Le vrai bonheur

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Untitled (Le vrai bonheur), 2017
HD Video, 20 min, 43 sec.


how can we discipline ourselves according to certain standards if we never think about them?

[…]

Sometimes, in a happy state of intoxication, I imagine giving in to disorder: leaving the pots dirty, the laundry to be washed, the beds unmade.

[…]

What’s important is I discovered that working isn’t difficult. I really enjoy it.

[…]

I told her that happiness, at least as she imagines it, doesn’t exist

Forbidden Notebook: A Novel, Alba de Céspedes, translated from Italian by Ann Goldstein.

Joséphine Baker, C’est ça le vrai bonheur (1955). Discogs.

Colazione sull’erba

Luigi Ghirri. Modena, 1973.
Luigi Ghirri. Modena, 1973. Vintage c-print, 24.8 x 16.5 cm (9 3/4 x 6 1/2 in). © Estate of Luigi Ghirri. Courtesy the Estate, Matthew Marks Gallery, New York, Los Angeles, and Thomas Dane Gallery.
Installation view. Thomas Dane Gallery. 2019.

‘The power of containing everything vanished in front of the impossibility of seeing everything at the same time.’ Seeing everything, or rather, seeing the things that others cannot — the poetry in the mundane, the beauty of the arcane — is the gift of some artists. It was one of Ghirri’s great talents, through his own inquisitiveness and a love for the ambiguous.

Luigi Ghirri. Aperture. ArtForum. Studio International. Mack.


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Beauty is not a luxury, rather it is a way of creating possibility in the space of enclosure, a radical act of subsistence, an embrace of our terribleness, a transfiguration of the given. It is a will to adorn, a proclivity for the baroque, and the love of too much.
—Saidiya Hartman, Wayward Lives, Beautiful Experiments (excerpt in New Yorker)


escrevivência concept by Conceição Evaristo–It is a combination of “writing”, “living” and “seeing”, which, in addition to the word game, represents a conception derived from a black epistemology (ancestralidades)

Sounds similar to Landó by Victoria Santa Cruz–During the Afro-Peruvian revival, she re-created one of the most important dances that has lived on as a standard in terms of the genres that have come to embody and represent Peru’s African heritage, the landó. Victoria, according to what she told me, re-created the landó by remembering it with her body. Ancestral memory. (afropop)

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L’imaginaire de mon lieu … [naturally] dans le grand camouflage.


[Suzanne] Césaire in “Le grand camouflage” reads the Caribbean as interconnected space rather than as a series of discrete islands. Blurring both spatial and temporal boundaries, her authorial voice situates itself simultaneously in Haiti, Martinique, and Puerto Rico. “Le grand camouflage” is best characterized in Césaire’s own words as “le grand jeu de cache-cache,” a text that almost playfully weaves between veiling and revealing the geography, history, and social reality of race relations in the Antilles. Césaire deftly juggles the images of lucidity and what Keith Walker, in his introduction to the English translation of her collected works, describes as “the wilful blindness . . . the work it takes not to see.” It is in “Le grand camouflage” that Césaire finally fully takes on the role of the seer, that quality of the poet as voyant that she had until now only admired in others.

Beyond the Great Camouflage: Haiti in Suzanne Césaire’s Politics and Poetics of Liberation
Annette K. Joseph-Gabriel, Small Axe July 2016.

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Hot Chip – Look At Where We Are (Major Lazer Extended Remix)