Museum open at 12:00pm
Cinema is closed now
Museum open at 12:00pm
Cinema is closed now
Magazyn MSN
Twelve notes on listening
Julie Mehretu
1.
To find the dynamic interventions [inventions] in the fabric of
existence and being. Mythic. The desire for testament of the soul.
Deep interior, mourning joy, exhilaration.
Medium, Muse, Vessel, Horn.
existence and being. Mythic. The desire for testament of the soul.
Deep interior, mourning joy, exhilaration.
Medium, Muse, Vessel, Horn.
2.
Multidimensional, polyphonic [1]: the conditions of being.
Stretching space-time – the limits of the unknown, uncharted – to reach in and touch that
depth. The intuitive insistence on being.
Reverberations in the break or,
as another possibility completely
(like abstraction),
pushing the boundaries of existence –
accessing larger, more complex, more consequential entities than most cultures permit one to believe [2] –
reconstructing imaginative capabilities
augmenting, morphing
to exaltation.
Stretching space-time – the limits of the unknown, uncharted – to reach in and touch that
depth. The intuitive insistence on being.
Reverberations in the break or,
as another possibility completely
(like abstraction),
pushing the boundaries of existence –
accessing larger, more complex, more consequential entities than most cultures permit one to believe [2] –
reconstructing imaginative capabilities
augmenting, morphing
to exaltation.
Album cover of jazz musician Jason Moran, inspired by the work of Julie Mehretu.
In 2017, while Julie Mehretu was working on the two parts of her monumental work HOWL eon (I, II) in an abandoned church in Harlem, she shared the space with her friend, jazz pianist Jason Moran. He improvised at the piano, while she worked on a lift set against the wall. The pieces composed in the church were later released by Moran on the album Mass, whose cover features a fragment of Mehretu’s painting.
3.
Contortions, or harmonious, spontaneous interrogations.
Flexing through the hall of mirrors of our
perforated realities. Fractally disseminating and reconstructing
drops, light, speed, cadence, shape, reality.
Compressing the myriad of notes into the
howl, wail, serenade
(like the mark).
Contortions, or harmonious, spontaneous interrogations.
Flexing through the hall of mirrors of our
perforated realities. Fractally disseminating and reconstructing
drops, light, speed, cadence, shape, reality.
Compressing the myriad of notes into the
howl, wail, serenade
(like the mark).
Mumbling inside the indiscernible whole
finding the sound of Nagasaki through a flute
mining the breaks and shifting the axis of the world
by how the sound touches you, by how the mark touches you.
(Kaija Saariaho says composition simply
‘a different type of imagination’ than abstract painting)
4.
In the face of impossibility, catching the detritus, the molecules
the mourning and the light.
Elegy, pain, love.
Mysticism touch takes one.
Heuristic touch, a transport
coming from another place, another entity, [entities].
Progress, futurity, imaginative other dimensions and
possibilities of love, being.
With hearts and tongues.
In the face of impossibility, catching the detritus, the molecules
the mourning and the light.
Elegy, pain, love.
Mysticism touch takes one.
Heuristic touch, a transport
coming from another place, another entity, [entities].
Progress, futurity, imaginative other dimensions and
possibilities of love, being.
With hearts and tongues.
liberation into indeterminacy[3]
A wayward life.[4]
The continual release of the fugitive.[5]
A wayward life.[4]
The continual release of the fugitive.[5]
5.
Representation – as definitive – exposes the failures,
abstraction pulls from that, mimics, slices, melds and spins it into multitudes
blowing out the limitless possibilities of space, touch, emotion and rebelliousness.
A modernist, futurist, inexhaustible being, offering his lungs, his sounds, his compositions
active steps within the language, the music, by himself.
Verging on recklessness
to break apart and out of paradigms, out of bounds.
How celestial and
infinite.
6.
Rearrangement of molecular structure.
Science, music, math, universal truths?
Innovative mining sounds, sixty billion years; history, nature, emotions, experience.
Hearing it, the experiential transformation
intellectually mining the systems, the galaxy, God
the cycle of fifths
existential consciousness
transcendence.
7.
Outside of the violence, hatred, racism and social death
that is prescriptive
Trane chases every other possible dimension.
Cosmopolitanism
Universalism
Buddhism, Hinduism,
God.
Notions of, the beguiling of
the opiate-infused brain
experiential. Again.
Beautiful.
8.
Constantly mining, mixing, evolving, shifting
insatiable, never satisfied.
Unstable ground
ruminations
the terrain, the tenor, the flight
a form of imaginative invention
refusal of fatality
with grave confidence,
‘I don’t believe in standing still.’[6]
Radical humility of the knowledge that our perception of
reality is fragmentary.[7]
9.
Free
going out on the edge as far as possible
liberation
through abstraction.
(remembering breaking free from portraiture to find a form, a language)
The breaking open of liberatory imagination
innumerable possibilities at once
ultimate compression of space-time.
When drawing, pull out of myself, lose place, go deep, into pressurized state
of dis-figuration, dis-embodiment
lose all sense of cultural self.
Get lost inside a beat, inside a sonic pulsing system of half links, half consciousness, halfwit,
find the BREAK.[8]
Free
going out on the edge as far as possible
liberation
through abstraction.
(remembering breaking free from portraiture to find a form, a language)
The breaking open of liberatory imagination
innumerable possibilities at once
ultimate compression of space-time.
When drawing, pull out of myself, lose place, go deep, into pressurized state
of dis-figuration, dis-embodiment
lose all sense of cultural self.
Get lost inside a beat, inside a sonic pulsing system of half links, half consciousness, halfwit,
find the BREAK.[8]
10.
Working:
Against the parameters of reality; the machinations of white supremacy constantly defining and delineating being; against the dominion of language, representation; against the constructs and methods of social death; in the face of trauma embodied; as a response to the terror, war and the determination to extinguish the singular and collective being.
Resisting, denying decimation into minute segments.
Working:
Against the parameters of reality; the machinations of white supremacy constantly defining and delineating being; against the dominion of language, representation; against the constructs and methods of social death; in the face of trauma embodied; as a response to the terror, war and the determination to extinguish the singular and collective being.
Resisting, denying decimation into minute segments.
11.
To look forward: the bits, the measures, data, infrastructure, symbols of power
soldering them onto the new machine, fusing the parts with marks that come and try
to form something else, legible, but descending into their own illegibility.
(the invention of a language, a system of marks)
The marks are comfortable with that,
they create the headache.[9]
To look forward: the bits, the measures, data, infrastructure, symbols of power
soldering them onto the new machine, fusing the parts with marks that come and try
to form something else, legible, but descending into their own illegibility.
(the invention of a language, a system of marks)
The marks are comfortable with that,
they create the headache.[9]
12.
“I always liken it to looking at the sun, hearing
John Coltrane is like the brightest light you can hear.” [10]
Mining from that deep, deep part of himself, to stretch and extend
space-time into the infinite cosmic ways of being free.
Can the place of intuition, interiority, be a place of communality?
A place of the murmurings, maybe even from the undercommons? Can that place be the ontological congregation of resistance?
Intuition as the ontological congregation of resistance.
A constant persistence of the imperceptible multitude of entities
who exalt the real. [11]