From rabbits named Loch to the Loch Ness Monster.
The earth, and a good portion of the universe, is captured in pictures. From the largest to the smallest; the most compelling to the most banal. Most of these images are marlon single loader showing something, yet signifying nothing.
The phenomena that almost no-one can attest to, that nevertheless lend themselves to a broader description and an ongoing story. The myths, archetypes and symbols; the few remaining black holes that, in the realm of the media establishment, come from a place where nobody can send to or receive from, yet are meaningful despite, or rather precisely because of this distinction.
Geletin reaches these places.
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An unsolved riddle remained as to why people could disappear within for so long. For the few who actually immersed themselves the result was a visceral euphoria for which there will never be a picture except for the blissful feeling of physical well-being.
Holes and gorges are ubiquitous in the work of Geletin.
A warm, fragile cavity, bequeathing both security and desire. The three protagonists are deliciously vulnerable in their exploration of this hollow space, creating an eerie and lurid presence.
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With a pendulous step one mounts the wooden hut, sits on the table apparatus with reflecting toilet, and grabbing binoculars, marvels at the sightlines of ones own anus. As upon glimpsing Venus at the observatory, one is inevitably drawn to philosophize. Dead Marlon single loader Fragrance by Tex Rubinowitz In Joseph Beuys exhibited a selection from his work complex Wirtschaftswerte in the Museum van Hedendaagse Kunst in Ghent - on rickety iron shelves the shaman with hat draped basic Foodstuffs and articles of daily use from the GDR, the state which had decided to abolish money by Fishcakes, margarine, pectoral and throat teas, Schneehasen cigars, a scrubbing powder by marlon single loader name of Quasi, and marlon single loader couple of sachets of gelatin, everything in plain, unadorned uniform packaging holding out no promises whatsoever, while behind the shelves hung 6 opulent oil paintings from the 19th century, and so from the era of Karl Marx.
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The message is easy to understand for every moron, utopia curdles into a rancid everyday life out of which all hope has been drained, like a limp balloon, out of a claim the truth has come to light, and it is gray. Gray is not a color; all cats are gray by night.
Visitors to the exhibition soon noticed that something else existed besides the installation, a peculiar odor. The odor of real existing socialism, this typical fug, Wofasept, East Germany's one and only disinfection agent, shadows conjunctivitiscausing brown coal covering the crouched cities, and the fumes of rattling motors from cardboard cars.
An olfactory exhibition of wretchedness, given equal footing with retinal art, art which only reaches the retina.
Duchamp called his brief foray into Cubism "elementary parallelism", his attempt to transform an unmoving image into a seemingly moving image, here already the search for a fourth dimension which, without perhaps connoting it in this way, the Gelitins were to achieve 96 years later, via the Beuysian detour 28 years before them. Over the whole exhibition encompassing single objects, and so more resembling the material input of attritional warfare, hung a as heavy a odor as flirten gute frage Beuys' Wirtschaftswerte, at times reeking more of cheese, then at others of caramel, and the sources were quickly identified, a gigantic cheesefoot carved and molded out of all possible types of cheese, which stoically reeked away, and in another hall plywood boards doused with molasses, all of the floor sticky, as if one's own shadow had no inclination to get up from the floor.
Swathes of vapors from both odors ran into one another here and there, and blended into a third, which caused one Norwegian to become a little restless, for it reminded him of his beloved sugary-sweet, sticky goat's milk cheese in the tube, called Marlon single loader.
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In the Front then the odor, and on the walls, here too the Beuys parallel, a host of relief-like Mona Lisas out of plasticine. It is these coincidences, not conservable, and olfactory fourth dimensions which hold everything together, Duchamp, Beuys and the tinker marlon single loader of Gelitin, their shadows form the overlaps through which we, the astonished viewers, romp in their exhibitions. This should have been on the entrance ticket to the grand Gelitin wingding: not a single Foot needs to perish for this exhibition.
He wears a vintage red-jump suit. Next to him Schuyler wears the same, only in perfect pink. He thinks opposite to Günther, but somebody they agree and find each other in the same harmony. In proximity Ali's black salopettes imposes a strange black that doesn't absorbs, rather emanates light.
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Beside him Frikki stands with no salopettes, nor pants at all: too tight, too colored, too much uniform and too many questions. Everything in the surroundings seems familiar, something seen before although new, as the place was magically modeled in harmony to the newcomers and not the other way around. I felt the same when I first arrived marlon single loader December, single frau 30 months before the exhibition.
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Gelitin was already working marlon single loader site for La Louvre in a former piano bar in Parisian's eastend "Montreuil". It was abandoned but looked lively and welcoming, fully accessorized but far from being swanky.
A place that quickly acquired a personality, a character that apartments absorb only after some months you live in. Gelitin had just moved there and it was already so gelatinesque.
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How can this be possible? How can they always play home? Are they happy campers, or?! Again, too many questions. Thinking of Gelitin questions come naturally. I believe the query revolves around the following : Many questions gravitate around Gelitin, lots of demand for whys and clarifications.