Boudoir Stomp
sad songs, pastel prouns & naked ladies



Francis Campbell Bolleau (F.C.B.) Cadell - 1923-1924


T. Trepkowski, Palestine Line, Gdynia-America Shipping Lines, Ltd., 1935.


Stephen Shore

Mohsen Makhmalbaf on the origins of A Moment of Innocence:
When I was 17 I fought with a policeman in order to disarm him. I stabbed him with my knife and he shot me with his gun. He was sent to the hospital and I was sent to a torture chamber. I had been a hero so far and he an anti-hero—as they say in the movies: he was the bad guy and I was the good guy. I was campaigning for justice and in order to do so I needed that policeman’s weapon. When I was 37 I published an ad in newspapers in order to hire players for Salaam Cinema. Among the thousands of candidates there was my policeman. Since I had been disappointed by politics I didn’t need his weapon any longer. Now he needed mine—the weapon of the movies! The latter wasn’t meant to do politics or to hurt each other but it could help to attempt to understand each other so as not to have to fight anymore.

…on his reasons for making A Moment of Innocence:
I needed to reconsider what has changed, either in me or in the society I live in. One of the things that has not changed is the fact that a policeman is still a policeman, but Makhmalbaf is not the same Makhmalbaf and the society is not the same society. I also wanted to find out why at that time I had decided to solve the problems of the society through the means of violence. When I attacked that policeman, was he for me an obstacle to reach justice, or was he one of the outcomes of the lack of justice? Of course, this happened during a period of many militant actions against the regime of the Shah and mine was not an exceptional case. Just the same, I wanted to find out what had caused me to think that way and what was the result of that action. I think I have found the answer in the film. The interesting point was that I had two months—the period it took to shoot the film—to think about something that happened in a few seconds. This gave a new dimension to the event. Twenty-two years ago, I was thinking that I got the truth and that the answer was in my head, now I realize that there are different reasons, different realities and different solutions according to each person’s point of view. Truth is like a triangle with more than one angle. It is not an absolute entity, but rather a relative thing.


ROBERTI, Ercole de’
St John the Baptist
Panel, 54 x 31 cm
Staatliche Museen, Berlin


Louis Cylkow, La plage en Bretagne [The beach in Brittany]


New Orleans c.1958 © William M. Green

Third Order of Simulacra: [The present age] Dominated by simulations, things that have no original or prototype (though they may parallel something). Era of the model or code: computers, virtual reality, opinion polls, DNA, genetic engineering, cloning, the news media make the news, Nike sneakers as status symbols, Disneyland. The death of the real: no more counterfeits or prototypes, just simulations of reality - hyperreality. Information replaces the machine as the basic mode of production.
Jean Baudrillard
[The Evil Demon of Images and the Precession of Simulacra] (1986)