Thursday, November 30, 2006

Vincent Vincent (Gallo) and The Villains

A link, here, to the notorious auto-interview Vincent Gallo conducted with himself in 1997. Penned for The Beastie Boys' magazine, Grand Royal, (which folded in 2001) it was subsequently pulled for containing too many libellous comments about everyone he has ever worked with, or known, or simply heard about. An excerpt, as an example;

"DJ Spooky, New York DJ extraordinaire, never DJs without a copy of the Bohack LP (Bohack was one of Gallo's legendary bands during the '80s). Spooky has said that Gallo's music says it all. Spooky went on to say, 'Vincent was actually a friend of Jean-Michel Basquiat. Jean would have hated me. Good thing he's dead so I can pretend to be him. And nobody knows the difference.' " Etc.

(Thanks Rob)

Karl does Canderel - Sinning Through Aestheticism

Karl Lagerfeld lends his sleight weight to Canderel. Begs the aesthetic question of whether it is in good taste to take your portable 'edulcorant' with you to the club.

The promo-website opens with the Post-Wildean nostalgia: ‘The greatest sin is to not give in to pleasure”. And forthwith, Karl proposes slimline sweetener dispensers decorated with one of five ‘peches mignons’ (“cute sins”). The intellectual framework of the campaign is as rickety as a supermodel in Westwood heels, threatening to dissolve sickly on the tongue like the ersatz sugar it is. How cutely subversive to distract your appalled taste buds by the visual “feast” of Karl’s lurid 80s’designs.

How much hedonistic pleasure can fit in a 0.1 calorie tablet? Is this not rather Indulgence in absolutely nothing – a form of hedonistic nihilism?

Maximal Minimalism.

Les 5 Péchés Mignons de Canderel, here. - (Thanks to Clodagh for the words) At least his H&M collection was better than Victor and Rolf's...

Wednesday, November 29, 2006

A Manifesto For The New Economy

Wired Editor and Blogger, Chris Anderson expounds upon his theory of The Long Tail from a talk given at the ICA. Considering the death of shelf-space as a dictator for how products are consumed, given the new possibilities of distribution in a technologically joined up world - The fact that YouTube can host more movies than the entire Odeon network of cinemas could ever have dreamed of. The fact that there can be so many more millions of songs hosted on iTunes than the shelving at Virgin Megastore. And the growth in economic value of niche markets as a result.

"The carrying capacity of the megaplex network is 250 films...There are 13,000 films shown in film festivals in the US, but only 250 of them made it to the marketplace - they just ran out of screens...[This is] A distortion of the natural market. If only you didn't run out of screens you could tap all of this. This is the 'dark matter' of the marketplace. This is the stuff there's demand for that we haven't been able to tap because of inefficiencies in traditional ways of getting products out there. This is The Long Tail." Chris Anderson.

Blockbuster Store - 3,000 titles. Netflix - 60, 000 titles. YouTube - 65,000 NEW video clips added per-day.

A talk on how new industry accelerates, rather than markets, demand for products, as it seizes upon products already proven to be gaining cultural value (on myspace?!) - adding value, rather than monopolizing it. But what happens when nothing is ever out of print again? Will we drown, or rather be forced to specialise? Will we live terminally atomised, or simply form new communities? Anderson again,

"[There is a] rise of the amateur and the non-commercial producer...I think what we are going to find is that talent is much more broadly distributed than old models would allow."

Listen to the complete talk, here.

Tuesday, November 28, 2006

Magic Marker Modesty

Louis Vuitton ad in Wallpaper, September 2005

Louis Vuitton ad in Wallpaper, Iran, September 2005

Monday, November 27, 2006

The Free Will

A German trailer for Der Freie Wille (The Free Will); A 3 hour feature using a rapist's re-establishment in society after release, as a launching-pad to explore the nature of humanity's capacity for empathy, and the limits of personal choice. Or as director Matthias Glasner terms it - "A tender film about the terror of loneliness." Shot with a mutual reverence and disgust for the physicality of man, that recalls the films of Claire Denis, and combines the brutality of Gasper Noe's vision, with the Dardenne Brothers' distanced and elegant observational tone. Let us hope this film receives UK distribution, after viewing it at the Curzon Soho in this year's German Film Festival, it certainly deserves to be seen by many.

Sunday, November 26, 2006

Bas Jan Ader -Fall 2, Amsterdam, 1970

Electronic Audio Visual Adventures

A video for 'Berlin', by Alva Noto (electronic musician alter ego of Carsten Nicolai, and founder of Raster Noton record label) and Ryuichi Sakamoto (of 'Merry Christmas Mr Lawrence' fame). Directed by Karl Kliem.

An interview with Carsten Nicolai can be found here.

Saturday, November 25, 2006

Friday, November 24, 2006

Reich or Wrong

Steve Reich interview. Talking in relation to people downloading only songs or parts of a piece:

"In my field, the idea that people are going to get chopped up into little movements is discouraging. On the other hand, Chuck Berry did have it right. "Any ol' way you use it." There is some truth to that. You can go into a coffee shop in Chicago, or New York, or Europe, and hear the Brandenburg Concerto tinkling away in the background, and it works just fine while you have your espresso or latte. That's not to say, hey, Bach just sold out, man."

Also, an interview with Steve Reich on his relationship with visual culture can be found here, from a recent issue of Frieze magazine.

ES - Sateenkaarisuudelma II

In an irregular fashion, mp3s will start being posted at Coulture. The thematic is broad, the unifying link being that they should be good.
To start, Sateenkaarisuudelma II, the second of a three parts piece by the Finnish Sami Sänpäkkilä, head of Fonal, home to "music for growing plants" and "electronic circus music", among others.

ES - Sateenkaarisuudelma II

Wednesday, November 22, 2006

Art on the Tennis Court

Jon McEnroe and Jenny Holzer (briefly) talk art and consumption. See here for more from the series, Art:21.

Freeeze - I.O.U.

Killer. Although you haven't lived until you've heard the 12" version....

Friday, November 17, 2006


House Attack, by Erwin Wurm. Installed on the external facade of Museum Moderner Kunst, Vienna for his current retrospective. A work which thrills with its witty objecthood, and touch of 'Where's Toto?'...However what it also does is illustrate once again how perfect some of the projects undertaken by Site Architects from the 70s truely were, in combining this sculptural slapstick with actual functionality. Their work for Best Products is phenomenal. See below for their 70's showroom, 'Indeterminate Facade Building, Houston,1974.'

Like a utopic premonition of Wallmart doing public art...

Stanley Kubrick's First Film

Flying Padre, 1951.

Constructive Use of Graffiti's Methodology

At the V&A, to the left of the exit, can be found this drawing on the radiator, which attempts to camouflage it's industrial functionality within the hallowed museum's masonry. With the aid of a Sharpie. Not quite SAMO, but definitely quite charming. Speaking of SAMO, here can be found some truly amazing footage of a very young Basquiat on an almost existentially shambolic public access TV show.

A Theme Park In Ruins...

With many thanks to Olivier...More to be found here.

Cinematic Archaelogy

The possiblity of film sets being found as archaelogical remains, Tati´s Playtime modernist parody and Cecil B. DeMille´s The Ten Commandments Egyptian City.

Maunsell Towers

In the middle of the Thames. Anti-Aircraft towers during the 2nd world war. A pirate radio station in the 70s.

Polkadot Polka

After Scott King's dots..this is certainly relevant. Neon. Wait for it...(Busby Berkeley, The Gang's All Here, 1943)

Thursday, November 16, 2006

Scott King

The Lazy Nazis Smoking Outside (Nuremburg 1934), 2004. This is what happens when you shut down Sleazenation and its former Creative Director then seeks creative fulfillment. Positive. See for more..or browse Sonia Rosso.

Collages for Men

In response to the previous post of the Vuitton ad in Wallpaper, here is one of Pierre Bismuth's 'Collages for Men,' which somewhat replace Hugh Hefner's vision of femininity with that of Matalan. Bismuth remains the artist who gave Michel Gondry the idea for 'Eternal Sunshine..', and won an Oscar for it..For a further Gondry and Bismuth collaboration, do click here.

Wednesday, November 15, 2006

It is sometimes interesting to observe that a take-away coffee cup fits precisely in the middle of a role of gaffa tape, creating an impromptu heat diffuser.

Balenciaga Exhibition, Paris, 2006

Wednesday, November 08, 2006

Facts are no longer the data of our calculations, but rather a lexicon of users' practices - Michel De Certeau

The FPI Project's 'Going Back To My Roots' is an unbridled piece of house music's joyous history, brought to the world courtesy of Discomagic Records, an Italo Disco heavyweight. What is potentially less known in some circles is that it is actually a cover of a disco track by 'Odyssey,' (of 'Native New Yorker' fame), which was a UK no.4. And so here we have yet another perfect synthesis of Italians and Disco in a bid that proves the creative worth of a reinterpretation of cultural artefacts, and somehow links Virgin Islands born sister's with Italian Riviera machismo. However, the 'Oydssey' track was actually a cover version of the Detroit native Lamont Dozier's original from 1977. A song reborn three times, and a testament to active consumption and the formation of folk music, as a song acquires an autonomy of its own.

The Odyssey track from German TV is shown below. The FPI Project re-version can be acquired below that..Cultural progression in action...

FPI Project - Going Back To My Roots

Friday, November 03, 2006

The Validation of Techno

Does one need intellectual validation to enjoy techno(or anything)?

"Electronic music and photography have more than a few things in common: crucially, both genres' dependence upon mechanical, electronic and/or digital reproduction. Perhaps more importantly, both genres have lagged behind their older "siblings" (painting or traditional acoustic or electrically amplified music) in becoming fully recognized and validated on their own terms. Far from being a coincidence, their shaky reputations are wholly wrapped up in their reproductive methods."