Objects and Nostalgia: An Introduction to the Assemblage Art of Glenn Martinez

Fantastic artwork by this Philippine artist. I am looking forward to featuring it on my Visionary Art Gallery site.

Traveler on Foot

Museum Tour
16 x 16
Glenn Martinez

SERENDIPITOUS TRAVEL FINDS. Collector of colonial antiques and modern arts Dr. Jaime C. Laya, in his introduction in the book Consuming Passion, Philippine Collectibles explained that it is embedded in the human gene to hunt, gather, hoard and keep objects that are meaningful and sentimental. But aside from thrill of the hunt, nothing can be more exhilarating than a serendipitous travel find. That’s why I include in my travel itineraries trips to antiques and segunda mano shops, local handicrafts workshops and artist’s studios.

When I started my travel and culture blog in 2008, I was also beginning to fill my young family’s living space with art and along with it, object traffic also increased in our home. Every trip, I come home with all sorts of heritage memento: A sculpture from Ermita, a painting from an artist’s studio in

View original post 920 more words


Here is a video to which my friend Sabina from Facebook refers. A frightening future awaits us if this is indeed the “blueprint” and example for our governments! I found it also on YouTube, since it appears WordPress does not support Facebook embed.

This is the full text of her Post:

China has shown us excellent ways of dealing with “The Situation”, and these ways are being emulated by our glorious leaders.
Our leaders also mentioned Big Data, and other stuff. Just by the way, without too much attention placed on it. They are easing us into it, not too much at once, allowing us to get used to the idea, so we can accept it more easily. I think it’s not bad to be informed about various great trends that are on the rise.

I already posted a little bit about this earlier. It is seen as a helpful development of society which benefits people tremendously, as you will hear several of them explain: “It’s a good thing! A society has to have rules.”
Therefore, any and all rules, whatever they may be, are a good thing!
You see?
It’s a remarkable logic…

And so, as long as you live life exactly according to specifications, there are perks to be had, like paying only half the bus fare.

Do you remember when you saw Asian tourists walking around with protective face masks, and you thought that was weird?(Yes, I have asked this question before.)

This year, you have witnessed the birth of a new narrative. It grabbed hold of many, creating a wide-spread paralyses of the spirit. Trapped within fear, it was additionally reinforced by a dictated pretense of “caring for others”.
Removing some of the new regulations, by way of demonstration etc., isn’t going to do much.
The narrative is a power-tool, it is an enabler. THAT is the single most important thing to keep in mind.
It allows for almost anything to be pushed through, “in the name of the narrative”.

On the other side of this narrative are love, nature, the human spirit…
I think some of you have forgotten how powerful it can be. The human spirit is immeasurable, and uncontainable…. UNLESS, we detain it ourselves, or allow others to convince us of mental/emotional traps.

I wrote this text two weeks ago, but decided not to share it back then, but… why not. It’s just information, about a “great new trend”, and some thoughts.
It can’t harm to know a bit more, right?

Oh! Starting Monday, the Bank Austria will be measuring the customers’ temperature at the entrance. A heightened temperature or refusal to be measured means denial of service.
There is absolutely no justification for that at this point, in Austria, but they don’t need a justification, you see?
They have the narrative.
That’s all they need.


See the original post on Facebook: 



GENETIC VACCINES AGAINST COVID-19 – a critique by Biologist Clemens G. Arvay



Clemens G. Arvay, MSc, is an Austrian biologist and author who specialized in medical ecology. He graduated in Plant Science (MSc) at the University of Natural Resources and Life Sciences in Vienna, as well as Landscape Ecology (BSc) at Graz University. His work is centered on the relation between biodiversity and health, whereby he focuses on the health-promoting influences of ecosystems in context with evidence-based preventive and complementary medicine. ….. Read More About

The video I am embedding further down is a critique of the current rush to bring unproven and inadequately tested vaccines on the market. It was published 4 days ago on YouTube. Since then, Clemens has shared it on Facebook, and then something happened when he tried to promote it with a paid ad. Facebook rejected it:
“Your ad may have been rejected if it mentions politicians, topics that could influence the outcome of an election, or existing or proposed legislation. Learn more about social issue, electoral or political ads in the context of coronavirus (COVID-19)”.
You can check out his post about this, but it is in German – See it Here
Here is the video – but I recommend viewing it also on YouTube directly to see, and possibly leave a comment and give it a thumbs up. Also, Links to all the sources are in the description.

Genetic vaccines against COVID-19: hope or RISK?

(with biologist Clemens Arvay)

I blogged about this on my website – and on my blog you find both the original German and the dubbed English version videos.

I have a ton of corroborating links on my website blog – there is a lot of useful information. One particularly interesting I show you here:
We must urgently develop measures to tackle the new coronavirus
​ — but safety always comes first, says Shibo Jiang.

Shibo Jiang is a professor of virology at the School of Basic Medical Sciences, Fudan University, Shanghai, China, ​and at the New York Blood Center, New York, USA.

read the entire article in NATURE


About avoiding stress and maintaining a healthy  circadian rhythm
to increase resilience to fight COVID-19


Artwork © by Sabina Nore
My previous blog  is related to this subject matter – a reprint with permission from The Conversation,
​it speaks about the effects of news on the psyche:
I recommend reading that blog first, and then return here to get the perspective of the



click the above link to read (opens in separate window)

Relax, get enough sleep! A related article speaks about a healthy circadian rhythm:
​Social distancing and washing hands have become the frontline in the fight against COVID-19, but there is another powerfully protective resource immediately available to all: your circadian rhythm.
​While isolation and hygiene are effective in reducing the chance of infection, they do little to increase our resilience to the virus so that we suffer less and recover faster. In addition, the stress and worry caused by current trends – school and business closures, self-quarantines and mandates to stay at home – don’t help. The strains on our physical and psychological health can leave us even more vulnerable to viruses and other health issues. The answer to boosting your immunity may lie in simple steps you can take to maintain a robust circadian rhythm by developing and following a daily routine.
▲This is a excerpt from a text by▼
Satchin PandaUniversity of California San Diego
I head a lab that researches circadian rhythms, the daily cycles of bodily functions that form the foundation of good health. These body clocks, found in nearly every organ of the body and part of the brain, are central and vital to a properly functioning immune system. A synchronized circadian rhythm in the lungs, heart, kidney and brain ensures that the processes in our body go as planned while the immune system can effectively fight and defeat a virus. When the timing systems in the human body are desynchronized, essential organs are compromised, reducing the potency of your immune system. Circadian disruption dampens your immune system and makes a virus harder to defeat.

How Chronic Stress affects our immune system | How to improve your immune system
​Chronic stress can negatively affect our immune system making you more vulnerable to infections and diseases. The chemical reactions triggered by stressful situations result in an obslaught of stress hormones being pumped around the body while these hormones are useful in acute situations. Their ability to interfere with the immune system can result in inflammation. Reduced white blood cells, and a higher susceptibility to infection and tissue damage.

Corona Update from Vienna

First part published March 23rd on HIVE


additional Updates added March 26th
simultaneously posted on Blogger


I blogged several times about the Corona Virus,

and a good summary can be found on this one
SARS-Cov-2 – the dreaded Corona Virus
it has all the links on it to previous blogs.
Since March 10th I’ve been in Self-Quarantine, but did go out shopping for food and a short walk on March 20th. So here is a Update from that walk – I took a couple of photos and shot a video, which I processed yesterday and finally posted on YouTube today.

a ten minute walk from where I live in Vienna – Floridsdorf

SARS-Cov-2 – VIENNA – Floridsdorf, Franz Jonas Platz
20.3.2020 on location video by Otto Rapp
Music by David Fesliyan – “Villainous” – FesliyanStudios.com

A short walk in my neighborhood – I’ve been in self-quarantine for 10 days, except for shopping for groceries I pretty well stayed inside. This is about a 10 minute walk from my apartment. It is the transportation hub of our district.

Now if you compare the photo on top and the cover image of the video, you might see that the group of 5 police, I assume once they discovered I was taking a video, all of a sudden started paying attention to the people (regulars that usually hang out there, getting their beer from the grocery stores across the plaza). My first observation was that the police were just standing there in a group, certainly not keeping the prescribes “social distance”, no protection and acting as if they were “immune” to the virus that our Government is warning about and enforcing restrictions on us mere mortals.

Again today, I checked the Johns Hopkins University Update and found something different in their reporting from previous days. The graph on the bottom right does not show the curve for China, nor for recorded cases, together with “the rest of the world” as previously, but now just one single curve of overall cases.
The orange curve represents China, the yellow curve the rest of the world, and the green curve the recovered cases.
On two previous occasions I had taken screen shot of the zoomed graph to compare. See below:

Corona graph 2020-03-16.JPG

here I marked in red a significant rise in cases in China February 13th and correspondingly in the rest of the world a month later March 14th. At the time I thought that if things proceed like this, we could see a flattening of the curve for us the same way as for China. But this was not the case as you can see in the following screen shot three days later.

CORONA graph 2020-03-19.JPG

as you can see here, the J-curve for the rest of the world is shooting up rapidly, no sign of flattening down! While I looked on subsequent days, I did not take screen shots, unfortunately. There was a slight slowing down, but barely noticeable. So today, I was surprised to see that the format changed and we no longer see the other curves, see the screenshot below.

CORONA graph 2020-03-23.JPG

this is now a bare-bones graph that only shows the rest of the world, but not China, nor a curve for recovered cases – if they did, the contrast would be rather frightening to see, indicating how inadequate “our” responses were in comparison to China.

This is it for now – stay save everyone – avoid crowds, wash your hands often and follow the prescribed restrictions – if you are in a risk group, it would make sense to self-quarantine.


March 26th 2020

A very informative note appears on the website of my Internist, very important if you are just looking to get a prescription, because now you won’t have to visit the doctors office, but can do so electronically:

Liebe PatientInnen!

Auch während der Corona-Krise sind wir selbstverständlich weiterhin für Sie bzw. für Ihre Gesundheit im Einsatz und betreuen auch weiterhin PatientInnen.

Akute Beschwerden

Da sehr viele Spitalsambulanzen derzeit einen eingeschränkten Betrieb führen, übernehmen wir vermehrt die Betreuung von Patienten mit akuten Beschwerden. Idealerweise kontaktieren Sie uns vorher bitte telefonisch oder per e-Mail zwecks Terminvereinbarung.

Bestehende Termine

Bestmöglich können wir Ihnen helfen, wenn Sie zu Ihrem Termin persönlich erscheinen.
Sollten Sie zur Risikogruppe gehören und somit Befürchtungen vor einer Ansteckung haben und die Öffentlichkeit meiden, bieten wir Ihnen auch eine telefonische Betreuung an.
Grundsätzlich sind die Folgen von unerkannten oder nicht gut behandelten Herz-Kreislauferkrankungen immer noch schwerwiegender als bei einer Erkrankung durch das  Corona Virus.


Rezepte für Ihre Dauermedikamente können entweder telefonisch, per e-mail (office@internist-nord.at) oder über das Formular „Rezeptvorbestellung“ auf unserer Homepage (www.internist-nord.at) bestellt werden. Die Rezepte werden von uns in der Rosen-Apotheke (1210, Brünner Straße 37) hinterlegt, wo Sie dann Ihre Medikamente ab dem nächsten Werktag mit Ihrer E-Card abholen können. Alternativ können wir Rezepte per e-mail an Ihre Wunsch-Apotheke zuschicken.
Bitte halten Sie zu anderen Patienten in der Ordination möglichst Abstand (mind. 1 Meter) und desinfizieren sie Ihre Hände sofort nach dem Betreten der Ordination.
Gemeinsam verhindern wir mit dieser Vorgehensweise die weitere Ausbreitung der Corona-Infektion!

Ihr Team Gruppenpraxis Internist-Nord.at

Falls Sie befürchten, an Corona erkrankt zu sein, bleiben Sie bitte zu Hause und rufen Sie die Tel. Nr. 1450 an!


Dear patients!

Even during the Corona crisis, we are of course still working for you and your health and continue to look after patients.

Acute complaints

Since a large number of hospital outpatient departments are currently running a restricted operation, we are increasingly taking care of patients with acute complaints. Ideally, please contact us in advance by phone or email to make an appointment.

Existing appointments

We can help you as best as possible if you appear in person at your appointment.If you belong to the risk group and are therefore afraid of infection and avoid the public, we also offer you telephone support. Basically, the consequences of undetected or poorly treated cardiovascular diseases are still more serious than those caused by the corona virus.


Prescriptions for your long-term medication can be ordered either by phone, e-mail (office@internist-nord.at) or using the “Prescription pre-order” form on our homepage (www.internist-nord.at). We store the prescriptions in the Rosen-Apotheke (1210, Brünner Straße 37), where you can pick up your medication with your e-card on the next working day. Alternatively, we can send prescriptions to your desired pharmacy by e-mail. Please keep as far as possible from other patients in the ordination (at least 1 meter) and disinfect your hands immediately after entering the ordination.Together we prevent the further spread of the corona infection with this procedure!

Your team group practice Internist-Nord.at

If you are concerned about Corona, please stay at home and call 1450!


because I suspect that since ones comments are editable, the remarks made could well be changed, but here I want to preserve EXACTLY what was written at the time.

The time copied is 4 PM Central European Time on February 29th 2020

To see the entire post and additional related comments, please go to

ABOUT MY WORK – Cross-post in the OnChainArt Community on Steemit

You are viewing a single comment’s thread from:   About my Work

thermoplastic (65)in OnChainArt • 4 hours ago
whom are you talking to? are you talking to me or @midlet in the tread with @guiltyparties ? and who do you assume you are – WE ? Now you pretend to be Anonymous? You are not a jaguar either, more like a sailcat (look it up, since you are so good at research).
OCA Bad Cop – lmao – you are so pretentious!

4 hours ago in OnChainArt by thermoplastic (65)

jaguar.force (71)MEMBEROCA Bad Cop 1 hour ago (edited)
whom are you talking to?
When I issue a comment in reply to another comment, Im (obviously) talking to the person who made that comment, in this case you, its not quantum physics….
OCA Bad Cop – lmao – you are so pretentious!
If you don’t like the name of the role you can talk to the person who created it you fucking imbecile, which is (again, obviously) the founder of the community.

Have a wonderful day.

thermoplastic (65) 1 hour ago 

So what about the Anonymous quote in your comment (without attribution)

“We do not forgive. We do not forget. Expect us.”

– are you not plagiarizing?


So now you are resorting to cheap insults – again, are you talking about the founder of the community @midlet ? or maybe you should clear with @guiltyparties if your conduct and language is acceptable to use when you (pretend?) to speak for @steamcleaners

If you don’t like the name of the role you can talk to the person who created it you fucking imbecile, which is (again, obviously) the founder of the community.

jaguar.force (71)MEMBEROCA Bad Cop 39 minutes ago (edited)
are you not plagiarizing?
When something is within quotes that implies that the person quoting it did not create the text, Mr. imbecile.
are you talking about the founder of the community midlet ?
Yes Mr. imbecile, obviously the name of the roles in a community are set by the community admins,
who did you think set the names of the roles? The users? the pope? your mom? Britney Spears or who?

thermoplastic (65) 30 minutes ago (edited)

When something is within quotes that implies that the person quoting it did not create the text, Mr. imbecile.

you know everyone can see who and what kind of infantile troll you are. So if you put something into quotation marks it is OK to use and not considered plagiarizing? Now you really lost it, but if true, then I could just put entire scraped posts within quotation marks and @steemcleaners would have to accept that? You obviously totally lost your marbles. Have a nice day, and don’t put yourself deeper into the hole by commenting further.


I also posted a separate blog on Steemit that talks about this:

Selfie as Mr. Hyde 👹


Quoting some of the text – for the entire post, click the image above ▲

At one time, after having one account locked by Facebook (long story, check it out HERE) I opened a second account in order to be able to administrate my commercial pages, using this as my avatar (at first, I changed it since then). I described my profile as such:
Mr. Hyde – the evil twin



Snakes and Ladders

A detailed history of this drawing and background stories

Vindobona Altarpiece III ‐ Snakes and Ladders
Graphite Drawing on Arches Etching Paper ‐ 65cm x 48cm ‐ 1994
Private Collection, Austria


Otto RappOtto Rapp working on his drawing, 1994
photo by David Rossiter

This drawing is the third in a series. It is a follow‐up to a diptych that I had worked on years earlier, called Vindobona Altarpiece I and II. Working from right to left on both of these previous pieces (I am left handed) the first panel of this previous work was began in 1981, but not completed until 1993, whereas the second panel was started and completed already in 1980.

These pieces had never been exhibited together. Vindobona Altarpiece II was bought by a collector in Austria before much of the first panel had been drawn.

Otto Rapp

Vindobona Altarpiece I
Graphite Drawing on Paper ‐ 76cm x 56cm ‐ 1981 to 1993
Private Collection Austria

Eventually, Vindobona Altarpiece I was left unfinished in 1981. I never picked it up again until 1993 when I completed it. It was then shown at my solo exhibition “Art of the Mystic” at the Prairie Art Gallery in Grande Prairie, Alberta in June 1994.

Following that, I began work on Vindobona Altarpiece III ‐ Snakes and Ladders, which I completed the same year. It was never shown in Canada: I basically stopped exhibiting after 1996 and only began to show again in 2010, after some urging, participating in a group exhibition in Portugal with one painting. Since then, I started exhibiting regularly, both solo and in groups. (Curriculum Vitae  ).

Otto RappVindobona Altarpiece II
Graphite Drawing on Paper ‐ 76cm x 56cm ‐ 1980
Private Collection Austria

Vindobona Altarpiece II had never been shown publicly, and only this photo of it exists. Both Number 1 and Number 3 were shown in recent years in Vienna on several occasions, and Number 3 also in Viechtach, Germany. They both found collectors. Like in the preceding 2 pieces, the theme centers on the heritage of the Vienna School of Fantastic Realism. T hey are sort of a tribute to these Masters that I had admired since childhood. But also other influences were recorded, from a variety of sources, and all tied in with my own imaginary ‘Inner Universe’ ( Alfred Kubin, Die Andere Seite) that I had explored with my alter ego ‐ Bogomil’s Universe.

Some of my sources


SolitudeFrederic, 1st Baron Leighton of Stretton (British, 1830–1896)
Solitude , 1890, oil on canvas, 72″ x 36″

After a visit to the Maryhill Art Museum I was fascinated by this painting. I made it a central figure in my drawing.

Solitude drawing by Otto RappSolitude, detail of Vindobona Altarpiece III
by Otto Rapp

I once read the book by Françoise Gilot, Life with Picasso, as well as many other books about Pablo Picasso, but this one made a particular impact on me and some funny stories in it had inspired another painting of mine some 4 years prior to this drawing, called Pablo’s Last Concert. So in this drawing, I ‘recycled’ the eye of Pablo again, watching over the scene:

Vindobona Altarpiece III - AOI Exhibition - detail, eye of Pablo.jpg

While in my paintings the technique of Decalcomania had been employed since the seventies, I began in this drawing to use a kneaded eraser to pick up and transfer textures to the paper, something that 2 decades later I developed further in my most recent drawings (combining it with frottage and other methods). So in a way, this marks a new period, even though that I was not very active for the next 10 years following, and only began intensive work when I returned to Austria in 2011.

Exploring the History behind these drawings

When I was a child, my grandfather, a very scholarly and educated man who loved art and rare books, took me to exhibitions in Vienna. Some of those were of the young artists of the Vienna School of Fantastic Realism. There was no TV or any other distractions back then: when I visited my grandfather, he always had a stack of paper and sharpened pencils ready for me. I already then entered into my solitary dream world building my own little universe in the drawings I then produced. Artists I’ve seen these days were Helmut Leherb, Ernst Fuchs, Rudolf Hausner and others I only recognized by name later, when I began my research.

I would go to the Akademie der Bildenden Künste and walk the halls of the Art Collection, but also peeked into the studios and watched.

Later on, I would go to the Akademie der Bildenden Künste and walk the halls of the Art Collection, but also peeked into the studios and watched. I could stand quietly for hours absorbing how a student would copy an old master in the gallery.

I left Austria, still a teenager, and moved to Sweden, and several years later to Canada. But I took my heritage with me, starting to research in depth this fascinating Vienna School. I did not paint well yet while I lived in Sweden, but I had always excelled in drawing. In Canada, my painting began to become more accomplished, and along with my drawing, I started to exhibit my work, which found many collectors already in the early seventies.

Otto Rapp Graduation 1982my Graduation 1982


A interest in printmaking led me to the University of Lethbridge in 1977, and while I only planned to audit some printmaking courses, I wound up taking the BFA program, eventually graduating in 1982. During the later years at University, I was working part‐time as a Gallery Assistant, and then for one year as Assistant Gallery Director in 1980.

At that time, in conjunction with a new Fine Arts Building, it was proposed to open the building with an international show. Since I had already started to write a paper about the Vienna School of Fantastic Realism, I proposed to hold an exhibition. Travelling to Vienna, I contacted Prof. Rudolf Hausner, whom I met at his residence in Mödling in 1980.

Travelling to Vienna, I contacted Prof. Rudolf Hausner, whom I met at his residence in Mödling in 1980.

It was a memorable visit, and he loaded me down with books, catalogs and brochures about the Vienna School. Based on this information I finished and submitted my paper. It was a disappointment that my proposal for a show was not accepted by committee, but the positive outcome was a exchange of letters with Prof. Hausner, who kept sending me new material from time to time. Eventually though, the connection faded. When years later (1995) I found out he had passed away, I was devastated. His influence on my work was already very strong, but perhaps best illustrated by my ‘signature piece’ called Selfportrait with the Critical Eye from 1978, which I had shown to him on my Vienna visit in 1980.
I should mention that at that time I was also very much influenced by Ernst Fuchs, and had a deep appreciation for Max Ernst.

At that time, I was rather anxious about being seen as ‘derivative’, but he jovially said to me that it was ‘very good brushwork’ and about the theme and composition he said something to the effect of ‘this is no great state secret ‐ we published this (to inspire)’. Hausner, and also Fuchs, along with my earlier fascination of the Surrealists such as Max Ernst and Dali, had a recurrent presence in some of my work.

detail Rudolf Hausner in Vindobona Altarpiece IIIDetail of Rudolf Hausner in Vindobona Altarpiece III


Hausner’s Adam peeked into my paintings of that day, and in my drawing took on a dominant position in this, my ultimate tribute piece to the Vienna School ‐ Vindobona Altarpiece III ‐ where he lords it over the central portion on a dark banner that stands above the scene like a sail.

Rudi, schreib mal - painted mailboxRudi, schreib mal – painted mailbox


As mentioned before, this drawing was not exhibited in Grande Prairie at my solo show since I only worked on it after, but a few months later, in October 1994 I entered a painted mailbox for a gallery fundraiser, titled “Rudi, schreib mal” ‐ thinking that our exchange of letters had stopped years ago. A year later, he passed away.

The Influence of Ernst Fuchs


detail, Unicorn - Vindobona Altarpiece IIIdetail, Unicorn – Vindobona Altarpiece III

Of course here I would have to emphasize the considerable influence that Prof. Ernst Fuchs had on my work for as long as I can remember.

Ernst Fuchs - The Siring of the UnicornErnst Fuchs – The Siring of the Unicorn

Particularly fascinating was the Unicorn series (Einhorn Zyklus) of graphic work ‐ I admired his superior drawing skills above all and tried to emulate it the best I could.

The inspiration for this image I found in Ernst Fuchs 1951 etching ‘Die Zeugung des Einhorns’.
Drawing this image by ‘channeling’ Fuchs seemingly helped improve my skills.

Otto Rapp - Selfportrait with SnakesOtto Rapp – Selfportrait with Snakes

I couldn’t help including a little self portrait beneath the entanglement of the Unicorn with the ‘snakes’.

Other influences


detail - Vindobona Altarpiece IIIdetail – Vindobona Altarpiece III


The drawing owes much to what I learned from studying Ernst Fuchs. The literature I received from Rudolf Hausner, on the other hand, acquainted me with the already larger following of the Vienna School (in the days of their breakthrough, around 1965).

Some I found particularly interesting, such as Karl Korab; an image inspired by him found it’s way into the drawing as well.

detail - Vindobona Altarpiece IIIdetail – Vindobona Altarpiece III


A detail of a deformed gnome came from a Roman marble I had seen somewhere in an art history book. I had utilized it before already once in an etching.

check out the zoom image of VINDOBONA ALTARPIECE III on my website


The question remains: What does it all mean?


All games have morals; and the game of Snakes and Ladders captures, as no other activity can hope to do, the eternal truth that for every ladder you hope to climb, a snake is waiting just around the corner, and for every snake a ladder will compensate.

While I had set out to make this a tribute to the Vienna School, the subtitle Snakes and Ladders also alludes to the Game of Life, as in the words of Salman Rushdie (Midnight’s Children):

All games have morals; and the game of Snakes and Ladders captures, as no other activity can hope to do, the eternal truth that for every ladder you hope to climb, a snake is waiting just around the corner, and for every snake a ladder will compensate. But it’s more than that; no mere carrot‐and‐stick affair; because implicit in the game is unchanging twoness of things, the duality of up against down, good against evil; the solid rationality of ladders balances the occult sinuosities of the serpent; in the opposition of staircase and cobra we can see, metaphorically, all conceivable oppositions, Alpha against Omega, father against mother.

Art of the Mystic Otto Rapp


This was also published 2 years before on Steemit





Two of my paintings and one drawing  are touring with the Magical Dreams V exhibition organised by the Bator Art Gallery. The next exhibition opens in Warsaw, Poland, Jan 9. 2020.

January 9th, 2020 at 7 PM.

Centrum Promocji Kultury
ul. Podskarbińska 2, 03-833 Grochów, Warszawa, Poland

The exhibition will continue until January 30th 2020.
The exhibition is under the patronage of
Tomasz Kucharski, Mayor of the Praga-Południe District of the Capital City of Warsaw.



acrylic on canvas – 2019 – 60 x 90 cm


acrylic glazes on panel – 2018 – 40 x 50 cm


graphite and charcoal on paper – 2019 – 42 x 29.5 cm


Not pleased with the “new” Vocativ


After searching in vain for previous Vocativ articles I had linked to (and those links are mostly duds now) I find that Vocativ has turned from intelligent and deep web searching journalism to serve up brain-pablum for the attention-span-challenged masses. Sad really – and considering that it was a widely referenced site and there must be a gazillion links in blogs and news articles that are now totally useless! Until not long ago, links to the previous site had still worked, and some are still to be found, but without images. Which I find totally ignorant (I refrain from saying “stupid”) since what does it take to keep them in the servers archives? What would it have taken to keep them indexed? A decade ago this may have posed a problem, but not now. Vocativ has no site search now; you can find (some of) the lost articles on Google searches and of course linked to on many sites (as I did on my blogs).
Just so you know what it looks like today: https://www.vocativ.com/ – and this what it looked like before (site map 2017 – some articles are still to be found via those links on the map): https://www.vocativ.com/html-sitemap/index.html

Researching what happened, I find this post from June 14, 2017

Vocativ lays off entire editorial staff in shift to video


The layoff was made in an organizational shift to an entirely video-first strategy, according to several reports published Wednesday and confirmed by now-former staff members. At least 20 people were affected by the staffing changes and potentially looking for new jobs, according to a Google Sheet circulating on Twitter.


…. and yet, it started so promising, post from October 20th 2013

How Vocativ Mines The “Deep Web” For Storytelling

The startup, funded by security tech magnate Mati Kochavi, adapts technology used by hedge funds and intelligence agencies to find news all over the world.

Further down:

Vocativ’s CEO Scott Cohen (formerly digital executive editor of The New York Daily News) notes that the Web is full of what he calls “clusters of disparate signals”–and that his organization’s job is to organize them into coherent stories. A big part of this is following horizontal threads of data–the type of leads hedge funds, law enforcement, and intelligence agencies thrive on–with the hope of unearthing unexpected information that’s of interest to the public. As Vocativ’s application trawls the Web for interesting potential news stories, analysts and their journalist cohorts verify sources’ accuracy (often with non-English speakers). Then the journalist-analyst pairs translate the raw materials into stories designed to challenge Vice and the Wall Street Journal, among others. The pairing of often young and uniquely experienced journalists with data analysts to produce actual stories (not just files of raw data leads) is what makes Vocativ’s business unique.


YouTube uploaded on Oct 28, 2013 by Vocative – still available on their YouTube channel, but none of it is true about their current site!

The reason I write this is because I tried to reference a 2013 Blogger post of mine where I had, among other related subject matter, linked to a image and an article about Art Basel 2013 – it was still found via a Google search, but no images. I am not one to give up easy, and after some searching, I find the complete article on the Internet Archive (actually not the first time for me to recover stuff there):

How to Succeed in Contemporary Art Without Really Trying

And let me repeat what I said above:
Sad really – and considering that it was a widely referenced site and there must be a gazillion links in blogs and news articles that are now totally useless!



It started not long ago when I chanced upon news from this years Art Basel Miami. The stories went viral and were widely shared.
Here are a few of the most relevant links (I will be quoting from them the most poignant excerpts):


Gallery owner Emmanuel Perrotin posing with Maurizio Cattelan’s “Comedian.” List price: $120,000. Perrotin Booth at Art Basel Miami Beach, booth D24

If you see a banana at the Perrotin art gallery, avoid all temptations to eat it*. The tropical fruit could very well cost you $120,000.​

and further down:

Cattelan’s banana offers insight into how we value objects. He originally sought to create a banana-shaped sculpture made of resin or bronze and then circled back to using a real banana. The work follows a hallowed tradition of avant-garde artists such as Piero Manzoni who sold “Bodies of Air (Corpi D’Aria)” in a series of inflated red, white or blue balloons.
In 1961, Manzoni sold 90 small cans labeled “Artist’s Shit (Merda d’Artista) for roughly $30. In 2016, the Milan-based auction house Il Ponte Casa d’Aste reportedly sold one of the cans for nearly $300,000.
​………………..read more

* avoid all temptation to eat it: was this considered a challenge? Apparently so ……

The $120,000 banana at Art Basel Miami Beach was eaten by Datuna Saturday afternoon. A new banana was re-adhered to the wall with duct tape at the installation.

The $120,000 banana — a real, rather ripe and edible one — is the work of Italian artist Maurizio Cattelan and titled “Comedian.” The work comes with a Certificate of Authenticity, and owners are told that they can replace the banana, as needed.
Instructions on how to replace the banana are not included.
……. read more


​An art piece of a banana duct-taped to a wall, which captured a lot of buzz in the past week, has reportedly been taken down at the Art Basel show in Miami Beach.

“The crowds surrounding the installation posed a serious health and safety risk, as well as an access issue, so the work was removed,” Art Basel said in a statement to The New York Times on Sunday.

The controversy-stirring artwork first sold for $120,000, and then was sold two more times for $120,000 to $150,000, reported The Times.
………… read more

I could go on and on …. there is tons of it found on a Google Search: ​art basel miami banana duct tape
and I had tons of comments on my Facebook post(s) – but the best one was by my artist friend Ana Neamu who wrote:
​every time i see something like this, I can’t get out of my mind this movie:

……. which brings me to this:


…. when I wrote in the introduction to my blog December 17th 2013:
The times of manning the barricades have long since past for me. I no longer hold my breath waiting for change. Hoping, against all hope, perhaps, but I have no illusion that pissing against the wind will change the course of the Titanic. 
 Read more on my Blogger Blog ​LAOKOON, ANTI-LAOKOON and ANTI-KOONS ​which deals with a variety of related subjects, the part about Art Basel Miami just being a humorous closing observation.

On that Blogger Blog I had  linked to an article in Vocativ about Art Basel 2013, and while there was still a remnant of the article on that link, I found that they changed their website format to strictly video reportsphasing out written stories. This is sad, going from cutting-edge reporting from the Deep Web to serving brain-pablum. Here is another look at the Vocativ story: Vocativ lays off entire editorial staff in shift to video.
Some articles like the one I linked to are still available, but only the text remained, the images are gone, and they are not indexed. You would find them only on old links via a search engine. I am not one to give up that easily, and I did find the original in the Internet Archives. So I downloaded the images from those archives and am posting them here (on the title image I added the lettering in Photoshop). I also added a image of Duchamp to illustrate the origin – the image links to the Wikipedia article.

By Emily Levy
Dec 06, 2013 at 8:57 AM ET

MIAMI—It’s the first week of December, which means the world’s current and future gout sufferers have descended once again upon Miami for Art Basel, the jet set’s annual orgy of conspicuous consumption. Now in its 11th year, Basel Miami has become one of the largest and most important art fairs on the international circuit, where wealthy drunks drop obscene amounts of cash for the latest and greatest from hot young artists, and everyone else tries to fuck them.

It’s widely known that wherever hot young artists go, perfume-scented clouds of bullshit form overhead, raining down free money and adoration. And the smog is thick at the Miami Beach Convention Center this year. A quick survey of the product on offer has convinced us once and for all that being a successful contemporary artist is the greatest job in the entire world. And here’s the exciting part: We’re pretty sure we’ve cracked the code.

Own a trash can? Have a basement, garage or closet? Are you physically able to wrap pears in tinfoil or drop stuff on a floor? Well, you might as well buy a villa in France, friend, because you are a successful contemporary artist. That’s right: Now you, too, can earn $100,000 to $1 million at Art Basel without even leaving the house! It’s that easy.

Wait a second, you’re asking, do I need to buy all kinds of fancy equipment or expensive professional art supplies?  No and no!  Just follow these 14 simple DIY steps using everyday household items and a little imagination. We’re not even going to make you buy the infomercial DVDs or pay shipping and handling, we’re just going to give away this life-changing information free of charge.


​If you’re also asking yourself, “Didn’t the original gangster Marcel Duchamp figure this shit out almost a hundred years ago with his famous found-object urinal?”

​The answer is yes, and congratulations for taking art history 101 in college. “But how is it then that an entire generation of RISD grads can keep ripping off the same idea year after year and still convince these corpulent billionaires to line up at the trough?” It’s art, you philistine; didn’t you go to college? Now let’s get down to business. All prices quoted below are real.


​1. Wad up a pile of your soiled underpants and drop them on the floor. Done. Congratulations! You are a fucking genius. Seriously. This piece sold for $3,500. We told you this would be easy! Now you can barely afford to keep your underwear on—it’s like printing money. (Rosa by Adriano Costa, Sadie Coles Gallery)

​2. Splash some paint on a couple of used mattresses. Demand $65,000. EACH. You’re getting the hang of it.  (Untitled by Wade Guyton, Kelley Walker, Greene Naftali Gallery)

​3. Oops. You spilled some tennis balls on the floor. And…it’s a goddamned masterpiece! You’re a natural. We knew you had what it takes.

​4. Blindfold yourself and grab 14 random items out of your attic or closet. Arrange them on the floor. Charge nothing less than the $12,000 you deserve, you beautiful monster. (Destination Peru by Meric Algun Ringborg, Galerie Nordenhake)

​5. Wrap some fruit in tinfoil. Finished. Your raw talent is positively sexual.  (The American Supermarket by Robert Watts, Leslie Tonkonow Artworks + Projects)

​6. Place one fruit on a mirrored pedestal. Take the rest of the day off.  (F.R.O #a-g by Thomas Zipp, Baudach)

​7. Swipe some belts from your mom’s closet—the ones she got at Marshalls that time but never wore. Apply them to a wall. You must be exhausted. Stick with it, you can do this!  (Beltbuckle (Voodoo Ray), Belt Buckle (Papa’s Got a Brand New Bag), Belt Buckle (Misirlou) by Jim Lambie, Anton Kern Gallery)

​8. Put a rock in the corner. Make sure the rock is nice looking. This must have been what it was like watching Michelangelo paint the Sistine Chapel. (Still. Life. by Ugo Rondinone, Esther Schipper Gallery)

​9. Grab a big armload of shit out of a Goodwill donation dumpster and paper-mache it all together like a disturbed child. If you can’t find a pink sweatshirt, just toss in a dirty rag or whatever junk is closest, like a fast-food wrapper. But not your beret—you’re going to need that. You’re an artist now.

​ 10. Dump the contents of your kitchen utility drawer into a concrete receptacle (Warning: advanced). (New Museum by Adriano Costa, Sadie Coles Gallery)

​11. Steal any bike in Portland and/or outside someone’s tent at Burning Man. Ask $25,000 or best offer. (Pedal Over by Jarbas Lopes, Galerie Krinzinger).

​12. Choose one sporting good from your garage and kick it into the middle of the room.  Wait for your check in the mail. (Minus gallery fees, of course—the leeches always take a piece. They live off your creativity because they can’t create themselves. That’s just going to be life for you now, get used to it.) (Untitled (Ball) by Marzena Nowak, Gallery Mezanin)

​13. Own a Shop-Vac and a can of spray-paint? Don’t overthink it. Quit while you’re ahead. You just earned $75,000—which is what this sold for on the first day. (Labor Saving Device by Roxie Paine, Kavi Gupta)

​14. Dangle some life preservers on your step stool. Now take a load off and have a beer—you’ve really earned a break. But make sure to leave the red plastic cup on the stool—this is art, for fuck’s sake. Here’s $25,000. (Summer Law by Lizzie Fitch/ Ryan Trecartin, Andrea Rosen gallery)
I like to give credit to the author, and after some searching I found a profile for Emily Levy on LinkedIn that seems to be the right one, because of the dates she lists as working for Vocativ (2013 – 2014). 

Are you with me so far? Kudos to you, your attention span is better than 99.5% of the Facebook click-happy crowd.
In conclusion I like to point out that not much has changed since 1975 when Tom Wolfe wrote


QUOTE from the Introduction:
​​All these years I, like so many others, had stood in front of a thousand, two thousand, God-knows-how-many thousand Pollocks, de Koonings, Newmans, Nolands, Rothkos, Rauschenbergs, Judds, Johnses, Olitskis, Louises, Stills, Franz Klines, Frankenthalers, Kellys, and Frank Stellas, now squinting, now popping eye sockets open, now drawing back, now moving closer—waiting, waiting, forever waiting for . . . it . . . for it to come into focus, namely, the visual reward (for so much effort) which must be there, which everyone (tout le monde) knew to be there—waiting for something to radiate directly from the paintings on these invariably white walls, in this room, in this moment, onto my own optic chiasma. All these years, in short, I had assumed that in art, if nowhere else, seeing is believing. Well—how very shortsighted! Now, at least, on April 28, 1974, I could see. I had gotten it backward all along. Not “seeing is believing,” you ninny, but “believing is seeing,” for Modern Art has become completely literary: the paintings and other works exist only to illustrate the text.

Basically he was saying that a group of critics (he called the kings of “Cultureburg” -Clement Greenberg, Harold Rosenberg and Leo Steinberg ) had made it so that artworks mattered less than the texts that were produced surrounding them.

Quoting a book passage from Wikipedia “The Painted Word”:
​Conceptual Art: “…there, at last, it was! No more realism, no more representation objects, no more lines, colors, forms, and contours, no more pigments, no more brushstrokes. …Art made its final flight, climbed higher and higher in an ever-decreasing tighter-turning spiral until… it disappeared up its own fundamental aperture… and came out the other side as Art Theory!… Art Theory pure and simple, words on a page, literature undefiled by vision… late twentieth-century Modern Art was about to fulfill its destiny, which was: to become nothing less than Literature pure and simple”.
Please Note: this link has not been tested, so proceed with caution. Found on LinkedIn Slide Share ►

PictureImage from the LA Times

About Tom Wolfe – Los Angeles Times, May 15th 2018
Tom Wolfe, novelist and pioneer of New Journalism, dies at 88
​ Once asked why critics despised him, Wolfe said, “Intellectuals aren’t used to being written about. When they aren’t taken seriously and become part of the human comedy, they have a tendency to squeal like weenies over an open fire.”


I found this review rather interesting, a in-depth paper of which the author says:
​”Caveat and disclaimer: this is an opinion piece, based on my own personal research.”
 A Review of The Painted Word – 38 Years Late – by Miles Mathis
One other review (of many) I perused on Goodread that is remarkable is this one:
John Orman’s Reviews > The Painted Word