Anselm Kiefer
Misplaced Lens Cap
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Anselm Kiefer
Orchid in The Land
The quickly fading petals were meticulously arranged by the tweezers, and behind the tweezers were her rough hands. Black earth dug deep underneath every fingernail and the small cuts over her palms and fingertips. She'd only just returned from searching for flowers to press and that’s what showed so strongly on her hands. Her father always worked without gloves, she remembers. It always perplexed her—her father's hands. They, too, were blackened, though from grease. In all the hairs of his hands were some bits of metal shavings tucked away, and beneath the black grease was always a mound of cuts—cuts superficial and deep. In her memory, when she cleared away the dense nebulous fog and looked for a strong clear image, his hands existed. In the dim haze of years gone by it seemed that golden streaming shafts of light happened upon and bathed his hands, fixing them strongly against the miasma of her memory—a stone in a stream clouded by the eroded remnants of lesser more brittle stones. And then And then she recalled him pinning the wings of butterflies to cork and the way she would often imagine the flutter as though all the butterflies were coming back for their second pass. She never went with him to look for butterflies, but she imagined he didn’t wear a glove, then, either. How did he move—in the tall grass? Would he float? Would he stalk? What kind of predator was he? She would never know, she could never know. Now there was only the capacity to stare at all the cases he left behind him, the negative of his mold which he set around himself until he could no longer breathe or make any more room with his fingers. One day he didn’t come home. She remembers how silent the house was, how cold without a fire, and the way all the boards cried as they shivered. After sitting for some time she went out back and listened to the air step through the dirt, kicking fallen leaves and occasionally making such a fit that an old tree fell amongst the others. Sometimes, she recalls, it was only a flutter. Having observed the large trunk that rested with an axe set deep into it she approached it and set her weight against the blackened handle of the axe. Just a child. Just a child, she would always recall. The axe gradually released from the trunk and she held it wiping her face with her thin forearms. Now she doesn’t understand how she managed to chop the wood, only that she did. Then what? Then she set the wood ablaze and as it sundered itself she began to wonder where he was. Weeks passed until the day that he arrived, butchered. His hand got caught by the milling machine and crushed his bones as it passed swiftly separating his flesh. The wound still smelled fresh, like steel. There was no wound to gaze at only slightly stained gauze. He picked her up and held her as he bathed her cheeks in his warm tears. "I'm so sorry. Forgive me, for arriving so late." Many things broke—his voice broke. He began anew in his act of living. He began to gather butterflies, and his hand became softer and more tender. The cuts became slighter and the grease became dirt as she looked at his hand, opened hers and looked at them again. Now she arranged petals and stems on thin vellum. As she worked she would shift her feet and hear the sound of mud sloshing at her touch. She tightened the wing nuts which pressed the flowers between the two cuts of wood. Although she often placed several different flowers in one press, when all the bodies of work lay side-by-side it became clear she never split a single flower from itself. Every petal may have been torn but it was all there, lingering around itself like a whisper in the hollowness of a silent day where one stops, listens, and hears the wind passing saying: “gentle is the song of silence.”
Translation of Alejandro Jodorowsky's "¡Arde, Bruja, Arde!"
Earlier today I found this text by happenstance in the library. I read it and saw something of what I had written in there—and more—in the same way one meets a kindred spirit, a friend. I translated and revised it and here it is in its entirety through translation: The nun was being burned alive. A beggar, chased unrelentingly by the cold, had arrived at the church asking for refuge. Because she had nothing with which to make a fire to warm him, the nun used a wooden carving of the Virgin. Now the abbot, the dried geriatric who no one had seen smile, burned her, accusing her of sacrilege. The stake burned, her body burned, her body burned, her body burned, her body burned, the hours passed, the days, three weeks, and the flesh continued spewing flames without being consumed. The nights of the village were no longer dark, the roosters crowed incessantly, the neighbors couldn't sleep. They formed lines, buckets filled with water were passed to douse her—yet the fire did not cease. Like that—lancing out tongues of flames—they tossed her in a ditch which they then overfilled with dirt. From that deep sepulchre emerged an intense heat which attracted flies, spiders, and snakes. They decided to exhume her. They found her, still, in flames and, still, alive. They begged her to stop burning. Without saying a word she walked towards the church, she lowered the abbot from the pulpit and pulled him with her arms and pressed him against her chest. "Enter in His heart!" When the old man was consumed without leaving any ashes, she stopped burning. She took a broom and, as though out of habit, she began sweeping the floor. The villagers brought her pieces of firewood fearing that some other beggar would arrive to ask her for refuge.
Buy on Itunes: http://bit.ly/19y64AV Follow us on Twitter: http://twitter.com/unidiscmusic Like us on facebook: http://facebook.com/unidiscmusic James Joseph...
Pushing myself through useless essays for classes by listening to a song which simultaneous reminds me of the freedom I’ll be granted when all this shit is over and the fact that this work is relatively meaningful and that if it comes out not that well, well life goes on.
Bosquejo de Flor y Agua
He sat—attempted to sit. The heat sweltered around his ass on the plastic seat and left him generally uncomfortable, enough to shift every few seconds as another bead of sweat ran slow and down. He couldn’t help but cry.
July always left him like this, shifting uneasy and bitter. Everyone looked at him but not one person who passed would shed a bit of pity onto him. Drenched in his own sweat they could hardly even tell he was crying, and they would hardly care if they did, thinking he was just an old amputee from some war who was weeping for his friends. Sometimes enough light and sweat would gather on the floor beneath him so that, seated in that still space, he could see himself in the reflected distort of his own waste. It comforted him a bit, left him feeling a bit more human, more present. But as it all floated off—evaporated leaving nothing but stench, he found himself weeping for no one but himself.
Years ago he and his brother got in a fight. The moments before went something like this:
—You fucked her?
—I loved her.
And he killed Emigdio. Though it wasn’t so quick and it wasn’t so easy.
It was winter and while no snow fell, the earth’s dirt was cold that late at night and they were sober, painfully so. Before anything had been said, they looked at one another, their eyes shrouded with tears. That’s how they spoke for hours, just tears before words. What was eventually put to words was a punctuation on their thoughts— through tears— and on their lives. He ran up to him and grabbed him by the throat. They fell hard, howling into the air, catching their breath between sobs and punches and accidental kisses and hugs. They kicked fell and tumbled and the dirt covered them in clouds, trying to decide which it would take.
He pulled a knife from his boot and got him.
Still, all still.
Now, when cats yowled late at night he would cry, when sirens passed he would cradle himself, when children roamed in laughter he knew what it could become and could do nothing but look into the open air, praying for something solid of a ghost.
Emigdio looked at him. Eyes wide, mouth pursed, and holding onto words he didn’t want to be his last. His eyes, then, shut too, as he tried to remember the loveliest of things, tried to rewrite his death for himself, that’s what mattered to him.
Growing up as ranch hands, he and Manuel would always have to walk past the Terapeuta’s wide and imposing house on the way to work at their pastures and stables. On the westward wall the stone had split and through it came a flower, softly tinted yellow, whose name he had never asked. He regretted never asking. He truly did. But as his brother walked on he would stop and see its plagued and pure petals all joined from the same roots. The scent would rise, rise and waft through the air and he would close his eyes and think of the waters of Media Luna. He travelled there alone one time. Fished on the shore and waded, solemnly, in, to let the waters gently pull the waste of his life off of him.
He kept his eyes closed and kept his eyes closed. He took the knife from his side and grabbed his brother’s limp and shocked hands and slashed the palms. Manuel would lose them from infection. His eyes still clasped, the wind passed over with distant scents together with his memories made ghosts appear.
Dreaming of dreams, he slept.
HUIR
Morning drawing
Cai Guo-Qiang | chrisstorb -Â Fallen Blossoms
Yoshitaka AMANO (Japanese, b. 1952). Candy Girls S-56, 2010. Automotive paint on aluminum panel. 50 x 50 cm (19 5/8 x 19 5/8 in).
ANDY WOODS
SOUL page 3
Made for Comics Workbook
The story so far
Geraldine Kang. Of two bedrooms. 2010-2015. Various media and dimensions.
​“I slept on the floor, but in my parents’ bedroom, and too often, I noticed my grandmother sleeping.”
Of two bedrooms is a series of images about a conversation that never, and couldn’t, take place. Based on past traumatic links my grandmother and I had with our own bedrooms, the work tells a story of displacement in the home and how death indelibly alters a long-standing, shared domestic space. Unlike the usual types of photographs that commemorate the family, these confront a loving yet problematic relationship between the two of us, one that was defined largely by a stubborn and repressed sort of dialogue, which in turn formed a lack thereof. Taken before and after my grandmother’s passing, the work presently stands at a finite but uncertain juncture. Though objects and rooms have been shifted and redefined, the home is left to adjust to the anticipated but also abrupt departure of a firm presence; one that perhaps cannot be forgotten, and continues to reside and take hold in a new-found, private place.
fav of the night
listening to Bettie Serveert’s cover of “For All We Know”
inspired by “No Se Porque Soy Tan Feliz” by Julio Galan: http://tinyurl.com/jx2m3pe
Heavenly Tedious
To Scream Into An Open Cave (Chapter 1)
On sick days like these his mother measured his fever with the back of her hand. Poor, they had no medicine then. Only simple stews and soups made from powder and old rotting meat, all dried up waiting to be rehydrated.
His mother worked in the streets, getting by with offers of what little love she could muster to the poorest of drunkards stumbling down streets with streams of tears gushing down their throats or limericks rising out from guttural groans that turned in the air to become soft moans.
Since his father died he hadn't shed a single tear and his mother often tried to cure his unhealthy drought, for she believed it a bad sign when an infant refused to wail. She would whisper to him as day dawned and they fell to sleep, << Ignazio, necesitas llorar. Tu papa nos dejo sin nada, y aunque no fue su trabajo para dejar nos con algo, llora, llora por mĂ. Busca tu manantial y llora, te ruego>> Despite all her soft words that faded into murmurs as their eyes grew feeble and ceased to wag as dawn's rose red fingers groped over the horizon, despite them all—she couldn't know how his chest was void and vacuous.
Every day as years went by and he grew into his youth he would feel it caving in, a pull to reside inside himself, to become a refugee in his own body. No soup could fill it for it was no stomach, no music for it was no ear, no literature or swathes of lovely color for it was no eye. Like cratered earth, any capability to yield life was hurled and burned away in the creation of the deep pocket that was placed so tenderly and intentionally in his ribs' cage.
When he finally spoke his first words his lips parted slow as the sun split from the horizon, rising up, he spoke clearly with glossy eyes to his mother's fading words, <<Como si fuera nada. No puedo.>> Then a deep sleep took him and he fell back into silence, for years.
Slowly he began to build some structures in that void of his, though they wouldn't last long. One day, before his Mama died, he snuck into a theatre and stared into that silver screen and saw the muted stars flickering away in their burning as they moved in their rockets and battles with moon peoples. And the joy he took was unlike any other, with the puffs of smoke and awe of the crowd and of himself. So, he began to perform magic for his mother, if he couldn't weep for her he'd try to make her smile with wonder.  After time and practice, through great grins she'd shout << ¡Eres un gran mago, mijo!>>
--
Picking himself out of the dirt, he rose—his mouth gnarled and full of broken teeth,
<< ¡Hijo de puta!>>
and throughout the night the same lonely drunkards would, now, wind into rage and unwind their punches into him. This particular fist flew at his ear and he found himself bared naked when he woke, stripped down to his rippling youth. Winds roared for years, wearing this youth, as he grew into a man—his hair wrapping round his toughening form, a poor man's fleece. He had become a mass of scars. He was nothing more than a mound of endeavor rolling on, more furled and dried and frail and thorned than a tumbleweed.
He made his living taking charitable odd jobs. Everyone knew his story-- the story of el niño de la Calle de Nopales, whose mother died when some drunk torched their small dirt floored shack when she dared to sleep alone and sleep early. He was pulled out, but his mother was already engulfed in that ardor. Flames wrapped 'round her waist like lovely longing arms. Some thought they were both burning and that it was his loving arms that embraced her as she fell to her knees outside, charring herself into the ground, a strong fire blazing on her, white and blinding. Everyone knew that story, so they pitied him and tasked him to scrub floors, water plants, wash dishes, simple things that wouldn't break him. For, despite his calloused casing, they thought him fragile, for they saw the way he'd awaken bloody and bare with bruises. When he had earned some money, that wasn’t stolen from him in a beating, he bought some common clothes and wandered off.
--
Ten years passed when he returned to the same street in black robes that covered everything except his worn visage. His frame was stronger and his barrel chest seemed wider. At first light he set up a simple stand of planks with one piece in exhibition, a small glass horse figurine, frozen still on all fours. People remembered the boy and gazed, as they passed, at his lone import.
At evening a man passed by and jeered, << ¿Vago, apoco esto es tu venta, la arena? ¿Tan simple y sin forma? ¡Que groseria poner esto come si fuera una arte!>>
Ignoring him, the great chested vagrant pointed at a boy who'd been looking on for the better part of the day, keeping distance and cover behind a corner. He gestured for the boy to come close, and so he did, and the broad, aged, tramp gently placed the figurine in the small boy’s hand.
<<Despues de tener nada, dar, como si nada, a los que tienen una hambre es fácil, justo, y necesario.>>
--
The clear horse took on its still life in the whips of time, slowly galloping until it, full of grace and freedom, rose onto its hinds and with a gentle silent power landed its hooves on the boy's palm, leaving no doubt of its beauty or its majesty. And it was this beauty and this majesty that set the boy running off with his great gift and left the passing man astonished as he gazed at its ghost in the air.
--
<< ¡¿Cómo—que diablos, de que tierra has traedo esta brujeria?!>>
<<No es brujeria—ciego— es magia, y viene de esta misma tierra. Si tienes curiosidad ven mañana, pero solo si tu deseo es puro—un deseo para amar.>>
At day break the passing man returned, the weary eyes of The Great Magician looking within him and seeing his doubt wrapped around his heart. Assuming his presence, he demanded silence to perform. Picking up a handful of dirt from the street, he filled his mouth with it and swallowed. He breathed in and the width of his chest widened and seemed twice that of the strongest of men. The passing man stood and stepped back for he felt an immense heat radiate from beneath the folds of black cloth. The Great Magician exhaled.
--
In distant jungles he learned his artifice, made use of his condition and from there he learned to give life to dirt, not by wetting it and molding, but by filling it with his ardent love, a love which burned eterne and which would eventually, many nights after his flesh had fraIled into the earth, still dance—in solitude—through the deserts and forests and jungles as a kind thing which only exudes pure love and tenderness.
But, in that moment, that ignorant passing man couldn't see his love and called for the town to burn him. So, he lay bound in chains as they strapped him to the stake. They lit the fire and it roared as he howled, and he stood bound, shrouded in a pure white that seemed to rise, not from the trunks and logs, but from his every pore as he denied his pyre. No man or woman, no amount of weeping would be able to put out his flames. The chains melted and fell like silk threads and the fuel at his feet and the wide trunk he was fastened to fell to ash. The stones set around him glowed white like burning pearls strung in some invisible rosary from which he recited Padre Nuestros and Ave Marias.
It was here—alone—that he wept as the crowd distantly cast stones on him for his magic. And though the stones perished in the air of his ardent aura, they struck him deeply, for even the child who received his great gift was led, by his mother, into throwing the galloping beast back into his scorching oblivion.
The Great Magician picked up the shards and forming them into the shape of one tear, proceeded to push it into the flesh of his chest, embedding it. His screams, then, curdled the stomachs of all those casting stones. Every pebble and rock fell to the ground. The fire blazed and when it died in a sudden enervated breath, only hot embers and those weathered pearls remained.
Wrapped once more in his coal black cloak he wandered seemingly endlessly, desiring only to perform but knowing, then, that none would take joy in the life he breathed. He waited through the ages for that tourist boy with a meal and a train ticket. Only then would he flare so strong it'd melt the teardrop from his chest.
Beautiful paintings/drawings/mixed media by Erin Armstrong, a Canadian painter. You can see more of her stuff over at her website http://www.erinarmstrongart.com/
Over the last few nights I’ve fucked up my sleeping schedule and spent hours in front of my computer seeking new images and new sounds (to reduce things crudely). I’ve come to realize that I am not what I am, and that it’s been a long time since I’ve been myself, genuinely, in any place other than my work. Often times I’ve heard people saying that they’re going to reinvent themselves. I’ve never understood this. Even now I’m struggling to remain the same. What I’m endeavoring to do is a rediscovery. I need to brush gently away at the sand and sediment to exhume myself. It might take time. It might be painful. I’ve always been willing before, why not now?
theres no true feelings, only time frozen by speed. she comes from the future and theres happiness for all of us there.Â
if this gets enough notes, i’ll turn it into a print, so hit it
a sweater that looks like the inside of an envelope, with the contents waiting to be sent off to some faraway place. How I wish.
Junichi Nojo, “Naki no Ryu”