The Peace of Wild Things

Photograph by Adrien Lahaye (@sergdady), 2023

I came across this truly lovely poem by American poet Wendell Berry and wanted to share it, how it offers a quiet space to simply be:

When despair for the world grows in me

and I wake in the night at the least

sound

in fear of what my life and my children’s

lives may be,

I go and lie down where the wood

drake

rests in his beauty on the water, and

the great heron feeds.

I come into the peace of wild things

who do not tax their lives with

forethought

of grief. I come into the presence of still

water.

And I feel above me the day-blind stars

waiting with their light. For a time

I rest in the grace of the world, and am

free.

Writing Time with Water

Artwork: Song Dong, Writing Time with Water, Beijing, 1995 (documentary photograph of performance)

When Chinese artist Song Dong was a child, in order to not waste paper and ink, Song’s father encouraged him to use water on a stone to practice his calligraphy. This formed the basis for his ongoing artistic practice, especially the series Writing Diary with Water (1995-) where Song kept a daily record of his activities written in water on a dark grey stone. As the characters were created, they would soon evaporate, signifying for Song, “…random fragments of memory, imprecise, incorrect, incomprehensive and incomplete.” Song’s performance highlights the centrality of water in his art, its transience, formless and ephemeral qualities, and he encapsulates this saying, “The allure of water is its formlessness.” This idea informs another series of works that began in Beijing, Writing Time with Water (1995). In an alleyway, Song wrote with a brush dipped in water, the actual time in numbers in a series along the pavement, which formed the substance of the artwork. The performance was documented through photographs: a progression through time as he wrote consecutive time signatures, illustrating how both time and water evaporated in the process. The alley in Beijing became a “tunnel of time”, revealing that as people live their lives, as Confucius is attributed as saying in The Analects, “Time flows away like the water in the river.”

Bound #2

Artwork: Beili Lui, Bound #2, 2009

I’ve written about the significance of red thread in the work of artists such as Akiko Ikeuchi, Chiharu Shiota, and Beili Liu (blog post here). Recently I came across this beautiful work by Beili Liu, Bound #2 (2009), which Liu made after moving to Austin, Texas and featured at D Berman gallery. Beili Liu wrote about the piece:

 “Two weathered, human-sized oak columns (reclaimed wood from shipping containers) stand in opposition to each other, with thousands of gossamer red threads spanning the distance between them. Each thread is held in place by a needle at each end. Although the thousands of lines connect the two columns and visually pull them towards each other, they are solidly anchored in place and stand silently apart.”

As I mentioned in the previous post, there is a Japanese folk story about the significance of the red thread, that two souls destined to be together are connected by an invisible red thread, and no matter the time, place or situation this thread may stretch or tangle, but it will never break.

Another Japanese folk story similarly speaks about this distance, connection and longing for a destined or lost love: If a boy ever loses his loved one, he will search for her in everyone he meets, and that if you can’t sleep at night it’s because you’re awake in someone else’s dreams. The sun and moon yearn for each other, but time kept these two people apart. So, the Creator painted the skies with eclipses, proving that even the most improbable love can unite,

The Day of the Flame

Image: Rafah, May 26th 2024

I wrote this poem, The Day of the Flame, because I could not be silent—

hundreds of bonfires were lit

marking the day of the flame

Lag BaOmer, a day long ago

when a rabbi blazed before

passing from this world

with an inner fire, revealing the light

and secrets of the Torah

while the sun did not set, so that now

the many bonfires reflected

the radiance of this holy scripture

and the light it brought to the world,

yet on this same day

the fire of bombs could be seen

not far from those celebrating

as Rafah burned

bodies incinerated in tents

in a space designated

for refugees as “safe”

children, all innocence and light

immolated as they were dug from

the smouldering ashes

and debris, dismembered

while the flames continued

to burn until dawn

a hell on this same earth


© Angela Jooste

small stories: Wandering Star

Artwork: Andrew Rovenko, The Tide, 2022

She was trying to find a way home.

            It should have been simple, except home was far, far away from here. An inner-city suburb of Melbourne, where her papa said they were lucky to have landed. Kira wasn’t sure what he meant, except they’d arrived in a plane when she was barely able to walk, her mama holding her, the feel of her arms an echo of memory that ached.

             “Why can’t we go back?” Kira asked.

Papa was quiet, looking out the window at the distant moon. “Some places can no longer be home.” 

It wasn’t an answer she accepted. Some places were always home, regardless where you found yourself. 

How could Kira explain the dislocation? The sounds of a new language that kept her on the edges of playgrounds, then at school. She was quick and agile of mind, but there was always the taint of fear: of being noticed, picked on, or isolated. 

And then her mama got sick, fading to become so thin Kira trembled to touch her, wondering if she’d still feel flesh, not air. 

“Will she get better?” Kira asked, after seeing her mama in the hospital. 

Papa held her hand as they walked to the train station. “The doctors believe she will.” She didn’t ask if they could be trusted to know, the sadness and strain in her Papa’s face scared her.

When she couldn’t sleep at night, Kira listened to the stars sing. That’s what she imagined, that the stars hummed, vibrated and zinged with energy. Seated before the window, the sky was vast as the ocean. It was the one thing she loved living here, the wide-open sky above their small house, and the garden her mama said reminded her of home. That other home where Kira had been born, where her parents and grandparents and their parents had been born. A city called Odessa. “The name always makes me think of the word odyssey,” Papa said, pointing to it on the globe in her room. That word meant a long voyage. Strange to think of a place that reminded you of leaving, not staying.

Papa would hold her some nights, the nightlight the only light in the room, as they searched the sky for the stars to anchor her. “See those three in a line? That’s Orion’s Belt.”

“A belt?” Kira asked, wondering how stars could be a belt.

Tracing with her hand in his, he pointed to the constellation of Orion the Hunter. And that’s how she began travelling the night sky, a star map now pinned to her wall, wondering if she could ever find her way back to where her life began and where her mama had been healthy, where there were still those people she called family. 

“Do you think there will be war?” She’d overheard her mama ask Papa one evening. They were cast in the light of the open fireplace, snug and close and Kira’s heart hurt in a good way seeing them. She didn’t understand war, only that it was a threat if they’d travelled so far to get away from it.

“There will be conflict. It’s one reason why we’re here, Mepi. For all of us to be safe eventually.” And then they were speaking of their families journeying here as well, as if they could somehow transplant generations into new soil.

Most night’s Kira and her Papa watched movies, the older the better, with a bowl of popcorn and her floppy Ragdoll cat, Totoro, curled between them on the sofa. And it was while they watched The Right Stuff about the space race to fly to the moon, Kira announced, “I want to do that.”

“Do what?” Papa asked.

“Fly to the moon of course!”

For the first time in so long, her Papa smiled. “Okay.” 

What Kira could never imagine was what happened next. One day after school, Kira came home with her Papa except he’d picked her up in the car, which was odd, and they drove down to the beach. Kira loved the sea and she was ready to race out to the water, when her Papa said, “Wait a minute.” He reached behind for a bulky bag, and handed it to her.

“You might want to put this on first to go exploring.”

Kira opened the bag and gasped. Inside was a helmet like she’d seen in the film, except this was light and made from papier mâché, painted a soft grey, along with light-grey coveralls, not quite a space suit, but close. 

“For me?” Kira whispered.

“For you, my space wanderer.” Kira squealed as she shoved her legs into the coveralls, squirming her way to fit her arms and body in, then zipping it up. With her high-top sneakers, she felt a sudden lightness like she could jump in the air and touch the stars. 

Running to the water, the helmet secured on her head, she peered at the sky, awash with pinks and orange along the horizon, her Papa nearby with his camera. 

Leaping from one rock to the next, arms aloft, she couldn’t help grinning, again titling her head to the sky. Papa had said that mama was coming home soon. Kira wondered if she could one day fly them all to that city they’d once called home. Simply lift them to the sky and follow the stars. Or maybe she was the one who would fly away, returning to them, wherever they chose to live.

As the sky deepened and one star blinked to life, her Papa stood beside her, reaching for her hand. “Ready to go home?”

Kira liked the weight of her helmet as it bobbed back and forth. She squeezed her Papa’s hand. “Yes.”

“Tomorrow we can explore that place you noticed with all the abandoned buses.”

Kira had been fascinated how all those empty cars and buses were like a metallic, skeletal landscape, another planet entirely. 

“Will you take more photos?”

Papa laughed. “Of my space wanderer? If you don’t mind. I think Mama would love to see your adventures. That okay with you?”

Again, that lightness, as if all she had to do was raise her arms for wings and she’d be aloft. It felt close to happiness.

Kira nodded, the world suddenly bigger, scary, strange and exciting.                

And she knew she was ready to explore it.

 

(Short story inspired by Melbourne-based Andrew Rovenko’s photographic project The Rocketgirl Chronicles, www.rovenko.com)

© Angela Jooste

A thousand years

Artwork: Photograph by Gus & Lo (@gusandlo)

A poem of love, longing and the shadow of endings written in mid-to-late 8th century Japan by Lady Heguri, and addressed to “Yakamochi”:

A thousand years, you said

As our two hearts melted.

I look at the hand you held

And the ache is too hard to bear.

(source: The Penguin Book of Japanese Verse)

Small stories: Quiet

Artwork: Mural by Elisa Capdevila, L’attente, Bayonne, France, 2023

For when you have

no words

hold fast

to the quiet

echoing inside you

 

© Angela Jooste

 

A Yoshitomo Nara Day

Artwork: Yoshitmo Nara, M.I.A., 2024

Here’s a recent drawing by Yoshitomo Nara, M.I.A (2024). Peace…the world needs it right now.

I Live Under Your Sky Too

Artwork: Shilpa Gupta, I Live Under Your Sky Too, 2004-ongoing, LED light installation

Having been born and raised in Mumbai, India, artist Shilpa Gupta has built her multi-disciplinary art practice around exploring diverse communities, languages, religions and beliefs. Gupta grew up attuned to the richness of her environment and the sensitivities that come from such differences, with her art often focusing on people on the fringes whose presence might be muted or isolated. In her LED light installation, I Live Under Your Sky Too (2004-ongoing), the title features as script in three languages, with English and Urdu being constant, while a third is included depending on where the installation is shown, such as the recent inclusion of Spanish for the exhibition in Centro Botín in Santander, Spain (2024). The different languages are lit up separately at intervals. The Urdu is significant for being the national language of Pakistan, as well as the official language of Kashmir, a region of northern India that is still in a territorial dispute between Pakistan and India. Perhaps this conflicted region illustrates the artworks intention, that no matter who we are, or where we live, we all live under the same sky.   

23:56:04

Since 1851, Foucault’s pendulum has hung in the Panthéon in Paris. It is a scientific device that demonstrates the Earth’s rotation. In 2022 artist Anne Veronica Janssens created an installation inspired by the swinging pendulum, 23:56:04. On the floor of the Panthéon, beneath the soaring dome ceiling, Janssens installed a round mirror, reflecting the architectural surrounds, and most notably the movement of the pendulum. The seemingly infinite reflection creates a submersive effect for the viewer, accentuating the hypnotic swing of the pendulum. Janssens’ artwork often deals with the fleetingness of experience and change, engaging the individual’s perception of the world and their body, mostly using light or glass and the optical effects as a medium.

The short video shows the installation of the site-specific artwork, and features Janssens’ description of the piece: "Enigmatic at first glance, 23:56:04 maintains a relationship to the celestial while being specifically linked to the arch of the Panthéon. 23:56:04 corresponds to the sidereal day, i.e. the length of time it takes the Earth to rotate once around itself before repositioning itself in relation to fixed stars. Its rotation was first revealed to the general public in the Panthéon in 1851, when Léon Foucault demonstrated its movement with the help of the pendulum."

The sound of stars

Artwork: Charlotte Charbonnel, Asterism, 2014

What do stars sound like? French artist Charlotte Charbonnel’s installation, Asterism (2014), recently featured in the exhibition Metamorfosi at LABS Contemporary Art in Bologna, Italy, attempts to answer this question.

In collaboration with NASA, Charbonnel was able to translate the pulsations of stars into sound from the long wave signals that stars generate. The sounds of stars were then diffused into elegant tripod structures topped by glass spheres to be listened to. Similar to many of her installations such as Nebula I, where she etched the ephemeral instance of a cloud (see my art story for this work here), Charbonnel presents what is immense and intangible yet permeates our very lives whether as energy, vibrations, light, or the changing forms of matter, as fleetingly comprehensible to our senses. With eloquent and poetic precision, Charbonnel’s artwork creates spaces to dwell in wonder at what is rarely discovered or thought about by many people as they go about their everyday lives.

Horizons

Artwork: Photograph by Pi Nousse (@pi_nousse), Taghazout, Morocco, 2024

Haven’t posted much lately, but I think I’ve just been looking for inspiration and to connect to whatever makes me feel free, and to what I love. Reflecting a lot on the past four years, the stress and craziness of it all, the sorrows, frustrations, heartbreak and small moments of joy. How in some ways my life, and my perspective of this world, got turned upside down and inside out. This photo popped out for me, the calm and simple beauty of this skater looking out on the sea and horizon in Morocco. The peace and freedom of it.

night magic

Artwork: Street art by Kenny Random, Italy, 2024

Some night magic in Padova, Italy, from street-art poet Kenny Random (@kennyrandom).

Fallen Angels

Artwork: Anselm Kiefer, Engelssturz (det.), 2022-2023. Photo: Georges Poncet

In Anselm Kiefer’s monumental recent exhibition at the Palazzo Strozzi in Florence, Angeli caduti (Fallen Angels), there appears an equivalence with the falling of the divine angelic beings, especially the figure of Lucifer, with that of humanity. The historical, philosophical and spiritual coalesce with the contemporary, whether references of war such as the wing of an airplane protruding from a canvas, the names of modern artists such as the French surrealist Antonin Artaud, or the presence of sunflowers which brings Vincent Van Gogh to mind and his capturing of the light of Southern France, all these flawed humans who reach for the ineffable, even the divine, but are also caught in the hellish activities of battle or grounded in the material world emphasised by the sheer materiality of his paintings and sculptures.

 The massive painting Engelssturz with its saturated gold-leaf sky and the angel either falling or flying above the earth, epitomizes the struggle between good and evil, the divine and earthly matter. Kiefer comments about the process of creating his art, “Destruction is part of the creative process. I place my paintings outside: I submerge them in baths of electrolysis.” The alchemical and transformative aspect of the process heightens the tension between the materiality of the work while the subject strives to reach beyond to higher dimensions of knowing and experience.

 In the last room of the exhibition, Kiefer features the words of the Italian poet, Salvatore Quasimodo, traced along the walls, “Everyone stands alone at the heart of the world/ pierced by a ray of sunlight/ and suddenly it’s evening.” The conflict between light and dark within the human condition, of striving to go beyond what is base and material, whether to embody goodness, to feel the divine in one’s life, to stand in the light, even when darkness prevails, is an ever-present theme in Kiefer’s art, and one that is never truly resolved.  

Beauty

Artwork: Mural by Millo, Beauty, Limassol, Cyprus, 2024

One of my favourite street artists Millo just completed this wonderful mural titled Beauty in Limassol, Greece, and is part of a series of 8 murals he’ll be working on in the coming months.

On the series of murals Mills writes: “With the aim of creating a unique public art square in the island of Cyprus, this mural and the next to come, will all be representing different moments of our life symbolically connected with the native island species and their meanings.”

Currents

California-based surf company Album Surf’s short film Currents, is focused on surfer Victor Bernardo simply riding waves, going with the ocean swells, and is kind of meditative, a little trippy, immersive and has some great drone footage. Directed by Matt Kleenex with FPV footage by Nicolas Gaillard. Check it out.

cat's claws

Love this! One big cat scratching wall by @oakoak_street_art. 😻

Artwork: by @oakoak_street_art, 2024

The Key

Artwork: Mural by Seth, Palestinian village, 2022

A poignant mural by Seth (@seth_globepainter), painted in a Palestinian village in 2022. Here’s what he wrote about it recently:

“This boy was painted in 2022 in Qalandia, a Palestinian village wedged between two Israeli settlements in the occupied West Bank. The key is an important symbol for refugees. It represents the memory of the home they left and the hope of being able to return there one day.
Today for the population of Gaza in hell, the key evokes not just the bombed-out home, but above all the possibility of escaping death and their unshaken desire to be able to live freely one day.”

donkey food

Artwork: Unmute Gaza @unmutegaza Barcelona Action, February 6, 2024, photo: @senyorerre (in support of the photojournalists in Gaza)

Poem for a little girl in Gaza, using some of her words:

who is left?
my parents, she said quietly
who is gone?
my brother and sister
can you sleep?
no, her voice barely above a whisper,
I shake at the noise, any noise
you must be tired?
exhausted and scared, she said flatly
and food? what do you eat?
donkey food, she said eyes dark and
depthless, empty
it’s disgusting, but it’s all we have
she said, with finality
and your home?
what home, she said, turning away
it’s gone

© Angela Jooste

Shinobi

Artwork: Paste-up by @neftnik, "Do not approach…dangerous squatting ninja with attitude”, Melbourne, 2023

Just finished watching House of Ninjas, (season 1), which is great and I highly recommend (learned the real name for ninjas is “shinobi”), and I came across this pretty awesome paste-up by @neftnik in Melbourne. Crouching ninja, “Do not approach”!!!