International Paneling/August 2021
Image by Horster
The Stressful Summer of 2021
by Leo Kuelbs
Berlin
The summer of 2021. I have never had less fun having so much fun! Tragedies great and small continue tumbling down all around us, everywhere. Death by virus or other means, the ever-growing revelations of global warming, limited travel and endless uncertainty are our new summer buddies, replacing carefree rooftop parties, boating and barbecues. Sun-bathing is now sun-baking!
I definitely learned some things as I sat around getting fatter and fatter these past months. The big takeaway for me has been to accept that I cannot control everything. That was huge. And helpful. I also improved on compartmentalization and focus. Doing things in order of importance and with efficiency, staying in the moment and enjoying the good stuff. There has been such an avalanche of tragedy that one needs to stop sometimes and lock in on the loving people around them. Those loving people deserve your attention and care more than ever since we are learning that civility, kindness and empathy are massively under siege.
However, it’s been great connecting with all our contributors here at International Paneling. This issue is loaded with digital art insights and interviews, as well some random weirdness regarding Pinocchio, lots of other art stuff and, of course, Poetry Corner! It’s a great honor for me to receive contributions of such good quality. I thank you all for taking the time and making the effort to put the videos, texts and illustrations together.
So, I suggest we keep it simple and keep the love moving through those of us who can handle it. Haters gonna hate! Let them be. No preaching. We must save energy for the issues we will certainly all face, individually and as a group of groups. Take a deep breathe. Get some nice exercise. Take a short trip. Receive the good vibes and be careful with the other ones. Keep calm, focus on the good stuff, and just deal with the rest.
And thanks again to everyone who has pitched in since the start! And to you for reading the International Paneling! We send our love back via the stuff below.
Poetry Corner
Image by Juliane Pieper
by Holly Day
Minneapolis, Minnesota
The Bird
The tiny bird flaps in the grass near me
watches my approach with eyes like glass beads
opens its mouth as if expecting
random acts of maternal kindness from everything
around it, even me. Overhead
the mother robin peeps in distress, also
watching me with shiny eyes
a look of resolution on its face as if
it’s already decided I am incapable of love.
Images by ANANI
Digital Art and the Coming Fight for Reality
by Leo Kuelbs
Berlin
A few weeks ago, I visited “Resonant Realities,” a VR-based art show here in Berlin, curated by the wonderful Tina Sauerländer (who is also featured later in this issue!). It was a great opportunity for me to see what is happening now and consider VR and Digital Art’s recent evolution.
As a curator, I have worked with a lot of technicians/artists working in video art, short film, mapping, full dome and interactive/reactive digitally media. Oftentimes, the art falls behind the desire to display an understanding or mastery of the medium, or app. This was where my initial value in these presentations came into play. Attempting to connect the visual creators to art history, helping them develop a justifiable and arts-credible niche, while also finding funding for the oftentimes extremely expensive art spectacles can be an actual full-time job. Thanks to marketing folks from around the world, the mapping medium has evolved, yet strangely not that much, while its VR cousin keeps coming around, trying to grab us and bring us further into virtual, digital realms.
Seeing “Resonant Realities,” provided me an opportunity to look back upon the last VR show I checked out, about four years ago. It was hosted by NYU and took place in Manhattan, on 14th Street, I think. As a curator, you have a (bad?) habit of not only looking at the art itself, but also the presentation set up, the quality of the gear, etc. One thing that struck me, when I compared the two shows, was that the installation issues, which also effect video art, may never be resolved. With any time-based medium, there’s the possibility you will have to uncomfortably wait for the previous user to finish their experience. Then there is the absolute certainty of hygiene-based issues. That aside, the newer show definitely featured a higher level of work and one piece in particular, by the artist Lauren Moffat, was extra smart and edgy. The NYU show was not nearly as sophisticated, or as well executed. So, in that four-year span, there’s been some progress, but I keep wishing for a clear step forward into greater arts proficiency and credibility. The gear and technology are better, but still, I found myself resistant to fully immerse myself in the sci-fi dystopian places where the artists seem to feel compelled to bring us. I felt a little more solid in our current reality, as surreal as it seems.
Artists are often tapped to help ease the public into new ideas and changes in the environment. VR and other digital media are seemingly continuing this trend. But it also happening in “accepted” reality and counter realities and narratives are being fueled online. This most recent US president is still working to create an alternate version of past events (election, capitol riots), while our limited access to information, in general, keeps us bound to only what we have access to. Different countries control their internal media, while a handful of rich weirdos work alone and in concert with said governments and, let’s face it, the highest bidder. Online echo chambers and unbelievably great video games are ushering in a world of deep fakes, with online fraud with more complicated hacking attacks on tomorrow’s menu.
Yet, it must be mentioned that without smart phone cameras, the crimes of those hired to protect us, would continue, and forever go unpunished. Also, crypto-related issues have exposed some of the basic flaws in the fabric of financial markets, and with humor. This outing of long-standing, systematic flaws and failures, which simply demand accountability and improvement, are shaking up the social fabric in many places. But just because change is difficult doesn’t mean the nasty side effects shouldn’t happen or should seem very surprising. It’s just going to suck for a while. And when will someone talk about “non-taxed” funds that are pouring into almost every market everywhere? Being a tax paying, law abiding citizen is beginning to look like a sucker’s game. Even our past president said dodging taxes was, for him, a “sport.” Then there is the world of some Instagram influencers who inadvertently provide cover for the excesses of the global oligarch class by insisting upon luxury without care of cost or responsibility.
I have talked to several programmers and artists and typically they have been kind of morally ambiguous. I don’t blame them, of course. Look at the examples current/recent leadership provides.
I have talked to several programmers and artists and typically they have been kind of morally ambiguous. I don’t blame them, of course. Look at the examples above and those that current/recent leadership provides. Human nature is what it is, and you cannot generally control what you make and put out into the world. There is no guarantee people are going to use your creation for the betterment of the planet.
Yet, when I see projects like SCOPE BLN, LIGHT YEAR, the United VJs “Fulldome” series, AURORA in Dallas and people like Philip Geist and CHiKA, Tina Sauerländer and the award-winning artists she is presenting, (to name a very few), it does give one a feeling that not all is lost. The fight goes on, and every positive interaction is a step in the right direction. People respond to light and digital art in a powerful, personal way. I don’t even think we totally understand how light, and immersion in art, effects those consuming it. The deeply communal responses I have encountered during large scale mapping shows like “Codex Dynamic” (NYC, 2015), Fulldome UK, and even the very, very basic Berlin Festival of Lights reflect an untapped potential in the medium. Artists and their work in the digital arena can have a lasting and positive impact on those who view it.
In the end, the massive changes to humankind’s psyche and essence will continue to change as the mysteries, realities, and effects of the digital reveal themselves. And the churn forward, which includes dealing with climate change and the other inevitable realization of our dependence on electricity, will be chaotic, at best. So, maybe the dystopian, sci-fi virtual realities are a little bit too much like “normal” reality. Here’s to hoping that the work of artists, technicians, curators and institutions can help put these evolutionary changes into a more human context and help people everywhere to find the strength and the voice to demand that it is so.
3 Questions with New Media Curator, Tina Sauerländer
Berlin
The Questions:
1. Hi Tina, can you tell International Paneling a little bit about your background and what you do?
2. VR has moved more slowly than, I think, its supporters would have liked. Do you agree with that and, if so, why do you think it has gone that way? And is it now picking up some momentum?
3. There’s VR, AR, Full dome, and all sorts of other immersive experiences coming to fruition right now. What are some of the similarities and differences and what would you tell us to look out for in the months ahead?
Shorty of the Month: United VJs’ “Mishap,” from the show “Submerged!”
Intro by Leo Kuelbs
Berlin
The United VJs crew out of Brazil/Portugal have been focused mainly on full dome mapping these past several years, though they also do a lot of high end marketing and community-based shows and events. The video “Mishap” was an key piece of a seven-video show titled “Submerged!,” that was released in 2014. The work has appeared as the inaugural LIGHT YEAR presentations in NYC, as well as in several other public art events, galleries and even a private screening at the German Film Museum in Frankfurt. Haiving been created almost 10 years ago, it gave us a preview of some tasty trends, including glitch art, which were yet to come. The work was based upon a short story, thus it also makes a nice example of a successful collaboration between creators in different fields.
Image by Horster
Sotheby’s goes Cologne!
by Dirk Lehr
Berlin
„Modern & Contemporary Art“ and „Now“ are the two autumn auctions with which Sotheby’s wants to conquer the German art market from Cologne. As reported, the international auction house is primarily focusing on the mid-price market. The BREXIT may be one reason to bring such auctions to the continent. But why Germany and why Cologne? Well, in Germany there has always been a broadly based collectorship, an educated bourgeoisie who spends money on art. Although it is not the amounts in the millions that are paid on the international market, it is the continuity and loyalty that characterize the German collector. And that makes the German market interesting for one of the global players like Sotheby’s. The German collector is educated, well informed and not very moody. Although he buys less impulsively, he always buys over and over again. From an economic point of view, repetition and continuity pay off in the long run, even in the lower and mid-price segment.
The gallery scene in Cologne and neighboring Düsseldorf made German art history - legendary to this day, the Andy Warhol exhibition at Hans Mayer Gallery in Düsseldorf in 1979 when Mayer introduced Warhol to Joseph Beuys. It was the beginning of the friendship between the two artists. With the Art Cologne, Cologne is home to the world's oldest art fair and the density of museums in the Rhineland is unparalleled. Stars like Gerhard Richter still live in Cologne today. So there are good reasons to choose Cologne. Due to its proximity to the Benelux countries, Cologne also offers - from a Central European point of view - a geographical location advantage. Brussels, for example, is only around 2.5 hours away. The German art market and its players should also benefit from Sotheby’s commitment. On the one hand, it has a signal effect when one of the global big players in Germany sees a market to be taken seriously. On the other hand, it draws the attention of the international public to the national art scene. Globally marketed auctions create a public for German artists that a local exhibition or art fair could not even begin to achieve. Just think of the internationalization of the ZERO movement around the artists Günther Uecker, Otto Piene and Heinz Mack, which Sotheby’s made a significant contribution to with the auction of the Lenz Collection in 2010 in London.
It’s time for 3 Questions with Digital Artist and
Crypto Explorer, Mark Amerika!
The Metaverse
The Questions:
1. Can you tell us a little bit about your work and artistic background?
2. You’ve been a part of the new media art scene for quite some time. How do you see the past and what’s happening now with NFTs, Crypto and stuff like that?
3. You are based in Colorado these days, but your work has appeared all over the place. What are some highlights? And what’s coming up?
'Study for The Peloponnesian War' by Adrian Pocabelli
NFTs are an intervention on the art world
by Adrian Pocobelli
Berlin
People don’t just desire art—they need it. Inside each of us is a fundamental appreciation for visual design, whether it’s a framed picture, a movie poster, a cereal box, a comic book cover, or a cave painting. We might argue about the merits of a given work and our individual tastes, but on a deeper level there’s something in our common neurological wiring that seems to resonate with the power of composed images, almost as if we’re tapping into something that originates in the foundations of consciousness itself.*
Images help us make sense of the world, often in ways that we might not even realize, and we can’t help but visually contextualize ourselves within them. Think of images captured by the Hubble Telescope, for example, but this is also true of a Cap'n Crunch cereal box, a subway ad, a World War II photograph or an Andy Warhol painting.
Even when we don’t consciously realize it, we read meaning into these compositions and they give us perspective from which we gauge our understanding of the world and our relationship to the universe. An image, whether medieval illuminated manuscript or a Topps baseball card, is a story, a self-contained universe with its own creation myth and, like a dream, bound only to its own internal logic. In this respect, images are the most economic form of storytelling because, unlike a book, the entire narrative is presented to us immediately and simultaneously.
However, in a world where images play a central role in defining who we think we are, the art world has found itself less relevant than one would expect. This is likely because of a general ongoing pressure over the years to produce increasingly intelligent art, a culmination of Marcel Duchamp’s legacy that celebrates abstract ideas and intellectual jokes, but which, arguably, has led to a tradition of works and exhibitions that only a small segment of the public can relate to, or so they claim. Meanwhile, our laptop and smartphone screens beckon.
And so, the public has become increasingly distant, even removed, from the concerns of many of the dominant strains of the contemporary art world as it delves deeper into obscurantism, almost entirely devoid of feeling and sensation. Boring photographs and tedious videos have somehow taken a surprising hold on contemporary art in the name of sophistication, while pranksters like Banksy, KAWS and Maurizio Cattelan fill the void. A general reduction of accessibility, in turn, has resulted in an evermore insular art world, and on and on it goes.
So what a hilarious relief it was to see completely unconventional NFT art outselling ‘traditional’ contemporary art for outrageous sums this spring, with unknown artists, frowned upon and ignored by the art world, selling digital images for far more money—and more frequency—than real-world reputable artists with physical works in ‘high-end’ galleries. For at least two decades, the art media has been dominated by auction price headlines, as if dollar signs were the art world’s indisputable claim to credibility. And this narrative (which was never true to begin with) was turned completely upside down, as ethereum-rich, very nouveau riche collectors made a mockery of traditional notions of value in the art space, paying outrageous sums for work that had absolutely nothing to do with the art world.
Predictably, the critics came out, with obligatory essays in the art media about “Why I hate NFT art” and prominent commentators like Jerry Saltz dumping on the entire movement…
Further confusing the traditional sense of art’s value was the elevation of people with little to no reputation in the gallery system to world fame on Crypto Twitter. Eighteen-year-old kids with an iPad were outselling reputable artists, making more money in a month than many established artists make in a year.
Predictably, the critics came out, with obligatory essays in the art media about “Why I hate NFT art” and prominent commentators like Jerry Saltz dumping on the entire movement, demeaning a collective rebellion by a public that felt like it was no longer being served (though these critics would never admit this to themselves). Instead of embracing a new cultural development in the visual arts, however fragile and weak, they sought to stomp it out because it hadn’t been approved by them, offended their tastes, and hadn’t happened on their watch. They had been sidelined. Their raison d’être had been taken from them.
For a brief, glorious two months, they were gatekeepers of a system that no one really cared about anymore—and maybe never really cared about to begin with. The public had finally moved on, rejecting an art world that had stopped serving them years, even decades, earlier. The public had staged their own intervention after being robbed of their need for art by an art world that had been determined to talk down to them, latently equating the public’s disinterest in inaccessible works with unsophistication.
Now, to be fair to the critics, a lot of NFTs were selling for amounts that bordered on the ridiculous. Angel wings, joint smoking and Basquiat look-a-likes were selling for thousands—sometimes tens of thousands—of dollars. Naturally, the art world thought these works were incredibly garish and in poor taste—a view which is not necessarily inaccurate. Nevertheless, this was still real money being spent by real people, and it represented something profound—an underserved public that was fed up with the art establishment had decided to take matters into its own hands. And in the process, a kind of digital folk art was born, and although it might turn off the tastemakers, it was honest.
—
*Sigmund Freud said vision is older than words. Consciousness could arguably be considered as a result of our visual faculty. The power of art may come from the same, hard to pin-point power that structures consciousness itself.
“Thinking in pictures is…only a very incomplete form of becoming conscious. In some way, too, it stands nearer to unconscious processes than does thinking in words, and it is unquestionably older than the latter both ontogenetically and phylogenetically.” — Sigmund Freud
3 Questions with Director, Artist & Composer Josh Graham!
Puget Sound, Washington
The Questions:
1. Josh, you do all sorts of digital art stuff, including making music, can you give us an overview and tell us what you are working on these days?
2. You do more than just create digital magic. You and your partner also fix up houses and travel around quite a bit. Can you tell us a little bit about that?
3. You’ve been involved in the development of digital platforms/media for a while now. What do you see as the next big thing? And do we need to worry about our shared digital futures?
Complex in a simple way: SYSTHEMA – concrete art positions between hard-edge and soft-edge – a collectors’ exhibition
by Jana M. Noritsch
Berlin
It's on everyone's lips: There are many private art collectors in the area around Berlin, especially in a south-westerly direction. Now this summer a trip to Potsdam is worthwhile - not to go to the Barberini museum or the Villa Schöningen, but to visit a private collection exhibition: The exhibition “SYSTHEMA. Positions of the concrete” opens on July 25th, until September 5th, 2021, at KunstHaus Potsdam. It offers an important overview of the work of the artist group SYSTHEMA. With the exception of one work of art, the lender is the Siegfried Grauwinkel private collection. The exhibition clarifies questions such as: Why did the 12 artists, including one female artist, come together as a counter-movement at that time? And what positions did the artists work on?
The artist group SYSTHEMA
All of them are united by the rebellion against the ruling establishment in the seventies and early eighties: They saw within the Berlin art scene the need to draw attention to “a lack in the midst of all the realistic tendencies.”
In 1974 the group SYSTHEMA was founded in Berlin with the international artists: George Rickey (*1907), Jan Kotik (*1916), Johannes Geccelli (*1925), Rudolf Valenta (*1929), Peter Sedgley (*1930), Klaus J. Schoen (*1931), Christian Roeckenschuss (*1933), Andreas Brandt (*1935), Kristin Gerber (*1938), Stefanos Gazis (*1943), Frank Badur (*1944) und Thomas Kaminsky (*1945).
In a letter to artist Hans Uhlmann, Andreas Brandt described their wish: "[...] to bring together a group of painters and sculptors at this year's Free Berlin Art Exhibition who deal intensively with purely creative tasks [...]", in order to "demonstrate that there is a tradition of factual, artistic work in Berlin."
In summary, the artist's work programs deal with geometric compositions of lines, dimensions and spaces, colors and shapes, light and nature, electricity, mechanics and kinetics, movement and vibration, simultaneity, transposition or symmetry – and can be perceived as ‘complex in a simple way’. Because concrete art is really individually complex, the sensitive-dynamic Peter Sedgley is quoted here:
“Painting then is an act and more than that it is an act of faith, faith not in the mystical sense of the unknowable, but in the sense of a vote of confidence to life and the world we have to live in. Since the turn of the century the “technological revolution” has played havoc with our philosophy and our ethics and has unhinged any cultural stability that parts of Human Society may have enjoyed. It has also opened our eyes to suffering and injustice all over the world that we have been impotent to remedy.” [Sedgley, Painting, objects, installations: 1963-1980, Kelpra-Studios London 1980, ISBN 0950726605]
While he chooses light as a driver and drawer in his kinetic work, Sedgley shows in the artwork "Oranges & Lemons" how he employs the hard edge linear statement with the soft color transition.
In contrast to our present time, artist collectives of very different intensities and orientations were founded in the second half of the twentieth century. Characteristics of the mutual demarcation were always the urge for the universal versus the subjectivity, minimalism versus opulence, abstraction versus objectivity.
In one of the letters to Karl Ruhrberg in the Grauwinkel Collection, Andreas Brandt makes it clear: the founding of the SYSTHEMA group in the mid-1970s was an “attempt to counter the uneasiness of the Berlin art scene with an answer. The art scene is more and more oriented towards itself, withdrawing more and more from a real art discussion." Brandt continues: “The original name was SYSTEM, which meant the denominator that could be found for the various participating artists: All of them work with a certain systematic of pictorial means, all of them see themselves as artists whose work is thoughtful and has arisen and can be experienced through a visible order, without philosophical background information, without obscure moral claims etc. etc.”
SYSTHEMA then exhibited extensively together in 1977 at the Amos Anderson art museum in Helsinki. None other than Richard Paul Lohse, one of the most important concrete artists of the post-war period, and the art historian Karl Ruhrberg wrote the catalog texts. In 1978, six years after ‘his’ documenta 5, Harald Szeemann curated a SYSTHEMA exhibition at the Loeb gallery in Bern, which was accompanied by a catalog text by Karl Ruhrberg.
In 2021, the exhibition “Systhema. Positions des Concrete will show painting, graphics and objects as well as Peter Sedgley's kinetic “Beaulious M1” (diachrony glass driven by light) from 2002.
The collection
The Siegfried Grauwinkel art collection, located between Berlin and Potsdam, was sharpened after about 15 years of collecting passion: Stricter criteria were applied and the “concrete collection” was created. It is composed of works from the areas of minimalism, concrete, constructivism and conceptual art as well as works by the Zero group. Since 2014 the collection has been focused on European art after 1960.
The fact that private collectors do a lot for art, the artists and also for the art historical processing is shown again here, because Siegfried Grauwinkel always contacts the artists directly, the associated galleries, museums or estate administrators, and also collected valuable documents about the group SYSTHEMA.
Like museum collections, private collections create numerous connections through their activities and curate works in differentiated contexts. And seek public reflection: Two waypoints of the Grauwinkel Collection are mentioned here (both with great publications), the four-month exhibition "Grauwinkel Collection, 30 Years of Concrete Art" in 2013 in the Vasarely Museum Budapest and the multi-month exhibition of the Grauwinkel art collection together with the collection of the Czech collector Miroslav Velfl 2018 "Transformation of Geometry" in the Prague City Museum.
KunstHaus Potsdam: The collection is now showing some of their works by eleven of the twelve SYSTHEMA artists until September 5th, 2021, because the piece “Säulengang” by George Rickey is an addition by the Berlinische Galerie. Like all works by Rickey, Achim Pahle alone is allowed to accompany and assemble it. More about the expo:
By the way, you are here very close to the Nauener Tor, the entrance to the Dutch Quarter, where you can enjoy all kinds of nice opportunities for refreshment. And for those who like more art: The fluxus Museum and - opposite - the Kunstraum Potsdam in the Waschhaus next to the Schinkelhalle from 1835 are also worthwhile - and are not far away.
Place of exhibition:
Kunstverein KunstHaus Potsdam, Ulanenweg 9, 14469 Potsdam
Opening times: Vernissage is on July 25th, 2021, the exhibition will open at 3 p.m., an introduction will be given at 5 p.m. (Possible corona-related regulations can currently be read on the website of the KunstHaus Potsdam.)
Tue - Sun 12 p.m. - 5 p.m. and after tel. apt.
Free entry + Barrier-free: entrance at ground level, assistance dog permitted, fully accessible, parking space for wheelchair users
More artworks in the exhibition:
Oh, what a Delight Pinocchio Is!
Puppetry’s Return!
Image by Horster
by “Little” Jackie Larva
Hopkins, MN (A State of Mind)
The recent remake of “Pinocchio,” featuring Academy Award© Winner, Roberto Benigni as Geppetto, a lonely old man who makes a boy out of wood, is a true wonder! Later on, the boy is filled with so much of Geppettos’s love, that he comes to life and runs away. A life of lying and decrepitude with his friend, a nutty Cricket, follows. It all takes place in 19th Century Italy and includes a cast of traveling show people whose wholesome lifestyle helps the little wooden weirdo find his way in life. The wonder! The fun!
The real story with Pinocchio was that he died around 1909. Apparently, he was burned alive in order to help warm some wandering beggars in far off Burgundy. One survivor of “The Pinocchio Affair,” said the puppet was “…cool with it. Seemed relieved, even.” It was also reported that he sang and smiled until he was nothing more than a smoldering cinder Oh, Pinocchio!
This rediscovered fascination with Pinocchio has caused a huge surge in interest in puppetry around the globe. Like “Beany Babies,” and goads, of days gone by, people are picking up puppets and attending puppet theaters like never before.
It’s also been suggested by some Q Anon theorists that Carlo Colodi, the author the Pinocchio’s biography, was actually Pinocchio himself! Could the book have been a tell all about “kindly old Geppetto,” that was misunderstood? Certain quarters of the internet are abuzz!
This rediscovered fascination with Pinocchio has caused a huge surge in interest in puppetry around the globe. Like “Beany Babies,” and goads, of days gone by, people are picking up puppets and attending puppet theaters like never before.
Recently, in Far Western Germany, a group of puppets put on their own show. Titled, “No Strings Attached,” these wonderous wooden friends frolicked wildly as they beat each other with sticks until unconsciousness, or worse! Oh, how the children howled with delight! “Puppetry provides children with important life lessons,” said Juliette Tinn, a master’s student in the Puppetry Sciences. “When Punch is smacking Judy with his stick, it teaches children to be strong and to know how to defend themselves. As the world slides further into chaos, the Kindern must be able to fend off their invaders, whether they are aliens or just plain foreigners! I simply love die Puppen!” Wow! That’s intense. Ms. Tim then ran off, clutching a carafe of Mateus and ranting about the “Puppenmeistern” behind globalism!
It was also recently reported, in one ancient Italian village, that the puppets actually came to life during the recent blood moon! Apparently, the village was wiped out with only the smiling puppets remaining; quietly hanging in their shop’s window, seemingly oblivious to what had occurred the night before. No humans were anywhere to be seen! Could it be that the puppets were inhabited by beings from another dimension? Could the puppet store have actually been a doorway to another dimension? A dimension of delirious delights mesmerizing all who enter, beckoning them into another world? Could this have been the case all along?
We at International Paneling are thrilled about puppetry’s return to prominence. We delight in puppets! We also wonder if the puppets have actually been in charge the whole time. Perhaps the so-called “Puppet Masters” were actually slaves to the puppets? It’s worth thinking about. Stuff like that has happened before. Methinks the truth is soon to be revealed.
If you have made it this far, Congratulations! We hope you liked this month’s selections. Next issue is slated for August 25th release!