The incredible typographic title sequence for Gaspar Noé’s Enter the Void.

A beautifully schizophrenic retinal acid bath by ambush, and by far the best cinema titles that I have ever seen. It seems impossible, but the two minute, eight second duration is followed by a further three hours of obsessively authored film even more saturated, warped and relentless.

Woos, Andrius Kirvela & Gediminas Šiaulys (aka PetPunk).

PetPunk’s churning, mischievously abstract animation looks like an environment from an imaginary N64 Glenn Brow ‘subconscious simulator’ or, as a still image, as if Ken Kesey, Jackson Pollock and Edvard Munch had collaborated during a particularly heavy three-week bender.

official selection of for the 2010 Berlin PICTOPLASMA festival.

Dancing Peasant Woman, Philipp Malyavin

what i did in tahoe [click to enlarge], Celeste Byers

There’s a well-fed restlessness within Byers, evidenced by a density and detail in many of her drawings that flirts with pathological, the variety of media and styles she experiments with and the sheer speed at which she produces it all.

Along with the myopia required to draw pieces like ‘what i did in tahoe’, which playfully utilises geometric repetition and evolution to create views part-way between Buckminster-Fuller’s telephone doodles and 70s acid landscapes, there’s an endearing seam of folksy craft throughout - in this case, the slapdash assembly of the constituient sheets of paper on a wall to photograph the whole.

Simpliccimus Magazine Cover, 23 February 1925.

Simplicissimus was a German weekly satirical publication founded in Munich in 1896, rapidly becoming notorious for brazen, confrontational editorial which caricatured key military and political figures and class issues of the day.

I’ve now developed a mild obsession with finding physical examples of its covers, all of which feature distinctively macabre graphic work that would look as appropriate illustrating a particularly involved scene from Russian fairy tale as sending up whichever political wrangling found itself under the knife.

Image via but does it float

Doom Loop #1, Tim Biskup.

Untitled, Martin Soto Climent.

Also featured on Contemporary Art Daily.

Awit sa Ambon, Rom Villaseran.

What I like most about Villaseran’s painting is the deftness with which he appears to wrestle a crowded stable of muscular influences and techniques into inviting, illustrative form.

A browse through his portfolio quickly assembles a queue of candidates for his style’s derivation: the distinctive airbrushed illustrative work of 80s fantasy genre cover art; the illusory, subverted perspective of the surrealists; tableau that invite comparison with ancient Greek artworks where tragic, epic myth was economically condensed into single scenes and the studied anatomy of renaissance portraiture.

On paper, perhaps like the description above, this brew sounds too rich to stomach - at hand, it is compelling.

A prototype fluid dress exhibited at 2009 Maker Faire in San Mateo by casualprofanity.com.

Water Painting, Household paint on aluminium panel, 1999, Gary Hume

Thinking about a forthcoming rare (and, as yet, unclaimed) opportunity to see the work of one of my favourite artists - the inimitably base and unpretentiously, unashamedly subversive Egon Schiele - at the Royal Academy’s Treasures of Budapest exhibition has ignited an uncommon display of post-weekend, mid-hangover synapse firing and recalled the memory of this referential painting by Gary Hume, an artist whose mid-90s heyday and reductive, liquid works have nothing in common with the tenderly raw, expressively sexual portraits Schiele is famed for.