Paul Celan
Es geht mir nicht um Wohllaut, es geht mir um Wahrheit… / I am not concerned with euphony, I am concerned with truth.
“Reachable, near and not lost, there remained in the midst of the losses this one thing: language. It, the language, remained, not lost, yes in spite of everything. But it had to pass through its own answerlessness, pass through frightful muting, pass through the thousand darknesses of deathbringing speech. It passed through and gave back no words for that which happened; yet it passed through this happening. Passed through and could come to light again, “enriched” by all this.”
” There is nothing in the world for which a poet will give up writing, not even when he is a Jew and the language of his poems is German.”
Todesfuge, unul dintre cele mai puternice poeme scrise despre Holocaust, a fost publicat prima data în limba română – în Contimporanul, mai 1947 – tradus din germană de prietenul Lui Celan din Cernăuți, Petre Solomon.
Schwarze Milch der Frühe wir trinken sie abends
wir trinken sie mittags und morgens wir trinken sie nachts
wir trinken und trinken…
imi tot aminteam de versurile astea in ultimele luni, si am inceput sa-i citesc toata cartile de poezie, in germana, cu dictionarul… e impresionant cum reuseste sa (re)inventenze cuvinte pt a se exprima.
“Enlarge Art. … No. Rather go with Art into that strait which is most your own. And set yourself free.”
To interpret is to impoverish, to deplete the world – in order to set up a shadow world of “meanings”. It is to turn the world into this world. The world, our world, is depleted, impoverished enough.
Susan Sontag – Against interpretation
“…that suggests that we have a choice over whether to interpret or not. I don’t think we do. We’re condemned to be interpreters. The only question is whether we do it well or badly: do we interpret in an original manner or in the way others have already interpreted? Will we simply follow the authority of others, or are we strong enough to establish our own?”
Alexander Nehamas
Bruce Davidson
“Bruce Davidson’s powerful and affecting late 1960s photography on East 100th Street (Harlem, New York) remains a classic documentation of the American ghetto.”
“For two years in the 1960s, Davidson photographed one block in East Harlem. He went back day after day, standing on sidewalks, knocking on doors, asking permission to photograph a face, a child, a room, a family. Through his skill, his extraordinary vision, and his deep respect for his subjects, Davidson’s portrait of the people of East 100th Street is a powerful statement of the dignity and humanity that is in all people.”
your window right – your tree duty
Hundertwasser and the Window Right:
A person in a rented apartment must be able to lean out of his window and scrape off the masonry within arm’s reach. And he must be allowed to take a long brush and paint everything outside within arm’s reach. So that it will be visible from afar to everyone in the street that someone lives there who is different from the imprisoned, enslaved, standardised man who lives next door.
In his nude speeches of 1967 and 1968 Hundertwasser condemned the enslavement of humans by the sterile grid system of conventional architecture and by the output of mechanised industrial production.He rejected rationalism, the straight line and functional architecture. For Hundertwasser, human misery was a result of the rational, sterile, monotonous architecture. He called for a boycott of this type of architecture, and demanded instead creative freedom of building, and the right to create individual structures.In 1972 he published the manifesto Your window right — your tree duty. Planting trees in an urban environment was to become obligatory.
His idea of tree tenants meant basically something like this:
And it would look like this:
Hundertwasser’s first manifesto, published in 1953, was entitled The Straight Line Leads to the Downfall of Humanity. He proclaimed, The eyes’ nervous system perceives the infinite number of straight lines as acute dangers. Man grows mentally ill without knowing why. And An uneven floor is a melody to the feet. I need to repeat this: An uneven floor is a melody to the feet…!!!
Asked if he saw himself as a good architect, he said, No, I don’t… But the others are so bad!
And look at what he did to the heating plant in Vienna! (waste incineration heating plant, that is… it looks like smth out of a fairy tale)
This was a brilliant man….
„Simt pe «celălalt» şi sub acest aspect, dacă citeşte sau nu. Uneori îmi spun: acest om n-a mai citit de cîteva zile, săptămîni, luni – nimic. Cu un fel de repulsie, de groază. Cine ştie ce va ieşi de aici, cine ştie ce mai e în stare să facă. [...] Marile lecturi ne ţin sub un sever – şi dulce – control şi deopotrivă ne eliberează de orice posibil control, ne redau libertatea, libertăţile, sufletul. Nu avem tot timpul suflet, să nu ne iluzionăm. El apare, dispare, reapare, se duce şi revine, se stinge şi se reaprinde, pe neaşteptate. Cărţile-şi au rolul lor, foarte important, uneori decisiv de-a dreptul, în acest du-te-vino al sufletului“.
Lucian Raicu (in articolul Simonei Sora – Detectorul de (ne)cititori din Dilema Veche)
“Domnu’ Brâncuşi, dumneata n-ai făcut multe, dar toate-s capodopere. Explică-ne şi nouă cum ai reuşit”, “Eeei”, zice moşul. “Nu-i greu să faci o capodoperă, e greu să te pui în starea de a face o capodoperă!”, a ţipat deodată.
dintr-un articol de David Esrig de pe Liternet
Nu înţelegi arta când nu înţelegi ce se întâmplă cu ea în timpul tău. Numai atunci o percepi ca proces de elaborare, adică eşti apt să fii artist. Altfel eşti numai, când eşti, un om cultivat.
Livius Ciocârlie – Cu faţa la perete
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