La Vallée: Barbet Schroeder’s 1972 very french (but not very good) film

original movie poster for la vallée also knows as “obscured by clouds”

the expression “obscured by clouds” refers to those areas that have never been cartographically surveyed since they are always blanketed in cloud

pink floyd created the music fo rth film and named their album “obscured by clouds” after a clip in the film with a map stating the words

viviane (ogier), the wife of the french consul in melbourne, joins a group of explorers in search of a mysterious hidden valley in the bush of new guinea, where she hopes to find the feathers of an extremely rare exotic bird. along the way through the dense jungles of papua new guinea and on the peak of mount giluwe…

she and the small group of explorers make contact with a native tribe called the “mapuga”, portrayed as one of the most isolated groups of human beings on earth, who inspire them to explore their own humanity, unfettered by their own subjective ideas of “civilization”. the search becomes a search for a paradise said to exist within a valley marked as “obscured by cloud” on the only map of the area available dated as surveyed in 1969.

came across this film aftrer watching a documentary called “chit chat with oysters” as floyd had done the music for this film. doesn’t look great, and rather sentimental and french, and i mean that not in a good way as we love the great french films. maybe worth a watch just for the imagery, good luck finding it, but in the mean time heres a review by anet maslin in the new york timesin may of 1981

“the beginning of barbet schroeder’s ”the valley obscured by llouds” finds viviane (bulle ogier) wearing a trim little dress and high heels, traipsing elegantly through the jungle as only a chic frenchwoman can. the bored wife of a diplomat stationed in melbourne, she is in new guinea to buy feathers, which she sells to a paris boutique.

in the trading post where she is first seen, she encounters the blond, bare-chested olivier (michael gothard), who claims to know where some fine feathers can be found. he seems to be making a few other claims too, but it is only the feathers that he mentions. anyhow, viviane soon embarks, with olivier and several very solemn, self-important hippies who are his friends, on a journey into the wilderness. they are in search, respectively, of feathers and truth …

viviane’s feathery-headedness may be something mr. schroeder intended. after she witnesses the spectacular mapuga festivities that mark the film’s climax, she cries ”olivier, isn’t it wonderful? we’ve become so close to them we’re practically one of them – we’ve found truth, you know!”

olivier quickly shoots a hole in this theory, but only a few minutes later the film is over, with viviane supposedly on the brink of enlightenment. has she really found wisdom through the mapugas? or is she merely fascinated by their makeup and jewelry ideas? schroeder is … neither an observer of nor a participant in his material, and the middle ground he inhabits remains ill defined. his film is by no means uninteresting, but it lacks the clear vision that might have turned it into a genuine act of exploration.” by ar

the eyes of indigenous peru: martin chambi the man who inspired irving penn and the cast at tomorrow started

“it is believed that indigenous peoples have no culture…that they are barbarians,” declared martín chambi after exhibiting his photographs in chile in 1936.

“that is why i am undertaking this task,” he affirmed. as an indigenous descendant, chambi devoted his decades-long career to photographing the lives and surroundings of the peruvian people of the southern andes during the early 20th century.

from formal studio portrayals of peru’s diverse society to chronicles of the andes and their environs, chambi’s work remains a testament to his drive for capturing his country’s history and culture.

sihuana (above) one of martín chambis most famous photographs – “two giants from cusco” (1925)

sihuana was the peruvian giant. chambi’s photograph of sihuana is a sensitive portrait of an indigenous peruvian man in traditional dress, including a draped poncho and chullo cap.

“sihuana’s direct gaze confronts the viewer. his stance and surroundings mimic painted portraits of a century earlier, like afro-peruvian portraitist josé gil de castro’s portrayal of the marques de torre-tagle (below).

although gil de castro never traveled to europe, he became famous for his ability to represent the peruvian elite in grand style. much like sihuana, the gentlemanly tagle is positioned in front of a cloth of honor and surrounded by decorative objects that help to signal his “status.”

born to a quechua family in the coasa district of southern peru, chambi first encountered photography at the age of 14, while working at the british mining company santo domingo, where his father also worked. it was here that he came across two british company photographers, angus and ferrin, who showed him the workings of the camera.

within a few years, in 1908, he moved to arequipa to become assistant to max t. vargas, a renowned photographer and owner of one of the most well-known studios in the city. in his nine years training with vargas, chambi learned the technical and aesthetic fundamentals of artistic portraiture and outdoor photography, exhibiting his work locally and establishing connections with arequipa’s vibrant artistic community.

above portraits of two peruvian women by martin chambi

 

irving penn met chambi in the early days of his career and the influence on his work is very much recognizable

above portraits of a peruvian man not by martin chambi, but rather the american photographer irving penn

incredible portraits of max ernst and dorothea tanning by irving penn

 

this period marks the beginning of his successful career, when he participated in multiple photographic competitions and earned himself several copper medals on various occasions.

around 1917, chambi opened his own photographic studio, first in the town sicuani and then in cusco.

while his studio soon became the regional leader in natural light portraiture, the artist also worked as a photographic correspondent for national journals and newspapers documenting streets, monuments, everyday scenes of urban and rural life, events, and gatherings, as well as peruvian architectural and archaeological sites.

he photographed the incan citadel machu picchu, and documented an array of subjects, from the prominent families of cuzco to the daily lives of the andean communities and the working class. his photojournalism and nationalist spirit were shaped at a time when foreign explorations of peru’s ancient monuments were at a peak and the tourist industry was just emerging.

it also coincided with the cultural and political emergence of the indigenism movement, in which chambi was profoundly influential for changing the way the country was represented through photography.

both his landscapes and his portraits of indigenous sitters from this period challenged traditional understandings of national identity and representation, and it was through his extensive photographic records, publications, and postcard production that he radically changed perceptions of the region, leaving an indelible mark on peruvian visual culture. over the course of his life, chambi’s work was widely recognized, exhibited, and published both in peru and throughout latin america, leaving behind a massive and profoundly influential body of work as peru’s first indigenous photographer. by jp

bananas are back in

andy warhols velvet underground LP cover

 

our favorite – Chiquita banana

banksy  –  pulp fiction

banana speculations – stock prices

“certificates of authenticity are crucial in conceptual art…”

the duchampian-style work incited art fair mayhem upon its launch only to be eaten by another artists in a performance pice titled hungry artist – the eaten banana was then replaced

from andy warhols velvet underground banana cover, to banksy’s pulp fiction spoof, to maurizio cattelans duct tape banana… the point is bananas are just good for you, not to mention a symbol of global trade… by cm

HIFI review magazine: original opinions on the Bose 901 back in 1968

original bose 901s – not the greatest audiophile sound for the money, but surely interesting to look at with its horizontal approach and beautiful cabinetry.

in the light of the new hyped-up kith + bose collab reissues of this classic speaker we thought we’d share a bit of its history, as i myself once considered buying a pair, almost a decade ago, but instead opted for a pair of magnepans instead… but here it is non-the-less… “there may be no singular product in modern audio history that has generated more accolades, derision, or pure controversy than the bose 901 loudspeaker. introduced in 1968 by a then four-year-old concern named after its MIT-educated founder, the 901 neither looked, nor sounded, like any speaker that had come before it. with its pentagonal cabinet that faced eight of its nine identical 4-inch, full-range drivers at the reflecting wall behind the speaker, its designer amar bose sought to have it mimic the way we hear in concert halls and imbue its sound with a giant soundstage and spatial realism that was unsurpassed.

amar bose and his 901’s in a clear cabinet

copy of bose 901 series III owners manual

beyond any success of its spatial trickery, the 901 had its issues — the combination of its small cabinet and unusual dispersion pattern required equalization at both ends of the frequency spectrum, and it was (not surprisingly) room and placement sensitive. some sophisticated audiophiles bemoaned a perceived lack of detail and veiled quality to its sound. j. gordon holt, founding editor of our high-end sister publication stereophile, noted in a 1971 commentary that the 901 “produces a more realistic semblance of natural ambience than any other speaker system, but we would characterize it as unexceptional in all other respects.” my own mentor, harry pearson, jr., told me in the early 1980s that he bought a pair of first-generation 901s after reading the positive reviews in the mainstream audio press and was so disappointed that it prompted him to found the absolute sound as an alternative voice.

you are looking at he BACK of the speaker here

in the legend and mythology of the bose 901, the review we’ve reprinted here, written by julian hirsch for hifi stereo review’s september 1968 issue, looms large. it has been suggested by some observers that few factors beyond bose’s own advertising contributed more to the speaker’s huge commercial success. while the review retained hirsch’s usual dispassionate and professorial voice, it was certainly as close to a rave as he ever got. in 1998, when sr celebrated its 40th anniversary and hirsch was asked to reflect on the most noteworthy products he’d encountered, he cited the 901 right alongside such classics as the original shure v15 cartridge, the marantz 10b tuner, and the dynaco a-25 bookshelf speaker. back in ’68, the 901 review appeared without fanfare and was mixed among the several featured each issue in hirsch’s “technical talk” department, which always began with a brief essay (not reproduced here), followed up by a handful of product tests.”

above sound dispersion and positioning – positioning the 901s, which fire backwards, in a standard room can be challenging as the 12-inch gap necessary between the apex of the speaker and the wall places the front of the speaker about 30 inches from the wall. you need to be sure to have a room that can accommodate that. over all a great consumer level speaker system, with some proper positioning and staging however in my opinion “too much electronics” to make this a true pure sound audiophile unit

original  hifi stereo review magazine review from 1968

“depending on one’s viewpoint, the bose 901 speaker system might be considered a revolutionary approach to sound reproduction, or simply a workable combination of well-established (and sometimes deprecated) techniques. the bose 901 enclosures house nine small, specially designed drivers that have 4-inch cones and powerful magnetic structures. eight of the drivers are angled to the rear, while the ninth is mounted on the front of the enclosure facing the listening area. this arrangement is intended to achieve approximately the same ratio of direct to reflected sound that exists in the concert hall…” to see the rest of the review by julian hirsch, in the 1968 issue of hifi stereo review magazine, click on the link. by ss

wilmington 1898 how North Carolina’s democratically-elected, multi-racial government was illegally ousted

american coup wilmington 1898 

directed by brad lichtenstein and yoruba richen

you can watch the full film on PBS website – link in copy below

the film, which is a part of american history seldom displayed, tells the little-known story of a deadly race massacre and carefully orchestrated insurrection in north carolina’s largest city (wilmington) in 1898 — the only successful coup d’état in the history of the united states to date. stoking fears of “negro rule,” self-described white supremacists used intimidation and violence to destroy black political and economic power and overthrow wilmington’s democratically-elected, multi-racial government. black residents were murdered and thousands were banished.

the story of what happened in wilmington was suppressed for decades until descendants and scholars began to investigate. today, many of those descendants — black and white — seek the truth about this intentionally buried history. the film is available on pbs website for viewing,

 

Maurizio Cattelan: Be Right Back film worth a watch

be right back documentary

see the full film for FREE (click here) if you have AMAZON PRIME or just $3 if you dont have prime

“i was cackling throughout this whole thing. this man reminds me of the freaks of the dada movement and i love it endlessly! its so dumb but i love artists who are just purely chaotic and do whatever comes to mind. its hard to give it a better review, but i couldn’t help but see the dark side of warhol, in here with trickles of trump, jeff koons, kanye, vito accunchi and elon musk basically all those sensationalist desperados begging for your attention at any price. ideas that are often so silly i would have rejected it it my small shop… like the fascist finger sculpture infront of the stock exchange,  or the perfume ad at the venice biennale. while i still highly recommend this film and while i fully enjoyed the guggenheim show which i attended at the launch, i will always consider maurizio a french fry – and not a proper meal. by uh

RIP in memory of aaron bushnell

aaron bushnell was just 25-year-old when he set himself on fire in front of the israeli embassy in washington on february 25, 2024

bushnell’s act was the second self-immolation protesting united states support for israel in the 2023 war, which has killed over 40,000 palestinians to date (with more than half being women and children *PBS) and resulted in a major humanitarian crisis. in december 2023, another protestor set herself on fire at the israeli consulate in atlanta.

aaron bushnell was a U.S. air force devops engineer, troubled by what he saw. he died after setting himself on fire outside the front gate of the embassy of israel in washington, D.C. immediately before the act, bushnell said that he was protesting against “what people have been experiencing in palestine at the hands of their colonizers” and declared that he “will no longer be complicit in genocide”, after which he doused himself with a flammable liquid and set himself on fire. as he burned, bushnell repeatedly shouted “free palestine!” after he collapsed onto the ground, two secret service officers attempted to extinguish the flames while a third covered for them with their weapon. bushnell was transported to a local hospital in critical condition and was declared dead in the evening. despite the media ignoring this act of defiance, this selflessness should not be forgotten in this selfish world. to peace and safety for all innocent israelis and all palestinians. by xy