From The New York Times:

““Exit” is billed as “a Banksy film,” but Banksy, the notoriously reclusive British street artist, appears only rarely, face hooded and voice distorted. Even so, it is Banksy whom audiences will come hoping to see, stimulated by the canopy of hype that this artist has carefully erected, in interviews and on the festival circuit. What they will find is, like Banksy’s best work, a trompe l’oeil: a film that looks like a documentary but feels like a monumental con.” (more)

Visit the film’s official website.

About Mona Kuhn:

“Mona Kuhn was born in São Paulo, Brazil, in 1969, of German descent. She earned her degree in the United States from Ohio State University. Since 1998, she has been an independent studies scholar at the Getty Research Institute in Los Angeles. Her work has been exhibited, and is included in public and private collections, internationally and in the United States. Kuhn’s first monograph, Photographs, was debut by Steidl in 2004; immediately followed by, Evidence, published by Steidl and released in Spring 2007. The images appearing in Evidence were photographed entirely in France, where she resides each summer.” (more)

Interesting comments about Kuhn’s work by Joerg Colberg (from his Conscientious’ blog):

“It’s probably not surprising that this kind of photography looks just like advertizing (minus the clothes) and that it usually is described as bringing back “youth” and “freedom” to photography when it is “discovered”. (more)

Colberg is quoting Alexander Adams’ analysis of Ryan McGinley’s work:

“It is here, ever more specifically, that the work continues its travel into the collective Spectacle – the domain of Guy Debord’s societal criticism – it joins product advertising in creating the image of an unattainable lifestyle – the “world vision which has become objectified [17].” McGinley shoots thousands of rolls of film, creates elaborate situations, to attain what he expresses as “the life I wish I was living.” If even he – young, hip, white, famous, and increasingly wealthy – cannot actually attain this lifestyle, it is hard to comprehend it as existing for anyone outside of the shallow frame of his camera.” (much more)

In McGinley’s case, I think it’s really hard to say if this is a weakness or a quality : his work is a symptom of its time. I find the reflexive quality in Kuhn’s work to be less evocative. Some of McGinley’s photos could offer great illustrations for Bret Easton Ellis’ novels. Just like Terry Rogers decadent photorealist paintings.

“This Film is Scientifically Authentic!”

Ballardian.com

An impressive onilne magazine about “animated spaceship and experimental aircraft art”.

“This feature about Philip Dick’s “Valis” experience was published in Weirdo comic #17 from summer, 1986. It is an interesting graphic interpretation of a series of events which happened to Dick in March of 1974. He spent the remaining years of his life trying to figure out what happened in those fateful months. You will find all 8 pages of this story here. The file sizes are rather large (120-140K each) so that the text was readable and the detail visible. Enjoy The Religious Experience of Philip K. Dick. In typical Dick fashion, you will find that it raises more questions than it answers.”

Also available as a Scribd document HERE (it seems to be neither printable nor downloadable).

I don’t know about the whole (re)evolution thing (“Now we have the mouse, which at this very moment puts you just one click away from playing a role in the future of everything.”) but it sure is a place were you can find interesting pictures of random things found all over the Internet. Interestingly enough, designer Folkert Gorter is also responsible for the creation of the new “personal publishing platform” called Cargo (you may have experienced it’s interface via the But Does It Float design blog which is regularly featured on ffffound and is, by the way, also maintained by Gorter).