I am in Switzerland moving out of an apartment i had rented since i am a student. The place was a sweet dump filled with paintings from my grand father, mom's carpets, old kitchen utensils, weathered linens, and leather coated books on the history of most everything, including anatomy, literature, art, and luthertum.



I have never had to let go of so many evocative objects at once. Not to speak of the [potentially] useful work folders, journals, paperbacks, and the un-necessary copies of my doctoral thesis. I guess i will feel lighter once i am done. Meanwhile, it's more on the heavy side. Good i have my "final home" coat with me...

Thanks Noboyuki :)

Also nice: accomplice and long-time friend Delphine gave me small painting by her father, Pierre Chevalley, as a token of all those paintings from my own dad's dads that will end in her basement. And the best part: it's a transportable and vibrant token — one that will finish in Cambridge, MA



Merci Delpine :)

Objects come, objects go, and so do people!

Ce matin, je sors de l'anonymat, je fais "la une" de la Tribune de Geneve. Mon nom est a l' affiche partout, meme sur les mouettes. C'est incroyable et c'est vrai (que c'est incroyable :) Pour plus d'information, visitez le site

The work of Fischli / Weiss makes use of surprise, the technique of ‘détournement’, and thus leaves room for amazement, as if to provide an antidote for a ‘disenchanted world’.



Swiss artists Peter Fischli (born 1952) and David Weiss (born 1946) have been collaborating since 1979. The 2007 retrospective boasts the most comprehensive overview to date of an oeuvre as varied as it is enigmatic. Comprising sculpture, photography, film and video, the work of Fischli / Weiss simply resists classification.

Looking at the world from inside the giant camera in San Francisco is awesome. Based on a design by Leonardo, the camera produces 360 degrees of spectacular live images of the Seal Rock Area. Magnified on a gigantic parabolic table, the projected images are exquisitely sharp, vivid in color, and textured. It is like looking at a painting by Vermeer (who used a camera obscura) but with the clouds, waves, and birds slowly moving on the white semi-gloss ceramic surface of the parabolic table. For more on Vermeer and camera obscura, visit the site

re-purpose :)

Medialab exhibit "ID/entity: Portraits of the 21st century" 2001.

Our piece "strangers to ourselves" (kelly Dobson, Steven Smith, and I) was an interactive holographic installation



An invisible, ever-changing apparatus guides the making of personal identity. There is no such thing as a being; only projections, interpretations, idealized memories, idolized constructions. A person exists through auto-recollections, and knowingly surrounds herself with self-defining tokens. Autotopographies.

A pulsed laser hologram takes hours to set up but only six nanoseconds to shoot a portrait capturing self-conscious poses while revealing details more minute than could ever be planned. Through the gathering of surveillance data, we leave ever more coherent sets of traces. Unknowingly. Digital voyeurism. How do we respond to these unsolicited incursions?