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CafĂŠ Crema
Jeg sidder pĂĽ cafeen i huset der skal rives ned. Alle lejlighederne pĂĽ etagerne er barrikaderet, og alle de andre butikker virker lukkede nu, nogle er endda blevet indhegnet, men CafĂŠ Crema har trukket skodderne op igen efter pĂĽskelukningen og alt virker sĂĽ normalt som det nu kan pĂĽ disse kanter.
Da vi kom her første gang for nogle müneder siden, var der et opslag om at cafeen skulle vÌre lukket forlÌngst, men at ingen vidste prÌcis hvornür det ville ske. Nu er opslaget vÌk, og jeg spørger ikke om noget. Jeg smiler bare lidt ekstra til de skiftende folk i baren.
Da skuespillerne i Split Britches før deres Lost Lounge spurgte om der var noget vi havde mistet eller savnede i byen, mĂĽtte jeg som den eneste sige “jeg savner bare noget at savne”, fordi alting stadig var sĂĽ nyt. Men det var CafĂŠ Crema jeg egentlig ville have svaret. Det føles bare lidt billigt at sige, at man savner noget, man knap har kendt, og som fra ĂŠns første møde har vĂŚret under afvikling.
Men det er CafĂŠ Crema jeg savner. Mere og mere for hver dag.
Pictures
“You should come to my house and take some pictures. People are changing every day”, siger kvinden og prøver at fĂĽ mig til at stoppe op. “There is a story in every picture”.
Angela de la Cruz: After
Angela de la Cruz: After, Camden Arts Centre.
“[The chair] was actually flattened by being sat on by a great woman, when I was in one of the hospitals I stayed in for a long time. It became completely useless and irreparable – bin material. I suffered a very serious stroke in 2005, from which I am still recovering, and seeing that was probably the first time that I had laughed since it happened”.
(Angela de la Cruz om vĂŚrket “Flat” i Time Out London)
Anmeldelse og billeder: Guardian, flere vĂŚrker: Lisson Gallery.
All Days Are Nights
Douglas Gordon har fotograferet til omslaget pĂĽ Rufus Wainwrights nye cd, All Days Are Nights: Songs for Lulu, og lavet visuals til hans nĂŚste turnĂŠ.
Kontakthof (Pina Bausch)
Tanztheater Wuppertal Pina Bausch: Kontakthof (Barbican Centre)
Michelangelo’s Dream
Michelangelo Buonarroti, The Punishment of Tityus (1532).
Michelangelo Buonarroti, sonet (ca. 1534).
Michelangelo’s Dream. The Courtauld Gallery.
Stemmen bag mig i bussen svarer først âNot too badâ uden større entusiasme. Og sĂĽ pludselig efter en pause rĂĽber den ind i røret: âEr det sandt?! Du er en skat! Jeg er den lykkeligste kvinde i London! Nu kan jeg tage til Jamaica!â PĂĽ sĂŚdet foran griner to knĂŚgte i smug til deres far, da hun gentager det tredje gang, sĂĽ hele bussen er med: âJeg er den lykkeligste kvinde i London!â Men hun lyder stadig ikke glad. PĂĽ den anden side lykønsker en anden kvinde sin veninde pĂĽ fransk. âHvordan føles det at vĂŚre atten? Hvad skal du? Ingenting? Har du ingen penge?â Hun forsøger at trøste: âMan behøver ikke vente til sin fødselsdag for at have brug for penge.â
Incredible
“Most Americans who hear tales from that time find them literally incredible. This is not necessarily because they don’t believe them (although the fact that a third of the country thought Bush did a good job with Katrina suggests that many don’t), but because to concede that they are possible would force them to reevaluate everything they thought they knew about their country. If these things are possible, what does it say about democracy, the constitution, prosperity, law, order and justice? And without those things, what is left of America? The problem is not naivety. But, like a meat eater in an abattoir, they are being confronted with a vulgar reality of which they chose to be either only vaguely aware or which they understood to exist in a parallel universe that would never encroach on their own, even in their imagination.”
Gary Younge om Dave Eggers’ roman Zeitoun i The Guardian
Project for a new novel
JG Ballard: Project for a new novel (1958)
Rick McGrath: JG Ballard’s Graphic Experiments
Mike Bonsall: J.G. Ballard’s Experiment in Chemical Living
Crash – Homage to JG Ballard, Gagosian Gallery
Life-long companions
Benjamin Britten og Peter Pears malet af Kenneth Green (1943). National Portrait Gallery.
“…we are intuitively familiar with issues of injustice, unfairness, inequality and immorality – we have just forgotten how to talk about them.”
“As citizens of a free society, we have a duty to look critically at our world. But that is not enough. If we think we know what is wrong, we must act on that knowledge.”
Tony Judt: A manifesto for a new politics (The Guardian)
Treatment Room
Richard Hamilton: Treatment Room (1983-84). Modern Moral Matters, Serpentine Gallery.
Split Britches: The Lost Lounge
(Split Britches: The Lost Lounge, Queen Mary University, marts 2010)
“I walked down the Bowery and turned right on Bond Street the other day, and for a minute I thought, Oh my God, I donât know where I am! I just didnât recognize it. And so one of the themes that weâre working on is how memory is tied up with landscape, and what happens when you lose your landscapeââŹâhow identity is tied into place and how it feels like weâre losing part of our identity by losing those places.”
Hanging out in Islington
Fyren her var ikke nogen dukke, men en levende mand, og han blev hĂŚngende til langt ud pĂĽ aftenen. I bidende kulde.
Komplekset i Islington i Nord-London hedder The Market Estate, og lige om lidt er det jĂŚvnet med jorden. I gamle dage hed stedet The Copenhagen Fields, og i lang tid var det et kvĂŚgmarked, hvorfra tĂĽrnet endnu stĂĽr tilbage.
Bare fyrre ür tog det at slide bygningen ned. Som en sidste hilsen brugte en rÌkke kunstnere lejlighederne og omrüdet som ramme om installationer, udstillinger og performances pü en en-dages-udstiling i lørdags.
Amerikanske Mary Coble og Blithe Riley tilbragte 18 dage i huset, dør om dør med de sidste udflyttere, og viste et preview pĂĽ to virkelig fine flerkanalsvideoer, de nĂĽede at fĂĽ optaget: Den mest omfattende af dem var en Sisyfos-lignende flytning-fra-helvede, hvor alskens møbler, badevĂŚgte og gamle dukkehuse (fundet i kĂŚldrene under blokkene) med møje og besvĂŚr bliver slĂŚbt op i huset – blot for at blive kastet ud over altanen. Moving in – moving out. Se mere pĂĽ deres projektblog.
Forretningsforslag
Det er forstüeligt, at du kan blive en lille smule bange, fordi du ikke kender mig. Tilgiv denne usÌdvanlige müde at kontakte dig, men dette brev er af usÌdvanlig og meget privat karakter, som i kraft af mit udsigtspunkt i Hang Seng Bank Ltd, Hong Kong, jeg har en lukrativ forretningsforslag af fÌlles interesse at dele med you. There er ingen müde for mig at vide, om jeg vil blive forstüet rigtigt, men det er min opgave at skrive og nü ud til dig i tillid til, at vil du give dette forslag en positiv overvejelse. Jeg Mr. Jon Chan, sydkoreansk og en af direktørerne for Hang Seng Bank Limited her i Hong Kong. Du skal hjÌlpe mig med at udføre et virksomhedsprojekt fra vores bank pü US $ 25,5 Million. These midler blev deponeret hos vores bank, som en kunde i vores bank, der er statsborger i dit land/omrüde, som desvÌrre døde i december 2004 asiatiske tsunami-katastrofen. Jeg skal give dig flere informationer om denne operation, da I modtager dit svar.
10 regler for forfattere
“My main rule is to say no to things like this, which tempt me away from my proper work” lyder Philip Pullmans svar pĂĽ The Guardians enquete, 10 rules for writers. Her er ti hĂĽndplukkede, i nummerorden:
“1 Write.” (Neil Gaiman)
“2 Don’t have children.” (Richard Ford)
“3 Stay in your mental pyjamas all day.” (Colm TĂłibin)
“4 If nobody will put your play on, put it on yourself.” (David Hare)
“5 Remember there is no such thing as nonsense.” (Andrew Motion)
“6 Try to be accurate about stuff.” (Anne Enright)
“7 Do, occasionally, give in to temptation. Wash the kitchen floor, hang out the washing. It’s research.” (Roddy Doyle)
“8 It’s doubtful that anyone with an internet connection at his workplace is writing good fiction.” (Jonathan Franzen)
“9 No going to London.” (Colm TĂłibin)
“10 You have to love before you can be relentless.” (Jonathan Franzen)
Sharon Lockhardt: Goshogaoka
Sharon Lockhardt: Goshogaoka (Whitechapel Gallery), filmstill
Sharon Lockhardt: Goshogaoka Girls Basketball Team (1997), fotografier
