lara goldmann
So here we are again. Another exhibition, another site, or perhaps something altogether different, more along Richard Iton’s underground.
Or yet another way to approach Adam Pendleton’s first extensive solo appearance in Europe, Blackness, White and Light, would be along Moten’s project/s.
This then in a Gramsci fashion. Thought sounded on yet another note, along some more poets raising the stakes like GangStarr’s Do You Wanna Mess With This?!?:
“so if you stand in my way, I'ma have to spray/ Learn that if you come against me, son/ you’re gonna have to pray/ Since back in the day I held the weight and kept my head up/
They wanna see the god catch an L, it's all a set-up/ I give no man or thing power over me”.
Kürzlich sprach man über Rilke, und den Hindemith, und dann eben über die ganze Chose mit der Maria und den Bildern.
Das war natürlich, je nachdem auf welche Quelle man sich beruft, entweder eine ganz großes Thema, denn man sprach ja hier von Rilke, und Hindemith und eben der Maria, oder aber nur “eine ganz kleine Sache.”
Und man sprach auch darüber, was das alles dann mit der Malerei zu tun haben könnte. Denn die Malerei, die schien dem Rilke doch sehr wichtig, und nun ja, uns auch.
Mit Malerei haben wir es hier doch zu tun. Und da ist es dann doch interessant, was die Malerei so macht–mal ganz klein und mal ganz groß. Sehr oft, vor allem beides. Erst mal zur der kleinen Sache bei Rilke, die der Hindemith doch eher sehr groß und verhältnismäßig komplex gestaltete. Man kann das ja nachlesen. Besser man hört nochmals hin.
Back then, in Mexico City, sitting in the sun-flooded studio of the artist Minerva Cuevas, the sound from the nearby Plaza de la Constitución, El Zócalo drifting in through the open window, back then, the buzzing air of this beautiful city, the quiet concentration in the studio, back then, it seems like a long time ago.
We were looking at a new work, Disidencia, mesmerized. It spoke to the times, here but also there, it spoke to the times, now but also then, and certainly tomorrow. It still speaks. To now, but also to then. And certainly tomorrow.
The pulsing force of the many, coming together, moving, not towards but from within— in dissidence—as a life-affirming practice across communities, a celebration of a voice, the voice of the many, a voice of all tonalities, a polyphonic texture, reclaiming and announcing a ‘Yes-But-Different’.
Isolate to a Controllable Space
some are somewhere and then they leave. you have been standing in this room and still don’t understand. something is off but you swear there was something the other day you tried to be. the chair fell over and there was nothing left to say. people are drawing lines while you are watching on and the room is getting smaller. you leave but there is nowhere else to go. if you could say something now you would say there but you know someone else would say you said here and the space in-between would disappear and then is there anywhere there to be and be and perhaps then you think and get up and leave and they can keep drawing lines but you are somewhere else already.