White Pipes

This is arguably the greatest image in the history of photography, so why? First, it's composed of concrete elements which obscure their origins by tending to the schematic; second, the 'constructed' nature of said materials references at least two other arts (painting and architecture) and does so in an almost Brechtian distanciation - is this a wall or an abstract surface, or a photo we are regarding? Third, the textures of the materials are 'wittily' degraded - the paint is layered unevenly, the pipes are not merely and apparently nonsensically left 'blank' i.e. without a signified (in a post-Lacanian sense) but they are deliberately 'incompetently' painted themselves. Fourth - the photo itself mirros the 'incompetence' of the paint - it's out of focus, overexposed and carries its own self-reference in the garish visible flash, with accompanying 'intrusive' shadows. Lastly, and by no means leastly, the real color scheme directly alludes to both the localization and reason for the current political conflict. The not-yet-existent banner of some fictive Moslem statelet, minus only the filigreed script, AND the visual pun of green for fields, as in land, cut into UNEQUAL parts by... PIPES. yes, it's oil again, which ties neatly into the first bourgeois appropriation of the art subject : in oils. Thus, perfect.
Oh I could write reams of this shit all day. but it's a nice photo, nonetheless.

Open Almost Studios

Already SIX artistes have contacted us and the greenscreen's not even up yet. this doesn't stop us heartily agruing camera movements for non-existent songs, scouring basements for attractive junk, staying up nights, and posting odd photos of Polish windmills which are not exactly part of Schwerpunkt, yet are in spirit.
It's the time of year when the Templars huddle together and sketch a hostelry on paper with charcoal. yes, the knights are drawing inn.