Saw myself in film. Odd, seeing one’s self as a puppet. Heightening of mirror effect. Narcissus stirs, walks, sees himself from the back, as he cannot see and could not imagine himself. Becomes aware of a whole area indissociable from him, a host of hidden bonds, a whole Other sustaining the Same. Receives the invisible self. One is cast out of one’s self, change into another. One passes judgement upon one’s self – If it could see or perceive, through this artifice, the mind thus externalized, and from forbidden angles – what awareness would one have? What effect on one’s sense of self? To see one’s self thinking, responding, sleeping. – Paul Valéry, Ego, 1973 from On the Eve of the Future, Selected Writings on Film, Annette Michelson

The Jean Freeman Gallery Does Not Exist, Christopher Howard, MIT Press, October 2018

Kenneth Anger, Babylon, 1959

Vanessa Place & Cassandra Seltman. Gagging on rape

Naomi Velissariou & Joost Maaskant & Frederik Heyman. Digital Funeral

The Outside Can’t Go Outside, Merlin Carpenter, HEAD Geneva lecture, April 2015

Self Destruction by Retribution Body, performed and engineered by Matthew Azevedo, recorded at Torrent Engine 18, Boston MA, January 2017

Bernard-Marie Koltès, Roberto Zucco (1989)

one pic thursday. Jenny Holzer

Birmingham Museums Trust has decided to go for “open access”, the first major British museum to do so. In a pioneering move, the trust will make images of copyright-expired works of art freely available to use under a CCO Creative Commons licence. This is the most open form of licence, and essentially means that the images are now in the public domain. The trust has over 800,000 objects, spread across nine sites (…). There is a catch, but I think it’s potentially quite a clever one. The free images will be limited to 3MB in size, at a resolution of 300 dpi. Birmingham will still charge for its highest resolution images, allowing the trust to retain the possibility of raising income from more overtly commercial use of images. Far better, then, to follow Birmingham’s new model, which at a stroke ends all the costly bureaucracy behind image fees. A limit on file size is far more efficient than trying to limit usage or print runs. For most educational publishing purposes, 3MB is a high enough resolution. But if Louis Vuitton want to make more of their Old Master themed handbags, then they’ll need a higher resolution file, and will have to pay for it. – Bendor Grosvenor, Diary of an art historian: at last, some common sense for the abolition of image fees

I believe that the emotional makeup of people is a system not unlike the circulatory system or the muscular system. And if you can make a film that not only lays bare that system but is itself constructed out of those things, it would be an incredible thing to witness and to feel. – Francis Ford Coppola in conversation with Brian de Palma, Filmmakers Newsletters, May 1974

John Giorno. Suicide Sutra (1973)

I don’t want my work to feel all sweat-soaked and tortured. I’d like to be like a crooner, effortless seeming, smooth. That doesn’t mean it actually is easy. And it doesn’t mean you don’t have backbone, or even aggression. Like Frank Sinatra. Or Miles Davis, maybe. It’s like magic. I want my things to just appear. Not be painted. Just appear. – from “What I Would Say If I Were Christopher Wool” by Richard Hell, Whitewall, Nr. 3 (Autumn 2006)

One day, a gallerist met a man named Russell who had an ambitious idea. He thought the history of painting should be divided in two. The paintings that have a painting of themselves depicted, and the rest. The paintings that contain themselves, and the rest. Later in time, the gallerist decided to make an exhibition of all the Russell paintings. […] And at some point he called a painter friend, and asked him to make a painting of the exhibition, to immortalize it! […] The gallerist inspected it, and hung it in the only available space there was, as it was the last Russell painting in the world to have been made. But the painter drew his attention to the fact that the scene he had painted had now been modified. His painting didn’t contain all the Russell paintings anymore. He now had to fix his painting. He had to add his own painting to the All the Russell paintings. […] The gallerist then asked the painter to erase the image of itself. […] But now the painting couldn’t be titled All the Russell paintings, so he painted the painting in it again. What a problem! They erased it and painted it, they erased it and painted it again, forever… – excerpt from Not To Belong to Themselves (2018) by Mario Garcia Torres

Fernando Pessoa. The Anarchist Banker (1922)