Tag: ethics of affinity

The feminist is the woman who is there not because she is his woman, but because she is the sister of the woman he is being a weapon against. Feminism exists so that no woman ever has to face her oppressor in a vacuum, alone. It exists to break down the privacy in which men rape, beat, and kill women.

Andrea Dworkin, Life and Death

Touching the Gobi desert

the-end-of-art:

The Map
by Marie Howe

The failure of love might account for most of the suffering in the world.

The girl was going over her global studies homework  

in the air where she drew the map with her finger

touching the Gobi desert,

the Plateau of Tiber in front of her,

and looking through her transparent map backwards

I did suddenly see,

how her left is my right, and for a moment I understood.

Feeling listened to and understood changes our physiology; being able to articulate a complex feeling, and having our feelings recognized, lights up our limbic brain and creates an “aha moment”. In contrast, being met by silence and incomprehension kills the spirit. Or, as John Bowlby so memorably put it: “What can not be spoken to the [m]other cannot be told to the self.”

Bessel Van Der Kolk, The Body Keeps the Score: Brain, Mind and Body in the Healing of Trauma
(via abrce)
Source: jumbocrab

halogenic:

‘Beneath Dignity, Bregenz’ (1977) – Stuart Brisley

“The materials which (Brisley) employed were water, chalk, powder (flour) and paint (black and white). He made five separate statements using each of the materials, working in all for four days.” (x)

‘Beneath Dignity, Bregenz’ (1977) was performed in conjunction with an exhibition of British art in Austria (Englishe Kunst der Gegenwart in September 1971); Brisley was invited by Norbert Lynton to take part. Brisley had worked during this year on an Artist Placement Group project in Peterlee in a community of miners and the title is indicative of his sympathy with the miners, and the lowness (and implied loneliness) of their working conditions. The work that preceded it had a similar preoccupation with digging and working in appalling conditions.

In Bregenz he was presented with a strikingly different environment: a picturesque town by the side of a lake (Lake Constance) with a small mountain behind. This work is a response to this setting, the movement from mountain to flat ground and the lake (from the vertical to the horizontal). He chose to work on a quayside, using five roughly constructed frames which marked the limits of his physical reach. The materials which he employed were water, chalk, powder (flour) and paint (black and white). He made five separate statements using each of the materials, working in all for four days. In order to reduce the drama of the work (a character that Brisley abhors) the fifth frame was a mixture of black and white. On the last day the audience was large and Brisley avoided a climax to the work by jumping into the lake and swimming, replicating his drawing action in water, another medium. He describes his action here as similar to the other works in the Tate’s collection, showing a preoccupation with formal, sculptural problems. It is possible however that Brisley may, in hindsight, be emphasising this aspect at the expense of his political concerns.