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popculturebuffet · 3 years

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Darkwing Double Feature: The Quiverwing Quack and Paint Misbehavin (Paint Misbehavin Comissoned by WeirdKev27)

Greetings darkwings of the night! It’s time to return to our daring duck of mystery for a third double feature! This one’s been a longtime coming.. as in since around black friday when I did a comissions sale. As usual Kev was my only customer and he bought both Splatter Phoenix episodes... and I shamefully admit this one has sat in my queue for a while as I wanted to finish the justice ducks retrospective first, as I also wanted to cover Quiverwing Quack’s first appearance, on my own time, and I wanted to save doing any Negaduck till I got done with Justice Ducks. And that’s where errors were made, as I PAUSED said retrospective forgetting I both had this review sitting in my queue, and that I really didnt have that much left to go on it. SO yeah this took WAY longer than I usually do for a commission, and I apologize for that and i’m happy to correct it, with this, along with the freebie I gave him at the time, coming out tommorow i’ll finally be caught up and promise this won’t happen again. So with my needed apologizes out of the way, let’s talk about why this is a double feature. Simple: Paint Misbehavin is Quiverwing Quack, Gosalyn’s superhero alter ego’s, only other appearance on the show. It would appear in the comics.. in a fashion.. but we’ll get to that. So it dind’t feel quite right covering one without the other, especially since this version of gos is a fan faviorite of many. So does our archer live up to the hype? Let’s get dangerous under the cut and find out.

The Quiverwing Quack:

This.. may be the best Darkwing i’ve seen so far. There is some competition of course, but this one is easily the frontrunner. It’s hilarious, has a really great and intresting plot, few faults, and is just.. about as good as this show can get. I could end that here but I wouldn’t be doing my job if I didn’t, so let’s get into why.

The episode starts with a fairly typical day for Darkwing: Fighting Negaduck, hilariously as always, and mocking his arch enemy for only being Public Enemy #2 behind Dr. Slug, an oft mentioned but never seen in an actual episode villian that’s apparently one of DW’s deadliest foes. So already we have a great motive for Negaduck, who usually just has the motive of “destroy darkwing’ or do evil, though to the show’s credit, just looking at the summaries for his other eps alone, they NEVER ran out of ideas for the guy or forgot he was as clever as he was ax crazy.

But just as he’s about to beat darkwing, Gosalyn arrives with an archery set Launchpad purchased for her and easily holds him down. And rather than be greatful Drake is mad at her and feels the arrows are too dangerous which.. fair those look to be real arrows but not the time or place. Gosalyn however is angry her dad stopped her and is chafing both under his overprotectivness and feeling this is about ego, creates her own crime fighting alter ego Quiverwing Quack, dragging Honker along as her sidekick Arrow Boy. He dosen’t WANT to get into hero work, but he’s afraid she’ll pulverize him if he dosen’t. HA HA.. GET IT.. BECAUSE SHE’S A GIRL AND IT’S NOT LIKE GIRLS CAN ABUSE BOYS HAHAHAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHHHHHHHHHHHHHHHHAAAAAAAAAAHHHHHHHHHHHHHAAAAAA

Yeah as you can tell that bit hasn’t aged well and is the one down note in an otherwise great episode. And I do mean great. Because this essential conflict works perfectly and is expertly built on what we’ve already seen of the characters.

For starters Gosalyn forming her own hero identity feels like a natural evolution of her character. It genuinely feels that, given her love for adventure and of her dad being a superhero, that she’d take the next step in wanting to follow in her footsteps and put on her own costume eventually. Her making her OWN rather than something derivitative of darkwing also perfectly fits both her anger at her dad’s overprotectivness and her own individual nature. The costume itself is.. okay pretty simplistic, with an early green arrow style hat and some gloves and boots.. but while I didn’t like it at first It’s grown on me a bit, as I realized it feels like the kind of a costume a kid would throw together and given Gosalyn dosne’t have her dad’s backing, it makes sense the costume would be slapped together. Grante dit dosen’t explain her trick arrows, but given we’ve seen gosalyn is pretty talented and that she can easily acess Darkwing’s lair, it’s not a huge stretch to say she went into her dad’s lair while he was gone, took some suplies and made the arrows herself.

And i’ll freely admit i’m a sucker for a good archer hero as Hawkeye is easily one of my faviroite superheroes. Which granted is a sentence I know will probably baffle anyone who hasn’t picked up a comic with clint, or has but it was written by brianmicheal bendis, as in the movies up to Endgame you could easily replace him with a block of wood with a purple h painted on it and no one would notice the difference. And other archer heroes like Arowette, Speedy, Kate Bishop, Arsenal and Green Arrow are also on the whole pretty fucking awesome, as is the Young Justice Cartoon version of Artemis and the JLU version of Green Arrow. So this was kind of a slam dunk for me and the fact Gos’ costume comes off as a combination of Hawkeye and Green Arrow, having Ollie’s hat but Clint’s purple color scheme and gloves with no sleeves aesthetic, just makes me all the more on board for this.

What truly makes the episode though is Darkwing, whose internal conflict is masterful to watch. While his being overproective isn’t anything new to the show, this episode takes it in a more dramatic directon: While there’s still a few jokes the episode gives some very painful reasons why he’s like this: He dosen’t want to loose his baby girl, both figuratively in her growing up and becoming more self sufficent.. and literally in her dying. It’s a terror any parent faces and it makes him sympathetic: While he IS overreacting at times and would be better off training her and helping nurture her while still keeping her safe, so when she DOES run off to do her own thing she’ll be ready, you can’t blame him for not wanting that, for wanting her to just stay home, stay safe and stay ALIVE. The comics, which i’ve read some of and will cover here at some point, make this hit HARDER as during the second arc, where we meet a bunch of Darkwing Ducks from other dimenisons.. and one of them is Quiverwing Duck. You can probably guess just by the name what happened to his Gosalyn after years and years of working together.

So the risk .. is very real. Loosing her is VERY possible. Being a kid to teen superhero is a VERY dangerous line of work as with less experince and being a possible target if you have any mentors, and sometimes you genuinely DON’T make it. Cypher, Jason Todd Robin, Ultimate Peter Parker, Synch, Danny Chase, Kid Devil, Skin, Wallflower, Icarus, Genisis.. the list goes on, and on, and while MOST of them came back even then the ones that did didnt exactly lack in scars: Jason was never the same after the joker’s beating and Doug, Cypher, had severe trauma he never adressed. The danger Darkwing fears is VERY real.. but is a danger she faces ANYWAY by rushing in and acompanying him. The tragedy is traning her would at least give her a fighting chance as it’s clear from the above that Quiverwing Duck’s Gos died not because she wasn’t ready or because her dad din’t train her.. but because , like MOST of the heroes above.. she died a hero saving the world. And the show recognizes this even if it doen’t mention the death because the show has to have limits and it was the early 90′s, wiht Darkwing’s fears also being that she’s growing up. He knows sh’es capable of this.. he’s just tearful she’s growing up.. and that she could be gone. It puts his overprotectiveness from other episodes in a much more understandable light, and makes it clear that while it comes from a good place it’s not really healthy: As the episode shows, Gosalyn thinks ALL he sees of her is a baby to be coddled and protected and not as her own person, and while he’s right to protect her.. he’s gone so far in it and in dismisisng her again, and again AND AGAIN, that he’s given the poor girl a complex. Leaping into danger alone isn’t the answer.. but when we get to the climax of the episode you can see why it’s gotten this bad. It’s suprisingly layred for what’s normally a pretty simple character conlficts. Here there’s no easy answer and even while by the end Darkwing’s accepted she’ll be a hero someday and both earnestly apologize, ther’es no real resolution. And sometimes.. that’s okay. It’s something they could’ve revisited had the series gone on and we did get at least one sequel episode at least and the comics do explore the issue of gosalyn being a kid hero and drake’s overprotectiness, with his issues there being why he retired and ended up badly straining his relationhip with gosalyn and ending , for a while, his friendship with launchpad and relationsihp with morgan as well as his costumed career. But obviously as I said we’ll get to that another day. But as an episode.. this one is truly excellent and one of the best the series put out, with plenty of humor but the more complicated dynamics at play BUILT on what we’ve seen before, including Gos rightfuly supsecting dakwing’s against her due to his own ego at points, are what elevate it to the series best. So how’d they follow it up?

Paint Misbehavin:

This one’s in an awkard middle place, where it’s FAR better than the previous splatter Phoenix Episode but not as good as “The Quiverwing Quack”. Still it’s a pretty fun episode all together. So the main plot is that Darkwing and Gosalyn are at cross purposes because Darkwing is overshadowed by Gosalyn, in this case at the local comic con where Gosalyn, returning to her Quiverwing Quack guise, is the big new thing while Darkwing’s practically ignored.

Yeah no way around it this is a rehash of “Whiffle While You Work”, same basic conflict, just with suprheroing instead of a video game. So naturally at first it annoyed me especially since they had a debate over who was better, Darkwing’s old traditional hero or Gosalyn’s new very 90′s hero. This.. goes about nowhere and is just cringe inducing for me as a comics fan, whose not against 90′s characters but acknolsges the vast majority got better LATER under new writers, with the exception of some such as superboy, steel, kyle rayner and impulse, who were fresh out of the package. Thankfully.. the episode pushes past this and it ends up being a better version of Whiffle While You Work, as Drake isn’t as overbearingly obnoxious as he was there: Here Gosalyn is just as egotsitical, at one point trying to lead him away from a crime scene, and it’s only when they finally work as a team that they become unstoppable. It does say something though that Darkwing has genuinely grown as his objection is pure ego instead of overprotectivness like last time and he willingly lets her tag along even if he’s trying to show her up. It’s not the BEST conflict, and it ends with egos clashing, but while this part of the episode is recycled.. at least it’s recycling an episode that genuinely wasted the idea and using it better. Darkwing being jealous here is FAR more understandable as he’s been a hero far longer and while his ego is way too big for his head, it’s understandble to be a big pissy, and agian he dosen’t go nearly as far in how he treats gosalyn. He just wants to show up his own daughter and he’s shown as fully wrong for this. Not great but far better than before. What IS great and what makes this episode fun, is Splatter Phoenix, whose even better than last time. I attribute this to the change in voice actors. While Dani Staahl was excellent.. her replacment is far better and far more notable. It’s SCTV’s andrea martin... who i’m realizing most of you have probably never heard of.

Or know what SCTV is. It was before both our times trust me: it was an early 80′s sketch comedy show that had a unique premise as the sketches were all programs for a fictional tv station, and there’d often be wraparounds about what was going on at the station that oftne led to sketches or impacted them: From dealing with sponser issues brought on by the Moral Majority, aliens, the russians hyjacking their signal, and forging checks from Fred Willard’s account, yes that was a plot and yes he was indeed a guest star, there was no end to the number of shenanigans in and out of program. IT was really good stuff with an all star cast: John Candy, Rick Moranis, Dave Thomas, Cathrine O’Hara, Eugene Levy, Joe Flarhety, Martin Short, and of course Martin. Even Harold Ramis was on the show for it’s first season. It was just a damn good time and if you can find the dvd’s or clips on youtube I recommend it. My point is Martin is vastly underated and really deserves better than she’s gotten, and this eps proves it as her energy really adds to Splatter’s astetic and really fits the show like a glove and it’s a shame the show ended shortly after this episode, as it would’ve been nice to see her return in the role. But for a one shot she’s UTTERLY awesome, and Splatter gets to do far more this time as her brush has now expanded to be able to create, so we get helicopter cats, pumpkin dogs, a pink gorilla with a toaster for a head and when told superheroes always win she creates her own, absract man, with a hand for a head and a weird body and I just want to see more of him. He even skips off with Launchpad’s faivorie hero, bascally mr rodgers as a weasel, after launchpad draws the guy in. I want to see this gay couple fight crime with love and existetaalism dammit!

But yeah she’s just fun, as is her vandalism of various art works including making the dogs playing poker into skeletons.. which I now want a picture of for my room because that is nice. SHe also brings back the art shitfts from before in little ways, transforming darkwing into abstract art and to blocky art at diffrent points with her brush. And that’s what puts this episode over the other: The creativity is still there but without the whole “Honker being gaslighted” plot that I still hate to this very second, it’s allowed to be fun and fancy free and with Splatter out in the open she’s allowed to get a LOT more ambitious and thus the writers and martin get to have a LOT more fun with the gimmick.

So while I do feel the episode’s a bit crowded, as they try to cram in both splatter phoenix and this super feud between family into the same space and both episodes would’ve been better served seperatley, i’ts so fun with clever use of the magic brush by our heroes and what not I can’t help but love it. I don’t love the climax though as splatter gets turpentine spilled on her by gosalyny and .. melts for some reason. Because she’s made of paint now even though that was never a thing before? Not to mention the fact our heroes just killed a person...

So yeah the ending’s a bit wonky but it’s a fun episode with the return of a great villian, a decent of played out main conflict and some great gags and fights in it. All in all i’m glad I got comissioned for this one and finally tackled it. Good stuff. So that does it for this. We’ll be back to darkwing next week just in time for valentine’s day.. and back with Negaduck too. Until then it’s been a pleasure.

#darkwing duck #drake mallard #gosalyn mallard #launchpad mcquack #negaduck #jim starling #splatter phoenix #paint misbehavin #quiverwing quack #honker muddlefoot #reviews #disney #disney plus

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fae-fire · 4 years

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11 & C

Uncommon Questions for OCs and their creators

11) How do they cope with confusion (seek clarification, pretend they understand, etc)?

Yehn would cope with confusion by...pretending they understand, I think. Like they’d go along with something until they could fully comprehend the situation or concept or idea. That or I think they’d be pretty headstrong about...not knowing. Like either using a double meaning of something and not understanding the other. They don’t like to be wrong though or perceived as incapable. Additionally, while they are working against Djinni, they also need to act like they are working with it. So they may even feign confusion or act unknowing as a guise or weapon to save their own skin.

C) Did you have trouble figuring out where they fit in their own story?

I will admit, I’m having some trouble figuring out some details with them. I know where they end up. I know what they are doing now. But I am tossing a lot of ideas around for their past, where they came from, and why they’ve ended up the way they are. It’s really simple to hand wave it as disgruntled with the world and then changing their mind. But I want to have a more concrete like...history and world around them. When I build OCs, I tend to build a pocket world around them so I can pull from multiple angles and mesh them into a lot of different stories. Characters like Yehn (and Layr, Eo Sul, and Qesh) were and are challenges for me. I’m really good at creating villains and masterminds and anti-heroes. But characters who aren’t so cut and dry in that space are more of a challenge for me and I struggle to make “interesting” to the standard that I put on myself. I think that’s a me issue though >.>

#ooc #mun talk #ooc answer #answered #thanks for asking!#under-the-blood-moonlight

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thorndale-industries · 6 years

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“What?!” ( pre Human Revolution? :3 )

Send me “What?!” for your Muse to discover mine just got back from the hospital!

The regular tapping of her leather shoes echoed through the hall of LIMB International, filling the disturbingly empty place with a sign of life. The woman’s eyes were closed, hiding her sensitve eyes behind thin and pale skin as the bright illumination of the place tried to burn its mark into them. Incomprehension, this is what she always felt when entering any medical facility, as this sterile, tortuting interior seemed to be a conspiracy against its clients - an universal code, an identifyer yelling right at you to always remind you where you where. No, she never understood why all those placed looked alike - perhaps it was supposed to create the sense of an clean, professional enviroment, to make people safe and trusting before putting their lifes into stranger’s hands. But to her, it was the opposite: Unnerving, creeping on her mind so much it made her skin crawl. Next time, she wouldn’t insist on coming personally or at least bring sunglasses she swore to herself.

The only balsam for her nerves and soul was the perfectly prepared tea she drank from her thermos, carefully so it wouldn’t be empty within seconds. Her oddly coloured eyes wandered from left to right, her thumb wiping along in a regular rythm as she ran through the files given to her on a tablet. Countless faces, one generic as the other like if she was looking at an army of clones.

Unsuitable. Unsuitable. Unsuitable.

Her temples pulsated in frustration, her jaw becoming more tense with each red mark she had to look at. None of the patients of this clinic turned out to be a potential candidate for their project. None of them had any remarkable irregularities like a slight resistance regarding DDS, no reduced need for neuropoyzne, no delayed treatment - and no dull lives they could easily be removed from without anyone noticing. And if someone manged to jump into the other pool, they kicked out for many other reasons. Substance abuse, undesired genetic tendencies, a too well connected life. The woman cursed to herself, unwilling to accept that no one in a city like Detroit would be a candidate, so she took another deep sip of her tea. This was unacceptable, their black site was supposed to be operational within the next 3 months and Robert and her planned to announce their space station in the next week at the local tech convention. They had to find someone, there was no other option, even if it meant they had to deviate from their original parameters and expect more negative results. If only they could fine someone with at least some degree of immunity, it was mathematically unlikely that there is no one.

“And? Did you find anyone Miss Thorndale?” a sweet, a tiny bit too friendly, interrupted Gillian’s thoughts - to her pleasure. She turned around to look at the medical director of this clinic, a woman in her 40s looking like she just jumped out of one of the brochures layring around. A sympathetic, comforting face.

“It’s Mrs. now and no, to my dismay there is no candidate in this clinic.” The CEO gave the tablet back and placed her now free hand around the pocketwatch. The director’s face remained as it was with a hint of consternation, taking the words like a personal failure.

“I am sorry, Mrs. Thorndale, Mr. Darrow and I really hoped that we could find someone here, given by the sheer number of people we serve here thanks to Sarif.”

“I shared that hope, but we shouldn’t give up just yet. We are looking all over the world, we will find what we need in time.”

Gillian walked pass by the woman, planning to leave to return to her husband in the hotel. She placed her hand on the doctor’s shoulder, giving her an affirming smile. “I didn’t come here to just bump into a medical miracle. It’s alright.”

Without waiting for a response, the white haired woman walked down the floor leading to the exist, her right hand slipped into her jacket, touching the soft leather of her cigarette case. A smoke, this is what her strained nerves needed right now. Lost in her thoughts, already dreaming of a relaxing bath, she didn’t pay any attention to her surroundings and barely noticed how sh ran into a man right in front of the glass doors of the clinic. Blinking, confused, she looked into the man’s face that was way too to familiar.

“Mr. Jensen,” Thorndale mumbled with a cigarette between her red lips. “What a pleasant surprise. Running errands for Sarif, I assume?”

#icarusburning #(i was a bit...creative with the prompt)#(i hope this is alright)#//TI archives [Writing/Drabbles]#//the tale of picus and canens [Ask]

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contemporaryartdaily · 7 years

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Week in Review: July 23, 2017

Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, follow us on Instagram, and become a fan on Facebook.

We would like to thank our annual sponsor NADA, the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.

We’d also like to thank our sponsors X-TRA and EXPO CHICAGO.

X-TRA is a quarterly contemporary art journal edited by a collective of artists and writers.

Initiating the international fall art season each September, EXPO CHICAGO hosts leading art galleries presented alongside one of the highest quality platforms for global contemporary art and culture.

We have started publishing selections from the 2017 Venice Biennale. From each selection, you can link to a much larger archive of documentation of the Biennale. Our expanded coverage is generously supported by Antonia Josten Art World Recruitment.

Be sure to keep up with everything happening on our Office Notebook.

This week’s featured exhibitions:

Group Show at Halle Für Kunst Lüneburg

Che Lovelace at Eric Hussenot

Torbjørn Rødland at Air de Paris

Mandy El-Sayegh at Carl Kostyál

Anna-Sophie Berger at Emanuel Layr

Guy de Cointet at Air de Paris

Merlin Carpenter at Galerie Neu

Verena Dengler at Kunsthalle Bern

Marieta Chirulescu at Micky Schubert

Henry Taylor at Eva Presenhuber

Group Show at Potts

Have an excellent week.

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

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nofomoartworld · 7 years

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Art F City: Material Light on Substance, Heavy With Dick Pics

Jesse Harris at Toronto’s Cooper Cole.

MEXICO CITY- Is a bigger fair necessarily a better fair?

Having doubled in floorspace since last year, Material Art Fair feels like a totally different beast. The fair has moved to two lower floors of Expo Reforma, with larger booths arranged around “courtyards” for conversation and concessions. There are plenty of new exhibitors, and much of the work looks far more market-friendly than the wares last year.

Opinions remain divided over whether or not these changes are a good thing. Several people praised the new layout and expansion. Last year’s fair felt chaotic—construction workers were still putting the finishing touches on the build-out as the doors opened—with a labyrinthine booth layout squeezed between a bar/performance area and panoramic windows looking out over the city. It was cramped but intimate, with a relaxed, party-like atmosphere. Importantly, I found this complimentary to (rather than distracting from) the artwork itself. One of the things that impressed Paddy and I so much was the sense that artists and galleries were here to network and the culture of display felt peer-oriented.

Nathalie Du Pasquier at the joint Sala Seis by MARSO & Apalazzo Gallery booth.

This year, though, the atmosphere was tense. During the VIP preview, it didn’t seem like much was happening in the way of sales or conversation. Exactly two gallerists seemed eager to talk about the work they were showing. Not looking like a collector (apparently), even simple inquiries about artists’ names were often met with exasperation. Several exhibitors were so unenthused about their booths they seemed downright embarrassed. And honestly, I can understand why—a majority of the work here is kinda boring. Most people I spoke with conceded that they found this year underwhelming after how much everyone enjoyed the last iteration. My friend described many booths—characterized by decor-friendly small paintings and ceramics—as akin to an interior decorator’s trade show. We joked that so many booths with faux-naïve paintings of flowers or “kooky” pottery looked like set dressing for a late-90s sitcom episode wherein the comic relief gets her “big break” with a show at a local coffee shop.

Maybe that assessment is unfair—looking back through my photos, there were plenty of good booths, but the majority of pieces don’t lend themselves to much discussion. The fact that they’re dispersed amongst so many unengaging booths doesn’t help—maybe last year’s smaller, more crowded presentation distilled the art-viewing experience? It doesn’t help that some of our favorite galleries from last year didn’t return. But no one seems quite sure of why the mood and quality is so uneven. One gallerist I spoke with (who asked to remain anonymous) praised the fair’s new layout and centering of project spaces, even as they conceded that the show leaves a lot to be desired:

“I think some of the booths fell flat—I’m not sure why exactly but I think it’s a combination of the distance some galleries traveled, getting work across the border/customs (which is notoriously difficult and problematic) or if it was just a weird year”

And a weird year it is. Perhaps the near-total lack of acknowledgment of current events weighed awkwardly over the fair (some friends have said they spotted Ivanka-Trump-inspired art, but I must’ve missed it). It seems so strange to have an art event (which we once praised for being more discursive than commercial) almost completely avoid political topics, particularly one where pieces are sold in US Dollars as the local currency plummets, with a majority of exhibitors from two countries threatened by a militarized border wall between them. Contrast this with Zona MACO, where discussion of Trump and socio-economic crises where never more than a few meters from polite abstraction.

Birgit Megerle at Vienna’s Galerie Emanuel Layr

At Material, I felt almost guilty for the escapism of pieces I liked—which, predictably, mainly comprised some combination of wigs, dicks, plants, and neon. Don’t get me wrong, I’m a big fan of genitalia and houseplants (really, though, aren’t we all?) but it bothers me that these age-old, lowest-common-denominator motifs are the highlights of a fair with an artist-centric reputation at such a politically fraught time and place. Gleefully snapping pictures of crude dick-and-foliage paintings, I had the sudden impression of an ancient Roman libertine—drunkenly admiring a bathhouse orgy fresco while the Republic burned outside.

Joani Tremblay, “Storming the Gates of Paradise: Landscapes for Politics,” 2017 at Projet Pangée. Of all the plants-and-ceramics booths, Projet Pangée stood out as the best curated group show (and nicest!)

That being said, two booths stand out for their engagement with politics: Tijuana’s Periférica and Miami’s perpetually-on-point Michael Jon & Alan. Though technically, neither the curators nor the artist behind Siebren Versteeg “Fake News” at the latter had control over its political content. The piece is an algorithm which grabs images from trending topics online and assembles them into surprisingly nice “paintings” in real time. These are displayed in stock-photo-looking white rooms that evoke pristine domestic spaces, displayed on a monitor that refreshes every few minutes. It felt like a ghost in the machine was reminding us of the awful world outside Expo Reforma, despite everyone’s collective best-effort to ignore it.

Siebren Versteeg “Fake News” at Michael Jon & Alan.

Periférica is showing prints by Omar Pimienta, who works with passports and notions of nationality. Here he’s reproduced his childhood passport as an editioned screen print, stamped with the name of the fair as if it’s a visa for exhibiting the work. The artist also invites people to trade in their old passports for new “Free Citizenship” ones he fabricates, so anyone can call his invented nation-state home. The gallerist showed me a photo of his collection of passports, which is in itself an inspiring image: I like the thought that so many people would trade a symbol of their national identity for a piece of artwork.

Omar Pimienta at Periférica

Also at Periférica, Juan Villavicencio. There’s something so satisfying about how snuggly these wigs fit these ceramics.

Wickerham & Lomax, “The Ginevra” and “The Deana” at Springsteen.

I loved these Wickerham & Lomax purse-shaped prints before I even realized they’re named after two of my favorite people in Baltimore: The Contemporary’s Artistic Director Ginevra Shay and outgoing Director Deana Haggag. The whole booth is great, including abstract pieces by Sofia Leiby.

Chelsea Culprit at Mexico City’s Yautepec.

Another random/personal highlight: I was immediately drawn to this mobile of a dancer in platform shoes. Then it struck me: I once stayed in a friend-of-a-friend’s apartment here in Mexico City and snapped a photo of a massive painting that looked similar because I loved it so much. The artist happened to be in the booth and overheard me telling this story, and told me that piece was actually a “sketch” to plan this! What a small, great world.

Mario García Torres at josé garcía.

The excellent Mexico City gallery josé garcía also has this wig on display, from Mario García Torres. It’s flattened and framed, and convincingly looks like a delicate painting from a distance. I also recognized this José León Cerrillo from a show Paddy and I loved at josé garcía’s brick-and-mortar location last year:

José León Cerrillo

A model being covered in band-aids, for Ryohta Shimamoto’s “Adhesive Plaster Man,” also at eitoeiko.

Chez Mohamed’s booth, featuring Ren Hang (photo), Thomas Mailaender (ceramics), and Luka Arbay (neon).

This Parisian gallery is named Chez Mohamed, but what they’re serving is anything but halal. I respect the fact that they’ve fully committed to obscenity with such gusto, including a Ren Hang photo, titled “Little Buddha,” which features a naked man ashing into an ashtray that he’s using to cover his anus while reclining at another person’s feet in an unhuman-looking pose. Also, a giant neon dick from Luka Arbay. This is what I imagine the anti-NEA Republicans think all big-city, taxpayer-funded art museums look like.

Celia Hempton at Sultana.

Sultana presented a solo show of paintings by Celia Hempton, each one of a blurry man’s crotch, with titles such as “Romania 25th of May, 2016” and “South Africa 5th November, 2015.” The names and distorted quality of the images evokes homemade webcam porn, buffering as it traverses international boundaries. These are really nice paintings, each with their own mark-making vocabulary that suggests haste but thoughtful color palette.

Ryan Patrick Quast at Wil Aballe Art Projects, of Vancouver. This cigarette is made entirely out of paint (no surface). So it’s technically a “painting”.

Nando Alvarez-Perez at Oakland’s City Limits.

Pablo Ravina at Lima’s Ginsberg Galería.

Kevin Rhinehart at L.A.’s Grice Bench.

I’m ending on this Kevin Rhinehart painting because A) it’s one of my favorite pieces from the fair. Rhinehart is an architect who paints things that are a little fucked up, like these ruffled Venetian blinds. It’s so quiet but so lovely up close—down to the care with which he physically embroidered the thread running down the canvas. And B) because it’s a bit of a caveat: I almost totally missed this until a friend pointed it out to me.

I’d like to head back to Material, because I’m sure there are more small highlights I’ve overlooked due to fair fatigue and how generally stressed the vibe felt opening day (several acquaintances remarked that many people were concerned about lack of collectors, a noticeable difference from last year). Maybe those of us complaining about the fair are just disappointed that last year’s magic is impossible to reproduce. At any rate, there’s good art in there—it’s just in a bigger playing field now.

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micaramel · 4 years

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Artist: Birgit Megerle

Venue: Emanuel Layr, Vienna

Exhibition Title: The Year Off

Date: November 15 – December 21, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of Emanuel Layr, Vienna

Press Release:

Mostly moving outside the city’s transformative reality, which today no longer offers itself as a complex organism with many functions and infinite relationships (Baudelaire) but rather as a vast network, meta- city (Virilio), Birgit Megerle goes in search of an exclusive territory in which she can test by force of ideas as well as techniques her abilities as a painter. The landscape, both natural and cultural, being the outskirts of a city or the Jurassic crust of a volcanic island, becomes for Megerle shore and refuge, interrogation and landing place for a research that privileges the ability to interfere with the environmental context, urging unexpected intervals and sudden concentrations.

Admiring some of the recent canvases, which will be part of the artist’s second solo exhibition at Galerie Emanuel Layr in Vienna, it occurs that Megerle has worked a bit in the manner of a land artist, that is to say, she performed complete interventions. She used nature as a fragment upon which to make changes: working on boundless spaces, sometimes capturing a Freikörperkultur at its most typically utilitarian instance, adding panties here and there, or luxuriant atolls where there were none… or moving geological masses from right to left. Acting not on but inside nature (and inside the specificity of a scape), Megerle has almost come to coincide with her objects, identifying with the landscape, with some of the people perhaps, with her dogs, leaving her own self behind.

The fact that Megerle broke the objectifying threshold of the plein air painter is not a surprise. On the other hand, if we carefully focus on the peculiarities of this new corpus, we realize that one of her interests was possibly to reaffirm the presence of limits – the lake’s opposite bank, dripping in dark vegetation, is formally and symbolically equivalent to the straight, oceanic horizon caught in the storm. Neither of those circumferences is very reassuring. There is a view of a rocky cliff enclosing a beach, just barely sketched. The dominant surface of the collapsing wall grows in our face with its detailed, textural quality, detaching itself from any traditional framing until it almost obtains all our gaze: the wall attempts at becoming a total landscape.

Pushing the boundaries of a hortus conclusus, inscribing nature in a frame of permanent traces, Megerle subordinates the exterior to her imaginative purpose, subjecting it to the charm of every extension of the self. The path of light that shatters on the bodies at sunset or on a stray dog’s hair in the streets of Buenos Aires is rendered via accentuations in brush strokes or quasi-pointillistic stains of color. Megerle’s gaze is directed at the microcosm of the world surrounding her: the closest possible views of the narrowest possible slice of life, the radical compression of time are transported on canvas but not necessarily with the same binding character of a “finished” composition.

A couple of dogs sit in a VW, searching for the light outside the car’s window, each absorbed in the opposite direction. I cannot help but recall one of Schopenhauer’s most exhilarating disputes, the one with Goethe on the theory of colors1. As it is told in the Gespräche, the walls of his study were adorned almost only with portraits of dogs. When his friend Frauenstädt asked him if there was a veil of irony in his choice, Schopenhauer replied: “Yeah, dogs!“, jumping up from his chair. “In the Münchener Zeitung they wrote that I hate men and that I am surrounded by a pack of dogs. Well, I have a beautiful poodle, which is one of my best friends. Goethe was wrong when he called dogs creatures as miserable as man; and this I have already expressed in my seventy-third Venetian epigram:

No wonder some slander dogs, Because too often the dog shames the man.”

Francesca Lacatena, 2019

1 Despite the great age difference, in 1813 Goethe invited Schopenhauer to join him in doing experiments with color theory, which was then the favorite subject matter of the poet. From that moment on a confidential relationship was established between the two as they worked closely together for six months. “What,” Goethe said to me with his eyes from Jupiter, “would there be light only inasmuch as you see it?” “No,” I said, “you would not be there if the light didn’t see you.“ In Schopenhauers Gespräche und Selbstgespräche nach der Handscrift εις εαυτον, hg. von Johann A. Becker, Berlin 1898.

Link: Birgit Megerle at Emanuel Layr

from Contemporary Art Daily http://bit.ly/2EUp8TC

#micaramel

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templatetripfan-blog · 6 years

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drysdalefightforus · 7 years

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bjj videos techniques

The Machado Family—also known as the Machado Brothers—are a family of Brazilian jiu-jitsu practitioners, mixed martial artists and grapplers. They are the founders of RCJ Machado Brazilian Jiu-Jitsu and are cousins to members of the Gracie family. Their familial ties to the Gracies are through their mother’s sister Layr, who was married to Carlos Gracie, making them first cousins to Carlos Gracie, Jr. and his siblings, and affinal cousins to the rest of the second generation of Gracie martial artists. Along with their Gracie cousins, the Machados are pioneers of Brazilian Jiu-Jitsu in the United States. They are according to age, Carlos, Roger, Rigan, Jean Jacques and John. The Machados have opened Brazilian jiu-jitsu schools throughout the United States. The Machados were taught mainly by their cousin Carlos Jr., his half-brother Rolls Gracie, and Carlos and Rolls’ father, Carlos Gracie. The brothers also trained with other notable members of the Gracie family, including Helio, Carlson, Rickson, Renzo, Crolin and Rilion. From there the Machados would develop a Brazilian jiu-jitsu that would be called RCJ Machado Brazilian jiu-jitsu. Carlos opened schools in throughout the United States, as well as in Mexico, England, France, and Australia. Jean Jacques, Roger, and Rigan currently run schools in California. John Machado left California in 2014 and opened a school in Allen, Texas that same year. As a family they have held titles in every Jiu-Jitsu competition they have entered. They are known for their success in Pan American Games, ADCC Submission Wrestling World Championship, Brazilian National Jiu-Jitsu Championship, Brazilian jiu-jitsu American Championships, and Rio de Janeiro Jiu-Jitsu State Championships. The most recent family champions have been Rigan Machado, Jean Jacques Machado and Carlos Machado. The most successful Machados in Brazilian jiu-jitsu Competition are Rigan Machado and Jean Jacques Machado, who is a multiple time ADCC Submission Wrestling World Championship medalist (Gold, Silver(X2)). The family now trains BJJ competitors and mixed martial arts fighters in organizations such as UFC, WEC, and Strikeforce. As a family, they have trained numerous BJJ competition champions. Carlos currently trains UFC welterweight Stephen Thompson and has awarded black belts to former UFC Middleweight Contender Travis Lutter and BJJ Champion Rafael Lovato Jr.. Rigan has awarded black belts to notable students Erik Paulson, Dan Inosanto, Josh Barnett (2nd Degree) Jair Muniz and Chuck Norris. Additionally, Rigan Machado was one of the original teachers in Rorion Gracie’s garage in Torrance, CA in the early days of Brazilian jiu-jitsu in America and has awarded black belts to 6 of the original “dirty dozen” (the first 12 non-Brazilian students to receive black belts in the art). These notable members of the “Dirty Dozen” include John Will, Bob Bass, Chris Haueter, IBJJF Senior Division/Pan American Champion David Meyer, Rick Williams and Rick Minter. Jean-Jacques had also helped in awarding black belts to John Will and Dan Inosanto with Rigan, and has also awarded black belts to “no gi” proponent Eddie Bravo, comedian & UFC commentator Joe Rogan, Women’s World champion Felicia Oh, and former UFC heavyweight champion Ricco Rodriguez.

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isbmanswersheet-blog · 7 years

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Analyze the case.

Assignment Solutions, Case study Answer sheets

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www.mbacasestudyanswers.com

ARAVIND – 09901366442 – 09902787224

Marketing Management

Case Studies

CASE STUDY (20Marks)

Mr. Harish Jain, CEO of Energetic Enterprises, has established the firm for the manufacture and marketing of an innovative product. The firm earned a reputation of its product within two years of its inception and enjoyed monopoly position in the market for its product. Now it has a turnover of about Rs.80 crores. Three years back, some firms entered the market and offered cheap substitutes which were of better quality. This year, Mr. Harish Jain is worried because about 40% of the market share has already been taken away by the new firms and he is not able to check this trend. Mr. Jain has been looking after both production and marketing functions though finance is being looked after by a finance manager having a professional degree in chartered accountancy. Mr. Jain has recently lowered the price of his product to fight competition, but even this has not helped. He has now approached you for advice to stabilize his sales volume.

Answer the following question.

Q1. Analyze the case.

Q2. Identify the strong and weak points of this case.

Q3. What environmental factors have caused a worry to Mr.Jain?

Q4. As a consultant, what strategies would you suggest to check further fall in market share?

CASE STUDY (20 Marks)

In 2006, 46 year old Barbie – the largest and the most popular doll in the world is struggling through a midlife crisis. The Barbie brand accounts for almost onethird of Mattel's $5.2 billion annual revenue. The Barbie doll has dominated the global toy market for more than 40 years. But in recent years, its status as queen of the toy cupboard is under threat. Mattel's financial results highlighted her plight with the gross worldwide sales of Barbie falling by 13 % in the second quarter of 2006. Little girls no longer view her as cool and trendy. Mattel decided to reinvigorate the Barbie brand, focusing on core markets, aligning more effectively with growing retail customers by entering into closer partnerships with them, investing in developing markets, and growing alternative saleschannels. Mattel has decided to concentrate on three aspects – product, brand building and distribution channel. It has extended Barbie to animation movies, launched interactive web sites, and developed new products to appeal to teens and preteens. The case discusses the challenges faced by Barbie; it traces the initiatives taken by Mattel over the years to extend Barbie's product life cycle; and debates over Mattel's current strategy for Barbie.

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This case, set in 2008, attempts to analyze how to build brand in a hyper competitive industry like consumer durables industry where brands matter the most and marketing efforts matter even more. This case study can very effectively be used to debate on what can be the unique platforms for competitive advantage in consumer durable industry. Post liberalisation in 1991, with the entry of multinational companies like LG, Samsung and Whirlpool, the Indian consumer durables industry has witnessed intense competition. In order to lure the customers, companies flooded the market with latest models, new features and latest technology. To position their brands in the minds of the consumers, these players adopted several brand building strategies apart from investing heavily on R&D and marketing. This case delves into the critical success factors of the industry and the factors that gave a few players market leadership in this industry. To create a competitive edge, Samsung, the No. 2 player, is emphasizing on customer

service. It is believed that customer service is a key influencing factor in the consumer durables industry. However, with other companies also catching up, can Samsung create an edge? The case delves into what Samsung needs to do to create a competitive advantage in the highly competitive consumer durables industry.

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In 2005, $3.3 billion, NIVEA (Nivea) is the world largest skin and personal care brand. Owned by Beiersdorf, Nivea has grown from being a signature product to over 30 products encompassing fourteen product categories which included a vast expanse of sub brands such as Body, Visage, Beaute, Sun, For Men, Hair Care and Baby. It had used the 'clear benefit concept' to promote growth in Asia, Latin American and Eastern European Market. Nivea has succeeded with new products rollouts by maintaining consistency in its brand 10 www.ibscdc.org messaging, both visually and verbally. Increase in critical consumers, aggressive competitions andprivate labels is posing a threat for Nivea and their sales growth has been stagnant since 2002. To increase its global market share in skin and beauty care, the company has launched several new initiatives. This case discusses Nivea's growth strategy over the years and it strategy to maintain its lead in the changing market place.

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amydobneyphotographyl6-blog · 7 years

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Artist Analysis Miki Takahashi

1) What is the name of the photographer? (Date and country of birth if you can find it) Is this photographer a professional photographer? If so, what companies has he or she worked for, what famous magazines have their photographs featured in or what galleries has he or she exhibited their work in?

The artist I am going to be analysis is Miki Takahashi. Takahashi is a digital arts photographer in Tokyo, Japan. She is famous for using digital editing techniques to create surreal portrait photography. Some of her most reason portraiture work is focused on creating portraits which have been layred and have distinct themes such as ‘Smoke’ and ‘Nature’. Takahashi creates these using a combination of digital manipulation and double exposure photography,

2) What do you understand ‘Surreal’ to mean in art & photography?

Surrealism means photographs that are abstract and portray a dream like effect. The photographs often capture unrealistic situations. In photography photographers often capture two juxtaposing ideas to allow the people looking at them to imagine deeply and open the unconscious mind.

3) Do you think that this is more of a ‘Surreal’ or an ’experimental’ photograph?

In my opinion this photograph is more of a surreal photograph that experimental, however it does have elements of experiential as well.

4) What are the visual elements in this portrait that make it either Surreal or Experimental? Describe and explain these visual elements.

The use of layering features and scenes of nature over the silhouette of a face is giving an surreal feeling to the photo as it allowing the viewers of the photographs to imagine the unrealistic situation set in the photograph, Furthermore, I feel that the as the photograph captures distortion of facial such as using merging the two faces that look as is they are moving in different direction also creates a surreal feeling to the photograph.

5) What important ideas are being explored in this photograph?

When viewing the photograph I feel that one of the main ideas that is being explored is the idea that humans are distorting/ being distorted by nature.I feel that this has been captured through the digital manipulation of the subjects face during the capturing/ editing stage. Furthermore, I feel that another concept that has been captured is the link between women and nature. As the photographer has manipulated the photograph for the two scenes to blend into one, I feel that its representing how women and nature are one together rather than separated.

6) Discuss the main technical or formal elements featured in this photograph? Look at the photograph and see whether you can identify any of the following things as being particularly important:

The strongest and most prominent aspect of Takahishi's work in the unique composition used. The multiple layers on the photographs give a very unique and visually interesting impact to those looking at it. When you first look at Takahishis's 'double Layer' series you have to focus on the photographs for a moment to allow the various elements to settle in so that you can fully gauge what is happening in the photographs.

7) Do you consider this image to be a photograph or more of a piece of Fine Art? Explain your reasons for thinking this

I feel that this piece of art is more a photograph than is a piece of fine art. This is because when I look at it I am drawn into noticing that only digital editing has taken place in order to create the effect of double layer. By definition, Furthermore, "fine art" is creative art, especially visual art whose products are to be appreciated primarily or solely for their imaginative, aesthetic, or intellectual content. I do not personally feel that Takahashi's photograph fits this description.

8) What is your personal response to this photograph and how does this photograph inspire or relate to your own work? Explain your response in some depth

I personally really like this photograph and believe that it is very visually pleasing.This is because I feel that it is very interesting to look at and i enjoy the complicated aspect that means when you look at it for the first time it takes a few seconds for the photograph in its whole form to sink in. I also do feel very inspired by this photograph in an emotional and creative sense.emotionally i feel inspired to be closer to nature and to look more deeply at the world. Creatively I feel that i would be very interested in using similar

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micaramel · 5 years

Link

Artists: Tarje Eikanger Gullaksen, Steinar Haga Kristensen, Marius Engh

Venue: Veda, Florence

Exhibition Title: Boneless and Economical Notes and Illustrations

Date: January 19 – March 14, 2019

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of Veda, Florence

Press Release:

Islands in the stream That is what we are No one in-between How can we be wrong Sail away with me to another world And we rely on each other, HA-HA From one lover to another, HA-HA

– Barry Gibb, Maurice Ernest Gibb and Robin Hugh Gibb, Islands in the Stream, 1983

One day Nasruddin’s neighbor, a notorious miser, came by to announce he was throwing a party for some friends. Could he borrow some of Nasruddin’s pots? Nasruddin didn’t have many but said he was happy to lend whatever he had. The next day the miser returned, carrying Nasruddin’s three pots, and one tiny additional one. “What’s that?” asked Nasrudddin. “Oh, that’s the offspring of the pots. They reproduced during the time they were with me.” Nasruddin shrugged and accepted them, and the miser left happy that he had established a principle of interest. A month later Nasruddin was throwing a party, and he went over to borrow a dozen pieces of his neighbor’s much more luxurious crockery. The miser complied. Then he waited a day. And then another … On the third day, the miser came by and asked what had happened to his pots. “Oh, them?” Nasruddin said sadly. “It was a terrible tragedy. They died.

– David Graeber, Debt: The First 5,000 Years, 2011

THE LOBSTER AND THE CAN OF CORNED BEEF WHICH DOCTOR FAUSTROLL WORE ROUND HIS NECK Fable

To A.-F. Hérold

A can of corned beef, chained like a lorgnette, Saw a lobster pass by which resembled her fraternally. He was armoured with a hard shell On which was written that inside, like herself, he was free of bones, (Boneless and economical); And beneath his curved tail He was probably hiding a key with which to open her. Lovestricken, the sedentary corned beef Declared to the little automobile can of living potted meat That if he would deign to become acclimatised, By her side, in the world’s shop-windows, He should be decorated with several gold medals.

– Alfred Jarry, Exploits and Opinions of Dr. Faustroll, Pataphysician, 1898

Tarje Eikanger Gullaksen (b. 1973, Norway). He studied at the Royal Danish Art Academy in Copenhagen. His work has been shown at Kunstnerforbundet, Oslo; The Vigeland Museum, Oslo; Spren- gel Museum, Hannover; Gaudel de Stampa, Paris; UKS, Oslo; Suportico Lopez, Berlin; Art- speak, Vancouver; Gurusaday Dutta Museum, Kolkata; Museum of Modern Art, Aalborg; Mehdi Chouakri, Berlin and Folkeobservatoriet, Oslo. In 2012 he was awarded a scholarship by the Phillip Otto Runge Stiftung and Hamburger Kunsthalle.

Steinar Haga Kristensen (b.1980, Oslo, Norway) He studied at the National Academy of Fine Art Oslo, and at the Akademie der bildenden Künste, Vienna. Haga Kristensen has exhibited at Bozar, Brussels, Belgium; WIELS Contemporary Art Centre, Brussels, Belgium; Witte de With, Rotterdam, Netherlands; Den Frie, Copenhagen, Denmark. KODE Art Museums and Composer Homes, Bergen, Norway, La Loge, Brussels, Belgium. Resent solo exhibitions are executed at, Kunsthal Aarhus, Danmark; Passerelle – Centre d’art contemporain, Brest, France; The Contem- porary Art Centre, Vilnius, Lithuania; Etablissement d’en face projects, Brussels, Belgium; Johan Berggren Gallery, Malmö, Kunsthall Oslo and UKS, Oslo, Norway. From 2013 – 2015 Haga Kristensen was granted the Oslo City Hall Atelier.

Marius Engh (b. 1974, Oslo, Norway). He studied at the National Academy of Fine Art, Oslo and the Royal Danish Art Academy in Copenhagen. Recent solo exhibitions have been shown at Vis, Hamburg; STANDARD (OSLO), Oslo; Centrum Kultury Zamek – Galeria Przedmiot Fotografil, Poznan; VEDA, Florence; Emanuel Layr, Vienna / Rome; Galleria Gentili, Prato; Taylor Macklin, Zürich; and Supportico Lopez, Berlin. Marius Engh’s works have previously been included in ex- hibitions at Musée d’Art Moderne de la Ville de Paris, Paris; Tenerife Espacio de las Artes, Santa Cruz, Tenerife; Henie Onstad Art Center, Høvik, Norway; Kunsthall Oslo, Oslo; Westfälischer Kunstverein, Münster; Stenersen Contemporary, Bergen Art Museum, Bergen; Power Station of Art, Shanghai and Witte de With, Rotterdam.

Link: Group Show at Veda

from Contemporary Art Daily http://bit.ly/2HzFEep

#micaramel

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micaramel · 7 years

Link

Artist: Marius Engh

Venue: STANDARD (OSLO)

Exhibition Title: Eschscholzia California

Date: August 18 – September 16, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of STANDARD (OSLO). Photos by Vegard Kleven.

Press Release:

“In the middle of the night I got up. I had decided to do so the night before. I had been thinking of an object that I wanted to get hold of. A window from Rustic Canyon. I took my bike from the studio, put it in the van and drove to the bluffs of Palisades Park and down along the shore on the Pacific Coast Highway One. Within the short distance before I turned off the highway and up the hills, I was finding myself between the darkness of an unlit ocean and the sleeping city – driving on the edge of a dream, the city and the world.

A billboard advertisement flashed up: The Man in the High Castle. Coming Soon. The silhouette of a man figure in uniform overlooking a city. An American flag flying overhead. His arm band is of the kind that carries a black, crawling, four-legged spider.

At the mouth of Rustic Creek I took Chautauqua Boulevard up along the Pacific Palisades. The Eames House is tucked in behind Eucalyptus trees up on the slope on the left and, turning right, I had the Rustic Canyon neighbourhood below and Will Rogers State Historic Park above. I followed the winding road – tracing Sunset Boulevard with my headlights. Up on Capri Drive I thought of what Steven Spielberg would possibly be dreaming of, fast asleep in his house somewhere to the left of me. Kubrick’s Napoleon? I reached the top and parked where the paved and civilized world ends.

Another darkness appeared ahead of me: blackened even deeper by my feeling of foreignness and the fact that I didn’t want to be seen at all. I turned on my torch and took the dusty fire road, protruding a dizzy beam of light onto it. No one here. Just as I intended. After a short while I passed the yellow colored road block, and crooked myself around its bar. It’s all slightly uphill and on the left side stooping downhill. I thought of a car wreck stuck deep down in one of the bends. The dirt road is cut along and near the top of the ridge of the canyon. Just on the other side, the sprawl of the city stops. And here I am in a vacuum: an abrupt halt to its process. This open space is known as the “Big Wild”. Far down there is the Rustic Creek again, or the waterbed traces of it. It’s been unusually dry for years. It’s only when it appears again further down towards the ocean that there is water collected in a concrete culvert. It’s a cool breeze and it carries a hint of burnt wood, making me think of the colossal brush fires that have swept through here from time to time. I saw traces of smaller fires along this road in the spring. My imagination lit the way and kept it burning with the thought of all the Eucalyptus trees that were present here, all deriving from the former Santa Monica Forestry Station – an experimentation by Abbot Kinney, on varieties of the immigrated tree. It opened in 1887, and itself burned down in 1904, just like the properties higher up in the canyon did later, and to where I was heading now. No lights to guide me from its ruins. The unknown, crumbled by time’s tooth and the licking of fire, now covered by a coat of overgrowth and night.

999 steps lead you to the bottom of the canyon. From here two flights of stairs start as well as a barbed wired chain-linked fence. It runs ahead of me as I continue on the road beside it. Having visited the place earlier, me and my friend Jordan were stopped by a patrol car for a “talk”, just as we had started descending a trail. Speaking from a distance, the officer – still up on the road and tucked behind sunglasses, a badge and the wheel of the car – talked to us about his duty keeping people out of the property. That was if your intention was not of the right kind. There was a “beautification project” going on. Beautiful in the way you picture a picnic in the green. He continued to come up with ideas for not carrying on. “Nothing down there of any interest. Should rather continue up the fire road till it hits Mulholland Drive and go left and you’ll find the Nike Missile Control Site.” We continued down through the chaparral.”

– Marius Engh, Santa Monica, November 11, 2013

Marius Engh (born 1974) lives and works in Oslo. This is his sixth solo exhibition at STANDARD (OSLO). Other solo exhibitions include “Eschscholzia Californica” at Centrum Kultury Zamek, Galeria Przedmiot Fotografil, Poznan, Poland; “Nec Plus Ultra”, Taylor Macklin, Zürich, Switzerland; “Eschscholzia Californica” at Emanuel Layr, Vienna; “My Target Is Your Eyes” at Galleria Gentili, Prato; and “Exhume to Consume” at Supportico Lopez, Berlin. Marius Engh’s works have previously been included in exhibitions at Musée d’Art Moderne de la Ville de Paris, Paris; Kunsthalle Wien, Vienna; Tenerife Espacio de las Artes, Santa Cruz, Tenerife; Henie Onstad Art Center, Høvik; Kunsthall Oslo, Oslo; Museum of Contemporary Art, Chicago; Westfälischer Kunstverein, Münster; Bergen Kunsthall, Bergen; and Witte de With, Rotterdam.

Link: Marius Engh at STANDARD (OSLO)

from Contemporary Art Daily http://bit.ly/2jlOAcQ

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