In Pier Paolo Pasolini’s 1970 article “Unpopular cinema” (Il cinema impopolare), now included in “Heretical Empiricism”, he articulates in detail the non-dialectical relationship between cinematic author and cinematic spectator in terms of liberty and liberation. He starts by abruptly suggesting that liberty is ultimately nothing else than “the liberty to choose to die”.

This oppository (oppositorio) conflict which takes place in the “unknowable depth of our soul”.

Boy with Toy Soldiers
c. 1876
Antonio Mancini (Italian, 1852–1930)
Oil on canvas, 29 1/2 x 24 3/4 inches
Philadelphia Museum of Art, Vance N. Jordan Collection, 2004

I am going to jump kick your face and then kiss it.

I have been practicing my jump kicks every day.

I have been practicing my jump kicks at least three or four times a day.

That means I have performed more jump kicks than the average human.

That means when I jump kick your face you will notice the power.

That means when I jump kick your face, it will mean more than if someone else did it.

After I jump kick your face I will kiss it.

There will be many kisses—an amount that eventually becomes annoying and vaguely frightening. They will seem mad.

And I won’t even feel emotion while I’m kissing your face. It will just be something I am doing.

I will kiss your face repeatedly. Mainly in the cheek area. But sometimes on the nose and sometimes on the forehead.

And sometimes my mouth will be open. Sometimes my front teeth will touch your skin but it will be accidental. And I promise to open my eyes to assure you if that happens.

When you feel teeth and then open your eyes, mine will already be open.

But I will not stop kissing your face.

The pleas to stop will not be obeyed.

The next day you will wake up with your face against the pillow, your jump kicked and violently kissed face.

It will hurt.

You will touch it and feel how it hurts.

I am practicing my jump kicks; my kisses are already pretty good.

You will get one of the former and many of the latter.

You mean nothing and you are nobody.

You are a crumb in my bellybutton.

As it is the 25th Anniversary of Jordan Brand, NIKE is releasing a lineup of classic Jordans in all white. A beautiful “naked” pair of sneakers. I am SO going to jump, kick & kiss!

Text above @ kissable Sam Pink

Melodies & Rocks / Copyright

14. 11. 2009 – 16. 1. 2010 @ Karma International

David Hominal & Dieter Roth
Dawn Mellor & Lucy Pawlak
Tobias Madison & Emanuel Rossetti & Ettore Sottsass & Möbius
Martin Soto Climent & Meret Oppenheim

When Walter Benjamin questioned the aura of the artwork in his famous essay “The Work of Art in the Age of Mechanical Reproduction” he launched a discourse that in the years to come has grown even more acute. There has been a shift of perspective not only concerning the production of art but also concerning the question of authorship. Today a young generation of artists addresses this question very consciously, blurring the boundaries between their own ideas and influences from their peers.

Melodies & Rocks / Copyright is using this theme by addressing the issue of authorship and originality within art in relation to the process of creating and being influenced by others. This question involves a positive and a negative form of intercommunion at the same time. The show displays four different approaches towards the issue: London-based Dawn Mellor (*1970) and Lucy Pawlak (*1980) both work in strong narrational structures creating unique universes circling around specific topics. For the show at Karma International Mellor, who used to be Pawlak’s tutor at the Royal College of Art, took up the challenge of working with Pawlak’s main topic: an invented family that revolves around the patriarch character of the „Bearded Man“. As a response Mellor created a female character: Ingrid Thulin, the separatist sister of the “Bearded Man” who refuses to obey her brother’s power and chooses to destroy herself rather than living with her family. The installation with Pawlak’s dark and uncanny family tree and Mellor’s self-destructive portraits visualizes the dialogue between the two artistic practices.

Text by Karma International

Every time I come home I stand in the doorway and say, “It’s time for a monster to eat me now.” Then it does.

When I go to bed and pull the covers open, I say, “It’s time for a monster to eat me now.” Then it does.

Every time I get out of bed I say, “It’s time for a monster to eat me now.” Then it does.

Every time I leave my home, I say, “It’s time for a monster to eat me now.” Then it does.

Illustration appears in the May 1957 issue of Sexology: Sex Science Illustrated Volume 23 Number 10.

Text was written by Sam Pink.

For the upcoming double-300-page-volume upcoming fifth issue of sang bleu, Alex Binnie—whom I consider a kind of spiritual guide—wrote me a stunning essay on the power of tattooing. “Raw Power” it is entitled. To illustrate it our Adrian Wilson shot a series of people tattooed by Into You’s Thomas Thomas. :)

press photograph dated 1926
Collection Jim Linderman

“Nature morte et enterrée”
an exhibition of Théo Mercier’s work
galerie gabrielle maubrie
24 rue sainte croix de la bretonnerie
75004 PARIS
till decembre 24