Photography exhibition 'Wunderland' by Frank Kunert, 10 April to 7 June 2015, La Chambre, 4 place d’Austerlitz, 67000 Strasbourg.
"More than simply a photographic satire, the 'miniature worlds' of Frank Kunert are compositions of ideas, models of sets which he spends weeks and months meticulously putting together from plastic, modeling clay and paint until the results are perfect, almost lifelike. These 'miniature worlds' are funny, bizarre, grotesque, contemplative, dreamy, but also provocative and critical. It's up to the viewer to decide if he finds them entertaining or macabre, or how far he's willing or able to follow the stories Kunert tells."
(The Eye of Photography, L’Oeil de la Photographie)
"Luis Buñuel's The Phantom of Liberty was quickly dismissed upon its release in 1974. Not only did it have to contend with the lingering success of 1972's similarly themed but significantly less abstract The Discreet Charm of the Bourgeoisie, but it was quickly followed by the dreamlike, bi–polar romantic entanglement of the director's last film, That Obscure Object of Desire. Like Discreet Charm, the plot–free Phantom of Liberty is a patchwork of comedic sketches and sight gags through which Buñuel ravages a complacent European culture and the various sexual hang–ups and historical and cultural disconnects of its inhabitants. This heady, almost off–putting masterwork isn't particularly easy to decipher (maybe we aren't meant to), which is why it's best to approach it as a literal comedy of manners.
Films structured around daisy chains of dysfunction are a dime a dozen; most, though, are as tiresomely long–winded as they are content with their own strained circularity. This isn't the case with Phantom of Liberty, which begins with a shot of Goya's 1808 masterpiece 'The Third of May.' The painting depicts Napoleon's army executing a group of faceless Spaniards, and via a reenactment of this struggle, Buñuel depicts how one of Napoleon's captains tries to defile the monument of Doña Elvira only to be smacked on the head by the moving arm of the statue of the woman's husband. (He later intends to sleep with the woman's corpse, and when he opens her coffin, he's amazed by how her beauty has been preserved.) It's the first of many sight gags in the film, each and every one as startling as they are perversely funny. All these moments are possessed by a sense of shocked wonderment and discovery, and they all more or less evoke fragile pasts and characters trying to reconcile their historical detachments."
(Ed Gonzalez, 13 September 2003, Slant Magazine)
"What do you think about this issue? Do you have any thoughts? What are those thoughts? Will you tell us them? Any thoughts at all will do. If you have em –we want to hear them. Are you personally affected by this issue then email us or if you're not affected by this issue can you imagine what it would be like if you were? ..."
(BBC Two, UK)
That Mitchell and Webb Site "We want your Ad–hoc 'reckon'" Series Two, Episode Five
"On San Francisco's Market Street last week, two somber–faced public–opinion 'pollsters' approached a young man, thrust a microphone in his face, and after a few minutes of earnest conversation asked: 'Would you be interested in helping future generations to fly?' When the young man said 'yes,' the pollsters asked: 'Well, then, would you let us graft a pair of chicken wings on your forehead?' The subject was dubious but the interviewers refused to give up. 'Well, how about just one wing?' they asked. 'It's absolutely painless, you know.' By the time the exasperated youth shouted: 'Get away from me, you crackpots,' it was too late. The dialogue was on tape, and the zany radio team of James Coyle and Malcome Sharpe had hooked another victim.
For the past eight months, Coyle and Sharpe have been roaming the streets of San Francisco looking for likely guinea pigs for their imaginative nonsense. So far, they have duped more than 3,500 San Franciscans into taking part in tape–recorded stunts broadcast a dozen times nightly over a KGO radio disk–jockey show. Combining some of the elements of 'Truth or Consequences' and 'Candid Camera,' Coyle and Sharpe have rapidly made themselves one of KGO's most popular features. Each week the pair gets more mail than any of the ABC station's other performers.
Coyle and Sharpe have, among other things, recruited a private army of 14,000 San Franciscans to invade Los Angeles to solve the smog problem; they have sold a clothing salesman on the notion of putting insects into the pockets of men's suits) to familiarize the buyers with entomology); they have tried to rent out the pigeons in Golden Gate Park at $1.50 an hour; they have asked people if they would permit cornflake advertisements to be printed in their eyeballs, and they once convinced a San Francisco businessman to give physical–fitness demonstrations on a pedestal in Union Square. The executive balked only after Coyle and Sharpe proposed thet he be attacked by a flock of trained birds 'to prove that people can exercise when under pressure.'"
(Newsweek, January 13 1964)