yesterday I attended to the “concert” Rick Ross gave at local club “L’Amnesia”. I wish there was a lot to say about it, but there isn’t. Great music.

Some say abuse takes the best parts of us.

A recent conversation with Marie-Caroline Hominal and François Chaignaud (related in Novembre, Issue 2) led me to a much recurrent thought: public bodies.

Vito Acconci told that among the Marxist beliefs he had espoused in the 1970s but still felt compelled by was the conviction that the rejection of the value of private property should begin with a changed attitude to your own body, with the radical readiness to understand this body and self as public and political, 24/7.

The refusal to claim your potentials as private property and the will to allow them to be used, exhausted or abused by others, implies a generosity that to me, however, has little to do with moral altruism. It seems rather more driven by an unrestrained desire to enjoy and be enjoyed by others. A way to connect it all, the whole world. Sweet soul of abuse. Always exhibited, and forever owned. Always flying, and forever falling.

Laurie Anderson – Walking And Falling from J. Christian Guerrero on Vimeo.

(rotary tattoo machine made by Shagbuilt)

on Richie’s arm. BY…

tattooed by Rinzing

A body of work can turn out to be a milestone in an artist’s career. Somehow it might seal this artist’s fate as well as the perception you can have from him / her.

Sometimes it ends tragically as for Pasolini who has probably been assassinated in the aftermath of Salò. At some other time, an inflatable rabbit can transform a trader into one of the most successful contemporary artists. More rarely, it can also be a redemption as with Leni Riefenstahl’s The Last of the Nuba. Published in 1973, this book is documenting the 15 years she spent in Sudan and rehabilitated her artist status.

Many thanks to Lyne Friederich who scanned these images.