Meditations of a Lazybones Meditations of a Lazybones
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A Tiger Resting: the frontispiece for "Oriental Field Sports" by Samuel Howitt. Digitally enhanced by rawpixel.
Wellbeing

Meditations of a Lazybones

Wojciech Mann
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I am a lazybones. That’s not me being cute; it’s the brutal truth.

I wouldn’t be particularly worried about it, as at retirement age this attribute is perfectly justified. After decades of honest work, every old person deserves the inalienable right to twiddle their thumbs and relax whenever they want to. Relaxing, resting, recharging run-down batteries—that’s what people (including me) need when they still want to take on some tasks from time to time. But for a true lazybones, that’s not how it works.

In order to relax properly, a true lazybones (reminder: me) doesn’t just need to rebuild their physical strength but also restore order in their head. To fully satiate your sloth, you have to eliminate the merest shadow of thinking about work. And how am I supposed to keep my thoughts in order when—even if take a week off and lie motionless, sprinkled with elegant water and fanned by beautiful women—thoughts surge through me about everything I have to do in a couple of days? Even increasing the intensity of sprinkling and fanning doesn’t help.

“Well, okay,” you might say. “Take two weeks off, or a month. That’s what people do.” Ha, ha, ha—people, maybe, but not lazybones. If I merely think about the number of things I’ve put off for a month, I go weak.

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The question is whether there’s any way out of this predicament. Well, there is.

You have to create a situation in which doing nothing is a state independent of us, irrevocable and irreducible. A state in which there’s no repetition of reflections like: “Man (here any other exclamation can be inserted), I’m lying on this bloody sand again, rather than quickly doing what I’ve put off, and no longer having to think about it.” How can we achieve such an unshakable alibi for mental motionlessness? I have a few suggestions, though citizens who are close to me in spirit will certainly make up quite a few more. Here are a few examples of simple situations that free a lazybones from pangs of conscience:

—Spend two or three days (the choice is yours) a week in a small hotel in the Alps, beautifully appointed but cut off by an avalanche from the rest of the world, and, of course, from the internet.

—Be a passenger on a luxury cruise liner, which drifts through the vastness of the ocean. In an attack of madness, the captain has ripped out the ship’s wheel and all the cables, making any communication impossible. The bars and restaurants are plentifully stocked.

—Get spirited away by an incredibly charming princess (or prince) who’s fallen in love with you, to a mysterious land at the end of the world. You have everything except your freedom. The prince or princess’s feelings will last as long as necessary: thought-free relaxation guaranteed.

So using any of these examples, or creating new ones, modified but meeting the basic boundary conditions, will allow anyone to gather their strength without any fear that this process will be disturbed by untimely pangs of conscience.

Lazybones of the world—unite!

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Sad Tropics Sad Tropics
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Sad Tropics

Wilhem Sasnal
In his recent, timely show Sad Tropics at Anton Kern, renowned Polish painter Wilhelm Sanal turns his cinematic gaze on his sojourn in Los Angeles. Named after Claude Lévi-Strauss’ anthropological travelogue Triste Tropique, it is a commentary on the contradictory nature of urban life in a natural paradise. From his bicycle vantage point, Sasnal has a unique perspective on the city—that of a temporary resident with the fresh eyes of a visitor. 
 
LA has always been a place for dreamers and misfits, which is fitting for an artist such as Sasnal. Amid the sprawl of freeways and strip malls characteristic of the American landscape, he finds the beauty in the banality. In his trademark reductive style, Sasnal paints trivial, everyday life—the scenes of contemporary reality. We see his daughter glued to her cellphone in spite of a beautiful sunset. Motion sensors, trash cans, and ocean rocks are all treated with his distinctive style of simple silhouettes and pared down, yet saturated tones. Bushes are rendered in his signature fluid brushstrokes. Paintings of signs feel like Xerox copies. Using his masterful technique, Sasnal paints not only the visible world of Los Angeles, but the psychological landscape of our time—one marked by uncertainty, contradiction, and an ever-shifting sense of place. 
 
Alongside his exhibition, his new feature film The Assistant will premiere at the International Film Festival Rotterdam. Made with his wife Anka Sasnal, it is an adaptation of the 1907 eponymous novel by Swiss writer Robert Walser. The story follows a man who takes a job as an assistant to an eccentric engineer inventor, and finds himself in a myriad of ever-changing roles. Despite his prolific nature, the engineer only manages to produce a series of bizarre and impractical inventions that drive him further into debt rather than bringing the fortune he desires. Though written in the early twentieth century, its themes of servitude, ambition, and connection resonate deeply with our current landscape, much like a Wilhelm Sasnal painting.
 
‘Sad Tropics’ runs through March 6, 2025 at Anton Kern Gallery in New York.
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