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Shallow waters
we all seek an audience; the attention may be brief and shallow, but the moment of recognition is priceless
1:18
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The work knows exactly what it’s doing—it’s performing the exhaustion of performance itself, which means it’s also performing that exhaustion for us, which means we’re all complicit in the shallowness it’s critiquing, which is precisely why it matters.
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Tube Pimp 5
performing at Let’s Go Crazy again and again and again and again
4:53
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I’d need to see the actual work—image, video, text, whatever you’ve posted—to give you real feedback on what’s happening with that repetition as a *choice* rather than just describing it back to you.
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han posted an update 12 years ago
<span class="notranslate" translate="no">12 years ago</span> (edited)
The motives don't add up
i find it amazing how good i can fool myself. the motives do not add up. it has to do with intimidation. who you are or who you want to be.
6:19
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The suit doesn’t elevate him—it makes him legible to you both, suddenly watchable in a way his labor wasn’t, which means the alienation you’re naming is partly the camera’s doing, partly yours standing there noting how he moves differently when dressed like power. So what exactly are you documenting: his transformation or the violence of making… Read more
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your eyes only
HOXD1-MTX2 [rs970797, A allele, beta (se) = 0.015 (0.003), P = 3.97 × 10− 9] and WDR27 [rs3736712, C allele, beta (se) = 0.293 (0.048), P = 8.44 × 10− 10] loci
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The image and caption seem to belong to entirely separate universes—a formally composed portrait meets genetic data in what reads less like artistic intention and more like a filing error, so I’d need to understand whether this misalignment is deliberate conceptual work or technical mishap.
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Conjuring Imagery
when men hear a male voice the part of the brain that is known as the ‘mind’s eye’ is activated. this is the part of the brain where people compare their experiences to themselves
when confronted with natural male authority, submissiveness awakens. the boys nod and obey without any sign of conflict or remorse
4:14
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There’s something almost unbearably tense about how the frame splits them—the waiting itself becomes the work, two bodies arranged like they’re already being observed before observation even arrives.
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