this blog is a visual notebook of inspirations for a group of bandit bloggers. we post things we see and like. our lives don’t revolve around singular topics and neither does our blog. sorry! nothing is in-or-out of context here. enjoy xx
there are moments in notre-dame des fleurs that reverbate. they shake the terrain, and the words become buzzing entities. as gesture turns to caress and exchanges pronounce lullabies genet pierces his way in and out of the novel and the novel being told. i refuse to attempt a reading of his work beyond these observations. i refuse to remember the work through anyone else’s eyes and to accentuate other’s lives into the novel. knowing genet’s novel is simply to have read it an innumberable amount of times and to find in it the same tin soldier, the same procession, the same bed, and the same river bank. in that way the novel remains the same as genet wrote it. it is his to traverse and to tangle/untangle. this is his. i cannot wish more from it, as it expresses wholly the desire of his entrapment. willfully pressed against the most unsavory walls.
“oh luke, you wild, beautiful thing. you crazy handful of nothin’.”
“hell, he’s a natural-born world-shaker.”
compare to cool hand luke the condition of captivity. The softness of both genet and luke’s abject desires. in them both i find myself not wanting to go further, neither past the boundaries of what they provide nor into the grating dithering of peoples’ opinion.
salcedo anchors into the seed of this thought reassurance. that as she herself shares of her own work the status of secondary witness to violence. by way of building upon and reconfiguration she pierces the nature of the objects under her gaze, into testaments. their claims to violence solidified by the intervention she musters. enclosed or gouged, the object is preserved – so then is maintained its potential for ongoing intrusion.
pressing into the comet, trailing such as it is by lsd
echo, at once dead and very much alive, alone maintains narcissus’ beauty. his claim to self, that, as gaston bachelard puts it, becomes as is reflected. “je veux paraître, donc je dois augmenter ma parure.” (bachelard, l’eau et les rêves, 1942, p. 34).
the gentle stream brims with cosmic rigidity. the bank of clear waters, where things rest and can be thought to have been made, is where they take the form they pictured. a demented slumber. hypnosis. really, it is only in the depths of cloudy/violent/ruthless bodies that material imagination is most potent. there we can truly delve into matter, to find ourselves in the midst of that most gentle and fragile condition: excess. only wade these waters.
wherein do we bridge and travel past form, into matter. to much relief bachelard affirms “la matière est l’inconscient de la forme”. it is within then. materialistic phenomenology allows us this oneiric passage from one into the other.
but echo is also 34 years old. it is the life work, masterpiece, of developer and new yorker stacy holt. where form is the passkey to matter. a message board of few members, it once held great interest for a kind of crowd capable of hanging together. artists, writers, students, politicians, musicians, designers, doers, all under the banner of “and now?” a place to congregate and produce desire. a moment of permanent instigation that has been housed in a thoroughly complex mechanical network. grinding out the signals into something truly malleable that allowed its participants to call and answer to “and now?” in plastic reverie.
indeed.
though it has always been that paste, this originating material of dreaming and entry into, this giving molasses, hardens and brittles when it is driven away from its source. gross doing. mean endeavor. potential in progress left solid. scorched earth, salted terrain, prey to a drying heat. crackling sound, echoing unto itself into a vast murmur.
who decided this?
because once it’s all finished, and what we bathed in can now be held, all that will be left to ask really will be “and now? “ by lsd
george porcari x roland barthes – still life with books
george porcari x michelangelo antonioni
THINGS: A STORY… if you are in cali, be sure to visit george porcari’s exhibit at “as is gallery” on 1133 venice blv in los angeles. one of our favorite contemporary artists on the west coast. the show is up from april 22, 2023
george porcari x roberto rossellini
“these still life works were started in 2008 and continue, on and off, to this day. i have been in a deep immersion with books from early on when my dad would regularly take me to the gardena public library – he hated buying books and loved to read. from being an avid reader i went to work at the strand bookstore in new york city in 1980…”
george porcari x john cassavetes
george porcari x joan didion
george porcari x jean luc godard
george porcari x jean luc godard
“i never considered reading something one does strictly for “self-improvement” (god forbid) or even for pleasure, although these may play a role. my primary reason for reading was to enter into a relationship with an author that could, ultimately, transform my brain – in effect one is a different person after reading a book with which one has had a profound emotional connection. that’s what you look for in books – transformation, ecstasy, understanding, communion. these are some of those books in my life…”
george porcari x james joyce
george porcari x charles bukowski
george porcari x cesar vallejo
“while working in the library i would get a cold every new year like clockwork – always during our three week year end vacation. in 2008 i decided to turn my self-isolation to working from home by making still life’s – a genre i had never liked (and still don’t like) in paintings or photography. all the pictures were shot in my apartment using natural light and/or the light available from nearby lamps. the title of the show things: a story comes from georges perec’s wonderful book things: a love story. while i may have removed the word “love” from the title i think love is very much at the heart of the matter when it comes to these particular books, and the still life’s are a small way of paying back and saying thanks.” – george porcari, 2023
some notes by judy zellen on the exhibition including discussions with the artist: “the subject of each photograph in george porcari’s exhibition things: a story is a narrative that can be constructed from the relationship between what appears on the cover of a book and the objects porcari has also placed around it in the image. titled still life with books, each picture is followed by a number and dated 2008-2023. Shot with natural light in porcari’s los angeles apartment, the pictures have wide-screen proportions to reference cinema, yet are tightly cropped to juxtapose the books with carefully arranged commonplace household objects. while many of the volumes are about filmmakers such as jean-luc godard, michelangelo antonioni or roberto rossellini, others are works of literature by authors like joan didion, roland barthes, charles bukowski and georges perec. the choice of books is specific and in many of his photographs, porcari has chosen a book where a black and white portrait of the author or filmmaker is centered in the frame.
though referred to as “still life’s,” the photographs in things: a story resonate as extended portraits that use the title of the book and its cover image as a point of departure. for example, in still life with books 2, porcari chooses the edition of “roland barthes by roland barthes” where the author is depicted in a black and white photograph with his right hand gently placed below his lips as if in a moment of contemplation. the book rests on what appears to be a slim, silver DVD player or radio receiver next to a pair of headphones, a green ceramic bowl with asian calligraphy, as well as other miscellaneous objects that are cut off at the edges.
The focus of Still Life With Books 40 is joan didion’s “the white album.” porcari places the hardback book in an empty freezer and stands it upright on one of the shelves, perhaps in reference to this passage: “we live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience.” during a conversation with porcari at the opening, he intimated that he put the book in the freezer based on his close reading of it.
still life with books 47 features a paperback version of “godard on godard” face up on a table surrounded by various computer cables and hard drives. the bright red lettering on the books cover is echoed by the round top of a pill bottle as well as the red heart in a “i heart…” button that is partially obscured by the aluminum arm of a desk lamp. the black and white photograph surrounded by red text on the cover of the book depicts a couple gazing into each other’s eyes with the woman’s hand gently placed on the man’s neck. underneath the book is a cartoony drawing of a white gloved cartoon hand (perhaps from bugs bunny) on blue material, that appears to be an extension of the man’s arm, adding a touch of humor and irony to his representation.
still life with books 130 contains césar vallejo’s “aphorisms” placed in a grimy sink and shot from above. the book is next to the drain and adjacent to a soapy cup from which an orange handled utensil emerges. again, porcari selects a volume with a black and white portrait of the author with his hand curled around his chin. the grainy image has an affinity with the texture of the sink. why it is placed there is anyone’s guess, but like didion’s book in the freezer, this strange juxtaposition makes for an interesting image.
although porcari’s photographs are filled with cultural icons and references, they are not one liners directed to those in the know. they are intimate and personal images that include books that are significant or have personal meaning for porcari. they are also beautiful and intriguing photographs that invite viewers to think about the bigger picture and perhaps the relationship between their books and the other objects that surround them.”
read read more of judy zellen here … start taking notes people… – by uh
apple think different ad campaign 1997 albert einstein
apple think different ad campaign 1997 john lennon and yoko ono
gap kakhis ad campaign 1993 ernest hemingway
gap kakhis ad campaign 1993 miles davis
i never connected the two, but apple’s “think different” campaign by chiat/day LA that came out in 1997 is practically the same as gap’s kakhis campaign that came out in 1993. who would have thought apple and lee claw of chiat would so blatantly rip a campaign form gaps in-house department! granted the kakhis ads where purely on the surface. miles wore kakhis and if you want to be just as cool wear khakis too. granted there was no gap around when miles wore those but that’s a minor note.
apple on the other hand connected to the thinking and culture of those individuals like john and yoko and einstein, and not so much on the appearance… but the idea to take an old cool picture and slap your logo on it – was not only the laziest idea but also one of the most beautiful, it really worked.
still some of my favorite campaigns, because they beautified the streets rather than pollute them. or so I say… by uh
yes again! – just watched it and learned these facts… some funny but some pretty horrific and sad actually
“aguirre, the wrath of god” was werner herzog’s first film with klaus kinski.
herzog and kinski had met many years earlier, when the struggling young actor rented a room in herzog’s family’s apartment.
kinski’s antics during the three months he lived there left a lasting impression. years later, herzog knew the volatile actor was the only possible man who could play the mad aguirre, and sent kinski a copy of the screenplay. “between three and four in the morning, the phone rang,” herzog recalled. “It took me at least a couple of minutes before I realized that it was kinski who was the source of this inarticulate screaming.”
francis ford coppola cited this film as an influence onapocalypse now (1979).
the idea for the film began when werner herzog borrowed a book on historical adventurers from a friend. the plot was inspired by a half-page about lope de aguirre.
the real lope de aguirre
klaus kinski’s crazed performance bore similarities to the real lope de aguirre, a “true homicidal megalomaniac”. many of his fellow soldiers considered his actions to be that of a madman. kinski’s use of a limp reflected one that aguirre actually had, the result of a battle injury.
Werner Herzog claims to have written the screenplay in two and a half days.
herzog himself never was a film student there or anywhere.
gerhard martienzen – voiceover for klaus kinski
the film was originally shot in english. the whole film was later dubbed into german. werner herzog claims that kinski wanted too much money for the recording sessions, so gerd martienzen dubbed him – audiences that have seen Kinski’s other performances often can’t tell the difference.
actress’ helena rojo (l) and cecilia rivera playing flores, aguirre’s daughter (r)
in his autobiography ‘all i need is love’ klaus kinski wrote: “…my daughter in the film, a sixteen-year-old blond peruvian, was fucked by almost everyone, I think.” sigh!
the complete crew consisted of just eight people.
sixteen-year-old flores (cecilia rivera) who had almost no dialogue in the entire movie
klaus kinski, irritated by the noise from a hut repeatedly fired with a winchester rifle into it. one of the bullets took the tip of an unnamed extra’s finger off. werner herzog immediately confiscated the weapon… and it remains his property to this day.
in one opening scene, when the carriage holding ursúa’s mistress tips over and threatens to collapse, a hand comes in from the right side of the frame to assist the actors in steadying their hold. that hand belongs to director werner herzog.
aguirre’s line “what is a throne but a plank red with velvet?” is an authentic quote from napoleon bonaparte.
near the end of the shooting, werner herzog thought he’d lost all the negatives. several weeks later, he discovered that the shipping agency at the Lima airport had completed all paperwork needed to ship the film cans – but hadn’t actually shipped them.
this film, as well as several other early films by werner herzog, were shot on a 35mm camera that he stole as a young man from the munich film school, a predecessor to today’s prestigious film school ‘HFF münchen’.
he readily admits to the theft but also justifies it with the significance of the films he’s made with the camera and his right to artistic expression: “It was a very simple 35mm camera, one I used on many other films, so I do not consider it a theft. For me, it was truly a necessity. I wanted to make films and needed a camera. I had some sort of natural right to this tool. If you need air to breathe, and you are locked in a room, you have to take a chisel and hammer and break down a wall. It is your absolute right.”
soundtrack music by florian fricke – herzogs soccer buddy
florian fricke, who composed the film’s music, was one of werner herzog’s former soccer teammates. werner herzog explained how the choir-like sound was created. “we used a strange instrument, which we called a ‘choir-organ.’ It has inside it three dozen different tapes running parallel to each other in loops. … all these tapes are running at the same time, and there is a keyboard on which you can play them like an organ so that [it will] sound just like a human choir but yet, at the same time, very artificial and really quite eerie.”
moog modular III synthesizer
the instrument was most likely a mellotron M400, introduced in 1970. It had 35 keys and was a staple of early-1970s progressive rock. (no it wasn’t! it was a moog modular III synthesizer)
boat on a tree
mexican craftsmen built the boat with attached canoe floating on top of a tall tree for the hallucination scenes at the end of the movie.
john okello the butcher of zanzibar
the character of aguirre, especially his speech at the end, ‘anyone who drinks one extra drop of water will be sentenced to 150 years in jail” was based in part on the zanzibar revolutionary john okello. by dd
vestoj is a both a forum and a paris-based sartorial publication where academia, the museum world and the fashion industry can collaborate and work together to write about the cultural phenomenon that is fashion, in a greater sense.
vestoj issue n° seven, on masculinities simone de beauvoir once said that ‘one is not born a woman, but rather becomes one,’ and many would argue that the same could be said about being a man. The social nature of masculinity is a pattern of practice, and one rife with complexity and contradiction. Today, it seems more apt to talk about ‘masculinities’ in the plural, to underscore the many ways in which one can be a man, or become one. What we have thought of as ‘masculine’ has changed considerably during different historical periods and inside different cultures, and the social position of masculinity has helped shape not just the gender order by which we continue to define ourselves, but also a hierarchy of masculinities that encourages certain ways of being a man over others. What we consider masculinity is sustained by men, but also by women: how women interact with boys and men continues to have a considerable influence on what we regard as masculine. While the concept of the human mind as a tabula rasa is no longer fashionable, and most today agree that the answer to ‘what makes a man’ lies somewhere between the influence of nature and nurture, the society in which we live continues to have a considerable and ever changing effect on how we perceive ourselves…. read more here.
you may ask, what makes these so special? for one, vestoj exists outside of a trend – based, and news – focused articles. meaning these thoughts and theories that stand the test of time. vestoj champions the independent thinker (hey a little like us) in combination with academic theory, and just a bit of good old-school glamour which is difficult to find these days.
anja aronowsky cronburg lecturing at polimoda (private fashion school in florence, italy.) , on proposing an alternative way of engaging with fashion.
there are a total of 9 issues currently out to date, all produced in minimum quantities and only sold in a selected number of distinct bookstores. personally, i’ve only gotten to get my hands on one and have been searching ever since for my next edition… issues include: issue #9 on capital, issue #8 on authenticity, issue #7 on masculinities, issue #6 on failure, issue #5 on slowness, issue #4 on fashion and power, issue #3 on fashion and shame, issue #2 on fashion and magic, issue #1 on material memories. by lb
a visual collective outlet of inspiration
