In this hard and holy job of being and living as an artist, I sometimes have to stop and pull myself away, grab my girlfriend, push her out of her ingenious cocoon and go find a place where perhaps the sun is shinning.
Then, after resting, and walking through those landscapes, and eating, and drinking, and being surrounded by dear family and friends – like at the beautiful birthday I just had – we can come back knowing a bit more about breathing and seating properly in order to have no headaches or back pains.
I will also keep reminding myself that I am on a mission, like Patti Smith says on the book I’m now reading “It is impossible to exaggerate the sudden calm I felt. An overwhelming sense of mission eclipsed my fears. (…) I felt in full possession of myself.(…) I would be an artist. I would prove my worth.”
Yesterday my friend went to a Savages concert and came back with an album with this dialogue on the cover, from Opening Night, John Cassavetes:
The world used to be silent
Now it has too many voices
And the noises are constant distraction
They multiply, intensify They will divert your attention from what’s convenient
And forget to tell you about yourself We live in an age of many stimulations If you are focused, you are harder to reach
If you are distracted, you are available You are distracted, you are available You want to take part in everything And everything to be a part of you Your head is spinning faster at the end of your spine Until you have no face at all And yet if the world would shut up, even for a while Perhaps we will start hearing the distant rhythm of an angry young tune And recompose ourselves Perhaps having deconstructed everything
We should be thinking about putting everything back together
Sunday 14th, closing film of the festival, And You Belong (world premiere), following around queer hip hop band Scream Club + Q&A with director Julia Ostertag moderated by journalist Val Phoenix + live band Plaitum, in a different style from Scream Club but with the same DIY attitude
Also, our short film Corpuscle (that is now in a compilation along Annie Sprinkle and Maria Beatty!) was selected and is screening on Saturday at Steamy Windows!
Special thanks to Nuria Camprecios that was working hard with us but had to go to Barcelona.
So, book your tickets, tell your friends, and we’ll see you there!!
The extraordinary and dear, dear friends Post-Op are celebrating 10 years of impressive struggle and creative work within the field of gender and post-pornography, with a massive weekend filled with conferences, workshops, performances and, of course, sex parties, at Hangar, Barcelona.
Era sencillamente deseo de viajar; deseo tan violento como un verdadero ataque, y tan intenso, que llegaba a producirle visiones. Su imaginación, que no se había tranquilizado desde las horas del trabajo, cristalizó en la evocación de un ejemplo de las maravillas y espantos de la tierra que quería abarcar en una sola imagen. Veía claramente un paisaje: una comarca tropical cenagosa, bajo un cielo ardiente; una tierra húmeda, vigorosa, monstruosa, una especie de selva primitiva, con islas, pantanos y aguas cenagosas; gigantescas palmeras se alzaban en medio de una vegetación lujuriante, rodeadas de plantas enormes, hinchadas, que crecían en complicado ramaje; árboles extrañamente deformados hundían sus raíces hacia el suelo, entre aguas quietas de verdes reflejos y cubiertas de flores flotantes, de una blancura de leche y grandes como bandejas. Pájaros exóticos, de largas zancas y picos deformes, se erguían en estúpida inmovilidad mirando de lado, y por entre los troncos nudosos de la espesura de bambú brillaban los ojos de un tigre al acecho… Su corazón comenzó a latir aceleradamente, movido de temor y de oscuras ansias.
The film has a gentle intensity to it, and is composed of changes of light across the sea, sky and mountains. It shows movement where there is apparent stillness, whether in the formation of weather patterns, movement of stars, the illumination of a building by passing car headlights or boats darting back and forth across the sea’s horizon.
- Hus is a film which attempts to reveal the private and hidden layers of our habitation (…) It is a film about time and processes, about disintegration and construction. -In Hus I was interested in physically deconstructing and reconstructing one object. I imagined the house as a shell that separates “private and public spheres”. Through the use of animation I could open up this “shell” and examine it.
(I’ve recently wrote a proposal where I explained something very similar about the “house layers”)
One her incredible upside down landscapes (excerpt from Travelling Fields):