Lemmon Ice Cream
Blonde Gerrrman
Wall
Thursday, 25 May 2006
Wednesday, 24 May 2006
Tuesday, 23 May 2006
Monday, 22 May 2006
newsfromlondon|venice200605
My first English written text was published in the catalogue accompanying the exhibition 'siteinsightproject - contemporary art exhibition' (www.siteinsightproject.org), in Venice from 9th to 23rd May 2006.
'In a corrida' by myself
- Four in the afternoon, it is hot and the sun is dancing around between ponds of shadows. No living body would dare to go out with this temperature.
- It is the moment to decide if it is the time for staying home and having a small siesta or instead later on going to see the toros.
- Grab the local newspaper, a few pages, find the information. There is one at six in the afternoon.
- After a shower and dressing suitable clothes, it is now five in the afternoon. It looks that today we would have a pleasurable night. Probably can go a cenar at the Mesón.
- It is still quite hot.
- Go to buy the tickets - me das dos para la sombra por favor ... tendidos 3 o 4 ... gracias.
- Light a Cubano that have bought in the cigars shop, on the way to the plaza. Bought two, since at night after the cena is always good to relax at the cantina smoking a cigar and while drinking together with some friends.
- At Sol y Sombra for some refreshments and to know the latest news about who is in this afternoon.
- Drink a bottle of fresh water while waiting. The walls are packed with posters, notices and advertisings from previous fiestas and photos of toreros with the bar owner.
- People are getting in; others are trying to get out. It looks that the entire town is coming to see the corrida today.
- The fan is working and spreading out cool from behind the balcony, but with the door open it is impossible to be fresh inside.
- It looks as if the past was in a constantly repetition, same faces and similar discourses.
- In few seconds, a smile, eyes crossing, lips touching, words spoken. She has just arrived - Hola! - Ya compraste los boletos? - En donde nos quedamos? - Excelente.
- Have some cold drinks while waiting for the right time to go into the Plaza. We shouldn'’t be late, or else we will have to wait after the lidia to get to our places.
- In the meantime, how about some pitas? And how about taken with us inside some bottles of water?
- Both bodies would be sweating while a tragic dance is being performed.
- How it would be this afternoon? Is the performance to become a reflection of its full immaterial potency?
- Would they manage to strike deep inside into the heart?
- By nine it would be colder, but by then it already would be finish – can go for diner, if you agree.
- In the end, what would be in the pocket are probably the ticket and the programme.
- There would be nothing more than these two referential objects, singular indicatives of particular events that have happened in a defined point in time.
- These are two reminiscent testimonies, or remnants, expressing an encounter of oppositions, without reflecting the meaning of the fiesta. Just baring witness to the physical encounter that had happened moments before, nothing more than that.
- Cannot forget to buy the magazine tomorrow morning to know what the critics say about today’s corrida.
Concerning la Fiesta audience, la afición that externally is influenced and is embodied by emotions that irradiate around the centre of roughness between man and animal. The embodiment of sensual stimulation and desire developing from within the faena, "comme les zones de douleur autour de la blessure du toro." The affect puissance resides in the fact the torada as a revelatory phenomenon mirrors the images of our own emotions, it enlighten by resemblance and mimicry the obscures parts of us. The performance in its potentiality brings the notion of beauty to its pure form. The mixture of opposing contradictions that are intensely affected by particular emotions coming from the inside as, ...... olé ...... olé ...... olé ...... olé ... Olé ... Olé ...... Olé ...... OLÉ ...... OLÉ ...... OOOLÉEEEEEEEEEEEE
||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO
Or otherwise, when the infinite tangent is reorder while becoming a profane body-to-body insemination:
)(#/(/#($”/#$()(#”%)(“#%)(“#/%=)%&&!#)(/”$=/%#&”#)#%/#!”=%/)(/&!”=)/%”)?(/
A crescendo of intensities until it reaches the climax; the most intense and important point in the tragic dance, in the confrontation between matador and toro, the criticality in the aesthetic judgement. This is the same judgement attached to the first sin, to defloration and virginity as erupting embodied elements in a play, to the first idealised contact in a learning process for reproduction. When both bodies are sweating it stays as a wound in the memory, a comparable testimony for future relationships as an organic matter for auto-destruction and self-renewal. The public is just waiting for the moment where the penetration would occur, when he strikes deep inside into the heart testifying the good practice of the rules within the law in a state of exception. In a society of spectacles attending to a torada is almost as going to the movies, when the screenplays become the form, the different is in that here, at the end, without being stained in blood, the white fine woven material show as evidence the purity of the forms. In this state the aficionado is affected by aesthetic emotions expelled through the addendum, open by the unity of rule and exception, a marriage recognised by law, by which the pureza de la fiesta localises itself, it is when the art is. Nothing more than emotions and intensities comprehending the experience of attending to a fiesta would be brought out from the plaza, and this is one paradigm of contemporary society.
'In a corrida' by myself
- Four in the afternoon, it is hot and the sun is dancing around between ponds of shadows. No living body would dare to go out with this temperature.
- It is the moment to decide if it is the time for staying home and having a small siesta or instead later on going to see the toros.
- Grab the local newspaper, a few pages, find the information. There is one at six in the afternoon.
- After a shower and dressing suitable clothes, it is now five in the afternoon. It looks that today we would have a pleasurable night. Probably can go a cenar at the Mesón.
- It is still quite hot.
- Go to buy the tickets - me das dos para la sombra por favor ... tendidos 3 o 4 ... gracias.
- Light a Cubano that have bought in the cigars shop, on the way to the plaza. Bought two, since at night after the cena is always good to relax at the cantina smoking a cigar and while drinking together with some friends.
- At Sol y Sombra for some refreshments and to know the latest news about who is in this afternoon.
- Drink a bottle of fresh water while waiting. The walls are packed with posters, notices and advertisings from previous fiestas and photos of toreros with the bar owner.
- People are getting in; others are trying to get out. It looks that the entire town is coming to see the corrida today.
- The fan is working and spreading out cool from behind the balcony, but with the door open it is impossible to be fresh inside.
- It looks as if the past was in a constantly repetition, same faces and similar discourses.
- In few seconds, a smile, eyes crossing, lips touching, words spoken. She has just arrived - Hola! - Ya compraste los boletos? - En donde nos quedamos? - Excelente.
- Have some cold drinks while waiting for the right time to go into the Plaza. We shouldn'’t be late, or else we will have to wait after the lidia to get to our places.
- In the meantime, how about some pitas? And how about taken with us inside some bottles of water?
- Both bodies would be sweating while a tragic dance is being performed.
- How it would be this afternoon? Is the performance to become a reflection of its full immaterial potency?
- Would they manage to strike deep inside into the heart?
- By nine it would be colder, but by then it already would be finish – can go for diner, if you agree.
- In the end, what would be in the pocket are probably the ticket and the programme.
- There would be nothing more than these two referential objects, singular indicatives of particular events that have happened in a defined point in time.
- These are two reminiscent testimonies, or remnants, expressing an encounter of oppositions, without reflecting the meaning of the fiesta. Just baring witness to the physical encounter that had happened moments before, nothing more than that.
- Cannot forget to buy the magazine tomorrow morning to know what the critics say about today’s corrida.
Concerning la Fiesta audience, la afición that externally is influenced and is embodied by emotions that irradiate around the centre of roughness between man and animal. The embodiment of sensual stimulation and desire developing from within the faena, "comme les zones de douleur autour de la blessure du toro." The affect puissance resides in the fact the torada as a revelatory phenomenon mirrors the images of our own emotions, it enlighten by resemblance and mimicry the obscures parts of us. The performance in its potentiality brings the notion of beauty to its pure form. The mixture of opposing contradictions that are intensely affected by particular emotions coming from the inside as, ...... olé ...... olé ...... olé ...... olé ... Olé ... Olé ...... Olé ...... OLÉ ...... OLÉ ...... OOOLÉEEEEEEEEEEEE
||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO||/||/||/||/||/||/||/||/||/||/||/||/||/||/TORERO
Or otherwise, when the infinite tangent is reorder while becoming a profane body-to-body insemination:
)(#/(/#($”/#$()(#”%)(“#%)(“#/%=)%&&!#)(/”$=/%#&”#)#%/#!”=%/)(/&!”=)/%”)?(/
A crescendo of intensities until it reaches the climax; the most intense and important point in the tragic dance, in the confrontation between matador and toro, the criticality in the aesthetic judgement. This is the same judgement attached to the first sin, to defloration and virginity as erupting embodied elements in a play, to the first idealised contact in a learning process for reproduction. When both bodies are sweating it stays as a wound in the memory, a comparable testimony for future relationships as an organic matter for auto-destruction and self-renewal. The public is just waiting for the moment where the penetration would occur, when he strikes deep inside into the heart testifying the good practice of the rules within the law in a state of exception. In a society of spectacles attending to a torada is almost as going to the movies, when the screenplays become the form, the different is in that here, at the end, without being stained in blood, the white fine woven material show as evidence the purity of the forms. In this state the aficionado is affected by aesthetic emotions expelled through the addendum, open by the unity of rule and exception, a marriage recognised by law, by which the pureza de la fiesta localises itself, it is when the art is. Nothing more than emotions and intensities comprehending the experience of attending to a fiesta would be brought out from the plaza, and this is one paradigm of contemporary society.
Friday, 5 May 2006
Monday, 1 May 2006
Subscribe to:
Posts
(
Atom
)
