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Edvard Munch Summer Night by the Beach 1902-1903
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“But then, lit up, a red wife, kind of, not really, she sets out to see things as they are. Describes a virtual countryside. Jumps a box car. Drinks domestic beer. Okay. She does it and I write it down: a damaged eye with votive filaments. (I am writing to you.) ‘No point in writing home.’ Then what?”
Bhanu Kapil, from “Handwritten Preface to Reverse the Book” (via saravz)
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Flying Dragon, 1800s.Unidentified artist. Pen and watercolor
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Permian animal style bronze plaques from the Ural mountain region of Russia. Dating from the 3rd to 12th centuries CE, they depict mythological stories and creatures from the shamanic tradition native to the region.
They have been found throughout a large area of forests in the north-eastern Urals and western Siberia from the basins of the Kama and Vyatka to the Ob. In the Middle Ages, these territories were inhabited mostly by the Ugrian tribes, ancestors of the present day Hungarians and Ob-Ugrians – the Khanty and the Mansi people.
Researchers point to the influence of Scytho-Sarmatian animal style on the development of cult toreutics of the forests of the north: famous animal battle scenes, vertical model of the Universe in the form of three worlds – three levels of the plaques and the cult of the great mother-goddess are present in both styles. Perm animal style objects include metalwork of bronze with the usage of single- or double-sided forms for casting, bone and wooden carvings, engravings on metal and bone objects. Figures depicted on the images are elks, rain-deers, bears, fur-bearing and other types of animals, horses, different waterfowl and birds of prey, snakes, insects and a number of "complex creatures" of mixed nature (hybrids), mixed zoomorphic and anthropomorphic half-human creatures; there are also a number of images of horsemen. The stories, which the Perm animal style plaques tell, are numerous and diverse.The objects are found in the hoards, on the sites of the temples, among the skeletons, in burials, as part of sacrificial complexes or on the sites of metallurgical workshops. Most of the bronze artifacts were used as a cult figures for the sacred rites.
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From 'Attention and Will' by Simone Weil
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Giuseppe Penone, Biforcazione, 1987-92
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Anne Carson, Wrong Norma
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Prisons of the Occupation
Arabic translation: Freedom for the Palestinian detainees in the prisons of the Occupation
Artist: Youssef Abdelki
Circa 1985
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— Denise Levertov, “In mind” from Selected Poems
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krisis-krinein-deactivated20250
Joseph Beuys, Druidin [Druidesse], 1951
Jean-Philippe Antoine - La traversée du XXe siècle – Joseph Beuys, l'image et le souvenir
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"Write to me, always
Even if it is little
Just don't stop"
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Najia Mehadji (France, 1950) - litografía
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I am so impatient. Yet the one important thing is to pile up good work. If IF I could break onto a meaningful prose, that expressed my feelings, I would be free. Free to have a wonderful life. I am desperate when I am verbally repressed.
— Sylvia Plath, from The Unabridged Journals Of Sylvia Plath
Source: kiki-de-la-petite-flaque
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Lee Bontecou - Untitled
"Think, for example, of poet Alice Notley’s “poetics of disobedience,” which she describes as the “rejection of everything I was supposed to be or to affirm, all the poetries all the groups the clothes the gangs the governments the feelings and reasons…. I discovered I couldn’t go along, with the government or governments, with radicals and certainly not with conservatives or centrists, with radical poetics and certainly not with other poetics, with other women’s feminisms, with any fucking thing at all.” Notley’s epic poem from 2001, Disobedience, emanates from this “fuck you” attitude (“my rule for this poem / is honesty, my other rule is Fuck You”), an attitude Notley extends to her readers: “I think…of myself as disobeying my readership a lot. I began [Disobedience] denying their existence.”
Denying the existence of a readership, rejecting everything one is supposed to be or affirm, maintaining a “Fuck You” posture in regard to audience, contemporary mores, or reception: none of this speaks to a “regard for others,” or is likely to go over very well on a grant application. But it is precisely what makes Notley’s work so visionary and permission giving. I probably don’t need to mention here that women—who are still aggressively socialized to please other people, and who fear, often justifiably, the consequences of quitting the mission—may find this disobedience more difficult to access and sustain, which is why Notley’s “poetics of disobedience” is a feminist practice (as is Madani’s urging her students to make art that won’t please their mothers), even if one must disavow all “other women’s feminisms,” or risk displeasing one’s own mother, to get there."
Maggie Nelson, On Freedom: Four Songs of Care and Constraint
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Dreamer's Gate in Collector, Australia by Tony Phantastes
Source: michaeljohngrist.com
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“I love to you means I maintain a relation of indirection to you. I do not subjugate you or consume you. I respect you (as irreducible.) I hail you: in you I hail. I praise you: in you I praise. I give you thanks: to you I give thanks for … I bless you. for … I speak to you, not just about something; rather I speak to you. I tell you, not so much this or that, but rather I tell to you.”
— ‘I love to you’ by Luce Irigaray. This one is translated by Alison Martin. (via brighid2010-blog)