A collection of memories,
dreams, reflections.


Te Faruru

Here we make love, 1893, Paul Gauguin

Touch as transmission, as aggression,
as mediation, as transformation,
as intimation, as violation,



as 'lightning'




#mybodymyhome(ii) via The New Inquiry


Form and the garden of love

The Garden of Love (Improvisation Number 27), 1912, Wassily Kandinsky

Trying to find an image of Kandinsky's watercolour and ink composition Leise (1920), which is currently on display at Bauhaus Archiv, is like trying to find a way to watch Resnais' Hiroshima mon amour with English subtitles... 

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Selbstporträt mit Stab, 1971, Maria Lassnig

But this was a point on which I would never give way: I couldn't understand how one could make compromises with one's life in order to enjoy the dubious applause of a dubious public.

—Simone de Beauvoir, Memoirs of a Dutiful Daughter


The clash in art criticism – academic vs journalistic writing

Ernst Ludwig Kirchner. Street, Dresden. 1908.

The tendency to declare “a crisis in art criticism” isn’t new by any means. It seems the ongoing debate is rehashed every couple of years across newspapers, magazines and public talks. 

In these discussions, the rising power of other agents in the art market – such as money, collectors, curators, celebrities and technology – are typically pinned as the culprits. Inevitably, the convergence of these forces into the realm of art has led us again to questions of: What should art criticism be doing? To whom should it be speaking to? Is anyone paying attention? And if so, are they making sense of what critics are saying?

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La Toilette (1896). Henri Toulouse-Lautrec

Manchmal scheint uns alles falsch und traurig, 
Wenn wir schwach und müd in Schmerzen liegen,
Jede Regung will zur Trauer werden,
Jede Freude hat gebrochne Flügel,
Und wir lauschen sehnlich in die Weiten
Ob von dorther neue Freude käme.

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