“Main street includes, if followed at length, an exit to a highway or the autobahn. The community center and church are the gathering points in which social conditioning and inclusion or exclusion become modes of continuity for the community”.
“In a dialogue where it is often difficult not to mention “medium specificity”, it would be fair in jest to contemplate why photography’s utility is toward change and simultaneously toward stasis. Stasis is where comfortablility lies, but this position also breeds contempt.”
“Berlin was cold and grey… but we made up the “scene” an alien escape from this condition… no morals, cold and hot and cruel and shiny, all at once… excessive for sure. The free spirit of the city supplied a fertile ground for life as an experiment”
“Though the clues to what could be considered “absent” “voided” or “gone” are not to be entirely championed nor ignored, the work follows a circular format. It is an examination of place and home and the subject’s way of seeing the familiar and unfamiliar at the same time. This inquiry of Schmidt’s is adept if not deftly demonstrative.”
“A good number of the images allegedly had annotations written on the images such as “not interested in pictures”, “Deceased”, and “Looks better from the ground” written on them”
”The whole city though I am only in a neighborhood seems capable of changing its face as I am carried through it offering possibilities for omni-architectural and urban planning on rails”. I have this repeating dream in which I am in an urban environment not dissimilar to Berlin. The buildings have a late nineteenth century […]
Images that travel; images for hire. The postmarking of images. The weathering and creasing defamation, which detracts the value of a post-card is insipid as to its method of its perceived “correct” representation or is it?
These are real people, with real happiness in their lives, and that makes a fool of the reader for prejudging them by their surroundings.
The book by Kominek is nocturnal in every way. Black pages, black endpapers, black outlook, black object, black vision.
History has been kind to Martin Kippenberger. Following his untimely death in 1997 at the age of 44, the art world scrambled to retrofit Kippenberger into the Postmodernist canon.
Without an element of cruelty at the root of every spectacle, the theater is not possible. In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds. By Brad Feuerhelm, ASX, March 2015 ”Without an element of cruelty at the root of every spectacle, the […]