“Dark like an armpit, bloody like a heart”
Joyce Mansour. Translated by Emilie Moorhouse
“… dampen with the sumptuous scents
of time, of brevities . . . and I have sung of
festive tendencies turned upside down.
But can’t you do something about death,
Lord, about limits, about all that ends?
César Vallejo. Translated from the Spanish by Yvette Siegert.
“… the absence
I won’t imagine—the dark keeps going
without time so it can’t hold words”
Jennifer Kronovet
Jacqueline Utley, Flowers Looking Care, 2021. Oil on linen. 40 x 30 cm, 15 3/4 x 11 3/4 in. via Niru Ratnam at Untitled Miami.
Think of those flowers that you plant, Ashish Avikunthak, Emma Cousin, Milly Thompson, Jacqueline Utley, 5 July – 12 August 2023.
“somewhere deeper, past language, it was marked.”
“a dignity hard won: a dignity in need of constant vigilance and protection.’ (ZS)
“not places at all but abstractions” (JD)
A Gentil Carioca is pleased to announce Topografia da Memória, an installation by Sallisa Rosa commissioned by Audemars Piguet Contemporary, curated by Denis Pernet and Thiago de Paula Souza. The work explores the theme of memory and is made up of more than 100 ceramic pieces handmade from collected clay, arranged in such a way as to create an environment for visitors to explore.
Topography of Memory will be on display until December 17, 2023 at the Collins Park Rotunda. In 2024, the work will be presented in Brazil, where it will be exhibited at the Pinacoteca de São Paulo between March 16 and July 28.
Topography of Memory.
Yonamine, It‘s expensive to be poor, 2022, Mixed Media and silkscreen on canvas, 200 x 180 cm.
Source: Galerie Michael Janssen
PARLA_MUTE, PR text by Jose Falconi–“… prepare yourself to contemplate (and enjoy) the critical difference that separates iteration from repetition because YONAMINE will stage a show on such a gap. When you get to the show don’t mind the gap: he inhabits it, it is his favorite place, his most fertile locus”
quiet improvisation, New Blue Sun.
“Art is the Tree of Life”, William Blake’s Laocoön.
“they are things that I do
in the dark
reaching for you
[…]
are you ready?
June Jordan, These Poems
” the exotic was better fabricated than discovered”
“the recognition that in their [Matisse, William Morris] respective societies (and it is even more true today) the mere demand for something like happiness is a kind of rebellion. They recognized, too, that art can offer the counterimage of an order in which the material reproduction of life leaves no space or time for those regions we designate as the “beautiful”.” (Kristin Ross, Elsewhere as Pastiche)