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Maria Cozma, Rose feeling, 2016, steel

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The body-and everything that touches it: diet, climate, and, soil-is the domain of the Herkunft . The body manifests the stigmata of past experience and also gives rise to desires, failings, and errors. These elements may join in a body where they achieve a sudden expression, but as often, their encounter is an engagement in which they efface each other, where the body becomes the pretext of their insurmountable conflict. The body is the inscribed surface of events (traced by language and dissolved by ideas), the locus of a dissociated self (adopting the illusion of a substantial unity), and a volume in perpetual disintegration. Genealogy, as an analysis of descent, is thus situated within the articulation of the body and history. Its task is to expose a body totally imprinted by history and the process of history’s destruction of the body.
Michel Foucault, Nietzsche, Genealogy, History (via la-femme-terrible)
— Jeanette Winterson, from “Gut Symmetries,” published c. 1998 (x)

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For us, eating and being eaten belong to the terrible secret of love. We love only the person we can eat. The person we hate we ‘can’t swallow.’ That one makes us vomit. Even our friends are inedible. If we were asked to dig into our friend’s flesh we would be disgusted. The person we love we dream only of eating. That is, we slide down that razor’s edge of ambivalence. The story of torment itself is a very beautiful one. Because loving is wanting and being able to eat up and yet to stop at the boundary. And there, at the tiniest beat between springing and stopping, in rushes fear. The spring is already in mid-air. The heart stops. The heart takes off again. Everything in love is oriented towards this absorption. At the same time real love is a don’t-touch, yet still an almost-touching. Tact itself: a phantom touching. Eat me up, my love, or else I’m going to eat you up. Fear of eating, fear of the edible, fear on the part of the one of them who feels loved, desired, who wants to be loved, desired, who desires to be desired, who knows there is no greater proof of love than the other’s appetite, who is dying to be eaten up, who says or doesn’t say, but who signifies: I beg you, eat me up. Want me down to the marrow. And yet manage it so as to keep me alive. But I often turn about or compromise, because I know that you won’t eat me up, in the end, and I urge you: bite me. Sign my death with your teeth.
Helene Cixous, “The Love of the Wolf”
Scanned from YES YOKO ONO by Alexandra Munroe and Jon Hendricks
Mind Object II, 1971. NOT TO BE APPRECIATED UNTIL ITS BROKEN.
Meret Oppenheim “My Nurse” 1936
He began to wonder about the noise that colors make. Roses came roaring across the garden at him. He lay on his bed at night listening to the silver light of stars crashing against the window screen… The last page of his project was a photograph of his mother’s rosebush under the kitchen window. Four of the roses were on fire. They stood up straight and pure on the stalk, gripping the dark like prophets and howling colossal intimacies from the back of their fused throats.
Anne Carson, Autobiography of Red (via tat-art)
From the August 4, 1974 profile of Christine Chubbuck, a newscaster who committed suicide by gunshot live and on air (x)

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Hammer and sickle with shoe/ with vibrator 1975-76 Andy Wahrol
This year is not the worst ever. [ … ] The world is actually growing less violent with time. What hurts so badly right now, I think, is this sense of unexpected retrenchment—the fear that decades of incremental progress will be rapidly eradicated by an empty-headed demagogue who appears to be doing everything on a whim. Perhaps 2016 feels so terrible partly because so many of us felt like we’d come so far. Two days after the election, Zadie Smith spoke to a crowd in Berlin. “If the clouds have rolled in over my fiction,” she said, “it is not because what was perfect has been proved empty, but because what was becoming possible—and is still experienced as possible by millions—is now denied as if it never did and never could exist.
Jia Tolentino for The New Yorker
Le Bonheur, 1965, Dir. Agnès Varda.
Even more challenging than her female characters are the questions Varda poses about female subjectivity. Who speaks for women’s experience and subjectivity in a society—global patriarchy—where women are conditioned from birth not to speak for themselves?
- Amy Taubin on Agnes Varda
Olivia Laing, The Lonely City: Adventures in the Art of Being Alone
…everytime you disclose your desire, you sentence it to death. This is the bitter feeling of guilt that comes from allowing your intimate thoughts to openly seep into what you say, do, and propose online. But revealing too much about yourself produces a sense of relief. In this sick process of counter- shame, people can’t judge you for the things you disclosed with your own gaping mouth…the more you openly reveal your secrets, the less, you know, you’ll be able to cum- because the less taboo these things have become within you. In jeopardizing your own privacy, you may or may not be jeopardizing your capacity to feel joy, to experience the ecstasy of those who keep secrets
Ada O’ Higgins “If You Don’t Like the Reflection. Don’t Look in the Mirror. I Don’t Care.” Texte Zur Kunst no.103

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Does every departure recall the first departure, until it doesn’t anymore? I was returned back to womanhood (for now) by the fissure in identity, which is that everything that is itself is also something other than itself. “We hold systematic thinkers responsible for the great humiliation imposed on us by the patriarchal world.” But Carla, I say, speaking this time out of the eye of Hegel’s penis, it was the commodity form, value extraction, domination, all of this that humiliated us into being, not systematic thinking itself, but a system that thinks itself, called capitalism. Is this clear? What was I saying? Thank you God for almost not making me a woman.
Hannah Black, Dark Pool Party, 2016 (via noceans)
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