Yesterday an email came from Valery Grancher announcing his new project, Miniature China blog.
A savage parody of Godard, Resnais and… Pasolini, ironically chronicling the ‘existential anguish’ of the children of the bourgeoisie, it features Léaud as a mystic youth whose being finally merges with ‘nature’: he gets eaten by the pigs he loves.
The first, “Orgia,” was originally conceived as a possible companion piece to Buñuel’s Simon of the Desert, and concerns a 15th-century cult of cannibals who must eventually reckon with Church and State. The second, “Porcile,” involves a West German industrialist and Nazi war criminal whose son (played by Truffaut and Godard regular Jean-Pierre Léaud) likes to copulate with pigs.
Happy New Year of the Pig (or Inoshishi in Japanese, meaning wild boar)
China heralds year of the fluorescent green Pig
Bosch image of pig came out greenish too.
Detail from The Garden of Earthly Delights
Sue Coe’s Porkopolis enlarged.
Pachelbel’s Canon accompanies a game of These Little Pigs by Orisinal.
Kaitlyn and Spike
The Chinese noodle place we frequent kept the Thai decor of the previous owners which now coexists without fuss, very casual, in a setting of typical lack of Chinese propriety. Only the food matters.
Another example of casual world we live in, here is a blog from our friend prosecutor Patrick Fritz. (I am sure he has no time to keep a blog)
Milan Kundera has a new book which sounds like a rehash of his last essays “The Art of Novel”.
The Nation on Kundera, here .
Tanizaki does take these ideas further, throwing open the whole question of love itself, of what it is we love about the other. The characters in his work are deeply involved with others. But in what way and what does it mean? How do perversion and love interact? Is fetish love real love? Is being excited by only a part of the other real sex? Is fetishism a version of love, or its obverse? Is it only, as Havelock Ellis designated it, “auto-erotic”?
Much as they might like to be, Tanizaki’s characters cannot be self-sufficient. They never stop needing one another. As both characters struggle for ultimate, complete control over the other, the engagement is almost comical. Tanizaki is aware that, in the end, you are always dependent on the other; indeed, you are partly creating them, having them play a role with which you identify. This is not only the case in exhibitionism or voyeurism, but in sadism, too. Yet the freedom of the other, which resides in their words – or perhaps a diary – will ultimately elude you; it has to. Total control would end in death, or the murder, of one of the subjects, at which point the game ends.
The Debt of Pleasure
Imagining Kundera, Kureishi and Tanizaki
Hanif Kureishi and Joan Didion here (they share a birthday)
Jules Olitski was 84 years old.
American painter and sculptor Jules Olitski, a prominent representative of the postwar abstract art movement, died of cancer on Sunday, February 4, in New York, reports the Austrian paper Der Standard. (Via Artforum)
Sand of the Sea
Olitski was born Jevel Demikovski in Snovsk, Russia, on March 27 1922, a few months after his father, a commissar, was executed by the Russian government. (via Wikipedia)
See Jules’s painting “Volitions” from “Modern and Postmodern” (the last essay by Clement Greenberg).
You don’t have to think that Jules Olitski is ”the best painter alive,” as an unrepentant Clement Greenberg did as late as 1990, to appreciate his current show. Mr. Olitski, who has exhibited since 1951, has never given up on Color Field painting, the art movement that Greenberg promoted as the rightful heir to Abstract Expressionism; but he has made it quirkier, more complicated and, well, less Greenbergian. (Roberta Smith’s review of his show)
More paintings here
More on Olitski’s motivation and how he was rescued by Clement G. from Art or Idiocy.
The Grey Xavier University Collection.
Werner Herzog found this owl in Mexico, and used the experience to give a sense of absurd and extraneous elements to this scene.
Island of Lost Dreams - a review of “Signs of Life”
Showdown Dogmacracy – A couch dogumentary
Daisy as Hillary Clinton and Spike as Barack Obama. The first chihuahua candidates playing to win.