Die Basis des Make-Up

Die Basis des Make-Up

Image: 

Drawing (203) from THE BASIS OF MAKE-UP

"Following a series of nightmares, a morning like no other. A decapitated horseman of the apocalypse riding on a toothbrush, which juts out of the window of a house in the south, with a yucca plant next to it. I’m sliding down the left side of the image, as photographed by Rüdiger Neumann in Denmark in 1968. A propeller juts into the image from above, like a fan. Between its blades, positive and negative bolts of lightning travel upwards and downwards. The sentences I scribbled down in the night thereto were: 'We don’t know what penetrates our bodies. But we have an idea what remains stuck in them. Our biggest worry is the synchronization of feelings, which distributes an unbearable degree of negativity and positivity. Don’t tell anyone about the time you go to sleep. Unconsciousness is the inviolable location and state of your personality. It stems from a language that speaks itself. That is what penetrates us. Any attempt made to penetrate it in turn is doomed to failure.'“ (From: arsenal, december 19).

(1996) 

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Drawing (564) from THE BASIS OF MAKE-UP

"Following a series of nightmares, a morning like no other. A decapitated horseman of the apocalypse riding on a toothbrush, which juts out of the window of a house in the south, with a yucca plant next to it. I’m sliding down the left side of the image, as photographed by Rüdiger Neumann in Denmark in 1968. A propeller juts into the image from above, like a fan. Between its blades, positive and negative bolts of lightning travel upwards and downwards. The sentences I scribbled down in the night thereto were: 'We don’t know what penetrates our bodies. But we have an idea what remains stuck in them. Our biggest worry is the synchronization of feelings, which distributes an unbearable degree of negativity and positivity. Don’t tell anyone about the time you go to sleep. Unconsciousness is the inviolable location and state of your personality. It stems from a language that speaks itself. That is what penetrates us. Any attempt made to penetrate it in turn is doomed to failure.'" (From: arsenal, december 19).

(1996) 

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Drawing (451) from THE BASIS OF MAKE-UP

"From the annals of an institutional constipation. An ordination at St Peter’s Basilica in Rome floats upside down in the sky and disappears into a hard to make out distance. In front of it, a hastily repaired buttplug that resembles a darning mushroom with a thimble together with a drawstring made of excrement that is sticking out of a ring of protective paper to the top left, wrapping itself around the neck of a human figure like a stole. Parts of a baroque parapet can be seen on the top right-hand side of the image, with a hand making either defensive or stroking movements to the bottom right enclosed within a square. Two American soldiers in the First Gulf War stand watch, guns in hands; blades of grass sway in the wind. A person is impaled on a broomstick with outstretched arms and feet in such a way that the pole protrudes from the top of the skull. A lesson in object teaching: the figure’s different areas of skin have been painted variously black and white on the body for illustrative purposes in relationship to the accompanying dorsal vertebras." (From: arsenal, november 19).

(1996)

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Drawing (70) from THE BASIS OF MAKE-UP

"Three birch trees by the Baltic Sea beach and there, in the distance, on the other side of the bay, the lighthouse at Kiel-Bülk in 1966. The bronze over-sized head of an Egyptian ibis sitting on a wooden construction has been washed up on the beach. In the foreground on the right, the black silhouette of flowers from Heister Park in Laguna Beach, California. They used to grow where the pelicans would glide along the escarpment to the Pacific next to me. A space ship in the shape of a cowbell powered by unknown means floats over the scenery. It is to be assumed that its extraterrestrial energy fields created this jumble of apparitions of earthly objects and places. Born near the North Sea, the dreary splashing of the Baltic shore remains foreign to me to this day, although forests that border the sea, like they do in Bornholm, do exert a magical pull on me. In the meantime Laguna Beach has burnt down. The fire ate its way down the Laguna Hills, driven on by the east wind, clearing the way right down to the sea. I see no way of returning there and have no desire to do so anyway." (From: arsenal, october 19).

(2007) 

Image: 

Drawing (257) from THE BASIS OF MAKE-UP

"From the annals of an institutional constipation. An ordination at St Peter’s Basilica in Rome floats upside down in the sky and disappears into a hard to make out distance. In front of it, a hastily repaired buttplug that resembles a darning mushroom with a thimble together with a drawstring made of excrement that is sticking out of a ring of protective paper to the top left, wrapping itself around the neck of a human figure like a stole. Parts of a baroque parapet can be seen on the top right-hand side of the image, with a hand making either defensive or stroking movements to the bottom right enclosed within a square. Two American soldiers in the First Gulf War stand watch, guns in hands; blades of grass sway in the wind. A person is impaled on a broomstick with outstretched arms and feet in such a way that the pole protrudes from the top of the skull. A lesson in object teaching: the figure’s different areas of skin have been painted variously black and white on the body for illustrative purposes in relationship to the accompanying dorsal vertebras." (From: arsenal, november 19).

(1996) 

Image: 

Drawing (453) from THE BASIS OF MAKE-UP

"Three birch trees by the Baltic Sea beach and there, in the distance, on the other side of the bay, the lighthouse at Kiel-Bülk in 1966. The bronze over-sized head of an Egyptian ibis sitting on a wooden construction has been washed up on the beach. In the foreground on the right, the white silhouette of flowers from Heister Park in Laguna Beach, California. They used to grow where the pelicans would glide along the escarpment to the Pacific next to me. A space ship in the shape of a cowbell powered by unknown means floats over the scenery. It is to be assumed that its extraterrestrial energy fields created this jumble of apparitions of earthly objects and places. Born near the North Sea, the dreary splashing of the Baltic shore remains foreign to me to this day, although forests that border the sea, like they do in Bornholm, do exert a magical pull on me. In the meantime Laguna Beach has burnt down. The fire ate its way down the Laguna Hills, driven on by the east wind, clearing the way right down to the sea. I see no way of returning there and have no desire to do so anyway." (From: arsenal, october 19).

(2007)

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Drawing (90) from THE BASIS OF MAKE-UP

"Loving cups. On July 9, 2019, David Marc passed away. He was one of the first and best to analyze American television. His books Demographic Vistas (1984) and Comic Visions (1989) were foundational, his collection of essays Bonfire of the Humanities (1995) is ingenious. Here he can be seen standing stoically next to his VW in autumn 1974, the vehicle in which we had slid down an incline in the Catskill Mountains. Our friend Tim Kennedy, the filmmaker and later landscape planner, fled the scene of the accident. We were post-war kids and slowly, but surely, became the theoreticians of this transitional period, which ushered in a new war for him long before it did for me. His venerated teacher Ken Jacobs, who cut all ties to him early on due to some trifling matter, had said to me in 1975 as the first German in that circle, 'I wouldn’t be exchanging a single word with you if the Vietnam War hadn’t taken place'. David didn’t deserve such harshness, because he knew the wars we experienced personally would be entirely different ones." (From: arsenal, september 19).

(1975) 

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Drawing (540) from THE BASIS OF MAKE-UP

Sun, clouds, wind, grass, water, a staircase, a door, a window and three terraces. The view of a dream house in Nebraska hastily painted in 1978 anticipated the terraces in Nadur that would lie even closer to the clouds forty years later. The household is watched over by a Germanic man on a playing card swinging a club, who was replaced in films by James Bond and his license to kill; and he in turn in real life by self-authorized warriors of the opinion that their God is great. The niche we inhabit condemns us to be in delightful equilibrium with life and is as such emblematic of the brittle sphere of an existence suspended between heaven and earth. Manned space travel is damned to be propagandist idiocy to which a few astronauts’ lives fall victim every few years. May Elon Musk have himself shot in the direction of Mars and be celebrated so as to see himself as a wretched survivor before finally being forgotten. One would prefer to not to mention the rats that leave the ship first after having infested it.

(1978) 

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Drawing (91) from THE BASIS OF MAKE-UP

"An outing to the lowland plains of northern Germany, 1975. Beside a cornfield close to Horneburg, we throw a brick wrenched out from a wall into a puddle of water and explain to ourselves why the clouds reflected in it move at different speeds. The far-off clouds are small and slow, the nearer ones large and speedy. And this applies both horizontally and vertically and defines a unique point of view that every photograph contains, whether it wants to or not. Silke Grossmann is wearing a heavy, light brown leather coat. Her shadow has separated itself from her and is thinking about the same things that she is. Back then, we lived next door to the Chilehaus built by wannabe-Nazi general construction inspector Fritz Höger in Hamburg and acknowledged its north German brick expressionism with stoicism. The life of painter Heinrich Vogeler was of greater interest for us, and the analysis of the photograph Assembling for a Demonstration (1928) by Alexander Rodchenko changed our lives forever." (From: arsenal, june 19).

(1975) 

Image: 

Drawing (91) from THE BASIS OF MAKE-UP

"An outing to the lowland plains of northern Germany, 1975. Beside a cornfield close to Horneburg, we throw a brick wrenched out from a wall into a puddle of water and explain to ourselves why the clouds reflected in it move at different speeds. The far-off clouds are small and slow, the nearer ones large and speedy. And this applies both horizontally and vertically and defines a unique point of view that every photograph contains, whether it wants to or not. Silke Grossmann is wearing a heavy, light brown leather coat. Her shadow has separated itself from her and is thinking about the same things that she is. Back then, we lived next door to the Chilehaus built by wannabe-Nazi general construction inspector Fritz Höger in Hamburg and acknowledged its north German brick expressionism with stoicism. The life of painter Heinrich Vogeler was of greater interest for us, and the analysis of the photograph Assembling for a Demonstration (1928) by Alexander Rodchenko changed our lives forever." (From: arsenal, june 19).

(1975) 

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