Sunday, November 4, 2012

Satre - the Eeore of philosophy





As so described by one Amelia Evans.  The New Yorker offers:

Le Blog de Jean-Paul Sartre

Saturday, 11 July, 1959: 2:07 A.M.
I am awake and alone at 2 A.M.
There must be a God. There cannot be a God.
I will start a blog.
Sunday, 12 July, 1959: 9:55 A.M.
An angry crow mocked me this morning. I couldn’t finish my croissant, and fled the café in despair.
The crow descended on the croissant, squawking fiercely. Perhaps this was its plan.
Perhaps there is no plan.
Thursday, 16 July, 1959: 7:45 P.M.
When S. returned this afternoon I asked her where she had been, and she said she had been in the street.
“Perhaps,” I said, “that explains why you look ‘rue’-ful.”
Her blank stare only reinforced for me the futility of existence.
Friday, 17 July, 1959: 12:20 P.M.
When S. came through my study just now I asked her to wait a moment.
Rueful,” I told her. “Because ‘rue’ is the French word for street.”
“What?” she said.
“From yesterday,” I said.
“Oh,” she said. “Yeah. Right.”
“And you said you had been in the street.”
“I got it,” she said.
“It was a pun,” I said.
“Got it,” she said. “Puns aren’t your thing, are they?”
“They fill me with dread,” I admitted, for it is true.
“I gotta go,” S. said. “Hey, from now on? Maybe not so much for you with the jokes. It’ll be like an hour for lunch, I gotta thaw the poulet.”
Existence is a vessel that can never be filled.
Sunday, 19 July, 1959: 8:15 A.M.
Let others have their so-called “day of rest”! I shall continue to strive, to think, for in work alone is Man’s purpose. This is what the bourgeoisie seem never to grasp. Especially that lout M. Picard from No. 11. Every day is a “day of rest” for that tête de mouton. How I wish he did not have his Citroën up on blocks in the front yard! Appearances are without meaning, but still, it does not look nice.
Wednesday, 22 July, 1959: 10:50 A.M.
This morning over breakfast S. asked me why I looked so glum.
“Because,” I said, “everything that exists is born for no reason, carries on living through weakness, and dies by accident.”
“Jesus,” S. said. “Aren’t you ever off the clock?”

Sunday, October 28, 2012

Dawn Poems



Let me live, love and say it well in good sentences.











 Out of the ash 
I rise with my red hair
and I eat men like air.









And I a smiling woman. 
I am only thirty. 
And like the cat I have nine times to die. 

― Sylvia Plath

Friday, October 12, 2012

Kontrol


After crashing the Melbourne Festival opening party last night (literally - apologies to the bartender at the mercy of my wayward elbow), and being mesmerised firstly by Rineke Dijkstra's  I see a Woman Crying (Weeping Woman) at the ACCA opening


then by Santiago Sierra's burning K



- the dancing flames licking the cold Melbourne air, purple violently clashing against vibrant yellow, igniting the sweet smell of fire so foreign in the city.  Accompanied by a satisfying stunned hipster silence, (most blissfuly oblivious to the symbolism of this spectacle - the grand finale in the world wide destruction of letters calling a death knell to 'kapitalism')...


This evening was a sublime medley of dinner, wine and dessert at the wonderful Journal Canteen. 



A fantastic prelude preparing us for the beginning of the festival proper in the best cinema seats in Melbourne - ACMI.  We had come to appreciate the hectic and complex inner workings of the intriguing Anton Corbijn in his most recent biography Inside Out.

In love with his music video clips



and photography





and having already enjoyed the previous film documenting his (dare I say it) more fascinating earlier years in Shadow Play: The Making of Anton Corbijn.  Filmmaker Klaartje Quirijns’s Anton Corbijn: Inside Out delves into the psyche of this intensely driven Dutch artist.  One senses it's a keep-moving-lest-drop-into-the-abyss kind of momentum that propels the incredible commercial success of this dark photographer.   This film reveals the present day story behind the only man who could so honestly capture the romance of Ian Curtis in the phenomenal 2007 biopic Control.


All this and the festival's only been going for 24 hours...

Tuesday, October 9, 2012

Friday, October 5, 2012

Falling Water









"exalting the simple laws of common sense or of super-sense if you prefer determining form by way of the nature of materials..."

Frank Lloyd Wright, Fallingwater, Kaufmann House, Bear Run, Pennsylvania, 1936. 




From snapshots of friends to abstract images created sans camera in darkrooms or photocopiers, Wolfgang Tillmans has explored the medium of photo image making for more than two decades.  For his most recent collection of photos he explains “my travels are aimless as such, not looking for predetermined results, but hoping to find subject matter that in some way or other speaks about the time I’m in.” 
His exhibition Wolfgang Tillmans: Neue Welt will be on at the Kunsthalle in Zurich until November 2012.