Thursday, January 28, 2021

Vendredi

Rires dans du soleil,

ivoire ! agenouillements timides, les mains aux choses de la terre…

Vendredi ! que la feuille était verte, et ton ombre nouvelle, les mains

si longues vers la terre, quand, près de l’homme taciturne, tu remuais

sous la lumière le ruissellement bleu de tes membres !

- Maintenant l’on t’a fait cadeau d’une défroque rouge. Tu bois l’huile

des lampes et voles au garde-manger ; tu convoites les jupes de la cuisinière

qui est grasse et qui sent le poisson ; tu mires au cuivre de ta livrée tes yeux

devenus fourbes et ton rire, vicieux.

 

 

Saint John Perse

Tuesday, January 26, 2021

Sea Sculpture

 Sea Sculpture, Vietnam , 1725

Victoria & Albert Museum 

Porcelain pieces fused together by fire with encrusted with shell and coral growths 

 

#porcelain #wreck #corals #shells #seabed #fired #glazed #jingdezhen #qingdynasty #camau#camauwreck #ceramics #seasculpture

Crusoe In England

Crusoe In England 

 

A new volcano has erupted,

the papers say, and last week I was reading   

where some ship saw an island being born:   

at first a breath of steam, ten miles away;   

and then a black fleck—basalt, probably—

rose in the mate’s binoculars

and caught on the horizon like a fly.

They named it. But my poor old island’s still   

un-rediscovered, un-renamable.

None of the books has ever got it right.

 

Well, I had fifty-two

miserable, small volcanoes I could climb   

with a few slithery strides—

volcanoes dead as ash heaps.

I used to sit on the edge of the highest one   

and count the others standing up,

naked and leaden, with their heads blown off.   

I’d think that if they were the size   

I thought volcanoes should be, then I had   

become a giant;

and if I had become a giant,

I couldn’t bear to think what size   

the goats and turtles were,

or the gulls, or the overlapping rollers   

—a glittering hexagon of rollers   

closing and closing in, but never quite,   

glittering and glittering, though the sky   

was mostly overcast.

 

My island seemed to be

a sort of cloud-dump. All the hemisphere’s   

left-over clouds arrived and hung

above the craters—their parched throats   

were hot to touch.

Was that why it rained so much?

And why sometimes the whole place hissed?   

The turtles lumbered by, high-domed,   

hissing like teakettles.

(And I’d have given years, or taken a few,   

for any sort of kettle, of course.)

The folds of lava, running out to sea,

would hiss. I’d turn. And then they’d prove   

to be more turtles.

The beaches were all lava, variegated,   

black, red, and white, and gray;

the marbled colors made a fine display.   

And I had waterspouts. Oh,

half a dozen at a time, far out,

they’d come and go, advancing and retreating,   

their heads in cloud, their feet in moving patches   

of scuffed-up white.

Glass chimneys, flexible, attenuated,   

sacerdotal beings of glass ... I watched   

the water spiral up in them like smoke.   

Beautiful, yes, but not much company.

 

I often gave way to self-pity.

“Do I deserve this? I suppose I must.

I wouldn’t be here otherwise. Was there   

a moment when I actually chose this?

I don’t remember, but there could have been.”   

What’s wrong about self-pity, anyway?

With my legs dangling down familiarly   

over a crater’s edge, I told myself

“Pity should begin at home.” So the more   

pity I felt, the more I felt at home.

 

The sun set in the sea; the same odd sun   

rose from the sea,

and there was one of it and one of me.   

The island had one kind of everything:   

one tree snail, a bright violet-blue

with a thin shell, crept over everything,   

over the one variety of tree,

a sooty, scrub affair.

Snail shells lay under these in drifts   

and, at a distance,

you’d swear that they were beds of irises.   

There was one kind of berry, a dark red.   

I tried it, one by one, and hours apart.   

Sub-acid, and not bad, no ill effects;   

and so I made home-brew. I’d drink   

the awful, fizzy, stinging stuff

that went straight to my head

and play my home-made flute

(I think it had the weirdest scale on earth)   

and, dizzy, whoop and dance among the goats.   

Home-made, home-made! But aren’t we all?   

I felt a deep affection for

the smallest of my island industries.   

No, not exactly, since the smallest was   

a miserable philosophy.

 

Because I didn’t know enough.

Why didn’t I know enough of something?   

Greek drama or astronomy? The books   

I’d read were full of blanks;

the poems—well, I tried

reciting to my iris-beds,

“They flash upon that inward eye,

which is the bliss ...” The bliss of what?   

One of the first things that I did

when I got back was look it up.

 

The island smelled of goat and guano.   

The goats were white, so were the gulls,   

and both too tame, or else they thought   

I was a goat, too, or a gull.

Baa, baa, baa and shriek, shriek, shriek,

baa ... shriek ... baa ... I still can’t shake   

them from my ears; they’re hurting now.

The questioning shrieks, the equivocal replies   

over a ground of hissing rain

and hissing, ambulating turtles

got on my nerves.

When all the gulls flew up at once, they sounded

like a big tree in a strong wind, its leaves.   

I’d shut my eyes and think about a tree,   

an oak, say, with real shade, somewhere.   

I’d heard of cattle getting island-sick.   

I thought the goats were.

One billy-goat would stand on the volcano

I’d christened Mont d’Espoir or Mount Despair 

(I’d time enough to play with names),   

and bleat and bleat, and sniff the air.   

I’d grab his beard and look at him.   

His pupils, horizontal, narrowed up

and expressed nothing, or a little malice.   

I got so tired of the very colors!   

One day I dyed a baby goat bright red   

with my red berries, just to see   

something a little different.

And then his mother wouldn’t recognize him.

 

Dreams were the worst. Of course I dreamed of food

and love, but they were pleasant rather

than otherwise. But then I’d dream of things   

like slitting a baby’s throat, mistaking it   

for a baby goat. I’d have

nightmares of other islands

stretching away from mine, infinities   

of islands, islands spawning islands,   

like frogs’ eggs turning into polliwogs   

of islands, knowing that I had to live   

on each and every one, eventually,   

for ages, registering their flora,   

their fauna, their geography.

 

Just when I thought I couldn’t stand it   

another minute longer, Friday came.   

(Accounts of that have everything all wrong.)   

Friday was nice.

Friday was nice, and we were friends.   

If only he had been a woman!

I wanted to propagate my kind,   

and so did he, I think, poor boy.

He’d pet the baby goats sometimes,

and race with them, or carry one around.   

—Pretty to watch; he had a pretty body.

 

And then one day they came and took us off.

 

Now I live here, another island,

that doesn’t seem like one, but who decides?

My blood was full of them; my brain   

bred islands. But that archipelago

has petered out. I’m old.

I’m bored, too, drinking my real tea,   

surrounded by uninteresting lumber.

The knife there on the shelf—

it reeked of meaning, like a crucifix.

It lived. How many years did I   

beg it, implore it, not to break?

I knew each nick and scratch by heart,

the bluish blade, the broken tip,

the lines of wood-grain on the handle ...

Now it won’t look at me at all.   

The living soul has dribbled away.   

My eyes rest on it and pass on.

 

The local museum’s asked me to

leave everything to them:

the flute, the knife, the shrivelled shoes,

my shedding goatskin trousers

(moths have got in the fur),

the parasol that took me such a time   

remembering the way the ribs should go.

It still will work but, folded up,

looks like a plucked and skinny fowl.

How can anyone want such things?

—And Friday, my dear Friday, died of measles

seventeen years ago come March.

 

 

 

Elizabeth Bishop

Genius Loci

 

Genius Loci, 2020 
Plaster, clay, wood

#household #geniusloci #lares #sculpture#kostisvelonis #myboatroofedshed #traveler

Wednesday, January 20, 2021

Aural

 

Gritty frost from
the radio speaker
in the car's
nomadic shadows:
a swamp of sounds
in which hearing's
needle can
barely move.
Out of nowhere,
a torch singer
slices through Wittgenstein
with the cutlery
of cante jondo...
How does she do it? -
unstitch, unseam
language itself,
make the world flow and
if that wasn't enough
hit the twin peaks
of grace and tragedy?
The car
anointed with music
slips into the night.

      David Huerta 


Tuesday, January 12, 2021

Η μορφή ακολουθεί τη λίμπιντο : Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία

Η μορφή ακολουθεί τη λίμπιντο : Το οδοντοφόρο αιδοίο (vagina dentata) και η πατροκτονία 

 

Βιβλιογραφίασημειώσεις

Bibliography / REF/ Works Cited / Films / Performances 

 

 

Τέχνη στο συγκείμενο (Art in context )

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

 

AbrahamNicolas & TorokMaria, Το χαμένο αντικείμενο –Εγώ. Σημειώσεις για την ενδοκρυπτική ταύτιση. Εκ των υστέρωντεύχος 15 (2007) 175-195    

 

Alvarez, Ana Cecilia, Bend it Like Benglis , The Critical Inquiry, 20 Oct. 2014  

https://thenewinquiry.com/bend-it-like-benglis/

Barthes, Roland, Μυθολογίες –Μάθημα,  μτφρΚαίτη Χατζηδήμου, Αθήνα: εκδ. Ράππα, 2007

 

Βελώνης, Κωστής, “Η γλυπτική της επιθυμίας”, Αυγή της Κυριακής, 31 Μαιου 2015 

http://avgi-anagnoseis.blogspot.gr/2015/05/blog-post_9.html#more

 

Briony, Fer, Objects beyond Objecthood, Oxford Art Journal, Vol. 22, No. 2, Louise Bourgeois (1999), pp. 27-36. https://www.jstor.org/stable/1360633

ButlerJudith,  Σώματα με σημασία , μτφρ. Παναγία  Μαρκέτου, επιμ. Αθηνά Αθανασίου Αθηνα : Εκδοσεις  Εκκρεμές, 2008  

CixousHelene.  Το γέλιο της Μέδουσας, μτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, επιμ.-εισ. Δήμητρα Γεωργιάδου, Αθήνα : Τοποβόρος, 2018.

 

CreedBarbara.  To τερατώδες- θηλυκό, στο  CixousHelene Το γέλιο της Μέδουσαςμτφρ. Γωγώ Κατσούλη, Τζένη Κουντούρη Τσιάμη, Ειρήνη Σπανοπούλου, επιμ.-εισ. Δήμητρα Γεωργιάδου, Αθήνα : Τοποβόρος, 2018.

 

Creed, Barbara. Orgasmology : What Does the Orgasm Want? Feminist Formations, Volume 28, Issue 2, Summer 2016, pp. 144-151 https://doi.org/10.1353/ff.2016.0033 

 

Clair, Jean, Meduse. Contribution a une anthropologie des arts du visuel,  Paris: Editions Gallimard,  1989.

 

 

Dali, Declaration of the independence of imagination and the rights of man to his own madness (1939)

https://collections.vam.ac.uk/item/O1309656/declaration-of-the-independence-of-dali-salvador/

Eidelpes, Rosa.  Roger Caillois’ Biology of Myth and the Myth of Biology, Anthropology & Materialism,  2 | 2014 .

https://journals.openedition.org/am/84

Gomes, Elisa,  "MARIA – Don’t Forget I Come from the Tropics", 

https://www.youtube.com/watch?time_continue=107&v=d7VIt017IDg&feature=emb_title

 

GreenAndré. Η ιδιωτική τρέλα, ψυχανάλυση των οριακών περιπτώσεων μτφρ. Λογαρίδη Θάλεια,  επιμ. Συνοδινού Κλαίρη, Μητροσύλης Σπύρος, Αθήνα : Καστανιώτη, 2002

 

HamiltonJohn T., “The Luxury of Self-destructionFlirting with Mimesis with Roger Caillois." Flirtations: Rhetoric and Aesthetics This Side of Seduction, a Poetics and Theory/ Comparative Literature Workshop, Draper Program, New York University, March 3, 2012. 

https://dash.harvard.edu/handle/1/14065783

 

Hancock, Caroline. Medusa in Ecstasy in Lynda Benglis. Edited by Franck Gautherot, Caroline Hancock, Seungduk Kim: Franck Gautherot , Dijon : Presses du réel, 2009.

http://www.carolinehancock.com/carolineHancock/pdf/Lynda_Benglis.pdf

 

 

Henriques, Martha, BBC Future: The vibrator: from medical tool to revolutionary sex toy, 8th November 2018. 

https://www.bbc.com/future/article/20181107-the-history-of-the-vibrator

 

Didi-Huberman, GeorgesThe Order of Material: Plasticities, malaises, survivals (Matlock, J, Trans.), in: Taylor, B, (ed.): Sculpture And Psychoanalysis, Routledge, 2016  

 

Didi-Huberman, Georges, Die Ordung des Materials. Plastizitat, Unbehagen, Nachleben,  στο Vortrage aus dem Warburg-Haus, III, Berlin : Akademie Verlag, 1999.

 

FreudSigmundΤο κεφάλι της Μέδουσας, στο Κείμενα για την ψυχοσεξουαλική ζωή , μτφρ.  ΒασιλιάςΑνδρέαςΑθήνα : Ανατολικός, 2018. 

 

Jagose, Annamarie. Orgasmology, Durham, NC:  Duke University Press, 2013.

Kachur, Lewis. Displaying the Marvelous, Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations Cambridge, Massachusetts: MIT Press, 2001)

 

Koehler, Sezin.  Pussy Bites Back: Vagina Dentata Myths From Around the World

https://www.vice.com/en_us/article/payq79/pussy-bites-back-vagina-dentata-myths-from-around-the-world

 

Klein, Melanie. A contribution to the psychogenesis of manic-depressive states, International  Journal of Psychoanalysis, 16:145-174, 1935 

 

https://www.sas.upenn.edu/~cavitch/pdf-library/Klein_Contribution.pdf

 

J. Laplanche & J.-B. Pontalis. Λεξιλόγιο της ψυχανάλυσης. Μτφρ. Β. Καψαμπέλης, Λ. Χαλκούση, Α. Σκουλήκα, Π. Αλούπης. Αθήνα: Κέδρος, 1986.

 

http://www.preder.net/r/geriadur/enmoned.php?dic=6&ent=918

 

Lippard, Lucy R., Eccentric Abstraction (Fishbach Gallery: New York, 1966); reprinted in Art International, vol. 10, 20 November 1966 

''}66https://monoskop.org/File:Lippard_Lucy_R_1966_1971_Eccentric_Abstraction.pdf

Lurie, Susan. The Construction of the "Castrated Woman" in Psychoanalysis and Cinema, Discourse Vol. 4 (Winter, 1981-2), pp. 52-74

https://www.jstor.org/stable/44000262?seq=1

Martyris, Nina. 'Luncheon In Fur': The Surrealist Teacup That Stirred The Art World, February 9, 2016

https://www.npr.org/sections/thesalt/2016/02/09/466061492/luncheon-in-fur-the-surrealist-tea-cup-that-stirred-the-art-world?t=1578851213115

 

Middleman, Rachel. Rethinking Vaginal Iconology with Hannah Wilke's Sculpture, Art Journal, 2013, 72:4, 34-45.

https://www.jstor.org/stable/pdf/43188632.pdf

 

Mignon, Nixon. Eating Words, Oxford Art Journal, Vol. 22, No. 2, (1999), pp. 57-70

https://www.jstor.org/stable/pdf/1360635.pdf

PlathSylvia. Αριελ, μτφρ., Ηλιοπούλου, Ελένη, Ηλιοπούλου, Κατερίνα, Αθήνα : Μελάνι, 2012 

http://i-mourmoura.blogspot.com/2013/03/blog-post_9033.html

 

Pollock Griselda.  "Feminism and Modernism," in Framing Feminism: Art and the Women's Movement, 1980-1985. ed. Rozsika Parker and Pollock London: Pandora, 1987. 

Schaffner Ingrid.  Salvador Dali`s Dream of Venus: The Surrealist Funhouse from the 1939 World`s Fair, New York: Princeton Architectural Press, 2002.

 

 

Films/Performances

 

Dali's Dream of Venus 1939 World's Fair 

https://www.youtube.com/watch?v=g9jcL-qjqi4

https://www.youtube.com/watch?v=-yhWxQnvoSo

https://www.youtube.com/watch?v=xy9dnakh5L4

 

Elisabeth Sussman discusses the artist Eva Hesse’s rope Sculpture, No Tile, 1970.

https://www.youtube.com/watch?v=LklUuaUxX4k

 

Eva Hesse: “Life doesn’t last; art doesn’t last”  -sfmoma https://www.sfmoma.org/watch/eva-hesse-life-doesnt-last-art-doesnt-last/

 

Louise Bourgeois – 'I Transform Hate Into Love' | TateShots

https://www.tate.org.uk/art/artists/louise-bourgeois-2351/art-louise-bourgeois

 

Aliens, dir. By James Cameron (1986) - Trailer

https://www.youtube.com/watch?v=z0IXOUFYMt0

Aliens 1986 Final Ellen Ripley vs Xenomorph Queen

https://www.youtube.com/watch?v=DqA8Z5gjNWw

The Brood, dir. by David Cronenberg, 1979

https://www.youtube.com/watch?v=CNYfCMY2zHg

 

Teethdir. by Mitchell Lichtenstein, 2007

https://www.youtube.com/watch?v=yH8yuld4DUE

 

Lynda Benglis at the Walker, Eric Crosby

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/introduction

 

https://walkerart.org/collections/publications/art-expanded/adhesive-products/#/working_in_space

 

Marcel Duchamp

Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ) 1946-66 Marcel Duchamp Philadelphia Museum Of Art

https://www.youtube.com/watch?v=dAlzBx24_vM

 

Marcel Duchamp, The Bride Stripped Bare by Her BachelorsEven (The Large Glass) by  Lara Kuykendall 
https://smarthistory.org/duchamp-largeglass/