You've got to dig to dig it, you dig?
The Paris Commune was established 155 years ago, on March 18th, 1871. (Verso)
Propiedad Privada, Reynaldo Rivera.
Where there is no “we”
we are
[…]
lost in the vague geography of words
where we find ourselves again
Translation, Fatemeh Shams, Translated ?from the Persian by Armen Davoudian
Unearthing Tosquelles: The Research that Brought up a Figure Semi Buried in History With Tosquelles exhibition co-curators Joana Masó & Carles Guerra
May 2, 2024.
Francesc Tosquelles: Avant-Garde Psychiatry and the Birth of Art Brut
April 12, 2024–August 18, 2024
American Folk Art Museum
And isn’t everything risk?
The beloved lives
Then dies,
Then (if we’re lucky)
Rises again
Into a poem or song
Or into the world
In some other form
Impossible to predict.
Simplest story, oldest tale:
Sparrows sing it
From every hedge;
And swallows, also,
From their nests on the ledge.
[And isn’t everything risk?], Gregory Orr
“I was always under the impression that love is boundless. That true love makes a mockery of the distinctions that separate people. That love, if it is indeed love, abolishes the boundaries that police the self.”
Paul Chan on Love Is Blind (4Colmns)
my.WordPress.net takes the same technology that powers instant WordPress demos and turns it into something permanent and personal. [A] complete WordPress environment that runs entirely in your browser.
Minor Compositions Podcast Episode 39 From Disalienation to Collective Care. Institutional Psychotherapy as Resistance.
Institutional Psychotherapy: Legacy and Constellations of Francesc Tosquelles. (Folk Art Museum)
After Catastrophe: The Video Art of François Pain, Perwana Nazif. (MUBI)
Geo-psychiatry: Media and the Ecologies of Madness, Elena Vogman. Grey Room (2024) (97): 76–117. https://doi.org/10.1162/grey_a_00413
Psychotherapy and Materialism
Essays by François Tosquelles and Jean Oury
Edited by Marlon Miguel, Elena Vogman
Radical Philosophy Dossier: Fanon-Tosquelles
The order of the day is a practice of self-help that unsettles the very idea of ‘the self’, treating it as a communal construction instead of an atomised agent.
The goal of treatment in the asylum is the same as it is on the couch. Tosquelles believed that, whether a patient suffered from psychosis or neurosis, whether he was working-class or bourgeois, his purpose was to become who he really is. This in turn requires ‘a cultural change in worldview’. The point is not to stop being crazy since, on some level, everyone is crazy. The point is to be able to identify what in the world is making you sick, and to begin to reconstruct your personality in opposition to this toxic state of affairs. The self is always collective and so are its ills. We may experience suffering as discrete and private, but chances are that it is historical and, if not exactly public, at least widely felt.
[…]
The ‘cultural change in worldview’ effected by good psychiatric treatment begins here, with the recognition of sex work as a form of social and psychological competence.
[…]
… encouraging sick or even just normally suffering people to make art together
[…]
The asylum became a refuge, but also a place where play and experimentation could happen”
Sous les Asiles, la Plage, Anahid Nersessian. (Serpentine Galleries, 25.02.2026)
Lynne Golob Gelfman
Works on paper, 1960’s to 2020
Curated by Loriel Beltrán and Aramis Gutierrez
CENTRAL FINE. Checklist.
Parseword, a cryptic crossword by John Wardle. NewYorker.
other mountains, adrift beneath the waves, an exhibition of works by Nadia Huggins and Tessa Mars, on view at the Museum of Contemporary Art Panama (MAC Panama), runs from March 5th to August 16th, 2026. Curated by Yina Jiménez Suriel and Juan Canela.
Sigma 60mm f/2.8 DN ART – Micro Four Thirds Fit
Minolta AF 135mm f/2.8
Acquired via mpb
“His work is as much a form of behavior as a product of craft. It is restless, with the discontent of a dog that turns and turns, unable to feel just right about the place it has chosen to lie down. The main place Twombly has chosen since the ’50s is the New York School big painting, in its definitive combination of matter-of-fact touch and cosmic field.
This site defines Twombly as a poet of belatedness. Brilliantly, he makes it a medium for fugitive traces of other lostnesses: Mediterranean aches, Roman poetries. There is wonderful tension between vatic reference and vernacular mark, the ineffable and the crude. Twombly conveys a peculiar state—reminiscent of the poems of C. P. Cavafy—of possessing in mind and heart a territory that his body cannot share, because the body cannot inhabit memory. His body’s gestures toward that zone—itchy, stammering, tender scrawls—deliciously hurt. Meanwhile, he checks a tendency to the precious with bold and practical experiments in picture-making form.”
Size Down, Peter Schjeldahl, ArtForum, September 1994.
