Girl with Phone, 2020
In love to Oscar Niemeyer (Communist Party Headquarters), 2020
In Love to Martin Parr, 2020
Henrik Olesen at Galerie Buchholz Cologne
very visceral works by Henrik Olesen in a show that seems so simple that its hard to understand why these pieces linger for so long. The plugs with their human-like height and wobbly power cords add a strange physicality to the body/organ/intestine paintings.
Henrik Olesen at Galerie Buchholz
from top to bottom and left to right:
intestine, blue, 2020 / oil and mixed media on wood / 47 x 39.5 x 2 cm
intestine, black and white, 2020 / oil and mixed media on wood / 40 x 55 x 2 cm
intestine, red, 2020 / oil and mixed media on wood / 48.5 x 40 x 2 cm
intestine, red, black, 2020 / oil and mixed media on wood / 42.5 x 52.5 x 2 cm / sticker: 42 x 29.7 cm / plug board: 144,5 x 37 x 22 cm
Body of Shit, 2020 / oil and mixed media on wood / 46.5 x 55 x 2.5 cm
Killing Eve Costumes
stills from s1-3
Lacan's Lecture about Hamlet. He reads Hamlet as the Drama of Desire and compares it to Oedipus. He also neglects moral questions, which I think is on point as it is obvious for Hamlet what has to be done and asking yourself if it is just, leads nowhere. The question then becomes, why doesnt he do it already.
Saskia, Rheinfels, Schweppes, 2020
oil on transparent paper, 1:1
listened (after reading it ages ago) to Bret Easton Ellis Glamorama (narrated by Jonathan Davis)
A good text about Glamorama from Sheli Ayers here.
(Glamorama Vanitas: Bret Easton Ellis's Postmodern Allegory)
Not sure if I agree with Ayers about what part technology plays in Glamorama, but especially her notions about Vanitas and textual effects I like a lot.
from that text:
"To say that Glamorama is a novel would be misleading. Although Ellis plays with and against the conventions of the first-person Bildungsroman, Glamorama is less a novel than a system of textual effects analogous to other scripted spaces: themed architecture, animated digital games, and special-effects films."
"Glamorama may invite decipherment, but it operates mainly on the level of ineluctable confusion. Just as the seventeenth-century Vanitas signified uncertainty of the senses--life as dream and illusion--Glamorama invites the contemplation of a confused reality."
This scene shows Iwabuchi get cornered by the press about a suicide that coveres up wrongdoings by Dairu cooperation.
Kurasawa's images literally pressure Iwabuchi and manage to twist in a minute long scene. Iwabuchi's pose and Kurasawa's composition change from cornered to certain whilst Iwabuchi reframes the suicide as a result of the police's investigation in his company.
Iwabuchi and his right hand Moriyama on the funeral of one the victims of their crimes. A lot of scenes depict two opposing notions. Often the images Kurosawa builds use scene-blocking, framing and composition as negotiator between these notions.
This scene shows one of Kurosawa's deliberate compositions. Nishi and Tatsuo (Yoshiko's brother) talk about Iwabuchi.
Iwabuchi and Moriyama try to get rid of lose ends by cornering Shirai.
The last scenes that help rethink the plot not only through the characters development, but as characters in a bureaucratic world. Mirrored compositions of Nishi and Iwabuchi to end the movie.
In Love to Sam Kieth and Wolfgang Tillmans, 2020
In Love to Jeff Koons and David Chipperfield, 2020
Foto, Epoxy Resin, Pigments, 30x50cm
Jutta Koether (Demonic Options, 2005 & Souveraine, 2008 & DIE SEELE ZWISCHEN HIMMEL UND HÖLLE 2, 2008)
Juan Jose Ryp (Black Summer)
Text: Aaron Schuster - The Trouble with Pleasure (S.54 & S.77)
Imi Knoebel - Genter Raum & Joseph Beuys - Fond
In Love to Lawrence Weiner and Alex Ross, 2020