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Joyce Wieland
Joyce Wieland was born 30 June 1931, in Toronto. She studied commercial art and graphic design at Toronto’s Central Technical School and began making experimental films in the 1950s. In 1962, Wieland and her husband filmmaker Michael Snow moved to New York where they lived until 1970. She died from Alzheimer’s disease on 27 June 1998.

 

Cat Food (1967)
‘A cat eats its methodical way through a polymorphous fish. The projector devours the ribbon of film at the same rate, methodically. The lay of Grimnir mentions a wild boar whose magical flesh was nightly devoured by the heroes of Valhalla, and miraculously regenerated next morning in the kitchen. The fish in Wieland’s film, and the miraculous flesh of the film itself, are reconstructed on the rewinds to be devoured again. Here is a dionysian metaphor, old as the West, of immense strength. Once we see that the fish is the protagonist of the action, this metaphor reverberates to incandescence in the mind.’ — Hollis Frampton

Sailboat (1967)
‘A sailboat passes by and the word SAILBOAT can be read: the structuralist film reflects the relationship between static text and the moving images – until Hollis Frampton casually steps in front of the running camera from off-screen and a seemingly strictly composed work briefly becomes a home movie.’ — arsenal

 

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Vivienne Dick
Vivienne Dick is an Irish feminist experimental and documentary filmmaker. Her early films helped define the No Wave scene. According to The Irish Times, “one of the most important film-makers Ireland has produced”.

Dick was born in Donegal and grew up in Ireland during the 1950s, attending University College there in the 1960s. She emigrated to the United States in the 1970s. Upon her arrival in the U.S., Dick became an integral figure in No Wave film culture and produced a series of seminal Super8 short films. Living in New York, which was undergoing a recession and an inexpensive place to live, many of her films were staged around well-known sites such as Coney Island, the Statue of Liberty, and the World Trade Center. The films featured punk performers such as Lydia Lunch, Pat Place (of the band Bush Tetras) and Adele Bertei (of The Contortions). Film critic and author J. Hoberman has called Dick the “quintessential No Wave filmmaker”.

 

Like Dawn to Dusk (1983)
‘Like Dawn to Dust takes up the exploration of the rural landscape initiated in Visibility Moderate but it is characterized by a very different mode of address. Instead of appropriating from radio, television or film, Dick develops a more overtly ‘poetic’ aesthetic, through performance, cinematography and sound. The opening shots of a decaying ‘Big House’ bearing the scorch marks of a fire, are accompanied by an off-key piano, recalling stage melodrama or early cinema. The house, most likely a remnant of Anglo-Irish society, is abandoned but for the figure of Lydia Lunch, wearing her signature New York ‘Goth’ make-up and clothes. Lunch delivers a poetic monologue, both on screen and in voice-over, over a traditional soundtrack and her final words emphasize the circularity of Irish narratives: ‘the past never dies, it just continually repeats itself.’ — Maeve Connolly

Beauty Becomes the Beast (1979)
‘Lydia Lunch is the protagonist of Beauty Becomes The Beast, where she appears alternately as a five-year-old child and a tough teenager. Dick’s densest and most associative film, Beauty Becomes The Beast is a virtual catalogue of female media images, ranging from Patty Hearst to ‘I Love Lucy.’ Switching scenes and modes like a bored TV watcher idly spinning the dial, the film depicts a world of women where mother and daughter are reciprocal roles in an ongoing chain of victimization…. Extremely effective, [this super 8 film] derives its considerable power mainly from the graphic regression of Lunch’s persona and from an undercurrent of sexual rage that courses throughout.’ — J. Hoberman

 

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Eileen Maxson
[Maxson’s] videos evoke a world of faulty transmissions, moribund formats, and women under the influence of both. Each elegantly crafted tape conjures up a hidden history of media, one that emphasizes its most marginal and ephemeral forms, honing in on the strange powers and subtle pathos of, say, a botched broadcast, and celebrating the shifting material qualities of a medium that has remained in flux since its inception…[Maxson’s videos] read like anxious dispatches from life at the dawn of a new millennium, where the limits of language have run aground upon the rapidly eroding shores of technologies past and present.

 

CINDERELLA+++ (2011)
‘Aurora picks more than berries, Lady gets a new reputation, and Cinderella meets 90210.’ — EM

CACHED CURSES (2011)
‘An ear worm exorcism, psychic bubbling of worry, trash, cash and (so last century) curses.’ — EM

 

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Sue de Beer
Working at the intersection of installation, sculpture, film, and photography, Sue de Beer (b. 1973; Tarrytown, NY) creates immersive, chromatic worlds of concealed histories, buried secrets, and dramatic, romantic beauty. Often screened in site-specific environments of the artist’s own design, de Beer’s insistently narrative films are rife with allusions to literary and film histories, intimate character portraits, and meticulously crafted prose narrated by her hand-selected performers. Employing experimental optical and sensory effects throughout her work, she subtly transports viewers into vast, absorbing landscapes. Drawing on deep literary roots in her film, photography, and sculpture, the artist fuses themes and motifs borrowed from seemingly disparate genres—science fiction, gothic horror, Italian Giallo thriller, among others—into a singular visual, narrative, and cinematic language.

 

The White Wolf (2018)
‘de Beer’s new two-channel film, “The White Wolf,” is a plot-defying twenty-three minutes of werewolf innuendo, set on a fictional New England island where a mysterious medical clinic attracts the terminally ill. As the artist plumbs the folkloric, psychological, and spiritual significance of lycanthropic transformation, she metabolizes her B-movie references in makeshift sets as captivating as a view into a cracked Fabergé egg. A lighthouse in the gloom, a shadowy bar where a striptease is performed against a forest backdrop, and an examination room bathed in green light form the visual backbone of the ambient narrative. The solemn ruminations of the clinic’s head doctor (played by the musician Yuka Honda) and a tense, melancholic score by Andy Comer propel it.’ — Johanna Fateman

The Ghosts (2011)
‘The Ghosts is a two-channel film by Sue de Beer that tells the story of an occult hypnotist who can retrieve lost lengths of time from peoples’ memories and return them to the patient as if they are experiencing those moments anew.’ — Armory on Park

Watch it here

 

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Chiaki Watanabe
As a media artist, she creates abstract visual music works in minimalist aesthetics. As a media designer, she designs interfaces for children that can nurture creativity by integrating simple abstract visual imagery and sound. Her background is in media arts specializing in motion graphics, video art, and live visual performances.

 

1/3 (2006)
‘A 2006 piece from award-winning abstract artist Chiaki Watanabe with music by Tristan Perich.’ — iotacenter

superhighway sound injection (2001)
‘A recording of live visual music performance with minimal abstract visuals and electro acoustic music by various composers from Earunit.’ — Chiaki

 

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Coleen Fitzgibbon
Artist Filmmaker of experimental shorts, docs and digital installations. Art work shown in group shows at the New Museum, MOMA, VIENNALE Film Festival, Subliminal Projects Gallery, Hunter College, Rotterdam Film Festival, Oberhausen Film Festival, London Film Festival, Knokke-Heist Experimentl Film Festival, Postmasters Gallery and others; solo shows at Anthology Film Archives, Palais des Beaux Arts, Balagan, LA Film Forum, Boda Gallery, Light Industry, Cinema Projects and other venues.

 

Found Film Flashes (1973)
’16mm, b/w, sound, 3 minutes. A collage of recurring speech fragments, which provide a patchy voice-over “commentary,” which skids across a sampling of found film.’ — CF

Document (1976)
’16mm transfer to digital, b/w, sound, 8:22 minutes. Taking it public: micro text film of records (warrants, debts, bank checks, etc.)’ — CF

 

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Germaine Dulac
Germaine Dulac was born Charlotte Elisabeth Germaine Saisset-Schneider on 17 November 1882, in Amiens, France. After initially working as a journalist she became interested in film through her friend, actress Stacia Napierkowska in 1914. Dulac and writer Irene Hillel-Erlanger then founded DH Films and produced a series of films from 1915-1920. Dulac died in Paris on 20 July 1942.

 

Étude cinégraphique sur une arabesque (1929)
‘Cinema visually sensitised with the deepest sense of orchestration extends below the story like elusive music.’ — Light Cone

What emerged (1928)
‘Bothered by Dulac’s non-conformist ideas, disturbed by her impure origins, the censors had refused the film.’ — CHF

 

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Lori Felker
Lori Felker is an filmmaker/artist, teacher, programmer, performer and projectionist. Her moving image work focuses on the ways in which we process, share and disseminate information, via screens, dreams, gestures, games, and dialogue. By employing and pushing these structures, she attempts to study the ineloquent, oppositional, delusional, frustrating, and chaotic qualities of human interaction.

 

I OWN A CAROUSEL (2011)
‘I own a carousel. I keep it indoors, in the dark. There are no eyes to see it, no children to ride it. I own the size, presence and weight of it. I own the stress, the power and the idea of it. I did not make it, I do not enjoy it, I own it.’ — LF

BROKEN NEW 2 (Drama) (2012)
‘Watch the News unfold as it has already been broken, continues to break, and grows increasingly newer.’ — LF

 

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Barbara Hammer
Barbara Hammer was born 15 May 1939 in Los Angeles. She graduated from University of California at Los Angeles with a degree in psychology and later earned degrees in English literature and film at San Francisco State University. Today she is a professor at the European Graduate School in Saas-Fee, Switzerland.

 

Optic Nerve (1985)
‘Hammer employs film footage which through optical printing and manipulation is layered to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image.’ — John Hanhardt, Whitney Biennial 1985

Resisting Paradise (2003)
‘What does an artist do during a time of war? Renowned documentary filmmaker Barbara Hammer crafts an elouent layered examination of the artist’s and individual’s role in times of conflict. Featuring Henri Matisse, Pierre Bonnard and Matisse family members as well as resisters Lisa Fittko and Marie-Ange Allibert, Resisting Paradise is a compelling look at the intersection of art and life in complex times.’ — collaged

 

*

p.s. Hey. ** ellie, Hi. Oops, my trigger finger was the culprit. Yeah, Charles Ray does talk about his work that way in print when the interviewers let him, which they often don’t. They just want digestible tidbits mostly. Yes, I like David Altmejd. I have some work by him in a post coming on this Thursday in fact. He has an interesting brain, for sure. Oh, yes, Cornell’s window facades are amazing, I forgot about them. I also really love the simple seeming ones where he organises things in boxes like this one or this one. Btw, Corey Heiferman posted a tip/addendum to your comment if you didn’t see it. I lived in NYC for only about 4 1/2 years, but I do know what you mean about nothing feeling discoverable. Strange. I’ve lived in Paris much longer but I find things I’ve never seen before here all the time. Maybe the regular grid organisation of NYC versus Paris’s more complicated set up makes the difference? Because I think Paris is physically smaller than NYC. Curious. You should come to Paris for Xmas sometime! If I’m around, I’ll be happy to show you the coolest things here I know. You have the best day! ** Dominik, Hi!!! Well, yeah, SCAB has opened many doors for me, and some secret passages too. The screening is sometime between today and Thursday, I think. We aren’t invited to that, so we’ll only find out after it’s over. Yes, we met both of our deadlines. Next is waiting to hear if either of the two festivals we’re submitted to takes the film. On Friday we go to this French town Belfort for the weekend to try to get the post-production grant that we so desperately need/hope for. The mind reading thing was a tough choice, right? Which is why I guess I just took the cheap thrill money getting option. Poor love, or poor people who stand downwind from love, more like. Love making a short documentary film about the loneliest boy on earth, G. ** _Black_Acrylic, Yep. ‘A cocked hat’, that’s a nice turn of phrase. Gilbert and George are Tories? But then again, yeah, I guess they would be. ** Bill, Right? Pre-AI and even pre-Photoshop so it has to be real. Where are you going this time? I think Sound Furies must be Derek White’s project, yeah. I’d like to meet that guy some day. Nice about the Gluck event. He’ll be there doing a launch and showing his ceramics in January. His book’s on its way here, I’m told. ** Misanthrope, Almost the ideal post response from you. So close. I think I know who you mean, piss therapy user and commenter-wise, but I’m not 100% certain. Sypha, right? Ha ha. Oh, Thanksgiving, that old thing. Shredding rock music can be a breath of fresh air or the polar opposite. Knowing you, bring earplugs. Rain rain here too. I’d choose an elsewhere where it’s snowing personally. ** Steve Erickson, The Playboy Carti cancellation news came from the venue, so no know reason. John might tell me, but he does like being cagey too. They just announced a Paul Vecchiali retrospective here, and I’ll take advantage. How was ‘May December’? I fear I’ve pretty much lost all interest in Haynes’s fiction films at this point. ** MIKA, Hi, MIKA! Oh, you are working on a new book, great!! It sounds amazing and delicious. I can’t wait. Fanboy twiddling his fingers over here. I hope your week is already paying way off. Best, Dennis. ** Corey Heiferman, Hi. Warhol’s Oxidation paintings are among the few paintings by him that don’t just make my eyes go numb from overexposure at this point. Lovely backstory. See, now, he actually seemed to give a shit and be trying something completely new with those paintings. Thanks a lot, man. ** 🏋️‍♂️🤸‍♂️🤹‍♂️darbz, Festive! That artist’s works in general are very much in keeping with that painting I posted, so, if you liked it, I’d think you’d like his stuff in general. Nice about the extended training hours. I’ll look up Phluid and check out their things. Duct tape hurts, yeah. Just ask the slaves, although I think they like to ouch. Ouch! Oh, wait, there’s Phluid link, thanks. Oh, wait, it didn’t work. I just got code. I’ll find it, no worries. You’ve been here a year? That’s wild. Time is so fucking weird. It’s hard to believe. Yay, happy anniversary to us both. I’m sure I’d like any version of you as long as that version treated you well. I’m nothing but happy that Thanksgiving is an absolute non-entity over here. Thrilled, I tell you. Are you gonna eat some vegan product sculptured into a dead turkey or anything? Not me. ** Okay. Today I give you 20 short films that I’m guessing most of your haven’t seen before, but what do I know about you really. Not a lot in most cases. That’s it. See you tomorrow.

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Crappy Boy Untitled, 2013
felt tip pen

 

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Tala Madani Cupid piss with goggles, 2011
Oil on linen

 

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Henrik Plenge Jakobsen White Love, 1994-95
‘A smelly set-up of household products and body fluids. This installation was the conclusion of a series of works dealing with body fluids. In this case, the fluids were put into different types of circuits, either in household mixers where the knifes of the mixers would cut the molecules of the blood into fragments, or in a closed circulation where a washing machine combined with an external tank washed urine over and over.’

 

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Jennifer West Emoji Piss Film, 2018
’35mm film print soaked and corroded with urine by Andrea Bowers, Symrin Chawla, Micah Espudo, Chris Hanke, Eli Joteva, Jack McGuinn, Peyton Regan, Julian Toca, Vidhi Todi, Bob Viera, Cameron Wells, Ariel West., Fleurette West, Peter West, Jwest’

 

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Guido Reni Putti, 1533
painting

 

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Unknown Parisian Pissers, 1910
photograph

 

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Haseeb Ahmed A Fountain of Eternal Youth III (Urinal), 2022
‘V back, Human Growth Hormone, strobe lights, 3D prints, polycarbonate, polyethylene, MDF, aluminum, electronics, outdoor urinal, and custom software’

 

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Helen Chadwick Piss Flowers, 1994
‘During a residency at the Banff Arts Centre, Canada in 1991, Chadwick and her partner David Notarius made daily visits to snowbound locations. There they would place a flower-shaped metal mould onto a mound of snow, taking turns to urinate into it. They then poured plaster into the shapes created. From these casts, bronze versions were made and mounted onto pedestals resembling bulbs. The downward path of the hot urine through snow is inverted to form a flower reaching upwards.’

 

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Daniel McDonald Erik, Piss-Crazed Maniac, 2007
Graphite on paperboard and stained glass

 

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Nicole Anona Banowetz Excretia: The Piss Crystal, 2022
‘Inflatable fabric sculpture of a giant crystal formed in urine.’

 

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El Morgan The Discovery of Nun’s Urine, 2023
‘In the late 1950’s retired nuns in an Italian convent were asked by the Vatican to donate their urine to a fertility company, which was part owned by the then Pope’s nephew. From this urine, the company extracted a hormone to inject into infertile women. Gallons of urine was collected. Morgan’s multimedia work The Discovery of Nuns’ Urine includes an edited excerpt from a screenplay written by an employee of the drug company about their discovery of the power of nun’s urine.’

 

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Charles Demuth Three Sailors, 1951
painting

 

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Gilbert & George Piss Piss Piss, 1996
hand-dyed silver print, in artist’s frame, in 6 parts

 

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Egle Rakauskaite В жиру, 1998
three channel video

 

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Jean-Michel Basquiat Dealer’s dog, 1983
‘In 1982, the year before Dealer’s Dog was executed, Jean-Michel Basquiat decided to leave his first dealer, Annina Nosei, following disagreements about the sales of his paintings. Though he had not yet met Bruno Bischofberger, the legendary gallerist immediately became the young artist’s exclusive art dealer worldwide and remained so until Basquiat’s untimely death six years later. Basquiat frequently stayed with Bischofberger at his home in St. Moritz. During one of his stays in 1983, Madame Bischofberger’s Lhasa Abso dog urinated on a large pad of paper that had been left on the floor. Basquiat took the ruined paper and drew the little dog next to its puddle, calling the piece Dealer’s Dog. He gifted the work to Bischofberger, who installed it in his dining room.’

 

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Carolee Schneemann Interior Scroll, 1975
Photo collage with text: urine and coffee photographic print

 

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Arthur Guilleminot Piss Soap, 2022
‘Piss soap challenges our understanding of the binary of dirtiness and cleanliness. Can an object be made out of “gruesome” material but be beneficial to our health? Using only waste, Piss Soap invite the maker and user to realign their vision upon discarded matter. Are we constantly trashing matter that has the potential to be repurposed, recycled, and reused? Piss Soap proposes a deviant and yet conscious approach to tackle our waste issue, asking you to think twice next time you flush.’

 

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Candice Lin The Mountain, 2016
‘Before the show, Lin held a dinner in the space where she fed and hydrated her guests, collecting their urine in return. She amassed 15 gallons of piss, which she then distilled, and used to hydrate two types of mushrooms that were cultivated during the exhibition: one type enhanced memory and the other, the immune system.’

 

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Vunkwan Tam 78i78, 2022
‘Lying on the floor in a room near the gallery’s entryway is a bedraggled L-shaped blanket, which a gallery assistant dutifully spritzes with synthetic doe urine every day to keep it pungent and sodden. The exhibition text describes the work’s performance of “a perpetually drenched sadboi minimalism” – artificial excreta as a metaphor for dramatized emotional wallowing. The work also apparently winks at “insider signifiers of contemporary art discourse,” as doe urine is attractive to stags but displeasing to humans, just as artspeak is somewhat legible within art circles but generally repugnant.’

 

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Tomokazu Matsuyama Holy Urine, 2012
acrylic on canvas

 

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Gavin Turk Artist’s Piss, 2021
‘Over the last month, The Artist has been canning his own urine in a modified canning factory at his studio in Canning Town, East London. Through this act, the artist has created a minimal impact artwork for a profligate society that has everything the heart could desire. The body waste has been put through the recycling of art history, canned in a limited edition super shiny recycled aluminium can with the title of the work Artist’s Piss translated into 30 languages.’

 

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Katherine Bauer Teenage Dream Sequence: Seduction of the Eye, 2013
milk, egg, urine, champagne on b/w photosensitive fiber paper

 

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David Hammons Pissed Off, 1981
‘Richard Serra was on a roll in NYC in 1980. In the run-up to the debut of Tilted Arc, he had two Cor-Ten sculptures installed in Tribeca: St John’s Rotary Arc was in the exit plaza of the Holland Tunnel, and T.W.U. (above) was in front of the Franklin St. entrance for the IND subway. It was named for the Transport Workers Union, which had just gone on an 11-day strike as the sculpture was being installed.

‘By 1981, T.W.U. was looking a little beat, strewn with empties, and covered with wheatpasted flyers and graffiti. That’s when Dawoud Bey shot a series of photos of David Hammons pissing on the sculpture. The sequence apparently begins with Hammons in khakis, Pumas, and a dashiki, with a matching shoulder bag, just standing there in the south-facing space of Serra’s sculpture. In the next photo, he’s turned away from the camera, doing his business.

‘Then we see Hammons, talking with an NYPD officer, presenting papers, maybe a passport? The caption reads, “David Hammons receiving a citation from a police officer.” Which might have happened! But really, we don’t know. These photos are not journalism; they’re documentation of a performance Hammons titled Pissed Off. I don’t know when or how the title emerged; it’s hard to trace the historic trajectory of Hammons’ practice apart from the art world’s later embrace/interpretation of it.’

 

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Nick Black Super-Awesome Urine-Recycling Alien, 2012
‘A giant floating bulbous faced alien with a raygun peeing pink pee into a giant vat. The pee is constantly recycled, so there is never an end to the urinating.’

See it in action here

 

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Elsa Sahal Fontaine, 2012
ceramic, hydraulic system

 

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Joaquin Abella Urine Jigsaw Puzzle, 2013
‘Challenge your brain with a jigsaw puzzle designed by an independent artist!’

 

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Anthony Goicolea Pisser, 1999
Colour cibachrome from a black and white negative, laminated, mounted on sintra

 

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Cassils Pissed, 2017
‘This tank of glowing urine manifests what may seem abstract in discussion: the physical burden placed on an individual body when bathroom access is restricted by discriminatory policy. PISSED is a collection of all the liquid excreted by the artist in the 200 days following the Trump administration’s 2017 rollback of an Obama-era executive order allowing transgender students to use the bathroom matching their chosen gender identities.’

 

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Agness Buya Yombwe Two Lizzards | Sharing One Stomach, 2019
‘Agness Buya Yombwe explores indigenous knowledge systems, especially Mbusa taboos, placing the woman’s voice at the center.’

 

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Kiki Smith Pee Body, 1992
‘A work in which Smith “explores” (as the sign says) “the female body and its private performance of basic functions.”‘

 

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Alice Potts Boxers Sample, 2018
‘Alice Potts combines sports equipment and fashion materials with crystallized objects, composed by the act of urinating. By utilizing a ‘unique materialization [process] of the individuals own biology,’ Potts bridges a visual representation of the unseen beauty of urination with a natural process to ‘create our own accessories.”

 

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Jay Rechsteiner Three boys & two girls are torturing, beating disabled girl & making her drink urine, 2013
acrylic on canvas

 

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Motoyuki Daifu untitled (pee), 2021
‘untitled (pee)
‘It is very hard to live freely
‘without being trapped by the world.
‘I hope that the scorching sunshine
‘will shine on the concrete and make it all go away.’

 

 

*

p.s. Hey. ** Dominik, Hi!!! Yes, I first read MIKA’s work in SCAB. Where would I be without it/you? Good, good, your body is cooperating again, but wood (specifically my desk) knocked. What a thoughtful gift from love and from you? Hm, how to choose …? Unfortunately, given our film’s rather desperate needs, I think I would have to choose some multibillionaire with deep, dark secrets that I could use to blackmail him. You have a brain you’d love to pick? Love popping by my place and urinating gold doubloons, G. ** MIKA, Hi, MIKA. My pleasure, my honor. I loved your book, as, well, you already know. Thank you so much for coming in here that day and getting me to score it. Everyone, If you’re curious about who made those two terrific artworks I included in the Extras area of my entry on MIKA’s book, here’s MIKA to fill in the blanks: ‘The gif collage you posted from “Haircut Stream” was made by Rachel Lilim (@VOIDTHROAT on twitter). She was a frequent collaborator with surfacescx and I released much of her work on there. The author (@magmartsa on instagram) of the piece, also providing images for the collage, is a young Filipino poet that makes some beautiful writing and visual work. They’ve been a big influence on my own work and especially Rachel had a massive, massive impact on it and surfaces.cx.’ Thank you again. I can’t wait to read more by you. Do you have another book in the works? All the luck in the world wth the dark and the cold. ** _Black_Acrylic, ‘Lambda’ is crazy and wonderful. And he’s a fantastic visual artist as well. Farage meets his destiny. How appropriate. ** Dee Kilroy, Hi, Dee. Being very much a day person, I heartily approve. A star no doubt. I can say I knew him second hand when. Wow, you’re way into the books, that’s fantastic. Not to mention on the tarot project. I feel the earthquake. I’m good, still all film almost all the time, but that’s good. The sun’s finally out here today and I gift you with a solid portion of its positive aspects. ** 🏃‍♂️DArby, Hi, buddy. How were the two hours? Are you ready to work the floor? I mean if your gig involves working the floor. I’m good. Mostly. Lots to do. I am so beyond 100% positive I will like your elefant. That’s money in the bank, as they say. The name Kathe Kollwitz doesn’t ring a bell, but let me go check. I might know the stuff but not the name. Unpredictable is the best, thank you, and same to you, pal. ** Charalampos, Hi. Eternal excitement regarding the future is the answer. Congrats on finding ‘The Man of Jasmine’. I haven’t read it, so I’ll see if I can find it out there too. As long as it’s almost impossible, it’s not, I guess? Or so I try to think. It’s chilly here, but not, like, ice cold yet. Best vibes from here on your book’s journey. ** Steve Erickson, The last time I asked John, he said there wasn’t funding in place. That was in May, I think. Maybe the Roth would be fun. Okay, sure, it’s on soap2day, so, easy peasy. No, the bank card hasn’t arrived yet and things are getting rather desperate on that front, but thank you for asking. I guess avoid hugging and kissing anyone for a little while longer. underscores: on it. I don’t know No Bells, but I’ll go find it today. Sounds kind of crucial. Speaking vaguely of, Playboy Carti just cancelled his concert here, bleah. ** Mark, Hi, Mark. Your weekend and your tomorrow kick my respective stints of time’s ass(es). Which is good. I miss American donuts. Europe! Come to Paris, need I even say. Envy on seeing that zine show. I think there’s a bunch of zines borrowed from my NYU archive in the show, if I’m not mistaken. Later gator. ** Audrey, Hi, Audrey. No, I’m actually and usually about a week and a half to two weeks ahead on the posts, so the Radu Jude post will appear not this week but next week, I think on that Tuesday. I think the recent ‘The United States of America’ is one of Benning’s greatest. It’s a shame that you know the twist before you see it. I saw it projected here and didn’t know the twist beforehand, and my mind was totally blown when the twist was revealed. Benning’s ’11 x 14′ is in my top 8 or 10 all time favorite films. I saw it in the early 80s, and it kind of changed my life or my writing at least. Yes, I hope to get into Remover/underscores very soon, and I’ll share my thinks. ‘Priscilla’ just opened here, so I’m going to go see it ASAP. Thanks! I do really like rain, but it was raining here non-stop for days, and it’s a walking around kind of city, and I must admit I’m kind of over wet shoes and umbrellas for the time being. But love it, yes, even so. Love, Dennis. ** Right. I think today’s post’s title tells you everything you need to know. See you tomorrow.