AG2024_1134128a or I’ve only ever seen effluents, seen wattage.


Whatever I care for, someone else loves it
more, deserves it more: the doe with her
whole mouth crushing the phlox or the seer
who adores my future, whereas I could
take it or leave it. I know I’ll disappear.
It won’t be glamorous. It won’t be like when
the Mona Lisa was stolen and the tourists all
lined up to pay their respects at the empty
spot on the wall of the Louvre.
I’ve never actually even seen the sky.
I’ve only ever seen effluents, seen wattage.
The only night I remember is the dinner
of neighbors at which a man I never
had met before said I don’t fear dying—
look at the past, people have been dying forever, and—
then he stopped and shook his head—
I drank too much. I was almost saying
that people have died forever and all
of them survived, but of course
—he made
a hard laugh—God, of course they didn’t survive.

The Sky, Natalie Shapero

AG2023_1033830a or calm down; this is very rare


Some people say the devil is beating
his wife. Some people say the devil
is pawing his wife. Some people say
the devil is doubling down on an overall
attitude of entitlement toward
the body of his wife. Some people
say the devil won’t need to be sorry,
as the devil believes that nothing
comes after this life. Some people say
that in spite of the devil’s public,
long-standing, and meticulously
logged disdain for the health
and wholeness of his wife, the devil
spends all day, every day, insisting
grandly and gleefully on his general
pro-woman ethos, that the devil truly
considers himself to be an unswayed
crusader: effortlessly magnetic,
scrupulous, gracious, and, in spite of
the devil’s several advanced degrees,
a luminous autodidact. Some people
say calm down; this is commonplace.
Some people say calm down;
this is very rare. Some people say
the sun is washing her face. Some
people say in Hell, they’re having a fair.

Sunshower, Natalie Shapero

I am ashamed to keep thinking of death
as a chute that connects to the garbage. I know
I should picture it more like the pneumatic tubes

at banks of the past: you put in your name
and your paper and up you go. I know a bank

should be the operative metaphor
for every facet of existence, every time. I’m sorry

I haven’t more regularly made reference
to a bank. When I fail to liken something to a bank,
that’s how I can tell I’m tired. That’s not me,

I assure everybody. That’s the long week talking. Time
for bed. Time for the window, the hectoring sky,

the streetlight bright as the bright saved people
see before they die, but I don’t die.

Long Week Talking, Natalie Shapero

AG2017_1070038 [a]nd lovely is the rose


The rainbow comes and goes,
            And lovely is the rose;
            The moon doth with delight
     Look round her when the heavens are bare;
            Waters on a starry night
            Are beautiful and fair;
     The sunshine is a glorious birth;
     But yet I know, where’er I go,
That there hath past away a glory from the earth.

Ode on Intimations of Immortality from Recollections of Early Childhood, William Wordsworth

I was a field

THE ORACLE: A Curatorial Diary from LJ by Chus Martínez. Mousse. Series from December 6, 2024 through June 6, 2025.

The 36th Ljubljana Biennale of Graphic Arts, 6. 6. ? 12. 10. 2025

Hanlu Zhang’s review in ArtForum.

The 36th Ljubljana Biennale of Graphic Arts develops through two symbolically complementary images. At the forefront is a simple, striking title that evokes magic, imagination, and fantasy: “The Oracle.” Alongside it stands the figure of the puppet, which pays homage to Žogica Marogica (Speckles the Ball), a beloved Slovenian puppet character from the 1950s. This image animates conversations around power, control, and autonomy. The interplay between the two symbols articulates a view of the politics of art that, while not entirely new, feels renewed in today’s context. Yet it’s not without its risks.

The Biennale reiterates an ancient belief that artists wield a divine power to bring new worlds into being. Goddesses, ghosts, robots, human/animal hybrids, and of course puppets populate the exhibition. The puppets especially enchant. However, by the fourth or fifth encounter—especially when they appear in different works sharing the same space—the spell begins to wear thin. Also potent throughout the show is the power of words, the practice of the oracular voice. Beyond an abundance of curatorial texts, banners bearing verses by Slovenian poet Svetlana Makarovi? punctuate each venue, adding texture to the exhibition’s linguistic terrain.


In another dream, I was a field

and you combed through me
searching for something

you only thought you had lost.

~

What have we left at the altar of sorrow?

What blessed thing will we leave tomorrow?

Omens, Cecilia Llompart