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madeleine
bombmagazine:

Daniel McKewen, Zarathustra’s Cave, 2013-2014. Single-channel HD video installation with 5.1 channel sound, infinite loop. Installation documentation from NEW 14, ACCA, Sydney, 2014.
"I was very aware, though, that even if the viewer stays for thirty seconds, they’re going to see Seinfeld again at some point in their lives. That set is in every episode. So there’s going to be this kind of weird thing that occurs, where they might not realize it, but it shifts somewhat. What happens when they have that visual recognition the next time they see that set?”
(Read More)

bombmagazine:

Daniel McKewen, Zarathustra’s Cave, 2013-2014. Single-channel HD video installation with 5.1 channel sound, infinite loop. Installation documentation from NEW 14, ACCA, Sydney, 2014.

"I was very aware, though, that even if the viewer stays for thirty seconds, they’re going to see Seinfeld again at some point in their lives. That set is in every episode. So there’s going to be this kind of weird thing that occurs, where they might not realize it, but it shifts somewhat. What happens when they have that visual recognition the next time they see that set?”

(Read More)

bombmagazine:

Daniel McKewen, Running Men, 2008. Five-channel HD video installation, infinite loop. Installation documentation from “You Imagine What You Desire,” 19th Biennale of Sydney, 2014.
Read Daniel McKewen’s conversation with Madeleine Stack.

bombmagazine:

Daniel McKewen, Running Men, 2008. Five-channel HD video installation, infinite loop. Installation documentation from “You Imagine What You Desire,” 19th Biennale of Sydney, 2014.

Read Daniel McKewen’s conversation with Madeleine Stack.

part of a painting by Rokni Haerizadeh

part of a painting by Rokni Haerizadeh

my mother, the other day, walked purposefully towards a large rectangular fish tank in the staten island ferry terminal, mistaking it for an information booth

my mother, the other day, walked purposefully towards a large rectangular fish tank in the staten island ferry terminal, mistaking it for an information booth

s+m = sad+mad

s+m = sad+mad

lost age / hard heart

emailed these to a boy I love far away & he said you’ll never have a hard heart I thought you don’t know

motel colours

did you know that if you’re a freelance-type person in NYC in dirty jeans you’re allowed to sit in a velvet armchair under some Richard Princes at the gramercy park hotel and use the free wifi and eat your apple from the fruitstand and not buy anything for 6+ hours !?!

did you know that if you’re a freelance-type person in NYC in dirty jeans you’re allowed to sit in a velvet armchair under some Richard Princes at the gramercy park hotel and use the free wifi and eat your apple from the fruitstand and not buy anything for 6+ hours !?!

just opened googz translate & this was my last search

just opened googz translate & this was my last search

milquetoast, milchtee

fuck

momaps1:

"That’s what I realized I was going for, not some one-line joke like, “Here’s a birdhouse that’s minimalism.” Rather, here’s a structure that’s loaded with pathos, and you still don’t like it, you don’t feel sorry for it, you want to kick it. That’s what I wanted out of the thing—an artwork that you couldn’t raise, there was no way that you could make it better than it was. Its function as art actually makes it more uncomfortable."
~Mike Kelley, Excerpt from a 1991 BOMB Magazine Interview

Mike Kelley. Catholic Birdhouse. 1978. Painted wood and composite shingles, 55,9 x 47 x 47 cm. Private Collection, New York. Photo: Courtesy Mike Kelley Foundation for the Arts.

momaps1:

"That’s what I realized I was going for, not some one-line joke like, “Here’s a birdhouse that’s minimalism.” Rather, here’s a structure that’s loaded with pathos, and you still don’t like it, you don’t feel sorry for it, you want to kick it. That’s what I wanted out of the thing—an artwork that you couldn’t raise, there was no way that you could make it better than it was. Its function as art actually makes it more uncomfortable."


~Mike Kelley, Excerpt from a 1991 BOMB Magazine Interview

Mike Kelley. Catholic Birdhouse. 1978. Painted wood and composite shingles, 55,9 x 47 x 47 cm. Private Collection, New York. Photo: Courtesy Mike Kelley Foundation for the Arts.

(via failedprojects)

keys to
my parents house in brisbane
my old chinatown apartment
my bike in bushwick
B’s toronto house
F’s shoreditch flat

cops / banks