"Min Alxe, a student at the China Central Academy of Fine Arts, created 'Life Smartphone,' a darkly funny commentary on our culture's smartphone dependence. It shows different characters moving through the world and dying gruesome deaths while not paying attention to what's around them."
(Max Plenke, 08 May 2015)
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)
"Once upon a time in a town called Merryville... comes the story of Grumpleton. This black comedy short in centred around the grumpiest man in the world, who just so happens to be living in the happiest place on Earth. It's fun, it's humorous, it's weird, and it looks amazing! It is Grumpleton."