Category: language

  • 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

  • AG2024_2090821a binds human attention to


    … offers a worldfeel that binds human attention to the intractable matter of the everyday. (AN)

  • AG2025_1167303a


    I have a realistic grasp of my own strengths and weaknesses.

    The man who fears losing has already lost. Fear cuts deeper than swords.

    (GRRM)

  • 3


    A human is a meager thing
    in such immensity, the way a little shoe is small on the stones
    where unknown travelers hoped for amnesty.
    – Linda Hogan

  • 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