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Madlib - 6 Variations Of In The Rain

Water without SoundsKatsura FunakoshiPainted camphor wood and marble, 1995

Water without Sounds
Katsura Funakoshi
Painted camphor wood and marble, 1995

(Source: flickr.com)

Engineered Garments SS14 Lafayette jacket

Karin Gulbran

More and more, more is more. Junkspace is overripe and undernourishing at the same time, a colossal security blanket that covers the earth in a stranglehold of seduction… Junkspace is like being condemned to a perpetual Jacuzzi with millions of your best friends…

A fuzzy empire of blur, it fuses high and low, public and private, straight and bent, bloated and starved to offer a seamless patchwork of the permanently disjointed. Seemingly an apotheosis, spatially grandiose, the effect of its richness is a terminal hollowness, a vicious parody of ambition that systematically erodes the credibility of building, possibly forever…

Space was created by piling matter on top of matter, cemented to form a solid new whole. Junkspace is additive, layered and lightweight, not articulated in different parts but subdivided, quartered the way a carcass is torn apart - individual chunks severed from a universal condition. There are no walls, only partitions, shimmering membranes frequently covered in mirror or gold. Structure groans invisibly underneath decoration, or worse, has become ornamental…

> Rem Koolhaas, Junkspace, 2001

Streetwise (Martin Bell, 1984)

The film is based on the 1983 Life magazine essay “Streets of the Lost,” by Cheryl McCall (writer) and Mary Ellen Mark (photographer, Bell’s wife), and it’s essentially as plotless as a photo essay but just as stark and powerful. Streetwise is a grimly fascinating cinéma-vérité documentary about a bunch of kids (aged between 13 and 19) living rough on Pike Street, Seattle. Unable or unwilling to live with their parents, the kids hustle a living by begging, diving into garbage dumpsters for thrown-out pizzas, and selling their bodies.

The film’s humanizing perspective is bolstered by interview-style narration from the street kids. Not once are we confronted with ‘talking-head’ interview footage, with Bell instead opting to cut the extensively captured dialogue to observational footage of each character. As they roam the streets and interact with one another, the city and its occupants literally pass the kids by. Pedestrians rub shoulders with the kids, oblivious to the various altercations which take place as part of their daily life. Through masterfully shot footage, captured by a very small production crew, we are made constantly aware of the kids underclassed existence; they are the forgotten, failed and ignored products of a modern society.

The film is peppered with cautionary, to-the-point insights from its young teenage subjects, who all speak in the insightful manner of adults far beyond their own years. While they convey their philosophies on survival practices; comparing the relative virtues of ho’ing versus dumpster diving, these shocking realities are mitigated by child-like moments that occasionally seep through. The kids have crushes on each other, they laugh and joke like any 14 year olds might do, but these relationships seem ersatz and exist, it seems, for reasons of survival more so than companionship. (via)

PrestoRaoul De KeyserOil on canvas, 2003

Presto
Raoul De Keyser
Oil on canvas, 2003

Hiroshima Mon Amour (Alain Resnais, 1959)

Opening sequence