i used to be hair or
i used to be bones
“Ultimately, science has never stopped churning out a reassuring scenario in which the world is being progressively deciphered by the advances of reason. This was the hypothesis with which we ‘discovered’ the world, atoms, molecules, particles, viruses, and so forth. But no one has ever advanced the hypothesis that things may discover us at the same time we discover them, and that there is a dual relationship in discovery. This is because we do no see the object in its originality. We see it as passive, as waiting to be discovered - a bit like America being discovered by the Spaniards. But things are not like that. When the subject discovers the object - whether the object is viruses or primitive societies - the converse, and never innocent, discovery is also made: the discovery of the subject by the object. Today they say science no longer ‘discovers’ its object, but ‘invents’ it. We should say, then, that the object, too, does more than just ‘discover’ us; it invents us purely and simply - it thinks us. It seems that we have victoriously wrenched the object from its peaceful state, from its indifference and the secrecy which enshrouded it. But today, before our very eyes, the enigmatic nature of the world is rousing itself, resolved to struggle to retain its mystery. Knowledge is a duel. And the duel between subject and object brings with it the subject’s loss of sovereignty, making the object itself the horizon of disappearance.”
Jean Baudrillard, Impossible Exchange (1999)
The elderly man being attacked by an Athens (Greece) cop in this photo is not a member of the black bloc or a nobody. It is Manolis Glezos, the Greek national hero who, on the 30th of May 1941 tore down the swastika flag from the Acropolis, an act for which he suffered torture and imprisonment. It was the first public act of the Resistance in Greece, only a month after the Nazi take-over.
Who would have dreamed that seventy years later, a dirty coward wearing a uniform serving the capitalists that do not even deserve to wipe the soles of his feet has the gall to touch/assault him?
"The Red Wheelbarrow" by William Carlos Williams:
so much depends
a red wheel
glazed with rain
beside the white
I decided to let myself drift with the tide, to make not the least resistance to fate, no matter in what form it presented itself. Nothing that had happened to me thus far had been sufficient to destroy me; nothing had been destroyed but my illusions. I myself was intact. The world was intact. Tomorrow there might be a revolution, a plague, an earthquake; tomorrow there might not be left a single soul to whom one could turn for sympathy, for aid, for faith. It seemed to me that the great calamity had already manifested itself, that I could be no more truly alone than at this very moment. I made up my mind that I would hold onto nothing, that I would expect nothing.
— Henry Miller, The Tropic Of Cancer
Started reading Miller as a freshman in college. He became essential to a virgin male on the cusp of artistic study. I devoured him.
Rowdy, visceral, direct.He effortlessly displayed all that I lacked.Things I felt were basic to my becoming a man. He made passion essential.Made it OK to plunge.
I lie here thinking of you:—
The stain of love
is upon the world!
Yellow, yellow, yellow
it eats into the leaves,
smears with saffron
the horned branches that lean
against a smooth purple sky!
There is no light
only a honey-thick stain
that drips from leaf to leaf
and limb to limb
spoiling the colors
of the whole world—
you far off there, under
the wine-red selvage of the west!
|Early works by Kelley at MOCA's "Under the Big Black Sun" exhibit|
Born in 1954 in a suburb of Detroit, Kelley received his MFA from CalArts in 1978, made his work and home primarily in L.A. and grew to become an internationally renowned artist.
Kelley wasn't just an artist -- he was a rock star, a writer, a curator and even appeared in the occasional film. He had solo shows at the Whitney, LACMA and the Hirshhorn and was represented most recently by the blue-chip Gagosian Gallery, though he continued to make work rooted outside the white cube, as in his 2010 video installation about Burning Man, A Voyage of Growth and Discovery, a collaboration with Mike Smith.
|A Voyage of Growth and Discovery, an installation at Kelley's Eagle Rock studio|