In-between the sun and moon,
I sit and watch
and make some room
for letting light and twilight mingle,
shaping hope
and making single glances last eternity,
a little more,
extending love beyond the doors of welcoming,
while wedding all the parted people,
even sons to violent mothers,
and searching all the others finding light
where twilight lingers,
in-between the sun and moon.
In-between the sun and moon, Pádraig Ó Tuama
“earn—by practice and careful contemplation—the right to express it”
“The danger and its necessity focused them, made them calm.”
(TM)
A sea-god, whose father had been a mortal, becomes a skeleton.
The skin of the sea was thick, to-night,
And the tone of the sea was dull;
When I found by the edge of the sullen sea
The half of a sea-god’s skull.
Half of a sea-god’s skull was there,
Half of a sea-god’s tail.
When I dug them out of the clutch of the sand
The peering moon went pale.
The peering moon went pale, because
Her other eye had seen
The other half of the sea-god’s bones
Ten thousand fathom green . . .
Ten thousand fathom green with sea,
The sea-god’s other bones
Swayed in a dead sea-goddess’s arms
On a pile of sea-washed stones.
The skin of the sea was thick, to-night,
And the tone of the sea was dull,
While I buried away from the sinister sea
All the mortal part of a skull.
Skull Song, Genevieve Taggard
Mehdi-Georges Lahlou
De la Conférence des Palmiers, totem dattier (From the Palm Conference: Date Palm Totem), 2024 Earthenware, stoneware, ink, wool, metal
Untitled (Maynada Mangoes), 2017
Graphite, acrylic, gesso, enamel paint, ink and xerography on paper.
“… In their extension, Adler Guerrier’s photographs, capturing the vegetation of Miami’s urban gardens, shift this idea of community toward an expanded temporality: enhanced with painted color forms named after other geographies (Gris Bamako, Rose Passada), they suggest discreet presences, like traces of souls or markers of community. In the heart of the city, the garden becomes a site of projection and patience—a space where something is cultivated beyond the human scale, a promise of continuity, perhaps a dream of Eden, in any case a form of transcendence.
Through these practices, Soul Frequencies sketches a sensitive cartography in which music acts as a principle of circulation and persists as vibration. From one gesture to another, from one image to the next, a shared space emerges where everyday life—sometimes tested—quietly opens onto elsewhere. Perhaps this is where the strength of this gathering of artists lies: in its ability to bring forth, at the very heart of the real, forms of displacement—escapes, breaths—where art, like music, reveals what is common to us and opens up the possibility of making community.”
… Perhaps this, my skin engulfed
Ashna Ali
in morning dew and music,
is the true human romance.
Immune to purpose.
“AI-generated images no longer serve as evidence of anything, having been detached from their material origin. Imagine, then, the surprise of Maja Malou Lyse upon learning that the viewing of pornography through VR technology enhances male fertility by as much as 50%, as recent studies suggest. Fertility, futurity, and pornography thus become deeply entangled.
Maja Malou Lyse has conceived a paradoxical environment that suggests we are not simply at the end of the image, but at the beginning of a new world in which images persist, yet their meaning, function, and credibility are fundamentally altered. In her work, images no longer describe reality; they operate within it. Images function as an affective technology: they produce sensations, they produce time, they produce the species. They are rehearsals for possible futures rather than records of the present. “
Chus Martínez, Curator via kunst.dk
The Sandbaggers, British spy television series, 1978 – 1980.
How the Pentagon Started Taking U.F.O.s Seriously, by Gideon Lewis-Kraus (NewYorker, 2021)
r-p-o-p-h-e-s-s-a-g-r, E. E. Cummings
it fills him with a great and irresistible longing, the bright, leaping colour, the blast of warmth to his face, the array of fascinating implements to stoke and poke and grip.
It seems extraordinary to him to be in such close proximity to a creature which is so emphatically from another element, from wind or sky or perhaps even myth.
can usually be persuaded with a few words
(Maggie O’Farrell)
The Morning Star flies from the clouds and the bird cries to the dawn.
Amaryllis, awake! Lead your snowy sheep to pasture while the cold grass glitters with white dew.
To-day I will pasture my goats in a shady valley, for later it will be very hot.
Among those distant hills lies a very great valley cut by a fair stream.
Here there are cold rills and soft pasture and the kind wind engenders many-coloured flowers.
Dear, there I shall be alone, and if you love me, there you will come alone also.
Fête Gallante, Marcantonio Flaminio, translated from Latin by Richard Aldington
Fêtes Vénitiennes, Jean-Antoine Watteau. 1718-1719