Opening today at Tate Modern: The World Goes Pop, an exhibition presenting less known – or, in many cases, virtually unknown – artworks linked to the Pop Art movement. While formally inspired by the pop aesthetics, the artists exhibited (most of them Eastern European, Asian, Latin American and/or Mid-Eastern) used the easily recognisable visual language in a more critical context. See our photos on Flickr.
Temporal transience, may cause dislocation of self-regard.
Damage to biological and mechanical audio receptors, protection recommended. Envy the deaf.
Dangerous upon contact with containment.
Jerry Saltz’ lollipop. Spontaneously evolves critical elements necessary for combustion.
Induces involuntary heat and moisture, keep separate from super ego or fragile morals.
Indicates a broad spectrum with low penetration. Can be handled safely.
Senses overload creating bank account amnesia and pleasure unprincipled.
Overpowering effects on other reactants, too big to fail.
Stow away from foodstuffs and wash hands thoroughly.
Immediate transcendence by design.
May trigger revelations in excess of normative conceptions.
Multi-disciplinary stimulants and materials, may cause jouissance .
Excess of intermediary representations causing nausea, diarrhea and tiredness.
Volatile capital reacting with ego, converting artworks to Veblen goods.
Irreversibly damages accepted social conceits.
Causing and/or creating euphoric states.
Dangerous elements rendered domesticated.
Endangers the visual environment, may leave scratches on the retina. Protective eye-wear to be worn.
Art14 is in its second edition (it was called Art13 last year) and judging from the crowds lined up Thursday night at Olympia Grand Hall, it is definitely one to take notice of. Branded as the global art fair, it brings together artists and dealers from up-and-coming art cities as Hong-Kong, Beirut, Cluj, Istanbul or Sao Paulo, plus the usual suspects. Impressions? Rainbows, unicorns and kittens are globally in!
Puppies in every form were present too: a ceramic one (the beloved Koons’ vase), mixed media specimen and a live chihuahua, merging splendidly amongst the ample presence of bling and kitsch. Other entertaining arrangements involved bumblebees, 3m high Facebook tombstone, South Park–themed stained glass wall, paintings of little Mermaids and Lazarides’ street art galore.
What we liked:
Los Carpinteros‘ speakers’ installation and Felipe Dulzaides‘ photo series (a Cuban version of Belgian Solutions) @ Galeria Habana,
Adeline de Monseignat‘s cocoon sculpture @ Ronchini,
Katinka Lampe’s paintings @ Les Filles du Calvaire,
Jake & Dinos Chapman‘s etchings @ Paragon Press,
Yinka Shonibare Cannonball Heaven @ Pearl Lam galleries
and the Emerge section of the fair.
Art 14 is in London Olympia Grand Hall from today till Sunday March 2nd from 11am till 7pm (on Sunday till 5pm)
Our longtime friend and Flash guru/artist Han Hoogerbrugge has a new website and he is not expecting you to visit it. In an open letter to humanity – sarcastically titled Facebook killed my website – he explains how the daily traffic to his once hustling URL deteriorated to the occasional Viagra salesman visit. True to his quirky sense of humor, he decided to turn hoogerbrugge.com into a fancy digital tombstone.
and last but definitely not least:
digitally immortalised Happy Famous Artists (click on “watch the animation”)
Top Secret – Images from the Archives of the Stasi, is a project of the German artist/photographer Simon Menner. Menner takes a deep dive into the Stasi archives and diggs up photos that make us look through the eyes of East German intelligence. Published in a book form by Hatje Cantz earlier this year, it contains texts by the artist in German and English, along with 160 previously unreleased pictures.
Menner’s work is provocative and subversive as it plays out the difference between what a viewer can observe in the photo and the stories and context that are hidden behind this first glance. In Murder Weapons (2009) he showed a collection of knifes, guns and axes photographed as on a museum display, when in reality they came out of a Berlin police department archive and were found at real murder scenes. Images of Happy People (2012) shows pictures of smiling, next-door American girls from the 60s and 70s. But it turns out that they were shot by serial killer Rodney Alcala. The smiling girls had no idea who was behind the camera.
In Top Secret, Menner has divided his sourced material in 3 chapters: Manuals, Operations and Internal Affairs. Each category shows series of original photos of Stasi agents in action.
Manuals show how spies learned their job. We see lessons in how to disguise, how to transmit signals, how to arrest people, how to neutralize someone in close combat or how to perform a successful surveillance action. Wigs, mustaches and funny 80s fashion support the absurd atmosphere. Among our favorites are the Benny Hill lookalike and the wealthy Western tourist.
The second chapter casts a light on Stasi’s Operations by showing evidence of the zealous effort that was put in surveilling people. Photographs taken during illegal searches of private houses, pictures of spies shadowing other spies, shadowing ordinary people, the surveillance practice of mailboxes, foreign embassies etc. The most interesting specimen are undoubtedly the ones that are categorized as “aberrations”: Stasi taking a selfie in his car, a cute guinea pig snapshot taken during a house search… a proof that the spies were human after all.
The last chapter, titled Internal Affairs, consists of photos from Stasi fancy dress parties and official award-giving ceremonies – once again very amusing for their flash-back look and feel, but at the end not that different from your usual corporate office events.
Top Secret takes the reader on an interesting journey. It does a very good job in demonstrating the level of surveillance and the deep penetration of the “spy culture” in Eastern Germany. It also shows how fashion and styling of 20 years ago look very dated today ;-). But rather than just criticizing or taking a piss, Menner also tries to show the human side of the spies.
Last but not least, it makes you reflect on the act of surveillance. Perhaps you ask yourself how would a similar book look like 20 years from now? What if a young artist in 2035 got access to the archives of the secret services of a Western country such as the UK or the USA? Would there be pictures of your home? Or would it be TerraBytes of data containing all your emails? Would there still be evidence? The low-fi way of surveilling people left traces: photos, documents, name lists. The current digital archives are easier to get rid of. But is eg. secret systematic scanning of all emails less dubious than a polaroid that proves the spies were in your house?
The one small pitfall of this book is at the same time its strength: the fact that it is really funny. It might let you believe that it’s all a bit of a joke and mask the actual seriousness of the topic.
Art, fashion, graphic-, interior- and furniture design, architecture, toys, comics and film: Barbican’s new show has it all. From plenty of iconic pieces to less–known works, it beams you up to the fabulous world of bright colors, soft shapes, loungy chairs, fur, neon, plastic, fun and happiness. ‘Nough said, photos should do the rest. And when you go, don’t forget: exit through the gift shop. Have a brilliant Friday!
Giving special attention to objects of everyday use, the show accentuates the central role played by applied art and design during the Pop age. Commercial design, the language of advertising, comic illustrations, emerging technologies and new industrial materials were amongst the major sources of inspiration for Warhol, Rauschenberg, Lichtenstein, Oldenburg and other big names from the 50s, 60s and 70s. And vice–versa, designers picked whole lot of inspiration from their fine art colleagues, effectively blurring the line between the two fields.
There are plenty of good examples of this throughout the show, starting with the social and aesthetic foundations of Pop and explaining ways in which art and design reflected the social upheavals in the post–war period; then continuing through rich selection of thematic displays, including female fetish, robots and computers, celebrities and Hollywood, interior design and lightning, album covers etc. The upper floor focuses on pieces that played with scale and material: “soft” sculptures, shiny surfaces and other seductive designs attempted to form emotional attachment between the object and the consumer; and concluding with Pop gradually merging into Postmodernism.
RIP Lou Reed and thank you. For being part of The Velvet Underground, for Transformer, Berlin and even for Metal Machine Music. Thank you for surviving the seventies and for Songs for Drella in the late eighties. We’re sorry we lost track of you during the nineties but were happy re-discovering you again during the last couple of years… Thank you for collaborating with The Killers, Metallica, Gorillaz, …
We’ll miss you.
The difference between the online and the offline start disappearing. We live in a digital world and technology is increasingly getting integrated into our behavior. With commercialization of natural user interfaces like Microsoft’s Kinect and Leap Motion or advanced virtual reality headsets like Oculus Rift, the blurring of the lines between the virtual and the real is even more rapid.
Games are playing a crucial role in this rapid digitization. People have always loved to play, but the complexity of current games, their production value and the level of interactivity advances so dramatically that they are becoming cultural artefacts of our time: World of Warcraft, Grand Theft Auto etc., have become references beyond the gaming community.
Grand Theft Auto V was released last month. It took five years to produce and it made $800 million just in the first 24 hours of sales. Fernando Pereira Gomes – art student, street photographer and gamer – noticed, when playing the game, that the personages carry mobile phones with a camera. The gamer can then upload the pictures to his game profile and download them to his computer. Gomes started taking “street photography–style” snapshots in the game and through the eyes of his character – and the result is amazing. It’s a virtual street photography, made through a virtual person, and yet it feels so real.
To quote Gomes: “What I found was remarkable. The game is so realistic that it felt like being on the streets outside, running around for shots, anticipating passersby’s movements and reactions. In a way, it was also incredibly frightening that these algorithms could look so real, or is it that we ourselves are becoming ever more algorithmic?”
Check out the pictures on his tumblr Street Photography V.
With some delay, but here’s our final post (see also the previous ones) about this year’s Biennale – for all of you who haven’t been yet. Tips about where to go and what to do when not gazing at art. You can also download our Best of Venice list on Foursquare, featuring selection of HFA-researched and approved bars, wineries and restaurants. And Venice has plenty of them :-).
Arrive to Venice in style
Take a water taxi from Marco Polo airport to your hotel. It ain’t cheap but it’s the best city entrance and a holiday starter ever (unless you are sailing with your own yacht). You can book your ticket online or just walk out of the airport, down the sidewalk to the water and chose from the ones waiting there. You won’t regret it, guaranteed.
Visit the islands of Murano and San Michele
Murano can be reached by vaporettos 4.1/4.2 from Fondamenta Nuove in Cannaregio. The island, famous for its glass industry (Murano Collezioni showroom has some beautiful antique and contemporary glass design pieces), is a kind of miniature Venice minus the tourists. Great place for a walk, with splendid views and some architectural masterpieces, such as the Byzantine cathedral Santa Maria e San Donato or the church of San Pietro Martire.
The first stop on the same journey is the island of San Michele. Surrounded by red brick wall, you’ve probably seen it from the northern banks of Castello and wondered what’s behind? Today the entire island is a cemetery, but once its monastery served as prison. Best time to visit is early in the morning, when you’ll be alone with some locals. Walk through the park and pay tribute to past generations of Venetians – short sense of mortality in contrast to the immortal feeling of the rest of the city is gripping.
Visit the island of San Giorgio Maggiore
Another nice short trip is to San Giorgio Maggiore that lies just across the lagoon from the Arsenale. It has amazing views of Venice and calm, peaceful atmosphere. The San Giorgio monastery (HQ of Fondazione Cini) is currently showing Marc Quinn, with as highlights his monumental bronze shells at the waterfront and his white marble embryos in the inner courtyard. To get to the island, take line 2 from San Marco/Zaccaria and get off at the first stop. Afterwards you can either return to San Marco or continue towards the island of La Giudecca.
Take a vaporetto tour around the Grand Ganal
Do this just before the sunset – you’re in Venice after all! Take vaporetto 1 or 2 at Giardini in the direction of the Santa Lucia Station (Ferrovia). Grab one of the front deck seats and have your camera ready as you’re in for some proper sightseeing: Punta della Dogana, Peggy Guggenheim, Accademia, Palazzo Grassi, Rialto bridge, the fish markets etc. Upon arriving at the station, either walk back through San Polo or take a detour through the Jewish Ghetto. Alternatively you can switch to line 5.1/5.2 (direction Lido), which passes through Cannaregio and through the northern lagoon. Get off at Ospedale and walk along the canal towards Campo Santi Giovanni e Paolo for an evening espresso. Ecco!
Eat & drink like a local
We recommend buying Russell Norman’s book Polpo about Venetian cuisine that lists some of his favorite food spots in Venice and serves as a great culinary guide. The traditional Venetian bars are called bàcari and the typical small snacks they serve are chichèti. They come in many forms: meatballs, cheese-balls, seafood and various other ingredients pinned to small toasts with a toothpick. They cost around 1,50€/piece, should be eaten in one bite and followed by “ombra” (house wine) or Spritz (white wine and Aperol). Great places to do that are (listed by neighborhood):
Cannaregio: Timon is a nice place to go in the evening. It’s filled with the local youth, serves great chichèti as well as some more elaborate dishes, and has friendly staff. You can eat inside or join the crowd by the canal. La Cantina is not ideal if you want to be served quickly (meaning in less than an hour), but if time’s not an issue, their meat and seafood plates are heavenly. Alla Vedova (Ca’ d’Oro) is known for its meatballs (polpette). It gets pretty crowded in the evenings, so reserve in advance.
Dorsoduro: behind Accademia is one of the best squares of Venice, Campo Santa Margherita, with plenty of bàcari to chose from. Apart from the famous Caffè Rosso, there’s Imagina Café and bit further by the canal Cantine del Vino già Schiavi, with good selection of wines, chichèti and local folks.
San Marco: just one, but a great one: Osteria San Marco. Superb wine list and great food. And not too touristy despite its location!
San Polo: All’ Arco, Do Mori and Al Mercà are all tucked behind the Rialto market and hard to find at first. Al Mercà is just a recess in a wall with a counter. Order your chichèti (and Spritz) and eat them right on the square. Do Mori is the oldest and the most atmospheric one, with barrels, kettles and other paraphernalia. And All’ Arco is where you go for the best baccalà mantecato (creamed salt cod).
Eat & drink like a VIP
Venice also has many superb restaurants an famous local chefs – and of course its trademarked Bellini cocktails. Here’s where you should go for some haute cuisine and grand designs (unfortunately also with with grand price tags):
Bellini is the ultimate Venetian cocktail, so make sure you taste it in proper settings, such as on the terrace of the Bauer Hotel, with a view on the canal and the yachts parked behind Punta della Dogana.
Il Ridotto is a boutique, beautifully designed restaurant, run by chef and wine expert Gianni Bonaccorsi. The food is prepared according to season, with fresh ingredients sourced from the market and an innovative approach. You can’t go wrong.
Osteria di Santa Marina (conveniently located just in front of our hotel) is a classy, hospitable restaurant with a creative take on traditional Venetian cuisine. You can eat alla carta or opt for their seafood and/or meat tasting menus, both are superb.
Corte Sconta is just 5 minutes away from the Arsenale. Hidden in a narrow side street and looking very inconspicuous, it’s nevertheless widely known amongst foodies and international gourmands for the skills of its chef/owner Rita Proietto. Her seafood platters are to die for – and advanced reservations are a must.
Alle Testiere, run by chef Bruno Gavagnin and sommelier Luca di Vita, is by account of many experts the best seafood restaurant in Venice. It serves simple but truly unforgettable dishes prepared from fresh local ingredients and served in relaxed, friendly settings. It needs to be experienced, but make sure to book several days in advance, as tables are few and their popularity is legendary.
The Encyclopedic Palace is a title of the main exhibition of this year’s Biennale, which is on display in Arsenale and in the Central Pavilion in Giardini. Curated by Massimiliano Gioni, the title refers to an unrealized project dreamt up by an Italian immigrant Marino Auriti (1891–1980), of a museum documenting all human endeavors inside a 700m-tall “Encyclopedic Palace of the World”.
Auriti hoped that his palace would become “an entirely new concept in museums, designed to hold all the works of man in whatever field, . . . everything from the wheel to the satellite“. Alas, the project only materialized on the scale of a architectural model created by Auriti during his retirement. But Auriti’s dream serves as a metaphor for creative pursuits outside the mainstream, for our desire to collect and to catalogue, and as tribute to all visionary, crazy minds.
“Auriti not only encapsulates some of the themes of the show, but he also came to incarnate one of the exhibition’s larger questions, which is the distinction between the professional and the self-taught, or the professional and the autodidact. By blurring this line, the exhibition takes an anthropological approach to the study of images, focusing in particular on the realms of the imaginary and the functions of the imagination. What room is left for internal images—for dreams, hallucinations, and visions—in an era besieged by external ones?”, says Mr. Gioni, who can surely relate to some extravagance. Early in his career (he’s now director of the New Museum in NY), he used to act as a doppelgänger of the artist Maurizio Cattelan.
Some of our favorite pieces from Arsenale:
Yuri Ankarani: Da Vinci
Ancarani‘s hallucinating video shows an entire robotic surgery operation. The robot, called Da Vinci, is being controlled by a human surgeon.
Michael Schmidt: Lebensmitten | photos
Schmidt‘s photos explore various aspects of industrial food production in Europe by documenting factory farms, grocery stores, slaughter houses, dairy farms etc.
Ragnar Kjartansson: S.S. Hangover | photos
Icelandic artist Ragnar Kjartansson built a hybrid version of Greek, Icelandic and Venetian vessel that sails through the Arsenale canals with a brass band onboard.
Paulo Nazareth: My Mother’s Saints | photos
Paulo Nazareth wanders the world, collects products and uses them in installations. The ones exhibited here all have names of saints (of his mother) in their titles.
Hito Steyerl: How Not To Be Seen. A Fucking Didactic Educational .MOV File
Steyerl‘s funny instructional video informs us “how to remain invisible in an age of image proliferation” (one suggested tactic: become smaller than the size of a pixel).
Rossella Biscotti: I dreamt that you changed into a cat… gatto… ha ha ha | photos
Biscotti‘s minimal sculptures were produced from compost bricks, using pooled rubbish from the cells, kitchen and garden of the Venezia-Giudecca female prison, where the artist held weekly “dream” workshops (sharing conversations and dreams with the detainees).
And from the Central Pavilion (Giardini):
Oliver Croy and Oliver Elser: The 387 Houses of Peter Fritz (1976–1992) | photos
387 meticulously crafted model buildings of different provincial architectural styles created by an Viennese insurance clerk Peter Fritz around 1950-60 and saved in ’93 by Oliver Croy from a junk shop.
Richard Serra: Pasolini & Thierry De Cordier: Mer Haute / Mer Montée | photos
Grand finale indeed. The combination of Serra‘s steel block installation and De Cordier‘s dark paintings is pitch perfect!
The Royal College of Art’s 2012/13 degree show opens to public this Thursday, presenting works of more than 500 MA, MPhil and PhD graduates. It’s a hell of a lot to absorb, so one probably needs to prioritize which departments to concentrate on. We had a a quick peek yesterday at the Design Interactions (at Kensington campus) and Fine Arts (Battersea). Here’re some of the projects and pieces that caught our eye:
Kelvin Brown: Where Are We Going?
Kelvin graduated from the Visual Communication department (which we unfortunately haven’t had the time to visit), but we came across his audio piece in the shuttle bus that operates between the Battersea & Kensington campuses and it has made the journey worth! We loved the smart idea of turning what would normally be a boring transfer from A to B into an amusing experience. Where Are We Going?
contemplates the neighborhood the shuttle passes through (one of the most expensive London districts) and the career outlooks of a fresh art graduate. How realistic is the dream of being an artist, what is creativity and passion worth when confronted with monthly bills, what are the odds of an artist ever living in a neighborhood in which an average yearly salary exceeds £100.000?
Kristina Cranfield: Manufactured Britishness
Kristina’s project comments on the absurdity of the naturalisation process in UK. How does one become British: what are the criteria set by the institutions, who decides if an applicant is “British enough” and where might this lead? Playing with the curious examples from the existing Life in the UK test, she creates a video showing a fictive group of future UK citizenship applicants, trying to prove their worth of the holy British passport. Part of the project is also a newspaper dated 29th of May 2020, reporting on how to shape model citizens, warning about the spread of black market spaghetti traders and offering free terminations for selected cat breeds (Persian, Bengal, Russian Blue, Turkish Angora owners better watch out). Finally, Union Jack recognition test can be done onsite – make sure you pass…
Daniel Bragin: Proposal for a Russian Olympic Cycling Team 1992
If we were to predict which would be the most remembered piece of this year’s RCA show, we bet on Daniel Bragin’s awesome black–n’–golden bicycle. A brilliant edition to any oligarch’s art collection, we’ve already spotted couple of potential buyers during the press view, who would have gladly snatched it, together with his other two installations: Murka Triptych and Glossy Matter. The Russian-born and London– and Amsterdam–based Bragin has also caught the eye of Charles Saatchi, who included him in the recent Gaiety is the Most Outstanding Feature of the Soviet Union show. The artist’s describes his bicycle as:
“It’s not about what you see in the first place. The Russian Orthodox church, the New Russia, the phrase ‘Gott Mit Uns’ written in Gothic letters or the decadent gold plated parts – that’s just the first layer. But I would like to offer more than just the first impression. The deeper layer has to do with a link between the invisible aspects and the unity that exists between the Russian Orthodox religious fields, the rebirth of the new Russia and the dictatorship that we remember from the past.”
Other intriguing stuff:
Benedikt Groß‘ Big Atlas of LA Pools, Bertrand Clerc‘s proposal for nuclear waste disposal, Agatha Haines‘ mutant babies (all from MA Design Interactions); paintings by Raymonde Beraud, Charlotte Develter and Tyra Tingleff; Roman Liska‘s Brace Brace project and Adam Hogarth‘s video (long live Trolls, man!!) Photos we took are here.
Show RCA 2013 is open to public from 20 to 30 June, 12-8pm (closed on June 28) on campuses in Kensington and Battersea.
RCA Kensington / Darwin Building
Critical & Historical Studies
Footwear & Accessories
History of Design
Innovation Design Engineering
Textiles and Vehicle Design
RCA Kensington / Stevens Building
Animation and Visual Communication
RCA Battersea / Dyson Building
Ceramics & Glass
Goldsmithing, Silversmithing, Metalwork & Jewellery
Critical Writing in Art & Design
Curating Contemporary Art
RCA Battersea / Sackler Building, Sculpture Building, Moving Image Studio
RCA BAttersea / Testbed 1
Online catalogue available here.
Discovered on this cold but sunny Easter morning in Shoreditch: the Pope by Banksy or in a Banksy’s style (who can be sure of these things nowadays anyway).
What’s more remarkable is that Vatican was the first to spot this new piece and included a witty retort in today’s Pope Francis’ “Urbi et Orbi” address, denouncing ‘greed looking for easy gain‘. Eat this, spray-can Philistines!
Not sure if we can call it a meme, but there is something going on with fake twitter handles. It seems that you can’t call yourself a celebrity nowadays without having a more critical alter ego speaking in 140 characters. Top of the charts is @Queen_UK with more than one million followers and even a separate application. On a much smaller scale in terms of followers, but not less funny, is @Hirst_Shark, commenting on the art world, or @NotSirSorrell tweeting about the advertising industry.
You could see these twitter handles as a form of an internet joke, but if you look at them from a more historical perspective, one could see them as being the jesters of the digital age.
Jesters were around in ancient Egypt and entertained the Aztecs. In England they were part of the political life until Cromwell decided it was a sin to have a bit of fun and burned them alive together with everybody else who dared to think differently. In 17th century Spain they must have been still popular because Velázquez painted two of them in his painting Las Meninas. Unfortunately, as of the 18th century most jesters had disappeared from public life.
So next time you see a Gin O’Clock message or you read a rant about Larry by Damien Hirst’s Shark, think of it through the eyes of a digital ethnographer and enjoy the rebirth of the jesters!
Design Museum London opened new exhibition of its permanent collection yesterday. Divided into six themes, it tells stories of everyday objects that turned into iconic design pieces and contributed towards shaping contemporary lifestyle and culture. The exhibited items include furniture, product design, fashion, transport and architecture alongside a selection of prototypes, models and commissioned films.
The exhibition itself is beautifully designed by Gitta Gschwendtner, with graphics by A2/SW/HK.
The 6 themes include:
Identity & Design, with objects that define what one understands under being typically “British”, such as the red phone box and post box, motorway signage, traffic light etc. Even the hated 2012 Olympic logo made it to the selection.
Taste, covering the period of modernism in Britain, with examples of furniture, textiles, architecture etc.
Why We Collect presents one of the Design Museum’s newest acquisition, the Handlebar Table of Jasper Morrison, aside with several selected pieces of design made with found objects.
Materials & Process tells the story of the dominance of plastics in our lives in the last 75 years. The section is illustrated by numerous objects, from toys and household items, to furniture and Apple Macintosh computers.
Icons, presenting several versions of one iconic design: George Carwardine’s
Fashion shows selection of garments from 1980–2000, from the collection of Lady Ritblat.
Here are our photos from the preview.
Unfortunately the show was on for just a week (it finished last Sunday), but it was well worth experiencing! To celebrate the release of Wreck-It Ralph (animated movie about an arcade game character who travels through other arcade games in a quest to rid himself of his role as a villain), Disney transformed part of East London’s Brick Lane into a pixelised mise-en-scène with 8-bit clouds, tree, dog and pigeons as well as several icons of the city’s urban landscape: black cab, black water pipe, red mailbox, CCTV etc.
The models were created by film production sculptor Aden Hynes. Pixel perfect!
Once you have eliminated the impossible, whatever remains, however improbable, must be the truth. (Mr Spock)
It’s the 31st of December, so Happy Famous Artists’ Head of Permanent Revolution, Rick B., must have celebrated his birthday yesterday! Happy birthday brother – live long and prosper!
If you want to wish Rick Happy Birthday, then do so by signing the Wow Petition, a crowd-sourced, legally & politically consulted, group petition backed with a larger (& cunning) strategy!