From The Eros of Everyday Life: Essays on Ecology, Gender and Society by Susan Griffin

“Waking, my hand meets the cotton sheets on my bed, my mouth meets the water I drink as I arise, my eyes meet the morning light, shadows of clouds, the pine tree newly planted in our backyard, my ears meet the sounds of a car two blocks east. Everything I encounter permeates me, washes in and out, leaving a tracery, placing me in that beautiful paradox of being by which I am both a solitary creature and everyone, everything. 

Isn’t this what shapes our days? The paradox accounts for gravity, which is a kind of eros. The great mass of the earth curving space and time around it, the greater mass of the sun drawing the earth in an even circular motion, balanced between fusion and a solitary direction. 

There is an eros present at every meeting, and this is also sacred. One only has to listen inwardly to the histories and resonances of the word we use for religious experience. In Sanskrit the word satsang which translates into English as “meeting” means “godly gathering.” In the English language the word “common” is linked through the word “communicate” to “communion.” And earlier meanings of “common” point to levels of meaning that have been obscured in our idea of the sacred. Gary Snyder gives us the etymology for “common” as “ko, ‘together,’ with (Greek) moin, ‘held in common.’” And he also traces the word back to the Indo-European root mei, meaning “‘to move, to go, to change.’” This “… had an archaic special meaning of ‘exchange of goods and services within a society as regulated by custom or law,’” he writes, as in “the principle of gift economies: ‘the gift must always move.’…” And the gift does move.

 To exist in a state of communion is to be aware of the nature of existence. This is where ecology and social justice come together, with the knowledge that life is held in common. Whether we know it not, we exist because we exchange, because we move the gift. And the knowledge of this is as crucial to the condition of the soul as its practice is to the body.”

PATTY CHANG

In Love , 2001

2 Color Videos on DVDs, (diptych), 3 min. 28 sec.
Courtesy of Jack Tilton/Anna Kustera Gallery, New York

“Chang examines the territory of the primal, parental connection in her work In Love (2001). In this dual-channel video, two separate scenes of the artist with a parent are juxtaposed. Chang faces her mother and, in the adjacent frame, appears face–to–face with her father. Simultaneously both images show the artist’s and respective parent’s faces pressed together in what at first appears to be a deep kiss. Gradually it becomes evident that the video is running in reverse time, and that they share not a kiss but rather an onion from which they both eat. They bite into it slowly, pausing as they take turns offering it to each other, as if it suggests the proverbial, forbidden fruit. Parent and child swallow before they take additional bites, blinking hard to hold back tears from the onion’s sharpness and pungency. However, in the video’s reversal of time, the onion is reconstituted and the tears disappear—wholeness is thus regained.”

–Guggenheim 

museumtalks:

letargos:

Mona Hatoum – Pull, 1952

This was actually sort of a live performance. The hair that you can see was an extension that was connected to her hair, so she could feel when someone pulled it and then scare the person that was watching. So the tv screen gives live images. For her the most difficult part knowing where the person would be so she could look right at them.