theothersimon

http://antanassutkus.com/ →

Antanas Sutkus / Lithuanian photographer

Daniel Dennett's seven tools for thinking →

For a long time, I was afraid of letting color into my photographs, a bit like sailors who will sail into the heart of a storm, but not knowing how to swim, fear dipping even their big toes into the ocean.
No, ghosts never drape themselves in black and white; beware of venomous flowers!

Hervé Baudat

(via Le Journal de la Photographie)

http://en.wikipedia.org/wiki/Ho_Fan

howtoseewithoutacamera:

by Danny Lyon

Union Square station, New York City, 1966

icphoto:

Triennial Artist Spotlight: Rabih Mroué

In a recent interview with Premier Art Scene, Rabih discusses how the idea for his Syrian youtube video series began, and what his hopes are for the viewer. 

“As we talked about the situation in Syria, there were only two different sources: Official regime TV and the internet, where the protestors had been uploading their videos. If you want to follow seriously, what is happening, you have to go to both sources. What struck me was a video, where you see a (cell phone) cameraman filming a regime soldier with a gun, and then, suddenly, this person fires his gun at the cameraman and the camera falls and the video ends. After I found this first video, I found many more videos like that in the internet. I was shocked.

It is like a war against the camera, or against the image. The installation is about these videos mainly: I started to deconstruct the videos. I separated the sound from the images. I made large prints of the shooters. I made small-scale flipbooks from the videos. This way, the visitors have to try to reconstruct the quick internet video in their heads. My deconstruction is a kind of obstacle in order to find out, what is really happening there. But we don’t know what is really happening there.

I like the sentence by Marguerite Duras in ‘Hiroshima Mon Amour’ when the protagonist says to the French journalist, ‘You have seen noting in Hiroshima!’ I also wanted to demonstrate to the viewers it is impossible to reconstruct all these layers of reality and really know what is going on. In the end you have the ink on your fingers and you are engaged as well.”

(Source: Premier Art Scene.com)

This installation will be on view in A Different Kind of Order: The ICP Triennial, from May 17–September 8.

Rabih Mroué is a Lebanese stage and film actor, playwright, and visual artist. Rooted in theater, his work includes videos and installation art; the latter sometimes incorporates photography, text and sculpture. 

 

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