“[Anne] Carson suggests that to catch beauty is not the point; it is the yearning after it, the running after the spinning top, that gives us pleasure. “Beauty spins and the mind moves,” she explains. “To catch beauty would be to understand how that impertinent stability in vertigo is possible. But no, delight need not reach so far. To be running breathlessly, but not yet arrived, is itself delightful, a suspended moment of living hope.” […] In Carson’s reading of Kafka’s story, eros expands, understood in a broader sense than sexual love. This is eros as a force or magnetic pull that draws us outside of ourselves to converge not only with other individuals–with varying degrees of intimacy–but also with ideas and with the worlds we create and inhabit. We rise above the boundaries of our selves, our bodies, our circumstances and immediately collide with other being and things. ” – Diane Enns, Love in the dark, Philosophy by another name. 2016.
*Anne Carson, Eros the bittersweet, referencing Kafka’s “The Top”
A flower is a node on a network of botanical systems of interconnection and regeneration.
[…]
much of the beauty that moves us in the natural world is […] time itself as patterns, recurrences, the rhythmic passage of days and seasons and years, the lunar cycle and the tides, birth and death. As harmony, organization, coherence, pattern itself is a kind of beauty
1990, L.A. The Gold Field. How can I deal with the Gold Field? I don’t quite know. But the Gold Field was there. Ross and I entered the Museum of Contemporary Art, and without knowing the work of Roni Horn we were blown away by the heroic, gentle and horizontal presence of this gift. There it was, in a white room, all by itself, it didn’t need company, it didn’t need anything. Sitting on the floor, ever so lightly. A new landscape, a possible horizon, a place of rest and absolute beauty. Waiting for the right viewer willing and needing to be moved to a place of the imagination. This piece is nothing more than a thin layer of gold. It is everything a good poem by Wallace Stevens is; precise, with no extra baggage, nothing extra. A poem that feels secure and dares to unravel itself, to become naked, to be enjoyed in a tactile manner, but beyond that, in an intellectual way too. Ross and I were lifted. That gesture was all we needed to rest, to think about the possibility of change. This showed the innate ability of an artist proposing to make this place a better place. How truly revolutionary. This work was needed. This was an undiscovered ocean for us. It was impossible, yet it was real, we saw this landscape. Like no other landscape. We felt it. We traveled together to countless sunsets. But where did this object come from? Who produced this piece that risked itself by being so fragile, just laying on the floor, no base, no plexiglass box on top of it. How come we didn’t know about her work before, how come we missed so much? Roni’s work has never been the darling of the establishment. Of course not. Some people dismiss Roni’s work as pure formalism, as if such purity were possible after years of knowing that the act of looking at an object, any object, is transfigured by gender, race, socio-economic class, and sexual orientation. We cannot blame them for the emptiness in which they live, for they cannot see the almost perfect emotions and solutions her objects and writings give us. A place to dream, to regain energy, to dare. Ross and I always talked about this work, how much it affected us. After that any sunset became “The Gold Field.” Roni had named something that had always been there. Now we saw it through her eyes, her imagination.
Roni Horn, Gold Field, 1980-82. 99.99% pure gold foil, annealed, 0.0008 x 49 x 60 inches.
Félix González-Torres, “1990: L.A., “The Gold Field” first appeared in the catalogue Roni Horn. Earths Grow Thick (Columbus: Wexner Center for the Arts, 1996). The text is reprinted with the kind permission of Roni Horn, the Wexner Centre for the Arts, and The Félix González-Torres Foundation.
All Quiet on the Western Front, Edward Berger, 2022. (Based on a novel, Im Westen nichts Neues, lit.?‘Nothing New in the West’ by Erich Maria Remarque, a German veteran of World War I).
