anxieties of influence,
#art, etc

Marina Galperina
journalist / curator / misc
about / clips

managing editor of

twitter: @mfortki

Krist Wood,Inivichrys (2011)

Adam Broomberg and Oliver Chanarin, IHT Poster No. 7

Adam Broomberg and Oliver Chanarin, IHT Poster No. 7

Gang of Four, “To Hell With Poverty”

camgirlproject: Alexandre Cabanel, Albayde (1848) X idolth

camgirlproject: Alexandre Cabanel, Albayde (1848) X idolth

(Source: camgirlproject-research)

We ridicule those that speak wrong but mean right, and elevate those that speak right but mean wrong. Joe, Nymphomaniac


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

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.