April 24, 2013
"

basically, you have three choices:
jail, mall, museum

whose hapless invariance
repeats as edges leaping
away from each problematic

crossing to defeat
all possible reply.

jail + museum =
university; mall + jail
= airport; mall + jail
+ museum = home sweet home

"

— Jasper Bernes, from “We Are Nothing and So Can You

April 19, 2013
Reality Demands

Reality demands

that we also mention this:

Life goes on.

It continues at Cannae and Borodino,

at Kosovo Polje and Guernica.

 

There’s a gas station

on a little square in Jericho,

and wet paint
on park benches in Bila Hora.

Letters fly back and forth

between Pearl Harbor and Hastings,

a moving van passes

beneath the eye of the lion at Chaeronea,

and the blooming orchards near Verdun

cannot escape

the approaching atmospheric front.

 

There is so much Everything

that Nothing is hidden quite nicely.

Music pours

from the yachts moored at Actium

and couples dance on the sunlit decks.

 

So much is always going on,

that it must be going on all over.

Where not a stone still stands,

you see the Ice Cream Man

besieged by children.

Where Hiroshima had been

Hiroshima is again,

producing many products

for everyday use.

This terrifying world is not devoid of charms,

of the mornings

that make waking up worthwhile.

 

The grass is green

on Maciejowice’s fields,

and it is studded with dew,

as is normal grass.

 

Perhaps all fields are battlefields,

those we remember

and those that are forgotten:

the birch forests and the cedar forests,

the snow and the sand, the iridescent swamps

and the canyons of black defeat,

where now, when the need strikes, you don’t cower

under a bush but squat behind it.

 

What moral flows from this? Probably none.

Only that blood flows, drying quickly,

and, as always, a few rivers, a few clouds.

 

On tragic mountain passes

the wind rips hats from unwitting heads

and we can’t help

laughing at that.

 

Wisława Szymborska, 1993

Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh

April 18, 2013

supersuperette:

last night at Etel Adnan’s opening exhibition Words and Places curated by several CCA students : recorded audio of a collective reading of a poem from The Arab Apocalypse by Etel with Norma Cole leading on the mic : Norma suggested a group reading to her students, which opened up an event that - in several ways - “decentered” the reading : i.e. decentered Norma’s position as a reader, the audience as audience and the individuals who attempted to involve themselves as individual readers : in the audio you can hear so much fragmentation of this process of decentralization : some voices reaching above or below, or in front of or behind others : at other times a centrality of harmony is plateaued and then decomposes back into a type of imminent failure

Incredible moment — and how great that there is a record of it. 

April 17, 2013
lormiguel:

Etel Adnan, Al-Halllaj, Qasaid, 2008. Watercolour and ink on Japanese book, 27 x 630 cm. © Etel Adnan. Courtesy Galerie Claude Lemand, Paris.
Dedicated to  grupa o.k.

“During this time Adnan discovered the format of the leporello, an accordion-folded book, where her painting and poetry found a compelling hybrid form. In one of the earliest of these leporellos, Adnan copied poems written in Arabic, a language that she spoke, but had never learned to read or write (having grown up in Lebanon under French colonial influence). As she transcribed the Arabic characters, without quite knowing what she was writing, she felt as if she were drawing the poems, and that they could then be understood as images in their own right. Otherwise tied to the word, and therefore to a world of signified meaning, for Adnan this handwritten language began to verge instead on drawn abstraction.” 
— Antonia Marsh, in the gallery guide and publication for Words and Places: Etel Adnan, opening tonight, April 17, 2013.

lormiguel:

Etel Adnan, Al-Halllaj, Qasaid, 2008. Watercolour and ink on Japanese book, 27 x 630 cm. © Etel Adnan. Courtesy Galerie Claude Lemand, Paris.

Dedicated to  grupa o.k.

“During this time Adnan discovered the format of the leporello, an accordion-folded book, where her painting and poetry found a compelling hybrid form. In one of the earliest of these leporellos, Adnan copied poems written in Arabic, a language that she spoke, but had never learned to read or write (having grown up in Lebanon under French colonial influence). As she transcribed the Arabic characters, without quite knowing what she was writing, she felt as if she were drawing the poems, and that they could then be understood as images in their own right. Otherwise tied to the word, and therefore to a world of signified meaning, for Adnan this handwritten language began to verge instead on drawn abstraction.”

— Antonia Marsh, in the gallery guide and publication for Words and Places: Etel Adnan, opening tonight, April 17, 2013.

April 15, 2013
Etel Adnan, Funeral March for the First Cosmonaut, 1968 — detail of leporello with ink and watercolor. Words and Places: Etel Adnan opens Wednesday, April 17, 2013, at the Wattis Institute for Contemporary Arts, San Francisco. More information here.

Etel Adnan, Funeral March for the First Cosmonaut, 1968 — detail of leporello with ink and watercolor. Words and Places: Etel Adnan opens Wednesday, April 17, 2013, at the Wattis Institute for Contemporary Arts, San Francisco. More information here.

April 15, 2013
anneboyer:

Museum Label

anneboyer:

Museum Label

March 1, 2013
"Don’t tell me I am a dog
When you see me eat a poppy
I sniff gasoline in band-aids
Pour chocolate with garlic
On my bread"

— Etel Adnan, “Five Senses for One Death,” 1971

February 7, 2013
Etel Adnan’s work table, Paris, 2012

Etel Adnan’s work table, Paris, 2012

January 12, 2013
Jeff Keen

Jeff Keen

November 4, 2012
Residents of Lwów gather in 1939 at Mickiewicz Square, secularized by the Soviets (from St. Mary’s Square) following the Battle of Lwów and renamed for the Adam Mickiewicz column that stands at its center. The Italian granite monument was carved by Antoni Popiel and erected in 1904.
Reblogged from zolotoivek

Residents of Lwów gather in 1939 at Mickiewicz Square, secularized by the Soviets (from St. Mary’s Square) following the Battle of Lwów and renamed for the Adam Mickiewicz column that stands at its center. The Italian granite monument was carved by Antoni Popiel and erected in 1904.

Reblogged from zolotoivek

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