Wednesday, March 29, 2006

Gerhard Richter: the self-critical optimist


Of course I constantly despair at my own incapacity, at the impossibility of ever accomplishing anything, of painting a valid, true picture or even of knowing what such a thing ought to look like. But then I always have the hope that, if I persevere, it might one day happen. And this hope is nurtured every time something appears, a scattered, partial, initial hint of something which reminds me of what I long for, or which conveys a hint of it - although often enough I have been fooled by a momentary glimpse that then vanishes, leaving behind only the usual thing.

I have no motif, only motivation. I believe that motivation is the real thing, the natural thing, and that the motif is old-fashioned, even reactionary (as stupid as the question about the Meaning of Life).

- Gerhard Richter (20 February 1985)*

Several things strike me in the text above. One of them is how distant Richter seems from any sort of affirmation of having found something (he's so incredibly distant from Picasso's "I don't search - I find"!). It is much more than humbleness. It seems an actual feeling of worthlessness. And, all the same, persistent.
Another thing is the wonderful phrase: "a momentary glimpse that then vanishes, leaving behind only the usual thing". The usual thing. Great stuff.

Yet another nice touch is the identification of "the natural thing" with "the real thing". Coming from Richter, it sounds just out-of-this-world. I'm too tired to explain this, I hope you can think of what I mean.

*quoted from:

Monday, March 27, 2006

Wednesday, March 22, 2006

Two Iranian women by Shadi Gadhirian


(From the Qajar series)
(from the Like Every Day series)
I am a woman and I live in Iran. I am a photographer and this is the only thing I know how to do. I began work after completing my studies. Quite by accident, the subjects of my first two series were "women". However, since then, every time I think about a new series, in a way it is related to women.

It does not make a difference to me what place the Iranian woman has in the world because I am sure no one knows much about it.

Perhaps the only mentality of an outsider about the Iranian woman is a black chador, however I try to portray all the aspects of the Iranian woman. And this completely depends on my own situation.

- Shadi Gadhirian

The two images above are my favorite ones from each of the series. The first one, because it's delicate. I find many of the other pictures in the Qajar series too obvious, too aggressive and thus too simplistic. The idea is explicit, and the contrast between modernity and "timelessness" looks more like a Hollywood time-travel film than a piece of reality. And that's fascinating - how
carefuly reality needs to be managed in order to appear as reality. In this particular picture, the time contrast fades to second plan. We have a duo - the phone and the girl. The phone seems to somehow upstage the girl. Its silence is stronger. It attracts the girl without her knowing about it. We know she is waiting for a call, and that is the reason for her being serious. And only now, after "reading" this, do we realize we exist in a strange time zone, the picture is old, very old, the girl is "timeless", and the phone is the only connection to... us. At the same time, it is a somehow outdated phone, one we rarely see around us (depending where we live, of course!). And once again, time is suspended: is it the local object-time? Or is it really going back? When is the story being told? How far are we?
The second picture is part of an entire lot of kitchen appliances. Do I need to spell out what it does? I like this particular objects, because it hurts. In this context, it could very well be an instrument of torture. Isn't it?

Snail on Zebra

This is apparently a fairly old video, but I have just received it now. Hail to street-wise grassroots performance!
(Click on the image above) The video is apparently by one Johan van Hensbergen.
I have been desperately trying to make the Fluxus Films work on my computer, alas, to no avail. Hope you have more luck!

Jack Vettriano as wall decorator

"I just consider myself a trader. I take my goods to the marketplace and try to get the best price I can."

The greater glory of art doesn't come into it, he confirms. "That's not why I paint," he said. "It's wall decoration for me, I don't regard it as this big meaningful thing. My subjects are men and women getting off, that's all. Mind you, some people don't think sex is serious, but I happen to think it's terribly serious."

from an interview with Jack Vettriano
(via)


Saturday, March 18, 2006

Women Say No To War

On the picture are "women and crosses and coffins on a beach in Santa Monica", a few days ago.
(found here)