Photographs on the Brain

Photographs on the Brain

Edited by Bryan Formhals

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darksilenceinsuburbia:

Anoek Steketee

Love Radio

Love Radio is a transmedia documentary about the process of reconciliation in post-genocide Rwanda, based on the popular radio soap ‘Musekeweya’ (New Dawn). 
It consists of a web documentary, mobile Tap stories and an exhibition. 
The project straddles the thin line between fact and fiction. At first glance it tells a linear, almost fairy-tale narrative. But a closer look reveals the complex reality. While in the soap happy endings predominate, reconciliation in real life is rather more intransigent. After the gruesome killings, how can perpetrators and victims live with and love each other?

April 2014 marks 20 years since almost one million Tutsis and moderate Hutus were murdered. Virulent hate campaigns in the media were at the heart of the genocide. On the same frequency that in 1994 incited the murder of the Tutsi ‘inyenzi’ (cockroaches), the radio soap Musekeweya today broadcasts a message of reconciliation. The soap is immensely popular, with millions tuning in to the weekly episodes.

Love Radio is a collaboration with journalist Eefje Blankevoort, designers Kummer & Herrman and interactive designer Sara Kolster.


www.loveradio-rwanda.org

(via toxicshock)

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selektormagazine:

Selektor Magazine 2 : Shane Lynam, disponible immédiatement, out now

C’est là. Shane Lynam x Selektor Magazine, en versions numérique et papier. Profitez dès maintenant de la présentation en ligne de son travail et pré-commandez la monographie exclusive au format magazine que nous avons préparée ensemble.

It’s here. Shane Lynam x Selektor Magazine, digital and paper versions. Take advantage of the online presentation of his work and pre-order the exclusive monograph in magazine form that we prepared together.

Selektor Magazine

(via vuu-studio)

So is the thieving that big a deal? Ethically, yes, and it destroys people because it’s a bad road you take. But I don’t think that’s the biggest problem for the music biz. I think people are just a little bit bored, and more than a little bit broke. No money. Especially simple working people who have been totally left out, screwed and abandoned. If I had to depend on what I actually get from sales I’d be tending bars between sets. I mean honestly it’s become a patronage system. There’s a lot of corps involved and I don’t fault any of them but it’s not as much fun as playing at the Music Machine in Camden Town in 1977. There is a general atmosphere of resentment, pressure, kind of strange perpetual war, dripping on all the time. And I think that prosecuting some college kid because she shared a file is a lot like sending somebody to Australia 200 years ago for poaching his lordship’s rabbit. That’s how it must seem to poor people who just want to watch a crappy movie for free after they’ve been working themselves to death all day at Tesco or whatever, you know.
fette:

Left, photograph by Matt Mullican, from the series Bringing the Light into a Windowless Room and Burning a Leaf, 1972, Performance views, CalArts, Valencia, CA., 26,5 x 36,5 cm. Via. More. Right, photograph by Rory Mulligan, from the series Sam I Am. Via.
On Thursday at 7 pm, Matt Mullican will be performing ten works from the 1970s and 1980s at PRAXES in Berlin. I will be there.
See also, Zoe Leonard, from the series Sun Photographs, 2013.
—
My own mind is a tenement. Some elevators work. There are orange peels and muggings in the halls. Squatters and double locks on some floors, a few flowered window boxes, half-dressed bachelors cooling on the outside fire steps; plaster falls. Sometimes it seems that this may be a nervous breakdown - sleeping all day, tears, insomnia at midnight, and again at four a.m. Then it occurs to me that a lot of people have it. Or, of course, worse. There was the time I had blue triangles on the edges of my feet. Triangles, darker every day, isosceles. I thought, leukemia. I waited a few days and watched it. It turned out that whenever I walked barefoot, put out the garbage on the landing, I held the apartment door open, bending over from the rear. The door would cross a bit over the tops of my feet That was all - triangle bruises. I took a little celebratory nap.
Renata Adler, from Speedboat, 1976. Via.

fette:

Left, photograph by Matt Mullican, from the series Bringing the Light into a Windowless Room and Burning a Leaf, 1972, Performance views, CalArts, Valencia, CA., 26,5 x 36,5 cm. Via. More. Right, photograph by Rory Mulligan, from the series Sam I Am. Via.

On Thursday at 7 pm, Matt Mullican will be performing ten works from the 1970s and 1980s at PRAXES in Berlin. I will be there.

See also, Zoe Leonard, from the series Sun Photographs, 2013.

My own mind is a tenement. Some elevators work. There are orange peels and muggings in the halls. Squatters and double locks on some floors, a few flowered window boxes, half-dressed bachelors cooling on the outside fire steps; plaster falls. Sometimes it seems that this may be a nervous breakdown - sleeping all day, tears, insomnia at midnight, and again at four a.m. Then it occurs to me that a lot of people have it. Or, of course, worse. There was the time I had blue triangles on the edges of my feet. Triangles, darker every day, isosceles. I thought, leukemia. I waited a few days and watched it. It turned out that whenever I walked barefoot, put out the garbage on the landing, I held the apartment door open, bending over from the rear. The door would cross a bit over the tops of my feet That was all - triangle bruises. I took a little celebratory nap.

Renata Adler, from Speedboat, 1976. Via.

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