Sandy Kim
Jay Howell
KID A - BB Bleu
Alterazioni Video
Members: Paololuca Barbieri Marchi, Alberto Caffarelli, Matteo Erenbourg, Andrea Masu and Giacomo Porfiri
Looking down at the sad people
in the apartments below hers.
She looks at her happiness,
makes fun of her loneliness,
watches TV in bed,
in her cute bed,
watching a fantasy of her funeral.
Monica Zeringue
Rudolf Ross Magno
Daniela Mileykovsky
Kim Seob Boninsegni
Alyssa Pheobus Mumtaz
Black Dice "Pigs" (2012)
MR a.k.a. Pretty Puke
Joe Fyfe
Today I got out of bed on time
only because I thought I heard something crash
like light in a glass of whiskey or a window being knocked out,
but I found only the dark, my cat, and all the things
I’ve hung my life around while the train whistles
through the floorboards’ imperceptible chasms
I cross to the kitchen every morning.
Today I read out loud from Mary Shelley’s journals
and my voice felt like a heavy, lawless river.
Today we decided whether to call it a creature or a monster
and I’m not sure we made the right decision.
Noah Saterstrom
Brilliance is a carcass
on a snow-white beach.
Envy never sleeps.
I tell my children truthfully:
a long red beard is breaking
from the darkness scale.
He’s chasing you because
you’re new. Because he’s old
and sees the town in dirty tones:
Charlotte Kingsnorth
Mariam Shengelia
Agatha Ruiz de la Prada
Catherina Kouninioti
Mary Iverson
Mia Christopher
As much as art discourse may reveal structures and relationships to us, it also serves to conceal, with direction and sometimes misdirection; with affirmations accompanied by implicit or explicit negations of other ways of seeing, experiencing, and understanding; with abstraction and formalization that distance and neutralize; or simply through a pervasive silence about aspects of art, our experience of it, and the relationships it performs that, once internalized, may even cause them effectively to disappear for us. Through these operations of art discourse, we not only banish entire regions of our own activities and experiences, investments, and motivations to insignificance, irrelevance, and unspeakability, we also consistently misrepresent what art is and what we do when we engage with art and participate in the art field.
Antoine Desailly
Mel Kadel
Robert Canali
Andrew Newman
Max Parsons
Laetitia Chretien & Sebastien Zanini
Marion Fayolle
I want to smell Mexico in your arm hairs.
I fall in love with your bed sheets while you are away. I kiss the fabric and hope the fibers become human cells and grow into you. I wear your t-shirts for dresses, sit in your chair, and wonder what you do with the light when it hits the wall in squares. Shuffling yellows. Slides stacked and filed in your desk drawers.
Bring me tumbleweed, too, I say when you call.
Christian Rex van Minnen
Bill Dunlop
In general for you is the 19th century American short story a return to childhood or an escape from it? (This question has been asked in exams dating back decades.) Cite three 19th century American authors whose careers prove we cannot trust the institutional gatekeepers. Is “The Fall of the House of Usher” more romantic or realistic than “The Abasement of the Northmores”? Explain. What is the difference between Poe’s use of the mise en abîme and that of, say, Jewett’s entering the consciousness of a tree?
Cao Hui
Frieke Janssens
Milton Babbitt's Composition for 4 Instruments (1948)
for flute, clarinet, violin and cello
Cakes Da Killa - CUNTSPIRACY (2012)
directed by Sean Anthony
for flute, clarinet, violin and cello
Cakes Da Killa - CUNTSPIRACY (2012)
directed by Sean Anthony
Joe Buglewicz
I didn’t set my high school on fire because I was surrounded by malicious, wisecracking friends peer-pressuring me into doing something foolish. It was something I did alone.
I was in study hall with a lighter in my shoe. There wasn’t anyone I knew in that class, and the teacher didn’t pay very much attention.
Twenty minutes into class, I left the room and wandered upstairs. I went into the girl’s bathroom, entered a stall, and pulled out handfuls of toilet paper. I took the lighter from my shoe, flicked it once, twice, and held it to the paper. The fire singed the thin tissue and then caught, turning from a little nail-sized flame to a fistful, and bigger, and when smoke started to curl up from the pile I dropped it and hurried out, back down the stairs, and into my seat, shaking and frightened and excited.
Jennifer Cronin
Sky Ferreira - "Everything is Embarrassing"
Directed by Grant Singer
Directed by Grant Singer
Aurélien Buttin
Glass - A Portrait of Philip In Twelve Parts
Directed by Scott Hicks
Directed by Scott Hicks
