I am sitting in a Seattle hotel room spoiling myself with the IFC this morning and what is on but a behind-the-scenes of You, Me and Everyone We Know replete with numerous interviews with Miranda herself. I happened to catch the Portland debut of the film a couple of months ago at the PDX Film Fest. Now you and everyone else we know can see what all the hype is about as it opens this weekend in theaters nationwide.

Also, as I was walking to work last week, I happened upon a stream of yellow paint dribbles which I recongnized as Brad Adkins' "cover" of a performance by Francis Alys. The performance entails punching a hole in can of paint and going for a walk until the paint runs out. Anyone who is interested in assisting with this reenactment should meet at the LANDMARK exhibition space on NW 13th & Flanders Saturdays at 2pm through July 16th.

Alys' work, from the beginning, has responded to local conditions through powerful & simple acts. From dragging a pet on wheels along city streets to placing used gum on the walls of a gallery in the colors of the mexican flag, Alys has a singular and straightforward approach of using the everyday object or act to slice apart our understanding of time, place, community and myth. And not just for the cleverness or cuteness factor. What really separates Alys' walks from imitators is the political tension of his paseo.

Alys isn't sauntering, and he isn't giving a tour. I hope that these covers for LANDMARK maintain something of the power and simplicity of the very relevant political statement that Alys is making when he traverses the urban environment.


P.S.
If you ever want to hear about an original journey through culture and space, ask Muriel Bartol (a Swiss-Mexican) about her experience going to meet and deliver work to Francis Alys (a Belgian-'Mexican') at his home in Mexico.