Nicolás Guagnini - Bortolami Gallery
Pretend You’re Actually DeadNotes1. Literally. The discussion of the Winter Gardenphotograph arrives at almost precisely the mid-point ofthe book, as if it sat at its invisible center. One cannothelp but think here of Walter Benjamin’s notebooks,in which he reorganized paragraphs so that the firstmention of the term “aura” would come at the verycenter of his “Work of Art” essay, or of Pier PaoloPasolini’s Teorema, in which the figure played byTerence Stamp vanishes exactly in the middle of the film.In each case, the pivotal importance of an image, term,or figure is underscored by its literal relation to the verycenter of the work itself.2. Roland Barthes, Camera Lucida: Reflections onPhotography, trans. Richard Howard (New York: Farrar,Straus, and Giroux, Inc., 1981), p. 73.3. Barthes’s mother had died nearly a year to the day onwhich he began writing Camera Lucida and a numberof fascinating studies have explored the subject of theauthor’s desire, love, and mourning in relation to hisunderstanding of photography. See, especially, EduardoCadava and Paola Cortés-Rocca, “Notes on Love andPhotography,” in Photography Degree Zero: Reflectionson Roland Barthes’s Camera Lucida, ed. by GeoffreyBatchen (Cambridge, MA: The MIT Press, 2009), pp.105–139. Some even speculate that Barthes might haveinvented the Winter Garden photograph; see MargaretOlin, “Touching Photographs: Roland Barthes’sMistaken Identification,” Photography Degree Zero,pp. 75–89.4. Nicolás Guagnini, “Pretend You’re Actually Dead,”in this volume, p. 60.5. Barthes, Camera Lucida, p. 76. Statements of thissort occur throughout: “A painted portrait, howeverclose in resemblance is not a photograph.” Or, later:“No painted portrait, supposing it seemed ‘true’ tome, could compel me to believe its referent had reallyexisted.” Camera Lucida, pp. 12 and 77.6. Even if today’s widespread use of digital manipulationis perhaps something that Barthes could not haveforeseen, his point remains relevant, for even if Ledarehad manipulated his images, that is, even if he hadmanipulated the medium so the photos would look“true,” a son photographically representing his motherin these poses and performing these acts would still bestrangely unsettling.7 As Barthes writes: “Nothing more homogeneous thanthe pornographic photograph [ ] Like a shop windowthat shows only one illuminated piece of jewelry, itis completely constituted by the presentation of onlyone thing: sex ” And, later: “Pornography ordinarilyrepresents the sexual organs, making them into amotionless object (a fetish), flattered like an idol thatdoes not leave its niche; for me, there is no punctum inthe pornographic image, at most it amuses me (and eventhen, boredom follows quickly). The erotic photograph,on the contrary (and this is its very condition), does notmake the sexual organs into a central object; it may verywell not show them at all; it takes the spectator outsidethe frame, and it is there that I animate this photographand that it animates me. The punctum, then, is a kind ofsubtle beyond ” Camera Lucida, pp. 41 and 57–59.8. See the documents included in Pretend You’reActually Alive (New York: PPP Editions/Andrew Roth,2008), unpaginated.9. Leigh Ledare, Artist statement, Les Rencontresd’Arles, 2009.10. The title makes reference to the psychologicalimpasse that anthropologist, linguist, and cyberneticistGregory Bateson defined in the 1950s, in which anindividual receives two or more conflicting demands(stated or implicit within the context of the situation),one of which negates the other. Since fulfilling onemeans a failed response to the other, the “victims” in thescenario will fail, de facto and necessarily, regardless ofwhat they do or how they respond.11. I am indebted to Emiliano Battista for his closereading and comments on earlier drafts of thisessay, and in particular for his ideas and suggestionsconcerning intimacy in Ledare’s work as discussed inthis paragraph.12. I thank Daniel McClean, one of the lawyerswho co-authored the contract for An Invitation withLedare, for sharing his thoughts with me on the legalimplications of this piece.13. Ledare, in conversation with the author, July 2012.Nicolás Guagnini57
Pretend You’re Actually DeadIn the fall of 2009, I was divorcing. In typicalfashion, I enlisted a friend, in this case LeighLedare, to talk through my pains over a latte.Empathetic platitudes ensued. But suddenly, aswe were going through the entwined motionsof affect and its effects, he issued a perplexingpiece of advice: go to Moscow. I knew hehad been going there on and off for sometime, having made and exhibited work there.I thought he wanted to set me up in some kindof situation with friends. Not so. His argumentfor my going started with a description of howextreme Russian society is, followed by aninjunction about how an extreme moment in mysubjectivity would benefit from being in contactwith another, alien form of extremism. Assomeone who regularly transits between cultures,and who has lived through a dictatorship, it didnot seem to me that following this suggestionwould be likely to fulfill the promise of thatmuch insightful proposal. I attributed thesuggestion to the expected self-involvementof the radical artist. I reasoned that Leighwas giving me the only advice he could give:be as I am, experience what I experience.That, presumably, would put me in touch withmy own self. He was being sincere, of course,as well as nihilistic, in a Dostoyevsky sort ofway, since his advice presented a negative modelfor the construction (or rather re-construction)of subjectivity.At around the same time, a small coffee tablebook, Russian Criminal Tattoo Encyclopedia,Volume II, appeared to be on display in everybookstore in New York City that might carrythe New Left Review or Grey Room. I boughta copy, and I learned that Volume I was outof print. Interest in the books was fueled byDavid Cronenberg’s 2007 film Eastern Promises,a sordid depiction of sex trafficking by theRussian Mafia in London that featured detailedshots and descriptions of tattoos. Perhapsbecause the historical preoccupation of Russianliterature has been the soul, and becauseclassical American literature concerns itself withthe psyche, it made perfect sense that the moststereotypical of narratives about the systematicbrutality of the post-Communist enhancedRussian underworld would entice middle- andhighbrow culture consumers in New York.The tattoo book landed on a window sill, thepost-studio substitute for the coffee table, ontop of Leigh’s Pretend You’re Actually Alive.Leigh’s book is an artist’s book, hence anartwork, and also a coffee table book. Hiswork narrates the misfortunes and downfallof his mother, Tina Peterson, who started out1 Mother’s Napkin, 2002
60Nicolás GuagniniPretend You’re Actually Deada potentially pedophilic grandad, a priest,exposing himself to young male students. It’sall too fucked up to be made up. We realize thatall of this is true. We’d like it to be fiction; wewish the subjecthood of the author, and our own,were fictional. It is not, nor is it entirely “ours”—and cannot be, even by force of voyeurism.as a promising classical ballerina and model,but who slid into thinly veiled prostitution.Peterson made Leigh an active part of her lifestory, and the entire trajectory is documentedin photographs, many of which feature Leighas well. Leigh has taken most of them, thoughthere is also the quasi-fetish photo shoot withthe policeman from the late 60s, and familypictures. Moreover, non-photographic materialoffsets the images: ephemera, handwritten listsby Leigh and his mom, correspondence, personalads from newspapers, all interspersed with afew biographical texts, also authored by Leigh.For every nude photograph of Peterson, thereis another more revealing and brutal document:Leigh’s grandmother in the hospital before herdeath, a snapshot of the artist as a befuddledchild. More outrage emerges. A cunning andindifferent dad; a heroin addict brother suinghis mother for 48,000 of semi-luxury itemsshe purchased using credit cards in his name;2 Mom with Wrist Brace, 20083 Mom on Top of Boyfriend, 20024 Brother High, 2002These different orders of images and documentscomplicate in turn the orders of complicitybetween Leigh and his mother, and betweenLeigh, as an artist, and us, as viewers. The stainof the transgressed taboo—a son participatingin his mother’s sexualization—transversesall these orders. Tina Peterson is perpetuallyperforming for the camera; she’s performingher failure to perform as a “proper mother,” insome kind of redemptive, strategic masochism,topping from the bottom of her life’s failure.In her life narrative is her unrealized artisticpotential, obviously projected onto Leigh, bothwhat brought her down and what authorized herto transgress. Her perennial need for money,which eventually led her to defraud her sonCleon, was fueled by compulsive hoarding.61
62Nicolás GuagniniNicolasConversely, she makes money by objectifying herself and catering to fetishes. The circuit betweenhoarding and fetishism is closed by its Oedipally-inflected photographic documentation. WhilePeterson deliberately poses for the camera, on the verge of presenting her over-sexualizationas some kind of empowering resistance to normative worldviews and expectations, Leigh’sphotographs (and how he articulates them with other information) debunk this undercurrent with anot insubstantial dose of cruelty.To complicate matters further, Leigh himself adopts a persona, both visually and strategically.He sports a 1970s mustache that places him in a somewhat suspended time zone; he’s notopenly the victim of his mother’s debauchery, but a suitable character in the very exposé he isgenerating. It’s a mask, and it’s the mustache of the pornographer. But it’s also the trademark ofthe recognizable artist, like Andy’s hair, Beuys’ hat, or Lawrence Wiener’s iconic beard, which heimmortalized on the cover of Avalanche # 4 in 1972, and which he’s kept ever since. This is asconscious as his editorial prowess. Leigh has declared: “Much of what I’m putting forward functionsas a mirror to situations I notice, ways we temporalise ourselves in the world, in response to ourdesire and our impositions of our desire onto others. As subjects we are created at the level of ourdesires and not simply at the level of our identities. The scenarios I show may stand as negative5 Russian Criminal Tattoo Encyclopaedia, Volume II,print no. 126 Avalanche, Spring 1972. Cover: Lawrence Weiner7 Mom with Boy, 2003Pretend You’re Actually Dead63
64Nicolás Guagninimodels of how to be.”1 For “Leigh Ledare” tomake the situation he was submitted to whengrowing up into an artwork, and an artworkthat primarily codifies and maps desires overidentities, that documents “scenarios” asrepetitive enactments of the primal scene ororiginal trauma, he had to perform a doublepersona: a sleazy participant, suspendedbetween complicity and bewilderment, and adetached, transgressive artist. In line with theabove-quoted statement, Leigh indicates hisallegiance to the second construct, modelinghis public identity: “Increasingly, I regardmy relationship with my mother as being thesecondary content in thinking about the project.This content is so embedded that it becomesmuch more about the treatment of the material.”2The encounter of the two books on thewindow sill yielded more than a connection toLeigh’s fascination with Russia as a real andimaginary place wherein to produce scenariosof “a negative model of how to be.” Theencyclopedia of criminal tattoos is composedmostly of drawings by Danzig Baldaev, andsome photographs by Sergei Vasiliev. Fiftyeight members of Baldaev’s family died inprison camps. His father, a Mongol-Buryatscholar, was declared an enemy of the peopleand Baldaev was placed in a children’s home.Later on, he served thirty-three years as theward of a similar home. He visited dozens ofcorrective labor camps and colonies, part ofthe Soviet repressive machine, in Central Asia,the Caucasus, Ukraine, the Russian North andthe Baltic. Not only did he learn to decodethe tattoos he copied, but he also compileda dictionary of prison and camp slang. Hewas reported to the KGB, which wound upsupporting and co-opting him. Since the tattooscould help establish the facts about a convictor a criminal (his date and place of birth, thecrimes he had committed, the camps wherehe had done time, and even his psychologicalprofile), his work was incorporated into therepressive apparatus: he wound up working ina criminal investigation department and caughtover 300 thieves, murderers, and rapists.8 Mother with Cop, 1968Pretend You’re Actually DeadHis is a narrative of redemption, in a way:the victim becomes part of the mechanismof oppression. But he manages, by virtue ofhis talent and diligence, to serve a legitimateenforcement of the law, the capture of “regular”criminals that non-totalitarian societies wouldalso have punished. I don’t intend to compareLeigh’s own redemption, his growing into awell-regarded contemporary artist, to DanzigBaldaev’s; rather, I want to compare Leigh’smode of production, and our implication in itas viewers, with what I would call a “tattooedcondition,” that is, the bio-political conditionof Russian criminals inside and outside theprison system. The argument is based on whatwe can learn from the study of the tattoospackaged as coffee-table books—a pseudotransgressive product.Russian criminals live by a set of rules thatboth preceded the October Revolution, Stalin’sGulag, and Gorbachev’s Perestroika, andalso survived the changes brought about bythose events, which issued in the brand ofauthoritarian capitalism that governs thecountry today. The Russian underworld isone of the few human groups to carry on,in an organized fashion, a pre-modern ethosin contemporary societies. Criminal tattoosare public identity, self-awareness, collectivememory. They are a law outside the State, onethat resists and overrides it and one that hasa decentralized command or authority. In the1930s, when Stalin launched the first waveof mass political arrests of real or imaginedopponents to his regime, mostly intellectuals,he threw them into prison camps that werein fact controlled by career criminals, whowere both more cruel, and more disciplined,than the guards. Political prisoners recordedtheir bewilderment at this situation in diaries,memoirs, and exposés. Antoni Ekart, a Polishprisoner, was horrified by the “complete lack ofinhibition on the part of the inmates, who wouldopenly carry out all natural functions, includingonanism.”3 Maria Ioffe, the wife of a famousBolshevik, also wrote that thieves copulatedopenly, walked naked around the barracks, andhad no feelings for one another: “Only theirbodies were alive.”4 Their sentiment echoesLeigh’s title: Pretend You’re Actually Alive.65
66Nicolás GuagniniPretend You’re Actually DeadThe tattoo-covered body of a Russian criminalsubject is primarily a linguistic object, not unlikeLeigh’s artist’s book, and as such it presentsa fully developed model of negative subjectconstruction. The tattoos function as a completeset of bureaucratic documents, recordingachievements and betrayals, specialization,status in the underworld’s strict caste hierarchy,and a full history of time served, includingwhere and on what charges. Placement ondifferent parts of the body alters and eveninverts the meaning of the iconography. Thebody can’t lie, and new inmates report nakedto the prison criminal authorities upon arrival.Often, tattoos for different infringements—not paying gambling debts being among themost common—are forcibly applied, and theycan condemn their bearers to perpetual laborand sexual servitude. Conversely, if a tattoo isfound to be false or applied out of bravado, theoffender must either remove it with sandpaperor a shard of glass, or face death.Soviet, and at times even Nazi, iconographycoexists with animals, religious symbols, andthe depiction of sexual acts. Author AleksandrSolzhenitsyn, who spent part of his life in theSoviet prison camp system, waxed poetic aboutthe iconographic complexities he discoveredthere in his famous denunciation, The GulagArchipelago: “They surrendered their bronzeskin to tattooing and in this way graduallysatisfied their artistic, their erotic, and even theirmoral needs: on one another’s chests, stomachsand backs they could admire powerful eagles,perched on cliffs. Or the big hammer, the sun,with its rays shooting out in every direction; orwomen and men copulating; or the individualorgans of their sexual enjoyment; and all ofa sudden, next to their hearts were Lenin orStalin or both.”5 Ultimately, the ideologicalrelationship to these symbols is eschewed bythe overarching theme of death. Overriding therules that govern both the iconography and theright or obligation to bear certain marks, andirrespective of the place in the criminal castesystem and of the inscription’s location on thebody, the assertions of certain and constantdeath are universally applied: “Death is alwayswaiting for me”; ‘I am deathless death”; and,most primordial of all, “I am already a corpse.”The strict moral code of initiated criminals isnihilistic. Entering their “family” by means ofa ritual first tattoo means symbolic death inrelation to their biological family and societyat large.9 Mom with Black Wig, 200610 Grama and Me in Hospital, 200267
68Nicolás GuagniniPretend You’re Actually DeadCriminal tattoos imprint an alternative set of familial and societal relationships governed by brutaldomination and submission. These relationships belong to the order of “natural” law, a sort ofBataillean law of pure, normatized transgression. Leigh, the child and son who becomes an artist,is also a prisoner. And the viewer becomes another prisoner, entering a zone where the price foraesthetics and voyeuristic curiosity will be paid with a scar of complicity. Leigh’s instrumentalizationof his mother, a mirror response to his own instrumentalization as an official recorder of thetransgression inflicted upon him, becomes a perverse and discrete system when viewers consume thebook. The pornographic user and the traumatized victim who ceaselessly repeat the conditions ofthe trauma stabilize themselves through repression. Leigh’s work actively exacerbates or, alternately,negates that cycle. He doesn’t wait for the return of the repressed but lives it out entirely. There isno way out. The book accomplishes what pornography cannot: it perverts us, as there is no roomfor distancing ourselves from this specific cultural object, this machine onto which we project ourdesires and anxieties. We belong to the same mode of generating and accumulating meaning, to thecultural continuum of Tina Peterson’s hoarding and prostituting herself, Leigh Ledare’s mustachemask, and the coffee table or window sill in our home where we can in turn collect and consumetheir pathological liaison. No fantasies here, no pretend play.The Argentine writer Jorge Luis Borges made a sport of infuriating the left with his media statements.He repeatedly declared in radio and television interviews that “the death of one singular man equalsHiroshima.” Of course, comparing an individual story to history as a tragedy, a personal Oedipaljourney to one of the most depraved episodes of the modern human condition is intolerable andunacceptable. And yet, the Ledare/Peterson affair, as a tale of familial and interpersonal dissolution,should alert the everyday molecular Gulag to the complete alienation that late capitalism imposes bydistorting subjectivities under the dictum of infinite production for infinite consumption. If, as Leighsays in the interview cited earlier, “as subjects we are created at the level of our desires and not simplyat the level of our identities,” then an unfulfilled and pathological desire for consumption can only beresolved in that production that cannot be regulated—in the pure excess of eroticism.11 Mom Fucking in Mirror, 200212 9 Years Old, 198569
70Nicolás GuagniniPretend You’re Actually Dead71
72Nicolás GuagniniPretend You’re Actually Deada prison or a criminal lifestyle. The fact thatthe virus of a sub-cultural depravity, that ofcriminal gangs, can mutate into a pandemicHoullebecquian norm, which can in turnsomehow be equated with our late capitalistcondition, points to a primitive root for ourcontemporary forms of life. Exposing howthis primal excess is embedded in and subjectedto our own alienation is perhaps the mostdisturbing point of Pretend You’re Actually Alive.According to Georges Bataille, eroticism,“unlike simple sexual activity, is a psychologicalquest [.] Eroticism always entails a breakingdown of established patterns, the patterns,I repeat, of the regulated social order basic toour discontinuous mode of existence as definedand separate individuals [.] The stirringswithin us have their own fearful excesses; theexcesses show which way these stirrings wouldtake us. They are simply a sign to remindus constantly that death, the rupture of thediscontinuous individualities to which we cleavein terror, stands there before us more realthan life itself”; the “fundamental meaning oferoticism” is “assenting to life up to the pointof death.”6 These same excesses cannot be takenaway from criminals, or from the prison onanistJean Genet, when they face symbolic death bybeing positioned, or positioning themselves,outside the social contract, nor can the actualpossibility of death—as the daily reality of13 (Previous) Untitled (Entire Roll), 200814 Mom Photographed by Hiro, 196415 Tina’s Letter to her Father, 2002Leigh and I exchanged works, as is customarybetween artists. I was given the choice of anyphotograph in the book. I discarded the mostsexually explicit pictures. I thought they’dbe misunderstood on my walls, without thecontextual elements provided by the book.Or maybe I just did not want to live with oneof them constantly in my face; maybe I just feltmore comfortable with them safely stationedon the window sill, between covers and title.I settled on Mom and Me in Bed (2007). Leigh’shead, and mustache, are in the foreground,turned towards mom, who sits in bed andlooks perversely anguished at the camera. Inthe background, behind some makeshift covermade out of a flower-patterned fabric, hangsan array of clothes tightly packed together andwrapped in plastic bags. Leigh obviously had hisleft arm extended and could not see through thecamera viewfinder or screen. But the arm is notshowing—and suddenly, it’s me who is takingthis picture.In the first chapter of The Order of Things,Michel Foucault dissects the inclusion of theviewer in Velázquez’s Las Meninas. His analysishinges on how a “slender line of reciprocalvisibility embraces a whole complex networkof uncertainties, exchanges, and feints.”7 Thisnetwork is generated by the painter representinghimself, and the canvas he is painting, lookingout, thus putting the viewer in the space of themodel. Since Velázquez’s representation of lightinscribes us into the same spatial and temporalcontinuum, Foucault concludes that we can’treally access ourselves in this representationalmachine: “We are observing ourselves beingobserved by the painter, and made visible tohis eyes by the same light that enables us to seehim. And just as we are about to apprehendourselves, transcribed by his hand as though in73
74Nicolás GuagniniPretend You’re Actually Dead75
76Nicolás GuagniniPretend You’re Actually Deada mirror, we find that we can in fact apprehendnothing of that mirror but its lustreless back.The other side of a psyche.”8 These orders areexactly reversed in Leigh’s picture. The artist isnot looking at us. And we see the picture thathe could not possibly have seen when he wastaking it. The model is posing for us, and welook at the photographer looking at the model.Her gaze meets ours. Between our two gazes,there is Leigh and the camera.16 Grampa and Me, 200717 Mom and Me on Bed, 200618 Mom Spread with Red Heels, 2003Vilém Flusser has characterized the photographeras a functionary, and compared the camerato a black box that performs its operationsautomatically after its settings have beenadjusted. The photographer doesn’t need toknow exactly how the camera does what it does.The only required task is operating the controls.In Flusser’s argument, the photographicapparatus instrumentalizes those who use it.Moreover, in Foucauldian fashion, Flusserargues that the mechanism of the photographicapparatus extends to other kinds of socialinstitutions, to the extent that it programsor automates social behavior. The camerafunctions as a combination game: there is no77
78Nicolás GuagniniPretend You’re Actually Deadwork, in the classical sense, but only play. Since the outcome is one of any number of predeterminedpossibilities (starting with those demarcated by the lens, a monument to the anthropocentricworldview of one-point perspective), this play is more akin to gambling than to the creative playof children. As instrumentalized behaviors, gambling and hoarding are close relatives. By placingthe viewer behind the camera, implicating us and momentarily consolidating his gaze with ours(and while we look at him doing so, to complicate matters even further), Leigh shows how selfconscious he is of the game he is playing, and in which he is being played with. He is captured andinstrumentalized by an intersection of the apparatus and of the desire of his mother. And so are we.In an interview, he defines the relationship between the photographic apparatus and life itself: “I’vetried to focus on the idea of the situation. I see photography as being intersubjective, always havingmultiple levels of authorship based on the agency people bring to the situation.”9The notion of play as a de-instrumentalizing machine exerts an ever-fantastic hold in ourcontemporary cultural imagination. The genealogy of play is illustrious, and is always associatedwith liberation: from Johan Huizinga’s Homo Ludens, through Situationism and Helio Oiticica’s“chance-play,” to Dan Graham’s quasi-architectural pavilions. Artists are quick to relate theiralleged space of play to some ideal social freedom. The reality is that, despite the demands clearlyformulated by art-making in the late sixties in ideological association with the play impulse (namelythe dissolution of art into everyday life, the prevalence of process over product, and the liquidationof authorship as a patriarchal and commercial trademark), the artist today is entrapped in aperverse, market-driven logic. The photographic apparatus, in which whatever being at either sideof the camera is ineffably instrumentalized, converges on, and is complicit with, the marketplaceas a social structure. It is assumed that Leigh’s photographs of Tina the transgressive hoarder arethemselves to be collected. In fact, by circulating them as “art” Leigh somehow both redeems Tinaand avenges himself with his own, socially-acceptable veiled act of prostitution. Again, no pretendplay here. Neither critique nor utopia can be construed as such in this state of bitter lucidity.This simultaneously intersubjective and alienated space, as “a negative model of how to be,” is19 Mom Sunning in Fur, 200620 Tina, 196879
80Nicolás Guagniniwhere the play of transgression becomes the nihilistic play of the automated compulsive gambler.That, incidentally, is ultimately the default activity of the incarcerated Russian criminal. The rollof the dice will determine the fate that will be tattooed on his or her body.Flusser was a Prague Jew, like Franz Kafka. One of Kafka’s more disturbing and concise nightmaresis a negative parable, his short story “In the Penal Colony.” In it, an accused man is sentencedwithout a trial. A torture machine writes the sentence on his body. The fulfillment of the sentencecoincides with the completion of its inscription: the machine’s needles kill the accused. In thisconcoction, the tattoo and the repressive apparatus converge. Law and order are criminal.I have hastily paraded Borges, Genet, Dostoyevsky, Foucault, Bataille, Houllebecq, Solzhenitsyn,Flusser, and Kafka in front of Leigh’s work. This kind of list is, after all, what is expected for thecatalogue essay: I am here as a functionary of the legitimization apparatus. But I have failed toconvey the emotional affect of the work. It confronts us with a montage of disenchantment andaesthetic gratification that stirs deep within us, but with a thick varnish of guilt. Leigh’s photographhangs on top of my entry doorway. Whenever I leave the house, I’m haunted by the supplicatinglook of the law of the mother, in bed with her son. The broken taboo is a tattoo that enters my skinthrough my eyes. This photograph has tattooed me.21 Hot Licks, 200222 Self-Portrait, 1998Pretend You’re Actually Dead81
Pretend You’re Actually DeadNotes1. Leigh Ledare, in TJ Carlin, “Counterpart (interviewwith Leigh Ledare),” Map Magazine, 18 (Summer2009), p. 68.2. Ledare, interview, Map Magazine, p. 68.3. Antoni Ekart, cited in Anne Appelbaum, “Introduction,”Russian Criminal Tattoo Encyclopedia, vol. II(Göttingen: Steidl; London: Fuel, 2004-2008), p 19.4. Maria Ioffe, cited in Anne Appelbaum, “Introduction,”Russian Criminal Tattoo Encyclopedia, vol. II, p. 19.(italics mine).5. Aleksandr Solzhenitsyn, The Gulag Archipelago,1918-1956: An Experiment in Literary Investigation(Colorado: Wesview Press, 2008), vol.1, p. 256.6. Georges Bataille, Eroticism: Death and Sensuality,trans. Mary Dalwood (San Francisco: City LightsBooks, 1986), p. 11, 18–19, 23, respectively.7. Michel Foucault, The Order of Things, trans.Alan Sheridan (London and New York: Routledge, 2004[1966]), p. 5.8. Foucault, The Order of Things, p. 7.9. Leigh Ledare, in Elena Filipovic, “All This Happened,More or Less (interview with Leigh Ledare and HilaryLloyd),” Kaleidoscope Magazine, 10 (March-May2010), p. 163 & 166.Contrac
2. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Farrar, Straus, and Giroux, Inc., 1981), p. 73. 3. Barthes’s mother had died nearly a year to the day on which he began writing Camera Lucida and a num
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Preliminary Results For the full year to 28th September 2014 . 1 Agenda 1. Today's key messages David Nicol 2. Results Andrew Westenberger 3. Strategy update & delivery Stephen Ford 4. Outlook David Nicol 5. Q&A David Nicol Andrew Westenberger Stephen Ford . 2 . 3 15.0 16.5 18.4 20.7
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Fiction Excerpt 1: The Adventures of Tom Sawyer (retold with excerpts from the novel by Mark Twain) Saturday morning was come, and all the summer world was bright and fresh, and brimming with life. There was a song in every heart; and if the heart was young the music issued at the lips. There was cheer in every face and a spring in every step. The locust trees were in bloom and the fragrance .
