A quick administrative note:
As some of you already have, please upload the photographs of Veneer receptions. White or yellow. We enjoy these photos very much.
Josh in Vancouver
Ingeborg in Oslo
James in Thaiwan
Andrew and Ritchey in Anacortes
Azure in rural Olympia
Veneer in the Documenta Bookstore, Kassel, Germany
Dalas purchasing with Honey's album
??
Kate in Virginia
Although this blog is quite hidden, if you are out there please send us your links to other reception images. Be sure to tag your shit with "Veneer Magazine" as "veneer" seems to invoke multiple carpentry images.
Thank you,
Harsh Kapor
Veneer Magazine from June 23, 2007
David Lamelas
Jameson
This man, David Lamelas, is a genius. A photo here is a very horrible form of telling the story. Nevertheless, this 16mm film loop and corresponding 120 black and white photographs entitled Cumulative Script , 1971 is incredible.
A true grift, I saw it a couple of days ago at the Generali Foundation in Vienna. It kind of says fuck-you to narrative through an "almost-inherently" story-based medium. "There are no key moments that provide clues to the action, that is, these moments are variable and dictated by the viewers' perceptions." Thus, one minute the two individuals in the piece are seemingly speaking amicably, the next they are fist-fighting. I'm not sure why. Maybe it was based on a personal argument?
Veneer Magazine from June 22, 2007
Michel Blazy
Claire L. Evans
I realized I have a wealth of grifted photographs that I can, too, add to this particular arm of Veneer Magazine Blog (VMB) projects. The illicitness of this photograph isn't as extreme, however, since as far as I know photography is allowed at the Palais de Tokyo, and there's not much I could do -- as a human being -- to damage this Michel Blazy installation, Post Patman, since it's quite literally a room full of rotting bullshit.
The Palais de Tokyo changes its curatorial themes quite often, in order to make room for the shifting pace of their installations, I imagine. Right now it's "Nouvelles du Monde Renverse" (News from the Upside-Down World), so the emphasis is on inversion, and the worldly, in a general sense.
Post Patman is an extension of Blazy's earlier project for the Palais' 5,000,000,000 Years show, which was an atomic bomb made out of 91 Kilos of soy noodles. Where the earlier Patman certainly seemed ephemeral, this installation is built to decay. There are animals made of chocolate, flowers wrought out of strips of bacon, rotting carrots, a fishtank of festering Kombucha, towers of moldy orange peels. The walls have been painted with a combination of mashed potatoes and beets, protected at varying degrees with aluminum plates: the result is a mosaic pattern of orange-tinted rot that, if you somehow can ignore the smell, is actually quite beautiful.
The idea is that Blazy's work is perpetually unfinished, waiting for a collaboration with time to fully run its course.
Veneer Magazine from June 17, 2007
Bruce Conner
Jameson
I doubt that this artist, in particular, would enjoy the fact that a redocumented image of two photographs is being posted on a blog in the vast, untraceable cloud of knowledge that is the internet.
Nevertheless, here is a piece that I hadn't seen before last week titled Angel Arms, 1973. Nothing totally new here except the fact that Bruce has made some amazing pieces over the years and I am continually humbled when I see a new one. This is no exception.
Veneer Magazine from June 15, 2007
Fuller
Jameson
LBH, because one of our editors is such a sucker for him: let me present R. Buckminster Fuller's octet truss design for a large airplane hanger. This paradigmatic miniature is at the Museum of Modern Art in New York City.
Veneer Magazine from June 14, 2007
Hall of Biodiversity
Jameson
Here at the American Museum of Natural History is the Hall of Biodiversity on permanent display.
Veneer Magazine from June 11, 2007
Smithsonite
Jameson
This large piece of Smithsonite is on display at the Mineral Museum on the campus of Montana Tech in Butte.
Veneer Magazine from June 9, 2007
Czechtek 2007 Manifesto
Claire L. Evans
::: MANIFEST :::
In regard of fact that situation around Czechtek isn't bearable anymore, the representatives of czech freetekno community came to this radical decision. This year, and very probably even never again, any action of size and under name Czechtek won't be realized.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
And these are the reasons:
1) Step-by-step abolition of original thoughts of freetekno
2) Parasitic behavior of subject not connected to the scene including major part of visitors themselves
3) Disability and reluctance to respect elementary principles of behavior in shared space
"You May Stop The Party, But Can't Stop The Future"
Veneer Magazine from June 8, 2007
Uberorgan
Jameson
Suspect of scale. Nevertheless, Tim Hawkinson's Uberorgan still has one or two badass qualities. Looking half bagpipe, half "actual organ," the contraption does something: every hour the air reservoirs pipe out low, whale-like tones all stimulated via some esoteric paper, ink and sensor language. We've all seen the video. Yes, my complaints of art that accomplishes a literal task is momentarily blown over when the reeds open.