
(…) it is not a book to house a collection of art photographs-they are technical data like industrial photography. To me, they are nothing more than snapshots…
I have eliminated all text from my books - I want absolutely neutral material. My pictures are not that interesting, nor the subject matter. They are simply a collection of ‘facts’; my book is more like a collection of Ready-mades…
Ed Ruscha, Concerning Various Small Fires: Edward Ruscha Discusses His Perplexing Publications, 1965. Via.
Despite his apparent incapacity, the psychotic had an exaggerated idea of his competence. Sometimes he even had the sense that he could do almost anything in almost any field if only he wanted to, and his major weakness was his lack of decision, these thoughts giving him an excuse to waste a lot of time doing nothing but think about to do.
Louis Wolfson, Le Schizo et les langues, 1970. Translated by Kevin McCann for his essay Good-Night Lyudi, published in Cabinet Issue 37, Spring 2010.
I just stumbled upon the bottom shot by Ye Rin Mok and I immediately remembered Sean Marc Lee’s photograph. Yet, as I finally laid my eyes on it again, I was not ready to acknowledge that these women (same woman!?) are standing on the absolute same roof. I thought these photographs would be simply similar. What happened here? Tell me you guys were shooting at the same time.. My brains are contorting themselves right now.
Edit: Indeed, same roof, and same girl (!) and Sean was the first on the scene. Brilliance.
Left, photograph by Gianfranco Barucchello, Marcel Duchamp in front of La mariée mise à nu par ses célibataires, même (Le Grand Verre), 1915-23, date unknown. Right, Ethan Ham, The Small Glass (After Duchamp), 2009. Via. More.
C’est comme la photographie ; on a beau poser, prendre toutes les précautions qu’on voudra pour que la photographie soit ceci ou cela, il y a un moment où la photographie vous surprend et c’est le regard de l’autre qui, finalement, l’emporte et décide. Alors, je crois que dans ce que j’écris en particulier - mais ça vaut pour d’autres - la même chose se produit : il y a de l’idiome et il y a aussi de la méthode, de la généralité et la lecture est un mixte d’expérience de l’autre en sa singularité et puis de contenu philosophique, d’informations qui peuvent être arrachées à ce contexte singulier. Les deux à la fois.
Jacques Derrida, Elisabeth Weber, Points de suspension, Galilée, Paris, 1992, p. 214. Via.
And so excited that Nick will have a show at OHWOW gallery here in Los Angeles, opening February 22, 2013.
My work is a metaphor of a story, a myth or a historical fact but it is unsettled. All my works are connected with the big flow of water in the underground of the inner world. It seems mythology. Roland Barthes says, ‘—-there are formal limits to myth, there are no ‘substantial’ ones. —- Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things.’ I would like to put stories on the work in obscurity but I need to open the window for reading stories.
Katsutoshi Yuasa. More.
… it only takes two facing mirrors to construct a labyrinth.
Jorge Luis Borges, Nightmares, from Seven Nights, 1984, trans. Eliot Weinberger. Via.
Top, screen capture from Oh Boy, 2012, directed by Jan Ole Gerster. Bottom, screen capture from Berlin Prenzlauer Berg, 1990, directed by Petra Tschörtner. Watch.
Top, photograph by Kenzo Tribouillard/AFP, published in Libération in Femen: “On s’attendait à une réaction, mais pas aussi violente.”, November 19, 2012. Bottom, photograph by Kenzo Tribouillard/AFP, published by Reuters in Breast-beating: Femen ‘assaulted’ by anti-gay marriage demonstrators in Paris, November 19, 2012.
Same photographer, two categories of press.
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.
Staud wondered what Ashlyn would be like as she became an older teenager, if she would begin to disobey her parents and what the implications might be for her health. “We know very little about this in the long term,” he said. “How will she be emotionally? How will she evolve?” We sometimes experience emotional pain physically — Staud used the tried-and-true example of heartbreak, how the end of a romance can cause a physical pain — and he wondered if the relationship between the body and emotions also goes the other way; if a person lacks the ability to feel physical pain, is her emotional development somehow stunted? “It’s completely possible that some pain fibers work in her,” Staud said of Ashlyn. “That’s one of the reasons we follow her. She is going into a hormonal change now. Puberty. Estrogen receptors are associated with pain processing. Will she have fear? She is only threatened by emotional consequences. She is an easygoing girl, and she has parents who have learned how to influence her without additional means of physical contact.” He paused and then added, “I don’t think she cries very much.
Justin Heckert, The Hazards of Growing Up Painlessly - Ashlyn Blocker, the Girl Who Feels No Pain, for the NYT, November 2012.
Left, photograph by Kurt Kren, from the film 6/64: Mama und Papa, directed by Otto Mühl and Kurt Kren, 1964, 16 mm, color, silent, 3:57 min. Via. Watch. Right, photograph by Henrik Olesen, Some Illustrations to the Life of Alan Turing (Apple), 2008. Via. More.
See also, Urs Fischer, Problem Painting, 2011.
A woman should be able to kiss a man beautifully and romantically without any desire to be either his wife or his mistress.
F. Scott Fitzgerald, The Beautiful and Damned, 1922. Via.
Top, uncredited photograph of Martin Kippenberger with llama at the closing party of S.O.36 music club in Berlin, 30 June, 1980. Via. Bottom, photograph by Erasmus Schröter, A Llama About to be Guided into a Ballroom, Leipzig, 1981. Via.
The Germans say, That man has no ghost in him. They say of a poor wine, This is an unghostly wine. They say a person can be Rich in Ghostliness. That a person of wit possesses ghost.
Laurie Sheck, A Monster’s Notes, 2009. Via.