Club to club

One of the best remixes/covers I've ever heard.

In flagrante delicto

I rarely liked acoustic versions, but this song is sad and yet irresistibly dance-able.


In every Crystal Castles album, there's always one or two instrumental tracks that feel like it's part of a longer clip. In the self-titled album back in 2008, there was "Tell Me What To Swallow"; in their second album, it's "I am Made of Chalk"; in their third album, it's "Child, I Will Hurt You". In their most recent album, Amnesty, aside from "Their Kindness Is A Charade" is "Teach Her How to Hunt", a clip so aural and raw it gives me goosebumps. It laid down a background of scratchy excerpts - of a woman shouting (the typical shout from any Crystal Castles song), of animal-like growls? - that retreats when a Tim Heckeresque kind of drone creeps in, reaching full crescendo before it crashes - cymbals and car crash - towards the end of the song. I love how this song hints at something grave and tragic in less than two minutes.

Danh Vo

“Lot 20. Two Kennedy Administration Cabinet Chairs,” from 2013,
a disassembled chair from the personal collection of Robert S. McNamara.

“Oma Totem” (2009) made from a television, washing machine, refrigerator and a wooden crucifix.

A detail from Danh Vo’s “We the People,” a model hand from his replica of the Statue of Liberty,
in a survey of his work at the Guggenheim Museum. 

I like how "readymade" some of Danh Vo's artworks are. I also like the stories behind each artwork: how an innocent-looking keychain was about the apartment the artist once shared with an ex-partner and the car that the man gave him; how the stack of items in "Oma Totem" are the three items his grandmother - a refugee who fled Vietnam during "McNamara's War" - received from relief organizations upon her arrival in Germany; how the "chair" acted both as furniture and as an allusion to the concept of power (as in "seat of power"); how the gift of France to America, a gigantic statue of bronze that symbolizes liberty, was dismembered (and you can feel the rage here), because the French was never innocent in the formation of Indochina - nor was America innocent in the American War. Another interesting angle: the fact that the artist himself, educated in Denmark, civilised and Western through and through, to make art about colonization and understand the tragedy that made him him. It's a vicious cycle, and it's bittersweet: Can't you make this art without being colonized? Isn't he better off after everything happened? You cannot talk about that which had not taken place? <link

Nap times

We were in New York, with a group of ex-officemates and my family, and we went to a Chanel pop-up store and you wanted a really nice cloche hat - not sure what it's called but it was worn in that silent film I watched last year - and it's $300, and there were perfumes on sale, etc.