I've been doing my morning meditation by the radiator, with my little scented candle, each morning, in the dark. I wonder, though. Am I kind of sabotaging myself by sitting in front of the radiator just because it's comfortable? I asked about this last night at Caroline's Mindfullness Meditation Class at the Spectrum
I highly recommend this glass, you guys.
She was very helpful. She said that the most important thing is to remove barriers to sitting. So if sitting near the radiator helps me sit and meditate every morning, go for it. If, after a few years of actually trying to develop a daily practice, I want to challenge my need for physical comfort, then I can deal with it then. I'm saying: it's cold and I've been meditating. I've been thinking while I'm meditating.
SOPHIE IREMONGER OPIUM MONOCULTURE 4 (2011)
"Beautiful flowers form a foreground, through, and beyond which wild animals surge. But something is out of kilter: these poppies are taller than a rhino, and why is a horse flying, as if catapulted, through the air? The Opium Monoculture series explores how plants and animals adapt to new post-apocalyptic conditions. The beauty of the flowers, and Iremonger’s glowing pink skies, hide an animal world avid with the energy to survive."
This gorgeous image is NOW FOR SALE ON ARTFETCH. I've long been an admirer of Ms. Iremonger's work, ever since I first met her in Berlin three (!!!) years ago. She's also obviously a totally hilarious and sweet and charming and wonderful person, personally. But these qualities are in her paintings too, along with something else. There's a kind of frenetic, joyful energy to her work that's really striking. I don't want to compare her paintings to other artists' work, though I'm pretty sure I have before, because I think that's sort of silly. Her work reminds me of when you revisit the children's programming from your youth, and you notice all of these coded messages, ambiguous motifs, and obsolete references. There's a kind of thing in her work, the 'clutter' for lack of a better word. It's not exactly hoarding. It's not trash, per se, but there is an accumulation of images that resonates with me. It's as if she's superimposed a zoo, a menagerie onto a kind of echt-archive. For some reason I get the image of a library that is also a jungle. A beauty spa that is also a courthouse. The deft incorporation of ego, super-ego, and id always strikes me as particularly clever. Her warm-hearted and clear-eyed engagement with the full range of human fantasy is, yeah, inspiring. The 'clutter' as such is a really brave tactic. Ms. Iremonger sifts through the detritus of postmodernity in a way that most artists working today would probably be too scared to do. I think the fear is that people don't trust their own judgment, so they either celebrate everything including trash, or become overly precious about what gets remembered, organized. Ms. Iremonger limns out a kind of middle path, neither sentimental nor expulsive. She chooses what works for her, and seems to have a real trust in her eye, in her ability to map out and process information. And she has a good eye! Thank goddess for her gut instincts. It seems easy, but the actual craft of her work belies this petty bourgeois effortless chic. I know (because I know her) that she works fucking hard on her work. And to be in the room with one of her gigantic paintings is not unlike going to a zoo in Berlin for the first time. I was struck by the fact that at the Berlin zoo, the perimeters of the animal cages are mostly symbolic. In American zoos you'd see all kinds of barriers and fences between the viewing public and the wild animals. But in Berlin, I was surprised to see that there were nominal, mostly decorative markers of distance between myself and the animals. Yes, the more dangerous creatures, such as leopards and big cats (a favorite motif in Iremonger's work) were kept in cages, but I had an eerie thought: "What if, in America, we're being unnecessarily careful about our zoos?" Sophie Iremonger's work, especially in person, prompts a similar feeling of vertigo and bravery. To me, it asks "What are you so afraid of?"
Check out this scintillating, radical, and fucking sexy new photo of International pop star Alexander Geist show by Merja Hannikainen, which will be the art for his new single, "A Woman's Right to Choose", out on 11/25/13 on New Pangea records. I love this. It's so new and now, etc. A favorite. Continued favorites!
Also on New Pangea and out now is the video for the new single by GODMOTHER: "These Things Take Time" which you can cop at the New Pangea site.
Love that it's 4 minutes 20 seconds, right? There are no accidents. So dark and sad and sardonic. And funny! So sophisticated, yet unfussy. Arch but not inaccessible. I dig it!
Oh gosh, and then finally, the new single from Geri Halliwell. Inexplicably released ONLY in Australia. Seems something of a Minogue carry, n'est-ce pas? Let alone the "all the lovers" drag. I mean, Geri. Girl. But still, she can sing. You knew she could. This is so dorky and corny and sweet and fizzy. Like corn syrup and carbonation.
Y'know, what pop should be, right? Excited for band practice tonight, then to go see No Bra and The Voluptuous Horror of Karen Black perform tonight! I can't wait.
OH SHIT WAIT there's a new Planningtorock record coming out in February and they just released a new video teaser for it:
I'M TOTALLY LOSING IT! I CAN'T WAIT!!!