Drawing (59) from THE BASIS OF MAKE-UP

"SAT – A Saturday in Brooklyn, 1975. A drill placed at the bridge of a sleeper's nose for eye surgery, accompanied by Bob Dylan's Blood on the Tracks. The new thermal power station and the bunker with a slanted roof from WWII, its front side slit open-buildings which one could see when taking the train from Achim to Bremen. Two shots of a soldier, an untargeted (no matter) and a targeted (certainly), at the body of a man with raised hands at the edge of an precipice. Adjacent, three soldiers' graves marked by steel helmets on rifle barrels. An Inc. sign at the centre of a painting of an avalanche. First, Avalanche by Liza Béar in Manhattan, and then Avalon by Bryan Ferry in Katharina's Toom Peerstall in St. Pauli. In 1973, Ferry's version of Dylan's A Hard Rain's A-Gonna Fall got me into a fit of laughter and marked the definitive end of an era. Only much later did I realize that it must have been involuntary humour on his side. Dylan remained inaccessible." (From: Black Blocks, Cinema Scope #46, 2011).  


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