Art: Borondo presents "Matière Noire" at Marseille’s Marché aux Puces

This exciting exhibition of international artists is coming to my beloved Marseille!
One more reason to go soon :)

"Matière Noire"

Opening: October 7th
Entry: free
Location: Marché aux Puces
Until: January 31st, 2018

Borondo presents Matière Noire at Marseille’s Marché aux Puces

Two years after his London show ‘Animal’, Spanish artist Borondo presents Matière Noire, his biggest exhibition to date, in the heart of Marseille’s famous antique Marché aux Puces, from October 7, 2017 to January 31, 2018.

Curated by Carmen Main, Matière Noire deals with the dark matter - everything we cannot directly see or detect but allows the universe to exist - as a metaphor of the invisible in our perception. The show is a reflection upon different cultural, social and generational human realities and the media through which they are filtered, from earlier forms of representations to contemporary digital technologies.

In the free entry 4,000-square-meter exhibition, Borondo will present its universe for the first time through more than 30 in-situ artworks - animations, holograms, installations, paintings, videos - in collaboration with 8 international multidisciplinary artists from the last generation, all born before the digital boom: BRBR Films, Carmen Main, Diego López Bueno, Edoardo Tresoldi, Isaac Cordal, Robberto Atzori, Sbagliato and A.L. Crego, author of the exhibition's dynamic visual content, such as gifs and videos.

Divided in 3 acts – projection, perception, and creation – the exhibition casts doubts on the uniqueness of reality and its representations, penetrating and questioning the edges of human perception; from Plato’s allegory of the cave to a 2.0 reality which shows a world flowing behind a screen, to the free creative contribution of each artist.

Unknown, imperceptible, invisible and yet so present, dark matter is the manifestation of a poetry inherent in the universe and in every individual. Matière Noire is the multisensory trail through which the dark world manifests itself: the rational thought encounters the infinite, the world of consciousness meets with the conscious one, in a fast-paced dialogue between old materials and new technologies, analog and digital, classical and contemporary.

While preserving the nature of public art, Matière Noire marks a step forward in the Spanish artist’s research, through which he explores the potentialities of indoor installation work and addresses a wider audience.

During the 3-month art residency in Marché aux Puces, the artists have lived and worked together, curating and organizing every detail of the show, sharing that space with merchants of a disappearing neighborhood, the dark matter of Marseille.

The overall result is a living organism in close connection with the place and its history, one of the last reserves of collective memories expressed through the objects found on site. They become the raw material used for most of the works, a fil rouge for the whole exhibition as opposed to the digital archive of our times.

Borondo makes use of collective symbols and myths, and touches archetypes and latent unconscious, bringing the audience to a kaleidoscope of infinite universes to explore and capture.

They are drafts of an invisible past without which our existence would not be possible, as the dark matter of our present.

M A T I È R E  N O I R E
BORONDO SHOW
7.10.2017 – 31.01.2018
FREE ENTRY

Featuring
BRBR Films
Carmen Main
Diego López Bueno
Edoardo Tresoldi
Isaac Cordal
Momo Lui Même
Robberto Atzori
Sbagliato

Curated by
Carmen Main

Visual content
A.L. Crego

Catalogue pictures
Blind Eye Factory

Co-produced by
Gonzalo Borondo
Edoardo Tresoldi

Presented by

Catherine Coudert
Galerie Saint Laurent
Association Marseille Street Art

Where
Marché aux Puces,
Hall des Antiquaires,
130 Chemin de la Madrague Ville
13015
Marseille

Dates and hours

Opening - October 7 at 06.00 pm

From Thursday to Sunday from 10.00 am to 06.00 pm

M A T I È R E  N O I R E

BORONDO SHOW

7.10.2017 – 31.01.2018

Marché aux Puces

Marseille

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En français :

L'artiste espagnol Borondo présente Matière Noire au célèbre Marché aux Puces de Marseille

Deux ans après son exposition "Animal" à Londres, Borondo présente "Matière Noire". Se déroulant du 7 octobre 2017 au 31 janvier 2018 au cœur du célèbre Marché aux Puces de Marseille, il s'agira de la plus grande exposition, à ce jour, de l'artiste espagnol. 

Avec Carmen Main en tant que commissaire d’exposition, Matière Noire aura pour sujet tout ce qu'on ne peut ni voir ni détecter directement, mais qui permet néanmoins à l'univers d'exister : une métaphore de l'invisible à notre perception. 
Une réflexion sur les différentes réalités humaines au niveau culturel, social et générationnel et sur les moyens qui permettent de les assimiler, des premières formes de représentation jusqu’aux plateformes digitales contemporaines.

L'exposition, gratuite, s’étend sur une superficie de 4 000 mètres carrés où Borondo présentera pour la première fois son univers à travers plus de 30 œuvres d'art - animations, hologrammes, installations, peintures, vidéos - avec la participation de 8 artistes multidisciplinaires internationaux appartenant à la dernière génération ayant grandi avant le boom digital : BRBR Films, Carmen Main, Diego López Bueno, Edoardo Tresoldi, Isaac Cordal, Robberto Atzori, Sbagliato, Momo lui Même and A.L. Crego, auteur également des contenus visuels dynamiques de l'exposition, tels que gifs et vidéos.

Déclinée en 3 actes – projection, perception et création – l’exposition remet en cause l’univocité de la réalité et de ses représentations, tout en pénétrant et interrogeant les extrêmes de la perception humaine.
Du mythe de la caverne de Platon à la réalité 2.0 où le monde est découvert à travers un écran,  jusqu'à la contribution créative de chaque artiste.

Inconnue, imperceptible, invisible et pourtant si présente, la matière obscure est l’expression de la poésie inhérente à l’univers et à chaque individu. Matière Noire est la trace multisensorielle à travers laquelle le monde obscur se manifeste : le rationnel entre en contact avec l’infini, le conscient avec le subconscient, dans un dialogue serré entre anciens matériels et nouvelles technologies, analogique et digital, classique et contemporain.

Tout en maintenant intacte la nature de l'art publique, Matière Noire constitue une nouvelle étape dans la recherche artistique de Borondo, lui permettant d’explorer les potentialités de l’art installatif d’intérieur, en s’adressant à un public plus vaste.

Au cours des trois mois de résidence artistique au Marché aux Puces, les artistes ont collaboré et vécu ensemble, organisant l'exposition dans les moindres détails et partageant les espaces avec les marchands d’un quartier en voie de disparition : la matière noire de Marseille.

Le résultat est un organisme vivant collectif en symbiose avec le lieu et son histoire, l’une des dernières réserves de mémoire collective exprimée à travers les objets ci-présent. Ces derniers constituent le matériel principalement utilisé pour la réalisation des œuvres, véritable fil rouge du parcours de l’exposition, en contraste avec les archives digitales de notre temps.   

Borondo, faisant recours aux symboles et mythes collectifs, tout en passant à travers archétypes et subconscients latents, nous conduit dans un kaléidoscope infini d’univers à saisir et explorer.
Des giclées d’un passé invisible, sans lequel notre existence serait impossible, matière obscure de notre présent.

_____________________

M A T I È R E  N O I R E
BORONDO SHOW
7.10.2017 – 31.01.2018
ENTRÉE GRATUITE
En collaboration avec
BRBR Films
Carmen Main
Diego López Bueno
Edoardo Tresoldi
Isaac Cordal
Momo Lui Même
Robberto Atzori
Sbagliato

Commissaire d’exposition
Carmen Main

Contenus visuels
A.L. Crego

Images du catalogue
Blind Eye Factory

Co-produite par
Gonzalo Borondo
Edoardo Tresoldi

Présenté par

Catherine Coudert
Galerie Saint Laurent
Association Marseille Street Art

Emplacement
Marché aux Puces,
Hall des Antiquaires,
130 Chemin de la Madrague Ville
13015
Marseille

Dates et heures

Vernissage 

7 octobre 18h00

Du jeudi au dimanche

De 10h00 à 18h00

-- 

M A T I È R E  N O I R E

BORONDO SHOW

7.10.2017 – 31.01.2018

Marché aux Puces, Hall des Antiquaires,

130 Chemin de la Madrague Ville

Marseille - France

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Edoardo Tresoldi:

Borondo:

"Le Jeune Karl Marx" : Cinéphiles de partout unissez vous !

Un message de Velvet Film et Raoul Peck:

Le mouvement social se réveille enfin ! 

Ami(e)s des associations citoyennes, des syndicats, des partis de progrès plus que jamais l'héritage de la pensée de Marx nous aide à penser le futur...

N'hésitez pas à vous emparer du film pour organiser partout projections et débats citoyens... Contactez nous en MP, nous vous aiderons à contacter votre cinéma s'il ne l'a pas déjà programmé, à trouver des intervenants possibles si vous n'en avez pas, etc...

Cinéphiles de partout unissez vous !


Via la page Facebook : 

https://www.facebook.com/LeJeuneKarlMarx/

Kate Tempest's 'Tunnel Vision'

"The winter of our discontent’s
upon us"...

Kate Tempest: 'Tunnel Vision'

Tunnel Vision
Indigenous apocalypse
decimated forests.
The winter of our discontent’s
upon us.

Desolate apostles
slurping Strongbow at the crossroads
We are nothing but an eating mouth
Oesophagus colossal

Will not stop until we’ve beaten down
The planet into pellets
Before the interstellar mission to inflict more terror.
It’s killing me it’s killing me
It’s filling me
I’m vomiting
It’s still in me.

Everything is fine really, silly me.

Poor kids shot dead
Poor kids locked up
Poor kids saying
this is the future you left us?
Stocked up, lunchmeat
Processed punch from an unclean fat cat
Tasty tasty poison.

Carcinogenic
diabetic
asthmatic
epileptic
Post-traumatic bi polar and disaffected

Atomised

Thinking we’re engaged
when we’re pacified
Staring at the screen so
we don’t have to see the planet die.

What we gonna do to wake up?
We sleep so deep
It don’t matter how they shake us.
If we can’t face it, we can’t escape it

But tonight, the storms come.

She’s screaming, she’s screaming.
The drones
Turned her beautiful boy into a pile of bones
No body to bury
Nobody is home
Running from war
The boats full
The boats sinking
a mile off shore.
No beds in the hospitals
Our minds are against us

Imagine your daughter was gunned down, defenceless
On her way to school, there’d be uproar
But she’s collateral damage.
It doesn’t matter.

If our kids are fine
That’s enough for us
You can’t love into a vacuum
There’s got to be a limit.

Welcome to the biggest crime that’s ever been committed

You think you and I are different kinds?

You’re caught up in specifics.

You and I apart are easier to limit
The illusions so complete
It’s impossible to bring it into focus

Cinematic stock footage:
People are locusts
Uniformed men keep unleashing explosives.

What we gonna do to
wake up?

We sleep so deep
It don’t matter how they shake us.

If we can’t face it
we can’t escape it.
But tonight the storms come.

Tunnel vision
tunnel vision
Work drinks. Heartbreak.
Can’t face the past, the past’s a dark place.

Can’t sleep.
Can’t wake.
Sitting in our boxes

Notching up our victories
as other people’s losses.

Another day another chance to turn your face away from pain
Lets get a take away
Meet me in the pub a little later, say the same things as ever
Life’s a waiting game
When we gonna see that life is happening?

And that every single body
bleeding on its knees is an abomination?
And every natural being is making communication.
We’re just sparks,
tiny parts
of a bigger constellation.
Miniscule molecules
that make up one body

The tragedy and pain
of a person that you’ve never met
Is present your nightmares,
In your pull towards
Despair

The sickness of the culture
and the sickness in our hearts
Is a sickness that’s inflicted

by the distance
that we share.

It was our bombs that started this war.

It rages at distance,
So we dismiss all its victims as strangers
But they’re parents and children
made dogs by the danger,
Existence is Futile so we don’t engage.

It was our boats that sailed
Killed stole and made frail
it was our boots that stamped
it was our courts that jailed
and it was our fucking banks that got bailed.

It was us who turned bleakly away,
looked back down at our nails and our wedding plans
in the face of a full force gale
we said it’s not up to us to make this place a better land.

It’s not up to us to make this place
a better land

Justice

Justice

Recompense

Humility

Trust is

trust is something we will never see

Till love is unconditional

The myth of the individual
Has left us disconnected lost
and pitiful.

I’m out in the rain
It’s a cold night in London

Screaming at my loved ones
to wake up and love more.

Pleading with my loved ones to

Wake up
And love more.

-

Kate Tempest - 'Tunnel Vision' - live at BBC

"Wells Tower Song"

 Song of the day:

Ciaran Lavery - 'Wells Tower Song'

Published on 8 Sep 2017

"Wells Tower Song"

Stream or buy now: https://ciaranlavery.lnk.to/WellsTowe...

Video by Kristoffer Hedley Platt

Follow Ciaran Lavery:
Facebook: http://facebook.com/ciaranlaverymusic
Twitter: http://twitter.com/ciaran_lavery
Instagram: https://www.instagram.com/ciaranlavery/
Web: http://www.ciaranlaverymusic.com 

Ciaran Lavery found his musical voice through the simplest of means “…listening to old 80s singles on my sister’s record player.” Cutting his young teeth in various (often noisier) incarnations over the last decade – that voice is now as soothing as it is timeless. 

Ciaran crafts heart-on-sleeve acoustic pop in the vein of ‘29’-era Ryan Adams; full of passion and meaning, “I come from a tiny village; you could literally drive through Aghagallon in thirty seconds, but it’s jam packed full of characters and real, genuine people. 

It’s the type of place where if you’re being an idiot someone will tell you. That’s just how the environment was. I guess that sort of honesty comes out in my music.”

-

In 2014, Lavery’s Kosher EP and Not Nearly Dark album went global, with the tracks ‘Shame’ and ‘Left For America’ leading the charge racking up more than 60 million listens on the Spotify streaming service and inspiring a raft of renditions from other countries. The plaudits kept coming in 2015, with the release of Sea Legs, a mini-album on which Lavery collaborated with electronica artist Ryan Vail, winning them a nomination for best album at the Northern Irish Music Prize.

In 2016 his sophomore album “Let Bad In “, won the Northern Ireland music prize

Fast becoming one of Ireland’s most in demand exports, Ciaran has appeared on German radio and television, Spotify television in USA and was selected to play at Willie Nelson’s BBQ at Luck Ranch in Texas by the man himself.

In 2017 Lavery is set to release his third studio album with his biggest tour to date taking in most of Europe, the UK, US, Ireland and Canada.

Glorious Tori Amos

 Thank you Tori Amos for such a healing and profound night.

Here are a couple of extracts of her show in Belgium a few days ago:

Tori Amos Gent 2017 'Bliss'

Tori Amos Gent 2017 'Caught a lite sneeze' on the boundary bridge

And in Luxemburg:

Tori Amos Luxembourg 2017 'Crucify'

Tori Amos Luxembourg 2017 Reeindeer King

"Nos richesses" : un peu pauvres...

 La critique de la semaine :

• FICTIONS

ENTRE RICHESSE DU SUJET ET PAUVRETÉ DU

 RÉCIT, NOS RICHESSES DE KAOUTHER ADIMI 

PÊCHE PAR MANQUE D’AMBITION

11 septembre 2017 Par

Melissa Chemam

Avec son nouveau roman Kaouther Adimi s’empare de fils passionnants de l’histoire algérienne… Mais livre un croisement de récit un peu en dessous des espérances.

Quel beau sujet que celui de ce livre. Une époque littéraire passionnante, une vie politique en plein changement, et un lieu qui cristallise le désir d’accélérer ce changement : la librairie et maison d’édition Les Vraies Richesses, ouverte à Alger, rue Charras, en novembre 1936 par le jeune Edmond Charlot.

Découvrant le jeune Albert Camus lors de la rédaction de sa première pièce – qu’il publie parce que sa représentation est interdite, Charlot se retrouve, à 23 ans, jeune éditeur et libraire, en contact avec les plumes les plus prometteuses de l’Algérie de l’époque : Jean Amrouche, Himoud Brahimi, Mohammed Dib, Mouloud Feraoun, Max-Pol Fouchet, André Gide, Armand Guibert, Emmanuel Roblès, Jules Roy, puis Antoine de Saint-Exupéry, Kateb Yacine… Et il rêve de devenir le carrefour d’une « pensée méditerranéenne qui ne se limite pas au môle d’Alger », le tout, dans un local de quatre mètres sur sept seulement… Un vrai miracle littéraire. Et un bien beau sujet donc.

Mais quel étrange traitement… Le choix de la brièveté et d’une légèreté constante. A peine Kaouther Adimi ébauche-t-elle une description qu’elle l’arrête deux phrases plus tard, voire deux mots. Tout le livre n’est qu’une succession de courtes idées, courts chapitres, alternant avec la reconstitution imaginaire d’un hypothétique journal d’Edmond et avec le récit, lui aussi fictif, de la fermeture de la librairie par un commerçant algérien en 2017, qui veut la transformer en boutique de beignets… Symbolique choix de l’aliment gras et non raffiné pour succéder à la mémoire et aux textes. Mais ce récit contemporain est, lui aussi, évacué avec hâte, comme si l’auteur ne pensait qu’au potentiel ennui du lecteur. L’auteur ou l’éditeur ? Paradoxe ultime pour un livre qui se veut un hommage à une littérature profondément ambitieuse, politisée et risquée.

Pendant une centaine de page, cette lecture alléchante laisse l’impression, surtout à travers le journal fictif, de parcourir des ébauches… Puis un souffle s’installe un peu avec l’aventure parisienne de la maison Charlot. Entre les pages de journal, Kaouther Adimi insère de courts chapitres qui reviennent sur des dates clés de l’histoire algérienne : 1930, 1945 à Sétif, 1954 et le début de l’insurrection algérienne, ou encore la « décennie noire » des années 1990. Le tout reste… intéressant. Du fait de l’histoire originelle incroyable du groupe de Charlot. Des dizaines d’anecdotes passionnantes, sur la publication controversée de Silence de la mer de Vercors ou la mort accidentelle de Saint-Exupéry y apparaissent, évoquées seulement en deux lignes dans le journal fantasmé. Même le jour de la libération, le 25 août 1944, n’aurait inspiré à Charlot que : « Paris libéré ! Hourra ! ». Le 4 janvier 1960, la disparition d’Albert Camus ce simple : « Camus ! ».

Le livre forme toute de même une collection d’idées riches et passionnantes, mais limitée par la forme et le style, qui laissent malgré l’enthousiasme une impression d’inachèvement.

–

Nos richesses de Kaouther Adimi
Le Seuil, 222 pages, 17 euros

-

#TRACKS20ANS - Massive Attack (2003)

L'émission d ARTE  Tracks fête ses 20 ans et ressort les archives. 

L'occasion de retrouver cette interview de 3D et Daddy G, l'un de leurs derniers entretiens télévisés en France... 

Avant-goût de notre discussion de mardi sur Massive Attack et Bristol à La Colonie !

#TRACKS20ANS - Massive Attack (2003) - TRACKS - ARTE

Published on 8 Sep 2017

Avec son premier album Blue Lines (1991), Massive Attack s’est imposé dans les oreilles de toute une génération, mais aussi dans les charts. Car le groupe anglais a tout bonnement inventé le trip hop, défrichant le terrain pour des artistes comme Tricky ou Portishead. Au début des années 2000, TRACKS a rencontré les musiciens de Bristol pour une interview-flashback lors de la sortie de leur quatrième album, 100th Window.

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Evénement FB :

https://www.facebook.com/events/1959983860890067/permalink/1963242893897497/

Writing about Massive Attack... 'Out of the Comfort Zone' - Plan for 2018

Hello everyone. 

Just to keep the potential English readers updated, know that, in a very Bristolian manner, the release of the English version of my book about Massive Attack and Bristol will not be released this autumn... But in 2018.

If all goes according to the plan ;) ....

More details:

Writing about Massive Attack...

'Out of the Comfort Zone' - From Paris, via the Caribbean, London and Africa to England again...

Hello,

Just a post to say I'm now done with the work on the English version of my book on Massive Attack and Bristol's art and music scene... Remain the last stages of proofreading / editing.
But the aim is now to get the book to be out in the UK / US / Australia next year. 

While still giving a few talks about this incredible artistic scene in France, I'm bringing a few details for the English speakers.

This fascinating story takes us from the jazz, but mainly punk and reggae scenes born in the 60s in the West Country to the incredible show Massive Attack gave in their hometown in September 2016, for the first time in a decade.

See this incredible picture:

Massive Attack on stage for the very own festival in Bristol, on The Downs, in September 2016

From The Pop Group and Black roots to The Wild Bunch, the years 1977-87 have been incredibly formative for those who would come to define the sound of the nineties and beyond.

-

My goal in writing this book was to meet as many Bristolians as possible, spend a lot of time in the city and interview members from all their greater bands and from the street art scene. And I was lucky to be given plenty on time with the city's most talented artists.

I was inspired to write about the city when Massive Attack travelled to Lebanon, in the summer 2014, more involved than ever in helping Palestinian refugees. I realised how much more power they had than us, journalists, to raise attention and awareness. And of course the goal was to meet with them to get them to explain their own journey.

I spent weeks and weeks in Bristol to interview people, visit places, recollect memories and feel the city's ethos. I travelled to Istanbul, Iraqi Kurdistan, Sicily, Dublin, Belfast and Edinburgh in the meantime, for work, putting things in perspective. I therefore also followed the evolution of the UK, from the last general election to the referendum on the so-called "Brexit"... 

I also saw Massive Attack live seven times in six months in 2016... in Dublin, London, Paris and Bristol -  of course. To see them on stage, witness their creations and meet some of their collaborators or musicians and artists they inspired.

-

Named in the French version 'En dehors de la zone de confort' ('Out of the Comfort Zone'), my book is centred on one artist mainly, the famous 3D, and quotes him and about thirty of his friends, collaborators, inspirations, influences and passionate admirers or recent partners in crime.

It tells the story behind a rare group of politically aware bands and artists in the UK, bands who produced a revolutionary sound and always tried to also bring a form of consciousness in their discourse.

The book cover has been created from an astonishing and mesmerizing artwork by Robert Del Naja himself, originally designed in 2009 for the E.P. named 'Atlas Air'. Deep recognition for his generous agreement to use it for this book.

-

My tell of the story starts with Massive Attack's first album, the remarkable and inimitable Blue Lines, and goes back to their first influences. This includes their very own hometown, Bristol, a port city that has been enriched by the colonies in America, the sugar and the slave trade in the eighteenth century. That very history also provoked a counter reaction and a sense of rebellion in its inhabitants, who fought against slavery a few decades later and rioted against unfair political decisions, inequalities, big corporations, etc.

This sense of rebellion materialized in the city's culture from the 1960s and mainly the 1970s, when the Caribbean population imported their very onw reggae music in the city's homes and clubs just before Bristol gave birth to its own punk and post-punk movement.

Then started Bristol's homegrown sound with the unforgettable band The Pop Group - and friends like Nick Sheppard and his band, The Cortinas, Maximum Joy, the Glaxo Babies, etc.

From then started a new movement.

A few years later, hip hop and electronic music started to pour into Bristol's records shops and nightclubs and a new generation of DJs started to bloom. From that trend came to life the now legendary Wild Bunch, a collective that changed the game and gave to Bristol its gateway into the history of music. The Wild Bunch was originally an informal posse composed of the joined efforts of two young Black DJs, Miles Johnson, known as DJ Milo, and Grantley Marshall, nicknamed Daddy G. They were quickly joined by Nellee Hooper, a massive fan of punk music, who acted as a sort of producer / manager.

The Wild Bunch was enriched in 1983 by a couple of MCs and by the first blooming and generally admired graffiti artist in the city, nicknamed 3D, aka in real life Robert Del Naja, an 18 year-old music junkie.

After years of adventures that this book retells, Grant and 3D formed Massive Attack in 1988 with their young friend DJ Mushroom and their talent soon outburst everywhere else in the UK when they released their first album in 1991.

In their path came to form a large number of other bands, producers and DJs, including the well-known Tricky and Portishead. A few years later, the graffiti movement 3D invigorated and revolutioned also took off in a wider scale.

-

I wanted to write about Massive Attack's relationship with their city, Bristol, to show the roots of their greatness & mention their predecessors. To demonstrate how the city's history had a major influence on these self-taught and conscious, rebellious artists.

I then realized it would also be fascinating to retell the band's links with the artists and musicians who followed them, with their many brilliant collaborators and with those they inspired, from UNKLE to Gorillaz.

The book follows Massive Attack's journey in the UK and further away around the world, via their tours and collaborations, in America and in the Middle East notably.

Therefore, this book becomes a form of parallel history of British culture, from an underground and unorthodox point of view. Bristol epitomizes another side of England, less known and much more humorous and rebellious!

-

It's now been more than two years that I'm coming regularly to Bristol.

I've interviewed more than 25 musicians, artists and other local actors - and first and foremost the brilliant, Robert Del Naja aka 3D. We met regularly for more than a year and discussed further for months.

The least I can say is that he's a real artist, an incredibly open, curious and cultivated mind.
D is, even, too discrete and very humble. So much it was hard to believe so much modesty could match his bubbling and unstoppable creativity... 

He is also deeply aware of world affairs and engaged into holding a discourse through his music and his art; and for that rare boldness we should all be thankful.

Starting this two-year conversation with such a genius was somewhat game-changing, as you all can imagine.

Very much worth 390 pages of read... But that's my view!

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More soon...