Düsseldorf, 27 September 2019 shown in the exhibition space of the oldest art association in the world, the Düsseldorfer Malkasten, founded in 1848.

Autumn nineteen hundred and seventy-nine, eighteen he is, twenty-one me, he poems, I poems, he makes noise music, fake-punk-jazz me, a blind window has our chamber in New York’s Lower East Side. He played with a synthesizer, borrowed from Michael Holman, a saxophone, not borrowed, I. We played with words and ideas and read to each other. He writes SAMO© ESTA EN ALGO in my suitcase, as a farewell, so that he would always be with me. There will not be a reunion, as promised to each other. Spanish by a young New Yorker. Being from Düsseldorf I doesn’t know Spanish. Thirty-two years later I see a picture painted by him long after we parted. The title of the picture SAMO© ESTA EN ALGO, Jean-Michel Basquiat. Years later I found out that SAMO© ESTA EN ALGO is an enigma. And also the reason why he smudged the two-line MAN MADE with his saliva. 2011 the Frankfurter Allgemeine Zeitung reported about our past in 1979, when he was not yet the painter.

by recognising the sense of the misspelling SAMO© left in my diary in 1979 as a key. Basquiat quotes „Gods, Graves and Scholars“, C. W. Ceram, who quotes Arthur Schopenhauer in his chapter on Schliemann, the discoverer of Troya, who was not spared scorn by experts: „Dilettantes, Dilletantes!“ – that is how those who pursue a science or art, out of love for it and pleasure in it, per il loro diletto, are called with contempt by those who have taken to it for the sake of profit; because they only delectate the money that can be earned with it. This contempt is based on their base conviction that no one will seriously attack a thing unless necessity, hunger, or some other greed spurs him on to it.“ Michael? My big brother.