In the interests of preservation pack anchors in bubble-wrap, the waves in barbed wire, deconstruct the crescent moon’s reflection back to stone-faced, not smiling, not serious – only a careful lack of concern(ing) the skin with glazes, the phantom limb exposed by the boatmen of the backwaters who croak at wives and crows, and sing all’s well in the paddy fields oblivious to anything but surfaces. But packed beneath his feet lay his squat little shadow-parcels – God, how I love the way the sandbags insolence unstrings me. Attic footsteps don’t matter when you’re deaf or simply refuse to listen to columns of gauze-light breathing, the posture of a man drawing dirty water from a well.
The splashless grass below invisible ships, the tension of rust-bitten green, or, primary green, being that it is the colour of the infinite tense in a lineup of one, the blonde wood jaw glued shut against the stained red brick bungalows in the winter months. Each summer a new plasterboard palace, boats netted with crows; lie down with the ducks, the children whisper, let us see your nakedness. Half-catharsis, half-fumigation best understood as movement/arrested. Your white lacquered back does not distract from the non-diegetic footsteps no longer outside. The threshold of crayons, as of pain clenched and bled out at the edges like damp-afternoon-light, and the boundaries of dimmed sounds of water spread over ink on paper.
Kochi-Muziris Biennale, 2013
Biro, ruled paper, HTML code
Receive debut issue of Lighthouse via email this morning. Read en route to the inaugural Kochi-Muziris biennale. We discuss how editing is a kind of curation. Do artists approach gallery owners like poets approach editors?
Moving through the rooms of Aspinwall House, we are prompted to consider the simile of each individual space as a page (& stanza of course means room) and subsequently the exhibition as anthology. Each room is a page, each piece has a number, we adhere to reading sequentially, though in either space this is not essential.
We reflect upon position, placement, selection, and that choice exists in harmony with constraint. As with Lighthouse so with the biennale: pieces are constructed to fit the space, in turn coexist only in terms of the exhibition whole. Artists’ statements are like the poet introducing her/his piece, often saying too much or too little and using words such as ‘intention’ or ‘motivation’. Sometimes it would be nice if the poets introduced their work stating only its title and listing its constituent materials.
Decide to undertake double intertwined exquisite corpse across next stage of biennale, Pepper House, as an alternative mode of critique. Discuss decision to edit Lighthouse along a thread of coherence rather than rigid themes or other limitations, to extend possibilities for adapting space according to each contributor. Lighthouse welcomes site-specific work. Ernesto Neto alters former installation by recreating using locally sourced materials – would be nice to see written works appear in different guises to prevent stasis upon publication.
Our poem in completion weaves together fixed exhibits in a new narrative interpretation. Works in Lighthouse create, in juxtaposition, an original identity for new writing.
Big love from Om beach, Gokarna
Posted 8 years ago