All pics from www.liekoshiga.com.
- think about your last 24 hours
- pile them on top of each other
- pick an image
- pick an event
- point at both with your left foot
- cause chrome to drip from your elbows
- eat a pastrami sandwich with a single large dill
- take out your paints
* * *
come scrivere una poesia / greg evason. 2011
- pensate alle ultime 24 ore
- impilatele una sull’altra
- prendete un’immagine
- prendete un evento
- puntate entrambi usando il piede sinistro
- fatevi gocciolare del cromo dai gomiti
- mangiate un panino di manzo affumicato con dentro una singola grossa foglia di aneto
- tirate fuori le vostre vernici
[trad. it. M. Giovenale]
* * *
comment écrire un poème / greg evason. 2011
- pensez à vos dernières 24 heures
- empilez-les les unes sur les autres
- choisissez une image
- choisissez un événement
- visez aux deux avec votre pied gauche
- faites couler les gouttes du chrome de vos coudes
- mangez un sandwich de pastrami avec une seule grande feuille d’aneth
- sortez vos peintures
[trad. fr. M. Zaffarano]
Like most everybody else don’t like to be broke, that means I like money. Reaching in my pocket and feeling paper gives me meaning. But if I was to gamble in London with two best friends, I’d bring along credit cards. I’d feel uncomfortable if I was to bank out of neighbourhood and was told then insisted that my personal cheque was of no value, but on the same hand, I’d feel short if I was to treat aesthetic realism friends to dinner only to find I had small change.
Like most everybody else I like to be entertained, that means I usually watch television. Prime time variety shuts me down. But when I festival with ‘new school’ friends, I get in deep with Bergman’s black and white. I’d feel funny backgrounding Friday nite poker with message and medium, but on the other hand, I’d feel silly if I visited minimal friends and brought along my baseball cards for trade. Continue reading “eleven conversations / richard prince. 1976”
(Mark Titchner, Be Real, 2008, vinyl banner, cm 527 x 413, Baltic Centre for Contemporary Art, Gateshead.)
999 rooms, 34-66: rooms of experience
In room 34, dogs are beheaded with cleavers and suspended over buckets to let the blood collect; the heads are thrown in a corner, where a rickety adolescent burns away the hair with a oxyhydrogen torch before piling them up.
In wide and bushy room 35, a tiger wanders about.
In room 36, your father breaks your nose with a punch.
Room 37 is well-set and furnished and upholstered and on fire.
Room 38 has no ceiling,
still night there is pitch-black and merciless;
the room is a pool or a pit,
more pit than a pool with its narrow shore
(half a meter of stone or reef)
and there, in the deep dark water, struggling
hard to keep afloat, swallowing gallons
and constantly sucked back in the
briny deep, bobbing like a piece of cork,
in no time surfacing again,
eyes focused on the diminutive shore,
a frenetic young head (sixteen
at the oldest) bearing deep and gory
wound, gashed open by the point of
some hidden reef or nail or fang. Continue reading “999 rooms, 34-66: rooms of experience / vanni santoni”
Today, GAMMM celebrates its fifth birthday!!
Here‘s our whole activity so far.
[Image: T. Kelly Mason, I love the future, 2001, 1031PE Gallery, LA.]
[Mi piace pensare a Fluxus, Continue reading “fluxus events”
29 | 06 | 2006 ― 29 | 06 | 2010
Thanks to all visitors, readers and contributors_
Four years index: Continue reading “FOUR YEARS OF GAMMM ⁞⁞⁞⁞ QUATTRO ANNI DI GAMMM”
Oh Lovely TV Lulu, Show Me Thy Fully Busty TV Tutu, Thy Fully Fluffy TV Tush, Thy Slutty UK TV Eye
Milli Vanilli, Tears For Fears, Oasis,
The Feelies, Lynyrd Skynyrd, Fun Boy Three,
Yes, TV on the Radio, Small Faces,
They Might Be Giants, Ween, Tenacious D,
Pere Ubu, Yo La Tengo, Alabama,
Velvet Revolver, Toto, Bow Wow Wow,
Of Montreal, a-ha, Bananarama,
Vetiver, Mott the Hoople, Henry Cow,
Menomena, The Go! Team, Mr Mister,
The Doobie Brothers, Hoobastank, Sublime,
Wet Willie, Kajagoogoo, Twisted Sister,
Hole, Animal Collective, Nifelheim,
The Slits, The Strokes, The Fugs, The Fools, The Fall,
The Who, The Move, The The, The Eels, The Call.
[Sonnet 40 (“Take all my loves, my love, yea take them all”)]
For those who aren’t familiar with my Sonnagrams project, I take Shakespeare’s Sonnets, scramble the letters with an anagram generator, then rearrange the scrambled letters into an all-new sonnet in iambic pentameter with the English rhyme scheme. Once I’ve managed to create the sonnet, all leftover letters are used to make a title. K. Silem Mohammad
Per quelli che non sanno niente del mio progetto Sonnagrams, prendo i Sonetti di Shakespeare, ne mischio le lettere con un generatore di anagrammi e, quindi, riordino le lettere mischiate in un sonetto nuovo di zecca in pentametri giambici secondo le schema di rime inglese. Una volta che sono riuscito a creare il sonetto, tutte le lettere avanzate vengono usate per fare il titolo. K. Silem Mohammad
THE OUTER BANKS
You could say that characters in The Bible were obsessed
with hiding their nakedness
I touch the leg of the table with the toe of my foot
The child searches in a drawer for the damaged toy
Feeling of love were impaired by excessive anxiety
I put in my order for the butcher before it gets too late
& the holidays are “upon us” or so they say
You can wear the same clothing every day & no one cares
She complains that she spends too much time making herself
beautiful while he just picks up the clothing he
wore yesterday from the floor & doesn’t even
bother washing his face or combing his hair
I hear a rooster cry at dawn from someone’s roof
I experience an epiphany, I’m not what you might call handy
There’s a dead seal on the beach & a fishing boat
on the horizon
The guy downstairs complains about a leak when I take a shower
Some people don’t mind if you take them for granted
She can’t break up with her boyfriend until she knows
she has another waiting in the wings
It’s hard to love anyone who holds a grudge Continue reading “THE OUTER BANKS / Lewis Warsh. 2001”
My first rule in art-making: the work must have being, presence.
Second rule: it must be strong and beautiful. Third: it must be positive.
Metaphors for the work: energy object.
The real thing that brings real smiles.
[from: John McCracken, Almine Rech Éditions, Paris, 2000. Image: two McCracken works from Documenta XII, Kassel, 2007.]