Don DeLillo, "Zero K"

Joga um jogo, faz uma lista, desenha um cão, conta uma história, dá um passo.
Certos dias são melhores do que outros.

Robert Ellis

from New Line, "Buddy", June 2010

Robert Ellis, New Line: 

This body of work documents the space inhabited by a small alternative community in the West of Ireland. By exploring the private world created by the people that live here, this work adopts a silent and contemplative tone, and seeks to engage with this space and its inhabitants, rather than expose it. Through carefully negotiated access and many discussions, the work becomes a catalyst of my experience and the time spent making the work. Carried out over the period of a year the images reveal the harsh depths of winter and the warm fertility of summer. The images tell the stories of the people that belong here, but only ever show a glimpse of their presence.

Pacifico Silano

Pacifico Silano, one of the six finalists for the 2013 Aperture Portfolio Prize, describes himself like this:

Pacifico Silano is a photographer who enjoys long walks on the beach, staring into sunsets and collecting newspaper clippings of Courtney Love.
His work explores issues of identity, sexuality and forgotten histories.
He currently lives and works in Brooklyn, New York with his dog Iggy Smalls.

There is a beautiful selection of cellphone snap shots spanning the course of a year at his site, some of them picturing dogs:

William Basinski

Photo by James Elaine

Pitchfork: You worked on The Life and Death of Marina Abramovic alongside Antony, who you've been friends with for decades. How would you describe that relationship?

William Basinski: I'm very loyal to my friends, and I continue to maintain relationships with most of them. Antony is very special to me. He's someone who never stops until he gets exactly what he wants. Sometimes it can drive you absolutely mad, but it's extraordinary. You know what's interesting? This year, I found out that Antony, Marina, and I are all Year of the Dog in the Chinese zodiac. We're all different dogs, though-- I'm an earth dog, Antony's a metal dog or something like that. Dogs run in packs.

Taken from:
William Basinski
The experimental music lifer looks back on his 2002 masterpiece The Disintegration Loops and forward to his latest work, Nocturnes.
By Larry Fitzmaurice, November 6, 2012

Unknown dogs

Mark Steinmetz

Mark Steinmetz

From Paris in my time (2013)

From Paris in my time (2013)

From Paris in my time (2013)

From South Central

From Pastoral (2001-2011)

From South East (2008)

From South Central

From Greater Atlanta

From Kids and Teenagers (1984-1990)

From Italy (1993, 1998, 2010)

From Italy (1993, 1998, 2010)

From Italy (1993, 1998, 2010)

George Spencer Watson

George Spencer Watson, "Four Loves I found, a Woman, a Child, a Horse and a Hound", 1922.
Oil on canvas, 142.2 x 195.6 cm.

Julian Schnabel in his studio. Montauk.

Julian Schnabel in his studio, Montauk, 2001. Photograph by Jonathan Becker.

(PIANO), H. Maria Gris

quando o coração é enorme
só um piano e um cão
o podem guardar.

H. Maria Gris, "Autobiografia (Tomo I)"

Morris Graves

Morris Graves, "Majestic Dog", 1935



Morris Graves, "Fox With a Phoenix Wing", 1952

Humanity's Best Friend: How Dogs May Have Helped Humans Beat the Neanderthals - The Atlantic

Shutterstock/Pedro Jorge Henriques Monteiro

King Creosote & Jon Hopkins, "Bubble"

Directed By Elliot Dear.

King Creosote & Jon Hopkins are to release Bubble as the new single from their debut collaborative album, Diamond Mine.

ALEC SOTH

Era assim que o Alec Soth se apresentava há pouco tempo na página principal do seu site:

MICHELANGELO ANTONIONI

From "L'eclisse" (1962).

WILL ROBSON SCOTT

In Dogs We Trust



"Since dogs were first domesticated, many years ago, an affinity has developed between them and their owners; so not only do they frequently resemble each other, they even share personality traits and mirror each other’s behaviour. Dogs can be deliberately used for this purpose, of course: they can be chosen to convey whatever image the owner finds desirable; but often this affinity is less conscious, and - as you may believe when you look at these images - the master is unaware how much he looks like his dog."

Will Robson-Scott in association with Ollie Grove.

PEDRO LETRIA

(...) Daí o efeito paradoxal das três imagens de abertura. Dão-nos a ver outros tantos cães, envelhecidos, galgos ex-corredores, que vivem num "reformatório", em Hersham (Inglaterra). Condenados a uma existência sem donos, são seres cuja verdade se confunde com a pura espera da morte. Que a fotografia eternize a sua espera, eis o que resume a utopia mais louca que aqui se encena: face à morte, somos todos aristocratas.

"Fotografar a morte e celebrar a vida", João Lopes para o Diário de Notícias (14 de Agosto).

MICHEL SCHWEIZER

"O que é um cão? Se Deus está morto, quem é o mestre do homem? O Mercado?"




BLEIB OPUS #3
MICHEL SCHWEIZER (BORDÉUS)
Teatro Maria Matos

O que é que cinco magníficos cães pastor belga, um filósofo, um psicanalista, um bailarino e um actor poderão estar a fazer juntos num palco de teatro? Desde Maio de 2005 que Michel Schweizer mantém uma conversa fértil com Dany Robert Dufour, filósofo, e Jean-Pierre Lebrun, psiquiatra e psicanalista, sobre alguns dos temas cruciais da sociedade contemporânea: a liberdade individual e a imposição do consumismo, o ensino e a uniformização, a política e a manipulação.

É impressionante como o espectáculo BLEIB, criado em 2007, profetiza a falência do capitalismo desenfreado que gerou como causa da actual crise mundial. Interroga os comportamentos sociais e as atitudes do novo "homem sem gravidade", que é induzido a acreditar que a soma das ambições individuais iguala o bem comum. Já não precisamos de pensar!, exclama Jean-Pierre Lebrun no espectáculo, já não precisamos de nos organizar colectivamente, já não precisamos de nos esforçar para viver em sociedade... Tornámo-nos numa sociedade de consumidores - individualistas e obcecados pelo poder de compra, mas sem nos dar conta de que estamos a ser dirigidos e manipulados. Na sala reinava um silêncio absoluto, escreveu o De Volkskrant depois das apresentações em Roterdão, as centenas de espectadores pareciam estar a sentir a mesma inquietação. Como se sentíssemos todos a trela apertar... Mas por dentro esconde-se sempre o lobo...




Charles Melman, L'Homme sans gravité: Jouir à tout prix (Entretiens avec Jean-Pierre Lebrun), Denoël (2002):

Barbarity is a social order based not longer on symbolical, but on real power. From the moment that the established power is sustained – and refers to – its own force and no longer seeks to defend or protect anything else beyond its own existance as power, its statute of power, we have arrived at a state of barbarity. Do you know one of the important manifestations of power of our times that is not a manifestation of barbarity?

Links:
http://www.la-coma.com/
http://www.alkantarafestival.pt/eng/esp23.html

ROBERT ADAMS

From Robert Adams' Why People Photograph - Selected Essays and Reviews, Aperture (1994), Section What Can Help, Dogs essay:

WHERE does art begin? Photographs of Thomas Eakins and Pierre Bonnard with their dogs suggest, I think, an answer. For these artists in their old age to touch animals so gently is evidence of a love past memory, one that must have shaped treir lives.
(...)

Artists live by curiosity and enthusiasm, qualities readily evident as inspiration in dogs. Propose to a dog a walk and its response is absolutely yes.
(...)

Art depends on there being affection in its creator's life, and an artist must find ways, like everyone else, to nourish it. A photographer down on his or her knees picturing a dog has found pleasure enough to make many things possible.
(...)

GOLDFRAPP

Number 1

Cos you're my number one
I'm like a dog to get you
I want it up and on
I'm like a dog to get you
Yeh, yeh, yeh, yeh

http://www.youtube.com/watch?v=W2OL3CdIGlg


Strict Machine


Goldfrapp - Strict Machine
Carregado por Rian2k. - Veja mais vídeos de musica, em HD!


Human

Are you human, or a dog
Are you human
Or d'you make it up
Are you human, or a dog
Are you human
Or d'you make it up

http://www.youtube.com/watch?v=--1rAUYWl_4


Utopia

My dog needs new ears
Make his eyes see forever
Make him live like me
Again and again

JOHN DIVOLA

Tyler Stallings, director of the Sweeney Art Gallery, said, "This body of work by John Divola shows a fascination with the landscape as both a representation of nature's wildness and man's taming of it. Here, the dog that chases his car embodies this notion. But because the dog will never catch the car and the camera only ever presents a partial view of reality, the impossibility of the two worlds ever meeting is captured".

John Divola, Dogs Chasing My Car in the Desert, 1996-2000. Published February 12th 2005 by Nazraeli Press.

PREFACE from DOGS CHASING MY CAR IN THE DESERT

The desert is not empty. However, it is vacant enough to bestow a certain weight to whatever is present. This is an extraordinary place, the unobstructed view to the horizon, the quality of the light, and that smell after it rains. Add this to a heightened awareness of your own presence and the desert can take on an existential quality.

And it’s quiet. Once, having climbed to the top of a very large hill to photograph, I was startled by the sound of the wind moving under the wings of a bird as it flew by. Hundreds of feet below and half a mile away a dog spotted me and started barking like it had just caught me climbing the back fence. No one sneaks up on a dog in the desert. A dog can hear your car coming for several miles and will see you coming almost as far away. By the time you arrive he has developed a level of anticipation.

From 1995 to 1998 I was working on a series of photographs of isolated houses in the desert at the east end of the Morongo Valley in Southern California. As I meandered through the desert, a dog would occasionally chase my car. Sometime in 1996 I began to bring along a 35mm camera equipped with a motor drive and loaded with a fast and grainy black-and-white film. The process was simple; when I saw a dog coming toward the car I would pre-focus the camera and set the exposure. With one hand on the steering wheel, I would hold the camera out the window and expose anywhere from a few frames to a complete roll of film. I’ll admit that I was not above turning around and taking a second pass in front of a house with an enthusiastic dog.

Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise.

John Divola, 2004