Recollections of a Floating Continent

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It was a trip destined to make Hells Angels household names across America, infamous for their violent, drunken rampages and feared for the destruction left in their wake. Enter Hunter S.

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Thompson, the master of counter-culture journalism who alone had the ability and stature to ride with the Angels on their terms. In this brilliant and hair-raising expose, he journeys with the last outlaws of the American frontier. A mixture of journalism, story-telling and sheer bravado, Hells Angels is Hunter S. Thompson at full throttle.

The Curse of Lono. The Curse of Lono is to Hawaii what Fear and Loathing was to Las Vegas: the crazy tales of a journalists coverage of a news event that ends up being a wild ride to the dark side of Americana. Originally published in , Curse features all of the zany, hallucinogenic wordplay and feral artwork for which the Hunter S. This curious book, considered an oddity among Hunters oeuvre, was long out of print, prompting collectors to search high and low for an original copy.

TASCHENs signed, limited edition sold out before the book even hit the stores, but this unlimited version, in a different, smaller format, makes The Curse of Lono accessible to everyone. About the illustrator: Ralph Steadman is best known for his collaborations with Hunter S. He is also a printmaker his prints include a series of etchings on writers from William Shakespeare to William Burroughs. About the author: Legendary author Hunter S.

Thompson developed a style of writing about American life and politics that was so acerbic and over-the-top, it earned its own nickname: gonzo journalism. His magazine articles and books-of which he penned nearly a dozen, including Hells Angels, The Rum Diary, Songs for the Doomed, The Great Shark Hunt, and the monumental Fear and Loathing in Las Vegas-influenced a generation of writers and established his voice as an essential part of Americas socio-political fabric.

Portrayed on the silver screen by Bill Murray Where the Buffalo Roam, and Johnny Depp Fear and Loathing in Las Vegas, , Thompson was a wild character whose persona was inseparable from his often semi-autobiographical writing. True to his image, he once said, I hate to advocate drugs, alcohol, violence, or insanity to anyone, but theyve always worked for me. Three years after his supposed death at the Reichenbach Falls, Sherlock Holmes returns to B Baker Street, to the astonishment of Dr Watson and the delight of readers worldwide.

From kidnapped heirs to murder by harpoon, Holmes and Watson have their work cut out for them in these brilliant later tales.

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This collection also includes His Last Bow, a series of recollections from an older Sherlock Holmes of further adventures from his life. In this Macmillan Collectors Library edition, Sherlock scholar David Stuart Davies provides both an illuminating afterword and a fascinating chronology of the Sherlock Holmes stories. The outcome is thus a multivocal exhibition, in which the works speak on their own, yet also engage in a dialogue with one another, circulating around the same topic, but not repeating it. The exhibition invites the viewer to find the parallels and connections between the works and highlight often repressed or hidden narratives.

One of the most interesting aspects of the exhibition is that it presents very different artistic approaches about how can we deal with the archives in contemporary art.

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In these cases, the archival material is of course more then a document: it becomes a dynamic terrain, within which the artist turns towards archival material and uses it not only as a resource but as a source. The artists often use archival documents in a performative way, as they appropriate, reconstruct, re-enact it in their artworks. Ali Cherri focuses more on the notion of cultural heritage and the appropriation of found objects.

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In addition, in the bookstore of tranzit. Even though the pairings sometimes can seem a bit didactic, the whole project itself is a sensitive reflection on a repressed story. The forced relocation of the people and the changes they have had to make in their lifestyle evoke the emblematic scene from the hit-series Chernobyl HBO, , when, because of radiation, the town has been evacuated.

An old lady milking her cow refuses to leave: she survived both World Wars and the socialist regime, and she refuses to leave in what, I principle, is supposed to be a time of democracy and individual rights. The solution is simple: the military kills her cow and thus forces her to leave. In one video, the story of the hunger strikes in Oslo , are being retold, and the artists emphasize the importance of these events in terms of early eco-feminist movements.

An extremely powerful activist movement unfolds, as the archival materials from television and newspapers merge with contemporary recollections in the film. The dynamic video serves as a certain kind of memorial gesture to the Alta action events, as the main protagonists re-enact the protests metaphorically, while arriving at the Norwegian Parliament, referring to the protest in On another screen, we can engage with the archival materials which the artists collected from the Alta Museum about the activist group and protest movement and the various posters, flyers, and documents of the late s and early s could be discovered.

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As in the other video, members of the community wear traditional costumes, and the amazing landscape serves as a backdrop. In his installation, Ali Cherri not only takes us to another continent virtually, but also physically challenges us, as he plays with the exhibition space and changes our perception of it. His main installation Plot For a Possible Resurrection II , is made of mud bricks and two found sculptures placed on them.

It shows its back to the viewer, and the best way one can see it is from the street, looking through the window. Thus, already on our way to the gallery of tranzit. In his project, Cherri examines the largest hydropower dam built on the Nile, in Sudan, the Merowe Dam, constructed in Not only did it cause the relocation of people, it also submerged several archeological sites before proper research had been done on them, as we learn from the curatorial text.

The mudbricks out of which the installation is made refer on one hand to the bricks made from the Nile river mud, but on the other hand they also evoke the mudbricks which were used in Slovakia and in other places in Central Eastern Europe to build traditional houses. The two sculptures — possibly of Virgin Mary and Jesus Christ — evoke in their materiality and symbolic value the aforementioned and now lost treasures in Sudan, yet they are found objects the artist borrowed from two conservators from Slovakia. Different geographical sites and temporalities merge in the newly commissioned work by the Romanian artist duo, Anca Benera and Arnold Estefan.

In other projects, these two artists often deal with how power and politics exploit nature, such as the installation Debrishpere , which was shown, for example, at MUMOK at the exhibition Natural Histories. In their recent installation, Benera and Estefan present an almost abstract hand woven carpet East of the Danube, West of the Euphrates , , which is interesting in part simply because of its medium if one thinks of the recent comeback of textile art lately.

They literally sew together two stories, which function as the beginning and ending point of the Ottoman Empire. The other one is the memory of the island of Ada Kaleh on the Danube.

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