Melanie Schiff at Night Gallery

Melanie Schiff, Convict Lake, September 24 – October 29, 2022.

Convict Lake presents several “found” still lifes, wherein everyday, neglected scenes are limned in fading sunlight: brittle flora and dried weeds are recurrent motifs, saturated in the golden hues and thin shadows of the late afternoon. Here, Schiff traverses into the slippery plane of memory, leaving us hanging between the desire to linger on a hazy thought and the immediacy of spectatorship.

Melanie Schiff, De Soto, 2022.
Melanie Schiff, Dry Flowers, 2022
Posted in art

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a field guide to …

a place of deep silence and brooding shadows, and the gods who lived here had no names.

GRRM

The shuttling between grief and grievance has been lost in pursuit of what is possible within a liberal legal conception of law and property. What is sacrificed in this approach, what cannot be heard, is the black noise that animated Cugoano’s earlier polemic. It is to this sound that the remaining essays in this volume are attuned. Black noise represents the kinds of political aspirations that are inaudible and illegible within the prevailing formulas of political rationality; these yearnings are illegible because they are so wildly utopian and derelict to capitalism (for example, ‘‘forty acres and a mule,’’ the end of commodity production and restoration of the commons, the realization of ‘‘the sublime ideal of freedom,’’ the resuscitation of the socially dead).20 Black noise is always already barred from the court.21


20. Seyla Benhabib and Paul Gilroy would term this noise ‘‘the politics of transfiguration,’’
by which they mean a notion of utopian politics that exceeds the frame of prevailing
conceptions of political rationality. See Gilroy, The Black Atlantic (Cambridge,1993), 37;
and Seyla Benhabib, Critique, Norm, and Utopia (New York, 1986), 13, 41. On ‘‘black
mo’nin’,’’ see Fred Moten, In the Break (Minneapolis, 2003), 192–211.
21. What we call ‘‘black noise’’ Robin Kelley would describe as a ‘‘freedom dream,’’ or
Fred Moten would describe as ‘‘the surreal utopian ‘nonsense’ of a utopian vision, the
freedom we know outside of the opposition of sense and intellection’’; see Robin D. G.
Kelley, Freedom Dreams, and Fred Moten, ‘‘Uplift and Criminality,’’ unpublished manu-
script, 23.

Fugitive Justice, STEPHEN BEST, SAIDIYA HARTMAN, Representations (2005) 92 (1): 1–15.

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Narrative restraint, the refusal to fill in the gaps and provide closure, is a requirement of this method, as is the imperative to respect black noise – the shrieks, the moans, the nonsense, and the opacity, which are always in excess of legibility and of the law and which hint at and embody aspirations that are wildly utopian, derelict to capitalism, and antithetical to its attendant discourse of Man.

Hartman, Saidiya, Venus in Two Acts, small axe 26, June 2008, p. 1 – 14

AG2022_1110641a or awe keeps me living

 Is there a person to whom I could ask such a question and would that person have an answer that would make sense to me in a rational way (in the way even I have come to accept things as rational), and would that person be able to make the rational way imbued with awe and not so much with the practical; I know the practical, it will keep you breathing; awe, on the other hand, is what makes you (me) want to keep living.

JK
?
?

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still, inconspicuous things, to what is common, the incidental and the customary – the things that do not attract us but ground us in being

Meaning and coherence are founded on narration

Lingering on things in contemplation, intentionless seeing, which would be a formula for happiness

Byung-Chul Han, Non-things : Upheaval in the Lifeworld

On the necessity of gardening: an abc of art, botany and cultivation

On the necessity of gardening: an abc of art, botany and cultivation, Editor: Laurie Cluitmans
Contributors: Maria Barnas, Jonny Bruce, Laurie Cluitmans, Thiëmo Heilbron, Liesbeth M. Helmus, Erik A. de Jong, René de Kam, Alhena Katsof, Jamaica Kincaid, Bart Rutten, Catriona Sandilands, Patricia de Vries. Design: Bart de Baets

On the Necessity of Gardening appears simultaneous with the exhibition The botanical revolution, on the necessity of art and gardening that will be on view from 11 September 2021 to 9 January 2022 in the Centraal Museum in Utrecht (NL). The publication is categorically not an exhibition catalogue, but is positioned as an autonomous project. Both the exhibition and publication stem from a longer-term research by Laurie Cluitmans into the development of the cultural-historical, philosophical and social significance of the garden in relation to our current way of life. valiz.nl

Henk Wildschut, Rooted, Zaatari Camp, Jordan-April-2018. Henk Wildschut photographed the improvised gardens of people who have lost their homes and ended up in refugee camps.
KJM in botanical revolution

The garden as a place of hope and resilience


Parallel to the exhibition in the Centraal Museum, the exhibition Is it possible to be a revolutionary and like flowers? can be seen in Nest art space in The Hague.