alex dimitrov
Tag: project
Simone Weil

We must prefer real hell to an imaginary paradise.
Adriana Cavaero, Horrorism: Naming Contemporary Violence
affliction does not create human misery, it merely reveals it.

simone weil, waiting for god, 445
Venice Biennale 2013
YOKO ONO, ARISING
A CALL WOMEN OF ALL AGES, FROM ALL COUNTRIES OF THE WORLD: YOU ARE INVITED TO SEND A TESTAMENT OF HARM DONE TO YOU FOR BEING A WOMAN. WRITE YOUR TESTAMENT IN YOUR OWN LANGUAGE, IN YOUR OWN WORDS, AND WRITE HOWEVER OPENLY YOU WISH. YOU MAY SIGN YOUR FIRST NAME IF YOU WISH, BUT DO NOT GIVE YOUR FULL NAME. SEND A PHOTOGRAPH ONLY OF YOUR EYES. THE TESTAMENTS OF HARM AND PHOTOGRAPHS OF YOUR EYES WILL BE EXHIBITED IN MY INSTALLATION ARISING, JUNE 1 – NOVEMBER 24, 2013, IN THE EXHIBITION, PERSONAL STRUCTURES, AT PALAZZO BEMBO IN VENICE, AS PART OF THE 55TH VENICE BIENNALE. A BOOK WILL ALSO BE PREPARED OF THE ARTWORK, AND A SELECTION OF YOUR TESTAMENTS AND PHOTOGRAPHS WILL BE PUBLISHED IN THIS BOOK. THE INSTALLATION ARISING WILL CONTINUE TO GROW AND WILL BE EXHIBITED IN MANY COUNTRIES. I VERY MUCH HOPE FOR YOUR PARTICIPATION.
yoko ono
April 29, 2013

George Howe Colt, November of the Soul: The Enigma of Suicide
George Howe Colt, November of the Soul: The Enigma of Suicide
I stopped because the world kept happening around me. I dreamed of my sister on a far-off telephone, me trapped in a car that would move but not motor on. I dreamed of my mother clipped and distant and the texture of rain on a windshield and a message sent out of the wrong atmosphere.
I dreamed I could write a story that was all beginning, and the beginning was an emerging out of nothing, a gradual brightening, or darkening, space condensed into a point that opens.
In Chris’ dream I am his wife and he builds us a house with mud and he is dying but okay about it. In the terrible novel I realize a suicide is coming and want to stop reading but can’t. A woman is punished with violence and I want to scream.
Everyone loves stories where women are made to live their whole lives underground. Everyone loves stories where women get, in the end, what they deserve. It’s funny or it isn’t the obviousness of the train and its clockwork precision, as if what’s funny about women is the way they are always having to stop to cry and make themselves late.
Outside, the sound of a piston, air pressure, a large piece of machinery. A forklift drives down the street carrying what looks like a large window.—
—Stephanie Cawley, from My Heart But Not My Heart
