“If you are a fan of Thai psychedelic music from the 60’s the design of this book alone will be enough for you.”
“Already rife with distrust, crooked smiles, and manufactured cutout econo-kit fashions, these images betray their ultimate aim, which is to represent an ideology through a gesture of the candidate’s ¾ portrait.”
At its surface, the need to stand, to rise, and to disembowel the state looks permeable
There was something nearly satisfying in the midst of tying his sister’s best friend to a board of broken glass
“I always imagine that it looks like a whisper would look if a whisper would wail.”
So goes the hysterical re-invention of hysteria by Javier Viver
I wanted very badly to rally the troop of self against THE MACHINE…
“Fuck, he’s going to take up my time telling me about how he’s been a photographer since the 60’s…”
Charlotte Lybeer’s “Epidermis II” for APE is not about teletubbies or suicide, but it is about the veil or a practice of shrouding oneself called “Zentai”, which like all things post-taboo seems to be Japanese in origin.
”The whole city though I am only in a neighborhood seems capable of changing its face as I am carried through it offering possibilities for omni-architectural and urban planning on rails”. I have this repeating dream in which I am in an urban environment not dissimilar to Berlin. The buildings have a late nineteenth century […]
The images remind me of the bulk of 70’s American photography. There is a bit of Arbus, Friedlander, Robert Frank, Garry Winogrand, Bill Owens.
Bertien van Mannen’s “Beyond Maps and Atlases” is a composition of dis-rhythmic proportion. Her investigation into the Irish landscape is not so much depressing as it alludes to the bittersweet.