Pasquale Bove and Luca Santese: Vamos a la Landfill
“Perhaps she is transsexual. My only real experience with Italy prior to 2002 is when I tried desperately to buy weed from a transsexual prostitute along the outer wall of the Protestant cemetery in Rome. It ended in an angry dismissal of my interests and my being from said prostitute. “No sex, No weed Fucking American””
Federico Clavarino: The Errant Future of History
“The castle, which controls the populace, does so through an absolute production of its image. It is a tale in which plebian might is as disorganized as any contemporary parallel for leading a resistance against the juggernaut who rules by fear and an unethical chess game between the citizens and the tyranny of the castle’s own image”
Roger Eberhard’s Faux-Familiarity & Standard Suffocations
“The utter faux-familiarity of these rooms, from the plastic painting on the wall to the synthetic bed spread made from all manner of recycled and threaded nylon from fish net stockings to actual fish netting makes one queasy”
Stars and Stripes: Militarized Cocaine Camerawork
“Without naming it, I can tell you Brian motherfucking de Palma has a lot to answer for.”
Ed Ruscha – Words Have No Size (2017)
The road to being an artist was “like blind leading the blind” says Ed Ruscha, who grew to be one of the most recognised American artists of the 20th century. Hear the story of West Coast Jazz, his break with abstract art and L.A. in the 1960s. When Ed Ruscha entered the Los Angeles art […]
Steven Shearer: Ornament is Not a Crime. It is a Crypt.
“I think some contemporary subcultures can offer a kind of phrenological shortcut back to different epochs and their manners of appearance”
Christian Nilson: A Meatball in the Fondue
“It’s always the differences that inspire. We rarely document the “familiar outside”
John Maclean: The Agony and Ecstasy of Artistic Influence
“In a sense I was trying to complete a circle: I travelled to the neighbourhoods that had some bearing on the childhood development of my art-heroes and consequently on the art they made as adults, and then I tried to photograph these places through the ‘afterimage’ of the artistic influences these works had imparted on me”