Summer in the City „I have always imagined paradise as a kind of library.“ – Jorge Luis Borges Blindness, in: The Last Voyage of Ulysses, Fischer-TB, 2nd ed. 2001, p. 188 „Siempre imaginé que el Paraíso sería algún tipo de biblioteca.“ My little paradise in the garden, with a book and a cup of coffee. Photo: Margrit Hengstenberg.

Basquiat & Kafka & the FBI „[…] that which is hidden in a conundrum is both clear and invisible. Clear to those who have found what they were called upon to look for, invisible to those who do not even know that there is something to look for“, Kafka, in his diary, 1911.

This late work on the door of a bodega in Williamsburg, New York Magazine reported, should be fake It is not, it is the artist in two of his secret identities: the sun king Horus and moon king Thoth. Religious studies could confirm this. Undetected his logic, like that his entire oeuvre is „an hillarious optical illusion“. Knowing his primitivism is the opposite, an ingenious encryption system you could be sure– he painted it. Irony of the authorising committee: they remained ignorant and therefore declared the work inauthentic. in 2010 I wrote to his father, registered mail, it remained unanswered, like my letter to his gallerist.
The grammar of his cryptological communication-system (steganography), would have protected the museum in Orlando. It could not have been fooled by mindless junk, 25 canvases, and saved the FBI work.

Basquiat & FBI He was afraid of the FBI mentions P. Hoban in „Basquiat, A quick killing in art“. Never understood why, but now. Their cryptologists could recognise his steganographically encrypted communication system. With this he hid the Congo Atrocities, Alfred Nobel, Leonhard Euler, George Washington Carver, Jesus, Isis, Osiris, Joseph in Egypt and so on. Primitivism? Camouflage. Recognition protocols for his Steganography, one in his notebook, one in my diary (1979) in which he wrote his drummer’s address so we could stay in touch, as he didn’t have his own back then.

EDUCATION Nil? Nil is German or French for Nile. Compare the i with the other I`s. The lowercase but capitalized i shows me his tiny hint was intentional. „I’m not making paintings,“ he said, „I’m making tablets.“ Loraine O’Grady on Basquiat, artforum 1993. On tablets artists worked in ancient Egypt and Nubia. Owned to them was the straight-view-imaginary, the aspective. The one he used, as well as communicating spelling errors, like in my diary. America with a K is German: AMERIKA, AMERVKA? Compare the I. MICHEAL? A spelling error transforms into a recognition protcoll. The red circle communicates, like the double zero. Red for ashe, Gods power for action, the circle for the magic protection ritual. The two overlapping zeros, a geneological symbol. What does a cryptologist want? To forge Basquiat, the forger must know his encrypted communication system. The one whose canvases were confiscated by the FBI had no idea.

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Disenfranchised and robbed. Exhibition about the Jewish art dealer Max Stern, at the Stadtmuseum Düsseldorf until 30 January. His escape to Canada saved him. The Jewish art dealer Alfred Flechtheim, disenfranchised and robbed of his large Avantgarde Art Collection, died impoverished in London in 1936. What did it mean to be disenfranchised? These stickers give a hint of it. Jewish shop! Anyone who buys here is photographed. The Jew lives in this property. No Jew lives in this property.

The small ones were pasted on letters. Free propaganda: „The workers have never been rich from the Jews, but the Jews have always been rich from the workers. If the war is to blame for the German people starving, then the Jew should also starve. The revolutionaries 1918 did not push the property of the private to the people, but the property of the people to foreign countries and to the Jew.“ Idiot`s. The paramilitary Freikorps started to overthrow the Weimar Republic, which was proclaimed on 9 November 1918. Emil Bührle, later an art collector belonged to one of the paramilitary Freikorps units. Kristallnacht, the November pogrom was on 9 November 1938.

Samo is onto something.

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. 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 in 1980, title is his writing in my case. Years later I found out that his words with the line through ASNG is an enigma. And the reason why he smudged the two-line MAN MADE with his saliva. 2011 the Frankfurter Allgemeine Zeitung reported about our past in 1979.

An explanation for Spanish is offered by Dr. Kellie Jones, Columbia University, in her essay „Lost in Translation“ Catalogue, 2005 Retrospective, Brooklyn Museum.

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, who became, in a metaphorical sense, an art-historical Michael, a messenger, a warrior for the good.