not sure　ちゃんと見とけ
an epiphany,
everything - the past, the present, the future, all in one, in clay
no you are one of the lucky ones

IIIII1IIIIIIII1IIIIIIIII

but I feel I am getting used to, that most brutal part of it - extasy༻

documenting Non Fiction

Surface Streets Curated by Russell Ferguson
Marian Goodman, Los Angeles
6 September - 18 October 2025

remember that night in Paris? - Daniel Klein - Idylle sur la paix - yoyaku

or was it Londontown

either way, it was just an accident, you see　

a dust is dust is dust - polvere

haikai:pop￥徘徊

it is a spicy city. never quiet. 1 day

Hague, Holland.

"Tokyo Fathom" by Emma de Felice & Merijn Haenen
**AIR 3331, Tokyo**
10/24 - 10/26/2025

え？なに突然、お経？　嫌気がさすときに空 to Russian Trance, ホェん we need it we find it

Practice, Repeat、別にグーグルで訳せばいいっしょ

あ、国語の教科書忘れた。。。

meantime, above you, at sun

just watch the base. contrabass and cello, rest will come

along the Passage , Falling with quiet Intensity
Expression On Your Face, that I will never forget

why do I care? -
why do you care? What’s the point, we all die. says you.
that a golf course? you are lost in her flowers. says the other.

maybe. I received the prototype last night.

are you sure?

yes.

leave it all behind, Mike.

to be you, leave it all behind. become THE GENERATOR

see this Helix?

don’t hurt no one.

now, develop a concept, key difference between

demand a message, point of view, a perspective, awareness, cornerstone of your project. a powerful project. long-form. lifelong, thousands of miles.

Elmgreen & Dragset - The Alice in Wonderland Syndrome
PACE Gallery, LA
Sep 13 – Oct 25, 2025

Message from Val

Two weeks, at Balse.

the
infinite azure
above me
the tribe

in front of me

Sun

from light

our light

more light

beyond light

this light

as we all know

we write light

we think light

what may not

may be seeing

the other light

実はそうじゃないかも - maybe not

反射 - reflection,

from?

why ?

反射 - reflection, beyond light

which light?

the square light.

**Wadden Sea – Rømø**
November 03, 2025
quxnb.com

keep on dancing in the dark

Correspondences
François Ghebaly, Los Angeles,
August 2 - September 10, 2025

how artists talk to each other, we think

Ela Minus series

Alec Soth

DJ sets:

Frost Children | Boiler Room: Vancouver Boiler Room
Frost Children (DJ Set) - Elevator Music Elevator Music
Ben Klock - Stone Techno 2025 - ARTE Concert ARTE Concert
Anfisa Letyago / Home Made Live for you Amy_i7
Anfisa Letyago - Afro Acid - Diggers Festival
Ela Minus ‪@TheLotRadio‬ 01-25-2025
Marrøn - Stone Techno 2025 - ARTE Concert
focus mix with Japanese archer (Kyudo) l ShioriyBradshaw l login.jp l techno chill ambient focus Login.jp_
late night tokyo drive mix in R32 Skyline l login.jp l SUNNY l house dance chill

でもでもそれでいいの、それでもやるの。
「壇ノ浦 - 壱 - ～安徳天皇入水～」より

till next time.

Charles A. Balse

Aki Sasamoto’s Life Laboratory
August 23–November 24, 2025
Museum of Contemporary Art Tokyo

Words of Wisdom

Rodin then took Rilke outside for a tour of the grounds. As they walked, Rodin began to tell Rilke about his life, but not in the way one might speak to a journalist on assignment. He understood that Rilke was a fellow artist, and so he framed his stories as lessons that the young poet might take as examples. Above all else, he stressed to Rilke, Travailler, toujours travailler. You must work, always work, he said. "To this I devoted my youth." But it was not enough to make work, the word he preferred to "art"; one had to live it. That meant renouncing the trappings of earthly pleasures, like fine wine, sedating sofas, even one's own children, should they prove distracting from the pursuit.

Rilke listened to Rodin's advice as best he could through the rapid French. But whereas Rilke's intense eye contact held his company close, Rodin rarely looked directly at listeners at all. The artist could become so absorbed in a topic that he sometimes forgot who he was talking to altogether, much less whether they were still paying attention.

When Rodin finally paused to take a breath, Rilke seized the opening to say that he had brought the master a small gift. He pulled out some pages of poetry and presented them to Rodin, who politely flipped through them. Although they were written in German, Rilke thought for certain he detected in Rodin's nodding an approval at least of their form.

- You Must Change your Life, The story of Rainer Maria Rilke and Auguste Rodin, by Rachel Corbett, page 85

It became clear that Rodin prized hands above all other parts of the body. A well-informed visitor knew that to please the maitre one should ask him, May I look at the hands? They appeared around the studio in all configurations: Old wise hands, a pair of clenched fists, two fingertips pitched into a cathedral spire. Rodin once claimed to have sculpted twelve thousand hands, only to have "smashed up" ten thousand of them. Just as he had previously spent years molding hands and feet for his old employer Carrier-Belleuse, Rodin now tested prospective apprentices on their facility with hands.

Rilke understood immediately the lesson contained in all these hands, often "no bigger than my little finger, but filled with a life that makes one's heart pound... each a feeling, each a bit of love, devotion, kindness, and searching." Whenever Rilke had described hands in his poetry they were always extensions into the world. They were need: a woman reaching for her lover, a child grasping its mother, a mentor pointing the way to a disciple. For Rodin, a hand was its own land-scape, complete and internally resolved. It was not merely a sentence in the narrative of the body, it told its own story in lines and contours that added up like verses of a poem.

Rodin seemed to dream with his hands rather than his head, Rilke thought, enabling him to make his every fantasy real. Rilke only wished that Rodin would now take the poet into those transformative hands. He believed his calling was predestined; he just needed a master to animate it. Only Rodin, a man whose hands had set metal men into motion and roused heartbeats from stone, seemed to possess the life-changing touch that Rilke described in his Book of Hours:

I read it in your word, and learn it from

the history of the gestures of your warm

wise hands, rounding themselves to form

and circumscribe the shapes that are to come.

- You Must Change your Life, The story of Rainer Maria Rilke and Auguste Rodin, by Rachel Corbett, page 87

Le Forum 体を成すからだをなす – FRAC Grand Large収蔵作品セレクション展
Faire Corps / Selection from the collection of the FRAC Grand Large
GINZA MAISON HERMÈS, Tokyo
2025.7.19（土）～10.12（日）

Hanya Yanagihara: Some of the most intimate and the rawest photographs in this series are of spaces. There's this idea of taking a portrait of someone through their space: Not through the space that they want hidden off, but the space they occupy. Not the ballroom, but the bathroom. This is something you've maybe been doing all along. And so when you talk about humans really being the kindling that sets fire to an image, I understand what you mean, but there's a kind of charge to photographing the small spaces of someone's life. Is that something that you consciously decided to do with this series?

Alec Soth: When I started this project, my only intention was to spend time with another person in a room, any room. But after I photographed Anna Halprin, I decided it should be in the subject's home. This makes them more comfortable. It's also more stuff to help reveal what might be going on inside of them. I started thinking about Message From The Interior by Walker Evans. That book only has twelve pictures. They're all interiors and only a few of them have people, but there's so much to look at. When I was in high school, I used to deliver Chinese food. I loved that moment when the customer opened the door and I could peek into their interior world. It always felt magical and mysterious. Being a photographer is an excuse to invite myself inside and look around. Sometimes I wish I could just look at the person in the room without ever talking.

Alec Soth and Hanya Yanagihara in conversation, I KNOW HOW FURIOUSLY YOUR HEART IS BEATING, Alec Soth