Ana içeriğe atla

HEAVEN&HELL




15.11.2010

The lower road on the small avenue seemed to meet a line, with a lengthy beginning, between Iran and Caldiran. The stacking of the cigarettes upon one another appeared to turn these packets into towers. I don't know what seduced me then, but maybe it was 'something/a sign' that I hid inside myself 'unkowing/aware' that it would turn into something else. Life has a death-like symbolism of its own, it makes itself seen through its skill of turning us into a 'thing' which it sticks in its pocket to take out whenever necessary. Life presented this to me as one on the dull, gleaming, mocking, unimposing surfaces of the cigarette towers. One was multitude, and the same was different.


(KAPITAL&PRESTIGE)




18/01/2011 ISTANBUL


I was by myself that day in a friend's studio. I lit the furnace and stretched out. A while later, I got bored and and picked a book from the shelf. What I came up with was a catalogue of Warhol. I remember staring at a page while browsing, and returning to it again and again. Something happened inside me that I couldn't grasp. Perhaps in my eyes, it had the power of prophecy. Had I suddenly entered the world of Warhol? Without knowing what was happening, I had discovered the eternity that was transient in his world, just for once...Heaven and Hell were only a breath away...I was to recreate the work, and this I did with the life I was within, and the ever-changing visions of my life...love from Chirico..

(HEAVEN&HELL)

Yorumlar

Bu blogdaki popüler yayınlar

The Language Habitat: an Ecopoetry Manifesto

The Language Habitat: an Ecopoetry Manifesto By James Engelhardt Ecopoetry is connection. It’s a way to engage the world by and through language. This poetry might be wary of language, but at its core believes that language is an evolved ability that comes from our bodies, that is close to the core of who we are in the world. Ecopoetry might borrow strategies and approaches from postmodernism and its off-shoots, depending on the poet and their interests, but the ecopoetic space is not a postmodern space. An ecopoem might play with slippages, but the play will lead to further connections. Ecopoetry does share a space with science. One of the concerns of ecopoetry is non-human nature (it shares this concern with the critical apparatus it borrows from, ecocriticism). It certainly shares that concern with most of the world’s history of poetry: How can we connect with non-human nature that seems so much more, so much larger than ourselves? How can we understan

Ağaçların Kokusu Sergi Metni

Kwahulé'nin tiyatro metinleri bir çok iç içe geçen alandan oluşan parçalanmanın nitelikleriyle birleşerek kendini kurar. Kwahulé'nin metinlerinde yaşadığı Afrika’daki iç savaşın dehşetini   Avrupa’da yaşayan Afrika kökenli halkların diasporik olarak tariflenebilecek “Yeni Dünya” olarak nitelendirilebilen , bir deneyime, psişik bir uzama gönderme yapar. Örneğin Bira fabrikası, anlatım tarzı olarak Kwahulé'nin karakterleri, caz müziğinin doğaçlama nabzını rezonans eden riff’ler ve rötuşlarla konuşmaktadır. Metinlerinde Afrika’ya verilen hasarı temsil eden şiddetli bir dünyayla yüzleşmeyi görünür hale getirmek için abartı ve gerçeküstü dokunuşlar yoluyla, giderek genişleyen bir küresel göçmen sorunsalına gerçekliğini ötekileştirmeden mercek altına alır .Oyunlarının tematik bağlamı, , yoksulluk, sürgün kapitalist açgözlülük, çarpışma ve “ötekinden” korkma - yani “ötekinin” ne şekilde tanımlandığı ile ilişkili bir bütüne gönderme yapar. İnsanın doğa ü

Jaamzin Magazin Featured by Mehmet Dere

JaamZIN Creative Studio is an online social media agency established in 2017 by Zin and Zannnie in Singapore. ​We feature creative people, emerging and established  contemporary artists in our online and print magazine. https://www.jaamzin.com/post/designer-mehmet-dere