From Light Beyond Sound, a new series of works by Tatiana Plakhova.
“The invasion philosophy of the Olympic Park strikes me as just like the invasion philosophy behind going into Iraq,” he says, “or anywhere else that you blast into, put up the fence, establish the Green Zone, explain everything, put it all into this lovely eco-terminology…” Iain Sinclair
• Iain Sinclair has a new book out, Ghost Milk: Calling Time on the Grand Project, a critique of the tendency of British governments to waste money on white elephant projects. He’s visited this territory before in Sorry Meniscus, the small book/essay about the Millennium Dome. That book grew out of a piece for the London Review of Books which can be read here. Among the current round of interviews there’s this piece in which the title of the book is explained, and a talk with John Walsh at The Independent where he describes how the site for the 2012 Olympics has destroyed his patch of London.
• A celebration of the writing and art of Mervyn Peake: “Mervyn Peake, creator of Gormenghast, is now recognised as a brilliant novelist and artist. Michael Moorcock, China Miéville, Hilary Spurling and AL Kennedy celebrate his achievements.”
• Looking like a children’s book invaded by the inhabitants of alchemical engravings, Die Geburtstagsreise (The Birthday Trip, 1976) by Monika Beisner.
• At AnOther mag this week: The ear in Blue Velvet and publisher Peter Owen on Salvador Dalí’s novel Hidden Faces.
• Four Days, Four Recordings by Jon Brooks aka The Advisory Circle. Related: The Hauntological Society.
• Leaving it to Chance: maverick director Nicolas Roeg on Don’t Look Now.
• Brian Eno: “This is my problem with Tracey Emin; who fucking cares?”
• Scans of Max Ernst’s masterwork Une Semaine de Bonté.
• Susie Bright: Mapping the Erotic and the Revolutionary.
• How to Become a Sensuous Witch, 1971.
• The View From Her Room (1982) by Weekend | Weekend live on the OGWT (October, 1982) • Gormenghast Drift (1992) by Irmin Schmidt.
One thought on “Weekend links 65”
I’ve a sneaking hunch about Eno’s complaint … “It’s so arrogant to think that people would want to know about it anyway! This is my problem with Tracey Emin” … is one of the more clear-cut cases of projection.
What’s Eno almost always about, if not promoting Eno … strategies, or the digital art DVD, or the quixotic little lost-sheep albums he puts out that are all quietly crying like teensy Vincent Price in the original of The Fly: “Help me!”
Good thing he partnered up with Harold Budd and Robert Fripp; those two albums are memorable enough. Else all he’d have going for his legacy (apart from name recognition) is that smashing outfit he wore as part of Roxy. TOO bad that was B.S. … right, Brian?
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