The blog of author Dennis Cooper

Author: DC (Page 350 of 1086)

Spotlight on … Anne Dufourmantelle Power of Gentleness: Meditations on the Risk of Living (2013)

 

‘Anne Dufourmantelle, a leading French philosopher who advocated risk-taking has drowned after attempting to save two children at a beach on the French Riviera. She entered the water after the children got into difficulty in strong winds at Pampelonne beach, near St Tropez, on Friday. The two children were later rescued by lifeguards and were unharmed. The French culture minister, Françoise Nyssen, said Dufourmantelle was a “great philosopher who helped us live”.

‘Witnesses said Dufourmantelle, 53, was bathing 50m from the two children when an orange warning flag at the beach was changed to red, indicating that bathing was prohibited due to dangerous conditions. She immediately tried to reach them but was carried away in a strong current. Attempts to resuscitate her after she was recovered failed, France 3 reported. It was unclear if she knew the children involved in the incident.

‘Dufourmantelle wrote numerous essays on the importance of taking risks and the need to accept that exposure to any number of possible threats is a part of everyday life, including the book Praise of Risk, published in 2011. “A great philosopher, a psychoanalyst, she helped us to live and think about the world today,” Ms Nyssen wrote on Twitter. Fellow French philosopher Raphaël Enthoven tweeted that he was “sad to learn of the death” of Dufourmantelle, adding that she “spoke so well of dreams”.

‘In a 2015 interview with French daily Liberation, where Dufourmantelle later worked as a columnist, she said that the idea of ​ “absolute security – like ‘zero risk’ – is a fantasy. When there really is a danger that must be faced in order to survive, as for example during the Blitz in London, there is a strong incentive for action, dedication, and surpassing oneself,” she said. “It is said: ‘to risk one’s life’, but perhaps one should say ‘to risk life’, [because] being alive is a risk. Life is metamorphosis. It begins with this risk.”

‘Dufourmantelle had argued that fear can be – and is – used “as a political weapon for the control of freedoms”. She said that any offer to the public of increased protection and security can act to reinforce control and diminish life’s freedoms. Security in any visual sense, such as armed officers on streets during heightened terror alerts or threats, she said, can also generate or increase fear. “To imagine an enemy ready to attack from time to time induces a state of paralysis, a feeling of helplessness which calls for a maternal response – supposedly all protective. Today, we desire this overprotection,” she told Liberation.

‘Dufourmantelle earned a doctoral degree in philosophy from Paris-Sorbonne in 1994, but later went on to practise psychoanalysis. She was awarded the Raymond de Boyer Prize of Sainte-Suzanne for philosophy in 1998.’ — BBC

 

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Further

Anne Dufourmantelle @ Wikipedia
Anne Dufourmantelle @ goodreads
A Gentle Remainder: Anne Dufourmantelle’s Power of Gentleness
‘Fighting Theory’ by Avital Ronell, Anne Dufourmantelle
‘At the risk of bedazzlement’
Re-reading: Of Hospitality. Anne Dufourmantelle Invites Jacques Derrida to Respond
The Risk of Believing
Discovering an interesting philosopher by reading her obituary is a definitive case of mixed feelings.

 

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Extras


Anne Dufourmantelle. On Risking Life. 2011


[PHILO] Hommage à Anne Dufourmantelle


Anne Dufourmantelle // Parole publique, parole privée


Hommage à Anne Dufourmantelle

 

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Interview

 

Why a book dedicated to this subject, gentleness?
We live in an increasingly violent world and gentleness gives us the opportunity to talk about what we miss most today. However, we are constantly being sold it by making something cutesy out of it, a “softener” if I may say so. Gentleness therefore deserves to be restored to its greatness, in particular to its warrior greatness because it is a force of resistance, and even a weapon. And it is also a principle of life. Any beginning is necessarily rooted in gentleness: the birth, the beginning of a love story provoke quite violent shocks that need it. It is what allows a vital principle to endure. Etiologists have discovered that a young animal that has not been sufficiently licked by its mother dies for lack of gentleness.

Is it the prerogative of mothers?
Gentleness is not simply a delicate, pleasant contact, it is recognizing and accepting the other in their fragility. Who is more vulnerable than the very small child? This is why sweetness is often associated with mothers, but it is neither their exclusivity nor their systematic attribute. We know that there are mothers without gentleness, possessive or ambivalent… The prerogative of gentleness comes rather from very early childhood.

Is it an emotion?
In reality, it translates into emotion but, for me, it is an instinct of life, a relationship to the world, it allows emotions and feelings, but it is located upstream and affects the very principle of life as deployment. There is a sweetness in the sun that helps to germinate the seed, in the care that allows the infant to grow. Even in times of war, and without a father or mother, a baby must have encountered sweetness to hold on to life. This is why it calls us more particularly in the first and last moments of existence, and also in the blossoming of love. If a caress is experienced as gentle, beyond the delicate, the pleasant, it is because there was a loving intention to carry this caress.

Yet we often associate gentleness with weakness and gentle people with blessings…
It’s because we don’t want it; the contemporary model is strength and narcissism: “I am ambitious and I succeed in my life…” To recognize oneself as vulnerable is experienced as a weakness. The Eastern tradition has long seen that the first step of strength is the recognition of weakness and vulnerability, this is what is highlighted in the martial arts. Gentleness is a resistance, it can accompany an unfailing determination, we can, much more than we think in general, resist and remain loyal to oneself and one’s values ​​by expressing neither violence, nor irony, nor provocation. Men like Mandela or Gandhi showed it very well. Soft and uncompromising… But, let’s face it, success is not guaranteed, there is a risk in being soft, softness is not comfortable, it includes difficult experiences; however, it saves what is crucial: self-esteem.

You say that your patients suffer from a lack of gentleness, what violates them?
The precariousness of couples and work undermines our contemporaries. We make people work in open space, however, we kill spontaneous solidarity and human warmth in companies. At work, everyone is isolated in their problems and anxieties. At home, the man feels precarious and, because both work, there is hardly any space left to stoke the couple’s living fire: transport, outings, children… The load is heavy, but the couples need beaches of sweetness to strengthen their love. At the same time, we feel the lack of gentleness in all human relationships and at the same time it is not that easy to receive. Perhaps because we already have a lot of trouble showing minimal gentleness towards ourselves. We treat each other so badly, we make life hard. Even people who are very narcissistic in appearance get paid a heavy price. We thirst for sweetness, we claim it from others but, when it is lavished on us, we often don’t even see it!

But you also say that it is frightening and can even provoke violence…
Yes, it is frightening because we have no control over it, we can neither submit it nor force it, even if we can turn it off at force of bullying and non-recognition. But there is this force of opposition of the meek which nothing can overcome. We can imprison them, silence them, but not undermine their sweetness. Someone who does not respond to violence with violence may prove intolerable to the violent.

Isn’t there a risk in being gentle?
Definitely. In order not to fall into sacrifice, it is necessary to make the difference between affliction or renunciation, and joy. Gentleness is lavished and received with joy, otherwise we have crossed the red line.

According to you, a falsified sweetness is at work in our society…
Note the modern terminology: “assessment” for notes, “Pôle emploi” for unemployment agency, “employment safeguard plan” for wave of layoffs. These reversals of meaning are perverse. It’s true, we no longer censor people frontally, but we lead them to do it themselves, to erect their own barriers. Under these conditions, no one can hide any longer. If you are told: it is forbidden to go out, you will find a way to escape. But if you’re told that going out is dangerous for you and your children, by telling you to protect yourself, you’re not going to jump the barrier you’ve built yourself. This is formidable for the freedom and autonomy of beings. We are dealing with a censorship that puts on the clothes of the gentleness it fights.

How can parents protect the sweetness of their children?
Not to kill the gentleness of one’s children is not to kill at all, that is to say to favor life. And favoring life means loving and encouraging their difference, not asking them to be good soldiers all the time (good at school, indifferent to our arguments, socially impeccable…), it means letting them have their secret garden, but sometimes invite you to garden with them… Finally, it’s touching them, kissing them, caressing them, saying sweet words to them, we can never do it enough, because it is the earth on which the most beautiful flowers…

Can we learn to be gentle with ourselves?
The first step is to learn to respect one’s emotions without identifying with them: thus, one “isn’t” sad, one is going through sadness, the nuance is important. And then often, when we feel sad, not only are we the prey of our sadness, but of an inner demand that forbids us to be. It’s inflicting a double penalty on yourself and locking in the emotions. A gentle attitude would be to say to yourself “sadness is going through me”. Not denying it, allowing it, that doesn’t make it disappear immediately, but it puts balm on it, it becomes more bearable.

According to you, how can we reconnect with its sweetness?
We can find areas of softness and let them grow in ourselves, of course. At first, it may even hurt. When you’ve spent your life defending yourself against attacks by anesthetizing yourself, when you’ve gotten used to feeling nothing, gentleness is a shock! But yes, it is conquered and worked on. Reconnecting with her may first mean not being afraid of her sensitivity, of her body, listening to her dreams and remembering them, welcoming her emotions, whether positive or negative. Listen to your intuition, encourage it as much as possible. It is also to promote understanding in both senses of the word: listening and agreement.

 

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Book

Anne Dufourmantelle Power of Gentleness: Meditations on the Risk of Living
Fordham University Press

‘Gentleness is an enigma. Taken up in a double movement of welcoming and giving, it appears on the threshold of passages signed off by birth and death. Because it has its degrees of intensity, because it is a symbolic force, and because it has a transformative ability over things and beings, it is a power.

‘The simplicity of gentleness is misleading. It is an active passivity that may become an extraordinary force of symbolic resistance and, as such, become central to both ethics and politics. Gentleness is a force of secret life-giving transformation linked to what the ancients called potentiality.

‘In our day, gentleness is sold to us under its related form of diluted mawkishness. By infantilizing it our era denies it. This is how we try to overcome the high demands of its subtlety—no longer by fighting it, but by enfeebling it. Language itself is therefore perverted: what our society intends to give the human beings that it crushes “gently,” it does in the name of the highest values: happiness, truth, security.

‘From listening to those who come to me and confide their despair, I have heard it expressed in every lived experience. I have felt its force of resistance and its intangible magic. In mediating its relation to the world, it appears that its intelligence carries life, saves and amplifies it.

‘Dufourmantelle, a major French philosopher and as a psychoanalyst, recently died while trying to rescue children at the beach, and her death has received an extraordinary outpouring of grief in both the Anglophone and Francophone media.’ — Fordham University Press

Excerpt

 

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p.s. Hey. ** Dominik, Hi!!! Yeah, but I also don’t want to turn into a purist or something. Emojis certainly can be literary devices and add nuance or comedy or something. Witness the escorts’ usage. But, yeah, I keep wanting to at least start with the idea that the words themselves should do all the work. I even stopped letting myself using italicised words in my novels after the first few. I remember some younger writer … Tao Lin (?) … was trying to write a novel using only emojis, but I don’t think he/she/they ever managed to do it. I’ll take you to that restaurant. And order you three of them because, like I said, they’re not big enough (for me). The deadline is next Monday. Of course the unnameable has been trying to wiggle out if it because he hasn’t done his job (even remotely), but we’re not letting him. Hence, the ugliness I referenced. Anyway, hopefully the boring, exhausting fundraising phase will be over on Monday, for better or worse. Go, songbird love! Love making it so that when I search for things for my blog posts attaching the word ‘weird’ to whatever search term I’m using – which surprisingly does a pretty good job of weeding out the boring stuff — I don’t wind up with hundreds of pictures of Weird Al Jankovic because, at the moment, I do, G. ** Misanthrope, I’ve heard that. Maybe she’s also a conceptual artist and tasteless food is her art work, did you ever think about that? My mom’s pineapple upside down cake had way, way, way too much brown sugar in it. I think that was its fatal mistake. Well, you deserve a free week and you had sure better make the most of it. Think big. Think extravagant. ** _Black_Acrylic, Me too. That was a good find. Hence its status as the post’s closer. I’m glad you’re holding up and making the progress you need, pal. Any estimate on your actual move-in date? Have you ordered the champagne yet? ** Tosh Berman, Interesting. I wonder what she’s up to? She seems to have totally bailed on Facebook, no doubt for Insta like almost all the other cool kids. ** David Ehrenstein, As you no doubt know by now, he actually didn’t die, but it seems like he’s at the door. The sadder RIP for me in David Warner. So great. And so great in ‘Providence’ which none of the memorialisers I’ve seen have even mentioned. ** John Newton, Hi, John. Oh, I have no doubt you will. I don’t believe in ghosts either but they’re such a terrific construct. Capable of conveying multiple tones. Their visualisation is a guaranteed people pleaser. Good stuff. Mm, that ghost story of John’s does sound familiar. I always want to like fruit based cakes, but I rarely do unless it’s banana which is a fruit but doesn’t seem like it should count. Plantains too. I like fruit pies, though. Boysenberry pie, yum. Laura Albert was just the most horrible possible human being and still is as far as I can tell. I used to read Anything That Moves. I forgot all about it. Big rest of the week to you too, sir. ** Robert, Hi, Robert! Oh, cool, I especially liked Ghost City too. I was hoping someone would mention it. I’m always interested to know why people who are scared by horror movies are. I mean apart from the carefully calculated jump-scare moments that are guaranteed to startle. So, I guess I’m asking if you can say why something that you know is fictional scares you. Do you immediately imagine the fiction taking over reality or something? Or … I don’t know. But I never get scared by horror, I’m weird. Anyway, it’s probably an impossible question there, sorry. Going to see visual art is kind of the main thing I do, or the main entertainment-based thing I do. Going to galleries and stuff. So I think your plan is a good one. And I say feel free to feel superior to the people who breeze by art works ‘cos they’re the ones who are losing out. See anything that really stayed with you? I’m okay, thanks. Hella Wedneasday to ya! ** Okay. I’m not sure how well Anne Dufourmantelle is known outside of France, but she was a very interesting thinker and writer, and, speaking as someone who knew her personally, a highly impressive person. So I’m spotlighting one of her books in hopes you’ll feel intrigued enough to investigate it/her today. See you tomorrow.

Ghosts 2

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Fredrik Raddum The Sad Ghost of Nothingness, 2010
Bronze

 

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Dorothy Cross Ghost Ship, 1999
‘Dorothy Cross’ best known public work is Ghost Ship, where she painted a de- commissioned lightship with phosphorous paint and moored it in Dublin Bay, where it glowed at night for several weeks in the winter of 1999.’

Watch it here

 

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James Rielly Various, 2010 – 2017
Oil paint on canvas


Ghosts working with fears and inhibitions


Ghost with Red Socks


French Ghosts


Happy New York City Ghost


animation installation

 

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Mark Bovey Ghost Ship, 2013
‘Mark Bovey looks to the skies, and how we have historically imposed Zodiac readings across the heavenly bodies that revolve and rotate in our solar system. He cuts a section out of our translation of the night sky, and illuminates it by video projection through the interlocking representations of constellations: a mapping of animal, insect, bird and beastly figures of the signs we are born under. Woven into Bovey’s ancient rites of sky watching, he poses a wooden sailing vessel as a skeletal phantom containing fire and smoke: floating images of how we have translated our finding of this place through exploration.’

 

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Andrea G Artz Ghost Weight Experience, 2021
‘For ‘Ghost Weight Experience’, CPS becomes a site for investigation into the fictionalised lives of these characters and the power of photography to shape our personal and collective stories. The gallery’s Shed Space serves as the photo-studio home of a narrated, sound-scaped VR experience using Oculus technology.’

 

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SOLD OUT!!! MISSING ARTIST, 2014
‘MISSING ARTIST- is a guerrilla detective based on events which took place during the 54th Venice Biennial by SOLD OUT!!!’

 

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Daichi Sato Ghost Advice & Ghost Hug, 2019
‘Daichi Sato paints nostalgic and surrealistic scenes which are inspired by images randomly found on the internet, casual photographs and stories heard from his acquaintances. By adding some imaginary objects to the original surroundings, the images he creates engender a timeless and universal atmosphere thus familiar to everyone, and waver between reality and fantasy.’

 

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Thomas Demand Ghost, 2003
Colour coupler print, Diasec mounted

 

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Cindy Mochizuki Yokai & Other Spirits, 2011
‘Paranormal phenomena are common in Asian films, literature, and popular culture. In Japanese folklore, for instance, yokai are a class of supernatural creatures that often shape-shift and play tricks on humans. This interactive, animated, and sound-based installation repeats a key moment in the 35mm film, Happy Ghost 3, when the lead ghost calls “home” through various phone booths throughout the city. The animated projection is an accumulation of hand-traced frames of the original film through rotoscoping. The film explores the interiority of the archive and, like an X-ray print, uses light as a means to make visible what we cannot normally see. This work uses the presence of audience members to trigger the projections and sounds; without their actions, the film lies unseen and unheard, leaving only the stark presence of the scenic and museological props.’

 

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Rachel Cox Shiny Ghost, 2016
‘In Shiny Ghost, Cox has documented the final years of her Grandmother’s life as she was suffering from a degenerative brain disease. The images were made during moments of conversation, gesture, and experiences of death. The variety of photographic approaches towards the subject are representative of a frantic need for the artist to record all aspects of existing knowledge of her Grandmother (whether performative or candid) in a hopes that these moments could be pieced together again after her death.’

 

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Hajime Sato The Ghost of the Hunchback, 1965
‘A hunchbacked caretaker presides over a forlorn mansion inhabited by the ghosts of his previous masters. An unbelieving trio (a doctor, his assistant and his niece) fail to heed the caretaker’s warnings and are slaughtered horribly by the jealous occupants.’

 

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Angela Deane Ghost Photographs, 2014 – 2021
‘When she was younger, Angela Deane became obsessed with family photo albums, an obsession that increased after her father died and her brother left for university. “I would pore over the albums, to drink up all the memories from when everyone was there,” she says. “I’ve always leaned towards nostalgia.” Years later, the Florida-based artist was looking at some photographs of strangers she had intended to discard, and suddenly decided to start painting ghosts over them; she now has more than 600. “I think of these ghosts as the ghosts of moments. I’m very preoccupied with memories and how we experience them. I like to think that by removing the identities of the people in the photos, we can all share this memory.”’

 

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Adrian Ganea Ghost, 2021
Acrylic resin, galvanized steel, wood, recycled inkjet printer components, electric guitar components, guitar amplifier and effects

 

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Vincent J.F. Huang Nemesis, 2010
‘Vincent J.F. Huang’s sculpture Nemesis of U.S. President Barak Obama’s savaged head being eaten by a polar bear attempts to highlight the issues of global warming.’

 

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Jeremy Blake Winchester Redux, 2005
The Winchester Trilogy is rooted in the architecture and mythology of the Winchester Mystery House in San Jose, California, an extravagent mansion full of strange Victorian craftsmanship and mazes built by eccentric firearms heiress, Sara Winchester. Blending the legend of the mansion (the widow believed that her home was haunted by victims of Winchester firearms), historic 16-millimeter photographs, and the artist’s florid ink drawings and animated imagery, Blake’s Winchester Trilogy is a dreamlike experience drenched in pathos.’

 

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Ahn Chang Hong Ghost Fashion, 2022
‘In Ahn Chang Hong’s “Ghost Fashion,” a wide range of luxury high-end garments by designer brands are on display — except the models wearing them are ghosts.’

 

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Hugo Arcier Ghost City, 2016
‘The installation Ghost City is built around a reinterpretation of the set of the famous game GTA V. The spectator is plunged into an environment without any population. The focus is put on architectural and graphic elements. It is a meditative and captivating experience. This virtual universe solicits both the present (the experience of the artwork) and the memory.’

 

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Paolo Cirio Street Ghosts, 2013
‘In this artwork, photos of people found on Google Street View were posted at the same physical locations from where they were taken. Life-size posters were printed in color, cut along the outlines, and then affixed to the walls of public buildings at the precise spot where they appear in Google Street View.’

 

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Agnès Geoffray Night #3, 2005
Photograph

 

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Apichatpong Weerasethakul Blue, 2010
‘“Blue” was filmed during 12 nights in the heart of the Thai forest. A woman lies awake at night. Nearby, a set of theatre backdrops unspools itself, unveiling two alternate landscapes. Upon the woman’s blue sheet, a flicker of light reflects and illuminates her realm of insomnia.’

 

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Hernan Bas Ghosts of You, 2001
Water based oil on board

 

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Yinka Shonibare The Ghost of Eliza Jumel, 2015
‘Morris-Jumel Mansion in Washington Heights has long been rumored a haunted house, with the ghost of its longest resident Eliza Jumel spotted creeping on its creaking floors. Nigerian artist Yinka Shonibare MBE conjures Eliza’s specter with headless mannequins clothed in Dutch wax fabric lurking in the period rooms. Eliza Jumel is an illusive figure. In some reports she was the daughter of a prostitute, while she fueled rumors George Washington was her father, and convinced the wealthy Stephen Jumel to marry her as she faked terminal illness and wished only to wed before her certain death. There’s some speculation that her later reclusive life inspired the eerie Miss Havisham in Charles Dickens’s Great Expectations.

‘In Shonibare’s installation, her faceless ghost reaches out from beneath a red shroud decorated with yellow butterflies. The Morris-Jumel Mansion has a dense history, with the first owner Roger Morris fleeing during the Revolution due to his loyalty to the British, later George Washington temporarily moved in, then there was Stephen Jumel fleeing the slave uprising in Haiti where his family owned a plantation, and, most notably for New Yorkers, its transformation into one of the city’s first historic house museums in 1904. Yet in Eliza’s phantom wavering between truth and speculation, Shonibare seems to have found the perfect embodiment of the complications of class, history, and identity.’

 

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Tiffany Trenda The Ghost, 2019
The Ghost shows a video of a light skinned model. The public is invited to interact with the screen. Using Google AI, a camera will detect the presence of a person and will reduce the opacity of the image on the screen. After thousands of participants, the image will disappear, leaving only an empty white screen.’

 

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Urs Fischer Chair for a Ghost: Thomas, 2003
Mixed Media

 

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Théo Mercier Invisible Families, 2012
‘In Théo Mercier’s work, dead families are shown to us. Ghostly families. We can see both the death of the families. Or families that remain themselves beyond death. How to know ? We are in an in-between . In the midst of change and questioning, Théo Mercier’s work seems to bridge the gap between different conceptions of what the family is (if it still exists).’

 

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‘While curators were busy finalizing the installation of the Cleveland Art Museum’s 2015 exhibition “Painting the Modern Garden: Monet to Matisse,” the famed Impressionist painter of waterlilies himself appears to have paid an unexpected visit.

‘On the balcony overlooking the galleries stood a man with Monet’s characteristic salt-and-pepper beard and bowler hat. A photo of the figure was snapped by the museum’s director of design and architecture, Jeffrey Strean, showing the illusory artist just above a strikingly similar vintage photo of Monet.

‘The Cleveland Museum claims the sighting is the real deal. Soon after the story emerged, Caroline Guscott, communications director for the museum, asked the Cleveland Plain Dealer: “What are the chances someone looks like that and happens to be at the museum the day we are finishing installation?”’

 

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David Salle Ghost Paintings, 1992
‘A mash-up of photography and painting, the images seem anything but figurative, yet the swathes of yellow, pink and blue obscure a mysterious draped form hovering before the viewer’s eyes. If Salle hadn’t declared the ghost to be Beverly Eaby, his longtime model, we’d surely still be ogling the canvases, attempting to figure out where the artist’s signature nude bodies were hiding.’

 

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Susan Hiller Belshazzar’s Feast, the Writing on Your Wall (1983-4)
‘Susan Hiller created her video installation Belshazzar’s Feast after reading newspaper coverage about people who had witnessed ghostly apparitions and mysterious messages on their TV sets after broadcasting ended at midnight. The press speculated about transmissions from UFOs or other supernatural events, but Hiller recognised what all these explanations refused to acknowledge, which was the innate power of human imagination.’

 

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Thomas Frontini The Poet Sang for The Ghost Birds, 2005
Oil on Canvas

 

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Tony Oursler Thought Forms, 2006
‘Inspired by the book Thought Forms and trance paintings by C.W. Leadbeater and Annie Besant, Oursler took three natural elements as his source material: dust, mercury, and water. Oursler painted the faces of his performers and continued to manipulate facial features through intensive computer manipulation and animation. The artist worked extensively with the New York non- profit organization Eyebeam to produce these images, and designed a 5.1 surround sound mix in each room to highlight the three-dimensionality of this combination of poetry and sound effects.’

 

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Wendell Castle Ghost Clock, 1985
‘At first glance Ghost Clock appears to be a grandfather clock hidden under a white sheet. However, a closer look reveals a masterful deception: this entire sculpture was hand-carved from a single block of laminated mahogany. With its meticulous detail, Castle re-created in wood the contours of soft, supple cloth, then completed the illusion by bleaching the ​“drapery” white and staining the base of the ​“clock” a walnut brown. This work is the last in a series of thirteen clocks the artist created in the 1980s.’

 

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Lu Pingyuan Do Not Open It, 2016
‘One of the UK’s oldest pubs has demanded that its ghost be returned after it was bottled up and stolen by a Chinese artist who has now put the spectre on display in an exhibition.

‘The Ye Olde Man & Scythe is one of the UK’s oldest pubs, first mentioned in 1251 in the town of Bolton’s charter. It is also the site of the infamous murder of James Stanley, the Seventh Earl of Derby, who had been involved in the Bolton Massacre which had led to the deaths of 1,644 people.

‘Nicknamed “Lord Strange”, Stanley was executed in 1644 for treason following the English Civil War and it is often claimed he spent his last few hours sitting in the pub. Ever since, his spectre has been said to have haunted the pub, until now.

‘Chinese artist Lu Pingyuan claims to have stolen the ghost, having travelled from Shanghai to Bolton, sealing its spirit in a metal canister which is now on show at the Centre for Chinese Contemporary Art in nearby Manchester.

‘The exhibit’s description explains that having heard of the story of Stanley and the pub he is believed to haunt Lu Pingyuan was “inspired to attempt to catch the ghost of this historical figure – a symbolic act in reaction to the UK’s colonialist past, which saw great losses of both tangible and intangible cultural assets by other nations.”

‘However his claims have riled the pub’s owner Richard Greenword, who wrote a letter to Mr Lu demanding that he “return” the ghost. “I would have liked to have been privy to your actions and indeed to the exhibition before the ghost of James Stanley was taken out of Bolton, his ties to the town and to Ye Olde Man and Scythe run very deeply”, wrote Greenwood.

‘“I feel very strongly that James Stanley’s ghost should remain in Bolton and at Ye Olde Man and Scythe to preserve the natural order of things. That said I do believe that your exhibition should travel and be seen by many people around the world and I would like to contribute to this as long as at the end of your exhibition it returns home.”

‘Mr Greenwood has offered to donate to the exhibition the chair that the Earl sat at for his last meal on the grounds that both the chair and the ghost are returned at the end of the tour.’

 

 

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p.s. Hey. ** Dominik, Hi!!! My pleasure! Yes, agreed, the shit pill post idea has been deep-sixed. Oh, I don’t mind when people use emoji’s, I just don’t like to use them myself. I think it’s like a writer thing – that the tone of what I write should be able to communicate itself without an accompanying decoration announcing what the tone is. Or something. I love when escorts and slaves use them in their profile texts, I don’t know why. I usually try to grab those profiles. Anyway, you can emoji-up the place and I would be totally cool with that. But wait, the blog doesn’t allow emoji insertions in the comments? How very strange. I’ll see if there’s something I can turn on or off to fix that. Welsh Rarebit is delicious! Or can be. I’m sure you’d love it, you being a fellow cheese fan. And there’s beer in the sauce which somehow works really well. I’m high fiving your love of yesterday as I was extremely angry yesterday too but at one very specific piece/person of the world and with a very discernible reason, and I think you can guess who. Love turning the person I just referenced into a ghost and then locking out his entrance into reality, G. ** Tosh Berman, That’s quite a story and confession, Tosh. So, wait, she had lived next door but moved out? Or … that’s very strange. Teeny tiny royalty checks are savage. I’ve gotten my fair share, and, yeah  … *sad face* or even *crying face* ** _Black_Acrylic, I’m obviously happy to accommodate. How are you doing and feeling du jour? ** Nightcrawler, Hey. Hopefully my/our audio novel won’t end up like that. I’m trying to avoid something that can be categorised as a radio play except by lazy brained people. Cool, I’ll imagine you scrapbooking until such time, which is actually pretty pleasurable too. ** Misanthrope, I can almost not taste that pineapple upside down cake after your colourful story. Which I enjoy. That was my mom’s favorite cake. Unfortunately for us kids. If only hers had had no taste. It sounds like you did the right thing by lying to your friend, but it’s still creepy, man, ha ha. ** Russ Healy, Hi, Russ! Welcome! It’s a pleasure to meet you! Me too re: having been a big fan of those artists back ingthe day. Well, and still. Mm, I think if I had to choose a favorite John Cale album I might pick ‘Helen of Troy’. Maybe. Thank you for reading my books. I really appreciate it. Wow, you talked with Laura Albert! I so wish I’d had your wisdom and expertise back then. Yes, I would like to read your paper, thank you very much! Um, I can email you my mailing address, but if you want to send a Word doc or pdf or anything, which is probably easier (?), my email is: [email protected]. Tell me more about your private practice if you feel like it and don’t mind. Thank you again, and, please, yeah, be here whenever you like. Take care. ** Right. I thought I would give you guys another dose of ghosts because … I don’t know, it seemed like a friendly thing to do? See you tomorrow.

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