Prada Fall/Winter 1999
Prada Fall/Winter 1999
“It is well known that there are rarely entire spaces in Bresson’s work. His are spaces that could be called disconnected, which is to say, for example, there is a corner of a cell, and then one will see another corner or another area of the wall, and so on. Bresson was one of the first to make space with little disconnected bits and pieces, i.e. small pieces whose connection is not predetermined…
The question then becomes: these little bits of visual space of which the connection is not given in advance, by what are they to be connected?
They are connected by the hand.
…I am saying that Bresson’s type of space and the cinematographic valuation of the hand in the image are obviously linked. I mean that the connection of small bits of Bressonian spaces, from the very fact that there are just bits, disconnected bits of space, can be nothing but a manual joining, a connection, hence the exhaustion of the hand in Bresson’s entire cinema.
We could continue to speak about this at length, because it is there that Bresson’s block of area-movement receives, like the character of its creator, the character of this particular space, which is very particular — the hand that comes directly from them. It is only the hand that can effectively make connections from one part of this space to another. Bresson is without a doubt one of the greatest filmmakers for having reintroduced tactile values into cinema, not simply because he knew how to film hands but because his cinema needed hands; a creator is not a being that works for pleasure; a creator does nothing but that which he has to do.
Still-Life with Tuft of Marine Plants, Shells and Corals
1769, oil on canvas
Ken Ishii - Extra
The closing long take from Chantal Akerman’s News from Home (1977)
By EDGAR ALLAN POE
In the consideration of the faculties and impulses-of the prima mobilia of the human soul, the phrenologists have failed to make room for a propensity which, although obviously existing as a radical, primitive, irreducible sentiment, has been equally overlooked by all the moralists who have preceded them. In the pure arrogance of the reason, we have all overlooked it. We have suffered its existence to escape our senses, solely through want of belief-of faith;-whether it be faith in Revelation, or faith in the Kabbala. The idea of it has never occurred to us, simply because of its supererogation. We saw no need of the impulse-for the propensity. We could not perceive its necessity. We could not understand, that is to say, we could not have understood, had the notion of this primum mobile ever obtruded itself;-we could not have understood in what manner it might be made to further the objects of humanity, either temporal or eternal. It cannot be denied that phrenology and, in great measure, all metaphysicianism have been concocted a priori. The intellectual or logical man, rather than the understanding or observant man, set himself to imagine designs-to dictate purposes to God. Having thus fathomed, to his satisfaction, the intentions of Jehovah, out of these intentions he built his innumerable systems of mind. In the matter of phrenology, for example, we first determined, naturally enough, that it was the design of the Deity that man should eat. We then assigned to man an organ of alimentiveness, and this organ is the scourge with which the Deity compels man, will-I nill-I, into eating. Secondly, having settled it to be God’s will that man should continue his species, we discovered an organ of amativeness, forthwith. And so with combativeness, with ideality, with causality, with constructiveness,-so, in short, with every organ, whether representing a propensity, a moral sentiment, or a faculty of the pure intellect. And in these arrangements of the Principia of human action, the Spurzheimites, whether right or wrong, in part, or upon the whole, have but followed, in principle, the footsteps of their predecessors: deducing and establishing every thing from the preconceived destiny of man, and upon the ground of the objects of his Creator.
It would have been wiser, it would have been safer, to classify (if classify we must) upon the basis of what man usually or occasionally did, and was always occasionally doing, rather than upon the basis of what we took it for granted the Deity intended him to do. If we cannot comprehend God in his visible works, how then in his inconceivable thoughts, that call the works into being? If we cannot understand him in his objective creatures, how then in his substantive moods and phases of creation?
Induction, a posteriori, would have brought phrenology to admit, as an innate and primitive principle of human action, a paradoxical something, which we may call perverseness, for want of a more characteristic term. In the sense I intend, it is, in fact, a mobile without motive, a motive not motivirt. Through its promptings we act without comprehensible object; or, if this shall be understood as a contradiction in terms, we may so far modify the proposition as to say, that through its promptings we act, for the reason that we should not. In theory, no reason can be more unreasonable, but, in fact, there is none more strong. With certain minds, under certain conditions, it becomes absolutely irresistible. I am not more certain that I breathe, than that the assurance of the wrong or error of any action is often the one unconquerable force which impels us, and alone impels us to its prosecution. Nor will this overwhelming tendency to do wrong for the wrong’s sake, admit of analysis, or resolution into ulterior elements. It is a radical, a primitive impulse-elementary. It will be said, I am aware, that when we persist in acts because we feel we should not persist in them, our conduct is but a modification of that which ordinarily springs from the combativeness of phrenology. But a glance will show the fallacy of this idea. The phrenological combativeness has for its essence, the necessity of self-defence. It is our safeguard against injury. Its principle regards our well-being; and thus the desire to be well is excited simultaneously with its development. It follows, that the desire to be well must be excited simultaneously with any principle which shall be merely a modification of combativeness, but in the case of that something which I term perverseness, the desire to be well is not only not aroused, but a strongly antagonistical sentiment exists.
An appeal to one’s own heart is, after all, the best reply to the sophistry just noticed. No one who trustingly consults and thoroughly questions his own soul, will be disposed to deny the entire radicalness of the propensity in question. It is not more incomprehensible than distinctive. There lives no man who at some period has not been tormented, for example, by an earnest desire to tantalize a listener by circumlocution. The speaker is aware that he displeases; he has every intention to please, he is usually curt, precise, and clear, the most laconic and luminous language is struggling for utterance upon his tongue, it is only with difficulty that he restrains himself from giving it flow; he dreads and deprecates the anger of him whom he addresses; yet, the thought strikes him, that by certain involutions and parentheses this anger may be engendered. That single thought is enough. The impulse increases to a wish, the wish to a desire, the desire to an uncontrollable longing, and the longing (to the deep regret and mortification of the speaker, and in defiance of all consequences) is indulged.
We have a task before us which must be speedily performed. We know that it will be ruinous to make delay. The most important crisis of our life calls, trumpet-tongued, for immediate energy and action. We glow, we are consumed with eagerness to commence the work, with the anticipation of whose glorious result our whole souls are on fire. It must, it shall be undertaken to-day, and yet we put it off until to-morrow, and why? There is no answer, except that we feel perverse, using the word with no comprehension of the principle. To-morrow arrives, and with it a more impatient anxiety to do our duty, but with this very increase of anxiety arrives, also, a nameless, a positively fearful, because unfathomable, craving for delay. This craving gathers strength as the moments fly. The last hour for action is at hand. We tremble with the violence of the conflict within us,-of the definite with the indefinite-of the substance with the shadow. But, if the contest have proceeded thus far, it is the shadow which prevails,-we struggle in vain. The clock strikes, and is the knell of our welfare. At the same time, it is the chanticleer- note to the ghost that has so long overawed us. It flies-it disappears-we are free. The old energy returns. We will labor now. Alas, it is too late!
We stand upon the brink of a precipice. We peer into the abyss-we grow sick and dizzy. Our first impulse is to shrink from the danger. Unaccountably we remain. By slow degrees our sickness and dizziness and horror become merged in a cloud of unnamable feeling. By gradations, still more imperceptible, this cloud assumes shape, as did the vapor from the bottle out of which arose the genius in the Arabian Nights. But out of this our cloud upon the precipice’s edge, there grows into palpability, a shape, far more terrible than any genius or any demon of a tale, and yet it is but a thought, although a fearful one, and one which chills the very marrow of our bones with the fierceness of the delight of its horror. It is merely the idea of what would be our sensations during the sweeping precipitancy of a fall from such a height. And this fall-this rushing annihilation- for the very reason that it involves that one most ghastly and loathsome of all the most ghastly and loathsome images of death and suffering which have ever presented themselves to our imagination-for this very cause do we now the most vividly desire it. And because our reason violently deters us from the brink, therefore do we the most impetuously approach it. There is no passion in nature so demoniacally impatient, as that of him who, shuddering upon the edge of a precipice, thus meditates a Plunge. To indulge, for a moment, in any attempt at thought, is to be inevitably lost; for reflection but urges us to forbear, and therefore it is, I say, that we cannot. If there be no friendly arm to check us, or if we fail in a sudden effort to prostrate ourselves backward from the abyss, we plunge, and are destroyed.
Examine these similar actions as we will, we shall find them resulting solely from the spirit of the Perverse. We perpetrate them because we feel that we should not. Beyond or behind this there is no intelligible principle; and we might, indeed, deem this perverseness a direct instigation of the Arch-Fiend, were it not occasionally known to operate in furtherance of good.
I have said thus much, that in some measure I may answer your question, that I may explain to you why I am here, that I may assign to you something that shall have at least the faint aspect of a cause for my wearing these fetters, and for my tenanting this cell of the condemned. Had I not been thus prolix, you might either have misunderstood me altogether, or, with the rabble, have fancied me mad. As it is, you will easily perceive that I am one of the many uncounted victims of the Imp of the Perverse.
It is impossible that any deed could have been wrought with a more thorough deliberation. For weeks, for months, I pondered upon the means of the murder. I rejected a thousand schemes, because their accomplishment involved a chance of detection. At length, in reading some French Memoirs, I found an account of a nearly fatal illness that occurred to Madame Pilau, through the agency of a candle accidentally poisoned. The idea struck my fancy at once. I knew my victim’s habit of reading in bed. I knew, too, that his apartment was narrow and ill-ventilated. But I need not vex you with impertinent details. I need not describe the easy artifices by which I substituted, in his bed-room candle-stand, a wax-light of my own making for the one which I there found. The next morning he was discovered dead in his bed, and the Coroner’s verdict was-“Death by the visitation of God.”
Having inherited his estate, all went well with me for years. The idea of detection never once entered my brain. Of the remains of the fatal taper I had myself carefully disposed. I had left no shadow of a clew by which it would be possible to convict, or even to suspect me of the crime. It is inconceivable how rich a sentiment of satisfaction arose in my bosom as I reflected upon my absolute security. For a very long period of time I was accustomed to revel in this sentiment. It afforded me more real delight than all the mere worldly advantages accruing from my sin. But there arrived at length an epoch, from which the pleasurable feeling grew, by scarcely perceptible gradations, into a haunting and harassing thought. It harassed because it haunted. I could scarcely get rid of it for an instant. It is quite a common thing to be thus annoyed with the ringing in our ears, or rather in our memories, of the burthen of some ordinary song, or some unimpressive snatches from an opera. Nor will we be the less tormented if the song in itself be good, or the opera air meritorious. In this manner, at last, I would perpetually catch myself pondering upon my security, and repeating, in a low undertone, the phrase, “I am safe.”
One day, whilst sauntering along the streets, I arrested myself in the act of murmuring, half aloud, these customary syllables. In a fit of petulance, I remodelled them thus; “I am safe-I am safe- yes-if I be not fool enough to make open confession!”
No sooner had I spoken these words, than I felt an icy chill creep to my heart. I had had some experience in these fits of perversity, (whose nature I have been at some trouble to explain), and I remembered well that in no instance I had successfully resisted their attacks. And now my own casual self-suggestion that I might possibly be fool enough to confess the murder of which I had been guilty, confronted me, as if the very ghost of him whom I had murdered-and beckoned me on to death.
At first, I made an effort to shake off this nightmare of the soul. I walked vigorously-faster-still faster-at length I ran. I felt a maddening desire to shriek aloud. Every succeeding wave of thought overwhelmed me with new terror, for, alas! I well, too well understood that to think, in my situation, was to be lost. I still quickened my pace. I bounded like a madman through the crowded thoroughfares. At length, the populace took the alarm, and pursued me. I felt then the consummation of my fate. Could I have torn out my tongue, I would have done it, but a rough voice resounded in my ears-a rougher grasp seized me by the shoulder. I turned-I gasped for breath. For a moment I experienced all the pangs of suffocation; I became blind, and deaf, and giddy; and then some invisible fiend, I thought, struck me with his broad palm upon the back. The long imprisoned secret burst forth from my soul.
They say that I spoke with a distinct enunciation, but with marked emphasis and passionate hurry, as if in dread of interruption before concluding the brief, but pregnant sentences that consigned me to the hangman and to hell.
Having related all that was necessary for the fullest judicial conviction, I fell prostrate in a swoon.
But why shall I say more? To-day I wear these chains, and am here! To-morrow I shall be fetterless!-but where?
Monsieur Klein (Joseph Losey, 1976) is another entry in what might be considered a genre of European film: the inquiry into the fascist period of the thirties and early forties, an almost obsessive probing into a period which is historically close, yet so appallingly distant from what we imagine our political behavior should be that it must be examined over and over. Images of fascism are created and re-created in an attempt to understand and expunge them, but only rarely—as in some of Fassbinder’s films, Resnais’s 1955 documentary Night and Fog, and Marcel Ophuls’s The Sorrow and the Pity (1971)—are they seen as historically continuous, still with us in disguised form. In Mr. Klein, Losey and Solinas choose a small facet of the phenomenon and elaborate from it a psychological fantasy. The moment is Paris during the Nazi occupation, and the subject is the problem of complicity, the way all people, but most especially those who imagined they were outside political events, were deeply involved in the round-up and massacre of the Jews. The narrative structure of Mr. Klein develops the idea of the doppelgänger—the other self. Robert Klein (Alain Delon) is a wealthy art dealer in 1942. The Paris police are rounding up Jews. Klein’s discovery of a Jewish newspaper left at his door, addressed to him, leads him to discover the existence of a Jew with his name whom he feels compelled to find, partly to clear himself of a dangerous association and partly—increasingly, as the film progresses—to discover what it means to exist as a person in danger. The body of the film follows Klein as he follows various clues, visiting people who know the “other” Klein, examining the wretched flat where the other Klein lived, chasing after rich acquaintances and poor ones in a diminishing circle that leads, finally, to his own deportation.
Losey and Solinas use the theme of the double as a device upon which to build a larger structure of inquiry. Mr. Klein is a figure who has every reason to believe that he can remove himself from the realities and demands of history. A rich bourgeois, encased in the elegance of a respected trade, he considers himself something of a disinterested helper of the persecuted. The first time we see him, he is buying the art works of a Jew who needs money. He does it coldly and with arrogance, describing the painting in the impersonal tones of the doctor who, in the very first sequence of the film, is seen examining and cataloguing the traits of a woman for the state’s records of racial origins. The woman, who is naked, is treated like a thing to be dealt with, classified, and sent away. The cut from the doctor’s office to Klein’s rich and secure surroundings, with pictures of human figures on the wall and his mistress lounging in bed, immediately indicates a connection between Klein’s private world and the horrors that are occurring outside it. He too turns the human body into an object, something to be observed and used. And once again the house becomes a primary sign for Losey, an objective indication of Klein’s tenuous security which breaks down as he becomes more obsessed with discovery. For much of the film its elegance stands as a separation from and contrast to the streets where police activity quickens, where barriers and detention centers are set up. But when the police begin to accept Klein as his double, refusing to see a separation, they invade the house and strip it. The other Klein invades it too, by means of his dog, which appears and is adopted by Mr. Klein. When the police search the house, a friend of Mr. Klein’s discovers a piece of music on his piano which Klein says was written by his double. He tells the friend to play it. It is the “Internationale.”
Invaded both by the police and by his double (who, it becomes more and more apparent, is a left-wing member of the Resistance), Klein is forced into history—partly by default and by accident, partly by his own active participation in seeking out the mysterious other Mr. Klein. But here we are not dealing with a psychological convention of confused identities; this is not the microcosm of The Servant, nor the displacement of self that occurs in Fassbinder’s Despair (1977). (That film, set in Germany in the thirties, involves an intricate perceptual dislocation in which an individual adopts and kills a double who looks nothing like him as part of a psychotic escape from a psychotic society). Rather, Losey is depicting a kind of forced march into the world, led by an unseen figure who becomes more of a conscience than a character. The “other” Mr. Klein is that other which is and is not the self (significantly, on a number of occasions when Mr. Klein hears about his double, his first reaction is to glance at himself in a mirror), and which the self must attempt to appropriate. Klein becomes hunter and hunted, his elegance and security finally peeled away until he unconsciously chooses to be the other. That ghostly figure no longer has a separate identity. As the police sweep the city, rounding up its Jewish population (including the “other,” who is turned in by Mr. Klein’s friend), Mr. Klein is loaded into a bus with the other deportees. At the stadium where the Jews are being collected, Klein’s name is called out. A faceless figure in the crowd raises his hand, and we assume that here we may actually see the elusive other Klein. But Mr. Klein, despite the fact that a friend has arrived with a clearance for him, runs after his fugitive self, whose face is never revealed, and is swept up by the crowd and placed in a cattle car. Behind him is the Jew from whom, at the beginning of the film, he purchased a painting.
Klein does not merely “become” his other; he becomes part of the enormous group collectively turned by the Nazis into a cultural “other,” a group determined by the fascist ideology to be its enemy and threat, its dark side that must be destroyed. The irony is that fascism is itself the dark side of bourgeois complacency and selfcenteredness. The “Jewish Question” was the Nazis’ invention of a dialectic where there was none, and an attempt to erase their own relationship to a history they pretended to control. The paranoid view of history, which is a major component of fascism, demands the creation of enemies, the turning of people into things. This is, of course, what Mr. Klein has done, to a lesser extent, in his private life. Now that he is forced to confront history, to see and be his other self, his ability “to be objective” is gone. The world’s terrors become his own, seen by Losey in extraordinary images of commonplace violence. In the film’s final sequences, Losey observes with a removed horror the city in which the Jews are rounded up, noting in the faces of those caught and awaiting deportation a combination of hysteria and stillness, a frantic action and a dumbfounded passivity, an expression of disbelief so thorough as to be paralyzing. The most active figure in this grouping is Mr. Klein, who embraces his destruction with the anticipation of someone making a discovery he cannot resist.
The movement to irresistible discovery is a major quality of Losey’s films. He does not care for epiphanies, for sudden revelations, but for steady processes of understanding and seeing through; he places characters in environments in which they either lose or discover something, often both simultaneously—Mr. Klein loses his life when he discovers that he is, like everyone else, a part of history. Losey allows us as spectators safely to observe the effects of class barriers or political amnesia and perceive what occurs when the safety they offer is removed. That is what all of his best films are concerned with.
From Robert Kolker’s The Altering Eye: Contemporary International Cinema
Issey Miyake Fall/Winter 2008, backstage
Walzer (1982) - Pina Bausch
Oil on parchment attached to a limewood panel, 1510
Fired and painted clay, 18 x 19 x 15 in., 2000
In the centre of Zurich, not far from the main railway station, a spectacular office building has recently begun to demonstrate the potential of wood as construction material. Shigeru Ban designed this new seven-story building with its visible wood construction as an addition to the headquarters of the Tamedia publishing company. The structure was to permit an assembly process similar to building blocks and feature a comprehensible load-bearing system. Wood elements were to remain exposed. To realize these architectural preconditions by using glue-laminated wood in premium quality for visible application and locking pin connections milled with extraordinary precision comprised a great challenge for all partners involved.One of Shigeru Ban’s aims was to build the structure in its entirety of wood, similar to traditional Japanese timber buildings. Not only columns and beams, but also joint connections consist predominantly of wood: instead of screws, nails or steel connectors, special dowels made of beech plywood serve for load transmission and reinforcement of construction components. The load-bearing structure with its full-height columns, beam pairs and girders with oval cross-section was created as a precise, CNC milled construction kit and assembled on-site similar to a three-dimensional puzzle. Planning and realization of this ambitious project were a great challenge for the timber engineers and builders.
Alexandre Desplat - Under the Spell
Sandia National Laboratories charged a panel of outside experts with the task to design a 10,000-year marking system for the WIPP
(Waste Isolation Pilot Plant) site, and estimate the efficacy of the
system against various types of intrusion. The goal of the marking
system is to deter inadvertent human interference with the site. The
panel of experts was divided into two teams. This is the report of the A
Team; a multidisciplinary group with an anthropologist (who is at home
with different, but contemporary, cultures), an astronomer (who searches
for extra-terrestrial intelligence), an archaeologist (who is at home
with cultures that differ in both time and space from our own), an
environmental designer (who studies how people perceive and react to a
landscape and the buildings within them), a linguist (who studies how
languages change with time), and a materials scientist (who knows the
options available to us for implementing our marking system concepts).
The report is a team effort. There is much consensus on the design
criteria and necessary components of the marking system. Understandably,
there is some divesity of opinion on some matters, and this is evident
in the text.
Some designs use images of dangerous emanations and wounding of the
body. Some are images of shunned land…land that is poisoned,
destroyed, parched, uninhabitable, unusable. Some combine these images.
All designs entirely cover or define at least the interment area, called
here the Keep.
“Spike Field,” “Spikes Bursting Through Grid,”
“Landscape of Thorns”:
Danger seems to emanate from below, and out of the Keep in the form of
stone spikes, concrete thorns. The shapes
suggest danger to the body…wounding forms, like thorns and spikes,
even lightning. They seem active, in motion out and up, moving in
various directions. They are irregular or non-repetitive in their shape,
location and direction. They seem not controlled, somewhat chaotic. In
the three designs that use “fields” of spikes or thorns, these spikes or
thorns come out of, and define the Keep, so the whole area that is
dangerous to drill down into is so marked.
“Forbidding Blocks”: Stone from the outer rim of an enormous square is dynamited and then cast into large concrete/stone blocks, dyed black. Each is about 25 feet on a side. They are deliberately irregular and distorted cubes. The cubic blocks are set in a grid, defining a square, with 5-foot wide “streets” running both ways. You can even get “in” it, but the streets lead nowhere, and they are too narrow to live in, farm in, or even meet in. It is a massive effort to deny use. At certain seasons it is very, very hot inside because of the black masonry’s absorption of the desert’s high sun-heat load. It is an ordered place, but crude in form, forbidding, and uncomfortable.
Some blocks can be of granite, or faced with it, and carry inscriptions. Their closeness to other blocks reduces their exposure and increases their durability.
Note our use of irregular geometries and denial of craftsmanship. None of our designs uses any of the regular or “ideal” geometric forms, and only crude craftsmanship is sought, except for the precision of engraved messages. Why? the geometry of ideal forms, like squares and cubes, circles and spheres, triangles and pyramids is a fundamental human invention, a seeking of perfection in an imperfect world. Historically, people have used these ideal forms in places that embody their aspirations and ideals. In our designs, there is much irregularity both of forms and in their locations and directions, yet done by people with obvious knowledge of pure geometry. This shows as understanding of the ideal, but at the same time a deliberate shunning of it…suggesting we do not value this place, that it is not one that embodies our ideals.
The same is true of craft and workmanship. Historically, people use good workmanship to bestow value on things they value. In most of our schemes, the structures that cover or define the Keep’s “cover” are made crudely, or of materials that prohibit workmanship (such as rubble, or earthworks, or a large slab). At the same time, we make an enormous investment of labor in these rude materials. It speaks of a massive investment, but one not tinged with pride or honored with value-through-workmanship.
About durability: All the designs, except one, have a high probability of lasting 10,000 years. This is because of their conformity with the guidelines for materials durability in Section 4.4.
The concrete structures of the Landscape of Thorns have projecting, cantilevered elements that will have tension in their upper surfaces, causing minute cracks. These cracks will accelerate local decay. Until new materials are available, or new methods for tensioning concrete members [are found], we cannot “guarantee” the durability of this design. However, we present it here because of its strong emotive character.
La Jetée (Chris Marker, 1962)
The hypnotic 400fps opening sequence from Werner Herzog’s The Great Ecstasy of the Woodcarver Steiner (scored by Popol Vuh).
“I have never made a distinction between my feature films and my “documentaries.” For me, they are all just films, and The Great Ecstasy of Woodcarver Steiner is definitely one of my most important films. I have always felt very close to ski-jumpers.“
– Werner Herzog
Every year Thanksgiving night we flocked out behind Dad as he dragged the Santa suit to the road and draped it over a kind of crucifix he’d built out of metal pole in the yard. Super Bowl week the pole was dressed in a jersey and Rod’s helmet and Rod had to clear it with Dad if he wanted to take the helmet off. On the Fourth of July the pole was Uncle Sam, on Veteran’s Day a soldier, on Halloween a ghost. The pole was Dad’s only concession to glee. We were allowed a single Crayola from the box at a time. One Christmas Eve he shrieked at Kimmie for wasting an apple slice. He hovered over us as we poured ketchup saying, Good enough good enough good enough. Birthday parties consisted of cupcakes, no ice cream. The first time I brought a date over she said, What’s with your dad and that pole? and I sat there blinking.
We left home, married, had children of our own, found the seeds of meanness blooming also within us. Dad began dressing the pole with more complexity and less discernible logic. He draped some kind of fur over it on Groundhog Day and lugged out a floodlight to ensure a shadow. When an earthquake struck Chile he lay the pole on its side and spray painted a rift in the earth. Mom died and he dressed the pole as Death and hung from the crossbar photos of Mom as a baby. We’d stop by and find odd talismans from his youth arranged around the base: army medals, theater tickets, old sweatshirts, tubes of Mom’s makeup. One autumn he painted the pole bright yellow. He covered it with cotton swabs that winter for warmth and provided offspring by hammering in six crossed sticks around the yard. He ran lengths of string between the pole and the sticks, and taped to the string letters of apology, admissions of error, pleas for understanding, all written in a frantic hand on index cards. He painted a sign saying LOVE and hung it from the pole and another that said FORGIVE? and then he died in the hall with the radio on and we sold the house to a young couple who yanked out the pole and the sticks and left them by the road on garbage day.
From Tenth of December
Maison Martin Margiela Autumn/Winter 2003
James Booker - On the Sunny Side of the Street
Klara Lidén, Self Portrait with the Keys to the City, 2005. C-print. 63 x 44.5 x 2.5 cm
Calvin Klein Khakis 1996
Chinese Roulette (Rainer Werner Fassbinder, 1976)
The Kraftwerk interlude
Shopping Supports, Carriage
Made to enhance the stability of satisfaction in every shopping process, some of them assure a comfortable transport of new belongings on the way home, while others stay very close and protect meanwhile effortlessly the body.