City, politic, to create, critics (english)

  1. Lexine dit :

    All things considered, this is a first class post

  2. lungren fatty dit :

    Art today is a disaster. Beyond happenings with unactive forms in the vernissages (conceptual art is show time, pop politic and weird humor), we have space to re-invent something new, wich has nothing to do with art itself. But that : that is a fucking secret.

  3. blm / new media / new age dit :

    New age media tells us the same since 30 years :

    ” visualise your success”, “accept your success”, “separate your fear from your emotion”, “explore your emotion and go deep into it, even it hurts “, “the reality is an hologram”… “be positive , and the rest will follow”

    I propose an other way to survive: Finding new jobs, moving in other countries, meeting new people, trying, trying, trying.

    Because, this new age stuff about success, emotion, fears, propagates secretely the “obligation of happyness” that rises up since decades in the US. It’s pure bullshit, because it avoids the real built-in architecture of the human brain, based on language. Separating the emotion from your fear, is a language mistake, not a solution.
    The words, here, accentuate your fear (or your love, or anything else). Acceptance, lalala new age media, exhibitionism, sado masochism, meditation (that doesn’t erase fascism or ultra capitalism, rejection of the differencies), culpability (if no money success), all these concepts are there to separate your freedom from your acts, from your moves. It’s pueril, and it’s dangerous.
    It’s tipically stuff related by people who are disturbed, who believe in magic, or by people who do’nt want to see how the reality is. People who live in L.A., for instance, who accepts the deshumanisation of the society, and who thinks that they are (inside) probaly wrong, but they’re not! They are just realistic and they don’t accept it. They prefer to adapt to the shit, rather than fighting against it.

  4. blm / new media / new age dit :

    I just met a musician and “programer artist” on facebook :

    After 5 min of chat, suddenly, the nice “digital artist from the internet” reveals himself to beobssesed by his online self-image, and doesn’t stand any argumentation. He’s totally sure about his open mind, his alternative art. He’s especially convinced about how artists should be.

    Well that “open-minded-tech-scene-guy” was an other right wing psychopath disguised in cool dude retro futurist imagery, who doesn’t fear to send you the bill after one minute, or a nice fb block, if case you’re a bit too fast to discover the fakery.

  5. vatican cops.. dit :

    Subject : Recently (july 17)
    Cardinals in Rome / atVican High society, just get busted, doing drug and gay orgy ; in the holy place !
    .
    I don’t see any problems with gay and drug orgies. This joyfull expériences are naturals. The problem is, of course, that they forbid them since 2017 years. They kill. They burn. They SAY! since a very long time.

    They use texts, dogmas and moral for their busnesses and dictatorials cultural hidden shit politics. Because religion is just politic. It has always been like this. And you can observe how ISIS organised the capitalists standarts based on sex and slavery.

    It’s not only catholics. It’s jewishs and muslims and buddhists. All corrupts. All liars.

    So, … why should I be shocked ? Which opinion should we have ? Do we say : oh, it’s horrible, orgies in Rome, in Vatican?

    Choose your enemy… Choose your side.
    Wich side? :-)

    http://nypost.com/2017/07/05/vatican-cops-bust-drug-fueled-gay-orgy-at-cardinals-apartment/

    http://www.ilfattoquotidiano.it/2017/06/28/vaticano-fermato-un-monsignore-festini-gay-e-droga-nel-palazzo-del-santuffizio/3691426/

  6. auddie dit :

    About the recent Las Vegas Massacre.

    It’s about the ugly “normality” of nowadays. And they search for an anomaly in the killer, somthing hidden .But. Nothing is no longer hidden in this clountry ! In this abnormal society full or weakness, lies and disparities. A real fucked up world.

    End of the european holly-days in america

    https://en.wikipedia.org/wiki/2017_Las_Vegas_shooting

  7. blm ^ a photo analysis dit :

    We look at a photography :

    in the forefront, an enlighted young naked tree. In the backgroungd : some modern empty architect appartements from the east-side Berlin. It’s calm. This is the night. The whole art work inspires tension, fear, but also, ulta sharpness. It looks like a failed photo. Under the building, some warm colours in transparency are suggesting an other world, the world of the cars, out of the perception’s range. Hope, maybe.

    The artist is trying to hide something, or the show it
    or, does he reveal that emotional OuR core is hidden behind tons of fakery ? Based on what ?

    A certain ratio of violence is there, no doubt about it. But wich one? Even comfort zones are hiding a violence. European sweet life styles can hide colonialism, wars, or the organised theft of resources in Africa.
    The front subject, a banal fence surrounded by wild plants, a monodirectional gonzo light, and the sad and cold background, are dialoguing. This dialog reflects the violence.
    No crazyness here. It’s not even trying to “blow the whistle”. ( ” M ” , Fritz Lang).
    It is an enlighted young naked tree
    stroked, by a red flashing spektrum on the left side
    visited by some kind of artefact, a small detail,
    something …
    .
    .

    A slight self is hiding sub pulsions
    what you see is what you get
    between the lines : a thriller driller ( me and my camera )

  8. auddie dit :

    Most of the short movies I see on the internet have a perfect image, great colors and quality, thausends euros high end equipment. The work flow is organised like a fashion set up, with perfect model, perfect make up, perfect pictures, design, correction…

    …but it’s still “like” the real thing. It is always “Like” Paris. “Like” the fifties. “Like” we live in the forrest.
    120 years of cinema are suddenly erased. and it is the same with music.

    But I’m sorry to say that we now live in a rubbish bag.

  9. prostate cratère dit :

    Jodorowski, the argentinian philosopher, the writer, the researcher, the tarrot user, the script writer, director and poet, calls the artists who copy the energy of others : ” psychic vampires”. For him, they are only there to suck other creator’s blood.

    I blocked couple of them, even close friends, who where slightely “inventing” new directions, ideas, forms and theories, without even noticing that it didn’t came from them…

    Marcel Proust dedicated famous lines about Bloch, one of his character (an other psychic vampire), who was saying months later exactly the same lines than St Loup, the writer’s double in the crime scene.

  10. The prison box dit :

    I tried to watch a serie…. and barely could ! Even the new Twin Peaks.

    There are some good artworks, but I can’t get the format. It turns me sick. I feel that this addictive habits is based on discouragment : watching the more you can, like in some restaurants, eating the more you can. As it is with facebook, you are disconnected … instead ob BEEING connected. And … staying home all the time… This no rich experience to me.

    After one episode, I get the form, the characters, the subject, and then… the whole. I mean, Personnally, I can’t go further. I feel “they” turn me dumb, and then come the same episodes after the same episodes. It’s so artistically weak.

    Did you noticed that in theses series, nobody is staying in front of their television?
    In these series, the characters are living something.
    …Just think about it…

    But more than this, the worst is that nobody goes to theater anymore.

    Everything is dying : the places, the cities, the communities, the art, the dramaturgy, the past.

    Big web companies just created the : p r i s o n box

  11. The jobs habit dit :

    When you alternate intense moment of creation and moments of normal jobs, you realize how your artists views are pointless.
    You realise what is life in a regular non-artistic life/job. You suddenly understand what people have in mind, what they think about your caprices and aestetics, your pseudo avant-garde, your pseudo courage : they – just – don’t – care – about ! It jsut doesn’t exist for them. You are talking alone.

    Each time, when I struggled to survive these weeks of “normal” work that allowed me to keep continue my researchs: I update my researchs! I update my artist blindness. I look at the non trendy people.

    blm

  12. mirrored event dit :

    Do you know what is a mirrored event ?

    For each slide on Tinder, a migrant is sold as slave in Lybia.

    For each line of cocaine, a young columbian dies hard in the streets of Bogota

  13. Ricardo Rene Dominguez dit :

    This E-age calls on us to create magikal transformations with our artivism and avant-gardening that can capture all the demons that jump from toxic things to the Internet of things, from oil to Hush Puppies, from radiant dust to art bunkers-to route around the bubbling sludge around us and within us.

    Yet, no matter what we do the demons, that old Pazuzu, keep riding downwind. So we mark and draw out our exorcism of our lands, bodies and skies. We make circles and filters that attempt to contain our contagious condition-but something always keeps breaking out.

    So now we attempt to become more contagious,more viral, more weedy, more infecting-using our magik to become wilder beings-to be one in states of effuvian extimacy.

  14. artists-like dit :

    I never saw any good creator without a certain ratio of crazyness and violence, or ruled by paradoxs.
    Or is it just about beeing trully deranged? Can creation enhance that unbalance?

    I also never saw any good artists, I mean, really original artists, who are coming from art schools. Studying art or technique is like studying normality (and competition). You are a nice interpreter, you are well trained in a well balanced world, you are integrated ; but … It’s empty.
    You have to unlearn first.

    Conclusion: don’t go to school. Play whith what you don’t control.

  15. blm ( #metoo ) dit :

    # Metoo.

    In France, women are fighting against each other about the ideas of sexual harassement vs equality vs rape vs pleasure vs puritanism vs freedom of speach vs law vs biology.

    Two sides are just created, to reach, in principle, the third track : a real equality of rights and behaviour with the men.

    The fact that, in front of every social progress, people try to reveals their power and take advantage of it… is… quiet normal, but als overy embarassing.

    One side is purely binary and constrain the speach. The other side is purely provocative and loves to play with words.

    The problem is that the dudes don’t speak about it between each others, and for me, this is the key. Nothing will change if there is no male consciousness in every cultural or social levels, about where the limits are. Because, the limits will be the ones included in that male conversation, and step by step, even in the families, the world will change.

    It will come from a deep change into males mind and politics, not from a biology VS queer dogamtism fight (into the same sex).

  16. blm - women producers dit :

    _ Women producers subject in the rave scenes _

    I can’t stand these quotes about an intentional “discrimination” women producers are facing in the techno scene. It isn’t “intentional”.
    If there are less women playing in the rave scene, it’s because young men like hard musics (they “feel” something then). I don’t say it’s good or bad. It’s a fact, not my opinion. It is statistical.
    Because women today, due to the same societal realities, do love to compose more cerebral and beautiful tunes than animals ones, they play less (and it happens in this particular artistic field only), not because they are “discriminated”. They play less, because the low culture standarts are still the majority in Europe.
    Little dudes do like hard music. They don’t get sensitive music. Most of them. I’m not talking about Berlin or about avant-garde scenes (some niches). Country side scenes in Europe are like that, and it won’t change in a finger snap.
    They are the active clichés.

    An example :

    Me, when I stopped to do hard breaks or hard techno in the end of the 90′, I started to produce more intellectual music, electro, or song writing. I started to play less. It’s like that. It was automatic.
    In the other hand, if a woman producer starts to play radical straight music or break beats, she will play a lot… in some… young men raves and clubs.

    Untill we reach clearer times, when young boys won’t have to challenge themselves with hard beats to fullfill their anger, the social competition or testosterone level or whatever today’s virility has to be triggered, there will be more hard music for hard dudes (and chicks). It doesn’t have to do with “discrimination” in the booking area, like : “oh no, not a woman”.

  17. La Baron Calvina dit :

    so far as we romanticize gunplay as a courageous action it remains an attractive option for alienated youth to express violent impulses. when the user-friendly world of shoot-em-up video games & facebook flamewars gives way to the cruelties of real-time human interactions, the digital identity either collapses gracefully or attempts to handle the situation in the way it knows best: shooting guns.

  18. the art lie dit :

    I don’t think that the world of art, galleries and museums, provide more freedom, equality and integrity than what is happening in the western populist / capitalist scenes.

  19. blm - In Egypt dit :

    last days in Egypt.

    I did 4000 photos and hours of film. The light is amazing.

    This is religious, clumsy, and very hard for women, but I perceive realities that our european mind can’t understand.
    For me now, the contract between a couple is ruled by various forces that unify them.
    Sure, they could do it differently… in different contexts… or continents, or wethers.

    For me now, the context is religious because it’s poor and dry. The earth there is dry.
    The power of the nomad is fragile. He answers to a difficulty with an other difficulty.
    Mothers make sons.

    The arbabic world is way different than we can figure out with our paranoid press.
    These magestic civilisations are asleep. The gestures are so classy.
    The freedom and consciousness of the educated people are exactly the same as ours, but just with more beauty. The potential is huge.

    I love celts, but they could have change 2 or 3 things in their behaviour.
    Once again, as I did with Asia or with Russia, a reality check changed my obscure mind.

  20. blm - under the silver lake dit :

    Under the silver lake ✅

    2018, directed by David Robert Mitchell

    Close-up film and dawn lights on a Los Angeles low-ceilinged..; the main character is most of the time in front of us, in front of you, in front of me, maybe, in front of himself, and in each shot, in each scene, almost identical, we penetrate deeply into what remains of vivacity, both in the cinema-literature culture of Southern California, absurd parts and critical idleness, as in American existentialism – keep your humor, heaven will help you- that crumbles with every lie, or with every bump of a policy that essentializes false news as false statement since trump for us exists. The bank, your landlord, the pound, love, can leave you out in the cold; at least it’s starry.

    L.A. Never confidential again. We are in it, in your brain, in your ellipse and in what we call in your first years of fine arts : the mise en abyme (seeting into abyss). But at the bottom of the hole in the cellar of the abandoned village of the macabre country, there is another hole, left by the previous stiff. Did you ever met a guy from Los Angeles or an actress who comes back from this town? It’s tense panic and moist steam. The looks, the expressions, are not very safe any more. It’s new-age media and deep adolescence, literally incurable. That age is like a disease, and the problem is, you always start out young in L.A….

    The spirit there sticks to your skin and if you do not flee immediately to enter the old Europe and its proven principles of reality, you sink into material opulence and nothing will save you, nothing, nothing, not even to be under the rubble of Hollywood, not even to be near the sea. Get yourself drowned in a pool at the top of a building, drive a Mustang and stagger forward as if your legs, kidneys, and all your inspiration had been broken.
    Los Angeles is a strange city, a computer programmer told me exiled to Berlin. And himself… was strange, so… if he said that… And this actress, a eastern europe chick who drank the hype as one saves a land that has not seen water for months. This city had rinsed it with pop patchouli, vulgarity with too much zero behind, and no numbers in front. The slightest idea, the slightest sign of recognition, the smallest detail worthy of a modern postcard electrified his imagination, for a result… outdated and sordid.

    Sordid is the word, when one follows, close-ups in largesse made to fate, the main actor, sort of Han solo never became pilot. This is what he does: he flirts, fucks, doesn’t pay his rent, lies to his mother, looks for the limit. He’s looking to lose everything, he doesn’t believe in anything anymore. Class nihilism has shaken in him more than his womb can bear. He vomits up his idle fever and sexual geek temper, for once. Yeah, we should give him that, basically. In a sense, what could be more flattering, in this city of madmen, of mental morons, of elegant madmen, of pleasure-seekers stuck to the 80s, than to follow to the letter their beliefs, their decerebral whims, their collective hallucinations. It’s the 600th movie like this. From the novels of Bret Easton, from Map to the stars, from back to the future, to… a man who sleeps (maybe) in Perrec let’s go back to our home what makes the sap of boyholes to son, resorts out of time. Maybe that’s what Los Angeles is all about, except that it’s not Time that is stopped. It’s the wormhole… that doesn’t stop. We lost them all. But he’s venturing. He makes us accomplices of the last process of non-Hollywood fiction: the impossible. Not justified. No fools, no drug addicts, no superpowers, no dark forces. No, it is the whole post-modern pitfall of fiction that is still being tested and that seeks, whatever the cost, to find a justification for freedom, for the canvas for the programmed obsolescence of “cool” auteur, for the springboard to criticism, for the Oscar of the best millenials that has nothing to say but its own fear, that its own deliverance. We go through the atomization of nihilism, we force the narrative to get used to the worst, to the rebound, and since nothing can justify madness, nor psychedelism, nor the superpowers, it is Hollywood, the cinema itself, which is taken as a reference, and here we go again for one more hour of scenes where the investigation mixes with the quest and then, it is a climax, with normality. It’s not even a dream anymore. Even the old people have done much worse. Even the old men have seen more flashes and demons than the coolest recalcitrant 30-year-old. The fractal is enshrined in the constitution. It’s a film from L.A. that overheats instead of going to Asia, a film that films at dawn and in the crazy evening, to get back in the white light of a low morning weather, in a cemetery of bottles and some real graves. Light and decor, nothing stands out anymore, all caught in the dough: we cross them drunk in a sedan, and each chick is a conscientious worker, a consecrated libertarian.

    The truth is under the silver lake, under the astronauts’ mercury, in Dylan’s song: “How do you feel? To be on your own. Like a rolling stone” to say that each initiation leaves you in the same place, but at least you know you won’t die. Too bad… because sometimes there was less effort to be made. Tomorrow is always another day. Fucking life.
    .
    .
    .

    Brieuc Le Meur

    .
    .
    .

  21. BLM - Mandy (Movie) dit :

    Mandy (movie) ✅

    Américain thriller written and directed by Panos Cosmatos. Sept 2018.
    Director : Panos Cosmatos
    With Nicolas Cage
    Soundtracks : Jóhann Jóhannsson
    Script : Panos Cosmatos, Aaron Stewart-Ahn

    Mandy is a red film, red as its poster, red as the blood that passes through your eyelids when you press it and you see flames through your retina.

    Mandy is a simple movie. But I imagine that its genesis and the time taken by the writer and director Panos Cosmatos, of whom we know nothing, were long. Deciding on simplicity, purity. Strengthening your defenses to assume this approach from start to finish is not an easy task.

    Mandy seems to have been designed to take on the B-series format, with a framework reduced to the essential: radical, raw jouissance, with no other ambition – in the viewer – than to laugh at the worst horrors. In a piece of dance music, where drop is the law, the rythm change, the relaunch, the break, the insolent gesture, the vibrator, the outlet and sublimation, derisory also, when you think about i. The movement participates in the same idea, in the realization. It’s a popular approach because it doesn’t claim anything else. Buy a pizza, you got your pizza. And all that cheese! And that blood-red, mirror-red sauce!

    Essential… It’s the same for Hollywood’s most credible and less vulgar B-Series actor, the most capable, without flinching, of moving from more secondary genres to arty projects: Nicolas Cage.

    With him and this film, it is certain that thousands of film lovers will rediscover his demented filmography. He cumulates these roles of good devil who takes revenge, who takes revenge and who takes revenge again. He suffers from it, before, during, after it, but no matter what, his rage is proof. His ugly clothes, his absolutely grotesque t-shirts. It feels like it. It is the real life, detached from the eyes of others at the bottom, since it is so big, so overwhelming. Massacre is cultural in America, it’s isolation. He is the gangster from Wales and Brandenburg, lost for 5 generations in the Alaska. It’s Jesus and his gun.

    Then, the script is cut in a single block with the same idea:
    Presentation of the couple, introducing the bad guys. It goes very fast. Moving on to action. Revenge of the hero who lost the woman of his life. He’ll have to carry all the burdens at once.

    It goes straight ahead like a piece of hypno music. There are no other effects than this generosity. No other effects? Maybe not. Many other films have gone through this process, and have printed a post-modern mark. We can, we know, we have the right to make scenes (in films) and actions (in real life) that last, emaciated by the time, that everyone handle with products, alcohol, music, and that’s how life is. Before, we didn’t have too much right to show it and even less to assume it; but today, the acid rain, the rains of liberal comets, the political speeches on the radio, America, the nation, that Cage cuts immediately to drive quietly…. All this isolation of souls. Work, nothing. Work. Nothing. Well, yes, we don’t have much human warmth. The buzzing of souls. The hum of this soundtrack. These red saturations and the clinical support of the assembly. It feels like cotton. It’s almost like therapy. We simply sink into madness as we simply recover from a cataclysm. The transition from one state to another is clear. We’re not even scared anymore. We laugh. The emotion is smooth.
    In the almost identical DNA of the spectators and characters, in the DNA of the cinema itself, no longer so distant, we are used to overdoses, drugs, at worst boredom, resignation. We have even got used to leaving childhood too early, with bits that remain attached to the branches.

    We’ve almost gotten used to death, to the sublime belly down, to hallucinations. We have got used to the fact that there are no major changes in the background: we are being screwed by the great Organization, by the black sect, by the incoherent world. But we’re not afraid anymore. We’re just dazed.

    We are Mandy and Nicolas, who we don’t talk to at the drugstore because they don’t go to the movies…

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