If that does not satifiy our primordial wish for pleasurable looking, I don’t know what it does:

Petite Mort, 1991 (part 1)

Petite Mort, 1991 (part 2)

I read a book with a character almost exactly like you and confused her with you originally, and later especially. I glossed little differences— the way you crack ice with your heel isn’t how she would have waited for my arm, shivered. I was confused: I woke with one of you and dreamed the other, and I’m still not sure who I reached for. I hid the book when you came over. It had a pink cover and dark silhouette half turned toward me or some browser, like you had a bad thought in your head to shake out.
Only now you’re gone I try to peal you separate, remember you real. Like, it would have been you, not her who could steal half my drink without my seeing, you talking the whole while, your wide eyes open. And it would have been her who told me about the kids back then, how cruel they were, and she would have shouted and hollered me down when I stormed out on Sunday, and you would have been who I found when I ducked into the nearest bar, looking for someone alone, and she would have warned me about you.

Extrait 3 L'Enfer d'Henri-Georges Clouzot
envoyé par toutlecine. – Les dernières bandes annonces en ligne.

words © John Cotter
image © Henri-Georges Clouzot

The Cat Piano from PRA on Vimeo.

The Cat Piano is an 8-minute short film by The People’s Republic of Animation, co-directed by Eddie White and Ari Gibson, and produced by Jessica Brentnall.
The story is told in the form of a poem written by Eddie White, which is narrated by iconic Australian artist Nick Cave.

The Cat Piano’s graphic 2D look is achieved by animating the entire film by hand in Adobe Photoshop, drawing with Wacom tablets directly into the computer…

CAT PIANO’S WEBSITE HERE !

Zone before the mogamma, Cairo, 2008

Les écoutis Le Caire is a dual work that comprises a sound composition by Gilles Aubry and a poetic text in French by SB contributor Stéphane Montavon. Materials for both elements were collected during a six-week residency in Cairo in February/March 2007 & 2008.
The sound piece is based on the principle of ‘indirect listening’ to a busy city soundscape. It features recordings of several enclosed spaces chosen for their resonant properties and predominantly silent contexts : a bathroom, a market hall, a basilica, a courtyard, a refrigerator and a parking house. Throughout the piece the identification of the sound sources remains uncertain, as the distant hubbub of life in the streets diffuses inside the recorded spaces. Such ambiguity – further extended through the editing process – requires that the listener pay closer attention, and at the same time allows for a more intense musical experience.

The textual counterpart to the audio work is presented as a large wordmap that drifts through the various recording locations, as well as other places in Cairo. Rendering the rhythmical confrontations of diverse urban situations, the text focuses on their audiovisual discrepancies. In its fragmentary way, the poem sketches some of the city’s acoustical configurations, also taking aural snapshots of characters and scenes. These singular encounters are woven into a partial word-tapestry of gestures, images and sounds, providing a complementary glimpse into another indirect, though equally voyeuristic, form of listening to the city

More infos, translations, orders and reviews on Gruenrekorder’s website!

Speaking about the “London Festival of the Art of Japanese Bondage” here is a short video of Nawashi Murakawa at work at the Salon of Kinabku during year’s event. It was made by the very talented Patrick Siboni, who was also responsible for the stunning photo below.

text by Elisa Simi

Thousands of tiny lines performing and stroking like brushes build up shapes and tones in Laurie Lipton’s work, which sometimes appears surreal and sometimes macabre, while the pervasive inspiration from 16th Century Flemish Masters surely traces her hallmark all along her paintings.

Born in New York but based in London since 1986, Laurie has been drawing since the age of four and now, after 3 decades almost, she decided to collected 70 of her visions in a 96 page book The Extraordinary Drawings of Laurie Lipton, available here

Laurie manages to melt up a piercing edgy humor on social themes concerning the individuals, such as fear, politics, sexuality, mayhem, greed, indifference.

Disturbing only at the first glance, afterwards it becomes more and more fascinating as entering the second level of observation, that witnesses how the drawings lead the spectator deep in the details, just grabbing the sight.
If you fancy to wear miss Lipton’s controversial subjects, she recenlty realized a Tees line for All Saints, if you wish instead to see her paintings, she’s opening an exhibition, Weapons of Mass Delusions, at Grand Central Art Center (Santa Ana, CA) from the 1st of May.

1. DANCE HALL OF THE CORPSE COUPLES, charcoal & pencil on paper, 84 x 74.5 cms
2. FAMILY REUNION, charcoal & pencil on paper, 66 x 96.5 cms
3. RESURGAM, charcoal & pencil on paper, 79.5 x 60.5 cms
4. RUSH HOUR, pencil on paper, 74 x 59 cms
5. THE KISS, pencil on paper, 64 x 87 cms
6. WHILE MOMMY COOKS IN THE KITCHEN, pencil on paper, 63 x 93 cms

In spite of a youthful fascination with Futurism, Lye was less interested in the mechanical motion of the modern world than in the raw kinetics of nature.
In a 1975 essay entitled “The Art That Moves,” Lye summarized his interest in motion:

“I, myself, eventually came to look at the way things moved mainly to try to feel movement, and only feel it. This is what dancers do; but instead, I wanted to put the feeling of a figure of motion outside of myself to see what I’d got.”