I am sure that you are surprised to hear from me

Candy

Het was not landhuis,
neith the secret river when it’s on a matter of our brain
arount on wie de aan Baron Smits
my brother likeness and sciousnes in a genderful thing
preventenhuis in coming conver and questigate de Genderhorst
It’s 5:30 am still be raised on the world.

If the like us world
always keep our ideas even by thing
the true lady will serve

if you to a do
and already in a wonder you to are – or smile.
This is a mathemation Smits-van Ooijen

to reciate the ring and part what ways of pictural experiode
and aan Baron Smits on 21st
Peited a number, once familie vanday mixing about
this dag van Ooijen.

There’s also a good flowing
and how small a my dag van
the question overted to fit the hous system

This linen verkocht down.
Upside down and I feel door of our daughting
I don’t means this year’s upside day that a awful the we are two
of living convers artists personally

De name candy would be an awful think if all stree different was neithe redder than the ring

De name has de fabrieksged nog steeds.

The Genderhors

huiswerking

werk


I am your prisoner of love – long after the hour of ecstasy has passed

dear Liz

MY LOVE FOR YOU


In response to: You’ll Never Walk Alone

Magnus, The last line of your post here is entirely on point. It’s great. It’s interesting how you keep referring back to your father as a source of inspiration or point of departure to discuss your current ideas in your practice.  I know it’s a big jump in content or narrative here but the images you posted made me think of my trip to Egypt last October.  I’m not sure why.  Maybe it’s because when I see ink work I think of inscriptions and of personal stories.  In any case, I’ve been thinking about the film The Night of Counting the Years, a.k.a. Al-Mummia by Shadi Abdel Salam, with regards to this exchange we are having.  I’m considering how you allude to identity in your work here but also in our email exchanges. I think the film discuss a personal consciousness and identity that is inherently tied to history.  Hopefully you see the connections between your post and mine.

“The film casts its story in terms of the search for an authentic, lost Egyptian national identity, represented by the neglected and misunderstood artifacts ofancient Egyptian civilisation. However, the conflict between city and countryside suggests questions that are not resolved in the film, making it an ambiguous, unsettling reflection on the price of identity.”

It seems as if we are both examining the deterioration of the body and or of landscapes with regards to either physical or psychological constraint.  Your recent posts have also reminded me of Bill Morrison’s film Decasia: The State of Decay. (See two following images below).  On the one hand I seem to be exploring our Mutualism collaboration by working with content and imagery through space/place while you seem to be including the figure.  So here I present the body as atmosphere in contrast to your presentation of the corporeal.

You’ll never walk alone:

https://mutualisms.wordpress.com/2011/08/10/youll-never-walk-alone-2/


American Pictures

I recently found this in my studio.  It’s a compendium of photo reportage, journal entries, etc, by a Danish “vagabond” traveling through the American Underclass.  I’ve always loved this cover.


Picks and plunders, compounds and hybrids of stories…

 

 

 

 

 

 

 

 

 

 

 

 

Magnus, I thought this might be of interest to you considering what we’ve been discussing and how it might possibly relate to your current work with your father.  This idea of placing yourself (or father) at the centre of your practice, while stretching your authorship and creating an identity myth.  In some ways, maybe we are asking each other to traverse between the opposing spaces we create; objects, illusions of places, and harder to reach localities.

Gogolin seeks to evoke memories and feelings of longing, loneliness and desire and comprises two main elements. The first is a hand-crafted life-size wooden Polish chata (summerhouse) built in an Eastern European vernacular style, containing numerous drawings and paintings.  The second is a large-scale film referencing the make-shift cinemas that were set up in refugee camps in the Great Bialowieza Forest where Mania’s mother watched Hollywood movies.”

“This new commission is the culmination of a number of the artist’s lines of enquiry into the act of looking, representation and appropriation. At the heart of the project is an exploration of family history and roots refracted through art and cinema history, as well as that of Europe during World War Two. Much of Mania’s work explores his relationship to his parents’ status as refugees from the Second World War.  His mother is Polish and arrived in England via India. His German father was captured as a paratrooper and brought to England as a prisoner of war. The artist’s up-bringing was filled with tales of his parents’ extraordinarily turbulent experiences and these feed into the complex personal allegories that he creates in his work.”

Top Hat, Andrew Mania.  Film still.

http://www.chisenhale.org.uk/archive/exhibitions/index.php?id=25


Index Created for Atlas Shrugged

All Watched Over by Machines of Loving Grace
Episode 1 (Love and Power)

RESPONSE #1: Index Created for Atlas Shrugged (sketch version)

Ayn Rand’s Objectivist “philosophy”  has heavily influenced business culture in California’s Silicon Valley. The belief in a computer enabled utopia, known as Californian Ideology, promotes that digital/computer networks could measure, control and stabilize societies, without hierarchical political control, and that people could become “Randian heroes”.

The documentary cites the popularity of names from Atlas Shrugged for Silicon Valley company names and the children of computer entrepreneurs.


As Seen in Magazine

 

Our ad in Metropolis M