Marie-Sophie Wilson by Peter Lindbergh, 1988
![“Like most storytellers who use mystery as a structural device and not a thematic device, Lynch is way better at deepening and complicating mysteries than he is at wrapping them up. And [Twin Peaks]‘ second season showed that he was aware of this and that it was making him really nervous. By its thirtieth episode, the show had degenerated into tics and shticks and mannerisms and red herrings, and part of the explanation for this was that Lynch was trying to divert our attention from the fact that he really had no idea how to wrap the central murder case up.”
David Foster Wallace, “David Lynch Keeps His Head”](http://24.media.tumblr.com/3d5ee49a4c1276cd3c8721a3c4bb7cdb/tumblr_mkj37doqPN1qc135jo1_r2_500.jpg)
“Like most storytellers who use mystery as a structural device and not a thematic device, Lynch is way better at deepening and complicating mysteries than he is at wrapping them up. And [Twin Peaks]‘ second season showed that he was aware of this and that it was making him really nervous. By its thirtieth episode, the show had degenerated into tics and shticks and mannerisms and red herrings, and part of the explanation for this was that Lynch was trying to divert our attention from the fact that he really had no idea how to wrap the central murder case up.”
David Foster Wallace, “David Lynch Keeps His Head”
Zhang Xin Yuan in front of Yukio Mishima, Ordeal of the Roses #32, Eikoh Hosoe, 1961
« Le bonheur des enfants est un mythe ».
Voilà qui est net. Il est vrai que Nietzsche est un habitué de l’abrupt. A d’autres, les discours faux-culs ou tarabiscotés. Lui est direct, sans oublier d’être subtil. Car il ajoute aussitôt (dans Humain trop humain, I, § 265) que ce sont les adultes – comprenons les vieux, les rassis, les sans joie - qui se racontent pareille histoire. Le bonheur leur paraît une terre si lointaine, si distante de leur journée réelle, qu’elle se situe forcément dans cette contrée qu’ils ont quittée de longue date, et presque oubliée. En fait, les enfants ne sont ni heureux ni misérables. Pour Nietzsche, ils sont plutôt violents, libres, fantasques, tranchants. Vivants, donc. C’est pourquoi, quand Zarathoustra, son prophète, se « fait enfant », il ne faudrait surtout pas croire en une régression niaise. C’est un éveil.
Roger-Pol Droit, “Ce que devient le lion chez Nietzsche”, Le Monde.fr, Vendredi 14 Juillet 2011
"When life doesn’t give you satisfaction, you go to the movies."
— François Truffaut
![Lenin and the maiden (2003), by Magda Tóthová. Video performance, 2´34min, loop.
“Lenin and the Maiden […] borrows a fable-like narrative. The single channeled screen displays a degraded bust of Vladimir Lenin tilted slightly upward facing the subject off camera. A hand enters the shot, and Lenin’s face is gently caressed before a young female leans in from above to kiss him tenderly. As moments elapse, she becomes more aggressive with her affections, intensifying the passion and sexuality. Although Lenin seems to exist merely as a severed icon, the camera also optically beheads the girl. The relationship implies the transference of power from old heroic dictator to post iron curtain youth, although it could also insinuate secret desires for the strong political leadership of the past.” (Julie Roberts)](http://24.media.tumblr.com/dd1e8b4bbf3b0b2b57537ba7b7594402/tumblr_mkbumdfyUc1qc135jo1_500.jpg)
Lenin and the maiden (2003), by Magda Tóthová. Video performance, 2´34min, loop.
“Lenin and the Maiden […] borrows a fable-like narrative. The single channeled screen displays a degraded bust of Vladimir Lenin tilted slightly upward facing the subject off camera. A hand enters the shot, and Lenin’s face is gently caressed before a young female leans in from above to kiss him tenderly. As moments elapse, she becomes more aggressive with her affections, intensifying the passion and sexuality. Although Lenin seems to exist merely as a severed icon, the camera also optically beheads the girl. The relationship implies the transference of power from old heroic dictator to post iron curtain youth, although it could also insinuate secret desires for the strong political leadership of the past.” (Julie Roberts)
Tatjana Patitz ph. by Peter Lindbergh
“Elle avait déjà à l’époche un visage de femme. J’admire beaucoup Tatjana, car elle sait rester elle-même. Elle est à la fois très douce, mais aussi très forte, et elle sait défendre son opinion; c’est toujours un enrichissement de la côtoyer. C’est impossible de ne pas l’admirer et, même après des années, de ne pas être amoureux d’elle.”
