Heike Sperling

The child-like character of her imagery and her touch like sudden lightning fill sheets of paper in one format only: A4. “Within the standard the minimum reduces immensity to distance between signs”.

Lisa Ponti

"Drawing is the least tiring thing there is."
September 29th, 2022

Via Macro - Museum of Contemporary Art of Rome: "After taking a degree in Philosophy, she worked with her father in various contexts: she assisted him in the making of the frescos at Palazzo del Bo in Padua (1940), played an active role on the editorial staff of the magazine Stile published by Garzanti (1941-1946), and was an editor-in-chief inside Domus (1940-1979), then specifically editing the magazine’s art coverage until 1986. [...]

Lisa Ponti began drawing while she was still working with Domus, but her first solo exhibition came only at age 70, in 1992, at the gallery of Franco Toselli in Milan. The child-like character of her imagery and her touch like sudden lightning fill sheets of paper in one format only: A4. 'Within the standard the minimum reduces immensity to distance between signs'
Like apparitions, the words and text graphically and ironically contribute, performing together with the rapid gesture that outlines the profile of cherub-like characters, figures of fantasy but also companions of hopes and turbulence. The duel between drawing and watercolours on the white page is enhanced by many other ways of narrating, thanks to the use of a range of materials and tools: newspaper pages and personal photographs with which to produce collages, markers and paintbrushes, cotton and wadding, stickers that dot or sketch forms on paper surfaces. For the artist, drawing is an intimate location, a moment in which to stake out and claim a private space of abandon. The A4 format is a limit to overcome through a mark that takes flight and compresses the dream or apparition into an instant."

From Lisa Ponti and Franco Toselli in conversation with Hans Ulrich Obrist:
"Hans Ulrich Obrist: Why should we be optimistic today in this world?'
Lisa Ponti: Because it’s not up to us! I’ve had a lot of surprises from the world, simply with optimism, without having made an effort. Making an effort is of no help at all; in fact it’s a bit depressing. Once you have found the right path, things then come along, one at a time, and so I took advantage. [...]
Hans Ulrich Obrist: What advice would you give to a young artist?
Lisa Ponto: Try all the paths, to try them all out! That’s the way to learn, by making mistakes! For example I learned from Sottsass about the color pink. In Milan, the custom is for rooms to be white, and then inside the rooms there are colorful objects and furniture. But from Sottsass, whom I visited a great deal because he collaborated on Domus, I learned the pink backdrop—the pink backdrop, with a few dashes of other colors. Sottsass came from Turin, which was outside this Milanese business according to which the house has to be a blank page punctuated with one, two, three, four, five objects. And so I painted my home in via Randaccio all pink! Even though pink was somewhat frowned upon then."

Thanks to Edda Charlie Eckardt!

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Daisies (Czech: Sedmikrásky) is a 1966 Czechoslovakian surrealist comedy-drama film written and directed by Věra Chytilová.

Věra Chytilová

An overheated kettle that you can’t turn down
September 17, 2022

Through the 2011 British documentary film about the history of film The Story of Film I learned about the stunning estate of Věra Chytilová.

Via Wikipedia: "Chytilová described herself as a control freak and, 'An overheated kettle that you can’t turn down'. Chytilová's overheated attitude made it difficult for her to gain work within the Soviet Union controlled film industry. She was known as being actively critical of the Soviet Union, stating that 'My critique is in the context of the moral principles you preach, isn’t it? A critical reflection is necessary'. She would routinely cause havoc and hysterical scenes to attempt to make films that were loyal to her vision regardless of the heavy censorship that was routinely imposed.

Chytilová embodied a unique cinematographic language and style that does not rely on any literary or verbal conventions, but rather utilizes various forms of visual manipulations to create meaning within her films. Chytilová used observations of everyday life in accordance with allegories and surreal contexts to create a personalized film style that is greatly influenced by the French New Wave, and Italian neorealism.

Chytilová actively used a filmic style similar to cinéma vérité in order to allow the audience to gain an outside perspective of the film. Her use of cinéma vérité is best illustrated in her 1966 film, Daisies, in which these techniques create a “philosophical documentary, of diverting the spectator from the involvement, destroying psychology and accentuates the humor”. Through these manipulations Chytilová created a disjunctive viewing experience for her audience forcing them to question the meaning of her films."

Via Criterion about Daisies ( Czechoslovakia, 1966, 76 minutes, Color): "If the entire world is bad, why shouldn’t we be? Adopting this insolent attitude as their guiding philosophy, a pair of hedonistic young women (Ivana Karbanová and Jitka Cerhová), both named Marie, embark on a gleefully debauched odyssey of gluttony, giddy destruction, and antipatriarchal resistance, in which nothing is safe from their nihilistic pursuit of pleasure. But what happens when the fun is over? Matching her anarchic message with an equally radical aesthetic, director Věra Chytilová, with the close collaboration of cinematographer Jaroslav Kučera, unleashes an optical storm of fluctuating film stocks, kaleidoscopic montages, cartoonish stop-motion cutouts, and surreal costumes designed by Ester Krumbachová, who also cowrote the script. The result is Daisies, the most defiant provocation of the Czechoslovak New Wave, an exuberant call to rebellion aimed squarely at those who uphold authoritarian oppression in any form."

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Written and presented by Max Tobin.

Death is a trip

Farewell, Julee Cruise
June 9th, 2022

Today the beautiful, fabulous, highly intelligent, courageous, and incredibly creative Julee Cruise passed on. Her husband said that she "left this realm on her own terms. No regrets. She is at peace [...] I played her [The B-52's song] Roam during her transition. Now she will roam forever. Rest In Peace, my love."
I had the great pleasure meeting Julee Cruise several times, in New York and in Cologne while she was working on two Pluramon albums with composer Marcus Schmickler. Every conversation with her was deep and light at the same time, and wherever she went she worked her program. Julee continues to be a huge inspiration for me. She was a giant.

“Easy, easy, and you are doing this willingly and consciously and beautifully—going forward and up, light and free, forward and up towards the light, into the light, into complete love.” –Quote from Laura Huxley's beautiful letter about Aldous' death

Via aoen: "Over the past several decades, scientists have began to better understand dying as a biological process – whether it happens over the course of weeks or appears to occur in an instant. In this short video, the UK filmmaker and presenter Max Tobin deploys a heavy dose of gallows humour to investigate a groundbreaking series of studies that may offer hints at what the stage between clinical death (cessation of vital functions) and brain death (cessation of brain activity) actually feels like. In particular, he looks at the biological and experiential similarities between near-death experiences and taking the hallucinogenic drug DMT, in discussion with Chris Timmermann of the Psychedelic Research Group at Imperial College London, who led the research."

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Marcel Dzama made some new large drawings that he is showing in Miami at David Zwirner & Sie & Höke Gallery at Art Basel Miami.

Empowerment

Author and poet Clarissa Pinkola Estés
January 26th, 2022

Clarissa Pinkola Estés, Ph.D. in Women Who Run With The Wolves – Myths and Stories of the Wild Women Archetype:

"0-7 age of the body and dreaming/socialization, yet retaining imagination
7-14 age of separating yet weaving together reason and the imaginal
14-21 age of new body/young maidenhood/unfurling yet protecting sensuality
21-28 age of new world/new life/exploring the worlds
28-35 age of the mother/learning to mother others and self
35-42 age of the seeker/learning to mother self-seeking the self
42-49 age of early crone/finding the far encampment/giving courage to others
49-56 age of the underworld/learning the words and rites
56-63 age of choice/choosing one's world and the work yet to be done
63-70 age of becoming watchwoman/recasting all one has learned
70-77 age of re-youthanization/more cronedom
77-84 age of the mist beings/finding more big in the small
84-91 age of weaving with the scarlet thread/understanding the weaving of life
91-98 age of the ethereal/less to saying, more to being
98-105 age of pneuma, the breath
105+ age of timelessness"

Thanks to Swantje Lichtenstein!

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Henri Cartier-Bresson Brie, France. 1968

This is water

Thích Nhất Hạnh (1926-2022)
January 22nd, 2022

Via Plum Village: "With a deep mindful breath, we announce our beloved teacher Zen Master Thích Nhất Hạnh has passed away peacefully on 22nd January, 2022."

"We are a wave appearing on the surface of the ocean. The body of a wave does not last very long – perhaps only ten to twenty seconds. The wave is subject to beginning and ending, to going up and coming down. The wave may be caught in the idea that I am here now and I won’t be here later. And the wave may feel afraid or even angry. But the wave also has her ocean body. She has come from the ocean, and she will go back to the ocean. She has both her wave body and her ocean body. She is not only a wave; she is also the ocean. The wave does not need to look for a separate ocean body, because she is in this very moment both her wave body and her ocean body. As soon as the wave can go back to herself and touch her true nature, which is water, then all fear and anxiety disappear." –Thích Nhất Hạnh

Via The New York Times: "Thich Nhat Hanh dismissed the idea of death. 'Birth and death are only notions,' he wrote in his book No Death, No Fear. 'They are not real.' He added: 'The Buddha taught that there is no birth; there is no death; there is no coming; there is no going; there is no same; there is no different; there is no permanent self; there is no annihilation. We only think there is.' That understanding, he wrote, can liberate people from fear and allow them to 'enjoy life and appreciate it in a new way.'

Please also consider, the new Heart Sutra translation by Thích Nhất Hạnh, and the only commencemnet speech ever by David Foster Wallace, This is Water.

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New favorite record

Kirtan: Turiya Sings by Alice Coltrane
September 9th, 2021

Via Pitchfork: "Turiya Sings was the first album she made alone. Having left the commercial music industry behind, she released these uncanny compositions based on Hindu devotionals, or bhajans, on cassette through her Vedantic Center’s publishing imprint, Avatar Book Institute. Luxuriating in every prayerful syllable, naming deities like Krishna and Ramachandra, Coltrane made a small number of the tapes available to her students and Vedantic Center visitors. Though she used relatively spare components—the subtitle of the original album cover read, 'Devotional Songs in Original Composition with Organ, Strings and Synthesizer'—they contain an unusual, self-contained grandeur. In the aching shimmer of these hymns, which evoke both South Indian classical music and the Black church, you can hear Coltrane’s life coursing through: her journey from gospel accompanist to jazz prodigy, the drama of the European classical music she loved, the soulful melodies of her Detroit youth, grief and exaltation. Yet the power of this music is elemental. The tone of the original Turiya Sings is as certain and spectral as anything associated with the Coltrane name. Her voice hovers distantly above the mix as if she’s floating, or astral projecting—which she wrote about extensively in Monument Eternal—like a woman actively inhabiting a higher dimension.

The recordings of Coltrane’s ashram period have taken on a mythical status in her catalog over the past decade, particularly Turiya Sings, which has circulated online and on bootleg cassettes, never officially re-released. The 2017 Luaka Bop compilation of Coltrane’s ecstatic music included no tracks from Turiya Sings. If there is reluctance to make those particular recordings commercially available, it’s understandable: The music emerged at the very moment Coltrane was trying to divorce herself from the material world. On a more technical level, according to a label representative, the original Turiya Sings remains formally unreleased because the Coltrane family has never found its master synthesizer recordings.

What Coltrane’s son Ravi did find—around the time of his mother’s final album, 2004’s miraculous Translinear Light—were 1981 recordings she made of Turiya Sings featuring only her voice and Wurlitzer electric organ, an instrument that she once said came to her in a divine vision. ('In one meditation… the precise instrument I should get was revealed to me,' she said in an interview. 'I didn’t need to do any research; it was just conveyed to me.') These pared-back tracks of Coltrane’s most minimal music are now released as Kirtan: Turiya Sings, like seeds of the cassette that also, in some sense, expand it. As Ravi Coltrane writes in a producer’s note, this is 'functional music,' meant to guide the practice of chanting: creating vibrations inside of oneself in order to transcend, like embodied meditations. During a call-and-response kirtan performance, the leader sings devotionals, typically with a harmonium pump organ, and the audience joins in collectively. Despite the surge of interest in kirtan in the U.S. in the 1990s—and Coltrane’s groundbreaking fusion of gospel and jazz elements into the form—her spiritual music remained little known in the U.S., as scholar Franya J. Berkman notes in her 2010 Coltrane biography, in considerable part because she didn’t perform it outside of her ashram.

Where before, the stately music of Turiya Sings had evoked celestial bodies, inquisitive synth lines whirring as if in accordance with their own cosmology, now there’s the tactility of earthly reality. The click of the organ on Jagadishwar makes its soul-stirring melody—which Coltrane reimagined unmistakably on Translinear Light as well—feel newly intimate, and she enunciates each word with enlightened precision. It puts you in the room, into electric air. By this point, Coltrane had been playing the Wurlitzer for a decade, having first used it on 1971’s mind-bending galactic trip Universal Consciousness. Her subtle flourishes of extra notes make the compositions bloom and groove anew. Her mystic organ lines seem attuned to the drone of the universe. [...]

Listening to the Kirtan: Turiya Sings recordings feels less like discovering a hissy cassette lost in time than what it must have been like to experience Coltrane leading the songs at one of her legendary Sunday services."

Thanks to Frank Dommert @ a-musik, the best record store on this planet !

Also, check out this 16mm color film print. A "short documentary made for a segment of National Education Television's Black Journal television program. The segment focuses on the life of Alice Coltrane and her children in the wake of the death of her husband, famed jazz magician John Coltrane. This film was shot sometime during 1970; three years after the death of John Coltrane."

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Can't Get You Out of My Head: An Emotional History of the Modern World is a six-part BBC documentary television series created by Adam Curtis. It was released on BBC iPlayer on 11 February 2021.

Can't Get You Out of My Head

An Emotional History of the Modern World by Adam Curtis
February 13th, 2021

Via The Guardian: "Examining the power structures and political intrigue that have shaped our world, the filmmaker’s new BBC documentary series is a dense, ambitious triumph. [...]

The power dynamic, how it shifts, how it hides and how it is used to shape our world – the world in which we ordinary people must live – is Curtis’s great interest. He ranges from the literal rewriting of history by Chairman Mao’s formidable fourth wife, Jiang Qing, during the Cultural Revolution to the psychologists plumbing the depths of “the self” and trying to impose behaviours on drugged and electro-shocked subjects. He moves from the infiltration of the Black Panthers by undercover officers inciting and facilitating more violence than the movement had ever planned or been able to carry out alone, to the death of paternalism in industry and its replacement by official legislation drafted by those with hidden and vested interests. The idea that we are indeed living, as posited by various figures in the author’s landscape and (we infer from the whole) the author himself, in a world made up of strata of artifice laid down by those more or less malevolently in charge becomes increasingly persuasive.

Whether you are convinced or not by the working hypothesis, Can’t Get You Out of My Head is a rush. It is vanishingly rare to be confronted by work so dense, so widely searching and ambitious in scope, so intelligent and respectful of the audience’s intelligence, too. It is rare, also, to watch a project over which one person has evidently been given complete creative freedom and control without any sense of self-indulgence creeping in. It is always exciting to be in receipt of the product of a single vision. Not quite singular, perhaps: I suspect a lot of men born, like Curtis, in the 1950s, harbour many of the same concerns and would make a lot of the same arguments, although most would lack the ability to enshrine them so accessibly or attractively. But nevertheless, a triumph. For Curtis, of course, but also for publicly funded broadcasting. No commercial channel would have touched this thing. Unless, of course, that’s just what Auntie wants us to think."

Watch it here: Part 1, Part 2, Part 3, Part 4, Part 5, and Part 6.

On top of it Can’t Get You Out of My Head features music by fabulous composer Natalie Beridze.

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This might be the most important talk of your life.

The Basics of Nonviolent Communication

by Marshal Rosenberg (1934-2015) in San Fransico 2020
August 30st, 2020

Via Wikipedia: "Nonviolent Communication (abbreviated NVC, also called Compassionate Communication or Collaborative Communication) is an approach to nonviolent living developed by Marshall Rosenberg beginning in the 1960s. NVC is based on the assumption that all human beings have capacity for compassion and empathy and that people only resort to violence or behavior harmful to others when they do not recognize more effective strategies for meeting needs.

NVC theory supposes that all human behavior stems from attempts to meet universal human needs, and that these needs are never in conflict; rather, conflict arises when strategies for meeting needs clash. NVC proposes that people should identify shared needs, which are revealed by the thoughts and feelings surrounding these needs, and then they should collaborate to develop strategies and make requests of each other to meet each other's needs. The goal is interpersonal harmony and learning for future cooperation. [...]

Rosenberg invites NVC practitioners to focus attention on four components:

• Observation: the facts (what we are seeing, hearing, or touching) as distinct from our evaluation of meaning and significance. NVC discourages static generalizations. It is said that When we combine observation with evaluation others are apt to hear criticism and resist what we are saying. Instead, a focus on observations specific to time and context is recommended.

• Feelings: emotions or sensations, free of thought and story. These are to be distinguished from thoughts (e.g., 'I feel I didn't get a fair deal') and from words colloquially used as feelings but which convey what we think we are (e.g., inadequate), how we think others are evaluating us (e.g., unimportant), or what we think others are doing to us (e.g., misunderstood, ignored). Feelings are said to reflect whether we are experiencing our needs as met or unmet. Identifying feelings is said to allow us to more easily connect with one another, and Allowing ourselves to be vulnerable by expressing our feelings can help resolve conflicts.

• Needs: universal human needs, as distinct from particular strategies for meeting needs. It is posited that Everything we do is in service of our needs.

• Request: request for a specific action, free of demand. Requests are distinguished from demands in that one is open to hearing a response of no without this triggering an attempt to force the matter. If one makes a request and receives a no it is recommended not that one give up, but that one empathize with what is preventing the other person from saying yes, before deciding how to continue the conversation. It is recommended that requests use clear, positive, concrete action language."

The Nonviolent Communicator is "an online tool to help you create a communication that honors the NVC structure, and helps you identify the emotions you are feeling. Based on the The 4-Part Nonviolent Communication (NVC) Process model developed by Marshall B. Rosenberg, Ph.D."

Thanks to Michael Beil!

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"in Pursuit of Venus", the panoramic video by Lisa Reihana, is a moving image interpretation of the French scenic wallpaper "Les Sauvages de la Mer Pacifique".

In Pursuit of Venus

by Lisa Reihana
August 21st, 2020

Via In Pursuit of Venus: "In Neoclassical France, entrepreneur Joseph Dufour used the latest printing innovations to produce Les Sauvages de la Mer Pacifique (1804), a sophisticated twenty panel scenic wallpaper. Mirroring a widespread fascination with the Pacific voyages undertaken by Captain Cook, de Bougainville and de la Perouse, the wallpaper’s exotic themes referenced popular illustrations of that time. Two hundred years later, Maori artist Lisa Reihana employs twenty-first century digital technologies to animate Les Sauvages de la Mer Pacifique. Enlivened with the sights and sounds of dance and cultural ceremonies, a vast video panorama is populated by a myriad of people drawn from across New Zealand and the Pacific.

Separated by two centuries, both the wallpaper and video are set against an utopian Tahitian landscape. While Dufour’s work models Enlightenment beliefs and ideas of harmony amongst mankind, Reihana’s reading of the past is darker and more nuanced. The artist foregrounds the complexities of cultural identity and colonisation by including scenes of encounter between Europeans and Polynesians."

Listen to Lisa Reihana talk about her work.

Thanks to Miriam Stein!

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Aretha Franklin in the concert movie Amazing Grace.

Aretha Franklin

Watch Amazing Grace on Whitsun
May 31st, 2020

Via The Hollywood Reporter: "In 1972, the director spent two days in a Watts church filming Franklin recording her historic gospel album. But he forgot to sync the sound. Now, after 43 years, the film is finally ready to be seen — if Franklin's lawsuit doesnt stop it."

Via The Guardian: "So, after nearly five decades, does the film stand the test of time? Hallelujah, yes! Despite being both unforgivingly overlit and tantalisingly truncated (this trim 88-minute cut abridges or omits some classic tracks), Elliott’s Lazarus-like resurrection of Pollack’s movie captures both the hive of musical activity and fervour or religious ecstasy that thronged through that church all those years ago."

Via Wikipedia: "Odie Henderson of RogerEbert.com enthused, 'Whether you're religious or not, you owe it to yourself to see this movie if the chance arises. You'll see how much love and feeling went into the construction of the resulting album.' Variety's Owen Gleiberman noted, 'The movie reveals how the fundamental distinction between rock 'n' roll and rhythm and blues was not only racist at its core, but a way for the consumer culture to slice the God out of music that was invented as a way to talk to God.' Jordan Hoffman of The Guardian wrote, 'The film is almost wall-to-wall music, with Franklin barely acknowledging the audience between songs.' The Los Angeles Times' Justin Chang wrote: 'Aretha Franklin didn't transcend the gospel or gospel music; as first her album and now this marvelous documentary remind us, she did more than most to fulfill its potential for truth and beauty, devotion and art.'"

Thanks to Sarah Szczesny!

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