Derek Walcott: Szerelem szerelem után

Eljön az idő,
amikor ujjongva ünnepled érkező önmagad
saját ajtódnál, saját tükrödben,
s mindkettőtök egymásra mosolyog,

s azt mondja, ülj ide. Egyél.
Újra megszereted az idegent, aki magad voltál.
Adj bort. Adj kenyeret. Add vissza szívedet
önmagának, az idegennek, aki szeretett

egész életedben, akire fütyültél
egy másikért, aki kívülről ismer.
Vedd le a polcról a szerelmes leveleket,

a fényképeket, a csüggedt cédulákat,
hámozd ki önnön képed a tükörből.
Ülj le. Gyönyörködj életedben.

Fordította Devecseri Gábor

(Source: lelkigyakorlatok)

poetry

Joseph Beuys: I like America and America likes me. 1974
"A master of compelling performance pieces, Beuys flew to New York, picked up by an ambulance, and swathed in felt, was transported to a room in the Rene Block Gallery. The room was also occupied by a wild coyote, and for a period of 8 hours a day for the next three days, Beuys spent his time with the coyote in the small room, with little more than a felt blanket and a pile of straw. While in the room, the artist engaged in symbolist gestures, such as striking a triangle and tossing his gloves to the coyote. At the end of the three days, the coyote, who had become quite tolerant of Beuys, allowed a hug from the artist, who was transported back to the airport via ambulance. He never set foot on outside American soil nor saw anything of America other than the coyote and the inside of the gallery."

Joseph Beuys: I like America and America likes me. 1974

"A master of compelling performance pieces, Beuys flew to New York, picked up by an ambulance, and swathed in felt, was transported to a room in the Rene Block Gallery. The room was also occupied by a wild coyote, and for a period of 8 hours a day for the next three days, Beuys spent his time with the coyote in the small room, with little more than a felt blanket and a pile of straw. While in the room, the artist engaged in symbolist gestures, such as striking a triangle and tossing his gloves to the coyote. At the end of the three days, the coyote, who had become quite tolerant of Beuys, allowed a hug from the artist, who was transported back to the airport via ambulance. He never set foot on outside American soil nor saw anything of America other than the coyote and the inside of the gallery."

performance conceptual art

Carsten Höller, Psycho Tank, 1999. Installation view, “Une exposition a Marseille,” Musee d’Art Contemporain, Marseille, France, 2004. Photo: © Attilio Maranzano

Carsten Hölle, Upside Down Mushroom Room, 2003

Carsten Hölle, Y, 2003. 960 lightbulbs, aluminium, wood, cables, electronic circuitry, light signs, mirrors, approx. 1300 x 860 x 320 cm

"Höller has created a world that is equal parts laboratory and test site, exploring such themes as childhood, safety, love, the future and doubt.  His pieces are designed to explore the limits of human sensorial perception and logic through carefully controlled participatory experiences.
The selected works emphasize the experimental quality of Höller’s work and reveal the complex universe of one of the most significant European artists to emerge in the past twenty years. Höller came to prominence alongside a group of artists in the 1990s including Maurizio Cattelan, Dominique Gonzalez-Foerster, Pierre Huyghe, Philippe Parreno, and Rirkrit Tiravanija who worked across disciplines to re-imagine the experience and the space of art. Höller stands out among this group for the manner in which his installations drew on the history and method of scientific experimentation to destabilize the viewer’s perception of space, time, and the concept of self.”

installation

László Noémi: Az Óperencián innen és túl 

Alig várom, hogy valóra váljak. 
Megálmodott legyek, ne csak valódi: 
szeretnék istenien folytatódni, 
mint mesemondóknál a messzi tájak,

hogy még egy elképesztő rizshegyen 
vasakarattal átrágjam magam. 
Lassanként sehol sem ül a szívem, 
kis teste teljesen anyagtalan –

és nem tudom, hogy levegő vagyok, 
vagy gyertyafény, vagy mesebeli táj, 
hegyek omolnak, vagy csak csont ropog –
érteni nem, de figyelni muszáj.

poetry