N I H I L S E N T I M E N T A L G I A,
a blog about photography by Sofia Silva
caption: © Pierre Gonnord, “Ali” 148 x 125 cm. Color photograph under plexiglass, framed. I’ve had this portrait hovering in my desktop since November. From then on, I kept avoiding identifying the author and seeing further work, already suspecting my enthusiasm would be cut to shreds. It was and it wasn’t. I’m clearly not…
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Searching the web for author Glorija Lizde (b. 1991, Croatia), whose work Persona(L) I came to know in December due to Parallel Review, I was surprised to find a particular essay accompanying her project F20.5 (2016-2018). That particular text, published at Hulu-Split, is an excerpt from Ana Peraica‘s Culture of the Selfie: Self-Representation in Contemporary Visual Culture. But before…
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© Sanne Sannes, The face of love, 1965 © Sanne Sannes, Untitled, 1962-65 Can love restore the ‘primitive-ego’? is obviously not a question I have the answer for but, nonetheless, it is one that is worth revisiting now and then. It’s not difficult to understand that ‘falling in love’ is an event that messes with…
Read MoreSusan Hiller, Sisters of Menon, 1972 -79. 4 L-shaped panels of automatic writing, blue pencil on A4 paper with typed labels Susan Hiller, Dedicated to the Unknown Artists, 1972-76. Installation view, Tate Britain, London. «In fact, Hiller herself has commented that what her archive includes are moments missed, fleeting encounters with a movement that never…
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© Sofia Silva, Driving into a car crash, 2013 “What then of Ballard the author – is he drawn into Vaughan’s project in a way that makes him a literary and ethical reactionary? To say so would ignore how Vaughan’s idea and its totalizing impulse seems to be offered us, as much as not, as…
Read More© Gaëtan Gatian de Clerambault, photographs taken between 1914 and 1918, while C was in Morocco recuperating from a war wound. “…consider the relation of this figure to the photographs taken by Clerambault. Does this historical fantasy of colonial cloth underlie his photographs? Do we see in them not, as some of them seemed earlier…
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“As for Wilhelm Reich himself, upon whose ideas and career the film is largely based, today he seems less like a sex radical than like a crypto-conservative without knowing it. Reich’s glorification of the orgasm is actually quite heteronormative and prescriptive, as well as being entirely caught up within the discursive deployment of sexuality-as-liberation, described…
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