Bloodshedding pieces of black-and-white happiness.
The unfair balance of the picture.

The wider picture. The bloody wider picture always giving it the color that wasn’t there in the first place.
Notice: the wider picture is never the first place. It comes as we back up, until we are nowhere to be found, impressed by the relation of the Thing with that wide horizon, that swift encompassing of the Other into the Thing.

The unfair balance of the picture. Nothing should ever be framed. Frames should be prohibited, forcing us into oblivion, into focusing on the End nearest us. Who knows how many Santa Clauses are necessary?

The unfair balance of the picture.

The pictures are by, in order of appearance, Diane Arbus, Miko?aj Chylak, Diane Arbus, Fischli & Weiss.

Video directed by Takafumi Tsuchiya (TAKCOM).

Two pictures from the Visit series (2007/8) by Filip Berendt.
The idea is so simple and to the point that it is irritating. Berendt put an ad in a newspaper saying he wants to make installations in people’s homes out of the things he finds there and take pictures of them. Some people answered. He went to their homes, and, well, did what he said he would do.
The series won him the Sittcomm award last year.

Le Monde des Montagnes (The World of Mountains), an ECAL graduate project by Camille Scherrer

Nothing to stop us from getting lost. From deciding we no longer belong here, and using all our knowledge and craft to make this place just confusing enough to dream.
Be it an augmented reality, be it a book, a picture that can actually be moving. Be it our imposing of what’s in our head, or rather, what dropped by for just a second, only to fool us into believing we own it, we are it.
Nothing to stop us from finding our way. With every single hesitating step we so confidently make into this our augmented reality, with more of you than I could ever have hoped for, with less of me than you would expect, with just enough of us to get the picture.
And move on. As if nothing really happened. As if.

(via)

I love the CRA$H jewellery collection by Super Fertile because it’s impossible to wear. Poor people can’t afford it. Rich people would never dare.
So who is it for?
For us, of course.

Nadja Bournonville, A Form of Protection (2008)

What I like most are the hands.
And the neck.
It’s tense. See the two lines suavely drawing their way into the chest. And the hands, a pianist’s hands, playing out their protagonism, exploring the absent look to shine, and yet tense, they remain, maybe, it’s what they hold, and not who?

(via)

Gabriel Cornelius von Max, Monkeys as Judges of Art (1840)

(I’m the small one watching the work, the one in the middle, whose profile can be seen behind the bent knee)

Is it as coherent as we like to think it? Does it demand coherence?
And does beauty differ dependent on categories? After all, we do watch differently than we listen. And when we watch, the pleasure of, say, seeing a beautiful feature film is quite different from the pleasure of seeing a piece of video art. And although of course the merging and the postmodernism and the over-all mishmash exists in discourse, the categories are still quite strong, our (my) attitudes vary tremendously depending on what I’m watching. It’s a tricky area, tagging. But the fact that it’s tricky should only encourage to explore, no?

Between from Via Grafik on Vimeo.

(via)

From the crazy guys at Koerner Union comes the most original dog portrait of 2008:

…and the most unappealing digital album of 2007 – Ready Made. Which is also an accomplishment of sorts.

Audience by Chris O’Shea. A very interesting technical description can be found here.