j’ai répondu que, certes, mes poésies ne changeront pas le monde

Se ora tu bussassi alla mia porta

e ti togliessi gli occhiali

e io togliessi i miei che sono uguali

e poi tu entrassi dentro la mia bocca

senza temere baci diseguali

e mi dicessi "Amore mio,

ma che è successo?", sarebbe un pezzo

di teatro di successo.

Patrizia Cavalli

tratto da: Le mie poesie non cambieranno il mondo (1974)

A propos de:

Tournée, de Mathieu Amalric

Ce film est une imposture. Et l’unanimité des critiques à son sujet est carrément suspecte.

Hotel Chevalier

Hotel Chevalier is a short film by director Wes Anderson, released in 2007. Starring Jason Schwartzman and Natalie Portman as former lovers who reunite in a Paris hotel room, the 13-minute film acts as a prologue to Anderson's 2007 feature The Darjeeling Limited. It was shot on location in a Parisian hotel by a small crew and self-financed by Anderson, who initially intended it to be a stand-alone work. Its first showing was at the Venice Film Festival première of the feature film on September 2, 2007.

Paris – You don’t need eyes to see

Above - Renaud Jerez, Produire le même: comme négativité, et différence, 2010. Courtesy: Galerie Chez Valentin, Paris.

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“You don’t need eyes to see”, installation view, 2010. Courtesy: Galerie Chez Valentin, Paris.

“You don’t need eyes to see”, installation view, 2010. Courtesy: Galerie Chez Valentin, Paris.

Matthew Smith, installation view, 2010. Courtesy: Galerie Chez Valentin, Paris.

The collective exhibition “You don’t need eyes to see” at Galerie Chez Valentin, Paris, brings together works by four young artists who utilize a primarily analytical approach in their plastic research. Their works celebrates doubt and uncertainty in an anti-spectacular style involving a spare, rational use of matter.

French artist Benoît Maire (left) explores our affective relationship with forms, sounding the depths of the visible by means of a self-reflective art that disturbs the customary language/image equation. The Milanese artist Luca Francesconi (right) also bases his reflection on a dialectic of the view, probing the relationships between man and matter, controlled human action and the more unpredictable action of nature.

Navid Nuur is concerned with dissecting the mechanisms of perception, creating new links between language and object, showing a taste for rudimentary compositions of ambiguous meaning. Renaud Jerez, instead, makes light of platitudes and standardized patterns of perception; his interest lies in bringing into relation with one another disparate objects, that then enter into negotiations on both the spatial and conceptual levels.

The works of the young English artist Matthew Smith often disembodied forms take meaning as far distraction and undifferentiation. The ideas are the objects, and the visible is therefore more resistant to the viewer, sometimes even becoming completely hermetic.

(source: www.moussemagazine.it)

Hommes et Femmes

« Ferdinand : Un poète qui s’appelle revolver... / Marianne : Robert Browning / Ferdinand : Pour échapper / Marianne : Jamais / Ferdinand : Bien aimé / Marianne : Tant que je serais moi / Ferdinand : Et que tu seras toi / Marianne : Aussi longtemps que nous vivrons tous les deux / Ferdinand : Moi qui t’aime / Marianne : Et toi qui me repousses / Ferdinand : Tant que l’un voudra fuir / Marianne : Cela ressemble trop à la fatalité ».

Robert Browning, « Une vie dans un amour »

[SPINOZA : La liberté de nos désirs n'est qu'une illusion]

Je laisse souvent la réflexion s'abîmer, compliquer les rapports pour espérer flotter au bon moment. Spinoza me penserait-il un peu libre ?