intérieur pâle @interieurpale - Tumblr Blog

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Nobuyoshi Araki (1940)

(Double) suicide at Karuizawa. Japan, 1999

Araki works along the fault lines of Japanese culture – between the public and the private, the civilised and the seedy. His work is popular (or offensive, depending on how you see it) in the west for the frisson of excitement it draws from those unfamiliar with Japanese cultural practice. But in Japan it chimes for its honesty.

“It’s about the double standard associated with Japanese culture,” says Simon Baker, curator of photography at the Tate. “It’s an incredibly polite, formal society on the surface, [but it] has this hidden underside of sexuality. Araki very effectively works on this relationship.”

Alex Moshakis, May 2013 for The Guardian

filmreveries

Nightmare Angel (1986) dir. Zoe Beloff & Susan Emerling

Kaye Song's collaboration with slowcore band deatchrash

"A set of earthen images were made for deathcrash's debut LP, Return. They were taken from the peat bog landscape of the Hatfield Moors, almost a year after it was devastated by fire in May 2020 (which burned for more than 10 days). Blackened birches and crusted bark-like ground made green moss pop like neon in a landscape that’s been exploited, extracted, cut and re-cut for fuel since the 13th century. Today, it’s a nature reserve and SSSI with an incredible calm amidst a sense of hope of what might follow all the past and recent destruction - a tone the underpins the music in Return."

#deathcrash #slowcore #post-rock #emo #kayesong

Kaye Song's collaboration with slowcore band deatchrash.

"The imagery for Less was made in a fortnight on the Isle of Lewis in Scotland. The cover of the record features a mobile installation that I designed, made out of an abstracted drawing of the landscape and cut in aluminium. It was flat-packed and taken on a 700-mile journey with us - shapeshifting into different configurations at each site on the Isle that it encountered. It becomes a mirror for the land; for seeing its ridges, layers, its ability to evolve under human and non-human forces. Combined with suites of imagery taken around the isle that in their own ways attempt to dig beneath the visible surface of a place, what is presented with Less is an evocation of a landscape and its resistance to homogeneity."

#slowcore #deathcrash #post-rock #emo #kayesong

cosechadehuellas

Afuera, abajo, a los lados, hay gente que habla de cosas que no me importan. Hablan para existir, hablan cuando caminan, cuando cierran una puerta, cuando la abren, cuando desplazan un mueble, hablan para decir lo que hacen o simplemente dicen lo que hacen, su habla es redundante, ellos son redundantes, hablan para sentir que hacen lo que hacen, pero no saben por qué hablan, ni siquiera saben que hablan. Ellos son esa habla continua, el ruido de los que son, despiertan hablando y se duermen hablando. No hay espacio para otra cosa; en ellos no penetra el exterior, ni la hierba que pisan, ni la noche, ni el viento. La lluvia es agua que ensucia los cristales, el viento es algo que enfría la comida. No hay espacios, no hay silencio, no hay poros por donde pueda penetrar el secreto del día o de la noche, las voces tenues de los juncos, la mirada de los perros abandonados o libres.

- Chantal Maillard, “Filosofía en los días críticos”. Pre-Textos.

- Francesca Woodman, “Untitled", Rome, Italy, 1977-1978, vintage gelatin silver print