L’imaginaire de mon lieu est relié à la réalité imaginable des lieux du monde, et tout inversement. L’archipel est cette réalité source, non pas unique, d’où sont sécrétés ces imaginaires : le schème de l’appartenance et de la relation, en même temps.
Glissant, Édouard, Philosophie de la Relation, Paris, Gallimard, 2009.
i must be careful about such things as these. […] of the gentle wilderness i must set the precarious words.
be careful, Ed Roberson
Related : I must be careful
Sunshine State, exhibition (31 March – 31 July 2022) at Pirelli HangarBicocca, is organized in collaboration with Tate Modern, London, where the artist had presented a first version, titled ?Steve McQueen”, in 2020.
The title of the exhibition evokes the artist’s new work, Sunshine State (2022), commissioned and produced by the International Film Festival Rotterdam (IFFR) 2022.
Catalogue extract, the essay In the Dead of the Light: Steve McQueen’s Sunshine State by Cora Gilroy-Ware.
Fig. 1
Photographer unknown, African American man picking oranges at a contest in a grove, 1952, black and
white photoprint, State Archives of Florida, Florida Memory.[…] how do we know this man is American? With no name or record of his identity, he could be one of the thousands of men brought to Florida from the West Indies during this same era to carry out temporary
agricultural labour, most cutting sugar cane, some working in orange groves.
Related : Also, from State Archives of Florida, Florida Memory; same caption.
Creator: Brueghel, Pieter, ca. 1525-1569
Title: The Farmers Brawl Date: ca. 1552-1569
Date Destroyed or Lost: 1945
Nationality: Flemish
Medium: Oil on canvas Object
Dimensions: 71 x 100 cm
Former Repository: Gemäldegalerie (Dresden, Germany)Former Inventory Number: Inv Nr. 819 Circumstances of Destruction or Loss: Destroyed February 13-14 during three allied bombing raids on Dresden or in subsequent fires.
Notes: For additional information see: Bernhard, Marianne, and Klaus P. Rogner. 1965. Verlorene Werke der Malerei; in Deutschland in der Zeit von 1939 bis 1945 zerstörte und verschollene Gemalde aus Museen und Galerien. Munchen: F.A. Ackermann, p.96.
Source: Sterling and Francine Clark Art Institute Library Photo Archive, 225 South Street, Williamstown MA, 01267
10000 daffodils–a will to adorn, a proclivity for the baroque.
My garden has at least 10,000 daffodils because I wanted to redeem Wordsworth. It’s a story about being forced to memorize his poem, “I Wandered Lonely as a Cloud.” So I decided that to pay homage to Wordsworth, I would plant at least 10,000 daffodils.
[…]
Sometimes, I have friends come over and we have a daffodil party, and we recite Wordsworth and drink champagne. It’s not Wordsworth’s fault that colonial education forced us to memorize a poem about a flower that we had never seen.
Jamaica Kincaid, Harvard’s Crimson. 2017. via repeatingislands.
Beauty is not a luxury; rather it is a way of creating possibility in the space of enclosure, a radical art of subsistence, an embrace of our terribleness, a transfiguration of the given. It is a will to adorn, a proclivity for the baroque, and the love of too much.
Saidiya Hartman
a coherence in things, a stability; […] something, immune from change, and shines out in the face of the flowing, the fleeting, the spectral
Virginia Woolf
