& if you want a zine, click on a square.
Or, just email and get one free, I'm conflicted about the making people pay thing.
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This is what Assad’s troops did in the village of Bayda, in Banyas.
Those, according to Assad’s TV, are “terrorists that had to be taken out” to restore peace to that village.
..As you can see, no chemical weapons were used, so you don’t need to be upset or angry, and you don’t need to do anything. Go on with your lives, as if this is not happening, ..go on….
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بأي ذنب قتلوا
يا الله رحمتك فيهن
The Antlers cover ‘Apple Orchard’ by Beach House.
From the EP Cold War, it’s so very beautiful and haunting, and everything else goes far away.
Paul Gauguin, Oviri, 1894, Stoneware, 75cm
‘Oviri’ means savage in Tahitian, she is the goddess of death and mourning. Gauguin liked to call himself Oviri, considering himself a savage. Oviri steps on a wolf that has been killed. She is crushing the cub’s skull, the source of the dripping blood.
In 1919, Duchamp drew a moustache and beard on a postcard of Mona Lisa by Leonardo da Vinci. He added the title; L.H.O.O.Q. It translates in the French vernacular as “Elle a chaud au cul”, in English, ‘She has a hot ass’. This pun mocks the world-famous portrait, but furthermore ridicules the mass production of a tourist icon. Duchamp’s play on language transcends the works of art themselves, but the creation of alter egos that he took on. Already referenced, R. Mutt served as a means of challenging the role and value of the name of the artist. Later in his career, in the early 1920s, the character Rrose Sélavy emerged through the photography of friend and fellow artist Man Ray. Duchamp dressed up as Rrose. Rrose Sélavy’s name was attached to a number of Readymades throughout Duchamp’s career. There are a number of hypotheses as to the origin of the name, the most prominent being the phonetic similarities to ‘Eros, c’est la vie’. This play on language, in English meaning ‘Eros, that is life/that is all’, relates strongly to the ideas portrayed in Duchamp’s work. Fountain, for instance creates a divide between the sexes: for men a urinal is commonplace, banal, whereas for women, it appeals as the exotic unknown. The Large Glass and Étant donnés, explicitly express the theme of sexuality, for instance with the self-gratification of the bachelors in The Large Glass and immediacy of the nude in Étant donnés.
Beck & co. covering Suzanne by Leonard Cohen. & co. being Devendra Banhart, members of MGMT, Wolfmother and Little Joy who covered the entirety of Songs of Leonard Cohen.
All because of Beck’s Record Club, where a number of musicians pitch up, pick and album and record the whole process. Whut, whut. http://www.beck.com/recordclub/
Dinah Washington & Brook Benton - Baby (You’Ve Got What It Takes)
They had a falling out in the making of the album, Washington was a trained and skilled musician, wanting to follow sheet music. Brooke keen to just improvise, still beautifully.You can here where Brooke makes a tiny slip up, coming in on Dinah’s verse at 2:17, she jeers, “you’re in my spot again, honey” It remained on the album because Washington was determined to never work with him again.
(Source: Spotify)
The Readymades of Marcel Duchamp
Photograph by Alfred Stieglitz, 1917.
The readymades in Duchamp’s early career often can be seen to define his work. The idea of repetition is key. The readymades, rather than being the most relevant aspect to his works, serve to present a concept, which Duchamp pioneered in his work. Duchamp redefined the limitations of art. In 1917 when Fountain was put forward to an exhibition organised by the Society of Independent Artists, the board decided that it went beyond what could be called art. Despite the fact that all artists were meant to be accepted in the exhibition, Duchamp’s piece was turned away. With Fountain, Duchamp changed art. William A. Camfield described that ‘some deny that Fountain is art but believe it is significant in the history of art and aesthetics.’ He was part of this board, and we could speculate that he knew the work would be rejected. In contrast to sculpture being fashioned from clay into a representation of the human form, an idea that is deep rooted in the classical tradition; Duchamp retrieved objects from a plumber’s shop. This reflecting the new mechanical age, an age of mass production and reproduction, the contrast revivification of new meanings, or lack of meanings. However, what the readymade represented was not just an object, but also the artist’s encounter with that object. Meaning can be moved from place to place through repetition, and within this new meanings are produced, a form of perpetual circulation. After being removed from the exhibition, Fountain was lost, and now only exists in Alfred Stieglitz’s photo. We instead of the physical work, have a photographed encounter with the object. It initiates a process in that a photograph can be reproduced, in this way its meaning re-enters circulation. In ‘Specifications for Readymade’, Duchamp described that the Readymade was an encounter between the artist and the object, not singularly the physical object. Reproductions have been created of Fountain, with the irony that they are not in fact readymades, but hand crafted to imitate the original.
