Monday, 23 November 2015

# 299

"I always like to work on leftovers, doing the leftover things. Things that were discarded, that everybody knew were no good, I always thought had a great potential to be funny." --- Andy Warhol, The Philosophy of Andy Warhol

Saturday, 21 November 2015

# 298

"Don't pay any attention to what they write about you. Just measure it in inches." --- Andy Warhol 

Monday, 16 November 2015

# 297

Fifteen Minutes of Pop Art is 3 years old today! 

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Saturday, 14 November 2015

# 296

... part of my teaching at the philosophy department includes political philosophy and discussing the concept of liberty with students... just this Thursday we were talking about the Charlie Hebdo attacks and the question whether it is worth to give up your freedom for a rather false sense of security, namely the notion that more police and more army could potentially prevent terrorism in your country, and whether freedom of expression has limits etc. After yesterday's tragedy, I think it has once again become clear that there is no such thing as total security and if we want freedom of speech, religious freedom, the freedom to express ourselves and freedom of assembly etc., we should not fall into the trap of allowing state agencies and political parties to talk us into giving up our freedom for a security they can never provide 100%... after terrorist attacks everyone wants to feel that measures are being taken and that 'we are being taken care of' etc. But there was already plenty of military around Paris after the Charlie Hebdo killings and even before then. When I was in Paris in 2009, I took this eerie picture of my friend... we were making fun of the 'boys' walking around 'protecting' us but despite everything fanatics will find their way.... now we really need to make sure that the right wing idiots don't use yesterday's terrorism to stir up even more hatred against the refugees who need our help!

Sunday, 8 November 2015

# 295

From an interview with Jean Baudrillard, answering the question whether he ever thought of writing an aesthetic: 

"[...] That's why in the beginning what interested me was the object, the object itself, the banal object -- precisely that which is not aesthetic. So if I wrote something then it would be a transaesthetic. This is what I did in a minor way in a recent text on Warhol. It is not that I have a total, unconditional admiration for Warhol, but it is he who seems to me to bring simulation into the reckoning, from an aesthetic point of view, but in the original sense of the irruption of simulation. After that the simulationists etc., only repeated what had already been done. It's Warhol in reality who is the focus of all this. Of course, as you know, Warhol repeated himself. But there are moments when he goes through the wall of glass of the aesthetic. ...." --- Jean Baudrillard, Baudrillard Live: Selected Interviews

It's interesting though that, despite his suspicion towards art and aesthetics, Baudrillard's own photography is undoubtedly deeply engrained with a 'Pop Art aesthetic', an aesthetic that focuses on the everyday banal object. Here are two of my favourite photos from his series 'Vanishing Techniques':

Saturday, 7 November 2015

# 294

"Hypperreality entails the end of depth, perspective, relief: these are always to be found in the domain of subjective experience bound up with the human perceiver. The molecular code however insinuates here a new objectivity, and an associated optic. There are four forms of vertigo which can be identified here, says Baudrillard. first, the vertigo of the detail (hyperreal art), which loses itself in the particular. This is intensified in the mirror of the elaborately, hyper detailed form where the real appears to feed on itself. But, third, the vertigo of the series is more important here, as established for example in the work of Andy Warhol: a death is realized in the infinity of reproduction derived from the model. And, finally, it is solicited in the omnipresent binary coding of minimal differences. In this form, which can be seen in a contemporary genre of hyper-painting in which what counts is the frame the border is the only remainder of difference between the work of art and the wall it hangs on. Thus the definition of the real in this phase is that which cannot be reproduced, or for which there is 'no equivalent reproduction', and which must belong therefore to a nostalgic form of simulation or to an order which is not simulation (the symbolic). The hyperreal is the simulation form which dominates, and as such defines itself in relation to that which is always already reproduced." --- Mike Gane, Baudrillard's Bestiary: Baudrillard and Culture

Sunday, 1 November 2015

# 293

"Some people think that it's easier for beauties, but actually it can work out a lot of different ways" --- Andy Warhol