Drawing (380) from THE BASIS OF MAKE-UP

"The chimera of my most favoured ménage à trois Eisenstein-Sternberg-Dietrich, Hollywood 1931, at the time of Eisenstein's Mexico disaster. No body can take the place of another, they exclude each other. But it is possible in a drawing because they seem to be transparent in it, like they are cross-faded here with the corner of a room at 100 Hudson Street, NYC 1974. Three wire hangers on the line, which pressed the foam mattress against the connecting door to the neighboring office, so as to muffle the CIA detective's nightly typewriter sounds, who checked letters there for poison. I had fled to that place from New German Film, which immediately caught up with me via the Goethe Institute. But I would still put my shirt on the fact that each one of the so far 4.312 episodes of the ARD pre-prime time series Verbotene Liebe (Warning: No "Quality TV"!) is better than any of Werner Herzog's films. I let fine sand trickle off my right hand. More at www.pym.de. (From: arsenal, june 13).


Lynne Tillman: "Should the lines be drawn that would connect them, they would take shape in another dimension. From one point of view they are the background upon which objects rest. Rest? Do objects rest and upon what do they rest? Assumtions of their place in our, my, reality? Just connect the dotted lines. Their faces would overwhelm everything. I can't be certain of that. They might be like the sand, upon which the ocean rests when it has a mind to. The ocean doesn't have a mind; it doesn't mind. And, in addition, the ocean never rests. The ocean cannot be thought about."

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