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A young artist accidentally sets fire to the shroud of Turin.
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Disturbing recollections swoop on unsuspecting window-shoppers.
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What’s happened to you down there?
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Sex, formally speaking
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Micro, Macro, Macro, Micro …
I don’t care what anybody else is saying, I don’t care what anybody else is doing.
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No excess is ridiculous?
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What are the pre-conditions which allow for failure within performance? Furthermore, what’s it a sign of when a dealer’s hands begin to shake?
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Recent filmwork has been informed by a vaguely mannerist rhetoric, where style is not a pattern for presenting the real but for presenting its own technical vehicles, the production of 'meaning’ and the 'will to meaningfulness’ being two of these …