M

anxieties of influence,
#art, etc


Marina Galperina
journalist / curator / misc
about / clips


managing editor of
ANIMAL New York


twitter: @mfortki





ебать

fuck verb
ебать: fuckcuss out
трахаться: fuckscrewbonkgrindfriglay
трахать: fuckshagbonkknockknock off
ебаться: fuckscrew around withfrig
поиметь: fuck
выебать: fuckchew outscoldpull out of a hat
совокупляться: copulatefuckfrigjazzscrew
иметь: havekeepbearownholdfuck
натягивать: pullpull onstretchtensetightenfuck

fuck 
noun
ебляfuckingfuckbusyworkfrigging
совокупление: coituscouplingcoitionfuck
половой акт: fuck
соитие: coitionfuck
The myth of Lars von Trier’s misogyny persists, ultimately, because von Trier wants it to – not because he is a misogynist, but because he’d rather alienate the hypocritical moralists and pedants and prudes he’s spent his whole career railing against than spoon-feed them his message. This refusal to soften, broaden, or dumb down his films is the stance of a deeply un-democratic artist with a messiah complex, a snobby provocateur who gets a thrill out of being misunderstood. But it may also be the only way von Trier can stay true to his principles. Judy Berman, Flavorwire 
Every news story about Bush’s paintings represents ten reports not filed about Bush’s torture. Greg Allen

EXPLORING OFF-LIMITS NEW YORK with “2e” or “@gothamr.” Sick ANIMAL video by Aymann Ismail, our collab write-up:

For five years or so, the twenty-something-year old studied this hidden New York. He knows the history and the anatomy of every spot. Stepping into the Greenpoint Terminal warehouse, he talks about the stone and cotton moved through it until the big fire gutted everything. He steps over that one loose step in a dust-covered staircase. He weaves, climbs, burrows in smooth, practiced motions.
Half an hour later, he’s at the base of the Williamsburg Bridge. The East River reeks of floating shit, but above, the clamoring traffic shines through the grates. From the crashing bank of the river, there’s a kind of view you will never buy with your Dumbo condo. The Manhattan skyline is laid bare. 2e is quiet and calm now, for a minute or two. “Yo, if shit goes down, we fucking run.” 2e scampers over a broken bricks, towards the Domino Sugar Factory. This all will be demolished soon, he says, even the building with the “Domino” sign. It’s one of his favorite spots to photograph… “I want to climb the smoke stack,” 2e says on his way out. “I think it’s time.”

Earlier this morning, Bucky Turco’s editing note:

WHAT? What are you Charles Dickens and he’s a soothsayer?

I realize that just like everyone reading about Human Barbie, I had had a simple narrative prepared in my head: A small-town girl grows up obsessed with dolls, etc. Instead, I get a racist space alien. Michael Idov, definitive profile of “Human Barbie” Valeria Lukyanova, GQ Magazine
А. Леонов, А. Соколов. Ждите нас, звезды! (1967)

А. Леонов, А. Соколов. Ждите нас, звезды! (1967)

Under the Skin (2014), dir. Jonathan Glazer, soundtrack Mica Levi, sound design Johnnie Burn

bfi.org.uk: There’s a very striking three-note theme that recurs. At the start it sounds sexual and slinky, like a film noir femme fatale theme – but by the end, it’s decaying and suggests the character’s inner torment.
Mica Levi: She uses that theme – it’s her tool. At the beginning, it’s like fake – it’s her perfume, it’s the way she reels in these guys with a tune. Then it deteriorates, it becomes sadder. We called it the ‘capture’ melody. Then there’s this major triad, a warm chord, and that’s her ‘human’ or ‘love’ feeling. And there’s this darker minor triad of trilled strings that recurs throughout.

Elektro Moskva (2013), dir. Elena Tikhonova, Dominik Spritzendorfer

‪Throbbing Gristle, “Discipline”

Genesis Breyer P-Orridge, "The Pandrogyne" on Love + Radio:

It was a way of liberating the novel, the narrative in a new way, in an experimental way. There would’ve never been industrial music without cut-ups, because we started to literally use tape recorders and cut in sounds from the street, factories, people screaming, television, radio, everything and anything could be utilized in the music and chopped up. It juxtaposes thing in new and unlikely ways, ways you could never conceive of in a linear way of thinking. It breaks down our tendency to be lazy about the way we perceive things. We’ve used that we’ve everything and eventually with our own bodies…

Cut-ups have been the primary tool of assembling things and with words, sometimes you can reveal something very simply. One of our favorite ones is “s/he is her/e.” …It can read “she is here,” “he is her” and so on and “she is her” and round and round in a permutation. 

Genesis Breyer P-Orridge and Lady Jaye Breyer P-Orridge by Chris Buck Genesis Breyer P-Orridge, "The Pandrogyne" on Love + Radio:
A dungeon is a space equipped with S&M equipment where certain types of men ring up, make appointments in some way to be submissive sexually, physically and even just mentally for whatever reasons. People have these grandiose and scary ideas of what goes on, but sometimes it’s really simple. There was a man that called himself “the couch” and he would lie on the floor covered in a sheet and all you would do is sit on him, and talk about stuff and drink wine. That was it! The traditional stuff went on too, but a lot of it was very much intellectual and all going on in the brain.
We’d been awake for three days… on pharmaceutical ecstasy and then we finally went into the dungeon itself and pulled a sheet over we and went fast asleep next to all these gadgets for pulling people into the air and tying them up and so on. And then we hear a noise and somehow we woke up. Sat up straight. Looked at the doorway and the light in the next room was on. And this girl walked by… with a beautiful Brian Jones blond bob and all 60s clothes and she was walking backwards and forwards with a cigarette in her hand, talking to somebody. And as she carried on walking back and forth, she gradually started throw off those clothes and change into a really amazing leather fetish outfit. My goodness who is that? She’s so beautiful. And then out of the blue, we found ourselves saying, out loud…
Dear Universe. If we can be with that person for the eret of our life, that’s all we want. That’s enough.

Genesis Breyer P-Orridge and Lady Jaye Breyer P-Orridge by Chris Buck

Genesis Breyer P-Orridge, "The Pandrogyne" on Love + Radio:

A dungeon is a space equipped with S&M equipment where certain types of men ring up, make appointments in some way to be submissive sexually, physically and even just mentally for whatever reasons. People have these grandiose and scary ideas of what goes on, but sometimes it’s really simple. There was a man that called himself “the couch” and he would lie on the floor covered in a sheet and all you would do is sit on him, and talk about stuff and drink wine. That was it! The traditional stuff went on too, but a lot of it was very much intellectual and all going on in the brain.
We’d been awake for three days… on pharmaceutical ecstasy and then we finally went into the dungeon itself and pulled a sheet over we and went fast asleep next to all these gadgets for pulling people into the air and tying them up and so on. And then we hear a noise and somehow we woke up. Sat up straight. Looked at the doorway and the light in the next room was on. And this girl walked by… with a beautiful Brian Jones blond bob and all 60s clothes and she was walking backwards and forwards with a cigarette in her hand, talking to somebody. And as she carried on walking back and forth, she gradually started throw off those clothes and change into a really amazing leather fetish outfit. My goodness who is that? She’s so beautiful. And then out of the blue, we found ourselves saying, out loud…
Dear Universe. If we can be with that person for the eret of our life, that’s all we want. That’s enough.

Jesse Darling, Self-administered EMDR, binaural beats for anxiety & depression, “cartesian vocal effect,” text. (2014)

The modern prerogative to regard ourselves aspirationally as machines has led to the idea that the brain – that body without organs - can be rewired or re-encoded with neoliberal technologies such as neuro-linguistic programming, transcendental meditation, and cognitive behavioural therapy. Advances in neurological imaging mean that the ‘animal reflexes’ of the brain can now be gazed upon, which means controlled. We know this from Charcot and the lads, and the whole art-historical patriarchal colonial sovereign notion of who sees and judges, and who is beheld and beholden. The twitching, jerking, spasming neurological body constitutes a sort of bare life and is now – following Agamben again – “both subject and object of the conflicts of the political order.” The trigger mechanism, the psychotic delusion, the habits and repetitions of the obsessive-compulsive are animal processes, automated and authorized by our own rogue operating systems. The sci-fi singularity feared and revered by the automated generation is a fear of lost control, of processes haptic and entropic, of something evolving beyond one’s own design. In the event of danger, our brains quickly process available data and ascertain the possibilities of fight or flight. When we meet death, or assume we do, the amygdala shrinks back into itself like a scared scrotum and the whole shit shuts down, lil Bartleby, slushy matter snow crash: I shan’t, I can’t, I prefer not to. In a piece called Should We Be Triggered? Neurogovernance in the Future Tense, Kim Cunningham argues for an ontological reappraisal of PTSD, claiming, “Among its unexpected gifts, the trigger offers an affective, embodied critique of the normative uses of objects, and a critique of Euclidean notions of space and time as chronological. The trigger’s connective ontology also makes it a creative force for critiquing the social. … Thus, the trigger can be understood as productive of new, unimagined relations between disparate objects and processes that produce a temporary loss of bounded, linear time-space and an inherent critique of the affective normalcy associated with a particular object. And it is also to restore the subject a sense of place and time as discrete and linear, chronological.”

Brad Troemel, 8 Fish, Flowers, 3 Crypto Vest Litecoins, 1 AOCS Copper Round (2014) at The Still House

Brad Troemel, 8 Fish, Flowers, 3 Crypto Vest Litecoins, 1 AOCS Copper Round (2014) at The Still House

Brad Libs via NetArtNet.net, source unknown

Brad Libs via NetArtNet.net, source unknown

(Source: cunny4)