The installation shows a frame through which we see a clock hanging on the backside of a chair. The clock reflects the image of a monitor which stands in front of it in another chair. We see a refl…
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a dance for two, for me, for you.
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Video-registro de la obra la pérdida del gesto. Bogotá, Colombia. 2009. Artista Angelica Teuta
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video diary 2006-2007
1 April 2007
No #14 – Benjamin and Stefan Ramirez
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Nice relation between “The Voice” by Charles Baudelaire and “Secondary Currents” by Peter Rose
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My cot was next the library, a Babel
Where fiction jostled science, myth and fable.
Greek dust with Roman ash there met the sight.
And I was but a folio in height
When two Voices addressed me. “Earth’s a cake,”
Said one, “and full of sweetness. I can make
Your appetite to its proportions equal
Forever and forever without sequel.”
Another said “Come, rove in dreams, with me,
Past knowledge, thought or possibility.”
That voice sang like the wind along the shore
And, though caressing, frightened me the more.
I answered “O sweet Voice!” and from that date
Could never name my sorrow or my fate.
Behind the giant scenery of this life
I see strange worlds: with my own self at strife,
Ecstatic victim of my second sight,
I trail huge snakes, that at my ankles bite.
And like an ancient prophet, from that time,
I’ve loved the desert, found the sea sublime;
I’ve wept at festivals and laughed at wakes:
And found in sourest wines a sweet that slakes;
Falsehoods for facts I love to swallow whole,
And often fall, star-gazing, in a hole.
But the Voice cheers — “Keep dreaming. It’s a rule
No sage can dream such beauty as a fool.”
Poem by Charles Baudelaire
Translation by Roy Campbell, Poems of Baudelaire (New York: Pantheon Books, 1952)
Animated film by David Shrigley.
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Hans-Peter Feldman’s “Schattenspeil (Shadow Play)” at “Fare Mondi,” la biennale di Venezia.
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SpiritMatters (1984, 6 min.) is a silent monologue on the simultaneous perception of space and time. The film was constructed without a camera by writing directly on clear celluloid, and then “translated” by refilming the resulting strips on a light table so that they appear as “subtitles” beneath the original inscription. The film functions as both process and object-an interactive experiment in reading, writing, and seeing.”Rose’s work continues to push at the boundaries of perception. Unlike “The man who could not see far enough,” which rhapsodizes the fusion of vision with space, “SpiritMatters” celebrates and interrogates a seeing beyond time, offering an almost comic structural metaphor for our inability to imagine death.” Thelma Hayek, “The Abyss of Becoming”
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