Wednesday, December 16, 2009
Tuesday, December 8, 2009
a. 'The Honest Scrap Blogger Award' must be shared.
b. The recipient has to tell 10 (true) things about themselves that no one else knows.
3. The recipient has to pass on the award to 10 more bloggers.
d. Those 10 bloggers should link back to the blog that awarded them.
Thursday, December 3, 2009
Saturday, November 21, 2009
Whilst working in an art gallery, all kinds of people walk in and out.
However, I've come to notice that people who visit art galleries tend to fit in one or more of the following categories:
* The "I am VERY interested in art" look:
Frown, arms crossed, chin resting on one arm, finger/sunglasses in mouth or against lip (sometimes ticking against it), loads of pointing, nodding and mumbling
* The "I can't afford any of this but I wish I could" look:
Shy & appologetic entry, blending in with background, looking at objects in awe, quick dissappointed pricetag glances, nervous looks towards gallery personnel
* The "I'm a connaisseur and collector" look:
Quick entry, quick walk-by, selecting pieces in a matter-of-factly manner like you're choosing sweets; very blase and whateverish, bark at gallery personnel, look on face like you're smelling poo
* The "I'm a connaisseur but have no money" look:
Quick entry and exit, inbetwixt loads of showing off what you know about the artist to gallery personnel
* The "I don't give a damn about art but I need a place to hang/perv on gallery personnel" look:
Slow tigerish entry, ignoring artwork, looking at boobs, grinning and chuckling
* The "Oh my GOD, I can't believe you have [insert artist name] in your gallery!!" look:
Quick entry, loads of exclamations of joy, pointing, telling your companions how wonderful it is that you can see x's work in the flesh, doing the same towards gallery personnel
* The "I'm an art student, but believe me I'd rather be home playing on my XBox" look:
Slow entry, oftentimes in packs, with art history teacher, wandering around thinking about how you think your lover is cheating on you and that you want to eat pre-fab pizza for dinner tonite, whilst pretending you're interested. Asking if the postcards are free, taking a few to show you were there. Getting the hell outta there as soon as you can
* The "It's raining outside, do you mind?" look: Quick dripping entry, loads of umbrella shaking and clothes flapping, mixed-feelings walk-thru, loads of glances out of the window
* The "I'm an artist too, maybe you want to showcase some of my work?" look:
Nervous entry, quick look-see, slowly move towards gallery personnel, ask gallery personnel how they tend to find the artists they showcase, try to do this matter-of-factly but slowly dying inside. Pull out book with images of own artworks, try to do this matter-of-factly but dying a tad faster inside. Ask if gallery personell would be interested in exhibiting your work, try to do this matter-of-factly but completely dying inside. Walk away nervously
* The "I'm a tourist, I know nothing about anything" look:
Bewildered entry with backpack whilst looking at worn-out map, walking around lost, talking in tongues, asking directions as you leave
* The "A video! You have a video!" look:
Normal entry, walk around looking at artwork, suddenly spot the videoscreen, get overjoyed. Spend at least 45 minutes watching the video whilst changing positions. Walk away when video ends/starts over
Sunday, November 15, 2009
Saturday, November 14, 2009
Friday, November 13, 2009
Saturday, October 31, 2009
Thursday, October 22, 2009
Wednesday, October 21, 2009
Thursday, October 8, 2009
(Who feathers frightened fields
with the superior dust-of-sleep. wields
easily the pale club of the wind
and swirled justly souls of flower strike
the air in utterable coolness
deeds of green thrilling light
-in the woods
And the coolness of your smile is
stirringofbirds between my arms;but
i should rather than anything
have(almost when hugeness will shut
- e.e. cummings -
I love you more than all the fires
that fence in the world,
for the fire makes a circle of light for everyone
and then no one outside learns of you.
But the darkness pulls in everything-
shapes and fires, animals and myself,
how easily it gathers them! -
powers and people-
and it is possible a great presence is moving near me.
I have faith in nights.
-By Rainer Maria Rilke -
Wednesday, September 30, 2009
Thursday, September 17, 2009
Wednesday, September 16, 2009
or truth can live with right and wrong
or molehills are from mountains made
-long enough and just so long
will being pay the rent of seem
and genius please the talentgang
and water most encourage flame
as hatracks into peachtrees grow
or hopes dance best on bald men’s hair
and every finger is a toe
and any courage is a fear
-long enough and just so long
will the impure think all things pure
and hornets wail by children stung
or as the seeing are the blind
and robins never welcome spring
nor flatfolk prove their world is round
nor dingsters die at break of dong
and common’s rare and millstones float
-long enough and just so long
tomorrow will not be too late
worms are the words but joy’s the voice
down shall go which and up come who
breasts will be breasts and thighs will be thighs
deeds cannot dream what dreams can do
-time is a tree (this life one leaf)
but love is the sky and i am for you
just so long and long enough
- by ee. cummings-
Wednesday, September 9, 2009
Friday, September 4, 2009
Sunday, August 30, 2009
Thursday, July 23, 2009
Eternal Mash, Catherine van Campen (2007)
Ruurd Walecht's interest in historical crops began when he was very young. He started a life-long crusade to protect, preserve and maintain them. This Dutch Don Quixote of rare vegetables built an incredible collection of hundreds of crops that were on the brink of extinction. A few years ago, Ruurd suddenly moved to Sweden leaving his colourful mix of helpers behind. Eternal Mash tells the story of this master horiculturist and his Green Ark. Because his life's work is very important to all of us...
Supermarkets are lined with shelve upon shelve of products wrapped in colorful packaging and plastic foil. 50 types of butter stand in line, like girls in a beauty pageant, trying to lure eager shoppers to fall for their charms.
However, the vegetable department seems barren in comparison. You can almost imagine tumbleweeds rolling by as, amidst of all the color and splendor of the canned and packaged goods, you enter the deserted vegetable area.
Vegetables lie in puny piles in what is often the smallest section of the supermarket. Here you can’t find a vast array to choose from. No limitless rows of produce. No sexy luring. Only one type of broccoli, one type of cucumber and, if you’re lucky, 3 types of lettuce. (True; you can now decide whether you want to buy them sliced or whole, but that’s got less to do with choice and more with inner-city laziness.)
All this is due to international legislation that has permitted the influx of countless artificial and pre-packaged products, but has determined that only one species of cucumber is to be produced for consumption, ruling out all other variations of the vegetable. Consequently 75% of what used to be farming produce has irretrievably disappeared.
Instead we have opted to create genetically manipulated vegetables and fruits, shaping and re-shaping them until they grow faster, and look uniform and perfect in our eyes. No wonder lemons (normally yellow for only a few months a year) get a useless and slightly toxic coat of industrial wax to make them shine. Uniquely shaped fruits and vegetables are out of grace.
Produce is now grown under strict, sterile conditions in carefully monitored boxes and this is visible in the food we eat. Tomatoes might look beautiful, but inside they are filled with water and lack the taste that drew us to them in the first place. Vegetables have turned into Mediterranean coastal towns; once visited by foreigners for their uniqueness, and now built to the rim with high-rise uniform hotels, defacing and standardizing them. Gone are strong flavor, unique shape and size variety.
In Eternal Mash the maker addresses this very problem. For years Ruurd Walrecht had seen how vegetables were changing and being formed into glorified Xerox copies of their original ancestors, or disappeared altogether. So he started a project of collecting as many variations of plants, in their original, un-edited form, to preserve for posterity in a carefully kept field somewhere in the north of the Netherlands. Unfortunately, it seemed to be for def ears. As he fought to make government organizations see the purpose of his project, he only received support from a few fellow concerned citizens. So great was the non-support for his project, that after fighting it for some years he couldn’t stand the pressure anymore and left. Packing his belongings and moving to Sweden. Leaving behind disconcerted helpers, who’s life he touched, and an invaluable collection of seeds and beans. As with every such project, its value is only seen once it seizes to exist. And in this case it was no different. His seeds have been stored in so called gene banks, in order for the species to survive the rigorous regime of the uniformisation.
But this survival is as sterile as the conditions vegetables are grown in these days. Packaged in air-tight sealed sachets and frozen in huge refrigeration chambers, the seeds now wait until one day somebody might remember them and make them grow again. However, the gene bank employee tells us; “If there’s interest in using them for genetic manipulation they will also be released.” Thus destroying the whole purpose they were collected for in the first place.
Is society so far digitalized that we don’t care anymore about what we put into our mouths? That we content ourselves with having a quick, tasteless TV dinner, because that’s all we have time for. Will this, in time, merge into the nightmare scenario shown in Wall-E where humans drink all food, processed and mauled, from a cup? Is the lure of colorful cans and packaging so strong that fresh produce can’t compete anymore? Will more and more produce remain eternally unmashed? I guess only time will tell...
Wednesday, July 22, 2009
Saturday, July 18, 2009
Tuesday, July 14, 2009
Film review I wrote during a documentary film festival for a film magazine.
Not a mere recording of the creation of landscape art for New York’s Central Park by famous artist Christo and his wife Jeanne-Claude; The Gates is a documentary which symbolises the general public’s perception of art.
Passing through a period of 26 years, it narrates the bureaucracy and narrow-mindedness the artists had to face to be able to complete the finished piece; a two-week display of 7500 saffron coloured gates located over the park’s walkways. A project that cost around 20 million US Dollars, and was funded by the artists themselves.
What, everybody wants to know, is its purpose? “Why don’t you use that money to feed people?” and “The park is a piece of landscape art! To place another piece of landscape art on top of it would be like asking Picasso to paint the Guernica on the surface of The Last Supper!”. Then, in 2005, they finally get the green light. Hidden behind trees, people reluctantly watch as the first steel gates are erected in their beloved park, whilst muttering and complaining to the camera crew. Yet all this ceases the moment The Gates are unveiled; at first the park turns into a theatre, with great crowds of enthusiastic onlookers, then into a mystical place where the wind blows the fabric attached to the steel into beautiful saffron-coloured waves, framing the parks’ vistas and reinvigorating a space that everybody took for granted.
As one of the park’s inhabitants, a homeless man, states: “People think why don’t you use the money for something else, like feeding them and shit. Something like this, the money is well spent! I think it feeds the soul.” He should know.