I’m just about to cry when he goes and does something ridiculous.
My weepiness is more a wet testament to my propensity to weep than it is in the weepworthiness of whatever I’m watching, which in this case is Guido van der Werve in his latest film, Nummer veertien, home (2012)....
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When the term “romantic conceptualism” reached its apotheosis several years ago, the touchstone appeared, almost unanimously, to be Bas Jan Ader’s I’m Too Sad to Tell You (1971). Gushing affect, it also self-reflexively performed the romantic artist’s predicament: the subjectivity romanticism gives license to profess proves, alas, incommunicable. Consistently and...
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