#issuefive

 HENDRIK KERSTENS

The Dutch photographer pays tongue-in-cheek homage to the Dutch master painters of the past by recreating photo portraits of his own daughter Paula. Mimicking their styles of lighting and composition, most notably the work of Johannes Vermeer (famous for his Girl with the Pearl Earring painting) is a recurring inspiration but Kerstens adds yet another layer of light to manipulate through his chiaroscuro lens...humor. 

In deadpan seriousness each photograph demands we accept its absurdity. Whether of a trash bag bonnet, or lampshade hat, or tablecloth habit--These jokes seem to question idolization of the subject while simultaneously beckoning us to admire how even the most mundane items are perfectly captured to seem painted by oil on canvas. 

Most remarkable of all perhaps, these photos, through camera lenses more than capable of capturing reality, bend instead to mimic the painted ideal of reality as explored by the foregone Dutch artists of light and shadow. Maybe that’s the joke, we can take pictures now of things as they are, but its still higher art to copy the painters who did it less realistically, by hand.

TIINA MENZEL

For all their symbolism of death and poison or danger, skeletons always seem to me, wrongly branded—The victims of bad, or unjustifiably outdated PR. We seldom celebrate the human skeleton outside gothic romanticism, or badass counter-culture rebel. To simply look at the bones we are underneath and accept it as a joyous fact, almost seems counter-intuitive because of their innate association with death and the anxiety death itself produces. Artist Tiina Menzel seems to treat them a bit kinder. 

Among her work, are countless re-depictions of skeletons holding, petting, or fondly interacting with cats. According to an interview with Fandom Wire, Menzel explains her skeletons are a metaphor for depression, more specifically, feeling dead inside. In this vulnerable skeletal state, we’re exposed to our mortality, our deepest anxieties from which there is no flesh, no muscle to shield us. The pairing of these skeletons with feline friends was inspired by her own depression and eventual pet cat, who helped ease her anxieties. 

In illustrating this bond between cat and bone, Menzel places these skeletons on a path of self-healing. What’s lovely to watch, for me, is this literal x-ray of a human, undefined by sex, race, color, country, or god; simply enjoying a warm beverage (I’m imagining and smelling coffee) and spending time with a furry buddy. Whatever worries this person might have, they’ve been momentarily exempt. Menzel’s work is also a reminder that during our moments of peace, of comfort, or happiness, we have a skeleton within, sharing the moment with us.

QUESTIONING ASSUMPTIONS AND SITTING WITH THE TENSION.

So concludes the description for New York based experimental band, Son Lux’s latest offering—The harrowing and turbulent Tomorrows, released this past August. The first installment of an expected trilogy, Tomorrows is inspired by challenge and instability; by volatile states and tension of struggle—All so readily available as muses in 2020.

As the cover art depicts, a sharp light like a sword splitting a rock (a possible symbol for stability), is the perfect representation of this album. The severance is in process, much like the world around us, we’re in the middle of something that, even if good for our future, can also hurt us in the immediate present. That uncertainty, produced by illumination itself, is confusing--Makes us feel lost, but it’s more likely that we already were lost, the light just made us realize.  

Son Lux - Last Light

We Gon See, When That Sun Go Down…

In March of this year, the U.S. began to shut down in efforts to initiate the slowing of the increasingly spreading coronavirus. In the procession of weeks, during the beginning of Spring, when Nature opens back up in The States, humans seemed headed in an opposite direction, closing down restaurants, retailers, clubs, schools, limiting transportation and enacting curfews. Things became, as many of us had never imagined they would, and we adopted what was termed The New Normal.

A Written Testimony, the long-anticipated debut album by Hip-Hop artist, Jay Electronica isn’t about Covid19, or quarantine, or the social protests against police violence that came shortly after but the album did arrive in the beginning of the pandemic lockdown. Perhaps during the week where everyone began to take things a bit more seriously. The album and it’s lean towards lo-production and esoteric wordplay, it’s prophetic tone from a lyricist most revere as a sage, and centering on Nation of Islam teachings and commentary on social ills, both generally and personally, mark A Written Testimony for me, as the herald of what was to come.

I’m not a diehard Jay Electronica fan. Admittedly, I knew very little of him or his work before A Written Testimony—And while I love this new record enough to feel it’s my favorite Hip-Hop album of 2020, I’m still more a fan of the album than the artist, for now. So my expectations of this album or any Jay Electronica debut release for that matter, were zero—Making me easier to satisfy. However, this isn’t the case with most familiar with the artist. Fans have been long awaiting an official solo debut release since 2007. They’ve received teasers to whet their appetite and fuel their faith, as well as jokes about a never-to-be-released debut album. It’s no surprise then, their reception of the album is a bit more divisive.

A Los Que Nos Ofenden

Whether it was the lo-fi production or Jay-Z’s album-wide collaboration, or Jay Electronica’s emphasis on Islam and less accessible deep-cut references, different people felt different ways about all of these things. None of which would matter as much, I’d wager, if it wasn’t Electronica’s debut album. Which brings up an interesting question, I’ve been weighing over the record—Can Jay Electronica even have a debut album?

I ask this in light of the artist’s 13 year build up of expectation. Also, in consideration of his mixtape and features and critically acclaimed singles which detail his talent and biography. On A Written Testimony Jay poses the question as to why he’s been missing or inactive for so long, to which he answers on Ezekiel’s Wheel: “Cuz familiarity don’t breed gratitude just contempt.” But Jay is more familiar than he thinks. Perhaps not the most popular emcee but of those that know him, they know plenty about him. Does he need a full album to spell out what you already know or can easily find out via his rap history?

Again, I’m not the biggest Jay fan and knowing very little of him, I still don’t feel like I’m lost on the album. He’s a witty lyricist with clever references, a love for Nation of Islam, who does things a bit different from everyone else. That’s the overall gist this album provides. He’s confident enough to share what some consider the sacred space of a debut album with Jay-Z, an artist who is as well-known as he his lyrically astute. He’s aware he will be judged for every decision on this first album: he’s likely also aware there’s a blank space in the past where his real debut should’ve landed. 

CLEON PETERSON

In a mini-book of the artist’s work published by Draw Down, an essay is included by artist couple, Christopher & Kathleen Sleboda, titled: Into Darkness. They aptly describe Peterson’s scenes as “high contrast ultra-violence.”

This description addresses both the polarity and shock of violent rage in Peterson’s work. There’s almost certainly always a struggle present, two things in opposition. It could be person to person, group to group or even Atlas holding a heavy burning Earth on his back. His art calls your attention, speaks to something primal. The humanoid figures seem ancient but the scenes are sometimes set in modern cities or the figures, dressed as members of modern society. Because that rage is still here. That capacity to brutally harm one another.

I’ll admit his work depicts violence most interesting when it abstracts context, when its a war or riot, and there’s no way of telling who started it or why—Who’s right or wrong? In his best work, us, the viewer, has arrived too late at the battleground—The backstory blurred by the overwhelming flatness of rage and hatred. We know there’s two sides and each is either defending or attacking; protecting or pillaging. We don’t know who to root for, we just see the tragedy spread across the entire painting.

In these newer pieces depicting police however, they seem less nuanced. The officers outnumber, out-weapon and even out-dress their opponent (singular). Cleon, it seems, is more subjective here than in previous works and yet, it is unclear what these “criminals” have done. Like the war scenes of the past, we arrived to late to know the details. Yet, whatever they’ve done, do they deserve this received punishment?  

Making Sense of Sam Harris

I’ve posted episodes of author, philosopher, neuroscientist Sam Harris’ podcast Making Sense on Primitive Prime! Lab before. Accompanying at least one of those post, were my feelings on some of Harris’ social critiques—Specifically in regards to Black Lives Matter and police violence. Harris is, in my opinion, a great thinker in some areas and problematic in others. The issue is he’s a great orator in either case, Strengthening his arguments in reasoning and analogies that for better or worse polish up a way of looking at a subject through a reduced lens. And while this allows us to understand his argument, in certain cases (especially those that require it most) it leaves little room for nuance.

Youtube Video Essayist, T1J (The 1 Janitor) who himself, also has a complicated engagement to Harris’ work, studies what makes Harris so misrepresented by those who reduce him to a racist bigot, or a rational hero by actual racist bigots. Of course, it is possible to approach Sam Harris from many more lenses than these two but ultimately what T1J gets at, is that Harris himself doesn’t help the matter, as his style of discourse, can lend itself to eloquent vagueness. And it would be one thing if poetic grayness and ambiguity were Harris’ tools of choice but bringing things to light through clear and precise understanding seems to be the crux of Harris’ mission. The video examines then, how Harris manipulates that light.

Plants make air. And they’re kinda good at it. Having inherited the method of light energy conversion known as photosynthesis, from ancestor bacterium who began doing so at least 3.5 billion years ago, they must look at our manmade solar panels like “aww that’s a cute start.” Oxygen isn’t even the point of photosynthesis, it’s the waste product, much like stalking your recent ex on IG isn’t the point of wireless technology but it’s just as much a breath of fresh air when you judge for yourself they’re not doing so good. 

Oxygen, fortunately, isn’t as toxic as some of our break-up behaviors—Even though too much oxygen is also deadly (we’re talking to you Great Oxidation Event of 2.4 billion years ago!)—And life as we know it on earth would vastly alter or outright cease to exist without plants and photosynthesis. Not only thanks to the generous throwaway of oxygen which created the planet’s atmosphere, but also the main craft, the gamebreaking production of carbohydrates, the fuel of all organic life on earth.

We Stan Photosynthesis should be a t-shirt and probably should also inform environmental global policy. Here’s a quick video by Khan Academy breaking down how it works 

For better and sometimes for frightening worse, Spirited Away’s secondary antagonist, No Face, is motivated by a need to be useful to others.

I don’t think I’ve watched Hayao Miyazaki’s animated classic, Spirited Away enough times to cling to the periphery character, No Face, the way I have over the years. The fantasy adventure film released in 2001, follows a 10-year old girl, Chihiro, as she enters a spirit realm, where she must develop courage, compassion and strength in order to save her parents (who have been turned to pigs) and return home.

No Face, at first appears as a mysterious figure who starts to follow Chihiro (or “Sen” as she comes to be known in the spirit realm). Possessing powers of mimicry, No Face causes trouble after eating a greedy, bathhouse worker and incorporates not only the worker’s voice and frog body but also his personality. No Face, continues to devour other workers and their greedy personalities, eventually turning the spirit into a nasty monster.

As the name implies, No Face has no real face, the spirit wears a deceptive mask that hides its much larger mouth further below the mask. Yet, the mask does seem able to convey emotion, particularly dejection, as when Sen rejects No Face’s indulgent gifts to win her favor. 

Also, No Face has no identity. Its sex is undetermined and only seems male due to the powers of mimicry. Every experience immediately informs No Face’s behavior but the motives are always to be liked or helpful, especially by Sen. After handing her a bath ticket, No Face learns people like being given things. No Face repeats this manipulative gesture with gold to lure the other bathhouse workers, who moments earlier were thrilled to see the same gold left behind by a river spirit but weren’t allowed to keep any. However, receiving the treatment of royalty still isn’t enough for No Face, when Sen rejects yet another gift, this time a handful of gold. But she recognizes the bathhouse is a bad influence for the spirit, who reveals its loneliness to her. She helps No Face regurgitate the workers that were ingested and then invites the spirit (now reverted to its initial form) to accompany her on a journey to save her friend Haku. You get the feeling, this is what No Face wanted all along. To be helpful to her.

Not knowing how to be helpful, not knowing how to connect with others can be hell, a lonely void in fact. And when we misunderstand how to succeed in doing either, we can become manipulative and selfish or narcissistic. Giving fool’s gold to center ourselves as valuable, using others and mimicking opinions and ideas that aren’t our own in order to win people over. No Face is Miyazaki’s study into such behavior, but No Face also teaches us the value of accompaniment and learning. It isn’t in gifts, or protection, or advise, that No Face helps Sen, or rather Chihiro, its simply by being present because honestly No Face isn’t capable of anything else yet.