[Thoughtful and interesting, even for a Kanye-hater like myself. -egg]
American Mozart - Magazine - The Atlantic
Fancy a doomsday date? If things get really bad, it may be your best bet | Alice Bell | Comment is free | guardian.co.uk
[What a fantastic article. We're experiencing some of this -- to a much lesser degree -- in Argentina. -egg]
"On Tipping in Cuba" by Chris Turner | The Walrus | April 2012
"Fancy a doomsday date? If things get really bad, it may be your best bet" (via The Daily Grail)
The emergence of a discourse on doomsday dating – real or fictional – maybe says something quite depressing about 21st-century attitudes to the future. Romance is often about hope after all, though I appreciate some might argue this is a slightly heteronormative view (or at least the politics of childbirth is worth reflecting upon if digging deeper into this issue). If you want some optimism, there's that icon of postmodernist survivalism, Buffy the Vampire Slayer, who, on a date in one of the later series, is told by her boyfriend that knowing her leads to him puzzling over what the plural for apocalypse is.
Maybe scorched earths, like broken hearts, do heal. Or maybe not. Perhaps the plural for apocalypse is simply the conceit of commercial television wanting to run beyond the previous season's overly dramatic denouement. Perhaps living through disaster by proxy of science fiction has made us too blasé about it all. It's easy to giggle at doomsday dating, but arguably it's no laughing matter.
While in the lavatory on a domestic flight in March 2010, I spontaneously put a tissue paper toilet cover seat cover over my head and took a picture in the mirror. The image evoked 15th-century Flemish portraiture. I decided to add more images made in this mode and planned to take advantage of a long-haul flight from San Francisco to Auckland, guessing that there were likely to be long periods of time when no one was using the lavatory on the 14-hour flight. I made several forays to the bathroom from my aisle seat, and by the time we landed I had a large group of new photographs entitled Lavatory Self-Portraits in the Flemish Style. I was wearing a thin black scarf that I sometimes hung up on the wall behind me to create the deep black ground that is typical of these portraits. There is no special illumination in use other than the lavatory's own lights and all the images are shot hand-held with the camera phone. At the Dunedin Public Art gallery, the photos were framed in faux-historical frames and hung on a deep red wall reminiscent of the painting galleries in museums like the Metropolitan Museum of Art.Seat Assignment: Lavatory Self-Portraits in the Flemish Style
John Jeremiah Sullivan - "Leaving Reality" - GQ July 2005: Movies + TV: GQ
An important characteristic of Suh’s “homes” can be found in the fact that they respond to the spaces in which they are exhibited and by doing so, bring about new interpretations to them. His artistic attempts in the unique Rem Koolhaas-designed architectural space at Leeum are especially remarkable in that light. Suh installed Reflection near the sloping passageway that leads to the exhibition galleries so that the work can serve as an introduction to the exhibition. In the Ground Gallery, he also built a home out of a soft, light, and translucent fabric that stands in a stark contrast with the almost overwhelming space made out of concrete. Suh first received wide attention from the international art world with a work in which he recreated, using thin jade-toned Chinese silk, the traditional-style house (hanok) in the Seongbuk-dong neighborhood of Seoul where he spent his childhood and adolescence. In addition to this work, titled Seoul Home/Seoul Home, he also presents in this exhibition other homes he has had in New York and Berlin. Through their placement in a museum, these private spaces become spaces for others that are open to interpretation through viewers’ experiences.Home Within Home (via Geisha Asobi)
The Black Box, an especially distinct feature of the Koolhaas building, is like a “home within home” that floats inside the enormous space of the architecture. By placing two works, Fallen Star-1/5 and Home within Home-1/11, together in this space, Suh draws out an interesting conversation. Specifically, Fallen Star-1/5 expresses the emotions the artist experienced while living as a foreign student in the United States through the form of a hanok that fell and crashed into an American apartment building. On the other hand, Home within Home-1/11, taking the form of a hanok lodged inside an American house, represents the state of becoming gradually familiar with a new culture. While works like these grow out of the artist’s private experiences of cultural collision, they also symbolize more broadly the experience of the contemporary being, who constantly experiences clashes arising from individual, cultural, and regional “differences” and struggles to adapt to them. In A Perfect Home: The Bridge Project (Leeum Version) and Gate (Leeum Version), also installed inside the Black Box, Suh tries to give new meanings to “home as both boundary and passage.”
Why Are So Many Americans Single? : The New Yorker