Rest in peace Louise.
Monday 31 May 2010
Louise Bourgeois (25th December 1911 - 31st May 2010)
A great artist died today. If you're not already familiar with her work, now would be as good a time as any to acquaint yourself.
Rest in peace Louise.
Rest in peace Louise.
Saturday 29 May 2010
Friday 28 May 2010
http://www.youtube.com/watch?v=96JKnzZvS_0
Youtube recommended this video to me today.
It makes me feel sick. I really really hate it.
It made me look around the internet for what the phobia of corpses is called. Or the personification of Death. but it's none of those things. Not putrefaction itself, but the personification of our fear and denial of it, popping up out of the ground where we tried to hide it, insolent and terrible, and doing a repugnant little dance.
hugs and kisses
Javena
It makes me feel sick. I really really hate it.
It made me look around the internet for what the phobia of corpses is called. Or the personification of Death. but it's none of those things. Not putrefaction itself, but the personification of our fear and denial of it, popping up out of the ground where we tried to hide it, insolent and terrible, and doing a repugnant little dance.
hugs and kisses
Javena
Tuesday 25 May 2010
Thursday 20 May 2010
A Review by Samson Blond
Awkward Issue 2 -
Awkward is a book project comprised of short stories, images and little experiences that happen inside and outside the heads of the makers. What seems to be the idea behind the project is to create a collision of works, but not to have a unique theme involved. In some ways this can create difficulties in consistence and follow-ability in reading and viewing. This was seen in the previous issue, but not so much in this issue. There have been critical choices made for the Awkward audience, but how have these choices been made without a theme or context?
The direction seems to be purely a force exerted by the act of collection, the way the choices are made is curatorial rather than editorial, or like a writer working on the flow and sequence of the words rather than just the polemic. The point is not encased in themes or just one piece of work. Its point is made by its entirety, though it does seem to have two principles running through it; imagination and narrative. The way the collection is laid out seems to be much like a conventional catalogue from an exhibition, which can give a flow to the audience's thought if done well enough. In Awkward, the layout choice does give clarity to each work and does not create a feeling of being overwhelming to the viewer or singling out individual pieces of work. The idea of narrative is being used here in terms of the layout; to create a dialogue between the imaginations at work and to show a correlation or confliction of expressions effectively.
The principle of imagination is seen heavily in the majority of works. What is meant by imagination here, are those grand or epic depictions of the unbelievable that will stay unbelievable. These stories are not ‘lived’ in today's societies but some stories show the fine line between real and unreal by overlapping them. These stories do require you to use your imagination or to be a part of the writer’s, illustrators or the photographer’s imagination.
What is refreshing to see is that these tales are ‘written’ with such compulsion, that even though they are obviously budding writers, they are still able to reach into you and take you somewhere else.
This is only the second issue and so it is hard to say where it could go from here, but so far so good. In some ways this not a magazine, a fanzine or booklet but a notebook made by many people.
(Samson Blond)
Awkward is a book project comprised of short stories, images and little experiences that happen inside and outside the heads of the makers. What seems to be the idea behind the project is to create a collision of works, but not to have a unique theme involved. In some ways this can create difficulties in consistence and follow-ability in reading and viewing. This was seen in the previous issue, but not so much in this issue. There have been critical choices made for the Awkward audience, but how have these choices been made without a theme or context?
The direction seems to be purely a force exerted by the act of collection, the way the choices are made is curatorial rather than editorial, or like a writer working on the flow and sequence of the words rather than just the polemic. The point is not encased in themes or just one piece of work. Its point is made by its entirety, though it does seem to have two principles running through it; imagination and narrative. The way the collection is laid out seems to be much like a conventional catalogue from an exhibition, which can give a flow to the audience's thought if done well enough. In Awkward, the layout choice does give clarity to each work and does not create a feeling of being overwhelming to the viewer or singling out individual pieces of work. The idea of narrative is being used here in terms of the layout; to create a dialogue between the imaginations at work and to show a correlation or confliction of expressions effectively.
The principle of imagination is seen heavily in the majority of works. What is meant by imagination here, are those grand or epic depictions of the unbelievable that will stay unbelievable. These stories are not ‘lived’ in today's societies but some stories show the fine line between real and unreal by overlapping them. These stories do require you to use your imagination or to be a part of the writer’s, illustrators or the photographer’s imagination.
What is refreshing to see is that these tales are ‘written’ with such compulsion, that even though they are obviously budding writers, they are still able to reach into you and take you somewhere else.
This is only the second issue and so it is hard to say where it could go from here, but so far so good. In some ways this not a magazine, a fanzine or booklet but a notebook made by many people.
(Samson Blond)
Tuesday 4 May 2010
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