January 20, 2013
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.

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.

8:34am  |   URL: http://tmblr.co/ZHpmaycBWxBg
(Notes: 26)
  
Filed under: diptych reoccurrence quotes 
December 19, 2012
Top, photograph by Graham Hamby, Untitled, 2011. Via. Bottom, Nick van Woert, Untitled, 2011, Fiberglass statue, resin, concrete pigment, steel, stainless steel, 42 x 42 x 80 inches. Affirmative, Dave. I read you. And so excited that Nick will have a show at OHWOW gallery here in Los Angeles, opening February 22, 2013.

Top, photograph by Graham Hamby, Untitled, 2011. Via. Bottom, Nick van Woert, Untitled, 2011, Fiberglass statue, resin, concrete pigment, steel, stainless steel, 42 x 42 x 80 inches.

Affirmative, Dave. I read you.

And so excited that Nick will have a show at OHWOW gallery here in Los Angeles, opening February 22, 2013.

8:19pm  |   URL: http://tmblr.co/ZHpmayZh_y3P
(Notes: 42)
  
Filed under: diptych reoccurrence 
December 15, 2012
Katsutoshi Yuasa. Both versions of, Pseudo mythology #3 (Götterdämmerrung), 243 cm x 488 cm, Oil-based woodcut with pigment on paper, 2011. Via. 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.

Katsutoshi Yuasa. Both versions of, Pseudo mythology #3 (Götterdämmerrung), 243 cm x 488 cm, Oil-based woodcut with pigment on paper, 2011. Via.

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.

4:05am  |   URL: http://tmblr.co/ZHpmayZMEp6w
(Notes: 63)
  
Filed under: diptych reoccurrence quotes 
November 30, 2012
Left, Janet Werner, Choker, 2010, Oil on canvas, 20 x 16 inches. Via. Right, photograph by Man Ray, Juliet, 1945. Via. See also, Les Mystères du Château de Dé, and.

Left, Janet Werner, Choker, 2010, Oil on canvas, 20 x 16 inches. Via. Right, photograph by Man Ray, Juliet, 1945. Via.

See also, Les Mystères du Château de Dé, and.

11:53am  |   URL: http://tmblr.co/ZHpmayYLqw_o
(Notes: 23)
  
Filed under: diptych reoccurrence 
November 20, 2012
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. Haltestelle Eberswalder Straße, Berlin, Germany.

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.

Haltestelle Eberswalder Straße, Berlin, Germany.

8:52pm  |   URL: http://tmblr.co/ZHpmayXgwl5B
(Notes: 3)
  
Filed under: diptych Berlin reoccurrence 
November 20, 2012
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. — See also, (…) depuis que je ne suce plus de bite, je compte moins.

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.

—

See also, (…) depuis que je ne suce plus de bite, je compte moins.

4:08pm  |   URL: http://tmblr.co/ZHpmayXg5HFN
(Notes: 21)
  
Filed under: diptych reoccurrence 
November 17, 2012
Juergen Teller, Pettitoe, Suffolk, 2011, c-print, 16 x 20 inches. Top, Via. Bottom, Via. — 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.

Juergen Teller, Pettitoe, Suffolk, 2011, c-print, 16 x 20 inches. Top, Via. Bottom, Via.

—

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.

3:46am  |   URL: http://tmblr.co/ZHpmayXQo8qa
(Notes: 8)
  
Filed under: diptych reoccurrence 
November 6, 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.

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.

6:51pm  |   URL: http://tmblr.co/ZHpmayWkGqN3
(Notes: 15)
  
Filed under: diptych reoccurrence quotes 
November 6, 2012
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.

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.

12:45am  |   URL: http://tmblr.co/ZHpmayWhNBGK
(Notes: 23)
  
Filed under: diptych reoccurrence quotes 
October 31, 2012
Top, screen capture from The Vanished World of Gloves, directed by Jiří Barta, 1982. Via. Bottom, photograph by Duane Michals, from the series The Pleasures of the Glove, 1974. Via. More. — (…) Soderbergh, in Magic Mike, takes it for granted that the desire to be the object of a man’s reckless, aggressive lust is neither fetish nor pathology. The strippers’ dance routines are nearly all spectacles of male strength and power: “Tarzan” untying a captive woman and throwing her over his shoulder; “construction workers” thrusting their crotches in women’s faces and pulling their hair; a “doctor” climbing on top of a woman lying on a stretcher. Soderbergh seems to understand that many women fantasize about scenarios they do not want in real life. Just as the strip club precludes the possibility of actual fucking, the film hints at sex without showing it. Magic Mike may be the first example of pop art that plays with female fantasies of submission in a setting that is free of physical and emotional complication. As the strip club owner (played by Matthew McConnaughy) puts it when he initiates a new recruit, “You’re not just stripping. You are fulfilling every woman’s wildest fantasies. […] You are the one-night-stand, that free fling of a fuck they get to have with you on stage tonight and still get to go home to their hubby.” Women (like men) may fantasize about perfect sex with a stranger, even though they know cerebrally that an actual one-night-stand is rarely satisfying, and that it is not worth risking the relationship with one’s spouse. McConaughy continues, in keeping with his character’s self-important sense of his job, “You are their liberation.” Hannah Tennant-Moore, Exile in Girlville: Sex and Sheila Heti, for The Los Angeles Review of Books, September 2012.

Top, screen capture from The Vanished World of Gloves, directed by Jiří Barta, 1982. Via. Bottom, photograph by Duane Michals, from the series The Pleasures of the Glove, 1974. Via. More.

—

(…) Soderbergh, in Magic Mike, takes it for granted that the desire to be the object of a man’s reckless, aggressive lust is neither fetish nor pathology. The strippers’ dance routines are nearly all spectacles of male strength and power: “Tarzan” untying a captive woman and throwing her over his shoulder; “construction workers” thrusting their crotches in women’s faces and pulling their hair; a “doctor” climbing on top of a woman lying on a stretcher. Soderbergh seems to understand that many women fantasize about scenarios they do not want in real life. Just as the strip club precludes the possibility of actual fucking, the film hints at sex without showing it. Magic Mike may be the first example of pop art that plays with female fantasies of submission in a setting that is free of physical and emotional complication.

As the strip club owner (played by Matthew McConnaughy) puts it when he initiates a new recruit, “You’re not just stripping. You are fulfilling every woman’s wildest fantasies. […] You are the one-night-stand, that free fling of a fuck they get to have with you on stage tonight and still get to go home to their hubby.” Women (like men) may fantasize about perfect sex with a stranger, even though they know cerebrally that an actual one-night-stand is rarely satisfying, and that it is not worth risking the relationship with one’s spouse. McConaughy continues, in keeping with his character’s self-important sense of his job, “You are their liberation.”

Hannah Tennant-Moore, Exile in Girlville: Sex and Sheila Heti, for The Los Angeles Review of Books, September 2012.

8:24am  |   URL: http://tmblr.co/ZHpmayWJmIwX
(Notes: 10)
  
Filed under: diptych reoccurrence quotes 
October 30, 2012
Top, screen capture from The Virgin Suicides, directed by Sofia Coppola, 1999. Via. Bottom, photograph by Ed Clark, Teenage girls at a slumber party talking to boys who are standing outside. From the archives of LIFE Magazine, December 20, 1948. Via. See also, Charlie White x Boom Bip x Star Rosecrans.

Top, screen capture from The Virgin Suicides, directed by Sofia Coppola, 1999. Via. Bottom, photograph by Ed Clark, Teenage girls at a slumber party talking to boys who are standing outside. From the archives of LIFE Magazine, December 20, 1948. Via.

See also, Charlie White x Boom Bip x Star Rosecrans.

2:11am  |   URL: http://tmblr.co/ZHpmayWEmpWO
(Notes: 6)
  
Filed under: diptych reoccurrence 
October 20, 2012
Left, performance of Narcissister at HAU2 Berlin, May 2012, shot by Dorothea Tuch. Via. Right, illustrations by Artuš Scheiner, circa 1900. Via. I couldn’t find a larger version of this specific shot of Narcissister’s performance which immediately came to mind upon seeing this illustration. I had the chance to see her perform and it was absolutely mind altering. Such amazing work. — We must see our rituals for what they are: completely arbitrary things, tired of games and irony, it is good to be dirty and bearded, to have long hair, to look like a girl when one is a boy (and vice versa); one must put ‘in play,’ show up, transform, and reverse the systems which quietly order us about. As far as I am concerned, that is what I try to do in my work. Michel Foucault. Via.

Left, performance of Narcissister at HAU2 Berlin, May 2012, shot by Dorothea Tuch. Via. Right, illustrations by Artuš Scheiner, circa 1900. Via.

I couldn’t find a larger version of this specific shot of Narcissister’s performance which immediately came to mind upon seeing this illustration. I had the chance to see her perform and it was absolutely mind altering. Such amazing work.

—

We must see our rituals for what they are: completely arbitrary things, tired of games and irony, it is good to be dirty and bearded, to have long hair, to look like a girl when one is a boy (and vice versa); one must put ‘in play,’ show up, transform, and reverse the systems which quietly order us about. As far as I am concerned, that is what I try to do in my work.

Michel Foucault. Via.

8:44am  |   URL: http://tmblr.co/ZHpmayVdIci8
(Notes: 13)
  
Filed under: diptych reoccurrence quotes 
October 8, 2012
Top, screen capture from Rosemary’s Baby, directed by Roman Polanski, 1968. Via. Bottom, Louise Bourgeois, Le Lit, Gros Edredon Rouge, 1997, Color aquatint, etching, and engraving on Somerset textured white paper. Via. — During a party, Luis Buñuel, seduced by Carrington’s beauty and emboldened by the notion that she had transcended all bourgeois morality, proposed (with his characteristic bluntness) that she become his mistress. Without even waiting for her answer, he gave her the key to the secret studio that he used as a love nest and told her to meet him at three o’clock the next afternoon. Early the next morning, Leonora went to visit the place alone. She found it tasteless: It looked exactly like a motel room. Taking advantage of the fact that she was in her menstrual period, she covered her hands with blood and used them to make bloody handprints all over the walls in order to provide a bit of decoration for that anonymous, impersonal room. Buñuel never spoke to her again. Alejandro Jodorowsky on Leonora Carrington from The Spiritual Journey of Alejandro Jodorowsky, 2008. Via.

Top, screen capture from Rosemary’s Baby, directed by Roman Polanski, 1968. Via. Bottom, Louise Bourgeois, Le Lit, Gros Edredon Rouge, 1997, Color aquatint, etching, and engraving on Somerset textured white paper. Via.

—

During a party, Luis Buñuel, seduced by Carrington’s beauty and emboldened by the notion that she had transcended all bourgeois morality, proposed (with his characteristic bluntness) that she become his mistress. Without even waiting for her answer, he gave her the key to the secret studio that he used as a love nest and told her to meet him at three o’clock the next afternoon. Early the next morning, Leonora went to visit the place alone. She found it tasteless: It looked exactly like a motel room. Taking advantage of the fact that she was in her menstrual period, she covered her hands with blood and used them to make bloody handprints all over the walls in order to provide a bit of decoration for that anonymous, impersonal room. Buñuel never spoke to her again.

Alejandro Jodorowsky on Leonora Carrington from The Spiritual Journey of Alejandro Jodorowsky, 2008. Via.

8:24am  |   URL: http://tmblr.co/ZHpmayUtjkBy
(Notes: 89)
  
Filed under: diptych quotes reoccurrence