Dec 15, 2015

              

Dec 14, 2015

Screen Shot 2015-12-14 at 8.58.54 AM

Jonathan Thomas: I thought maybe we could begin by discussing the interview as a form. You selected the interview as one of your primary modes of writing early on, initially as a journalistic tool when you were writing for Paris Lettres, Les Lettres françaises, and L’Etrave in the 1960s, but eventually the interview became a way for you to work outside of existing academic protocols and expectations after you landed a job teaching at Columbia University in 1972. You’ve said in the past that you’re interested in the interview’s literary and dramatic possibilities; you’ve produced book- length interviews with thinkers like Paul Virilio and Jean Baudrillard, and your 1984 interview with Dr. Jacques Latrémolière, the assistant psychiatrist who administered shock therapy to Antonin Artaud (and talked about God with him)…

Definitely go read the Sylvère Lotringer interview in the new issue of  The Third Rail. I was interviewed by Jonathan Thomas in the last issue and absolutely loved the experience. He also takes the form of the interview to great heights.

Please enjoy the time and space.

              

Dec 8, 2015

6 5439  8  10 11

These images seem to keep coming back to me. Both via circumstance created by the world/internet and also seemingly from nowhere in my thoughts. They just appear. I don’t choose my thoughts but usually I like them :)

Limp Oak – Ian Kiaer 23/5 – 2/8, 2015 at Lulu.

Please enjoy the time and space.

              

Oct 14, 2015

Kahn-Untitled-worms-bath-salts-2014-gesso-acrylic-and-ink-on-canvas-74.5-x-55.75-x-2.25-in.-189.23-x-141.61-x-5.72-cm-CNON-56.910Kahn-I’m-Gonna-Be-Big-2015-ink-on-paper-28-x-21-in.-71.12-x-53.34-cm-CNON-56.939Kahn-You-seem-sad-2012-ink-on-paper-11-x-15-in.-27.94-x-38.1-cm-CNON-56.890Kahn-Untitled-2015-oil-on-canvas-14.5-x-17-in.-36.83-x-43.18-cm-CNON-57.057The Stanya Kahn show Die Laughing at Marlborough Chelsea was maybe my favorite surprise of an afternoon spent seeing pretty much every show that is up right now. Loved the video and returned to the gallery at the end of the afternoon to watch it in its entirety and took a cab to the airport from there. Weird, funny, deep and open.

“Did you know a cardinal will fight with its own reflection in a window?”

pics via CAD

Please enjoy the time and space.

              

Oct 13, 2015

martin_clear_day_doyle

Agnes Martin, “On A Clear Day” Printed Edition 49/50

I LOVE Greg’s idea to pull this edition back together. Especially this work. Especially her work. What a great “new” work that would be.

I hate broken up sets, and have long wondered if you could put one back together. And by you, obviously, I mean me. How long would it take? Could you track them down, or do you just have to wait and watch? Which number should you work on? Should you keep a stash of loosies available anyway, to trade with reluctant sellers?

What have these prints been through since they’ve been apart? Have they been cared for, kept out of the sun? Framed nicely? Framed crappily? Lone silkscreens are not very precious. And there are nearly 2,000 of these things out there. Some might be shoved in drawers, or stuck inside a book. Isn’t it likely that some might not have survived at all? If there are already a couple dozen complete sets around, what’s the value to Martin’s legacy of one more?

via greg.org

Please enjoy the time and space.

              

Sep 24, 2015

SWISS ROLU BED

Photo: Daniel Perez, Courtesy Swiss Institute.

PAVILLON DE L’ESPRIT NOUVEAU: A 21st Century Show Home, Bedroom. Bed by RO/LU, Nightstands by Ian Stell, Sconces by Lindsey Adelman, Fabrics by Konstantin Grcic and Hélène Dashorst. 

Swiss Institute Annual Architecture and Design Series: 2nd Edition
PAVILLON DE L’ESPRIT NOUVEAU: A 21st Century Show Home
Curated by Felix Burrichter
September 25–November 8, 2015

OPENS TONIGHT AT THE SWISS INSTITUTE! :) <3

10514439_10153190317009211_2360236907420245049_o

 

Felix Burrichter and Andreas Angelidakis on “4 Poster Bed” ♥ …

RO/LU believes there is no past or future… only the present moment in which everything lives IRL. The 4 Poster Bed, which most likely began it’s life in the 16th Century, has traveled to RO/LU for the present version of the Pavillon de l’Esprit Nouveau as an echo/shadow/smile that creates a literal proximity in form/poetry to the original Le Corbuiser version. The piece is constructed from welded wire mesh coated with chromaflair iridescent paint to help the object teach us about change, motion and time. The interior “ceiling” of the bed is outfitted with a full size mirror so that we can begin to see ourselves merge with the object we love.

“In the bed is the Bed. Without knowing it. The past tells the present the already forgotten story of them both.” Borges adjusted for Le Corbusier by Matt Olson

 

12002632_10153700394344319_8308915807990012661_oAngelo Plessas looking at the outside of the inside, inside the exhibit :)

HERE’S MORE

All space is real in the moment.

And everything is everything.

Please enjoy the time + space.

其實我在說的是關於很多洞,我在追憶我的八零年代,我的大學生活,我不能再喜歡別人了,我不值得。 難想像演完以後會怎樣。跟以前一樣大家拼命的 說我的問題是我太多洞了。 不管是對自己或者是在關係裡,我們都扮演某一種身分和模樣,姿態和黨派。我們不得不去塑造自己的形狀,總是在激勵自己,然後絕望。 拒絕成熟拒絕姿態但陳腔濫調              

Sep 17, 2015

WE’VE ALWAYS LOVED THE PAST. ESPECIALLY NOW THAT IT HAS BEEN SET FREE BY THE INTERNET… RELEASED FROM THE LINEAR ACADEMIC LENS OF TIME. ISN’T THE PAST SORTA CULMINATING IN THE PRESENT? SO, WE WANT TO LINGER BACK THERE AGAIN FROM THE PERSPECTIVE OF NOW. AFTER ALL, EVERYTHING IS ALWAYS CHANGING ALL OF THE TIME… EVEN THE PAST. THIS WAS ORIGINALLY POSTED AUG 8, 2011.
random photos on my desktop:
1) isamu noguchi  2) donald judd  3) sarah braman  4) dan graham
5) hiro kosaka  6) pino pascalli  7) francis alys
post title is random text from waterfall magazine
please enjoy the time as it passes.

              

Sep 14, 2015

Screen Shot 2015-09-13 at 3.37.52 PMScreen Shot 2015-09-13 at 3.38.03 PM Screen Shot 2015-09-13 at 3.38.00 PM

 

Man. Noguchi.

I remember the first time I went to the Noguchi Museum in LIC, I was walking up on the front, struggling to find the entrance, when a smiling young woman charged up to me with hand out ready to shake and said “Hi! You must be from MoMA?” I told her I was from Minneapolis. She laughed but still thought I was one of the people she was supposed to meet. It was a nice, energized encounter. Once we got it straightened out, we had a rich chat. She was a scholar who’d written extensively about Noguchi and she was meeting a group from MoMA. She told me some great stories about the buildings and work there. A story about him telling his assistant one day near the end of his life that it was time for him to return to the rock–his assistant knew he was in good health so, he wasn’t concerned–of course he died shortly thereafter. It was a magic little class and I’ll never forget it. She loved what she was talking about. I loved it all.

When PIN-UP Magazine decided to interview me, they asked me to pick my favorite place in NYC… of course, I picked the Noguchi Museum.

It was nice to see my friend Fred Bernstein writing in the WSJ Magazine on the outpost Noguchi and his assistant/collaborator worked from on the Japanese island Shikoku in the town of Mure. The property is still run by the stonecutter Masatoshi Izumi. He placed some of Noguchi’s ashes in the rock pictured at the top of this post.

As much as it seems like there are some uncertainties about how things will work out from the business/legal side of things, I trust the place and the work will find its way to the correct outcome. It is all clearly perfect. My sense is the New York entity presents an attitude/aura that is in contrast to the work. Business and legacy and money and conservator issues seem… so small. The work and the place, so large and true.

In a way it’s a perfect story: a man from the East and the West who is conflicted by his identity and isn’t sure which one is right to embrace. Both cultures emerge in him perfectly, he is successful in Western capitalist ways of the ego, the cash, notoriety but only because he so clearly embraced the spiritual side of his Easternness.

The article and it’s story of fear and anxiety about the situation in Japan ends on a saccharine note:

Then Dixon reached for a book published by the Japanese museum in honor of its 10th anniversary, in 2009. She opened to a page bearing a quote from Noguchi: “All things worthwhile must end as gifts,” he wrote. “What other reason is there for art?”

It shows a very western and, for me, shallow reading of what a “gift” is and what “art” is. Makes me think of another quote.

“In the stone is the Stone. Without knowing it. The past tells the present the already forgotten story of them both.” Borges adjusted by me.

I think Jenny Dixon, the Noguchi’s Director should breathe… then listen to this a few times.

If some of these rocks and buildings wandered away from our control? All the better maybe. The we could all experience some true saudade…

And below are some of Fred’s iPhone pics from his visit! I love looking at and thinking about the pre-Noguchi stones or the stones he and Izumi have started to work with but aren’t finished… or maybe they are.

11935108_10153510115428400_6356320051776842849_o 11938674_10153510119583400_3559914523580288673_o 11958238_10153510118658400_584828832179304261_o 12001009_10153510118593400_8056237212426138074_o 12001055_10153510115433400_9080524898144815972_o 12002412_10153510119048400_7619347659565602035_o 12006631_10153510115413400_2478823921444743814_o 12014964_10153510119783400_4863749911870730953_o

Please enjoy the time and space.

              

Sep 14, 2015

Screen Shot 2015-09-09 at 6.09.59 PM

A few years back, Sammie Warren was telling me about this piece… I think he’d read something about it in an old issue of Acne Paper? I never saw the article and haven’t fully thought of it since. The other day, chatting with my friend Frank, I remembered. It only took a few searches and there it was.

“Les Archives du Cœur” is an archive of 35,000 recorded heartbeats (at last count) that are permanently housed on the uninhabitable Japanese island Teshima, which is part of the Benesse Art Site Naoshima. The project was initiated by artist Christian Boltanski in 2008 and is ongoing.

I sorta wish I hadn’t looked at so many of the links the searches pushed up though? Too many pics of Boltanski and vids of the installation. I wish I coulda stayed with this above image and the concept of 35,000 recorded heartbeats on an island :)

Please enjoy the time and space.