May 11, 2014
In 1967, Sturtevant staged, at the School of Visual Arts, Francis Picabia’s ballet Relâche. The first performance of that work in 1924 was infamously called off, supposedly because the lead dancer had fallen ill. (Its name—”canceled,” in English—had many thinking it was a prank, though later performances went ahead as planned.) Duchamp, who of course knew of the original Relâche, decided to attend Sturtevant’s performance but arrived to discover that the show had been called off. He returned to his taxi, which was idling outside (his wife Teeny had been waiting for him). Shortly after, Duchamp invited Sturtevant to dinner, and asked her how the performance had gone. “Fine, thank you,” she responded. He wondered, had everything gone as planned? “Yes.” “That’s quite beautiful,” he said.

Andrew Russet, Sturtevant, Uncompromising Progenitor of Appropriation Art, Has Died, for Gallerist, May 2014.

May 8, 2014

Throbbing Gristle, Discipline, 1981, recorded live at the S036 Club in Berlin. Via.

Huffington Post: You first began replicating works in the 60s, years before the internet’s image onslaught. Did you have any idea the extent to which repetition of images would take over in the future? How has your work evolved as a result of this phenomenon?

Elaine Sturtevant: Dumb question.

HP: Do you see authenticity as something that used to exist but does not anymore, a fiction that never was, or something else entirely?

ES: Authenticity currently is nonexistent due to the imposition of cybernetics.

Elaine Sturtevant’s “Sturtevant: Image over Image” Comes To Moderna Museet, 2012.

See also, The work is done predominantly from memory, using the same techniques, making the same errors and thus coming out in the same place.

(Source: youtube.com)

April 27, 2014
Left, photograph by Bruce LaBruce, Untitled (Stumped), 2001. Via. Right, photograph by Miguel Angel Rojas, El David, 2005. Via.
See also, I love you, but, because inexplicably I love in you something more than you… I mutilate you.

Left, photograph by Bruce LaBruce, Untitled (Stumped), 2001. Via. Right, photograph by Miguel Angel Rojas, El David, 2005. Via.

See also, I love you, but, because inexplicably I love in you something more than you… I mutilate you.

9:00pm  |   URL: http://tmblr.co/ZHpmay1EHSv0r
  
Filed under: diptych reoccurrence 
April 22, 2014
Top, Atelier van Lieshout, Clip-On, 1997. Bottom, Jean-Louis Chanéac, Parasite Bedroom, 1971. Via.
See also, Gelitin, The B-Thing, 2000.

Top, Atelier van Lieshout, Clip-On, 1997. Bottom, Jean-Louis Chanéac, Parasite Bedroom, 1971. Via.

See also, Gelitin, The B-Thing, 2000.

5:14pm  |   URL: http://tmblr.co/ZHpmay1DoHtLd
  
Filed under: diptych reoccurrence 
April 3, 2014
Left, uncredited image [maybe by photographer Hanns Sohm?], from a performance by Nam June Paik with Charlotte Moorman, TV Cello, 1971. Via. More. Right, cropped photograph by Yoshihiro Tatsuki, Emi Aoki, 1970. Via. More.

Left, uncredited image [maybe by photographer Hanns Sohm?], from a performance by Nam June Paik with Charlotte Moorman, TV Cello, 1971. Via. More. Right, cropped photograph by Yoshihiro Tatsuki, Emi Aoki, 1970. Via. More.

April 2, 2014
Left, Louise Bourgeois, Untitled, no. 31 of 34, from the illustrated book, Ode à l’oubli, 2002, Fabric collage, page: 29.8 x 33 cm, unique. Via. More. Right, photograph by Zachary Norman, Cloaking Device, from Deliberate Operation, 2013. Via.

Left, Louise Bourgeois, Untitled, no. 31 of 34, from the illustrated book, Ode à l’oubli, 2002, Fabric collage, page: 29.8 x 33 cm, unique. Via. More. Right, photograph by Zachary Norman, Cloaking Device, from Deliberate Operation, 2013. Via.

11:20am  |   URL: http://tmblr.co/ZHpmay1BuGOyf
  
Filed under: diptych reoccurrence 
March 25, 2014
Top, photograph by Marcel Duchamp, Autour d’une table, 1917. Bottom, screen capture from the upcoming Prometheus 2 (or-whatever-this-will-be-titled), directed by Ridley Scott, 2016. Via.

Top, photograph by Marcel Duchamp, Autour d’une table, 1917. Bottom, screen capture from the upcoming Prometheus 2 (or-whatever-this-will-be-titled), directed by Ridley Scott, 2016. Via.

March 16, 2014
Top, screen capture from L’Avventura, directed by Michelangelo Antonioni, 1960. Bottom, Mulholland Drive, directed by David Lynch, 2001. Via.

Top, screen capture from L’Avventura, directed by Michelangelo Antonioni, 1960. Bottom, Mulholland Drive, directed by David Lynch, 2001. Via.

(Source: astaldohen)

March 15, 2014
Top, magazine scan / photograph by Karl Lagerfeld, from the editorial Metropolis, for Vogue Germany, February 2010. Bottom, Angela Fette, Robot’s Hand on Fur, 2012, cardboard, adhesive, fur.
See also.

Top, magazine scan / photograph by Karl Lagerfeld, from the editorial Metropolis, for Vogue Germany, February 2010. Bottom, Angela Fette, Robot’s Hand on Fur, 2012, cardboard, adhesive, fur.

See also.

March 1, 2014
Left, Carsten Nicolaï, Anti, 2004, pp lightweight structure, sound module, theramin module, transducer, amplifier, light-absorbent black paint, 255 x 255 x 300 cm. Right, Albrecht Dürer, Melencolia I, 1514, 24 x 18.5 cm.
Via.

Left, Carsten Nicolaï, Anti, 2004, pp lightweight structure, sound module, theramin module, transducer, amplifier, light-absorbent black paint, 255 x 255 x 300 cm. Right, Albrecht Dürer, Melencolia I, 1514, 24 x 18.5 cm.

Via.

(via sympathyfortheartgallery)

February 22, 2014

Oh et puis merde t’es trop con tu me fatigues.

uweskiosk:

Recut Jim Jarmusch, found on arte.tv

http://www.youtube.com/watch?v=nuP5AaTyEVw#t=78

February 17, 2014
Left, photograph by Maxime Ballesteros, Deep glance, Ibiza, 2014, from the series Entre Chien et Loup. Right, photograph by Harry Griffin, from the series Convention. Via.
—
I don’t think irony’s meant to synergize with anything as heartfelt as sadness. I think the main function of contemporary irony is to protect the speaker from being interpreted as naive or sentimental.
David Foster Wallace, 1996, from a chatroom exchange. Via. More.

Left, photograph by Maxime Ballesteros, Deep glance, Ibiza, 2014, from the series Entre Chien et Loup. Right, photograph by Harry Griffin, from the series Convention. Via.

I don’t think irony’s meant to synergize with anything as heartfelt as sadness. I think the main function of contemporary irony is to protect the speaker from being interpreted as naive or sentimental.

David Foster Wallace, 1996, from a chatroom exchange. Via. More.

January 26, 2014
Top, Rossella Biscotti, The Heads in Question, 2009, Bronze. Via. More. Bottom, photographs by Timothy Mahoney, from the series Die, Builder, 2014. Via.

Top, Rossella Biscotti, The Heads in Question, 2009, Bronze. Via. More. Bottom, photographs by Timothy Mahoney, from the series Die, Builder, 2014. Via.

10:38pm  |   URL: http://tmblr.co/ZHpmay15XR1Vi
  
Filed under: diptych reoccurrence