photoreportage

check it out,amazing work.
www.feliperusso.com

Manut

the world in a song

When i was a child i had an encyclopedy. I remember it,it goes like....

a-apo
apo-ben
ben-car
car-con
con-dis
dis-fed
fed-gia
gia-ile
ile-lan
lan-mar
mar-ort
ort-pig
pig-pum
pum-ros
ros-sel
sel-ste
ste-tim
tim-wau
wau-z

I had the entire world in it,tonite i realized i still have it

Ristoro

I asked Godard why should films be free if bread is not free. He answered 'I'm not a baker.' "

http://www.ubu.com/papers/merrill_martha-black_panthers.html

guns

my friend kindly suggested me this site.must check it out!

http://ubu.artmob.ca/sound/airwaves/Airwaves_15_ANDERSON_ITS-NOT-THE-BULLET-THAT-KILLS-YOU.mp3

FUNK,BABY

"Critics are on the search for something a little more like the old,original,passion-laden blues;the trade-name wich has been suggested for it is "funky"(litterally smelly,symbolizingthe return from the upper atmosphere to the physical,down-to-earth reality."
F.Newton(E.Hobsbawm-THE JAZZ SCENE-
Funky comes from the earlier name of funk,wich meant "a strong smell or stink"
"John Coltrane and the Jazz Revolution of the '60s" F.Kofsky

http://mvdb2b.com/search/item.php?SESSION_NO=DDEEFAEE&sku=DR-4455

the other side of the avantgarde

A couple of nights ago i watched some of the movies by brackhage. Amazing,i suggest you all to watch them. There s a criterion collection dvd wich contains lots of them. Watch Dog star man

Now i have a myspace.finally. myspace.com/emanuelef

J B

"His work over the last 30 years has revealed constant manoeuvrability combined with a desire to puncture received ideas about the way in wich we consume images and the way we treat people who claim to be able to transform experiences."
Liam Gillick on John Baldessari

As everyone knows, Jeff Wall is one of these photographers that mantains a strong relation with painting. We could say that he kind of treats the frame as it were a canvas, though in his interviews he explains how he failed in the purpose of not being a photographer. He is one.
I was thinkin of him as a modern Giorgione. As the venetian artist, Wall seem to produce works that are particulatly difficult to analyze,even though i don't find it strictly necessary, and i could imagine him live in the same era,work exclusively for a private collector that jealaously never quits looking at his "own" photography.
I know his references mostly come from painting of the 19th century but i'd like to know what he thinks about Giorgione and the way he depicts the human being and his relation with nature.

Alphaville n`est pas loin de salvador de bahia

guilty

I was in the car going from the airport to my father´s. It was back then that i started to feel unease. The same feeling is still there,even though it decreased.off course. I couldn´t understand why these people didnt break into big properties and either steal and kill or kill and steal. Next time i listen to some southamerican boy that talks about how dangerous south america is(for him that is so rich)I.
The sun goes down.The fear must go along our days,this is prize we gotta pay for this.

Aguirre the zorn gottes

http://youtube.com/watch?v=nrP7g18OwcE
Tonite I watched Aguirre the wrath of god.
Be a man,even if your destiny is tragedy. Be a man.
The best scene: Aguirre is the only one who stands up on the boat,everyone else is starving,weary and having allucinations. He goes toward one one of his man,he grabs him and lift him up and goes back where he was.
Probably the best anti-hero of cinema

http://youtube.com/watch?v=lwZiBe8NRJw

chez meme

me as "the victim of the the small village"

EL angel exterminador

"Mais...mais.."
"No,vous ne pouvez pas"

Apatride

Toutes le conférences internationales qui ont essayé de définir un statut juridique des apatrides se sont soldées par un échec,parce qu'aucun accord ne saurait remplacer le territoire vers lequel un étranger,selon le foncionnement de la loi en vigueur,doit pouvoir être déporté(...) Puisq'il raprésentait l'anomalie pour laquelle la loi générale n'avait rien prévu,mieux valait pour lui qu'il devînt une anomalie pour laquelle la loiprévoyait quelque chose-un criminel.
H. Arendt

Why america_paul@hotmail.com?

Venetia,other than being my favourite city back in Italy,is my favourite stylist(she's much more than that...)You should read this little article i post on her,one other great thing that happened in fashion businness
http://news.independent.co.uk/people/profiles/article312634.ece
this is what she says at the end
"Still, while many in the industry would acknowledge her influence on their work, Scott is preparing to move on. "I think I've hawked the same old look for a long time now," she says, admitting to suffering from both denim and vintage fatigue. "Because of the mainstream, it shifts you out of what you love. Now I think I'm going to become extremely chic."
I don't understand why she can't be extremely chic and still go on with the same old style. Or being one and the other in different situations. It doesn't mean that if some Jack wears a vintage item,I shouldn't use wear it anymore. Off course you are supposed to go on,to evolve,but I don't think you should do that because the mainstream starts appreciating your stuff. off course it influences you. This is the never-ending circle of fashion,as Simmel wrote. Upper class starts moving on when lower classes start to "copy their style".
I think it shouldn't be the case for a "creator".For sure everyone should evolve but not in these terms.
Unless you have a very snobbish way to look at the world and this is more important to you than what you love. Then the work of Scott would loose strenght and wouldn't look the same for me .

Tonight I read an article by F. Jonquet,whose "conversations with Gilbert & George"(Phaidon) is a must, on Goldin's work. The critic points out the what differs her work from Arbus' s one. "There is no dread or distancing in her work,no hint of the human monstruosity that is Arbus's subtext".
I do think the distance between Arbus and the people she took pictures of ledead her to the ultimate gesture,sucide. Arbus either erased it or could not erase that distance. I don't think she did. But for sure she suffered because of that distance.
Goldin chosed to be "one of them" and we respect the choice she had the possibility to make. But if I were sure this choice was not aware,if I knew this heroism didn't hide the awarness of the "opposite solution",her work wouldn't be the same for me.
Arbus simply couldn't

Mullholland drive

AMERICA AMERICA

Today I read an essay on Ed Ruscha,one of my favourite artist. Funny thing,but sure comprehensible, Criqui reports someting that Ruscha said and that I underlined with red mark( things never to forget) on my copy of "Leave Any Information At The Signal". And it goes like...
..."There's a certain flavor of decadence that inspires me. And when I drive into some sort of industrial wasteland in America,with the theme parks and warehouses,there's something saying something to me. It's a mixture of those things that gives me some sense of reality and moves me along as an artist."

chez meme

la legge è uguale per tutti?

For a couple of weeks it'd be difficult for me to cheer you up with all the small things that make our lifes decent. I'm studying law applied to art wich basically means i have to learn by heart plenty of articles etc etc. This is the way it works back in my beloved country. They manage to turn a very appealing subject in some kind of nightmare.

e

Ho appena finito di leggere un articolo su "lampada annuale", un' opera di Alighiero e Boetti che mi è capitato di vedere qualche tempo fa al Palais de tokio. "Lampada annuale" consiste in un box nero con all'interno un bulbo elettrico che, l'artista ci assicura, si accendera' in un non precisato periodo,ma una volta all'anno, per undici secondi;
Cristophe Kihm espone chiaramente e efficacemente la sua lettura dell'opera,sottolineando tra le altre cose che questa produce una potenzialita' che "non puo',non deve essere dimostrata". Sono d'accordo,ma perche' non accennare nemmeno un'attimo allo shock,alla vertigine che provera' colui che sara' presente,a meno che cio' non avvenga nella notte,nel momento dell'accensione? Non e' l'aspetto piu' importante dell'opera? Sono d'accordo. In ogni caso è un momento dell'opera a cui il critico non accenna. Per il fruitore è legittimo diffidare dell'artista e in quel momento tutte le sue angosce,la sua vulnerabilita' di fronte a una tale opera verrebbero assopite. E poi,quando ci potremmo prendere ancora il lusso di emozionarci per una lampadina che si accende?
Consiglio vivamente di leggere il saggio,in francese e in inglse, su ARTPRESS2,TRIMESTREL N°5

POULE OU OEUF?

"Objet manufacturé promu a la dignité d'objet d'art par le choix de l'artiste"
C'est la definiton de ready-made donné par Andre Breton. Je toujours pensé que en realité un ready-made fusse an objet manufacturé promu a la dignité d'art par la presence d'un musée et donc d'un public et son "choque". Donc l'artiste et son choix sont moins important. Je sait qu'on peut continuer(voir le titre) ça est mon conclusion. Chacun réflechisse sur la question

This is what my mother sees from her window

lost of the center

As far as I'm concerned my upbringing in the countryside and my love for Nyc help/oblige me to have a certain view of the city. Automatically,everytime I look out my window (as you can see,it looks like looking midtown from brooklyn,at least i remember it like that) a sort of nostalgia/sadness overwhelms me. Nostalgia not for the few months I spent in Nyc(even that though),nostalgia for "something-that-happened-in-NYC",thus history, and something that happened to me,my childhood. The funny thing is that right now things are opposed. I live in the center of the city and outside the window i see the periphery.
Nothing changes though

california

http://www.mbfala.com/Holland/HH_N19.html
I was checkin out blogs and I twice bumped into this gallery.check it out,it s definitely worth http://www.mbfala.com/index.html
I didn't put any pics by Massimo Vitali,i really like his work though. I just see it from a different angle,it s diifferent to me than the rest of the photographers rapresented by MBFALA
The last picture i posted it's one of my favourite ever.

Philippine comme "une jeune fille"

That's Cinema

http://youtube.com/watch?v=rSpKOHUdUx8
J'ai rarement vu un film d'une telle finesse, aussi bien qu'on est accotoumé a des experiences pareilles dans le cinema de Renoir. Encore plus eclatante me parait la situation dans laquelle une pellicule sur le theme de la guerre,et d'une telle élégance, a été tourné. Seulement quelques annés avant les pires inhumanites produites par l homme(peut être là je me trompe. finalment les inhumanites sont toutes pareilles. Il n'y a pas des pires et des meilleures). Sùrement cela donne au film une aura spéciale.
Du rest,en 1939, Renoir nous offre dans "La regle du jeu" une description symbolique,mais enfin pas trop,de un degré de la société.

god bless america. Again

Lots of us should be thankful to Joe Szabo. My friend feliperusso.com showed me his work. It's not difficult to love it

Noam Chomsky

http://video.google.fr/videoplay?docid=4054523048548733881
Today I found out there are plenty of Chomsky's videos on his site and on google video This is one,enjoy it.
And this is the second one
http://video.google.fr/videoplay?docid=-1214894113898255184&q=chomsky+buckley&total=17&start=0&num=10&so=0&type=search&plindex=0

L U V

http://youtube.com/watch?v=3oekH8WpbS8

http://youtube.com/watch?v=iFzTBPy7nl8&mode=related&search=

I was looking for the "hate and love scene",after having watched "Do the right thing". I couldn' t find it,nevertheless i post the river scene from "The night of th hunter". The best cinema scene ever? Probably,for sure one of the best.
" ..."La nuit du chasseur",nous fait assister à la grande poursuite des enfants par le prédicant.mais celui-ci est dépossédé de son propre mouvement de poursuite au profit de sa silhouette comme ombre chinoise,tandis que la Nature entiére prend sur soi le mouvement de fuite des enfants,et que la barque où il se réfugient semble elle-même un abri immobile sur une îlre flottant ou un tapis roulant." G.Deleuze