IO Echo is tonight’s photo editing soundtrack.
First video directed by former New York City Ballet principal dancer Benjamin Millepied.
untitled, 2004, 23.6 x 19.7 in, from Beaugrenelle
I am bringing back some of my favorite past interviews as I prepare to release issue 11 of Cheap & Plastique. C & P interviewed Berlin-based artist Georg Parthen for Issue 10. See more of Mr. Parthen’s work here.
C & P: You live in Berlin currently. What do you like most about living in Berlin? Least?
Georg: The city is exciting and inspiring, yet life remains relaxed. “Always changing, never twice the same.”
C & P: Do you frequently travel outside of Berlin (and Germany) to find subject matter for your artmaking practice?
Georg: Traveling puts me in a state of heightened awareness and allows me to clearly focus on a body of work. For some projects it is a crucial part and I could not produce a series like Landschaften without extensive trips to find these locations.
Enklave, 2009, 37 x 63 in, from Landschaften
C & P: How do you choose/scout out locations for future photo series? What is your conceptualizing process like?
Georg: I change my process according to the work I am producing. Partially I know the locations for my photographs from previous experience, partially I visit locations based on research. Sometimes I intuitively choose a region to travel to which I hope offers physical representations of ideas for images I already have in my head.
C & P: Has your work always consisted of digitally constructed, altered images? Or was there a time when you made more straightforward documentary photographs? Are the images in the series Carports strictly documentary and not digitally manipulated? Did a shift in your work occur or do you work on both types of series simultaneously?
Georg: I started out using photography traditionally, shooting 35mm and developing my own film. Since then I have moved through a lot of different formats and techniques slowly shifting towards digital tools. This evolution has expanded my understanding of the medium and allows me to make my work with far less compromises than traditional techniques.
Kuppeln, 29.6 x 48.9 in, 2007, from Landschaften
C & P: The images in this series Landschaften, such as Kuppeln, Enklave, and Dorf, are not real places, they are constructed. Could you talk a bit about your process of creating a series like Landschaften? Where do the individual elements, such as the Buckminster Fuller style domes in Kuppeln, that populate the landscapes come from? Have you shot all of the elements used in the photographs yourself? Do you ever source bits and pieces of imagery from elsewhere (image banks, the internet, etc.)?
Georg: Thus far I have been photographing all elements for my images myself, mostly for practical and partially for technical reasons. Before I find it I usually I do not really know what i searched, so I heavily rely on the world to provide what I am longing for. The moment I am physically present in front of one of these buildings or landscapes very much defines the shape of the work I am going to make from it. I like this romantic idea and don´t want to replace this with an online image search. Also I need a certain technical quality for my sketches I don’t think I could source currently.
Usually I make trips to a certain region or location to photograph for my archive which consists of anything from image fragments to complete shots where most of the final work is already inclosed. Later in the studio I construct the Landschaften from those. Often I work on two different versions of the same image side by side to trying to carve out different elements until I can decide which one feels and functions better.
Berg, 2009, 37 x 70.5 in, from Landschaften
C & P: The landscapes (from the series Landschaften) bring to mind Caspar David Friedrich’s paintings, is he an influence on you? Are your images constructed in a manner similar to how CDF worked, piecing together many different sketches to create one final picture?
Georg: When first starting to make the Lanschaften I did research Caspar David Friedrichs’s work. There are more differences than similarities to our works and approaches though, even though I also make my images in the studio from sketches I compile in nature. Apart from the great manual difference between painting a canvas from drawings in a sketchbook and montaging photographs on a computer Caspar David Friedrich heavily encoded meaning into his work through a use of elements and symbols to the point where a certain color represents a certain emotion, something I have no interest in.
Also not all my landscapes are pieced together; sometimes I make one from a single capture, adding or changing certain elements. I would not hesitate to include an image in the series that has not been altered at all if it would evoke the same doubts in me as the others.
Firma, 2010, 41 x 29.6 in, from Landschaften
C & P: The architecture that makes its way into your landscape pictures, in the series Landschaften particularly, tends to overtake the natural landscapes and look somewhat foreboding, the structures do not look like they belong in the setting, the complete picture sometimes does not seem to make sense but one is not sure why. The architecture also looks somewhat futuristic (as in the work Firma). There are no roads leading up to these architectural constructions. When constructing these imagined places are you visualizing a land which may have once been inhabited and has now been deserted and left to decay? Are you interested in architectural ruins in this work (or any of your work)?
Georg: No. My use of architecture is not single-coded. Usually I work with structures that are not signifiers of a certain location but rather of a time and vision. I want a contemporary appeal yet I am interested more in the image than the the individual structure that was in front of my camera. The architecture stands loosely as a metaphor for the different conceptual layers of construction I wish people to contemplate. Here the structural construction of the architecture and the fabrication of a realistic landscape in the work, there the photographic transformation and your process of creating meaning in the world.
C & P: Are you imposing (utopian) ideals of the 20th/21st century of progress, growth, and building with the placement of huge man-made constructions/formations in the midst of these natural, untouched landscapes?
Georg: Definitely. If you look at my work from recent years I too am progressing towards the future regarding the historical references of the individual works. I started out with work about baroque architecture, then made the the Beaugrenelle series about a Parisian quarter which had been envisioned as a vision of urban life in the 1970s. After Beaugrenelle I made work about Multiplex cinemas built in the last two decades and have pretty much reached the present time with the Novae series and the recent video works.
Multiplex XXVIII, (Cinestar Dortmund), 2007, 23 x 18.1 in, from Multiplex
C & P: A documentary photographer attempts to produce truthful and objective images on film (or with a digital camera), however, making a photograph that represents the truth may be an impossible goal—as there may not be a way of representing universal truth and reality changes from moment to moment. Do you feel that an image can be truly objective or is it always subjective? How do you feel about the idea of “the decisive moment”?
Georg: “Compared to a painting the photograph loses its own reality more and more as it renders the other one. That way the only ‘reality’ of a photograph is its own unreality, its not-being-there is its actual quality.” (badly translated from: Gerhard Richter: “Text”, pg. 114, letter to Benjamin H.D. Buchloh, 1979).
I do not think an image can either be objective or subjective and I am not even sure what these attributes really mean. As artists working with photography we ponder and argue about these questions all the time, especially with curators and art historians.
A photograph is always a pretty severe abstraction from what happened in front of the apparatus and we are all more or less consciously aware of that.
In my work there is no decisive moment. There are only moments, sometimes hundreds in which the shutter of my camera has fired. My images do not refer to an instant of time stretched infinitely but rather to have no time at all, as paradox as it sounds. This is their reality—an indefinite moment.
C & P: You use the techniques of a documentary photographer but with a completely different goal for your end result. Are you are questioning the role of the photograph in society as a document of truth, considering that photography also has the ability to be misleading and false (and is often used for these means)? Do you believe all reality is constructed in relation to photography?
Georg: I do believe that all reality is constructed in relation to photography. But all meaning is constructed in regards to reality.
Multiplex XXXIII, (Cinestar Köln), 2007, 21.2 x 15.8 in, from Multiplex
C & P: What is it about the blurring of the line between construction and documentation that interests you?
Georg: When an image does not affirm what you already know you will try to make sense within the system of all your knowledge and find a meaningful place for the new bit it just received. If these incongruencies happen over and over again there is a chance that you start to reconfigure your system, recontextualizing everything you know. Working this way I hope to create an emotional and rational tension where my work can actually change how the viewers perceive their world.
C & P: You have said, “I would love to see imagery that is so normal or so boring or even so bad that I can hardly stand looking at it.” Do you have any examples of images that have succeeded in this task? What is it about the concept of an image being boring, hideously beautiful, or just plain bad that interests you? Do you like these images?
Georg: I feel these qualities are often easily discounted but can be used for artistic inquiry in many ways. Boredom and annoyance are strong qualities of a work that can create a disturbance or even an annoyance.
untitled (ecs 1), 2010, 20.5 x 15.4 in, from Novae
C & P: You photograph the interiors of stores that sell electronic-based consumer goods in the Novae series, such as televisions, mobile phones, stereo systems, dvds, and music discs. How do you feel an individual’s desire is shaped for these electronic objects when the environment one purchases them from is so sterile (to almost a surreal degree)? Are you interested in the creation of desire for newer and newer technology? Are you critiquing the rampant consumerism of today’s world in this series?
Georg: Novae is definitely a comment on these spaces but I did not intend it as a critique of consumerism. I am filled with wonder when I spend time at these stores and perceive them as the “Wunderkammern” of our time. Their visual abundance is beyond what the human mind is able to compile and the natural response seems to be—buy something, then leave immediately.
untitled (mmk 1), 2010, 20.5 x 15 in, from Novae
C & P: Could you tell me a bit about the process of creating the images of the superstores in Novae? The images of these interiors seem hyperreal, the objects within the spaces look sculptural. Are you lighting the space in a certain way while shooting to achieve this hyperreal effect, are the images enhanced in Photoshop, or is this a relatively accurate representation of how the goods are marketed to the consumer—stacked, orderly, well-lit?
Georg: As most of my works, the images in Novae are montages from several images to create a rendering that I hold specific and true to these spaces. It took me a while to figure out how to deal with these spaces and overflow of visual information. After shooting for a while I realized that not to get lost I made these strict image compositions, concentrating on the the sculptural qualities of the store displays.
I decided to embrace that and make the images where all the small fragments demand your attention equally and only the sculptural order provides some emotional resting place.
Plateau, 2007, 29.6 x 39.8 in, from Landschaften
C & P: Most of your pictures are people-free, do people/figures ever make an appearance in your work?
Georg: For my questions of inquiry figures have not [yet] been important.
C & P: You mentioned that lately your work is growing less and less “project-oriented” or “pre-visualized”. You are creating more video works rather than still images, such as the Modul series and untitled (AFX). Could you talk a bit about how this shift occurred and the direction you see your work going in in the future?
Georg: I grew tired of working from my preconceptions of the world. Working with a concept has the benefit to know the boundaries of a project and it speeds up my working process. However, I felt it also limited my possibility for true discovery, which I wanted to allow in my work to a greater extent. In the past two years I have shifted my process towards a more circular way of working where my work acts as a source for itself, which dictates the form and direction it is going. The introduction of video work is a direct result of this shift.
C & P: In your Modul videos, you’ve focused on long static shots of noisy generators against backdrops where elements such as tree branches and leaves jostle minimally in the breeze. Can you talk about what type of buildings these generators are servicing? Are they residential properties? Do the structures, largely unseen in the work, for which these machines exist, play a role or is the generator itself the central focus of the work?
Georg: The buildings they are serving are schools and office buildings; not unlike the one I used in Firma. On recent trips to the U.S. I grew aware of these “black boxes” that create the background sound of our time, yet remain mostly unnoticed. As with many technical devices we need to rely on abstract knowledge in order to understand what they are doing, in this case these “modules” serve as cooling devices for the houses. Besides their main function they also consume a lot of power and produce noise and heat.
Modul 1, 11:40 minutes, Loop, HD-Projektion, 2010
C & P: These generators are objects that the average person would pass by without ever taking notice of or considering. With the videos focusing on them so intently, it seems to me that the objects take on a whole new set of traits or characteristics. I don’t want to make the jump of saying this humanizes them but it does seem to lend them an individuality or even a personality that is born wholly of the unusual attention being paid to them. Is this an intent of the work, that we consider these machines outside of their usual context of purely functional objects? Similarly, we can look at these videos and see very little actually going on that is immediately visual. However, when we think of the purpose of these central objects, to provide power and electricity to buildings housing or servicing large numbers of people, it is also possible to imagine a multitude of lives and stories unfolding behind the scene.
Georg: Transferred into a representative work my “Modules” become absurd functional objects; their purpose not to cool the building they are servicing but to represent themselves and by doing that generating heat and noise in the exhibition space. On second sight one might discover a strangeness in them which could be result from the fact that the videos are montaged but also could be a quality of the objects themselves.
C & P: Did you have any desire for these seemingly straightforward shots to serve as referential devices in this way or as a means through which to contemplate the relationships between people and their environments?
C & P: Is the noise the generator is creating an important aspect of this work? Have you ever worked on sound pieces in the past?
Georg: It is important, no I have not worked with sound before.
untitled, 2004, 23.6 x 19.7 in, from Beaugrenelle
C & P: Have you been looking at any artists who do work with sound in their art practice as of late?
Georg: I just finished watching Mark Leckey’s GreenScreenRefrigerator which is amazing. His work disturbs and inspires me.
C & P: You mentioned to me that you are collaborating on a set of digital sketches about ideas of image construction with Christian Hellmich, who is also featured in the magazine this issue, could you tell me a bit more about this project? What prompted this discussion and exchange? Will you be showing the final outcome in a gallery setting?
Georg: The exchange with Christian is an experimental dialogue. We send each other files and working instructions and collaborate on images in a way that each image goes back and forth between us several times until one of us decides that it is done. The initial motivation was a mutual interest in each other`s concepts of perceiving an image based on our rooting in different media. There is no intended final result and thus far it serves as a well of inspiration and basis for arguments and discussions. We exhibited one work in a group show in Munich but besides that we have no plans for exhibiting the work yet.
C & P: Tell us what else you are working on now. Do you have any exhibitions coming up in the near future?
Georg: For more than a year I have been working on a set of constructed still-life images and an accompanying publication, to be finished in the summer.
Part of the Novae pictures will be shown in a group show in the Goethe-Institut in St. Petersburg in April and May.
C & P: Where can we find your portfolio website?
I am bringing back some of my favorite past interviews as I prepare to release issue 11 of Cheap & Plastique. C & P interviewed Pittsburgh-based photographer Ed Panar for Issue 9. Ed was featured in TIME’s Best of 2011: The Photobooks We Loved and was also picked by Alec Soth for his Top 20 Photobooks of 2011. Animals That Saw Me is available here.
C & P: You currently live and work in Pittsburgh, PA. What do you like most about living in Pittsburgh? Least? Is this where you grew up?
Ed: I just moved back to Pittsburgh earlier this year after spending the past few years in Brooklyn. The town I grew up in is about 70 miles east of Pittsburgh so I didn’t grow up here, although it shares some similar qualities with the town I’m from. It wasn’t until I lived in Pittsburgh for the first time in late 2005 that I came to have a greater understanding and appreciation of the city. It was also the first time I actually started to understand how the city is intertwined with the rugged topography of the area. I really came to appreciate this quality very much. There are a lot of things I love about Pittsburgh. I love its range of moods and atmosphere. The labyrinths of streets and neighborhoods scattered along the hills, rivers and forests. All the bridges, narrow alleys, and hidden staircases. I could easily go on. Since moving back it’s been really wonderful so I don’t have too many complaints at the moment!
C & P: Is Pittsburgh bustling with creativity since it is a relatively inexpensive city to live in? There seems to be quite a few arts spaces there, are you affiliated with any of them? Do you show your work anywhere in Pennsylvania or the US?
Ed: I don’t know too much about what is going on locally at the moment, so I can’t really speak about that. But I am interested in working on a lot of different projects while I’m here and hope to help contribute something to the local scene. A new photography bookshop and project space called Spaces Corners just recently opened in Pittsburgh and the founder Melissa Catanese and I are working together on a series of photography events and programs for the upcoming year.
C & P: I went on a pilgrimage to Pittsburgh a few years ago, to go to the Andy Warhol Museum, and ended up being pleasantly surprised by the city. I found it to be a very photogenic (I loved the nighttime fog) and friendly city, I ended up taking a ton of photographs while I was there. Do you shoot mostly in Pittsburgh or do you journey outside of the city on shoots?
Ed: I always photograph where I live, and every place has its own unique photographic possibilities. But Pittsburgh is definitely one of my favorite places to wander around and take pictures. The possibilities of taking pictures here feel endless. I already have quite a few photographs of Pittsburgh from when I lived here previously and from visiting over the past few years, but I am looking forward to adding to them and working on the next chapter.
C & P: I also ventured out of the city to Braddock and some smaller surrounding towns. I had never been to a place quite like Braddock before, where everything was just shuttered and in a state of decay, even the churches, it was eerie. Have you been to Braddock? Do these semi-abandoned, depressed, ex-steel mining areas hold any interest for you as a photographer?
Ed: These places absolutely hold my interest as a photographer. I haven’t really spent much time in Braddock, but I’m familiar with it and many other towns that share the traits you mention. I grew up in Johnstown, which is also a former steel town. Growing up in Western Pennsylvania, it always seemed as if every town you were in was a former industrial town of some sort on the decline. The post-industrial landscape has always had a sort of mythological presence to me as well and I’m sure part of my attraction to these types of spaces is due to my personal relationship to them. As a kid it was easy to imagine these sites as some kind of ancient ruin for a visiting alien population, or as the backdrop for any of a number of stories. So these types of places and spaces are something special to me. But I don’t really seek out the empty areas specifically, although they aren’t hard to find. I’m also interested in the old parts of town where people still live, where life goes on just like anywhere else.
C & P: How do you scout out locations for photo series? Do you research places on the internet? Or do you randomly travel somewhere with the hope of finding something interesting to shoot? Or is the location of where you shoot unimportant to you, are you always looking for an image no matter where you are?
Ed: All or most of the above at different times. As I mentioned, I’m always shooting where I live, so most of my explorations start from there. I spend a lot of time on Google Maps scoping out future photo expeditions, learning about where things are, and what streets lead where. (My urban explorations are always on foot or bike.) I try to have at least one camera with me at all times. I try to keep a simple and open approach to shooting, which usually means not thinking too specifically about this or that project. When I’m in the places I live, chances are what I’m shooting might be considered for a project I’ve already started working on.
C & P: Is there any one subject/thing that always attracts you (and your camera)? Something that you have 100+ photographs of?
Ed: There are many recurring types of pictures in my archive. My latest book, Animals That Saw Me, is an example of a project that came from a pile of recurring pictures I had of surprise encounters with animals. There are a lot of things that I always seem to be taking pictures of no matter where I’m at: streets, paths, houses, rivers, forests, and the seasons, to name a few. Overall I’m interested in the different types and arrangements of objects you find in different places.
C & P: The scenes that you most often shoot are of subjects that most people might just walk past and not notice; an oil stain on the ground, a pipe with a soda container sticking out of it… Have you always noticed these non-places/non-subjects and found them special/photo-worthy?
Ed: Sometimes I think I’m trying to work on a type of photograph that is about the background and edges of things. I’m curious about how this can be done, or even what those terms might mean in this context. What would a photograph of our peripheral even look like? First I would have to figure out where the peripheral begins, and then decide how a photograph might make you aware of the edges between things. Someone once described my work as “ambient photography” and I really like the idea of that.
C & P: Many of your pictures are people-free (although not always animal free!) Do you prefer to photograph places that are void of humans? Have you ever shot portraits or made images where people were the main subject of the photograph? Why do you think you are drawn to one type of imagery over the other (if in fact you are).
Ed: I have always been more drawn to spaces and objects than people in my photographs. I do sometimes photograph people and there are many occasions where humans appear in the scene. But I do have to say that I’ve never really been drawn to photographing strangers. I don’t really know why, but because of this I guess it’s safe to say that I’m more interested in the non-human world. I try to challenge myself to keep making interesting photographs no matter what though, so I don’t feel like I have any hard and fast rules when it comes to what I will or won’t shoot. I try to leave room for surprises.
C & P: Do you purposefully shoot imagery so that it is not linked to a particular time and place?
Ed: No, not at all. Most of my pictures are sorted in chronological order and sorted by place at some point during the process. Some years I make work books collecting together new pictures by month. Some projects are completely place specific too and the location is a big part of the work. But I also like to play around with the sense of place and time and mix things up. On my tumblr blog, the pictures are only identified by the year they were made and nothing else is revealed. Some projects, like Same Difference, are collected from pictures from lots of different places. The titles for the pictures are of an actual place, but sometimes it is such a specific neighborhood or street that if you still might not know where it is, even though I’m telling you.
C & P: You have published two photo books with two different publishers, Gottlund Verlag and J&L Books, how did these collaborations come about? Could you talk a little bit about the process of creating these books?
Ed: I really enjoy the collaborative effort that it takes to realize a book project. In both instances, I was approached initially by the publisher with the idea to do a project. The process varies from project to project, but in general there is a several month long period of going back and forth with the pictures and thinking through all of the different aspects that will make up the final book. You want to spend enough time with the edit and sequence so that you feel like all the pieces are there and in the best place. With every publisher I’ve worked with it has been an incredibly rewarding situation so I’m very grateful for that.
C & P: You have said that creating books and having a website—with a lot of work on it—helps you to edit your images. How do you choose which images should be in a series or in a printed book? What is your editing process like? Do color palette, location, subject matter, etc… factor into the edit?
Ed: I find the most important thing that needs to happen in order for me to be able to edit better is to simply know the pictures I’m working with. It’s all about spending time looking at the pictures. Sometimes it can take a while for it to become apparent which individual qualities of the photographs matter most to you. In order to help me get to that point I try to spend a lot of time simply looking at my pictures and sorting them in different ways. Sometimes a project starts when you make a new folder and start putting things together in a new way. Editing is something that I really enjoy so I do my best to keep adding new pictures to the pile. Each project develops its own parameters that determine which pictures will be included.
C & P: I am pretty sure I recognized a few images of NYC on your website, do you like shooting in New York? Does it feel different to you to shoot here rather than in Pittsburgh? Have you photographed in any other countries? Is that experience different for you? Is there any place that you would love to photograph?
Ed: Like anywhere else, learning how to take pictures I was happy with was initially a challenge in New York. But I found myself really excited about the work I made there by the end, and I am hoping to continue shooting there over time. I found myself making pictures there that I’m still thinking a lot about these days. This is one reason I enjoy learning how to make pictures in new places. I find that through the process of learning how to shoot in new places I recognize certain patterns and tendencies that I acquired over time. It’s still too early to say what might come out of this work, but I’m excited to spend more time with this project in the upcoming months.
C & P: Did you imagine that you would be an artist/photographer in adulthood? How long have you been taking photographs? What drew you to the medium and why did you choose to pursue it seriously?
Ed: I started taking pictures when I was a kid. My best friend and I had a ‘detective agency’ and we needed photographs to aid our investigations. In high school I started taking pictures on a regular basis and I haven’t stopped since. Now I feel weird if I’m not taking pictures on a regular basis. I’m interested in other things as well, but luckily photography provides a wide window to the world. It can be about so many different things at once. It feels like a riddle you can never quite solve, and I love that.
C & P: What type of camera do you shoot with? A digital SLR or a film camera?
Ed: My primary two cameras are film: an Olympus Stylus Epic for 35mm and a old Pentax 67 for medium format. I also use my camera phone quite a lot ever since I got my first one in 2004.
C & P: Do you use the computer as a tool when creating your photographs? Do you ever use Photoshop to edit images when finalizing a body of work?
Ed: I scan every single frame I shoot, so I spend a lot of time on the computer with my images. It’s definitely an important tool in my process. I don’t normally use Photoshop to do anything other than make color corrections and things like that. But I have always enjoyed playing in Photoshop and probably have a few folders of strange collages lying around somewhere.
C & P: There is definitely an element of humor to your work, I laughed out loud a couple of times while looking through your website. Are there any artists who use humor in their work that you admire?
Ed: There’s quite a few. A lot of the time it’s not so much an artist who is ‘using humor’ as an artist that allows a bit of humor to enter the scene. That’s when I like it the most. In photography, Jason Fulford instantly comes to mind. I love the way he plays with collections of pictures and text in his work. I also have to say I really enjoy watching comedy, so shows like Curb Your Enthusiasm and East Bound & Down might not be a small influence either.
C & P: What artists/photographers do you find inspirational? Contemporary? Past?
Ed: Too many to list!
C & P: What could you imagine doing, if you didn’t do what you do?
Ed: I’d probably still be working the night shift at the McDonald’s in my hometown. Maybe making ambient music on the side. Who knows? But I can’t really imagine doing anything else. I’m just trying to imagine ways of doing it better.
Today my friend saw Jarvis Cocker sitting by himself at the Whole Foods on Houston eating some lunch. My friend snapped his picture, sent it to me, and noted in his message that Jarvis did not seem pleased about this paparazzi-esque photo moment.
While photo editing my own pics tonight Bar Italia came on my Itunes, this song really makes me feel things. Reminds me of my time in London, at the height of my Jarvis Cocker obsession in 1999/2000. And of my failures, my successes in life. Mostly my failures, but in a good, nostalgic for failure type way.
This video (below) reminds me of going to see Pulp at their first reunion concert in London in 2011. Things were relatively good for me at this point in my life. Things were working out. No troubles. And seeing Common People live, whilst squished in tight with a bunch of very excitable British people, who were singing along to every word, was an experience I will never forget.
Ahhhhhh, Jarvis, you are good.
I have never liked SPORTS (any incarnation) and I honestly do not really understand the appeal. Now that World Cup fever has taken over basically EVERYTHING, “sports” confuse me even more. Most people with whom I am acquainted also generally fall into the “I don’t really like sports” category, but these people seem to have lost their minds for the World Cup as well. My facebook feed yesterday was absolutely World Cup saturated.
Tonight I came across these ladies, Garfunkel and Oates, who have created a song that seems to make a lot of sense to me today.
I am afraid to post it on facebook though for fear of my World Cup lovin’ friends coming to my apartment and ripping me to shreds for questioning the current SPORTS FRENZY. I would like this World Cup thing to end so people can get back to posting pictures of their cats and babies all over the interwebs, please!
I think the Garfunkel and Oates ladies have stolen part of my brain. There are many other hilarious videos on the youtube. Check them out.
Pregnant Women are Smug.
Happy USA Day!
SZE TSUNG LEONG Horizons at Yossi Milo Gallery
MAY 15–JULY 11, 2014
More info here.
All of the photographs in this show were beautiful. There were 2 or 3 photos from Iceland in the exhibition which made my desire to go back to Iceland even greater (still having Iceland withdrawal after only being back in the US for less than 2 weeks!)
From Pre-History to Post-Everything at Sean Kelly Gallery
June 27 through August 1, 2014
More info here.
Hugo McCloud paintings.
Luca Dellaverson’s mirrored glass/resin works.
Florian Maier-Aichen at 303 Gallery
JUNE 5 – JULY 25 2014
More info here.
Unrealism Part 1 at Fredericks Freiser Gallery.
JUNE 26 – JULY 24 2014
More info here.
Audrey Flack, Marilyn Monroe, 1964
Jansson Stegner, UCLA, 2014
AKTIONSRAUM 1 at Susan Inglett Gallery
12 Jun – 25 Jul 2014
More info here.
White Cube is pleased to announce an exhibition of paintings and films by Leo Gabin, as part of the Inside the White Cube programme. The Belgian trio, made up of Lieven Deconinck, Gaetan Begerem and Robin De Vooght, investigate the materials and rituals of contemporary culture by pulling together endless amounts of online amateur video footage to create a new kind of narrative. Leo Gabin are interested in how American pop culture is filtered and interpreted through online viewing; how young people use the media to capture their surroundings and express themselves. Using imagery and videos from both public and private spheres (social networking sites), the resulting works evoke feelings not only of despair and sadness, but also hope and joy.
Happy PULP Day!
I am really hoping I get to see this film during my upcoming England adventure.