http://www.someslashthings.com/magazine SOME/THINGS MAGAZINE Sun, 04 Jul 2010 07:14:57 +0000 http://wordpress.org/?v=2.9.1 en hourly 1 http://www.someslashthings.com/magazine/jennyholzer/ http://www.someslashthings.com/magazine/jennyholzer/#comments Sun, 04 Jul 2010 07:14:04 +0000 mb http://www.someslashthings.com/magazine/?p=1493












THE ENTIRE ARTICLE ON JENNY HOLZER’S WORK ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK









]]> http://www.someslashthings.com/magazine/jennyholzer/feed/ 0 http://www.someslashthings.com/magazine/robertmontgomeryseanflynn/ http://www.someslashthings.com/magazine/robertmontgomeryseanflynn/#comments Sun, 13 Jun 2010 13:19:58 +0000 mb http://www.someslashthings.com/magazine/?p=1464



ON THE ROAD AGAIN ITS TIME CATCH A MOVING PICTURE, MOTEL TV PORN AND MINIBAR AND POCKET
SCRIPTURES, SIGNS OF THE TIMES LESSONS THROUGH THIS WINDOW OF MINE. GIVE ME A NOTEBOOK AND I’LL WRITE YOU AROUND THE DREAMS YOU GAVE ME. GIVE ME A MOMENT AND I’LL HOLD ON TO THE WORDS THEMSELVES, ALL I AM SLIPPING DOWN A PORCELAIN DAM.
YOUR EYES GO BACK A MILLION MILES AND I CAN NEVER REACH YOU, ALL SEPTEMBER SONGS AND SERENADES THAT MAKE YOU FEEL BLUE, SING YOU BLACK BLEEDING IN THE CITY’S DARK NIGHT. STEAL A THOUGHT FOR ME AND SLIP AWAY DOWN BROKEN SIDE STREETS, LEAVE A TRACE FOR ME, A GHOST OF CHRIST ON COTTON DOWN SHEETS COME WHAT MAY A PLACE THAT I CAN ALWAYS STAY, YOUR STIGMATA IS A CIGARETTE BURN AND SOME CHEAP WINE, PUSHED A DRINK A SMOKE BUT NEVER HELD THE FAITH YOU’D BE MINE, PLAY THE PART, THINGS GET REAL IN FITS AND STARTS.
FLESH AS WHITE AS BONE WITH RAZORED STARS AND SONGS OF PROMISE, TAKE THE HOPE TO BUILD BUT SECOND CLASS THESE SINS UPON US, DRIFT ONCE MORE BETWEEN AN ANGEL & A WHORE.

FROM DEATH OF A MAN OF LITTLE CONSEQUENCE / BY SEAN FLYNN





THE ENTIRE ARTICLE WITH VISUALS & TEXTS BY ROB MONTGOMERY & SEAN FLYNN ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK









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THE ENTIRE 14 PAGES EDITORIAL PHOTOGRAPHED & STYLED BY MONIKA BIELSKYTE IN SONGZIO SEOUL ARCHIVES ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK









]]> http://www.someslashthings.com/magazine/songzio/feed/ 0 http://www.someslashthings.com/magazine/junmiyake/ http://www.someslashthings.com/magazine/junmiyake/#comments Sun, 13 Jun 2010 11:54:20 +0000 mb http://www.someslashthings.com/magazine/?p=1454



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MONIKA BIELSKYTE / COULD YOU TELL ME HOW MUSIC ENTERED YOUR LIFE?

JUN MIYAKE / MY FAMILY ENVIRONMENT WAS ALWAYS EXTREME: MY MOTHER WAS A BIG MUSIC FAN. HER LULLABY WAS MY FIRST MUSICAL EXPERIENCE. MY FATHER HATED SOUNDS IN GENERAL, INCLUDING MUSIC— NO SOUNDS OR CONVERSATIONS WERE ALLOWED AT OUR DINNER TABLE. HE WAS A CHEMIST RESEARCHER WHO WENT AWAY TO GERMANY FOR SOME YEARS WHEN I WAS 6. THAT WAS WHEN MY MOTHER BOUGHT A PIANO. I HATED PIANO LESSONS OR READING MUSIC BUT LOVED THE FEELING OF A MELODY STICKING INTO MY BRAIN THAT YOU CAN NEVER GET RID OF. I WAS SO OBSESSED BY IT. JAZZ STRUCK ME HARD WHEN I WAS 12, THE SOUND OF THE MUSIC, OF COURSE, BUT ALSO THE FACT THAT THE MUSIC IS IMPROVISED! I IMMEDIATELY FELL IN LOVE WITH THE SOUND OF THE TRUMPET & DECIDED TO BECOME A JAZZ MUSICIAN. HOW COULD I HAVE ONE OF THE LOUDEST INSTRUMENTS IN THE HOUSE WITH MY FATHER? IT WAS IMPOSSIBLE. IF HE HEARD ME PRACTICE WHEN HE CAME BACK FROM WORK, HE WOULD YELL AT ME (WHICH WAS THE LOUDEST NOISE A HUMAN CAN EVER MAKE – WHICH WENT AGAINST HIS POLICY) & PUNCH ME IN THE FACE.

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MB / CAN YOU TELL ME MORE ABOUT YOUR YEARS AS A JAZZ TRUMPETER? WHAT WERE THE REASONS FOR YOUR DECISION TO GO TO NEW YORK & THEN, 5 YEARS LATER, TO LEAVE IT?

JM / FROM THE AGE OF 14, I ISOLATED MYSELF FROM ALL MUSIC BUT JAZZ. THAT LASTED FOR 7 YEARS. AS MY ENVIRONMENT WAS NOT MUSICAL, I DECIDED TO MEET TERUMASA HINO, THE TOP JAZZ TRUMPETER IN JAPAN WHO WAS ABOUT TO MOVE TO NY AT THAT TIME, TO ASK FOR HIS ADVICE. I WAS 17 THEN, & HE TESTED ME & SUGGESTED THAT I GO TO THE US WITH HIM, WHERE JAZZ WAS BORN & STILL LIVING. TO MAKE A LONG STORY SHORT, I ENDED UP GOING TO BERKLEE COLLEGE OF MUSIC, THOUGH IT WAS EXTREMELY DIFFICULT TO CONVINCE MY PARENTS. I KEPT GOING BACK & FORTH BETWEEN HINO’S (NY) & SCHOOL (BOSTON) FOR 4 YEARS & MOVED TO NY AFTER SCHOOL. MY ENTIRE TIME WAS USED FOR PRACTICE & PLAY WHILE I WAS THERE, TRYING HARD TO BECOME A PRO. JAZZ WAS STILL EXPERIMENTAL, AN ON-GOING MUSIC IN THE 70’S. I WAS SO THRILLED BY THE EVOLUTION THAT WAS BEING MADE DAY BY DAY & THE CHANCES TO COMBINE IT WITH OTHER MUSIC.
BY THE TIME I MOVED TO NY, I WAS WORKING CONSISTENTLY IN JAZZ CLUBS & RADIO STATIONS BUT WITHOUT A UNION CARD. IT WAS WHEN ‘FUSION’ MUSIC BECAME POPULAR & ALL OF MY JAPANESE MUSICIAN FRIENDS WERE BECOMING STARS, WHICH CONCERNED ME, WHETHER I SHOULD TAKE A CHANCE TO GO BACK TO JAPAN & GET MORE OPPORTUNITIES TO PLAY. BEFORE I CAME TO A CONCLUSION, I GOT FUNDING FOR MY COMPOSITIONS IN A COMPETITION BY THE STATE OF MASSACHUSETTS, & THAT MADE IT POSSIBLE TO BUY A RETURN FLIGHT TICKET TO TOKYO WHERE I HADN’T BEEN BACK FOR 5 YEARS.
JUST BEFORE I LEFT FOR TOKYO, THERE WAS A MILES DAVIS COMEBACK CONCERT. I WAS SO EXCITED TO LISTEN TO HIS NEW INNOVATIONS AFTER A LONG BREAK BUT HE DIDN’T SHOW ME ANYTHING NEW AT ALL. I WAS QUITE SHOCKED THAT EVEN A SUPER GENIUS LIKE HIM COULDN’T SHOW US A NEW DIRECTION, & REALIZED JAZZ WAS OVER……….OR, SATURATED I SHOULD SAY. ACTUALLY THIS WAS WHEN MY EAR OPENED UP FOR OTHER MUSIC. & YET I WENT HOME WITH A BROKEN HEART. I LOVED JAZZ BECAUSE IT WAS AN ON-GOING MUSIC THAT EVOLVED DAY BY DAY… & THERE WAS NOTHING ELSE I COULD DO… I STARTED TO WORK AS A JAZZ TRUMPETER IN TOKYO. IMMEDIATELY, I WAS GIVEN A CHANCE TO RECORD MY OWN ALBUM WITH TOP MUSICIANS LIKE RON CARTER, AL FOSTER, ROLAND HANNA, MICHAEL BREAKER, DAVID SANBORN. THOUGH THE CHANCES WERE BIG, I WAS STILL VERY CONCERNED ABOUT PLAYING MUSIC THAT WAS FINISHED FOR ME.

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MB / CAN YOU TELL ME MORE ABOUT YOUR WORK WITH ROBERT WILSON?

JM / IN 2002, BOB WAS ASKED TO CREATE A PIECE ABOUT THE LIFE OF ARCHITECT ARNE JACOBSEN & I WAS ASKED TO BE MUSIC DIRECTOR. THE PRODUCTION WAS HELD IN COPENHAGEN & THE PIECE PLAYED AT THE BEAUTIFUL THEATER WHICH ARNE DESIGNED. BOB WORKS QUITE INTENSIVELY. I WAS ESPECIALLY IMPRESSED BY HIS OBSESSION FOR LIGHTING. AMAZINGLY BEAUTIFUL! I LOVE HIS SENSE OF BEAUTY & SIMPLICITY. IT WAS THE FIRST THEATER PIECE I WORKED ON & I BECAME A BIG FAN OF THEATER PRODUCTION. IT WAS SOMETHING I NEVER EXPERIENCED IN THE MUSIC INDUSTRY, TO SEE HOW MANY TALENTED ARTISTS FROM ALL OVER THE WORLD GET TOGETHER & FOCUS ON ONE PROJECT, WORKING TOWARD A SPECIFIC GOAL.
I LOVE BOB’S WOYZECK AMONG THE PIECES I’VE SEEN. THE WHOLE VISUAL IS INCREDIBLY BEAUTIFUL & MATCHES PERFECTLY WITH THE STORY. AND THE MUSIC. TOM WAITS’S AND KATHLEEN BRENNAN’S WRITING OF COURSE, BUT THE BAND WHO PLAYS THEIR MUSIC IS ALSO EXTRAORDINARY, THEY USE VERY REMARKABLE INSTRUMENTS AND CARE SO MUCH ABOUT THE SONIC QUALITY IN PRESENTING THE RETRO-FUTURISTIC DECADENT SOUNDS. I LIKE WATCHING BOB’S PRODUCTION IN THE DARK THEATER. HE LIMITS ALL PRIVATE CONVERSATIONS WHEN HE IS FIXING THE LIGHTS. FOR HOURS AND DAYS, THE MUSICIANS HAVE TO SIT THERE WITHOUT MAKING ANY SOUNDS. THOUGH IT ISN’T A PLEASURE FOR THE REST OF US DURING THOSE MOMENTS, IT’S DEFINITELY WORTH SUFFERING THROUGH WHEN YOU SEE HOW BEAUTIFULLY IT COMES OUT.

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MB / & YOUR COLLABORATION WITH PINA BAUSCH. WHAT HAVE YOU LEARNED FROM HER?

JM / IT WAS A HAPPY SURPRISE WHEN I GOT AN INTERNATIONAL CALL FROM WUPPERTAL SAYING ‘COULD YOU VERIFY IF THIS MUSIC IS YOURS? & WHAT’S THE TITLE OF IT?’ THAT WAS ONE OF PINA’S MUSIC DIRECTORS, ANDREAS. SINCE THEN, WE SHARE VALUABLE TIME WHENEVER THEY COME TO TOKYO OR PARIS. I FEEL LIKE A SMALL PART OF THEIR COMPANY.
I’M STILL IN PAIN, SUCH A BIG LOSS. PINA IS SO SPECIAL TO ME. SO MUCH EMOTIONAL INFORMATION IN HER PIECES. THROUGH SIMPLE MOVEMENTS, SHE MAKES ME CRY, EVEN HOURS AFTER SEEING THE SHOW. ALL OF HER WORK IS FANTASTIC. ESPECIALLY WHEN I SAW HER DANCE ‘CAFE MULLER’, SHE MADE ME CRY. I WAS ALSO DEEPLY MOVED BY TWO SCENES IN A DOCUMENTARY CALLED ‘COFFEE WITH PINA’ BY LEE YANOR. ONE IS WHEN PINA DANCES ALONE IN FRONT OF THE MIRROR. ANOTHER IS WHEN SHE PLAYS AND DANCES WITH BARTABAS’S WHITE HORSE. SO BEAUTIFUL. BEAUTY, FEELINGS, EXPRESSIONS, BODY, LIFE, MUSIC, LOVE. I LEARNED EVERYTHING FROM PINA. I REMEMBER A PHONE CONVERSATION WITH PINA WHILE I WAS COMPILING THE ‘VOLLMOND’ SOUND TRACK, WHICH IS THE VERY FIRST SOUNDTRACK ALBUM OF PINA’S PIECE EVER PRODUCED. SHE ASKED ME ‘JUN, IS THIS FOR SALE? I NEVER UNDERSTAND THAT TERM.’





THE ENTIRE ARTICLE ON JUN MIYAKE WITH VISUALS BY JEAN-PAUL GOUDE & AN EXCLUSIVE 2 PAGES INTERVIEW (EXTRACT ABOVE) BETWEEN JUN & MONIKA BIELSKYTE ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK









]]> http://www.someslashthings.com/magazine/junmiyake/feed/ 0 http://www.someslashthings.com/magazine/huangyongping/ http://www.someslashthings.com/magazine/huangyongping/#comments Mon, 31 May 2010 00:02:45 +0000 mb http://www.someslashthings.com/magazine/?p=1445



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RLF / SO MANY OF THE TITLES OF YOUR WORKS ARE POETIC WHILE ALSO POSSESSING A PHILOSOPHICAL TONE—HOUSE OF ORACLES, BANK OF SAND, SAND OF BANK, CRANE’S LEGS, DEER’S TRACKS, THE WISE MAN LEARNS FROM THE SPIDER HOW TO SPIN A WEB. IN SOME WAYS, THEY PROVIDE A NAVIGATIONAL KEY FOR ENTERING AND EXPLORING YOUR WORLD. WHAT INSPIRES YOUR TITLES?

HYP / ARTWORKS, BEFORE OR AFTER THEY ARE PRODUCED, ARE ALWAYS CONFUSINGLY DISGUISED BY LANGUAGE, LIKE BEING IN FOG. THE VISIBILITY OF AN ARTWORK, AS IS THE BIRTH OF TEXT, IS INVOLVED WITH LANGUAGE. HOWEVER, THE TITLE OF AN ARTWORK IS NOT ARTWORK. TEXT IS SOMETIMES LIKE A WINDOW THROUGH WHICH ARTWORK REVEALS ITSELF & SOMETIMES A TUNNEL IN WHICH ARTWORK HIDES. IN THE END, ARTWORK IS JUST LIKE TONGS THAT HELP GIVE BIRTH TO BABIES. WHEN YOU LOOK AT ARTWORKS, OR WHEN YOU ARE IN ARTWORKS, YOU CAN THROW IT AWAY.

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RLF / YOU HAVE DESCRIBED THE DISMANTLING OF THE AMERICAN SPY PLANE AS A DECONSTRUCTION OF POWER ITSELF. WHAT ARE YOUR THOUGHTS ON POLITICS & POWER? DOES ART HAVE A POLITICAL POWER?

HYP / COMPARED TO POLITICS & POWER, ART IS JUST A GAME, & IT IS SO INDEED. HOWEVER, IN THE EYES OF ‘GOD’, POLITICS & POWER ARE ALSO OTHER KINDS OF GAMES. BUT THEY ARE NOT TOTALLY IRRELEVANT. ART CAN APPEAR IN POLITICAL EVENTS FROM TIME TO TIME. I USED TO CALL A SPY PLANE AN ARTWORK WHEN IT WAS CUT INTO PIECES & THEN SUBSTITUTED BY ANOTHER PLANE. ACTUALLY SOME EVEN MORE OCCASIONAL & SPECTACULAR POLITICAL EVENTS CAN ALSO BE TAKEN AS ARTWORKS.

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RLF / YOU HAVE MENTIONED THE STRATEGY OF ‘USING THE EAST TO FIGHT THE WEST; USING THE WEST TO FIGHT THE EAST.’ CAN YOU EXPOUND ON THAT NOTION FURTHER?

HYP / ‘USING THE EAST TO FIGHT THE WEST, USING THE WEST TO FIGHT THE EAST’ COMES FROM THE SIXTH STRATEGY OF THE OLD CHINESE MILITARY STRATEGY ‘THIRTY-SIX STRATAGEMS’. I REFERRED TO THIS SENTENCE FOR ITS FLEXIBILITY FOR APPEARING NOW IN THE EAST & THEN IN THE WEST, ITS HIT-&-RUN ATTACKS. EAST & WEST REFER TO WHAT WE CALL THE EAST WORLD & WEST WORLD. ‘MAKING A FEINT TO THE EAST BUT ATTACKING IN THE WEST’ IS A TARGET & A BATTLE FIELD. ‘USING THE EAST TO FIGHT THE WEST, USING THE WEST TO FIGHT THE EAST’ ARE TWO TARGETS & TWO BATTLE FIELDS. IT IS NOT ONLY A STRATEGY BUT ALSO A WAY OF THINKING OF USING DICHOTOMY AGAINST DICHOTOMY. TO DIVIDE THE WORLD INTO EAST & WEST IS DICHOTOMY. BUT COMBINING ‘EAST’ & ‘WEST’ BECOMES A ‘THING/OBJECT,’ SUCH AS A TABLE (IN CHINESE, THE TERM DONGXI, OR EAST WEST, MEANS A GENERAL THING OR OBJECT). IF WE DISMANTLE A TABLE & USE ONE OF THE TABLE LEGS TO HIT ANOTHER ONE, THE OTHER TWO LEGS ARE SPARED TO WAIT & TO WATCH. THAT IS WHY IN CHINESE WE SAY ‘NOT A THING’ WHICH HAS A NEGATIVE MEANING BECAUSE WHEN IT IS ‘NOT A THING’, THE OBJECT IS DESTROYED. WE CAN ALSO SEE EAST & WEST AS POWERS OF SELF-DESTRUCTION. ‘FIGHTING’ MEANS NEITHER WAR NOR DIALOGUE, NEITHER COMMUNICATION NOR SOME HYBRID. ‘FIGHTING’ IS ACTIVELY SEARCH FOR RESOURCES IN ORDER TO SURVIVE.





THE ENTIRE 8 PAGES ARTICLE ON THE BAT PROJECT WITH AN EXCLUSIVE 3 PAGES INTERVIEW BETWEEN HUANG YONG PING & RAINA LAMPKINS-FIELDER ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK









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I CAN’T FULLY DIGEST THE DETAILS OF THE WORLD, BREATHING ITS SMOKE & SMOG, & ALL THE PETTY WHISPERS & PRETTY LIES CIRCULATING IN MY LUNGS ENGULF WHAT’S LEFT OF ME, & IN NO ACT SHALL THE GNAWING SPACE BETWEEN US BE RELIEVED. THE NEGATIVE IMAGES PROJECTED IN THE DARK ROOM ARE MY SILENT QUARRELS WITH THE WORLD, IMPERFECT & PRECARIOUS. I SCRATCH THE SMALLEST SPECKLES OF LIGHT AGAINST THE DISSOLVING SURFACES OF FOGGED & OUT-DATED PHOTOGRAPHIC PAPER, ANTICIPATING THE BLACKS OF MY DESIRE TO REVERSE, LIKE MOTHS WITH THE LIGHTS OUT.

WALKING INTO THE QUAKE AFTERMATH & SEARCHING THROUGH THE ARTIFACTS THAT REMAIN WITH THE LIVING, MY PRESENCE SLIGHTLY FELT THOUGH NOT EFFECTING QUANTITATIVELY THE CONDITIONS IN SIGHT. WE EXIST MERELY IN THE MENAGERIE WE KNOW, & THAT IS ENOUGH, THE FLOOD OF CHANCE, THE RITUALISTIC FIRE, THE AFTERNOON SHADE, & WE MOVE ON, IN MINIATURE ALTERATIONS, EACH TO OUR OWN DISQUIETUDE… THE LONE HIT MAN IN ‘LE SAMOURAÏ’ EXITS THE ROOM, TURNS BACK TO GLANCE, THE CAGED BIRD IS STILL ALIVE. PHOTOGRAPHING IS LIKE CATCHING MOSQUITOES BUZZING CEASELESSLY IN ONE’S DARK ROOM

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ONE MAY CONSIDER CHONGQING IF ONE MAY CHOOSE TO DIE, EXIT THE CABLE CAR OVER THE YANGTZE RIVER, GULPING HER ANCIENT THICK SILT, AWAY PAST BOATMEN WITH CURIOUS EYES. THIS VERTIGO CITY, BUILT UPON MOUNTAINS & ENDLESS STAIRS & IN BETWEEN THE FOOTPATHS, DROPPING US INTO OUR NIGHTS, TRAVERSING FROM HOUSE TO PAVEMENTS SPACKLED WITH BLACKENED SPIT TO GROUND DRILLINGS FOR YET ANOTHER MODERN TOWER TO FOOT MASSAGE PARLORS (THE GIRLS INSIDE WATCHING TELEVISION) FILLED WITH GRILLED CHICKENS & TOSSED AWAY BONES, FUSING BELOW WHAT IS CALLED ONE’S HEAD, & HIGH ABOVE, VAPORS FROM THE RIVER SPIRAL FORTH TOWARDS AN UNKNOWN FUTURE THAT NEON KTV LIGHTS DISGUISE AS INTOXICATION

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THE ENTIRE 16 PAGES ARTICLE WITH THE PHOTOGRAPHS & TEXT BY WAYNE LIU ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK










]]> http://www.someslashthings.com/magazine/wayneliu/feed/ 0 http://www.someslashthings.com/magazine/pinabauschmaartenabeele/ http://www.someslashthings.com/magazine/pinabauschmaartenabeele/#comments Sat, 15 May 2010 12:00:27 +0000 mb http://www.someslashthings.com/magazine/?p=1378



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MONIKA BIELSKYTE / WHAT ARE THE PIECES — NOT ONLY AMONG PINA’S REPERTOIRE — IN THEATER/CHOREOGRAPHY THAT HAVE MOVED YOU MOST DEEPLY?

MVA / MY FAVORITE PIECES FROM PINA ARE PALERMO PALERMO, 1980, SACRE/ DAS FRÜHLINGSOPFER, CAFÉ MÜLLER, TWO CIGARETTES IN THE DARK, TRAUERSPIEL, VIKTOR & DAS STÜCK MIT DEM SHIFF. ABOVE ALL I LIKE THE WAY SHE WORKED AS AN ARTIST, HER LIFE & WORK WERE VERY ORGANICALLY CONNECTED & SHE MANAGED TO DEEPLY UNDERSTAND, RESPECT & WORK WITH LIFE & HUMAN BEINGS IN IT’S ESSENCE. FOR ME WORDS WERE DIFFICULT FOR A LONG TIME. SHE DIDN’T NEED MANY WORDS EITHER TO SAY SOMETHING.
APART FROM PINA ‘S REPERTOIRE THAT SHE CONSTRUCTED OVER THE YEARS I THINK IT IS QUITE DIFFICULT TO FIND THE SAME STRENGTH WITHIN MOST OF THE OTHER COMPANIES. HERE & THERE ARE SOME PIECES THAT STRIKE ME, BUT THERE ARE VERY FEW CHOREOGRAPHERS/THEATER DIRECTORS THAT ACHIEVE TO CREATE SUCH A REPERTOIRE LIKE SHE DID. MOSTLY I LIKE THE PEOPLE I WORK WITH. DA UN ALTRA FACCIA DEL TEMPO FROM JAN FABRE, THE SNAKESONG TRILOGY FROM JAN LAUWERS & GOLLYGOSH NO! FOR A SECOND THERE I THOUGHT I WAS INVOLVED FROM EISBÄR ARE THE PIECES THAT HAVE BEEN IMPORTANT FOR ME.
WHEN I WAS IN KAZUO OHNO’S STUDIO IN TOKYO IN 1999 HE WAS DANCING A DUO WITH HIS SON YOSHITO OHNO TO THE SONG FROM ELVIS PRESLEY ‘I CAN’T HELP FALLING IN LOVE’. THIS WAS FOR ME DEFINITELY A REVELATION. WE (MEMBERS FROM THE TANZTHEATER) COULDN’T HELP IT & WERE JUST WEEPING. HE WAS FOR ME THE TOP PERFORMER &, ACCORDING TO WHAT I SAID ABOUT ASIAN PHILOSOPHY, THE EXAMPLE OF A TREE STANDING IN THE SO FAST CHANGING WORLD.

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MB / DO YOU FEEL THERE IS THE POSSIBILITY TO DISCOVER SOMETHING NEW SEEING PINA’S PIECES MORE THAN ONCE?

MVA / A STAGE PRODUCTION HAS BORDERS & IS FRAMED. MADE TO REPEAT ITSELF AS OFTEN AS IT HAS AN AUDIENCE. REPETITION CAN REDUCE THE RISKS OF THE UNKNOWN, BUT CAN ALSO CHANGE OUR PERCEPTION. THINGS THAT ARE REPEATED FIVE TIMES FOR EXAMPLE ONE CAN REACT, AT FIRST, ASTONISHED, THE SECOND TIME IRRITATED, A THIRD TIME BORED, A FOURTH TIME WONDERING WHY & THE FIFTH TIME WE REOPEN OUR MIND & THINK & MAYBE ACCEPT.

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MB / I CANNOT HELP FINDING MOST OF THE DANCE & THEATER PHOTOGRAPHY SOMEWHAT ONE-DIMENSIONAL, REDUCTORY & OFTEN MERELY ILLUSTRATIVE AS COMPARED WITH THE REAL WORK ON THE STAGE. HOWEVER, WHEN I FIRST DISCOVERED YOUR WORKS I HAD A VERY STRONG IMPRESSION YOU WERE TRYING TO FIND SOMETHING DIFFERENT THAN CONVENTIONAL DANCE PHOTOGRAPHY, AS THERE WAS NOT ONLY THE CAPTURED MOVEMENT OF A DANCE BUT ALSO RELATIONSHIPS BETWEEN THE CHARACTERS & THEIR STORIES, THE EMPTY STAGE & THE SCRATCHES ON THE FLOOR, DUST, SMOKE…

MVA / WHILE PHOTOGRAPHING PINA’S OEUVRE THERE IS NOT ONLY MOVEMENT ON STAGE LIKE IN, LET’S SAY, SWAN LAKE. IT WAS A WHOLE NEW UNIVERSE OF FANTASY OPENING FOR ME. I FELT LIKE I WANTED TO LIVE IN THAT FANTASY WORLD (WHEN I TOLD PINA THIS AT THE TIME YEARS AGO, SHE TOLD ME THAT I SHOULD NEVER FORGET THAT IT’S ‘WORK’ & PROTECTED ME IN THIS WAY FROM LOSING CONTACT WITH REALITY OFF STAGE). THE REPERTOIRE OF HER & THE TANZTHEATER WUPPERTAL IS A VERY RICH – IN A CREATIVE SENSE – WORLD. FOR HER, DANCE COULD BE SO MANY THINGS. SHE LIKED THE THEATER SO MUCH BECAUSE PEOPLE CAN DO THINGS ON STAGE THAT SIMPLY ARE NOT DOABLE IN NORMAL LIFE. PHOTOGRAPHING HER WORK WAS AT THE SAME TIME DISCOVERING PLENTY OF DIFFERENT THINGS & NOT ONLY MOVEMENT OR NON-MOVEMENT

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(EXTRACT OF INTERVIEW BETWEEN MAARTEN VANDEN ABEELE & MONIKA BIELSKYTE)




















THE ENTIRE 26 PAGES ARTICLE ON PINA BAUSCH, TANZTHEATER WUPPERTAL & MAARTEN VANDEN ABEELE ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK









]]> http://www.someslashthings.com/magazine/pinabauschmaartenabeele/feed/ 0 http://www.someslashthings.com/magazine/sophieristelhueber/ http://www.someslashthings.com/magazine/sophieristelhueber/#comments Thu, 13 May 2010 21:06:29 +0000 mb http://www.someslashthings.com/magazine/?p=1368









I HAD TO GO THERE &, FINALLY I COULD, BUT ONCE THERE I DIDN’T KNOW WHAT TO DO. OF COURSE THERE WERE MANY PICTURES THAT I COULD HAVE TAKEN OF THE HORRIBLE CONDITIONS, WHICH I DID NOT. I COULD NOT. WHAT I FOUND WAS A DEVASTATED COUNTRY & JUST AS I WAS SO ATTRACTED & SICKENED BY THE ABANDONED OBJECTS OF THE IRAQIS IN KUWAIT & THE HOME TORN APART IN BOSNIA, I FELT THE SAME WAY. THE ONLY THING THAT REALLY STRUCK ME WAS THE YELLOW SAND AND THOSE THOUSANDS OF DEAD PALM-TREES, BLACK & BURNT, JUST LIKE AN ARMY OF DEAD SOLDIERS. & THAT WILL BE MY PIECE / SOPHIE RISTELHUEBER








THE ENTIRE 18 PAGES ARTICLE ON THE WORK OF SOPHIE RISTELHUEBER ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK







]]> http://www.someslashthings.com/magazine/sophieristelhueber/feed/ 0 http://www.someslashthings.com/magazine/arimarcopoulos/ http://www.someslashthings.com/magazine/arimarcopoulos/#comments Sun, 25 Apr 2010 22:32:13 +0000 mb http://www.someslashthings.com/magazine/?p=1361



FINGERS MOVING FAST ON HANDHELD DEVICES. FACEBOOK ACCOUNTS, IMAGE BANKS, DIGITAL NOISE; FARAWAY SERVERS STORING COLLECTIVE PIXELS. THE SMELL OF TONER FILLS MY NOSTRILS. EVERY BOOK I OPEN GETS A WHIFF, ‘BEAUTIFULLY PRINTED’ WILL BE OFFERED BUT I STICK MY NOSE INSIDE THE PAGES AND SUCK IN. NO LONGER DO I SEARCH FOR THE IMAGES, THEY ARE THERE WITHIN MY ARM’S REACH. BY MY SIDE IN MY LIFE, MY THOUGHTS, MY LANGUAGE. LIL WAYNE IS CONSTANTLY RECORDING THE FLOW OUT OF HIS BRAIN, I AM LIL ARI DOING THE REVERSE. REWINDING I AM FINDING THE FLOW IN MY BRAIN. NO LONGER ARE THERE ANY RULES, THERE IS RESEARCH AND LIFE LIVED. THERE IS NO WAY KNOWING WHAT IT IS THAT I AM LOOKING FOR. ALWAYS PUSHING TO SEE WHERE TO GO WITH THIS.

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CURTAINLESS WINDOWS IN A CALVINIST COUNTRY WERE THE FIRST PHOTOGRAPHS I SAW, 3-D PSYCHOLOGY REDUCED TO A 2D SELECTION. THE WINDOW FRAME THE FIRST LESSON, THE PROTESTANT DISPLAY OF A LIFE UNTAINTED. BUT EVEN A CHILD CAN SEE THE CRACKS OF A WIFE LEFT FOR WEEKS BY A FLYING HUSBAND. ELIZABETH TAYLORESQUE IN A PEIGNOIR ALL DAY SIPPING SHERRY’S, THE FIRST EROTIC IMAGE. HER KIDS OBVIOUSLY IGNORED. THE TRUE PROTESTANT NEIGHBOR’S CHILDREN PRESSED WITH THEIR NOSES AGAINST THE WINDOW AS WE PLAYED SOCCER, POTHOLE COVERS AS GOALS. AJAX!!!!!! WHITE JERSEY AND A RED STRIPE. BEAT LIVERPOOL 5-1 IN THE FOG. ONLY A SMALL PATCH OF NATURE ON THE CORNER. WE CALLED IT THE FOREST, BUT ON REVISITING MY HOMETOWN, CLEARLY THE FOREST WAS NOW HOME TO 2 SMALL ONE-FAMILY HOMES WITH TINY YARDS. IT WAS SO BEAUTIFUL TO THINK THAT AS A CHILD, MY FRIENDS & I THOUGHT OF THIS ONE UNDEVELOPED CORNER IN THE SUBURBS AS THE FOREST. WE WERE COWBOYS AND INDIANS, KNIGHTS. WILHELM TELL, ROBIN HOOD, IVANHOE, HEROES THAT GLOWED OUT OF THE BLACK AND WHITE TELEVISION IN OUR LIVING ROOM. NOW I LIVE IN A BIG FOREST PERHAPS APPRECIATING THE TREES LESS. ONE ALWAYS SEEMS TO NEED OTHER’S EYES TO REALLY SEE.

/ EXTRACT OF ARI MARCOPOULOS TEXT IN ISSUE002





















THE ENTIRE 18 PAGES FEATURE ON ARI MARCOPOULOS WITH A TEXT BY NEVILLE WAKEFIELD ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK













]]> http://www.someslashthings.com/magazine/arimarcopoulos/feed/ 0 http://www.someslashthings.com/magazine/caiguoqiang/ http://www.someslashthings.com/magazine/caiguoqiang/#comments Sat, 27 Mar 2010 14:50:01 +0000 mb http://www.someslashthings.com/magazine/?p=1343












THE ENTIRE 12 PAGES ARTICLE WITH AN EXCLUSIVE CAI GUO QIANG INTERVIEW TO RAINA LAMPKINS-FIELDER ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE002 / THE BLACK BOOK





















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