Writing is a kind of loving. Loving sticks a widget into the machinery of doubt.
The End Is the Beginning, Mónica Gomery
a widget into the machinery of doubt
Category: art
[forms] around which a vast edifice of human responses has arisen
‘… where pleasure and beauty and hours with no quantifiable practical result fit into the life of someone, perhaps of anyone, who also cared about justice and truth and human rights and how to change the world.”
a particular kind of flower [or form] around which a vast edifice of human responses has arisen
Thought, sunshine, flowers: they wanted intangible as well as tangible goods, pleasures as well as necessities, and the time to pursue them, the time to have an inner life and freedom to roam the outer world.
(RS)
New Yorker, 2021.
but also gain them
Humanity supports […] vulnerable life.
The cycle of rupture and repair is a requirement of living, a cost of surviving, something that goes hand in hand with another reality of survival: that, throughout your life, you may not only lose people but also gain them.
they spend at least some of whatever time they have left stitching together small pieces that, eventually, might make something big enough to be meaningful.
In Defense of Despair, Hanif Abdurraqib
When, wearied with a world of woe
Absent from thee, I languish still;
Then ask me not, When I return?
The straying fool ’twill plainly kill
To wish all day, all night to mourn.
Dear, from thine arms then let me fly,
That my fantastic mind may prove
The torments it deserves to try,
That tears my fix’d heart from my love.
When, wearied with a world of woe,
To thy safe bosom I retire,
Where love, and peace, and truth does flow,
May I contented there expire!
Lest, once more wandering from that heaven,
I fall on some base heart unblest;
Faithless to thee, false, unforgiven—
And lose my everlasting rest.
Return, John Wilmot
perhaps, in all likelihood … small, necessary (iv)
perhaps, in all likelihood … small, necessary (iv)
Evelyn Sosa
Mahara+Co is pleased to present No Place is Far Away , a solo exhibition by Cuban photographer Evelyn Sosa, on view from May 10 – June 6, 2025. In this deeply intimate and political series, Sosa constructs a living archive of the migratory experience. The exhibition emerges from a project supported by the Cuban Migrant Artists Resilience Fellowship, granted by Artists at Risk Connection (ARC) and PEN International.
Rooted in a seemingly simple question — “What object did you take with you when you emigrated?“ — Sosa opens a window into memory, loss, and the emotional gravity of displacement. Each image in the series portrays a personal belonging filled with history and significance: a piece of clothing, a photograph, a letter, a seed. These modest, almost minimal objects serve as emotional anchors — fragments of home that persist across time and distance. They are not merely material remnants, but silent witnesses to identities that refuse to vanish.
Far from a purely documentary approach, No Place is Far Away delves into the sensory and emotional dimensions of migration. Photography becomes a mode of listening: portraits of objects are interwoven with fragments of real-life testimonies, creating a liminal space where past and present gently meet. As Paul Ricoeur once wrote, “memory is not a neutral archive,” a sentiment Sosa affirms in each image — each one an act of evocation, resistance, and care.
While firmly rooted in the Cuban migratory experience, the series resonates on a universal level. In a world increasingly shaped by displacement, this body of work asks: How does identity transform when territory disappears? What remains when everything else is gone?
Ningún lugar está lejos reviewed in Artburst, 050725.
there can be only circles
When the planet is galloping through space and you gallop after it through light and dark with your time-drunk brain, nothing can end. There could be no end, there can be only circles. (Samantha Harvey)
