mark vs mike

Mark Dion, New England Digs, 2002

Mike Kelley, The Endless Morphing Flow of Common Motifs (Jewelry Case), 2002

Crepusculo sul mare

by Piero Umiliani

Tóto La Momposina – Curura

Barbed wire and women are the two greatest civilising agents in the world

http://www.tcm.com/mediaroom/video/298221/Heaven-s-Gate-Movie-Clip-Roller-Rink.html

“If explanations exhausted my work, it would die and stop being art. [...] The artwork would be no more than a redundant illustration of a theory. It is possible that much of my work is no more than that. But if there is any part of it that survives beyond the reading of this text, it does so because of its inexplicability. Only this inexplicability is capable of an expansion of knowledge. Therefore, we find ourselves again in the realms of magic, of a surprised credulity, of passing mysteries as a validating condition for art. The creative process is lighted by theory, but true art stalks from shadows incompletely evanesced.” Luis Camnitzer, 1986.

Mort Garson 1975

La projection de Mercator

1569

Hitler Terceiro Mundo

Sade/Sacher-Masoch par Deleuze

"Plus généralement, il y a deux manières d’interpréter l’opération par laquelle la loi nous sépare d’un plaisir : ou bien nous pensons qu’elle le repousse et l’écarte uniformément, si bien que nous n’obtiendrons le plaisir que par une destruction de la loi (sadisme). Ou bien nous pensons que la loi a pris sur soi le plaisir, l’a gardé pour soi ; c’est donc en épousant la loi, en nous soumettant scrupuleusement à la loi et à ses conséquences, que nous goûterons le plaisir qu’elle nous interdit. Le masochiste va encore plus loin : c’est l’exécution de la punition qui devient première et nous introduit au plaisir défendu. "
Deleuze, De Sacher-Masoch au masochisme, 1961.

Thérèse Philosophe

To talk about it

"I am strongly drawn to ---, and almost as strongly offended by it. That is why I want to talk about it, and why I can. For no one who wholeheartedly shares in a given sensibility can analyze it; he can only, whatever his intention, exhibit it. To name a sensibility, to draw its contours and to recount its history, requires a deep sympathy modified by revulsion."

Sunsan Sontag, Notes on "Camp", 1964

Subliminal

Muntadas, This Is Not an Advertisement, Times Square, New York, 1985

Rigid Body Dynamics

A joke

Ad Reinhard, Portend of the Artist as a Yhung Mandala, 1956

See it's ok he saw it on the television