Archive for August 2008
All the things I know but of which I am not at the moment thinking. – 1:36 pm, 15 June 1969, New York.
piece by Robert Barry1 in 557,087, an exhibition curated by Lucy R. Lippard at the Seattle Art Museum in September/October 1969. [from the book Six Years: the dematerialization of the art object from 1966-1972…]
1.Robert Barry was interviewed about his work by Ursula Meyer on October 12, 1969. It’s up at U B U W E B, and very much worth reading.
Yes, it’s me. Don’t tell anyone.
We have all had great fun getting our tongues around the alliterative phrases like “crabbit crocodile wi clarty claes” – well, you’d be grumpy too if someone was throwing tomatoes at you and getting your clothes all dirty! – and we’ve learnt lots of Scots in the process. Little brother’s favorite is the “octopus in ooter-space”, planting the Scottish flag on the moon.
After the video with Celan reading Todesfuge posted by Baroque in Hackney a few weeks ago, here’s another I’ve just happened upon:
source: The Omniscient Mussel.
The poem he’s reading is Tenebrae:
Near are we, Lord,
near and graspable.
Grasped already, Lord,
clawed into each other, as if
each of our bodies were
your body, Lord.
pray to us,
we are near.
Wind-skewed we went there,
went there to bend
over pit and crater.
Went to the water-trough, Lord.
It was blood, it was
what you shed, Lord.
It cast your image into our eyes, Lord.
Eyes and mouth stand so open and void, Lord.
We have drunk, Lord.
The blood and the image that was in the blood, Lord.
We are near.
[trans: John Felstiner]
The German composer Wolfgang Rihm chose Celan’s poem to conclude his composition Deus Passus. Interestingly, there’s another musical connection – Harrison Birtwistle’s Pulse Shadows – Meditations on Paul Celan for soprano, string quartet and ensemble (1996) includes a setting of the poem. This review, over at classicalsource.com makes the Birtwistle piece sound unmissable.