Issue 8
200.00 USD

Issue 8

Curated Projects by:

Klaus Biesenbach/PS1 “Criss Cross: Some Young New Yorkers III”

John Connelly “Artists’ Recipes” from the kitchens of Rita Ackermann, Wade Guyton, and Randy Wray, to name a few

Thomas Rayfiel Lutwidge Finch: Part 3

Luis Macias’s “Domestic Conversations” (dirt in the T-shirt, Molly, is the real brain abuse)

ORFI featuring Straight Edge Fashion

Gavin Wade Some Stuff

Brandan Ballengée “The Atomic Frog Series” (Pseudacris Triseriata)

Elizabeth Cohen Phantom, featuring Sarah Bayliss, Juli Carson, and Lindi Emoungu

Thomas Rayfiel Lutwidge Finch: Part 4

Reviews by:

Nanette Dillard, Steve Shane, Andrea Gilbert, Krini Kafiris, Juan C Grau, Paul O’Kane

Issue 7
200.00 USD

Issue 7

Christian Bernard “Mamco’s Magazine Show” (mais leur degreé de réalité ne depend pas de leur matérialité)

Dan Asher “Fevered Cabin-Antarctic Figments, a Work in Regress”

Thomas Rayfiel Ludwidge Finch: Part 2

Shelley F Marlow “Excerpts From Swann in Love Again” (the Lesbian Arabian Nights)

Costa Picadas “Investigations”

Kip Kotzen “ABA vs. NBA”

Nicole Frantz “Orchard Street Style Slam”

David Lillington “Suntan Cycle”

Reviews by:

Gerrit Henry, Thomas Rayfiel, Sergio Bessa, Christian Viveros-Faune, Akiko Ichikawa, Leonard Bravo, Kenny Schachter, John Judge

Issue 6
200.00 USD

Issue 6

From a String Sort of Thing

Curated Projects by:

Neil Goldberg “Videos: Another Kind of Cyclone”

Géraldine Postel poems by Jacques Darras, Bruno Grégorie, and Olivier Apert (Need we say more?)

Bertie Marshall “Beyond the Pale” (every time we dock in Rio, I go in search of Luciano)

Leopoldo Gout “Houdini, Bill Clinton, Mexico and Cross-Dressing Fortune Tellers”

Thomas Rayfiel Ludwidge Finch: Part 1

Amra Brooks and TJ Wilcox talk Fragonard

Lisa Kereszi

Sergo Bessa “Historical Kiosk” featuring hysterical contributions by Mike Kelley, Dennis Balk, Karen Kilimnik, Ölvind Fahlström

Reviews by:

Jeremy Sigler, Max Henry, Gordon Tapper, Paolina Weber, Jay-Gould Stuckey, Gavin Wade, Christopher Miles, David Gibson, Christian Viveros-Fauné

Issue 5
200.00 USD

Issue 5

Liz Deschenes “Women’s Bath Houses”

Tricia Collins poems by Gary S White, Jeremy Sigler, and Enrique Martinez Celaya

Steven Severance “The Persians”

Thomas Rayfiel Ludwidge Finch: A Novel (more legitimate, dammit, than those buttoned-up banker boys)

Paul Graham “33:18”

Reviews by:

Spencer Finch, Leopoldo Gout, Nicole Frantz, Adrienne Day, Jonathan Horowitz, Lisa Danbrot, Géraldine Postel, Uscha Pohl, Kenny Schachter

Issue 4
200.00 USD

Issue 4

Call It Trivial Coincidence

Daly & Staton “In and Out of Blue”

Terri Friedman Interview with Jonathan Borofsky (incense was burning and he offered me chamomile tea)

Uscha Pohl & Ellen Cantor “Dreams Come True” (Tribeca was our hiding place)

Simon Bill “Jesus H. Christ” . . . is the behing the wheel

Brian Antoni “Escapology”, fiction by Alan Wall, Elisa Albo, April Krassner, Vicki Hendricks, and Alexander Stuart

Max Henry “5 Contemporary Poets”, poems by Albert Mobilio, Robie Craig, John Yau, Raphael Rubinstein, Max Henry

Reviews by:

Max Henry, Stuart Servetar, Natalie Rivera, Jay Mandel, Lisa Hein, Tom Rayfiel, Munro Galloway, Alison Green, Géraldine Postel, E. Tage Larsen

Issue 2
400.00 USD

Issue 2

The Vision To Hold Back

Curated projects by:

Mary Ellen Caroll “Worn Clothes or Real Clothes, the Design of Refuse” (that Midnight Cowboy, Looking for Mr. Goodbar, sense of nostalgia)

Rainer Ganahl “Public Art: One-Ways and Other Public Space” (reminds one of Benjamin's Einbahnstrasse)

Liz Fried “Sting-Ray”

Spencer Finch “The Manhattan Project” (an eponymous food and drink jag)

Kenneth Goldsmith “Bad Shit”

Brendan Quick “The Strange Love of Martha Ivers” (mmm . . .)

Calvin Reid “Alley Oop”

Marilu Knode “Gardens” (practical and lyrical ways of dealing with our physical relation to the earth)

Robert Antoni Miami Fiction by Madeline Baró, Ann Clark Espuelas, Anabella Schloesser Paiz, and Celia Lisset Alvarez

Tamas Banovich digital art (first question, where to find digital work, echo said . . . web . . . internet)

Reviews by:

Spencer Finch, Kenneth Goldsmth, Jay Mandel, Jane Hart, Kenny Schachter, Tom Rayfiel, George Graw, Adrian Glew

Issue 1
300.00 USD

Issue 1

Fiction Meets Poetry for Lunch

Kenny Schachter “13 Pages” with Rachel Harrison, Ricci Albenda, Lawrence Seward, and oy!, Kenny Schachter, among venerable others

Gordon Tapper engaging the visual arts with poetry, including: Tan Lin, John Keene, Susan Lasher, and Virginia Hooper

Ed Webbarchitecture in LA and

Gregory Volk fiction/prose by Jean-Charles Masséra and Eileen Myles

Donald Fergusson“Trouble in East Los” (real fiction from East LA)

Michael Corris Theory (or some semblance of)

Amy Sillman “Surrealism & The Current Vernacular” featuring Jim Nutt, Louise Bourgeois, and Nicola Tyson, among others

Susan Robinson “Kids, and Fiction in a Perfect Vacuum”

Reviews by:

Emily Tsingou, Matthew Ritchie, Sabine Russ, Spencer Finch, Tom Rayfiel, Own Drolet, Rosanne Alstatt, Rainer Ganahl, Terri Friedman

Issue 3
200.00 USD

Issue 3

Ain’t Nothing Like the Real Thing, Baby

Curated Projects by:

Judith Findlay “If it wasn’t for the mist we could see your home across the bay”, featuring work by David Shrigley, Matthew Dalziel and Louise Scullion

Jade Dellinger “ad./on/exchange” with work by Doug Aitken and Maurizio Cattelan, The Art Guys, and Matthew Antezzo, among others

Matthew Ritchie “The Ruined Map”, giving directions with Benjamin Weil, Yvette Brackman, and Terry Winters

Uscha Pohl Skip Arnold’s The Bermuda Triangle

Jonathan Horowitz dissecting Howard the Duck with help from Douglas Gordon, John Baldessari, Cindy Sherman, Martin Kersels, John Waters, Rachel Harrison, Keith Tyson, Christian Schumann, and more strange & unusual contributors

Paul Lamarre and Melissa Wolf The NEA Papers

Janet Biggs Girls and Horses

Donald Hearn, Scott Adams Kruger, and Paul Parreira 407

Gregor Muir and Cerith Wyn Evans Feeling Furry

Mike Ballou and Adam Simon's new movement Dissociationism! with Four Walls and commentary from Mark Dion, Perry Hoberman and Pat Hearn

Reviews by:

Thomas Rayfiel, Spencer Finch, Germaine Keller, Max Henry, Katerina Gregos, Steve Mumford, Stuart Horodner, Rainer Ganahl, Terri Friedman, Jane Hart, Géraldine Postel, Gregory Volk

Tuning out in Terminal City and the Nova Poster

Vancouver has always had a drug problem. In recent years this is manifested by one of the world's largest marijuana growing industries. Rumored to be the strongest bud in the world police estimate the total revenues as in the billions and larger than the forest industry. British Columbia exports high-grade cannabis to the United States and imports cocaine and heroin in return.

This industry, run mostly by Hell's Angels and other gangs, gives Vancouver the largest drug addict populations per capita in North America. Centered mainly in the Downtown Eastside an area peppered with bars and cheap hotels historically catering to the forest industry, this is the original Skid Row named after the skids that allowed them to run logs down the middle of the street. It was the terminus for the national railroad and became known in the 30's as Terminal City. It has always had a transient nature and located next to Chinatown the historical connection between Asian opium and later heroin influenced the development of the area. By the late 1970's Vancouver had the largest heroin problem in Canada despite being the much smaller and younger third city.

In the mid 1990's the situation got much worse as a drug war between Asian gangs and Hell's Angels put almost pure heroin on the streets cheaply. The results wasn't only a rise in addiction rates but a period of high overdoses for almost 3 years with over 500 deaths a year at it's peak.

Hans Winkler was been invited by Grunt Gallery to realize an art piece for Vancouver in the context of the Fourth LIVE Biennal of Performance Art in 2005. When he came to Vancouver in January 2004 he wandered around the city quickly ignoring the much-touted landscape and focusing in on the downtown eastside. At the end of his four days he articulated his idea of a junkie reading room. The Nova library was to be a reading room comprised of books recommended by the drug-addicted communities of Vancouver. Winkler came up with the title Nova Library in homage to William Burrough's novel Nova Express that covers the issues of drug addiction and enforcement in a future that is now.

Hans Winkler´s public art pieces are side specific, where he intervenes, when he is reacting to symbols of our life, how he is reading the city and opens our eyes to real street life and for details usually overlooked. Winkler has an uncanny ability to focus in on the rupture within a community. For his project "un incidente in gondola" at Nuova Icona in Venice he sunk a gondola into the canal speaking to a city literally sinking in tourists. It spoke succinctly about globalism and global warming.

Drug addicts have an image problem. An identifiable population who only ever sees itself in the media as crime and health issues. When we brought the idea to a weekly meeting of the Vancouver Area Network of Drug Users - VANDU and to Portland Hotel Society they instantly understood the project and came on board. The " Nova-Junkie- Library" project was a collaborative project by six organizations.

While Han's had envisioned a reading room by junkies it wasn't necessarily for them. Instead he wanted a central location where all of the community could see this library. The Main Branch of the Vancouver Public Library looks like a high tech copy of the coliseum in Rome taking up a piece of prime real estate in central Vancouver.

It was hard to go from the long term planning of the slow moving bureaucracy at the library to the organizations downtown who were constantly fending off emergencies. The mediating between these two groups became a dynamic of the project. But in the end: The Nova Library displaced the Western section on the main level of the VPL and became new library within a library.

The collection now comprises an eclectic set of over five hundred books and is collaged together in odd arrangements. For example, one can find the Qur’an next to Ken Kesey. The dominant themes of the collection seem to be the hippie and beat writers, native spirituality, various self-help manuals, and a lot of fantasy and science fiction (running the gamut from Aldous Huxley to Conan books). No one was too surprised, that after all the data was tallied, Hunter S. Thompson walked away with the honour of most popular writer, nudging out some of the other icons of the 60’s and 70’s like Ginsburg and Burroughs.

The Nova Library succeeded in showing the intellectual life of this misrepresented community. One visitor reported to her artist neighbor that she must be a junkie because she read the same books they did!
A visitor said: In the time of political ignorance as the counterculture disappeared, many people are probably not interested or don't want to know, the nova library becomes it own meaning- making it obvious the support our culture owes to outlaws and junkies.

Winkler had succeeded in opening up a space where the drug addicts were not vilified but treated as any other section of society with ideas, aspirations and dreams. After years of deaths and a major political battle over the new strategies the Nova Library was a welcome relief and gave startling insights into these communities.


The Nova Library: a reading room created by junkies; a new site-specific project by Hans Winkler

Ernest L. Abel, Marihuana, the First Twelve Thousand Years; Douglas Adams, Hitchhiker's Guide to the Galaxy 1952- ; Eve Adams, Garden of Eden; Randy C. Alcorn, Heaven; John Marco Allegro, Sacred Mushroom and the Cross : A Study of the Nature and Origins of Christianity Within the Fertility Cults of the Ancient Near East; American Indian Trickster Tales; American Medical Journals; Charlie Anders, Choir Boy; Hans Christian Anderson, Emperor's New Clothes; Virginia C. Andrews (series'); Piers Anthony, Rings of Ice, Xanth (series), Anne Applebaum, Gulag : A History; Isaac Asimov Foundation; I, Robot; Nine Tomorrows; Space Trooper; Atlas of the World History; Margaret Eleanor Atwood, Oryx and Crake; Rachel Greene Baldino, Welcome to Methadonia: A Social Worker's Candid Account of Life in a Methadone Clinic; Robert D. Ballard, Return to Titanic: A New Look at the World's Most Famous Ship; James Bamford, Body of Secrets, Anatomy of the ultra secret National Security Agency; Clive Barker, Great and Secret Show: The First Book of the Art; The Bible; The Book of Mormons; Sacrament; Donald L.Barlett, Empire: The Life, Legend, and Madness of Howard Hughes, Nevada Barr, Flashback; Ellen Bass, Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse; Samuel Beckett, Waiting for Godot, a Tragicomedy in Two Acts; Natalia Maree Belting, Long-Tailed Bear and Other Indian Legends; Chris Bennett and Neil McQueen, Sex, Drugs, Violence and the Bible, Thomas Berger, Little Big Man; Thomas Bien & Beveryl, Mindful Recovery: A Spiritual Path to Healing from Addiction; Maeve Binchy, Glass Lake; Jack Black, You Can't Win; Lewis Black, Nothing's Sacred; H.P. Blavatsky, Isis Unveiled : A Master-Key to the Mysteries of Ancient and Modern Science and Theology - Parts 1 & 2; William Blum, Killing Hope: U.S. Military and CIA Interventions; Judy Blume, Summer Sisters; Helen Bonner, The Laid Daughter : A True Story; Paul Bowles, Sheltering Sky; Ray Bradbury, Martian Chronicles; Richard Brautigan; Alexandra Brodsky, Fanny; Smoke Signals: From Eminence to Exile; Kevin Brooks, Candy; Joseph Bruchac, Native American Stories;, Mikhail Afanas'evich Bulgakov, Master and Margarita; David D Burns, Ten Days to Self-Esteem; William S. Burroughs, Naked Lunch; Junky, Nova Express, The Soft Machine, Letters; John Callahan, Do What He Says! He's Crazy!; Anne Cameron, Daughters of Copper Woman; Julia Cameron, Artist's Way: A Spiritual Path to Higher Creativity; Roger Caron, Go-boy! : Memoirs of a Life Behind Bars, Jim Carroll, Basketball Diaries, Dry Dreams; Lewis Carroll, Alice in Wonderland; Carlos Castaneda, Teaching of Don Juan: A Yaqui Way of Knowledge; Paul D. Chan, Medicine; Pang Guek Cheng, Culture Shock! Vancouver At Your Door; Ron Chernow, Titan: The Life of Sr. John D. Rockefeller; Agatha Christie, 4:50 From Paddington; James Clavell, Shogun: A Novel of Japan; Beverly Cleary, Mouse and the Motorcycle; Nancy Coffelt, Dogs in Space; Daniel et. al. Cohen, Real Ghosts; Max Allan Collins, The Mummy; Gerard J. Connors, Substance Abuse Treatment and Stages of Change : Selecting and Planning Interventions; Robin Cook,Coma; Tom Cool, Secret Realms; James Fenimore Cooper, Last of the Mohicans; A Narrative of 1757; John Cork, James Bond the Legacy: Forty Years of 007 Movies; Bruce Cotter, When They Won't Quit : A Call to Action for Families, Friends and Employers of Alcohol and Drug-Addicted People; Douglas Coupland, All Families are Psychotic; David T. Courtwright, Forces of Habit: Drugs and the Making of the Modern World; Stephen R. Covey, Seven Habits of Highly Effective People: Restoring the Character Ethic; Stephanie Covington, Woman's Way Through the twelve Steps; Margaret Craven, I Heard the Owl Call My Name, Christy Crowther, Policing Urban Poverty; R. Crumb, R. Crumb´s America; Beatrice Culleton/ Beatrice Mosionier, In Search of April Raintree; Clive Cussler, Sahara; Roald Dahl, Charlie and the Chocolate Factory, Matilda; Alighieri Dante , Dante´s Inferno; Hilda Roderick Ellis Davidson, Viking and Norse Mythology; Robertson Davies, Fifth Business: A Novel; Angela Davis, Angela Davis: An Autobiography; John H. Davis, Mafia Dynasty: The Rise and Fall of the Gambino Crime Family; Simon De Montfort, Confessions of a Red Sea Smuggler; Thomas De Quince, Confessions of an English Opium Eater;Maggie De Vries, Missing Sarah: A Vancouver Woman Remembers Her Vanished Sister; Anita Diamant, Red Tent; Philip K.Dick, Blade Runner, Scanner Darkly; Charles Dickens, Oliver Twis; Franklin W.Dixon, Hardy Boys (series); Jerry Dorsman, How to Quit Drugs for Good: A Complete Self-Help Guide; Ton Duncan, Advanced Physics; Drug Abuse Handbook; Wayne W.Dyer, Power of Intention: Learning to Co-Create Your World Your Way; Gretchen Edgren, Playboy Book: 50 Years; Cassie Edards, Thunder Heart; Dave Eggers, A Heartbreaking Work Staggering of Genius; Buchi Emecheta, Joys of Motherhood: A Novel; Matthew Engkraf, Valley of Darkness: My Life as a Crack Addict; Timothy Findley, Not Wanted on the Voyage, The last of the crazy people; Jeremy Flint, How to Play Bridge; Alan Foster, Clash Dean of the Titans; Viktor Emil Frankl, Man's Search for Meaning: An Introduction to Logotherapy; Rebecca Fraser, Story of Britain: From the Romans to the Present - A Narrative History; Brian Froud, Good Faeries; Scott Fulop & John L. Goldwater, Archie Americana Series Best of the Eighties; Joan Gadsby, Addiction by Prescription: One Woman's Triumph and Fight for Change; Paul M. Gahlinger, Illegal Drugs : A Complete Guide to Their History, Chemistry, Use and Abuse; Dan George, My Heart Soars; Geronimo, Geronimo´s Story of his own Life; Lara Gilbert, I Might be Nothing: Journal Writing; Sam D.Gill, Dictionary of Native American Mythology; Allen Ginsberg, Howl and other poems; Robert Goddard, Painting the Darkness; Mark S. Gold, Facts About Drugs and Alcohol; Golden Books, The Habbit; William Golding, Lord of the Flies: Molly Goode, Land Before Time: Terence T.Gorski, Staying Sober: A Guide for Relapse Prevention; Goscinny, Asterix the Gaul; Phil G. Goulding, Classical Music: The 50 Greatest Composers and their 1,000 Greatest Works; Kenneth Grahame, Wind in the Willows; Jean Griesser and A.C. Bhaktivedanta Swami Prabhupada, God Song: A Summary Study of His Divine Grace A.C. Bhaktivedanta Swami Prabhupada's Bhagavad-Gita at it is; John Grisham, Broker, Client; Edward A. Gross, Bruce Lee: Fists of Fury; Arlo Guthrie, Alice's Restaurant; Joel Chandler Harris, Complete Tales of Uncle Remus; Michael G. Harvey, Diary of a Train-Spotter; Ernest Hemingway, Garden of Eden, Old Man and the Sea, Snows of Kilimanjaro and Other Stories; Hermann Hesse, Siddhartha, Steppenwolf; High Times Reader; Christopher Hinz, Liege-Killer; Robert Hoffman, Shards of Reflection, A Solitary Declaration; Robert Ervin Howard, The Bloody Crown of Conan; The Coming of Conan the Cimmerian; Conan the Barbarian; Victor Hugo, Les Miserables; Aldous Huxley, Brave New World, Island; Sekihiko Inui, Comic Party; Washington Irving, Legend of Sleepy Hollow; Maulana Jalal al-Din Rumi, Poems by Rumi; Jerome Klapka, Three Men in a Boat: To Say Nothing of the Dog; Spencer, Who Moved My Cheese? : An A-mazing Way to Deal with Change in your Work and in your Life; Joseph A. Jordan, We Can Make it…Together; Robert Jordan, Wheel of Time (series); John Jung, Psychology of Alcohol and Other Drugs: A Research Perspective; Sebastian Junger, Perfect Storm: A True Story of Men Against the Sea; Norton Juster, Phantom Tollbooth, Franz Kafka, Trial; Edwin B.Kantar, Bridge for Dummies; Charlotte Davis Kasl, Many Roads, One Journey: Moving Beyond the Twelve Steps; Carolyn Keene, Nancy Drew (series); Karen Kelley, Southern Comfort; Alexander King, Mine Enemy Grows Older; Ken Kesey, Sailor Songs, Further, Sometimes a great Notion; Martin Luther King, Jr., Autobiography; Stephen King, Dark Tower, Firestarter, It, Misery, The Stand, Shining; Karen Kingston, Creating Sacred Space with Feng Shui; W.P.Kinsella, Dance Me Outside; Rudyard Kipling, Rikki-tikki-tavi; Caroline Knapp, Drinking: A Love Story; Judith Kohlberg, Conquering Chronic Disorganization; The Koran; Jerzy N..Kosinski, Painted Bird; Jane Kurtz, L'Amour; Louis Sackett Brand, Sackett's Land, Warrior's Path; Laotse, Tao Te Ching: A New English Version, Timothy Francis Leary: The Politics of Ecstasy, The Psychedelic Experience, Psychedelic Prayer, High Priest; Harper Lee, To Kill a Mockingbird; Martin A.Lee , Acid Dreams: The Complete Social History of LSD: the CIA, the Sixties, and Beyond; Stan Lee, How to Draw Comics the Marvel Way; Billie Letts, Where the Heart Is: A Novel; Clive Staples Lewis, Chronicles of Narnia (series); Henry Wadsworth Longfellow, The Song of Hiawatha; Walter Lord, Night to Remember, A; Elizabeth Lowell, Warrior; Alex Lucas, Great Canadian Short Stories; Robert Ludlum, The Bourne Identiy, The Parcifal Mosaic; Mary M.Luke, A Crown for Elizabeth; Ann-Marie MacDonald, R.C. Macleod, Way the Crow Flies; The North West Mounted Police and Law Enforcement, 1873-1905; Hazel Martell, Hammer of the Gods; Stephen G. Maurer, Bannock Book: Food for the Outdoors; Alfred W.McCoy, Politics of Heroin: CIA Complicity in the Global Drug Trade, Frank McLynn, Napoleon: A Biography; Drunvalo Melchizedek, Ancient Secret of the Flower of Life; Herman Melville, Moby Dick; Frank Miller, Sin City (series); Sue Miller, While I Was Gone; Kate Millett, Politics of Cruelty: An Essay on the Literature of Political Imprisonment; Earl L. Mindell, Earl Mindell's Pill Bible, Mistry, Rohinton, Family Matters, A Fine Balance; Margaret Mitchell, Gone with the Wind; Lorrie Moore, Self Help; Robin Moore, French Connection: The World's Most Crucial Narcotics Investigation; Toni Morrison, Jazz; Melvin Morse, Where God Lives: The Science of the Paranormal and How our Brains are Linked to the Universe; Farley Mowat, Never Cry Wolf; Alice Munro, Runaway: Stories; Jon J. Murakami, Enter the Dragons; Emily Ferguson Murphy, Black Candle; Narcotics Anonymous Step Working Guides; National Geographic Society, National Geographic Atlas of the World; Linda Nochlin, Women, Art and Power: And Other Essays; John O'Brian, Leaving Las Vegas; Theodore V.Olsen, Soldier Blue; Alfonso Ortiz, Pow Wow Book; Outlaw Bible of American Literature; Oxford Spanish Dictionary; Alan Padsadowski, Recovering from Addiction; Zena Al Pearlstone, Katsina: Commodified and Appropriated Images of Hopi Supernaturals; M. Scott Peck, Road Less Traveled: A New Psychology of Love, Traditional Values, and Spiritual Growth, Charles Perrault, Little Red Riding Hood, Pinkney, Andrea Davis, Let it Shine: Stories of Black Women Freedom Fighters.Clark H. Pinnock, Four Views on Hell; Edgar Allan Poe: The Black Cat, Great Tales of Terror, The Raven, Tales of Edgar Allan Poe, The Tell Tale Heart; Bruce Porter, Blow: How a Small-Town Boy Made $100 Million with the Medellin Cocaine Cartel and Lost it All; J.B. Purdy, First One is Free, Mario Puzi, Godfather; Richard Reichert, Teaching Sacraments to Youth; Stephen R. Rementer, Essential Guide to Handguns: Firearm Instruction for Personal Defense and Protection; Hans Augusto Rey, Curious George; Anne Rice, Blood Canticle; Conrad Richter, Light in the Forest; Kimberla Lawson Roby, Taste of Reality; Frederick Rotgers, Responsible Drinking: A Moderation Management Approach for Problem Drinkers; J.K. Rowling, Harry Potter (series); Ronald A. Ruden, Craving Brain: A Bold New Approach to Breaking Free from Drug Addiction, Overeating, Alcoholism, Gambling; Rebecca Rupp, Return of the Dragon; Robert Sabbag, Snowblind: A Brief Career in the Cocaine Trade; Saint-Exupery, Antoine de, Petit Prince; Jerome David Salinger, Catcher in the Rye; Brenda Schaeffer, Is it Love or Addiction?; Richard Evans Schultes, Lost Amazon: The Photographic Journey of Richard Evans Schultes; Roebuck Sears and Company, Sears Catalog; Alice Sebold, Lovely Bones: A Novel; Barbara Seuling, How to Write Songs and Get the Published With Publishers; Greg Sharon & Adam Sharon, Cheech and Chong Bible; Lonny Shavelson, Hooked: Five Addicts Challenge Our Misguided Drug Rehab System; Sidney Sheldon, Master of the Game; Nina Shengold, Clearcut; Alexie Sherman, Smoke Signals: A Screenplay; Lee Smith, Saving Grace; Nicholas Sparks, Notebook; Star Trek (series) Star Wars (series); Bram Stoker, Dracula; Gareth Strotnik, Running Tough: The Story of Vancouver's Jack Diamond; Amy Tan, Kitchen God's Wife; Quentin Tarantino, Pulp Fiction; Hugh Thomas, Spanish Civil War; Hunter S.Thompson, Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream, Hell's Angels: A Strange and Terrible Sage; Leonard Thompson, Monteath, History of South Africa; Greg Tobin, Council; John Ronald Reuel Tolkien, The Hobbit, Lord of the Rings (series); Eckhart Tolle, Power of Now: A Guide to Spiritual Enlightenment; Leo Tolstoy, War and Peace; Anthony Trollope, West Indies and the Spanish Main; Kurt Vonnegut, Breakfast of Champions, or Goodbye Blue Monday!; Kurt Vonnegut, Sirens of Titan; Robert James Waller, Bridges of Madison County; Minette Walters, Fox Evil, Sculptress; Joseph Wambaugh, Onion Fields; Charlene Weir, Up in Smoke; Sheila W. Wellington, Be Your Own Mentor: Strategies from Top Women on the Secrets of Success; H.G. Wells, Time Machine; Irvine Welsh, Trainspotting; Bernelda Wheeler, I Can't Have Bannock, but the Beaver Has a Dam; Elwyn Brooks White, Charlotte's Web, William L. White, Slaying the Dragon: The History of Addiction Treatment and Recovery in America; David R.Wilkerson, Cross and the Switchblade; Gail Winger, Handbook on Drug and Alcohol Abuse: The Biomedical Aspects; Donald Woods Winnicott, Playing and Reality; Tom Wolfe, Electric Kool-Aid Acid Test; Malcolm X, Autobiography of Malcolm X; Irvin D.Yalom, Theory and Practice of Group Psychotherapy.

ART TALKS

Artists, critics, collectors, and art lovers often wield the pen as deftly as the brush or chisel. Here, for the 21st edition of zingmagazine, are 21 observations -- some wise, some otherwise:

“Life is serious, but art is fun.” John Irving

“When you are not rich, you either buy clothes or you buy art.” Gertrude Stein

“The worst insult you can offer an artist is to tell him how good he used to be.” Robert Hughes

“When you paint a nude back, make sure that it doesn’t look like she’s sitting on the frame.” Jan de Ruth

“I paint portraits to paint my friends.” David Hockney

“There’s no artist alive who feels he’s got proper recognition.” Larry Rivers

“When I paint, I liberate monsters, my own monsters—and for these I am responsible.” Pierre Alechinsky ˆ

“When I paint, I listen to Pavarotti, Horowitz, Louis Armstrong, even my own tapes.” Tony Bennett

“It is essential to do the same subject over again, ten times, a hundred times. Nothing in art must seem to be chance, not even movement.” Edgar Degas

“I’ve always painted what I wanted. I was not influenced by all those trends and isms. I never worried about critics. I just did what I wanted to do.” Raphael Soyer

“A mask stands for art that a person can hide behind.” Paul Klee

“Environmental issues have been addressed in works of art since at least the 1970s, and many of those earlier works might be retrospectively labeled as sustainable art.” Patrick Keefe (this is a quote from the description of the exhibition “beyond green” at the smart museum of art. Stephanie Smith is the curator…)

“Figurative art is the equivalent of cooking with food. Non-figurative art is the equivalent of non-food cooking.” Rene Magritte

“(De Chirico) believed he got better as he got older.” Robert Hughes

“I found that while the camera cannot express the soul, perhaps a photograph can.” Ansel Adams

“I don’t give a damn about politics.” Modigliani

“We often think of artists in terms of their origins, even when most of their life and work takes place elsewhere.” Fereshteh Daftari, MoMA (probably from “without boundary” catalogue)

“I have regretted what I didn’t buy. Seldom have I regretted what I did buy.” Malcolm S. Forbes

“Both Cezanne and Pissarro were outsiders to the Parisian art world when they met in 1961.” Glen Lowry (probably from the catalogue for the C/P show)

“If an art dealer offers you a deal, see a lawyer. And if that lawyer approves, see another lawyer.” Gilda Cao

R&Sie(n)’s Dandy & Mutant A-life Architecture: Musee d'Art Moderne de la Ville de Paris * Paris, France

R&Sie(n)’s exhibition “I’ve heard about…©” opened on the 6th of July at the Musee d’Art Moderne de la Ville de Paris‘s temporary space at the Couvent des Cordeliers. It is one of the most relevant exhibitions reflecting contemporary art today.

R&Sie(n) is an investigational architectural firm consisting of François Roche, Stéphanie Lavaux, and Jean Navarro; working here with Benoît Durandin. Together, they utilize generative heterogeneous mutations in the creation of proposed utopian city spaces. In fact, their show at the Musee d’Art Moderne proposes the artificial growing of extruded urban housing (generative & robotic)—where new cities are constructed via robotic processes by feeding off the carcasses of older dying cities. Very viral. They envision an approach to city planning based on growth scripts and open algorithmic procedures. Towards these ends the show itself includes a fully immersive hypnosis chamber with video monitors, some subtle audio tracts, model-sculptures, booking services, 3D movies and robotic drawings/plans that reveal the source code of the generative program at the heart of their work.

The tangled and intertwined approach to the city vector reminds me of the dithyrambic visual hyper-logic which has manifested in all modes of decadent artistic periods, from the Hellenistic and Flamboyant Gothic, to the Mannerist, Rococo, and Fin-de-Siècle, opposing imposed ocular paradigms with hyper-engendering strategies of form. The multiplicity of its interwoven experiences challenges the now bogus idea of simplicity—a modernist-minimalist idea which in many cities implies simplicity, surveillance, and goodness while obscuring a less evident effect: cognitive constraint. Such constraint runs counter to what Georges Bataille considered to be the non-hypocritical human condition—non-productive expenditure (threshold excess) entangled with exhilaration.

The organic-like, biomorphic architectural forms R&Sie(n)’s generative program spawns brought to mind the Palais Idéal of Ferdinand Cheval (1836-1924), which to my eyes appeared to be one huge budding edifice when I visited it a few years ago, as if the stupendous mannerist grotto-façade at villa Borromeo had been left to grow untrimmed and run amok. However, postman Cheval used 93,000 hours of hard labour, alone and by hand, to construct the Palais Idéal in the Hauterives (Drôme) (near Lyon) between the years 1879 and 1912. R&Sie(n) allows humans to play and dream while a computer program does the physical work.

The other inescapable reference for R&Sie(n)’s work is the visionary city-planning put forth by the Situationists. One thinks immediately of Guy Debord’s essay “On Wild Architecture.” For R&Sie(n), the urban form no longer depends on arbitrary decisions made by the elite few. Ultimately R&Sie(n) leads us toward juicy Situationist-like complexities and engagements by way of immersion into an open-ended multiplex, a virtual environment: the Virtual Reality experience.

As R&Sie(n) say themselves, “Many different stimuli have contributed to the emergence of “I’ve heard about…©” and they are continually reloaded. Its existence is inextricably linked to the end of the grand narratives, the objective recognition of climatic changes, a suspicion of all morality (even ecological), to the vibration of social phenomena and the urgent need to renew the democratic mechanisms. Fiction is its reality principle . . ..” Ahhhhh, the domain of decadent art, VR and artifice, against Nature.

However, the degree to which a dweller feels totally immersed in an optically excessive space has been somewhat poorly determined and depends on personal psychological need and adaptability in accord with the proposed spatial depth cues. Cognitive-aesthetic space has to be coordinated phenomenologically with proprioception—and R&Sie(n)’s only failure is in maintaining the evident structural seams of the immersive faux-hypnotic chamber (the only enterable structure and the highlight of the show) because what the entire show is proposing is a seamless immersion into generative totality, and the visual seams take us out of that exquisite fantasy. So they are denied the loveliest of triumphs.

A pity, as one might otherwise imagine oneself totally immersed there somewhat like a 21st Century dandy. As at the birth of the 20th Century, this new hyper-dandy affirms his or her originality down to the decorative details of the home. In that the robots are doing the algorithmic planning and building, this work proposes a new form of dandyism—if dandyism’s defining characteristic is making one’s person a work of art while extolling laziness and displaying contempt for work.  Evident here are the Baudelairean/Duchampian dandy ideals of impassivity, nonchalant elegance, and inscrutability. What matters are the triumphs of a radical contempt for one’s “hand”.

“I’ve heard about…©” favorably extolled artificiality, indifference, impassiveness—the reign of an ironic causality and knotted ambivalence—while staying open to all transactions. Most importantly, a-life forms are embedded within it and its growth is artificial and synthetic. So R&Sie(n) maintains a version of transcendental phenomenological idealism, but does not disavow the extant actuality of the material sphere. Instead it seeks to elucidate the sense of the world-as-is today—virtualized—by stressing the embodied nature of human and artificial consciousness and bodily existence as the original and originating material premise of sense and signification.

All told, the show is well done—as a proposition. However the proposition turns the mind to the suavity of Antoni Gaudí’s wavy architectural shapes in Catalonia. Although he did not travel about Europe, Gaudí was acquainted with fin-de-siècle Belgium/French avant-garde movement because of the intimate relationship between Barcelona and France and with the pre-modernistic movements of Arts and Crafts, Gothic Revival, and Impressionism, discussed in the intellectual proto-modernist circle that he frequented. But it was Victor Horta’s Art Nouveau movement that most influenced Gaudí, inspiring him to experiment with new materials and fluid shapes. Gaudí’s version of Art Nouveau is characterized by a proclivity for the organic nature of women, beasts, and plants translated into immersive utility. 

 

Antoni Gaudí’s 1906 building, Casa Batlló (located at 43, Passeig de Gràcia, Barcelona) is a chief exponent of the R&Sie(n)-type algorithmic building process with its organic tactility of bones and shells within, and its (external) cocked surf façade and chimerical roof. With Casa Batlló, Gaudí transformed an existing building into an enchanting immersive gesamtkunstwerk. He designed every element of the building: the protuberant façade, all aspects of the interior, the gracefully gnarled furniture. On the exterior, Gaudí combined a flamboyantly surging façade (in an ingenious, cool-color orchestration) while maintaining a dialogue with the neighboring Casa Ametller (1900), built by Josep Puig i Cadafalch (1869-1956) four years earlier. Powerful pillars resembling mammoth elephant legs accost the visitor at street level, protruding so as to nearly trip an unaware pedestrian. A craggy vertebrae-like tier borders the legs and the wavy façade extends upward between the two forms, culminating in a gargoylesque humping crescendo at the roof. The façade itself, coated in a layer of Montjuïc stone, shimmers seductively under the sun in multifarious chameleon-like colors. It is fraught with a scattering of small plates that resemble fish or reptilian scales. Affixed to this seething mass of swelling construction are a number of small, elegantly curved balconies with oval shaped portholes.

The entire structure, flows in smooth opposition to the street, with the exception of a few square windows. Even the walls are gently rounded in strained undulation and contraction, as if they too have entered the oceanic throws of a fluttering female orgasm. The walls appear to be made of a soft, supple material and this softness is carried by the roundness of the inside forms; one has the feeling of being encased in an expanse of hardened dripped honey. Turning, lunging stair railings are met, engulfed, and supplemented by softly heaving honey-colored walls and wooden biomorphicly-carved doors and irregularly-shaped windows. The lack of right-angles and straight lines compliments the exterior while giving the impression of being wrapped up in a continuous wave of motion.

 

R&Sie(n) has not yet achieved the sensuality of Casa Batlló’s avant-garde stance, but success is at hand.

 

 

CONSTRUCTING REALITIES: PHOTOGRAPHY, FILM, VIDEO, INTERNET: PACE WILDENSTEIN GALLERY * NEW YORK CITY

The question of authenticity has created a point of contention for photography since the definition of reality became open to debate. The tantalizing group show, “Constructing Realities: Photography, Film, Video and Internet,” at Pace Wildenstein, seeks to investigate the way in which 20th century photography and the moving image have impacted the experience of reality. In order to convey how the idea of the real has been articulated through the use of modern, technological means, the exhibition follows the work of Diane Arbus, Stan Douglas, Gary Hill, Mike Kelley, Andy Warhol and Robert Whitman. Surprisingly, only half of it seems to work

This show opens with a series of nineteen photographs Arbus took during the 1960s and 1970s which are currently on view in the traveling exhibition, “Diane Arbus: Revelations.” Arbus pioneered a new style of portraiture in the late 1950s when she began taking pictures of people attending sideshows, restaurants, and movie theaters. Strongly influenced by fairy tales and myth, Arbus was drawn to hermaphrodites, midgets, prostitutes and giants. “Girl with a cigar in Washington Square Park,” and “Two Female Impersonators,” for example, lacks the kind of symmetry and posing that convey Western beauty for the camera. As a result these ordinary subjects were considered off-beat. As Diane Arbus wrote: “Everybody has this thing where they need to look one way and that’s what people observe. You see someone on the street and essentially what you notice about them is the flaw…Our whole guise is like giving a sign to the world to think of us in a certain way, but there’s a point between what you want people to know about you and what you can’t help people knowing about you.” By isolating her subjects, Arbus lent a voice to individuals who would otherwise have gone unheard. The high degree of conformity that permeated mid-century American society, moreover, censored alternative visions of daily experience. Arbus successfully captured the gaze of her subjects. The sense of eye contact she creates leads a viewer to a profound understanding of those who lived beyond mainstream society.

Gary Hill’s video installation titled, “Standing Apart/Facing Faces,” exploits the gaze. The film features an American Indian, wearing blue jeans and a shirt, who suddenly turns his head and stares out blankly at the viewer. While this is not a who-blinks-first challenge, an unspoken history emerges eerily while viewer and subject stand in a locked stare. Andy Warhol’s hilarious caricature, “Paul Swan,” (1965) uses the camera to focus on an actor who was once dubbed “the most beautiful man in the world.” Born in 1883, Paul Swan was a Shakespearean actor who also worked in two silent movies. Warhol’s film was created in 1965 and exposes a frumpy old man who stumbles nervously around a small set, calling into question the abilities of an actor whom everyone had once lent their high praises.

In stark contrast, the artistic methodology of Mike Kelley’s “Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene)” (2000) is made nearly invisible by bad acting and starkly overlaid eccentricities. Although Kelley attempted to feature a gay couple arguing like the characters on I Love Lucy, his efforts to direct serious attention toward issues surrounding sexual identity fall flat. The screenplay is exaggerated. Stan Douglas’ 9-minute film titled “Der Sandmann,” (1995) is equally problematic. It combines an 18th century horror narrative by ETA Hoffman with a black-and-white film that juxtaposes developing landscapes with settled ones. An old man—the sandman—appears throughout, shoveling dirt, but the relationship of this character to the progress of suburban development does not adhere; the artist fails to extrapolate his idea from Hoffman’s masterpiece.

Robert Whitman’s “Local Report” (2005) incorporates blurry footage captured by new technology, such as camera phones and web casts, to exploit nightly field reporting seen frequently on local news stations. Dislocated audio plays overhead in an attempt to add context to what is seen, but the visuals are unclear and thus unreliable, and reduce the effect of the altered reality that Whitman sought to create.

 

Fictitious subject matter weighs down half the exhibition; the other half makes a strong case for the development of experienced reality. Although this show attempts to use photographic-based media as an index for the evolution of reality, it also risks playing into the hands of those who seek censorship for just that.


CUT&PASTE LIVE ART JAM: THE SUPPER CLUB * NEW YORK CITY

I’m not going to lie to you. I’m not going to start off by pretending that I know a lot about art. I’m not going to lie to you because I respect you too much. You would figure it out after a few lines, anyway. I will say what the Supreme Court of the United States of America said about pornography when trying to determine what exactly constituted pornography: “I know it when I see it,” and amend the statement for the purpose of this piece: “I know it when I see it being created directly in front of me over the course of a four-hour dance party in Midtown Manhattan on February 4th.”

CUT&PASTE was originally a live digital-design tournament. Last November eight young graphic artists competed in a bracketed competition a la March Madness, but more like Iron Chef, for a spankin’ new Apple iBook and serious street cred. With the help of some sick DJ work, they wowed the crowd with four rounds of Photoshop wizardry projected on the walls of M1-5 in Tribeca. After the winner was crowned (one very talented Anisa Suthayalai) and given her iBook, the event broke down into a typical New York City dance party.

Despite the success of the tournament, the CUT&PASTE crew wanted to explore other ways of pushing boundaries within the paradigm of art as performance. They thought and thought. And thought and thought. And thought. They had already come up with one bitchin’ idea, and, let me tell you, coming up with ideas is hard. Coming up with one is pretty damn good. So they did what anyone in their position would do: they used the idea again. This time they threw a party for all the people who liked CUT&PASTE. And, for good measure, they invited some of their favorite DJs. And if you’re going to have DJs, they thought, why not invite some rising-star artists to come and do their thing on stage, in front of a frothing, party crowd? And if you’re going to have live art on stage, why not see if someone wants to show off their skills with needle and ink at the same time? A tattoo artist joined the mix. They dubbed round two, “CUT&PASTE Live Art Jam.”

The night of the event, I caught up with Tristan Eaton (one of that night’s performers) outside smoking a cigarette. I asked him about his strategy for the night. He conveniently told me what he planned to do and explained in detail the so-far unmentioned format of art to be performed on stage.

“Since the three of us [Tristan, Travis Millard and Patrick Rocha] will be attacking two 6’x9’ canvases mounted side by side with about $1,000 worth of art supplies, I’d say that our strategy will be to work fast and try to run with the music and the crowd.” He added, “We think it’s going to flow from left to right, but we don’t know for sure yet.”

You may know Tristan from Thunderdog Studios, or maybe from Kid Robot, but Travis Millard knows Tristan from when they both worked on illustrations for New York Press. They’ve been friends ever since, occasionally working together. Here’s where it gets complicated. Tristan does not really know Patrick, but Patrick and Travis have been friends for a long time—through Patrick’s younger brother, name unknown. Soon after being introduced, Patrick’s dad, a premier Kansas City courtroom sketch artist (I’m not making this up, I swear), invited Patrick and Travis into a courtroom to do some sketches. The first and only case they worked on was, in Travis’ words, “that one where the woman cut the baby out of the other woman’s stomach and then killed her.” (Again, I swear that I’m not making this up.)

The Supper Club on W 47th Street was, I can assure you, nothing like the baby-cut-out-of-stomach case. At the very least, it was louder and more intoxicated. I noticed two scary things upon entering: there were two massive, and dauntingly blank canvases on the stage, and the tattoo artist was nowhere to be found. I later discovered that the club manager nixed the tattoo demonstration, reason unknown. After sweating through my tie, I realized that pummeling the hulking bouncer would not result in a satisfactory explanation. Inquiring minds may take it up with the Supper Club, address above.

Alcohol was making the bad news easier to take. What was also helping was the work going on in the DJ booth and on stage. DJs Rich Medina and Spinna kept it going all night. They were the fuel of the party engine. And the party engine pushed the art car. Travis, Tristan and Patrick were whaling, and the crowd was digging it.

Despite my limitations as an art critic, I will do my best to describe the finished work: Pacman’s baby squid family mingles with ethereal pirate heads preserved in invisible bags of patchouli scented ether. Angry clouds rain on graffiti left in the wake of invertebrate skeletons and mutated fists. Everything, all the elements and the entire world, ends with a dodecahedron-breasted octapaterpillar.

Go to the website, www.cutandpastecontest.com, check out the party pics, and let me know if you see an octapaterpiller, too.

 

PHOTO LA: SANTA MONICA CIVIC CENTER * LOS ANGELES, CA

Photo LA, now in its 15th year, has become one of the largest photo exhibitions in the country. The exhibit consists of basically seventy to eighty galleries, some I’ve been to before, with their own booths, in the Santa Monica Civic Center. It’s nice to explore all the galleries in one setting.

The galleries present a variety of types of work, some cool pictures, some weird ones, and some expensive ones, from the historic Time-Life Archive to such titles as “Sex Machines.” Some of my favorites included the work of Thomas Kellner. Each of his pieces is a collection of negatives that create a larger, mosaic-like picture. They remind me of time spent in the dark room. Others I liked were black and white photos of LA taken from a helicopter at night, some huge photo-murals of a busy, colorful street in Shanghai, and the work by Anderson and Low at Apex Gallery.

If your walls are bare or if you’re just looking for new work and new artists, Photo LA is the perfect place to browse. And if you bring your checkbook, the gallerists will be more than happy to sell you what’s on display in their booth. Prices range from moderate to that of a nice European luxury car. A couple old Time-Life photos were going for almost $30K. And I’m sure there were plenty more that cost more than that!

The food was great too, or what was left of it by the time I got to it . . . it was tucked away around a corner and I didn’t see it when I first entered the exhibit, so a lot of it was gone by the time I found it! But we did get to have this amazing chocolate cake from Susina Bakery and hors d'oeuvres Pane e Vino.

The producers of Photo LA also have a Photo San Francisco in the summer and Photo New York in the fall.

xo

CAMERON JAMIE: BERNIER/ELIADES GALLERY • ATHENS, GREECE

For his first show in Athens, Cameron Jamie designed a specific installation to present his research from three of his films—BB, SPOOK HOUSE and KRANKY KLAUS—all looking into violence-related myths and rituals from Europe and America. The installation is comprised of videos, photographs, drawings, collected fliers and sculpture, each linked in some way to the films. The exhibition offers insight into the production of Jamie’s films and reveals the inherent theatrical nature of his subject matter.

The earliest of the three, BB (2000), presents suburban LA teenagers who created their own backyard wrestling events. Jamie’s fascination with wrestling dates back to his childhood, but now has little to do with an interest in sport; for him, as for Barthes, wrestling is an iconographic spectacle, an underground, naïve theatre complete with heroes and villains. As the teenagers stage their ritualized performances, costumes and masks conceal their identity while revealing the animated character enhanced by this “rhetorical amplification”.  

Continuing his investigation of violent suburban rituals, Jamie explores Detroit’s haunted houses in the days approaching Halloween. The result, SPOOK HOUSE (2003), is an alarming journey into the heart of vernacular culture, as a community revels in the macabre. Jamie, intrigued by the violence, death, and horror of these performances, likens them to early French Grand Guignol theatre. The effect of the photographs, fliers, and drawings from the film’s research is nightmarish and archaic like a voodoo ceremony—or, more appropriately, a Bacchanalian one.

The final part of the triptych, KRANKY KLAUS (2003), likewise confronts a fearful intersection of the ‘primitive’ and ‘civilised’. The film traces the violent behavior of the Krampus, According to the Austrian Christmas legend, these beasts punish the bad as St Nicholas rewards the good. The research behind the film reveals artist sketches for the Krampus’ masks were worn in a performance around Bad Gastein, as well as five carved masks designed by Jamie. By mapping out the thin line between entertainment and terror, Jamie’s work tests the very limits of acceptable intimidation.

Looking at the studies that mold his films, one must acknowledge the artist’s decision not to depict violence in a traditional documentary way. Jamie’s films are concerned with the theatrical rituals that form the spectacles of excess that thrive in the margins of popular culture. Rather than approaching legitimized modes of violence with a critical, derogatory attitude, the artist considers them myths that deserve a closer look. Cameron Jamie’s films attempt to communicate this structure of myth-shaping, fuelled by displaced identities and fictional selves. After all, as his favorite philosopher, Barthes, argues, myth is nothing more than a type of speech.