They come and go..
Yes, the weekends are too short. Not being part of the France qui se lève tôt this is exhausting. I keep reproaching myself for it - if this is what I wanted, I could have done it in Wellington. I'm not here to spend my existence in an office doing something that doesn't have any significance to anyone, least of all to me.
THis morning, I did however see at the MK2 Bibliothèque . My impressions of it are better than that if the 1st one a few years ago. One is quickly impressed by the opening credits, with key plot-points from the previous two films embedded in spider-webs along with the cast name.
Also interesting take on the take on the classic dialectic struggle of good and evil in man, and his being free to choose. That the liberation that one finds in destruction and war is what may be more deterministic - the real exercise of liberty being in choice. Following one's conscience and stuff. With all the usual corniness needless to say. But one couldn't expect less from Peter and Mary-Jane.
Also, yesterday I went to see the .
Quite well curated - the ground floor had over 500 doodlings that David Lynch had done, and safely filed away, since his adolescence, on everything from scraps of paper, to tissues and Air France sickness bags. It serves perhaps to deconstruct his films, in the sense that once gets a more direct insight to his initial inspirations, his thought processes, in a very nascent and abstract state.
In the ground floor where some of his photographs from the 50s and 60s of disused industrial buildings and women. That same interest in positive and negative, shadow and light that one sees in the films. The photographs of women with gaudy make-up, evoking that certain 80s glamour. There were also some of this digital manipulations of turn-of-the-century erotic postcards, dismembering the women and disfiguring them, with the suggestiveness of surrealist photographers from the 20s, who no doubt have had their influence on this work.
There was a cinema created with red seats which projected several of his animations and short films. THe most remarkable of which was "Grandmother".
An unplanned and neglected child in a caricaturally thrash family, sows a seed to produce a grandmother, who shall show him love and affection. The characters, with white make up resemble pantomimes and communicate little, in inhuman, animal-like grunts and screetches. Animated sequences show humans growing out of the soil.
Then there are finally this paintings, which also are very cinematographic - nightmarish - surreal. An ambient minimalist music permeates the floors of the museum creating a Lynchian atmosphere (well, not quite) for the audience. .
Finally does anyone know where this bar is ? Which city?
I shan't be visiting of course. Techno not really being my thing.
THis morning, I did however see at the MK2 Bibliothèque . My impressions of it are better than that if the 1st one a few years ago. One is quickly impressed by the opening credits, with key plot-points from the previous two films embedded in spider-webs along with the cast name.
Also interesting take on the take on the classic dialectic struggle of good and evil in man, and his being free to choose. That the liberation that one finds in destruction and war is what may be more deterministic - the real exercise of liberty being in choice. Following one's conscience and stuff. With all the usual corniness needless to say. But one couldn't expect less from Peter and Mary-Jane.
Also, yesterday I went to see the .
Quite well curated - the ground floor had over 500 doodlings that David Lynch had done, and safely filed away, since his adolescence, on everything from scraps of paper, to tissues and Air France sickness bags. It serves perhaps to deconstruct his films, in the sense that once gets a more direct insight to his initial inspirations, his thought processes, in a very nascent and abstract state.
In the ground floor where some of his photographs from the 50s and 60s of disused industrial buildings and women. That same interest in positive and negative, shadow and light that one sees in the films. The photographs of women with gaudy make-up, evoking that certain 80s glamour. There were also some of this digital manipulations of turn-of-the-century erotic postcards, dismembering the women and disfiguring them, with the suggestiveness of surrealist photographers from the 20s, who no doubt have had their influence on this work.
There was a cinema created with red seats which projected several of his animations and short films. THe most remarkable of which was "Grandmother".
An unplanned and neglected child in a caricaturally thrash family, sows a seed to produce a grandmother, who shall show him love and affection. The characters, with white make up resemble pantomimes and communicate little, in inhuman, animal-like grunts and screetches. Animated sequences show humans growing out of the soil.
Then there are finally this paintings, which also are very cinematographic - nightmarish - surreal. An ambient minimalist music permeates the floors of the museum creating a Lynchian atmosphere (well, not quite) for the audience. .
Finally does anyone know where this bar is ? Which city?
I shan't be visiting of course. Techno not really being my thing.