Van Bennekom still allows portrait photography in his magazine, albeit in black and white and with the least possible iconic aura, Gander goes a step further, because such images are entirely absent from ‘The Death of Abbé Faria’ at the Stedelijk Museum Bureau Amsterdam.
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Rather than the generalized decay in all aspects of life connoted by Entropic Meltdown, he asserts the importance of “the undulating vibration of all-consuming death and its poetic equivalent in the realm of art,” citing life with the knowledge of death within it as of greater importance.
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In ‘Black Systems – Extended Version’ Van Liefland’s media archaeological approach does not lead to an apparition, a trail of death, but to a physical residue, a presence of the analogue empire and its media artefacts that Van Liefland cherishes, manages and stores and which he transforms into topical and unique work.
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He sketches a merciless picture of how, during the twentieth century, Western men and women progressively 'disencumbered' themselves of the onerous aspects of human existence: traditional standards and customs, social and family structures, sexual reproduction ... until, in The Elementary Particles, even death itself is finally banished.
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In the Second Manifesto on Surrealism, Breton explains very clearly the surpassing of the classic conception of imagination in the way surrealism suggests: “Everything seems to make us believe that there exists a certain mental vantage-point at which life and death, the real and the imaginary, past and future, the communicable and the incommunicable, and high and low, cease to be perceived as contradictions.
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Like van der Werve’s rocket that cannot escape, the recently deceased Canadian actor James Doohan – the non-leading man who received minor fame as engineer Scotty on the original Star Trek series – tried for decades to escape the gravity of his character’s long shadow, to escape the fake Scottish accent he’d created, or the apocryphal “beam me up Scotty” tagline that he never uttered, or his deathless appearances in Star Trek sequels, cartoons, parodies, and fan conventions.
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