
…saw Andy Warhol in Tate Modern today – the brilliant Cow wallpaper!

…saw Andy Warhol in Tate Modern today – the brilliant Cow wallpaper!
Hitler finds out Michael Jackson has died. (via stubod2001) – absolutely hilarious and very wrong! #film, #video
“
There are cemeteries that are lonely,
graves full of bones that do not make a sound,
the heart moving through a tunnel,
in it darkness, darkness, darkness,
like a shipwreck we die going into ourselves,
as though we were drowning inside our hearts,
as though we lived falling out of the skin into the soul.
And there are corpses,
feet made of cold and sticky clay,
death is inside the bones,
like a barking where there are no dogs,
coming out from bells somewhere, from graves somewhere,
growing in the damp air like tears of rain.
Sometimes I see alone
coffins under sail,
embarking with the pale dead, with women that have dead hair,
with bakers who are as white as angels,
and pensive young girls married to notary publics,
caskets sailing up the vertical river of the dead,
the river of dark purple,
moving upstream with sails filled out by the sound of death,
filled by the sound of death which is silence.
Death arrives among all that sound
like a shoe with no foot in it, like a suit with no man in it,
comes and knocks, using a ring with no stone in it, with no
finger in it,
comes and shouts with no mouth, with no tongue, with no
throat.
Nevertheless its steps can be heard
and its clothing makes a hushed sound, like a tree. I’m not sure, I understand only a little, I can hardly see,
but it seems to me that its singing has the color of damp violets,
of violets that are at home in the earth,
because the face of death is green,
and the look death gives is green,
with the penetrating dampness of a violet leaf
and the somber color of embittered winter.
But death also goes through the world dressed as a broom,
lapping the floor, looking for dead bodies,
death is inside the broom,
the broom is the tongue of death looking for corpses,
it is the needle of death looking for thread.
Death is inside the folding cots:
it spends its life sleeping on the slow mattresses,
in the black blankets, and suddenly breathes out:
it blows out a mournful sound that swells the sheets,
and the beds go sailing toward a port
where death is waiting, dressed like an admiral.
I am back in Mumbai again. The inherent chaos of this city matches well with the ongoing chaos in my life, and so I like it here. Behind the euphoria that seduces dreamers and wanna-’bees’, there is an underbelly of constant struggle, a push-pull between creation and decadence. It keeps one occupied, but whether that occupation is productive or useful, is a question one dare not ponder upon.
Yet the most cliched question comes to mind – what would the city look like in fifty or hundred years. Would it be the future glam-town sketched by the candy-bar film Love Story 2050 (I haven’t seen the film, the trailer was sufficient)? Or a true-to-life depiction of bleak futures painted by many a sci-fi storyteller (such as Asimov in his ‘The Caves of Steel’, or even Bladerunner), a marked (walled) division is seen between ever growing ’slum communities’ and China-like SEZs (Special Economic Zones – such as Schenzen) with access-denied written everywhere?
A year ago, I saw a remarkable exhibition in Tate Modern (London) called Global Cities:
Global Cities looks at the changing faces of ten dynamic international cities: Cairo, Istanbul, Johannesburg, London, Los Angeles, Mexico City, Mumbai, São Paulo, Shanghai and Tokyo.
Exploring each city through five thematic lenses – speed, size, density, diversity and form – the exhibition draws on data originally assembled for the 10th International Architecture Exhibition at the 2006 Venice Biennale. This unique show presents existing films, videos and photographs by more than 20 artists and architects to offer subjective and intimate interpretations of urban conditions in all ten cities.

One of the art installations was 3D stalagmite-like sculptures that mapped the wealth distribution in each of the above cities. Of all, Mumbai had a few spikes that towered above and beyond any of the others, making the vast difference in wealth distribution even more apparent.
But is the ‘flatness’ desirable? I wonder. In his rapidly growing photo portfolio, my photographer friend Matti tries to capture what a friend called, the ‘post-apocalyptic Mumbai series’. Through a combination of retouched HDR photography done through in duotones, he captures the essence of its madness, the chaos that is impossible in economically ‘flat’ zones.

More on his flickr page here. Ok, time for a stroll.
A friend sent me the link to Chris Jordan’s site where he has put up his current work, a project he calls ‘Running the Numbers: An American Self Portrait’.
The following is one of the many incredible images displayed on his site, all of which are an absolute must-see. What you see below is not an oil painting. It depicts 106,000 aluminum cans, the number used in the US every thirty seconds.