“There were rivalries and dissensions among the avant-garde group but I was somehow never involved and remained on good terms with everyone—saw everyone and was never asked to take sides, … My neutral position was invaluable to all; with my photography and drawing, I became an official recorder of events and personalities. … Everybody needed me. It was like selling bread and meat.”
— Man Ray, in Emmanuelle de l’Ecotais’ “L’art et le portrait” quoted in Herbert R. Lottman’s Man Ray’s Montparnasse.

world. All doubles.

The strong clocks
back the fissure-hour,

You, wedged into your deepest,
climb out of yourself
for ever.

— Paul Celan, from Snowpart in Paul Celan: Selections, trans. Pierre Joris.

TO STAND, in the shadow
of the stigma in the air.

for you

With all that has room in it,
even without

— Paul Celan, from Breathturn in Paul Celan: Selections, trans. Pierre Joris.

Richard Artschwager, Destruction III, 1972.


"And then he went back to his job, as though nothing had happened." A sentence that strikes one as familiar from any number of old stories—though it might not have appeared in any of them.

— Franz Kafka, from The Zürau Aphorisms of Franz Kafka, trans. Michael Hoffman. 


In the struggle between yourself and the world, hold the world’s coat.

— Franz Kafka, from The Zürau Aphorisms of Franz Kafka, trans. Michael Hoffman. 


There is a destination but no way there; what we refer to as way is hesitation.

— Franz Kafka, from The Zürau Aphorisms of Franz Kafka, trans. Michael Hoffman. 


All human errors stem from impatience, a premature breaking off of a methodical approach, an ostensible pinning down of an ostensible object.

— Franz Kafka, from The Zürau Aphorisms of Franz Kafka, trans. Michael Hoffman. 

Liam Gillick, view of From 199C to 199D, 2014. Link.

(via fixoid)

Richard Artschwager, Destruction IV, 1972. Link.

from Default Genders’ Magical Pessimix #1, 2014. Link.

“As art sinks into paralysis, artists multiply. This anomaly ceases to be one if we realize that art, on its way to exhaustion, has become both impossible and easy.”
— E.M. Cioran, The Trouble with Being Born, trans. Richard Howard.
“What will be the physiognomy of painting, of poetry, of music, in a hundred years? No one can tell. As after the fall of Athens, of Rome, a long pause will intervene, caused by the exhaustion of the means of expression, as well as by the exhaustion of consciousness itself. Humanity, to rejoin the past, must invent a second naïveté, without which the arts can never begin again.”
— E.M. Cioran, The Trouble with Being Born, trans. Richard Howard.
“Pellerin used to read every available book on aesthetics, in the hope of discovering the true theory of Beauty, for he was convinced that once he had found it he would be able to paint masterpieces. He surrounded himself with every conceivable accessory - drawings, plaster casts, models, engravings - and hunted around fretfully, blaming the weather, his nerves or his studio, going out into the street to seek inspiration, thrilling with joy when he had found it, but then abandoning the work he had begun, to dream of another which would be even finer. Tortured by a longing for fame, wasting his days in argument, believing in countless ridiculous ideas, in systems, in critics, in the importance of the codification or the reform of art, he had reached the age of fifty without producing anything but sketches. His robust pride prevented him from feeling any discouragement, but he was always irritable, and in that state of excitement, at once natural and artificial, which is characteristic of actors.”
— Gustave Flaubert, Sentimental Education, trans. Robert Baldick.