Secret B-Sides of the Song of Songs by Robyn Art

Music to rattle your gourd to

Music to maul the Beloved to

Music to maul the beneficent effigies of the Beloved to

Music to quiver astoundingly to

Music to breathe through a rubber gorilla mask to

Music to mangle the apparatus to

Music to stroke the cloistered thighs of strangers to

Music to assemble -the -hand truck- while- fully -engorged to

Music to finger appendages to

Music to stroke the faceless multitudes to

Music to say I-love-you-and-can-I-ram-this-head cheese-down-your-throat to

Music to smear undulants across the haunches of the Faithful to

Music to sustain moisture-related injuries to

Music to ream the corporeal corridors of your soul to

Music to jostle purposefully to

Music to swaddle the meat of infamy to

Music to heave against flesh-hillocks to,

Then leave by the swinging door.

Michael Powell and Emeric Pressburger’s 1951 version of Jacques Offenbach’s opera “Les Contes d’Hoffmann”.

We should not be.

Here.
We should not.
Here.

We meaning
me and you and you.

Should not. Be.

Here. I mean. Love.

Of possession. Love.

We. Do not. Belong love.
Here.

Possess we should. Not
belong.

We here. Mean. Love.
Possess. Here.

Possesses we should. Be
not we. And here.

Love here we.
Belong possess. Here.

Love and mean.

We. Here. Mean.

Love. You and we.
Here.

Should not here. Love.

–without a ghost of a chance

Belong.

Text extract from “Key Bridge” by Ken Rumble.

By Sang Bleu contributor Vidya Gastaldon!

OBJECT: Public lecture by Yann Chateigné Tytelman

TIME: tonight at 7.30pm

LOCATION: Piet Zwart Institute, Rotterdam

CONTENT: Mimetic Powers: Modernity and Its Double in Art, Theater, and Anthropology

SYNOPSIS (extract): This lecture will focus on the notion of the “mask” in order to approach the theatrical dimension of works by different artists based on a look at various forms of popular rituals through specific methodologies. The lecture will be divided in three parts. 1) “Negative Joy: Art and Folk Rituals” will effectively explore the anthropological aspect of works questioning transgression and mimicry in popular culture. 2) “Effigising: A Living Iconology” will study the becoming picture of living bodies in researches activating a speculative mise en scene of history. 3) “Counterworlds: Unmasking through Unstable Identities” will interrogate the political dimension of projects by or with specific communities creating their own universe.
To be evoked, among others: fakes, copies, allegory and caricature, specters, demons, grimaces, chimeras, grotesque, aliens, science fiction, ormanent and décor, entertainment, decadence, degeneration and devolution, trickery, pop, impostures, mirrors and illusion, secessions, communes, imaginary and secret societies, fear, spectacle, joy, sublime, utopias, eccentricities, transvestite, impersonators, animals, fauns, wild men, burlesque, comedy, rock, violence, otherness, alterity, folklore, make up, parties, camp, trance, dance, and hallucination.

Voltaire’s death mask

In Pier Paolo Pasolini’s 1970 article “Unpopular cinema” (Il cinema impopolare), now included in “Heretical Empiricism”, he articulates in detail the non-dialectical relationship between cinematic author and cinematic spectator in terms of liberty and liberation. He starts by abruptly suggesting that liberty is ultimately nothing else than “the liberty to choose to die”.

This oppository (oppositorio) conflict which takes place in the “unknowable depth of our soul”.

Boy with Toy Soldiers
c. 1876
Antonio Mancini (Italian, 1852–1930)
Oil on canvas, 29 1/2 x 24 3/4 inches
Philadelphia Museum of Art, Vance N. Jordan Collection, 2004

Her hagiography tells us that Lucy was a Christian during the Diocletian persecution. She consecrated her virginity to God, refused to marry a pagan, and had her dowry distributed to the poor. Her would-be husband denounced her as a Christian to the governor of Syracuse, Sicily. Miraculously unable to move her or burn her, the guards took out her eyes with a fork.
(wikipedia)

for some reason, the weird thumbnail size image really seems to bring something to the somewhat kitsch version of the song! does anyone know who the author is?