PARIS LA 5
What I want to do is to give the feeling of a continual movement. A long phrase with neither comma nor period. Airless. It starts with numerous portraits of women. One woman, two women, three women… A succession of some of the women I admire: the lover, the mother, the hooker, the daughter, the writer, the girlfriend… the unbreakable woman, deeply vulnerable. It’s early in the morning and the light has not yet colored the sky. It’s foggy, rainy, and it brings sorrows and sadness. It doesn’t need to be dark for me to call the night.The night is different than darkness.The night is a theatre of death that shuts off the tumult of life for a period of time. Pitch black, light grey, clear white —all together— are shattered by an overwhelming carnival of colors. It’s fun and it’s bright. It’s entertaining like a rhapsody in CMYK. Now the men enter one by one: the conflicted artist, the charismatic guru, the lonesome cowboy.They look numerous, but together they only make one. One single man, hunting for his personal truth. Now the night falls for real.Tomorrow is a new day, and life takes
SOME OF MY FAULTS, FOR HAITI by the poet Ariana Reines.
POP CULTURE (HEROES AND VILLAINS) by the Semiotext(e) editor Hedi El Kholti.
SONYA TAYEH by the photographer Daniel Trese.
KICKING ROCKS by the photographer Max Farago.
MY NEW OFFICE by Nikolas Gambaroff.
LET THE TRUTH BE TOLD
EVIL MAY CARE
EL MIRAGE by the photographer Todd Cole.