"But there was not a moment when she did not see Carol in her mind, and all she saw, she seemed to see through Carol. That evening, the dark flat streets of New York, the tomorrow of work, the milk bottle dropped and broken in her sink, became unimportant. She flung herself on her bed and drew a line with a pencil on a piece of paper. And another line, carefully, and another. A world was born around her, like a bright forest with a million shimmering leaves."
Thursday, July 29, 2010
reading CAROL again by my dearest pat
"But there was not a moment when she did not see Carol in her mind, and all she saw, she seemed to see through Carol. That evening, the dark flat streets of New York, the tomorrow of work, the milk bottle dropped and broken in her sink, became unimportant. She flung herself on her bed and drew a line with a pencil on a piece of paper. And another line, carefully, and another. A world was born around her, like a bright forest with a million shimmering leaves."
Wednesday, July 28, 2010
Thursday, July 22, 2010
jack kerouac/ allen ginsberg: letters
“Realize, Allen, that if all the world were green, there would be no such thing as the color green. Similarly, men cannot know what it is to be together without otherwise knowing what it is to be apart. If all the world were love, then, how could love exist? This is why we turn away from each other on moments of great happiness and closeness. How can we know happiness and closeness without contrasting them, like lights?”
— Kerouac to Ginsberg, September, 1948
“The point is that all thought is inexistence and unreality, the only reality is green, love. Don’t you see that it is just the whole point of life not to be self conscious? That it must all be green? All love? Would the world then seem incomprehensible? That is an error. The world would seem incomprehensible to the rational faculty which keeps trying to keep us from the living in green, which fragments and makes every thing seem ambiguous and mysterious and many colors. The world and we are green. We are inexistent until we make an absolute decision to close the circle of individual thought entirely and begin to exist in god with absolute unqualified and unconscious understanding of green, love and nothing but love, until a car, money, people, work, things are love, motion is love, thought is love, sex is love. Everything is love. That is what the phrase ‘God is Love’ means.”
— Ginsberg to Kerouac, October, 1948
17 Temmuz @ AMARGI Kadin Akademisi
Aşk her şeyi affeder mi ya da güncel pratiğimizi değiştirebilir mi? AH OH sergisinin kapanış konuşmasının konuğu bağımsız küratör Övül Durmuşoğlu.
Övül ğ'den Adnan ile birlikte izleyicileri sergi sürecindeki eleştirel ve queer istasyonlarda tekrar durup düşünmeye davet ediyor. Bir sergi formunun arayabileceği ve kurabileceği queer kimliğin kapsamını merak eden iki eski arkadaş, çalışmalarını ve daha önceki işbirliklerini harmanlayarak oluşturacakları görsel havuzu eşliğinde hem günah çıkaracaklar hem de ironik bir sorunun peşine düşecekler: Aşk, -bizi değiştiriyorsa- güncel sanat pratiğimizi de değiştirebilir mi?
--------------------------
May love forgive all aka may love transform our contemporary art practices?
The guest of AH OH's closing talk is Ovul Durmusoglu, independent curator.
Ovul invites the audience to pause again on critical and queer stations of the exhibition with Adnan from ğ
The old friends in conversation wonder about the scope of queer identity that can be researched and constructed by an exhibition form.
With the background of image pool formed of their old collaborations and recent projects, they will not only make confessions but also chase after an ironic question:
May love- if it changes us- transform our contemporary art practices?
Bize comertce evsahipligi yapan, emegi gecen tum AMARGI Kadin Akademisi'nden arkadaslara tekrar tesekkur ederiz.
Há sempre um copo de mar para um homem navegar/There is always a cup of sea to sail in
September 25th - December 12th 2010
29th Bienal de São Paulo
The 29th Bienal de São Paulo is anchored on the notion that it is impossible to separate art from politics. Such impossibility is expressed in the fact that art, through ways of its own, is capable of blocking the sensorial coordinates through which we understand and inhabit the world by bringing into it themes and attitudes that did not previously fit in, thus making it different and wider.
The choice of this organizing principle for the 29th Bienal de São Paulo curatorial project rests on two major reasons. Firstly, because we live in a world of diverse conflicts, where sociability paradigms are being constantly challenged and on which art stands as a privileged means of understanding and, at the same time, reinventing reality. Secondly, the movement towards bringing art and politics closer together has been so intense in the past two decades that again emphasis should be placed on the uniqueness of the former over the latter, as they are very often confounded to the point of indistinctness.
In this sense, the title chosen for the 29th Bienal de São Paulo “There is always a cup of sea to sail in” - a quote borrowed from the Brazilian poet Jorge de Lima’s major work Invenção de Orfeu (1952) – singularly epitomizes what the forthcoming Bienal de São Paulo edition seeks to achieve: to assert that the utopian dimension of art is contained within itself, not without it or beyond it. It is in the “cup of sea” – or in this near infinite where artists insist on producing their works in – that in fact lies the power to move forward, despite everything else. As Jorge de Lima’s poem goes “the power to sail on even without ships / even without waves and sand.”
As a space where this commitment resonates in many different ways, the 29th Bienal exhibition will put visitors in touch with ways of thinking and inhabiting the world that go beyond the consensus building that organizes it and make it a small place to live, where not everything or everyone fits in. The 29th Bienal will bring visitors in touch with the politics of art.
Therefore, it is the 29th Bienal de São Paulo’s intention to be at once a celebration of art making and an assertion of its responsibility before life; a moment of disconcerting the senses while generating knowledge that is nowhere else. For this reason, it intends to instill its audience with the sensitive experience that emerges from the mesh of displayed works and their ability to critically reflect the world in which they are inscribed. In short, to provide examples of how art weaves a politics that is deeply entrenched into it.
The 29th São Paulo Biennial is being curated by Moacir dos Anjos and Agnaldo Farias and a team of guest curators from various backgrounds: Fernando Alvim, Rina Carvajal, Yuko Hasegawa, Sarat Maharaj, and Chus Martinez .
For artists' list and other details:
http://www.fbsp.org.br/29_bienal-en.html
http://universes-in-universe.org/eng/bien/sao_paulo_biennial/2010
Monday, July 5, 2010
Askin Yedi Gunu/ The Seven Days of Love
Sali: maske
Soylenenle acin yeterli olur yenilemek icin
suretimiz icinde olan maskeyi, ruhun lezzeti icin
bedeninin ruhundan dogar...
yangin bu ruhun bedeninde ne basladi
nefsiyle ona, ne ruhun ciceklendigi bedende
basladi sonsuzluga gizlenerek
yandigimizda, ne de bilenen seylerle!
Carsamba: nergis
Yasi on besinde. Istedigi
gibi dogmus...suretinin etrafinda yurur
suda degisen son gibi: beni eksiltiyor
gece...nefsine cokerek. Beni eksiltiyor
askiyla atlarin burclarin uzerinden...uzaklasir
golgesinden, simsek aralarindan gecer
garip kasidesinden gectigi gibi...
Persembe: olusum
Benligimdeki benligimi buldum ve
sen aynasindan ciktin...
yasattigi suslerle toprak seni ziyaret eder,
gereksiz duslerle yukselenle.
Ama ben, dun beni biraktigin gibi
genisligimde, yakin su, yer ve goge
bolunmus. Ah...onlar nerede?
Cuma: son kis
Eger uzaga gidersen, dusumu senden olusmus
anilarin hazinesine as, veya benden olusan
anilarin. Son kisini getirir, sandalyemin
ustunde iki kumru gordum, sonra gordugum
Hint kasabin yaptigi ne: dilimle
guzel seccadenin ustundeki sutu sordu,
eger gidersen, kis mevsimini de al, eger!
Cumartesi: cift guvercin
Bedenimi dinliyorum: ilahi ariyi ve
sayisiz atin dirligini,
ben bulut, sen toprak, sonsuz mucadelenin
iniltisine dayandirilmis
bedenimi dinliyorum: meyvelerin olumu
canli yasam yenileyemez
bedenini...dinledigi bedeni
Pazar: memelerin makami
Seni seviyor, bulut gibi yakina gel...yakina
benden korkan gurbetteki pencereden:
Onu seviyorum. Yildizlar gibi bulun...bulun
yolcuyla yolda kalmasi icin:
seni seviyorum. Karanlik gibi beni ser...ser
kirmizi ask gullerine, kurul
cadir gibi, kurul, kovulan meleklerde...
Pazartesi: vahset
Adinla aci duyuyorum, nefsimde tatlilasan
Endulus'le acilasan Dimask gibi.
Burayi sana aydinlatiyorum kanimin tuzlu limonuyla.
Iste burada, attan dustu ruzgar.
Adinla aci duyuyorum, beni ne ordu kusatir
ne sehir. Benim son hirsim gibi
veya bedenimde yuruyen caddeler...
Mahmud Dervis / Mahmoud Darwish
Thursday, July 1, 2010
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