He Wrote Me

mrstsk:

I was in the Japan Folk Art Museum.


I was quite enjoying the air-conditioning, and the peculiar bunker-like architecture of the building.


The pottery collection was only moderately interesting. I found the display cases and the lights (yellow and white fluorescents, bouncing off…

cafeoto:

The Thing. 3/4 October 2011. Handcut lino-print designed and printed by Simon Fowler / Cataract Op. This is the preview/promo version. The edition on sale during the residency will have a different arrangement of the text and illustration.

pjmix:

House (Nobuhiko Ôbayashi, 1977) (via les films libèrent la tête)

mrstsk:

We’re in the early days yet, so all this has to be prefaced with “we hope”, but there’s a cinematic Momus musical in the works. It’s provisionally entitled Monsters of Love, and will draw a plot line through about sixteen of my songs, mostly those dealing with bizarre love triangles. The…

PINA BY WIM

Dancing is much like tea in so much as it’s very pretty and I don’t really understand how it works. And much like tea, a lot of the best stuff comes through Germany, a trend that continues with Pina, a film by a German, starring a German. 

Say ‘German documentary’ to most people and in all likelihood they’ll either shrug or think of Riefenstahl’s oeuvre: the enduring (if unfair) image of which is a faintly staid record of highly regimented uniformed marching bastard soldiers and a fascistic fetishistic celebration of body, & later fish. So a celebration here then of possibly the greatest Tanztheatre revivalist is particularly welcome and long may the rehabilitation of Germany’s national image continue LOVE YOU GUYS. 

It’s easy of course to simply settle at a contrast with Leni and leave it at that but of course it’s not quite so simple, with both Riefenstahl and the genre of which Pina proves avatar emerging from the same period in 1920s expressionist dance. HOWEVS where one was seduced by an oppressive formalism, political ideology finding reflection in visual aesthetic, the other, decades later, mentored by some of the very figures the former rejected (Kurt Jooss)  went on to pioneer an almost dementedly fragmented anti-illusionism (a characteristic which renders Sophie Reynolds’ criticism that Wenders’ choice of occasional close-up, amputating at points the dancers’ full silhouette, “breaks the illusion” particularly egregious and laughably ill-conceived, Wenders’ technique proving more to be an extension of Pina’s aesthetic not a betrayal, using the opportunities the camera presents to accentuate rather than undermine the material).    

Much has been made of the film’s use of 3D in accentuating space and motion as finally demonstrating a place for a form which has otherwise seemed a transparently cynical gesture. I’d venture instead the film’s true and hopefully lasting innovation is in Wender’ relocation fragments of routine to the city, whether a street corner, a subway carriage or an energy plant, proving that dance can find meaning in urban space, an absolutely vital antidote to the artless, leaden, talent-show driven ‘street dance’ movement, essentially glorified gymnastics, where a baseball cap at 180°  and a pretence to ‘edge’ fails utterly to disguise a complete want of art.

<3 U WIM

mikarv:

There’s something really, really moving about this photo. Touching.

<3

POSTED A VIDEO ON YOUTUBE YO

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TRU-EH WORDS NEVER SPOKEN THANK YOU BASED GOD

Lil B

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