I sleep with my phone in my hand. Not because I am afraid of missing a call that much. I hate talking on the phone and I usually don’t answer or return calls. It’s because I am texting or hoping for text before I fall asleep. I hate the verb text and all its forms. A phone is not a person, yet more than once the phone in my hand has turned text into a person, the phone has replaced itself with a body I can hold in my bed. Also, I like those tights.

April 2nd, from 9 to 11.30pm

The British film director Peter Greenaway has been arguing for some 20 years now that cinema is dead and we are simply waiting for the dinosaur to roll over. In retaliation to this impending crisis Hollywood pumps more and more money into their productions in the vain hope that they can survive with their old fashioned formulas which are clearly biting the dust. Peter Gr…eenaway, lucid as ever, has a new vision of what cinema could become, which he calls ZINEMA. On Saturday March 2nd at the Kriterion he will give a live two hour illustrated lecture about this new approach of re-creating cinema. This event is being curated by Jeffrey Babcock under the theme of Cinema Degree Zero, a series of lectures/performances that pronounce the death of cinema in order to make space for new possibilities of filmmaking. This specific event is being realized in collaboration with cinema Kriterion.

Painter, novelist, critic, VJ, curator and one of the most daring and innovative filmmakers alive, Peter Greenaway is internationally famous for an oeuvre of films such as A Zed & Two Noughts (1985), Drowning by Numbers (1988) and The Cook the Thief His Wife & Her Lover (1989). His visionary fusion of art and film is incomparable to any other filmmaker today. More recently he has completed the ambitious three-part multimedia installation “The Tulse Luper Suitcases”. Ceaselessly creative, Peter Greenway is always pushing film forward as a progressive and provocative art, in both form and content. He is currently a professor of cinema studies at the European Graduate School in Switzerland.

Text by EGS.

Reservations: +31 206231708

Location: Kriterion Cinema, Roetersstraat 170, Amsterdam, Netherlands

“The Pillow Book”, 1997 (quoted in details by Mireille Berton’s article for Sang Bleu 3&4)

Today someone pointed out I stole his book several years after I stole it. He asked me where the book was. If I do not know where it is, I do not know where it is, and if it is with me, it is with me, I said. I mean, we are all transitioning to disembodied states. We are mostly no longer located where our bodies can be found. I heard someone saying he had heard that an essay question they ask on the undergraduate application to Yale is Are you your body?
I describe books as creatures, with joy. I am a creature, says the book in my head, stretching, and then i say God damn that was some creaturely motion you had going. Seriously, when i take it, it curls into me and closes its eyes and makes a sound like the barest sound of wind over the top of a glass bottle. The book never buys anything plastic, indeed. For instance, it buys only glass bottles and it keeps them, all in the drawer.
I know where the bottles are if I know where the bottles are, and i know they are not with me, cause they are in the drawer.

Park Side of the Sun is the first show of the very new and utterly promising CURTAT-TUNNEL art space in Lausanne.

The show will feature works by Alexandre Barth, Nicolas Beaumelle, Hugues Jouvin, Marie Lancelin and Aurélien Porte.

Opening on Saturday, March 19th, 6pm
Visit in the presence of the artists on Sunday, March 20th, 3pm
Exhibition from March 20th to April 10th

Curtat-Tunnel is Maud Constantin, Philippe Daerendinger, Jean-Christophe Huguenin and Tatiana Rihs.

More infos HERE.

The article is by David Bennewith. HAVE A LOOK HERE!

It ends this way:

I would propose not simply more design criticism, but instead the notion of design criticism being more specific, focussed and engaged, building on the work of a few still surviving publishers of serials focussed on graphic design (and its more immediate borders) and that are independent, attentive, invaluable, curious, spirited and constructive: The University of Reading’s Typography Papers (Hyphen Press), Rhode Island School of Design’s Visible Language and also The National Grid, Baseline Magazine, etc.

Look for Dexter Sinister’s new magazine titled Bulletins of The Serving Library!

Some of my favourite covers of Atomage Magazine, found on this website: http://www.atomage.co.uk/

SOFT TARGETS is a poetry, criticism and image publication directed by Sang Bleu & Novembre contributors Dan Hoy and Daniel Feinberg.

The issue below was released a long time ago (2006 I think) but I just put my little hands on it. Good stuff.

ORDER SOFT TARGETS v.1.1; SOFT TARGETS v.2.2; SOFT TARGETS v.2.1 HERE!

> .001.Jean-Jacques.Schuhl
> .018.Jon.Leon
> .022.Ariana.Reines
> .024.X
> .025.Alexander.Kluge
> .037.Lara.Glenum
> .045.Nathalie.Djurberg
> .049.Thomas.J.Thomas
> .054.Atelier.Van.Lieshout
> .066.Solon
> .067.TIQQUN
> .074.Victory.Over.the.Sun
> .076.Chris.Marker
> .088.New.Geometry.of.Hostility
> .090.Alain.Badiou
> .107.X
> .108.James.Tate
> .111.Ralph.Lemon
> .115.Daigan.Lueck
> .116.Phan.Ba.Tho
> .124.Johannes.Göransson
> .128.Pierre.Bourdieu
> .139.Rosenthal
> .140.Arno.Schmidt
> .146.Tatiana.Trouvé
> .150.Jane.Gregory
> .152.Battle.for.Jerusalem
> .154.X
> .155.Allyssa.Wolf
> .158.John.Waters
> .160.Alberto.Toscano
> .166.Christian.Marclay+Daniel.Feinberg
> .168.Richard.Greenfield
> .175.Zoe.Leonard
> .179.Standard.Schaefer
> .186.Yto.Barrada
> .190.Ly.Doi
> .196.Henri.Michaux
> .202.Our.Man.in.Pyongyang
> .203.Three.Steps.Closer
> .204.Gary.Lutz
> .213.X
> .214.Roberto.Bolaño
> .216.Toba.Khedoori
> .218.Justin.Marks
> .222.Filippo.Del.Lucchese
> .227.Lucy.Harrison
> .233.Lisa.Jarnot
> .234.RAQS.Media.Collective
> .238.Ben.Lerner
> .241.Devious.Cruising
> .242.Epilogue
> .243.Credits
> .246.One.State.Solution
> .248.Blood.Count