We Have No More Beginnings

Notes & Counter-Notes on Literature, Art and Thought

[nomorebeginnings]

Vídeo: Ósip Mandelstam: contra toda esperanza

TAMARA DJERMANOVIC. FUNDACIÓN JUAN MARCH

[nomorebeginnings]

Marcel Proust, Caught on Film

While trawling a French film archive, a professor stumbled upon a clip from a 1904 wedding that contains the only known moving images of the great novelist.

[nomorebeginnings]

El artista como desastre natural contra el Estado

. «El arte», concluye, «nos da fe y nos colma con el sentimiento de nuestra propia dignidad. Inyecta en la sangre del hombre, en la sangre de la sociedad, una suerte de reactivo, la capacidad de resistencia».

[icphoto]

#PerpetualRevolution opens in ONE WEEK at the #ICPMuseum. The exhibition is an examination of endless new streams of provocative, powerful, and sometimes frightening media images and their connections to social upheaval and transformation. http://buff.ly/2jhe3Qk 📷 Sheila Pree Bright, James Balog, Sergey Ponomarev

[nomorebeginnings]

How to use John Berger’s ‘language of images’ on Trump, polar bears and Kim Kardashian

In the 70s, the late critic revolutionised our appreciation of the visual arts. How do his ideas translate to contemporary culture?

[nomorebeginnings]

Aleksandr Petrov

Hay pocos directores con filmografías tan interesantes como casi desconocidas. El contexto de trabajo, la publicidad o la sobreproducción de películas son elementos que contribuyen a que grandes obras pasen desapercibidas hasta que, ¡pam!, un golpe de suerte o un acertado movimiento de promoción hace que de repente logren visibilidad más allá de las fronteras de su entorno.

[nomorebeginnings]

Artificial creativity

Is it possible for an AI to create revolutionary art?

[thenewinquiry]

“The instability of the genuinely modern ruin may present a space of radical potentiality. This owes in part to the contrast between the multinational, standardized architecture of corporate capitalism and genuine ruins. Unpredictable in its unique decay, a genuine ruin offers an alternative to neoliberal economic appropriation of public space. The ruin chic aesthetic echoes the logic of regeneration: superficial transformation in which the determinate forces remain unchanged. Ruin chic is the ruin regulated, the ruin managed for capital gain, a safe, stable dose of the kinetic energy actual industrial ruins embody.”

Laura Purseglove on the artfully torn wallpaper and brushed steel fittings of the ubiquitous modern ‘space’ 

[nomorebeginnings]

(via The Art of Hidden Faces: Anthropomorphic Landscapes)

[theparisreview]

I would read Melville, and think, Jesus, this is the way to get free, but look at the cost.

J. H. Prynne, The Art of Poetry No. 101 (via theparisreview)

[sfmoma]

SFMOMA Shorts brings you the “Art Is…” Series. The newest iteration asks three photographers from three different continents to explore whether their medium accurately captures “truth” or “reality.” 

Stay in the loop and → subscribe

[deadbookstore]

Kent Rogowski

[nomorebeginnings]

(via Why Is This Man Wearing A Turban?) Teju Cole

[archatlas]

The Art of Luigi Ghirri

Luigi Ghirri (1943–1992) started writing about photography from the moment he became a photographer: for his own publications, for Italian magazines and newspapers, as well as private reflections committed to paper, where his thoughts would settle and then often depart in new directions.

Published for the first time in English, The Complete Essays 1973–1991 comprises sixty-eight texts in which Ghirri explores the same subjects at the core of his photographs – the themes of identity, time, memory, vision, representation, and sense of place. Together, the essays offer an unintentional yet comprehensive treatise on the history and theory of photography, and above all, they constitute a special form of autobiography.

Text via

[nomorebeginnings]

J'ai le sentiment invincible que ce serait perdre mon temps que de retrouver le temps perdu.

Paul Valéry

[nomorebeginnings]

Il faut travailler, sinon par goût, au moins par désespoir, puisque, tout bien vérifié, travailler est moins ennuyeux que s'amuser.

[nybooks]

“Mme Proust is seated, looking to the left, while her sons, young men in their twenties, stand on either side of her. They are beautifully dressed and have a look in their eyes that suggests the boulevard and the salon. There is something feline and sleek about the pair of them. It is easy to imagine why maman is so dour-looking and disapproving, her mouth firmly closed, her eyes fixed on the ground. She is a woman who knows what trouble looks like, and these boys are ready for trouble of the most sweet and tender and pleasurable kind.”

– Colm Tóibín, The Sweet Troubles of Proust

Photo: Bibliothèque Nationale de France