memoiremiroir

'Mythology' by Araki Nobuyoshi (2001/2019) in Gelatin Silver Print

Check out Giuseppe Penone, Avvolgere la terra (To Enfold the Earth) (2014), From Marian Goodman Gallery

JOSPEH BEUYS Ohne Titel (Heilkrauterverzeichnis der im Garten des Kunstlers wachsende Pflanzen), 1974 Pencil on cardboard bo, (photo courtesy of: www.gagosian.com) via farticulate

Top, photograph by Lewis Ableidinger, from the series Farland, 2025. Via. Bottom, screen capture from Holubice (The White Dove), directed by František Vláčil, 1960. Via.

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There has been much discussion of the uninterpretable answer to the question: ‘are you lying?’ But ask someone next to you, very softly so as not to wake him: 'are you asleep?’ If he replies that he is, then that makes him a liar. But he can reply by pretending to be asleep, which is not actually lying, but pretending to lie. There is a big difference, since this is a lovers’ game. The question itself is a lovers’ game because it assumes the partner is not asleep while making every effort not to wake him. Besides, these are the same questions: do you love me? are you lying to me? are you asleep? And the reply — yes, I love you, yes, I’m lying, yes, I’m asleep — is equally paradoxical. But it is not untruthful. It simply comes from another world which is not the truth of the first. 'Yes, I’m asleep. Yes, I’m lying. Yes, I love you’: all these answers reflect a marvellous somnambulism and, all in all, a very clear grasp of the relations we establish with reality when we are sleeping, lying or in love.

Jean Baudrillard, from Cool Memories, 1990. Via.

La Jetée :: Chris Marker (1962)

Japanese countercultural icon, writer, and actress Izumi Suzuki, pictured on the cover of her essay collection Itsudatte Teatime (いつだってティータイム). 

Maple Leaf Viewing (Momiji gari) 1794. Toshusai Sharaku 東洲斎 写楽  Japanese, active 1794-95. Color woodblock print; aiban, nishiki-e

A pair of mid-19th century stilted bath clogs, known as qabqabs (or nails), created in Algeria during the Ottoman period. This specific pair is part of the collection at The Art Institute of Chicago. 

Both men and women wore qabqabs (bath clogs) in hammams (public baths) throughout North Africa, the Mediterranean, and southwestern Asia. These raised wooden clogs elevated the wearer’s feet above the wet, soapy floors. The name “qabqab” derives from the clomping sound they make when walking on stone floors. Qabqabs for wealthy women were often elaborate, sometimes reaching stilt-like heights, three or four times as tall as this example. The use of materials like gold, silver, precious stones, mother-of-pearl, tortoiseshell, and embroidered straps reflected the owner’s wealth and social standing. The higher the clogs, the more likely the wearer would need assistance from attendants to walk, further emphasizing their elite status.

Robert Longo - Untitled (After Newman, Onement, I, 1948), 2014.

Charcoal on mounted paper

“If our memories are becoming more like the data sets used by Facebook et al. for facial recognition, then it’s perhaps unsurprising that our eyes and ears have become search engine interfaces.[…] “I am a picture,” Lacan says. Today, are we not pictures? Billions of them, packets of electrical pulses, pinged between you and me, via machines learning to see things we never will, through deep-sea cables and actual arteries?6 Forever circulationing?”

Shumon Basar, “LOL History”, in e-flux Journal, Issue #83 - June 2017

Desert Fire #81, from the series “Desert Cantos IV: The Fires” (1983-85) by Richard Misrach.

Gustave Le Gray :: Brig on the Water, 1856

disappearing

(acrylic and found mediums, 2013)

 Carl Ander | Static Motion (LL’Editions, 2025)

Céline Bodin | The Mirror of Aphrodite II from Venus Variations, 2020-2024