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Exhibition
17.03.24 — 24.11.24
Punta della Dogana
PIERRE HUYGHE. LIMINAL

Two weeks, at Balse.

Theme - Ghost & angeles - Angelology, the research topic of the time for the new photo book to come.

More Berlinde studies of her and sculpture. Horses. Creating new language. Branch and trees, symbol of life. New life. Pillow that is hope. Then Roni Horn, rediscovering water. Dialog with surrounding. Using a face as a place. eye contact and ambiguity. almost like a landscape. Visual traces. Photographic, yet possessing architectural and psychological component. Figurative and symbolic. Moving through language to arrive at visual. You use metaphor to make yourself at home in the world. You use metaphor to extinguish the unknown, but I don’t want to be extinguished."

Study - Rick Owen

'PROPHET OF THE APOCALYPSE' RICK OWENS

personal universe.

Understanding Rick Owens

architectural

LOEWE Fall Winter 2024 women’s runway collection

A Slow, Sensual Life.

life is for living. being alive.

Artists and Selfishness: A Double-Edged Sword

The interview with Charlie XCX was very nice, I admire her very much.

Charli xcx - Sympathy is a knife
Charli xcx - 360 (official video) -

TECHNO

Vinicius Honorio - Stay In The Rhythm [BP076]

and some nice solid DJ sets for a weekend afternoon

ANIMA Invites - Hekato | HÖR - June 14 / 2024

ROÜGE | HÖR - Jan 7 / 2023

GWÄN | HÖR - June 13 / 2024

and house

Antraum aka (Anton & Traumer) - Hyaku [OMAKASE003]

Stories. NOWNESS
Inside Tokyo’s host clubs and the interplay between self-realization and self-destruction

Preparing for the California desert road trip assignment to Joshua Tree, Palm Springs, and Vegas.

till next time.

Charles A. Balse

Words of Inspiration

To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression. I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us, which can mold us, but which can also be affected by us. A balance must be established between these two worlds-the one inside us and the one outside us. As the result of a constant reciprocal process, both these worlds come to form a single one. And it is this world that we must communicate. But this takes care only of the content of the picture. For me, content cannot be separated from form. By form, I mean a rigorous organization of the interplay of surfaces, lines, and values. It is in this organization alone that our conceptions and emotions become concrete and communicable. In photography, visual organization can stem only from a developed instinct. - 1952

Henri Cartier-Bresson, The Mind’s Eye - Writings on photography and photographers, page 42

Those who go searching for angels inevitably convince themselves that they've found them; it's the uneasy visions among the unprepared that announce themselves. In my case, I happened to be sitting on my faux leather couch, dusted in crumbs and stains, in my former apartment that overlooked the Lehigh Valley and the crumbling, rusting steel mill some miles downriver, either reading a novel or watching television, I can't remember. Suddenly, with absolutely no indication this would happen, I was utterly, totally, completely, and fully convinced of the following: the unity of all creation, the benevolence of that reality, the thrumming of a blessed energy beneath the universe— and most of all, I felt a genuine and infinite tenderness toward all of my fellow suffering creatures, an empathy that for a second made pure adrenaline course through my heart, that left my mouth dry and my head dizzy. I felt, for a second, as if I was in the glorious presence of a kind and knowing and wonderful something.

Now, normally I'm rather a shit. Which is why this uncharacteristically moving sense of togetherness with existence still remains so memorable to me. And I'm under no illusions as to the veracity of that experience, that divine "click" that suddenly moved in heart and spirit, soul and mind. No doubt there could be some recourse to material explanation, a kernel of dopamine that got loose in my synapses, some endorphins kicked up for a physiological reason. At that point I was a few months sober, and the reformed among us tribes of dipsomaniacs often speak of a so-called pink cloud, the heady rush of those first few months when you've dried out and you're no longer bathing your nervous system in liquid depressant, so the most basic of normal functions appear as if heaven to you. So maybe it was some random neuron flaring, just a bit of the cognitive flotsam that gets trudged up now and again, more often through chemical inter-vention, but occasionally through the sheer randomness of everything.

All of this could be true-and it strikes me as utterly irrelevant. Because whether that experience was just "in my head" misses the point of what perception is-everything is, of course, mediated through my head. The question is whether it corresponded to anything in the outside world, but when it comes to ecstasy and transcendence that very question strikes me as more of a categorization mistake than as anything that is particularly useful, Barbara Ehrenreich, the great muckraking journalist, writer, and thinker, had a not dissimilar experience when she was a thirteen-year-old girl in California, writing in Living with a Wild God: A Nonbeliever's Search for the Truth about Everything how she suddenly realized that "it seemed astounding to just be moving forward on my own strength, unim-peded, pulled toward the light." This was no Saul to Damascus moment for Ehrenreich, who was and remained an atheist her whole life, but it was an acknowledgment of an uncanny something. Reflecting on that moment, she writes, "You can and should use logic and reason all you want. But it would be a great mistake to ignore the stray bit of data that doesn't fit into your preconceived theories, that may even confound everything you thought you were sure of."

Because the situation is, whether angels are "real or not," people have long experienced them, and still do. I'm envious, because I would love to see an angel, though I think that I've experienced grace, and that's not necessarily a different thing. Often the word "theophany" is used to describe the divine encounter, the experience of something that is infinite and eternal, both immanent and transcendent, and far above our prosaic reality. The beauty of theophany is that such encounters happen in the real world, for where else would they occur? - Elysium, A Visual History of Angelology, Ed Simon, Introduction - Torward an Angelic Poetics, page 7