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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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

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

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

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

THE ENTIRE ARTICLE ON ANTONY’S VISUAL WORKS CAN BE FOUND IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE001

THE ENTIRE 12 PAGES ARTICLE CAN BE FOUND IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE001

THE ENTIRE 16 PAGES ARTICLE WITH ROBERT MONTGOMERY’S IMAGES & TEXTS IS IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE001

THE ENTIRE 14 PAGES ARTICLE WITH ANTOINE D’AGATA’S TEXTS & PHOTOGRAPHY IS IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE ISSUE001