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On the Casting Couch

Oh, whoa whoa whoa!
The ho ho ho,
Of last Xmas

The bitter snow,
The frost,
All that money lost
In market compost!
I dream of a farm,
Somewhere warm,
With olive groves,
And tomato bread
with garlic cloves.

A hacienda tickled in sea breeze,
The afternoon under shaded trees.

I walk through terraces of vines,
Ancient earth tilled
under clear blue skies
By the fingers of sleeping Gods,
And dancing Señoritas.

Instead.
Back in the real world to dread…
Fickle politicians
And plebs.

Imperfections.
And infections.
A cough like an ape,
and work too late.

Gentlemen!
Fight back
Against the inevitable heart attack!
Less port and oyster,
Slow gin and bitter.

Shoot and fish,
Climb the Hindu Kish
And ride across Spain;
Ignore the rain.

Pass me my pick, George.
There are mountains to climb –
Not for us to whine.

They smile and walk on
towards the mist.

– Unknown Sherpa




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Francesco Vezzoli

by Elisabeth von Thurn und Taxis
10 February 2009 - this article originally appeared in Finch’s Quarterly Review Issue 3

Francesco Vezzoli is best known for his use of needlework in portraits of celebrities which are simultaneously beautiful and disturbing. His obsession with high and low culture – he draws inspiration especially from cinema and advertising – led his work to evolve into film. He has had many international shows in some of the most important contemporary museums including the New Museum of Contemporary Art in New York. His work has also been exhibited twice at the Venice Biennale and once at the Whitney Biennial. Both Biennials are considered the most influential, progressive and forward-thinking of the lot.

Vezzoli works in various media including film and language. For his most recent show at the Gagosian Gallery in Rome, he created his own scent called Greed, A Fragrance by Francesco Vezzoli accompanied by a faux advertisement. In the above work of mixed media he imposes two images of Björn Andrésen as Tadzio from Death in Venice onto a portrait in which the subject suspiciously gazes back at its viewer. Tadzio simultaneously represents a gay pin-up and symbol of youth, seemingly descending in teardrops from the subject’s eyes. FQR loves the juxtaposition of the glossy surface of youthful perfection and the sombre reality of loss of innocence.

- Elisabeth von Thurn und Taxis



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The views expressed in Finch’s Quarterly Review are not necessarily those of the editorial team.  The editorial team is not responsible or liable for text, pictures or illustrations, which remain the responsibility of the authors.  Finch’s Quarterly Review is fully protected by copyright and nothing may be printed, translated or reproduced wholly or in part without witten permission.