٠ The ‘ancient’ art of cut & paste (using one’s own hands, if you can imagine) ٠

© Christine Gensheimer, Hunde, 2007. Photo-collage. © Christine Gensheimer, Eberhards, 2010. Photo-collage. © Maria Kassab, Fauve. Paper collage. © Maria Kassab, Sans-titre. Paper collage. © Maria Kassab, Slow This Bird Down, 2013. Photo-collage. © Isabel Reitemeyer, Herr A. und Frau … Continue reading ٠ The ‘ancient’ art of cut & paste (using one’s own hands, if you can imagine) ٠

┐ the patriarchal fantasy of control └

© Max Ernst, The Roaring of the Ferocious Soldiers (Le Mugissement des feroces soldats). 1919 “Indeed, the apparent sadism of the photographs raised the specter of surrealist misogyny; but it also pointed to an adjacent issue no less difficult: are these surrealist transgressions of the body related to actual transgressions of the body during the period-from the mutilations of World War I to the atrocities of the Nazi regime? If so, why are these fantasies visited upon the female body? Do they partake in a putatively fascist imaginary, a peculiarly damaged ego that seeks a sense of corporeal stability in … Continue reading ┐ the patriarchal fantasy of control └

┐ WR: Mysteries of the Organism └

“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 and denaturalized by Foucault. (Indeed, as far back as the 1950s, Norman O. Brown had already denounced Reich’s privileging of “normal adult genital sexuality” over the multiple potentials of “polymorphous perversity”). Reich’s later ideas about orgone energy, for which he was prosecuted and persecuted by … Continue reading ┐ WR: Mysteries of the Organism └

┐ Kirsten Hoving └

© Kirsten Hoving, Birth of the star system, from the series Night Wanderers, 2010 © Kirsten Hoving, Music of the Spheres, from the series Night Wanderers, 2010 © Kirsten Hoving, Orion, the Hunter, from the series Night Wanderers, 2010 © Kirsten Hoving, Cassiopeia, from the series Night Wanderers, 2010 “Night Wanderers is a series of photographs envisioning the cosmos. I photograph objects and nineteenth-century photographs frozen in or placed under disks of ice to create the feeling of galactic swirls of stars, galaxies and spiral nebulae. For this series, I have been influenced not by the work of other photographers, … Continue reading ┐ Kirsten Hoving └

┐ Robert Seydel – Book of Ruth └

© Robert Seydel, all Untitled, from Book of Ruth, collages, c. 2000-09 Robert Seydel’s “Book of Ruth is an alchemical assemblage that composes the life of his alter ego, Ruth Greisman—spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms. These seductive, unearthed artifacts, conceived as a gathering of materials from the Smithsonian and a suburban family garage, construct a mosaic portrait of a reclusive, unknown artist for whom the distance between the ordinary and the extraordinary is infra-thin. The fragments … Continue reading ┐ Robert Seydel – Book of Ruth └

┐ AUTOMATISM as direct action └

© Bryan Lewis Saunders, under the influence of butane honey oil (left) and morphine IV (right) © Bryan Lewis Saunders, under the influence of 1/2g cocaine (left) and 1 “bump” of crystalmeth (right) “After experiencing drastic changes in my environment, I looked for other experiences that might profoundly affect my perception of the self. So I devised another experiment where everyday I took a different drug and drew myself under the influence. Within weeks I became lethargic and suffered mild brain damage. I am still conducting this experiment but over greater lapses of time. I only take drugs that are … Continue reading ┐ AUTOMATISM as direct action └

┐ Gemma Marmalade └

© Gemma Marmalade, from the series Animals, 2008 © Gemma Marmalade, from the series Animals, 2008 “Animal is a series of photographic portraits of a woman Gemma met on an internet dating/networking website in 2006. Without knowing anything of the artist or her motivations to make contact, the woman engaged in sending photographs of herself via mobile phone, some erotic, some banal. Over a period of nearly two years, the artist received 69 pictures before contacting Jane. Fascinated by her character and the disclosure that she used the offer of contact as an “anonymous online confessional”, Gemma learnt that she, … Continue reading ┐ Gemma Marmalade └

┐ Ting Cheng └

@ Ting Cheng, Icy Yoga Lesson, 2012 @ Ting Cheng, Where is my home, 2009 excerpt from an interview by Alexandra Plesner, from Dazed Digital Dazed Digital: Your images give the impression of a dreamer, trying to escape this asylum called life. Why does this concept fascinate you so much? Ting Cheng: As human beings, we learn from playing, we gain experience through trying. While I am not particularly good at planning, I am the queen of playing and trying. Inside the game, we are the controller. We press and release. We continuously select and restart, trying to break through … Continue reading ┐ Ting Cheng └

┐ Jakob Hunosøe └

@ Jakob Hunosøe, Thermos placed on lamp , from the series Out of Order, 2012 framed, 46,5 x 46,5 cm, Archival Fiber Print, edition of 5 @ Jakob Hunosøe, Tin pot and ceramic pot touching electric kettle on plate , from the series On Things Ordinary, 2010 framed, 46,5 x 46,5 cm, Archival Fiber Print, edition of 5 Rather than objectively exposing the surroundings, Hunosøe uses the photograph as a means of rewriting reality. With simple artifices such as reflections, additions and unexpected combinations, he adds a poetic, surreal dimension to his motifs. The photograph becomes an instrument enabling us … Continue reading ┐ Jakob Hunosøe └

┐ Sabrina Biancuzzi └

© Sabrina Biancuzzi, Untitled, from the series L’instant P, 1986 © Sabrina Biancuzzi, Untitled, from the series L’instant P “Specialised in film photography and old-style development processes, Sabrina Biancuzzi is both a photographer and engraver. A young woman passionate about what she does, she loves both working in the lab and the grain of film stock. Through her images she lets us glimpse our own distortions, those of dreams and the unconscious. Her personal voyages between dream and reality, today and yesterday, Paris and Brussels, show the world that our nights explore.” More of Sabrina’s work can be seen here Continue reading ┐ Sabrina Biancuzzi └

┐ Michel Medinger └

© Michel Medinger, chicken feet and striglithium, 2001 © Michel Medinger, aubergine albino “Working with a host of organic and inorganic shapes and forms, Medinger creates marvelously idiosyncratic tableaux that explore the dynamic interaction between object, form and meaning. Like a 19th-century cabinet of scientific curiosities, Medinger’s pictures of incon­gruous and decidedly Dadaesque juxtapositions of tools, flowers, fruits and vegetables, skeletal structures, marine and animal forms, and machine parts force a contemplation of the nature of life and mortality. Despite the dark and somewhat brooding quality of his work, there is an underlying whimsicality and humor to Medinger’s approach that … Continue reading ┐ Michel Medinger └

║ Janieta Eyre ║

© Janieta Eyre, Motherhood, from the series Motherhood © Janieta Eyre, Two pages from my diary, from the series Lady Lazarus “Speaking of photographs of racing horses, Rodin once said ‘It is the artist who is truthful and the camera that lies because, in reality; time does not stand still”. When Janieta Eyre states that “The media and photography have something in common: they are both more fiction than fact” she is reaffirming Rodin’s reasoning in an up-to-date way. She is also confirming that, despite appearances, she is the heir to a tradition that is far older than is usually … Continue reading ║ Janieta Eyre ║

║ Lien Botha ║

© Lien Botha, Inside the House the Mother did not Build, from the series White Stick for the Artic, 2008 © Lien Botha, Border Crossing, from the series White Stick for the Artic, 2008 “In the series, White stick for the Arctic, the female body — which one assumes is her own — is masked in each image. Sometimes it has the head of an animal, sometimes it is covered with a lace cloth (or shroud?).This enigmatic figure is placed in otherworldly landscapes caught between the states of dreaming and waking. The narratives of each piece are unfathomable, but intriguing.Environmental … Continue reading ║ Lien Botha ║