June 9, 2008 by photomorphose
Deer Quake
Now the deer fever tears apart cells inside my ravaged, already so harrowed leather body. In my breath, tracks of moon wind are smarting against the throat and windpipe. I have moved around the deer, I have fastened my fibers to the hard dancing deer. Steam rose from frozen wells, ice floes chafed the channel, cold sweat broke out of the skin wall between my being and the cold. It was a hopelessly treacherous time.
I have moved around the rare glass deer of September. I have moved around the timid water, by the closed border of the fiber deer. And the crack rushes through the black glass. It crackles and shimmers, it quakes in the deer, it quakes and quivers in the breastbone deer.
The leather falcon flies north in sky-shrieking torture. There is a light in the deer, there is a light in the deer, there is a light deep inside the cavity deer! Now the blood surface song surface is heaving! It quakes through me and the deer. Fibers ache in my sharp border. Now the painful deer tears now it breaks. Now the deer and I burst and are exposed -
Aase Berg
http://lampe.wordpress.com/
Aase Berg is one of the most important young poets in Sweden right now. She’s got four books out. She’s the editor of BLM, a leading literary journal, and Vertigo, a publisher of pornographic writings, and she frequently writes articles for national newspapers and journals. She’s a founder of the surrealist group “Det Stora Saltet” (”The Great Salt”). Johannes translations of her poems have previously been published in Bitter Oleander, Conduit and Skidrow Penthouse, and they will soon be published by Octopus on the web. (From La Petite Zine)
These poems have been published online at Double Room and La Petite Zine (www.webdelsol.com)
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April 20, 2008 by photomorphose
The Indecent Breath of Light
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March 26, 2008 by photomorphose
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January 6, 2008 by photomorphose
“Le rendez-vous de chasse“, Bruxelles, 1934.
Sitting from left to right: Irène Hamoir, Marthe Beauvoisin, Georgette Magritte. Standing from left to right: E.L.T. Mesens, René Magritte, Louis Scutenaire, André Souris, Paul Nougé.
“In this essay I argue that the Belgian Surrealists looked to the Marquis de Sade as a model for their subversive activities. For Sade and the Belgian group, the notion of the criminal is central to their understanding of cultural revolution and entails a discussion of vision and spectacle, darkness and secrecy, and the role of the accomplice. In addition to criminality, I discuss the ambivalent insistence on rationality and structure in the writing of Sade and of the Belgian Surrealists. Finally, I point to some of the ways in which the Belgian group differed radically from the French Surrealists (Breton’s group). Within this essay I am referring to the Brussels Surrealist group as the Belgian Surrealists in general. I do this to emphasize my differentiation of them from Breton’s group centered in Paris . I am not disregarding the Hainault group, but placing them alongside Breton’s group due to their loyalty to Breton and to his conception of the movement.” (Stacy Fuessle. 2005. http://www.imageandnarrative.be/surrealism/fussle.htm
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November 15, 2007 by photomorphose
The double image, the double self, of which one is the shadow and the other, the reflection – the shadow projected from the two mirrors facing each other… The reflection occurs in the center.
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November 11, 2007 by photomorphose
News from all starting points, or tempting gears…
7:30am Most interestingly enough, alternative tendencies within, and often times just a little on the outside of the bubble of what some have called “everyday reality.”
*The self-display and the dress code of the Belgian surrealists refer through their theatrical form to the method of work used to carry out the surrealist revolution. In the first place there is the strong group identity that is used as a strategy in validating the project. The subversive action was to be carried out by teamwork. Secondly, the revolution was supposed to be carried out anonymously. The Belgian surrealists liked to call themselves ‘accomplices’. Patrick Waldberg named them afterwards the Society of Mystery’. The strategy of anonymity did not allow public recognition. The anonymous tactic was instead a way to intervene in the bourgeois world without being corrupted by her rules and laws. An artistic career was rejected. Work, Name and Art had to lose their capital letters…
*Rene Magritte
The anonymous career of a Belgian surrealist
One of the more interesting of poets, a lyric poet and artist of the first rate comes from Argentina in the persona of Alejandro Puga:
Alejandro Puga (born 1957 in Buenos Aires, Argentina) is a poet and artist.
Alejandro Puga is considered an important lyrical poet. Of his many works, the epic poem Pararrayos (Lightning Rod) is the most famous. It was described by French poet André Pieyre de Mandiargues as one of the most beautiful poems written in the Spanish language in the twentieth century.
Alejandro Pugo
French
English
11:30am Recent experiments in the visual realm, Phantom Bodies In Time, dealing with transparency as a state of being, are centered primarily in theories of multi-dimensionality and its link or relation to the various dimensions of the psyche. An interesting idea, revolving around the human internet (inner net,) or the analogy of such an internet…
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