This reflection comes from little everyday experiences. I recently came across a quote by the French painter Dominique Ingres: “Better grey than garishness.” Initially the statement appears almost contradictory. Grey, in everyday use, often carries a sense of dullness, absence, or mediocrity; it is rarely celebrated as luminous or vivid. We describe bureaucracies as grey, skies as grey, moods as grey—all with undertones of lifelessness. Yet, when placed in opposition to garishness, it suddenly took…

One day I noticed that what I was writing concerned him more and more and though in an indirect manner, it seems to have no other purpose but to reflect him. He had assumed a strange ascendancy over me in all these things. Sometimes I was wondering if he was trying to restrain me at all the costs. I spoke of him but it gradually became a completely different feeling, a sort of erosion of the future. The impression that…

Almost a being without boundaries, spared and more purely inner, very strangely tender and illuminating itself up to the edge, is such a thing known to us? Let us consider the sense of variation. Our skin could be called variety, in a precise topological sense; a thin sheet with folds and plains, dotted with events and singularities and sensitive to proximities… At times our skin…

For writers, the ability to read their own work well in front of an audience has become, more than ever, an essential part of their practice. Today, writers are expected not only to write but also to perform their texts meaningfully. They must step into the public eye. It is no surprise, then, that this “performance” has become a highly visible—one might even say emblematic—art form in contemporary culture: a culture increasingly self-conscious, reflexive…

CHURCH OF SAN MARCO. Sunday 11th August 04.40pm Behind – A cane tapping slowly on the floor; coming forward…heavy breathing Front – Soft steps and giggles of two French children Left side – A grandmother whispering loudly…venite qua! Right side – Echoing coins inside the box under the candle holder LIBRARY Wednesday 14th August 10.00am Behind…

Tystnaden is a trilogy of works: a text, a performance and a sound piece that takes Ingmar Bergman’s Silence as its starting point. The film centers around miscommunications on multiple levels and deals with the difficulty of creating meanings or perhaps finding or determine meanings. In the mind of Bergman, God is silent as his previous film established, because…

The infamous scene of maggot-ridden meat in Sergei Eisenstein’s Battleship Potemkin (1925) functions as both material document and political metaphor. What should sustain the sailors—fresh meat, a guarantee of nourishment—has instead become inedible, crawling with life. The image dramatizes a negation of potential: the capacity of food to nourish is suspended, its promise unfulfilled…

Skin and ground are both important parts of our perceptions, they both imply contradictory physical, psychological and emotional states and have both been conceived of and confronted through

“Here we had no idea where to go,” says Lai-Yu Fai in a voice over, the image in black and white.  “Then Po-wing bought a lamp. I really like it.  We wanted to find this waterfall and finally we learned it is at Iguazu.  We wanted to go home after it but we lost our way.”