#Jean Roberti

[battyaboutbooksreviews]

💖 Sapphic Books Coming Out August 2024

🩷 There's something especially sweet about a sapphic romance. Here are only a few of the amazing sapphic books hitting shelves in July 2024.

💖 Which ones are you adding to your TBR?

Contemporary 💖 Can’t Buy Me Love - Georgia Beers 💖 The Heart Wants - Krystina Rivers 💖 Hers for the Weekend - Helena Greer 💖 You Can’t Go Home Again - Jeanette Bears 💖 Worth the Wait - Kenna White 💖 One Summer in Miami - Amber Rose Gill 💖 The Last Woman I Kissed - Venetia Di Pierro 💖 Changing Her Tune - Amanda Kabak 💖 Chance Encounter - Renee Roman 💖 The Italy Letters - Vi Khi Nao 💖 Our Slice of Paradise - Tiana Warner 💖 Dancing With Dahlia - Julia Underwood 💖 Untethered - Shelley Thrasher 💖 Comes in Waves - Ana Hartnett 💖 Libertad - Bessie Flores Zaldívar 💖 The Avian Hourglass - Lindsey Drager 💖 Mamele - Gemma Reeves 💖 Mighty Millie Novak - Elizabeth Holden 💖 A Bánh Mì for Two - Trinity Nguyen 💖 Don’t Let It Break Your Heart - Maggie Horne 💖 Chance Encounter - Renee Roman 💖 Southern Lights - Liz Arncliffe

Paranormal/Horror 💖 The Curse - Alexandra Riley 💖 The House Where Death Lives - ed Alex Brown 💖 Full Shift - Jennifer Dugan & Kit Seaton 💖 The Dark We Know - Wen-yi Lee 💖 This Ravenous Fate - Hayley Dennings 💖 Come Out, Come Out - Natalie C. Parker

Fantasy 💖 The Crimson Crown - Heather Walter 💖 The Phoenix Keeper - S.A. MacLean 💖 Oath of Fire - K. Arsenault Rivera 💖 The Palace of Eros - Caro De Robertis 💖 Gentlest of Wild Things - Sarah Underwood 💖 Queen of Dreams - Kit Rocha 💖 The Sunforge - Sascha Stronach 💖 The Ending Fire - Saara El-Arifi 💖 Skyscraper - Gun Brooke 💖 Fyrebirds - Kate J. Armstrong 💖 The New Camelot - Robyn Schneider 💖 The Storm and the Sea Hawk - Kiran Millwood Hargrave 💖 Practical Rules for Cursed Witches - Kayla Cottingham 💖 Netherford Hall - Natania Barron 💖 The Duchess of Kokora - Nikhil Prabala 💖 Rise and Divine - Lana Harper

Historical 💖 Not for the Faint of Heart - Lex Croucher 💖 Accidental Darlings - Crystal Jeans

Mystery/Thriller 💖 Better Left Buried - Mary E. Roach 💖 A Midnight So Deadly - Wren Handman 💖 Death At Morning House - Maureen Johnson 💖 A Gravely Troubling Discovery - Hannah Hendy 💖 Verity’s Game - Jennifer Giacalone

Sci-Fi 💖 Time’s Agent - Brenda Peynado 💖 New Adventures in Space Opera - ed Jonathan Strahan

[maudeboggins]

I am interested in: early 30s actresses who died before their could progress into the 40s:

-Jean Harlow -Lyda Roberti -Lupe Velez to an extent

[queermtl]

QUEER MTL THINGS TO DO: DECEMBER 2022

Every month, Montréal’s queer calendar is stuffed full of exciting events, parties and performances. Here’s some of our picks for the best LGBTQ+ things to do in the city this December. For further announcements, follow QueerMTL on Instagram, Twitter, Facebook and Tumblr! Got an event coming up? DM it our way!

EVENT OF THE MONTH:

🎤 Marking their first concert presentation in Montréal, lesbian-event organizers Ellelui present Constellations: A Benefit Concert for Black Healing Fund at Théâtre Fairmount on Friday, December 16, 2022. Featuring performances by Naïka Champaïgne, OK Naledi and Fraud Perry (with bonus afterparty sounds from KidCrayola), proceeds will assist the volunteer-run Black Healing Fund in providing funding for mental health and wellness services to low-income members of the community. Tickets are available at Universe.

EVENTS

🕯 In recognition of World AIDS Day, Montréal’s Parc de l’Espoir (founded by ACT UP Montréal in 1991) hosts a Vigil for those lost to HIV/AIDS. Free and open to all at 5:00 PM. 🎤 Ria Mae comes to Le Studio TD on December 1, 2022, with Virginia to Vegas and Noelle. Tickets at Evenko.

🎥 Co-presented by Séro.Syndicat // Blood.Union - BUSS, AIDS Community Care Montreal (ACCM) and Queer Film Club, Day Without Art: Being & Belonging features works by HIV-positive artists and a Q&A with artist activists Camila Arce and Mikiki. At Cinéma de Sève on the Concordia University campus at 6:30 PM. Tickets available at the link above.

🎥 All the Beauty and the Bloodshed, documenting both photographer Nan Goldin’s luminous career as well as her fight against big pharma, comes to Cinema du Parc from December 2, 2022. 

🎤 The Rufus et Martha Wainwright Ensemble + Famille host Étoiles et Toi, their annual holiday spectacle at Église Saint-Jean-Baptiste on December 3, 2022. Pop Montréal has tickets here. 

🎭 GW Brazier’s Brother 12: A Cult Rock Opera, based on a true story, receives its world premiere on December 3, 2022 at O Patro Vys. Tickets at thepointofsale.

💪 Diablos Boylesque: Holidays Edition is coming to Bar Le Cocktail on December 4, 2022 to answer the question as to just who’s been naughty or nice this year. Tickets at Eventbrite.

🎤 Ellelui’s Sapphic Open Mic Night welcomes one and all on December 6, 2022 at The Diving Bell Social Club. PWYC, with nobody turned away for lack of funds.

✏️ Drink & Draw returns to Bar Le Cocktail on December 7, 2022 (and again the week following on December 14, 2022), featuring live models to sketch. Presented by Hommehomo.

🐶 Montréal’s puppy community gathers at Bar Le Stud on December 8, 2022 for Puppy Noël.

📚 The Violet Hour Book Club will read and discuss Cantoras by Carolina De Robertis and gather to discuss on Saturday, December 10, 2022 at the Archives gaies du Québec. (They’ll also be reading The End of Eddy by Édouard Louis for their next meeting on Saturday, January 3 2023).

🎤 The Backstreet Boys Burlesque takes over Café Cléopatra on December 10, 2022. Tickets at Eventbrite. 

🎤 Sing your heart out with Boney M at the stately L’Olympia on December 14, 2022. Tickets here.

🎤 The Tales of Gender Affirmation Open Mic Fundraiser featuring comedy, music, poetry and more alongside special appearances from Raquel Maestre, Binya Koatz, Alo Azimov and a Respectful Roast Battle with Gowtham Kasy will take place at The Diving Bell Social Club on December 15, 2022.

🐻 The bears will be out in force at Bar Le Stud on December 16, 2022, to celebrate Bear Noël.

🌱 Root to Branch brings the Queer Solstice Swap to Frigo Vert on Saturday, December 17, 2022, an opportunity to buy or trade with local QTBIPOC artisans and makers.

🤣 Queer Comedy All Stars is back at the Diving Bell Social Club on December 29, 2022 with host Lucy Gervais, All Azimov, Maka, Darragh Mondoux, Ash Davis and headliner Dan James. Tickets, which usually go quick, are available here.

🤣 Stand-Up St. Henri Open Mic runs every Tuesday throughout the month of December at Montréal Improv. With a focus on giving stage time to women, non-binary, queer comedians and allies, it’s the perfect fit for comedy fans. Tickets at Eventbrite.

PARTIES

🥳 Celebrate 27 years of Bar Le Stud on December 3, 2022! 

🥳 Techno Haute Couture: Oil Edition brings a night of electronic sounds to KIN Experience on Saturday, December 3, 2022. Tickets available here. 

🥳 The Dark Eighties: Cult 80s Hits Party returns to Bar Le Ritz PDB on Friday, December 9, 2022 with a night full of your goth faves. Don’t forget the eyeliner, and purchase tickets at Eventbrite.

🥳 Queen & Queer celebrates their seventh event and first anniversary with a birthday party at La Sala Rossa on Saturday, December 10, 2022, featuring sets from resident DJ Sam and special guest DJ BlackGold. Tickets here.

🥳 Les Divas d’Hochelaga take over Blockhaus on December 10, 2022 with All I Want pour Noël dance party, featuring all your favourite pop divas’ seasonal hits.

🥳 The F4gtory Collective brings their Industrial dance party MANUF4GTURED to Bar Le Ritz PDB on December 10, 2022. 

🥳 Tension Shibari school and lifestyle space in Montréal’s gay village is hosting a Queer Dance Party on Saturday, December 10, 2022.

🥳 Homopop’s popular tribute nights continue with a Beyoncé Dance Party (featuring local queen royalty Kiara and Lady Boom Boom) on December 16th at Cabaret Berlin. 

🥳 District Events’ Frosty guarantees to heat up Club Soda on Saturday, December 17, 2022 with sets from DJ Ashley Gauthier and DJ Isaac Escalante. Grab tickets here. 

🥳 Super Taste MTL want you to dance the night away at VOULEZ-VOUS 2023 to all your favourite new-wave and disco hits at Bar Le Ritz PDB. Tickets available here.

🥳 Say goodbye to 2022 in style at Cirque De Boudoir’s Carnavalesque 2023 Snow Ball New Year’s Even Party at Bain Mathieu on December 31, 2022, hosted by the legendary Plastik Patrik. Tickets at Eventbrite.

🥳 Bar Le Stud rings in the new year with Party du Nouvel An on December 31, 2022, featuring free entry. We’d suggest arriving early!

🥳 Celebrate New Year’s Eve at the epic L’Olympia in the heart of the Gay Village with music from Domeno, TIZI and Michael Louis. Get your tickets here.

DRAG

👑 In collaboration with Montréal’s gay rugby team Armada Montréal (who trade in their jerseys for drag), Gisele Lullaby hosts Armado – Edition Noel at Cabaret Mado on December 1, 2022. Tickets here.

👑 Self-professed “tiny shapeshifting glamour demon” Yikes Macaroni brings Chum Dump #6—Joyeux Noel Open Stage to Bar Le Cocktail on December 3, 2022. 

👑 The incredible drag chameleon Jimmy Moore brings Merry Christmas: Jimmy Moore Does Mariah Carey to Cabaret Mado on December 3, 2022. Tickets available here.

👑 Montréal drag kings Rock Bière and RV Metal host Bière et Métal featuring the city’s finest fellow talents on December 8, 2022 at Cabaret Mado. Tickets here.

👑 Lulu Shade presents Garden of Shade – Winter Edition at Bar Le Cocktail with Sarah Winters, Misty Waterfalls, Sally D and Niko Lubie on December 13, 2022.

👑 Underkingstruction: Werking in the Snow Edition, hosted by Ad’Horrible, Niko Lucie and Mike Oxlong promises to be the most unique holiday drag open stage show in Montréal on December 15, 2022 at Notre-Dame-Des-Quilles. Sign up here to perform. PWYC!

👑 Miami Minx brings Les Folies Draglesque to Cabaret Mado on December 15, 2022, a night open to all genders and bodies in the spirit of burlesque, drag and all things in between. Tickets available here.

👑 Uma Gahd and Selma Gahd bring their spooky COVEN back for its December edition featuring Bijuriya to The Diving Bell Social Club on December 16, 2022.

👑 Lady Boom Boom hosts La Revue Drag 2022 at Cabaret Mado on December 18, 2022, featuring Clay Thorris, Démone LaStrange, Jessie Précieuse, Miss Mira Belle, Pétula Claque, Walter Ego and surprise guests. 

👑 Celebrate the holidays in drag with Deux folles à Noël at Bar Le Cocktail on December 22, 2022, hosted by Miss Butterfly and Michel Dorion. Tickets here.

👑 Wow! A special finale screening of Canada's Drag Race: Canada vs. The World is coming to the Olympia de Montréal on December 23, 2022! And the line-up is incredible, featuring Anita Wigl'it, Gisele Lullaby, Kendall Gender, Kiara, Kitana Sweett, Kiara, Rajah Ohara, Rita Baga, Silky Nutmeg Ganache, Stephanie Prince, Vanity Milan and Victoria Scone, hosted by Uma Gahd! Grab tickets at the link. 👠

👑 Rainbow hosts Bingo Disco on December 28, 2022. And what’s better than drag bingo? Not much! Tickets here. 

👑 Jimmy Moore keeps the hits coming with Jimmy Moore personnifie Lady Gaga at Cabaret Mado at both 7:30 and 10:00 pm on December 29, 2022. Tickets for both shows available here.

👑 Crystal Starz hosts Starz Night at Bar Le Cocktail with special guests Sasha bags and Lana Dalida on December 29, 2022. Pre-show tickets are available at lepointdevente.

👑 Ring in the New Year at Bar Le Cocktail’s Bonne Année 2023 on December 31, 2022 with queens Ciatha Night, Crystal Starz, Chouchoune, Chibouki and Sally-D. Tickets available now.

👑 Every Tuesday, Canada’s Drag Race season 3 winner Gisèle Lullaby hosts Full Gisèle at Cabaret Mado. Tickets and schedule at Cabaret Mado’s website.

👑 On Friday nights, the legendary Mado Lamotte hosts Mado Reçoit at her namesake club, Cabaret Mado. Each week, she shares the stage with a hand-picked roster of queens. Tickets and lineup info here. 

👑 Bar Le Cocktail’s regular weekly events include Butterfly de Nuit with Miss Butterfly on Thursdays, Vendredi Fou with Michel Dorion on Fridays and Samedi Drôles de Drags with a rotating cast of queens. Check listings for specific details, and pick up tickets here.

[byneddiedingo]

Susan Fleming, Jack Oakie, and W.C. Fields in Million Dollar Legs

W.C. Fields and Margaret Dumont in Never Give a Sucker an Even Break 

Million Dollar Legs (Edward F. Cline, 1932)

Cast: Jack Oakie, W.C. Fields, Andy Clyde, Lyda Roberti, Susan Fleming, Ben Turpin, Hugh Herbert, George Barbier, Dickie Moore. Screenplay: Joseph L. Mankiewicz, Henry Myers. Cinematography: Arthur L. Todd.

Never Give a Sucker an Even Break (Edward F. Cline, 1941)

Cast: W.C. Fields, Gloria Jean, Franklin Pangborn, Margaret Dumont, Susan Miller, Leon Errol, Jody Gilbert, Irving Bacon, Mona Barrie, Billy Lenhart, Kenneth Brown, Minerva Urecal. Screenplay: John T. Neville, Prescott Chaplin, W.C. Fields (as Otis Criblecoblis). Cinematography: Charles Van Enger. Art direction: Jack Otterson. Film editing: Arthur Hilton. Music: Frank Skinner, Charles Previn.

Was ever man so troubled by his hats? Million Dollar Legs and Never Give a Sucker an Even Break bracket W.C. Fields's career as a movie star (discounting his appearances in short subjects and in supporting roles in silent films and early talkies), and both begin with him struggling to manage a hat. It's a top hat in the earlier film, and it insists on having its own way, culminating in a familiar Fieldsian bit in which it rides behind him on the tip of his walking stick. In the later film, it's a straw boater whose lid comes to grief. Fields had crafted these hat tricks in vaudeville, and they remain one of the most endearing aspects of a potentially unlovable personality. Fields always managed to triumph over his own persona: Although Sucker finds him repellent in aspect, the broken veins of his nose and face unconcealable by any makeup artist, you can't help understanding why Gloria Jean, in an odd curtain line, proclaims her love for him. Both films are the apotheoses of the kind of sublime lunacy that emerged from his imagination, the former a surreal take on the 1932 Los Angeles Olympic Games, the latter an assault on the movie studios that tried (and usually failed) to stifle that imagination. Although Fields was surrounded in both films with superb comic talent -- Jack Oakie, Andy Clyde, Ben Turpin, Hugh Herbert, Franklin Pangborn, Margaret Dumont, Leon Errol -- they are dominated by him, braving it out through all reversals of fortune that may come his way. The greatest film comedians -- Buster Keaton, Charles Chaplin, the Marxes -- were similarly indomitable. The climax of Sucker is a spectacular car and firetruck chase that owes more to the direction of Edward F. Cline, veteran of the golden age of silent slapstick comedy, than to Fields, but we shall never see his like again.

[libidomechanica]

Untitled (“Her view: with her crimson soul just”)

A Meredith sonnet sequence

               1

In a love we from Heav’n, and his last rise?   That some exceeding milk above: but, that   sing, my till death doth three Elisa rebuff then I went you heart, I have a man? Her view: with her crimson soul just melts   wheretofore wastericalley care, all   wooing upon the poor clothere, I seen. All the dry cost and as in despairst make dore and now to man’s dear; ’ He tears—and weeping   me ears she is advants, but Gouda   sun’s ease that roberty. That to a hand blooms kept out of feel tin his like town. Seem the fear, whose did her good I stolerable   on eart the Nose lowde, but the flowers?   The hidde, and did cruel wide-sweet Sprite forlorne; even thro’ him he wistful mayst the strong.

               2

Silver semi-demire. When there is they   wine out a day can self, wheel, and drunker   yet, love I huntest Jean. Of deaths oft an excuse brought. For Pan, long the scarce adders wither prayd the grey; and we whom never   nor at the Foxes both in fraugh hiding   doubt or in pure of my touch, a brow her and isolate: such ther noise means his best me Death. And limb, love in baund that minutes   as that happy blood! Do a book the   languishine bettes him; to his palace walls to eye, do not love: beforned and all the detains, field. Between the same of light   where sweet! In a pure a little be it   bless they with from the east flank, but when the seen caught, play. You the sky, she sun gleamins.

               3

The people that list neverybody   kens which with shamel! And a turtled with   fair, the luxuriously maiden flyes, and many would beardes have reast, yet I finger Muses o’er wreat his chase arms, all   whitehear think the would before, forlorn, choir   own in has cold you for my breath, O Love’s strust convictor? And ther in comming to make my minute’s stopped so mermaid’s elbows   the custom the dry carse in alone,   and on the Tast, trembling you art of all come so me, play, to gaze her eyelids to the Future the more their shaped him vp lusted   their age, and graces death; all again   of thing the view of revellen band. Men; the whose the venty; how sibility.

               4

Wild oft little half to delight, and   tributary bride that a sun, with me! He   gard’n-nymph, of more of one song, Death sweet small those long among in your wan old of loved at the chance from the of my tunelesse   reuery practed? Lest—and for throat shall: o   God: see him oppresence,—a pierceived your celes sphere is at evil’s Own Brigade: and soon the renew’d! And for a tend,   so are no onely whose of who looks   infantage. The fit that life any return’d and therwise who press sick-thou could the blood bless lips of part! When my verdure,   insidiot a semlokes up. Or, if her   acacies; withou sent anges, walks. You tale came tore changer two wine else the she.

               5

‘Fore Spring doth you, haue should work: ament!   And me gang of Cullamber look a leaf   those lips aspect in the greath retofore that blazed, starving last in this poison with prospellation’s wrapt in the white, whispere:   and that was: betters to chearth, and bites; but   my Like the roses proposed, and like perfect to heauye hath all to youth: to mind, this sleep for to me a iot, sweet starts meansed   mind grey; a cented. Spur lip the with louder   han humbs-ups, with fetch a chillows-trees, while healed his eyes broke on ever shoneysuck to ther flute, adieu, his prouded age-   bed to plumbe tender of fervers a which   of will small in me, and me. A breaste of bless, said, But I founties paws, she Death shrought?

               6

And not be deathed was these their exercing   cold; herkness stag. What birds, but that to   know, I would ring to long doth and all vnder; the ground, whose wrung a sun through see how it forth much: what all mind eye; fiendly beauty   bright I do well king to think away true?   And where, left so? And I am aboue whole wene must with Sappho’s prove e’er between put fear shrunk from bonds now she is the pimper,   that is bloom I am times vnrest was do   keeps, sang: she make he stead, what though sweet our tongue; with me she unrepresence done, fed with seeing nother humb and just not true-   sweet thout have yond purplex’d this reight to my   love me bear and now the such a will out mocke through no dive-trees. So I, it by first.

               7

Hour own shower tied: what stormer which which   the pay as that like a mane, each phenomed   done: but in thought with devour, or some wept a blisse. Spins having when you; I lo’esome young Clyde nor thing equall fore honey   did naughter; with kind, the could fault, in   me sents to be yhent, but love men for him be thine only to relen purple of blissecting sted a glass of one inward   fly; so throud, that darlie the land now falling   wave, come that tears of his you, and like enhanced there is reary lands, a shut did the gone, till be in the sand two acutely   state; and sweet till you gives. My are of   wil be there, or descenium an and all of ye and dart, thing one that half-away.

               8

Indeed, Sweetest remain, and on: then love   freels that ere that on themself-pleasances   antificately their fyre, and round of your cease, someth ice; nor aye staring or sunshing me by once son lips day, all   was golden doth a battain suffinges   that he shadowing at your hears: no cure with scroll the laid: I am.—But jestern gather self she whose that when doth petal,   I throne, for some gave: all in compact the   was beauties in thern so it. I staid to on a when arries anothing and rosebud takes immating cloud: and ride their own   Ellis Indiving jennes bowere wild   the her loue doth me, hey him wits, and with a close day: for late; my mark sprinth to mind.

               9

Seem is a spinst the yearly hands he but   then I withal, since and wine others the   should pulsion’s fair the strive if shapes. And from the from her, yet I shall clear and should die— somethink the next dries me light bring mad;   from pushinerve am Love, till. Her birth   a true leaves, told apples, approcesse he careleasure so friendship and note, a sigh his step, and other creat to your trous   mad with temples with sever all her foxlike   dest for hip; the night on thy heauenly zone. If the move all me, as the piroue lesse, while shed had enty head. Unless at nimbly   mee. Such too watch’d his but hath drank his   burning armed, and for touchsafe to kissing low to bee, which violin friends toyle.

               10

As soft each is full over cruell I mightning   how the laught, he pleasure. The she troubled;   a should have held out the Baltic inst to spotlit. Fire and she strouble her your having still be outs an and that loved hort   us dry eyes doth us, that reast in   disciple. Sweet, I may nerve, and which I hath my sweet, who said her eyes ordere tide boyhood as changes, the hast appease. Alone,   bearing, and doth one’s flyes, you shape of   the neare shadow flint-head? Be sunflower, I wrongst they baser knots, pure beautifull malice one, that as proved, it ere alone,   as thou has bling like a poore and labyrint   heauing all the sever ours into this or ivory increams dost those both the hair.

               11

Than and fairests, outside of the Frown thy   while I behind oft, have lost she kissing   would that fall, so spoutes, and herein sky apace. Askin lies vpon the saves at my texting after masten’d; had herselfe folloa;   a vertues, and not all the what know   no feel redoubt that we tune stone come fun of the secret slave, nor Wat, pain! Now Natured of there upon the ease, I gaed wreck,   till ye happy arms for onto this Indeeds   all common a moments, that longed: I prayers hard youth; for mind with feare of the between alway, for a dews freen silent,   unto. Let the he kiss. Eye doth come recond   a cupped: the she hendy O, my love enuide more shame of life it out-brave.

               12

Foul is maste. A Gyges’ simple: she me.   Her end; april pleasant still her ring from   streignets I was the greasinging that I saw head, and plumes arms a garden the great graced sweet perjured; and closure born the   womentangle, and loverse and gay my embrew.   These most may deered marrow! The last bittered care, wheel trical, or with makes her back to be quench out sinners strue, two   a come—toll the falling, all out giuen, and   blind a hand hunting all maze out a strance, her the doth fell is eye are boar heed windoor, as thirty Mother forgot they, with   that given anthee’ I wait, in vain our carnall   a steadful richly oak on the old all, those lovershoot have frets him in here!

               13

For though not creaths of mere is a gladly   lives fool to thicke a mought voice that is gone.   A frayle ough as is true! But loves indue. When white for a her soul wore. Now the teare thought we all than we say this fast, yours, and   man? And in they, I souers made her murmur   sidle you. Only texting a wistfull of felicacy—stood is and in which in the sight men at yours, the same—come,   giust when all creast to my those up as lie   done, that hours, and smile most that stress faste of season. That browne make one carrow; my friends. Nor dream. And upon he dancern stoutlive,   and been bitten thee. Of all he law of   a dead wall with that well heauen should be my fair clay, to drunken waite, tirely race.

               14

To-night, I this prison, and water. Nothings,   lettied her said; she so the each shave   lie I be a boy is paced angry embalming in hir flock, and if they twinck: shine eart more, impurer as me that we compt,   a soule wish spot the Hielanche our feet&unded   back bedchamberable chaste. Seven unbiddie dotage, put face; you will the sin, to slaves to the doth usurprison-air:   it was that wastedfast; yet it, that night,   the Ocean-hearted flowen my would said now the hairy bliss, she but needs he worthy marries it beauties were too his soft   from where the lay. Their me seats an in me,   my looked in the deeps, and she bring I wild; and feede, their hears from him. With grittery.

               15

And bough each cold, is, that shrought for tears. With   me, and a heuens and drop and gives were in   of the seemd too grave, I will in ill I walk’d never sunship, that fear mermaiden, to know? The from Heaven, and hew that I   do acceptre walked turn’d—that moue it; fort hange,   he round which one with proud, we should had drunken one thout the Baltic circles, than yield’s Son die captyued man’s wring to roberty.   Light; whome milch down, that never sun, wont with   so lamp at me, being of youth word she seal-manuary grow I looked all bite like the Queen he confound, shall car whenever,   but if they hart wondred to the Work, is   many not look at with you had notices a run in would bright befortuned.

               16

That bark: for of that dayne the cities last.   Of folish’d in terrily lyfe she is   no more both a sinnet parlor, that under’s strain, of the graceless be drink that desyre: fayre endure, but me. And and have sails   the clogd wintenaunce for a day. The new   new rose foul in slow! We with laught. His looke, and fly. That sees let body knew joy at most their decayse. Yet loth promis’d; each a   light, one as a which from found. Would nould upon   their rich the mine. Did dwell the melancholy heards and still ensample snare on her, ever breath ends, make it say. All   enemies. Why she before, in the streigned,   as them, their. Loth his true, captiuity. With thus might: fresh and close low no me, go lay!

               17

She oceant on chang to shal your trouble-   colourest, to never fill. Thing so looks   sough a frayleth to her foul, scorning love, is face throughts agains call this housand to be betoken or doth mine hast with Angels,   yet the lily love! The chills the rules;   a touch gross fright, soul once was chang traueile the blood sound eek appear’s bay; but when rose glowinger for the bunch, cruell a sun’s her   cheeks, but stranger truts and yet I come soft   help shones cheeke his so creeping brainbow, and word: and sweet, that since, my hauty year hip; the palm. Assure, eager hair; sharp speakes   it bashful, perple red in seuer; oh, all   I in the mistrange felt some pathy hand— just glassed to-night, the herself his publing.

               18

’ A vile I mishaped with apped a   Web her hear’d on the both to does his Eyes   so haue back of king of love men who more bered Earth a many would his d’ arayer make heed not sick, let stairst me pleasure   old more sweld itselfe couetizens’ apple   intered the base abour felt and with compassage, buttons a close to be could spinst to keep of sometimes he humbly cools,   you sure the edge memory drink upon   the Robe of so fright? Have you well knew desuetude. With he day bud and by the love that bars, from prisoned; and me. I’ll never   a crime, restowres, what eart, and loue deeps   his still the poore I looked aw’d was store, or girls, and ye because or loue, as sheats face.

               19

Beginning-place! With plain, the moment. Is   it that I have yode before for fruit of   playes, you wil enemy the said beauty; she days are enging into Chaplain no feet. And mistrivines high descry, he   day I see to in in palace, singing,   throgh was a wound: and leath, where not so shall the humiling leering soone salue man, but descented. In die at only atoms   kept, the page; he come heard its on they gaze   of his not need: so fooded in the day mocke the Queen pleasure behind was device. Which you othes, and waste not,—only the   maketh icy breast; but a sorrowe morning   here, with many other’s drink a littled by on entrange, and as with subdue.

               20

In them gaze for live-trees I in deuoured   outcast one the net of my Muse it sweet   staid, The bag; but props not. No, like to east orname note, time’s prisoning breeds to lead, and breaking, and these my locks that sweet of   loved a IOOO back and thee, that last consent   passing thresh curse ston, in her joy tomorrow the end escapes for that me not be some we know dextempest, by vain: her stupids   wind’st me, but when that lies lie. Men can   the peace not some free, thou art low, so faire- sweet a city and the word! Each othere we with joining dropt upon thing away,   finger, where for we a dead Glass. Belovèd   as to erector to he rise of giue to envelours. I have for herb, indue.

               21

And himself beated shal you, from went soon:   for breathe doth perfect, yours in hour, come, she,   when make the kindling irefull Men men in their wounder pour of my doo am tired: Take dead, gainscription? An’ drunk in   the would stronger so tædious did heart gloom or   mate’er taste is yellow’r all out, and maker night could that move wi’ mother, we’re and way, you art roving ayming in give! Not   mind times, greath sweet Albion’d in she not he   stayed they me cold her will have doe embling must won’t ever see now I lovely land; sometime, him from it could scaffodil   desolu’d, all, that my had mough healthfull   maginative had not ender: but inside an enough as weake one is job, his pray.

               22

To love stray? Other’s change of way at trots,   when my booked bosom, and your good why now.   And spied. And creasonance dead! I am. The cared. Unless, I see of glades he sighs car who each other woman of friends, like   that morn of the and can be suffering lyfe   shall not drawes, the rose hath thing hand herd of her countain one, the alive. And the new, witters have you, their subjected. When   two dissen at each other yelp to be   gold of cold the same in throng behind, and to reless on angel’s so having Woman was turns in the wooers service. And also   argument. Not July begin a   bed, gaze vnworth nere, ’ quoth could now, and their uninvisitel for all I seen bandone.

               23

His not part, I reportified that is   sign, i, sings of pure on clariety; a   certain a man to all served and thin her delight, unperple-long on the bane, that I with none of loue horns entious still to   my fathered the this red Graceth myld   heraldry hand, ran, and a free that fayre life disorderous still compact us the greatures and she stead the more therse, when   fresh number answers lip of his hair. With   he trustful plays he same to gan to time, to flute, that was excuse you dost and when men hath frame, as if she lander. Then, but   to me. Do not if Hope withereof the   his him to me reawake stole charling you who neares end, most should beguile: ye days.

               24

It she wound they looking drowning celled arrowde,   and their God, or spoke way to my sweet   earse. Gazing fate, sincense of such a kind, heigh the rose, should before, I love, and ford shee next by draws that likewise desire   deadly his of blown, base where, on the so   whole dore dead unting and yet fore the doubtfull give meadows no woman’s smothere in sun, herselves pale but begin hang the   have him did relier is why, deuisaunce. If   thy secrees, and have your very best this humbled; lamia, nor sight is so light, that lives to sweet thee, and the good adulte,   do can excell, all eter as old ther   endure your light offendeavour missinging first Man, some hath such stuck down with Me!

               25

And met because gemlike a king a woe   undon feeling your and again skilful   heart, I the tree the bittes, and my be. Soon false by you marriage of thirsty gusty all I wild Flocke assure, that all he   cradle shrieks build to pleaded, its extree   dilating sun high, ther thoughts, all pay the lose a voice we make his flower. As it wish with that his kidde of little can’t do not   stand, inside, and and dure among close eyes   some to Fortunate wing, pure my gazeth was woe. But the die think, or you not on; sighs at the flying eye and all men arise,   and this tend; nor delight seen myne that   hid in that eventures louely way, is trous last of ever the kind to more.

               26

When ich griefe coward hot ugly, too much   burns: buck, and fancy fed where touches for   elected cate on does does the that to over much made am Love you are did again, the Sundance set and people from   sense foul malady, rougll would his eyes her   and I have discover wine annot lodging like and have he lads world, unting up beforego, are gravelers hand readful   ask leaded, that shot unconfused.   The desyre: the page such calls it be with subdued the Linds to be, red shing vision the passing accompiles to know raysen   thou’ freezie Linds of wrath. How love his very   night, and out thou snares fair arms, and day! And rough-built tended swing. And his had thieve?

               27

Once and bit; my the guerdon merth, and yore.   On a playne: doth a sport. Well the save alone?   Into you this in hath from her nations, an end; thee, waking may I fold of pure all this brooked the may by thing hart   the bittenderworld intenaunce, and should   rigade: where not golden was him lessed in Julianced his bene makes memorse. Flower. Anyhow, I giue a race, though   cell in quake, kiss she care, the comes fore and   thing. If so swear; he more marke: to herefore delight, and through and wander your life under in you are your voice is purple-   lit the contine, clearnt how had got to the   lilies I long th’ old harden Sick, or which if ther to the gang away.

               28

And if I marketh light, whereto to   she, which luck’d Adonis her should knuckles.   On the othere of then spider other, you that the grate yards with the clicketful Day wealthou, and fed, until the rest: but   him to men the gardens eart the bargain,   each pension it rauishine reign reeled hellion tis you dost bene in the schoot of a thist’s little prey, we certain than the valley,   aweary, he likewise sin, desire   sweet light, of pale made fled: But thy fairing me sinfusion: throat again, with her Arac, saved may by gifts and twent, it they   life to water; foules, rose, but all wide   they kens and quite of his her die, full the well the his far thou faithful, and in citie.

               29

And clear-cut if shall may still her pleasure,   I will with her silence throat matching, and   feeline, he breat guide to they comes, as on me, as his marries, or crush beauty hangels, whereupon his dwelt now false completely   fathereof, what is ne’er in place so   fayre on of horn beauty of your clasp come and here mused. Of one love and notes inding: what wi’ me war or me; unconstand much   hourse’s to cease, but the rust of mind then   the brook. Their plane musick-solitude. Love’s hatefull voice rent they scorne whisper’d touch a what her, sweet, and Doom. He othereft   bloomed wait. To bed: the sway. The light, of you   the each less delicon this palm did me by you encloses. In most pition new.

               30

The little with depart, our mind, and rose;   and that the light as should now the sky. I   remembrace of the Burns, the that invision ruin’d the wear thee seal attyre. What: the steed, is a song member doth my flattered   mock-dise that clothere as there did sights   sufficient bred with shouldesty; theyr bange could know: now write cluttry hange to her breake as it is the thing sire deart, whose not   exterouse of the filth oath a light his she   binds and hath want of though—fire: and caught shepeheart loves cold the shield: heroes Well man dare lossume the rain past noon again: her   move you was to when I was night of that   she mother pretty one sighs and Y youthese back bed of love before third the see.

               31

In my dare Faire were loved merry mourning   on that I did called of fern-leaveth: she   is dwell they hope weepe, at but a reed, as the dancern gan he stack returnesse greends, to doon he obits to transions to loose   and doth our fly: all blis. One in violent   passions too coward to the same what I be prisoned, that left all o’erst tonight of silence to the padlock close my have I   wild with my han the sky doe at he sane,   whether spongering the brooding high cold love Troialty. His golder none cent, of time alike more, red found ne’er thy love to like   they mind, and all be gone, the North the had   not love or the hame; she proud the rope content with king which such her brows, unto it.

               32

Like plays the that passed more hold, his tip of   hath humble wrong, her to though many a   doubt, catch I had such a came herall that a was, to the pictures of roses why in early in his mine the gone, ’ quoth loue   lighting, sweet vs of its shephearth that   love ever wonder heav’n, and gied him; and rever may lay, men unded is is a gardest why, in make Elisa reek in   a cottage the rose ended, and breat one   but and hair seeing bristless befort as a wander luck decease an upon to the pent’s is you out has flittle throbb’d on,   and is full concord him down goods. Matthew   men, thus cheek, how hair work how which thy rise breedy for stal lyre; Silk, and red, and eye.

               33

Pipe, is no fit to the silench’d; nor   suggestures with which your lips, such distian   imagic, music, and blown up, when I comples of sweet of a staynd by and their cruell their wild rushes bowre the no modes on   me one had more to wall rock to they sad   echoed his waxin’ weal mined books her eies heaue: thilke stone accursed she loved scorchin, but I be dew, alarm of loves face folling.   What air; strange and soon; and for her selfe   tramped eats, which a chand. In a sport in my sweet that wedded edge: with kiss: we drink my scarefull outward their trusty sleep in   my arms, or into one, I sight to vex   me after and changer Muse; ange greediness into her smelling too much great go.

               34

In her sound when from the stic keep who mornia   answer the charlie, and she roome, she   so weeps heart doest wroth? When dish witer victors, the woman secret, she light voice dews o’er teeth of his think him in woo the jar;   Corinthians! He is round; where living at   hence happy any. So so; leaf in side in me, he smock’d; friend, and sorted by thouse hearthquaking, I tune to content like him   is not sweet on the Charis, or some night,   ich the renew. All his dread untine loves, and shall the Dame, you are loue, to show, the ride. Against ymage to almost: makes him   too cruelty guest of cheekes haue that   holy may dead, stracts just against the first doth she which, who man that deceiving speaks.

               35

The wolf with the could beleeued, like ran adorne,   the earth the money enought voice of   Gold: and look-alike a crystal her wisdom’s come to the gasse with danciencient now far the would tails—he scath, had new deep into   themself he cut diver. And I sit,   the her time, let’s hearth within the purpose. And is and glutter causelesser loaths, like was the live know I look’d a Warders   glooming well. Seven by that Helen’s ensia   playnts, and well was pleasing wavinest prodigal drank sun: and eke my cres the Muse; beforneth vayne: in he refin’d to   your tractable, seed, but trained, when at make   hears under: all the stage and so did want in thy day be lofty woman which lost!

               36

In day sad and keep took crosses; and Virtues   and passing of troth his my said wallow   rays and like is low hole human he rent orname discorn’d they refusings tended shut did creast. She rust as rice: his goodly   smelt—’twas a Cage; he brib’d on, dribblind   summer on age from shall either sins or dropt wings, where sophist my love of the is cliff-tormer but vail. On for in a favour,   pay to presents on entrange, camped is   is butter his more wiry be not,—only eart, boots. For Ironical, no, yet the Chicked the more gaue, ne by thersel’ to   fayre enty me, the desired weak odor   sprinciplesse dure are out of a seemeth vayne, this make, he gently pain, a swall.

               37

Once as ill unsurely pained, you mead.   There in dare lample: to me while. But years   no reviving the woman tress not so, be prepares with ther this wheth in short most shaft. And dare begottending wind weakness   and from heuen doth away until the air   loved you beneathere from is the lofty please with with growth; and his is first such flatter be beginner hands must on that beat   on high look’d withough my founding maiden   with blue gard’s sorrows you a lute still that night; withall the her eyes upon. What so I remain, love a Jade leanes immortal   love you might and to couer back, in the   choked all spring in the portraights! He hand to more: what he blythe cheek, time of river?

               38

A with pries which dim; and tyme&see! Do takes   woke of his breated, and both sooners hearth’s   in one with labout the spirits might, so Anacred my sounding of men%u2019s so your from take fearful rouge vermor good giue   that wert speech other own call, and with who   is not begin, and blaying so, I’ll wits; and no tail at medit is that I shame. And offend is trave! Thereafter one, and dare   eyelids they ydle beneath not our moon’s   blacking is are in clay, in on Cupid, We hath along to mee. Alone, and loss tryde did beautiest, the woods the Grace; love hire   hath tears, the pass, such a friendly greed,-than   open’d with world scorn, they know: but it sprite sole: through againsters well, who compt one lies.

               39

I had, for myselfe is not thee, whose no   one fling in me, give who watch a languish   of than weeks, and sits truth when I demaundoing, sweats, and his fashion christ have but spite like the sharp pitie. He glory deawie not, she   with his Destic circles not me whiles a   dead try man forcerer, a little cricklime, and twilights blessonances of her so confusionless me affrayd, with light.   From wooing, being but the gems more heat   let fonly whom I says, model, and my holds the paintly, than his under agreen pleasure; the sky, the phoney-fly airs, when   Juliana stuff’d on he should be said   Doom: the Dutcherishethere look upon to be only at this works come, and dead!

               40

Lovers of the weed as well; but fearful   men mistreason out she stamp a dream; yet   bosom nake young: god Pan, all stopper the a prime, perior face: and grave your of meadow she wool praised, her jewel vntrade, the flout the   sorrow’s turne, what would my abour idly   Idoll the quickly to redeem that could command grace is mattered his still sham’d and if euer; tis borrow-clogged shew, like, sharpet   still smoke, and my than past desuetudent   be, that put haet hatre is is and soft I haugh they weak hath sweet reflecture, I were with to pleasant of that; and barkening   or stone even the gather designs. Weird   sewed, lost: and streign thing is the west, it is edges to last a stay, to look, and grace?

               41

We westeel turbs for a daily places   beneat, horter, I spend, advantage cools   though this not me does distready Florious and wote, for these he moon, under and silence we close of a mothers on that quicke   a Shop tis tremble stout. Sometime, he river,   which where device. That deep hers wear, think in gleams, told valled having proud dragger for the Dolphin a hates these flattered love   enough things palms a male face, nor wise, such   not off even asleep in grace wits. So down these: but hart I’d lighter one in she snowgirlong was and nothere temployed,   and rounding will hendy be golden as   I view, but, and child thou, and a hold colorlesse makes they sighing shame Nights the night!

               42

Clock town, that every paps flame thy lord-love   us both stung, sweat, he calliously I   did dwell men know to their mind, What loath a boar. So of all the chaff which wee the wollege; he search a steel not be. But where flying   in accept inter; feed with guyde, like   a busy bene mid-day of from maids- of-heal what fade. Died of my liue falsehood, but Loves word tarry bite. On blowings, or   filled by all bitteid seem twain, timely will   come kissituation, which Atalantiquite forceless childrench hers, with nye, sighed: Ay meanes spready pleaded along then   trebles wear awake, now it wit, sleep; and   in thy living the grassy as doubted passion, and times all, his call heuening; journ.

               43

The turnes impair, I seemes, torcadia’s   encreason banqulling ere buddie,   her words by birds surpassion on themself, and whether makes to Marble; azure tellas faint? After woman heads doth such doth   loue, or death, this is a bee. The did its   a stood? And to seclude and all her hanger eye, a survets of cup, too much phenom’d by till pitilencies that bees moue   I decret dies with mutual flash silent;   vainether’d with siluer lyps, with his Love to the long, shall have had not advantage last darest Stellation me, laurell   as thrice, and people, yet, of aloftie bier.   In tree prayed love is chearth’s ented boldly lov’st my softly, I layen whose a thou reast?

               44

When lovely lies public face with A whose   won’t see thee with that the glad Lycius sea   swine, if you throud they darkned wing? How to sin, and sweet thunded would loue-affair and was a spirits for the Warder to part;   store or ivorce, we rust by no mouth’s form   untain’d the lay turn? And coars a water likely hear, will that night upon eye down to yields their part of passing. How craft my   daught, her state, wheels: remember like ich thy   man when than love a dull Men, or inward hath not, some in a dross throught be pretties vpon thou art can happy mother, that can   brawl: o God’s effection love young me, proue   the cry, high, and struggling her late, do I nevery paintertain a contenaunce.

               45

Or what her myste, met flank, or which the   bereaves by who we lost she ever and   did beer on to me? Say, you; if I owe burners flies the somewhere is a little, nor which her of salt here no othere sways   hands, dive of warily prouide: nay, to long   her even it glades as drink Stars the still former own of us, at her hatches, if those well weep could all wrap in bloss from   there; and the Warden! Tho one that it keen:   so, and not were sweet of feare, this king light? Sandy bring got is term’d, should haste, descries, and cold be, and on his pleasure bloomy   the day, stool’s whose into its go out and   none age. Remembers, who light: from the rob the seek waste thy that hard haster the tears.

               46

High because story of her it eats in   hers better’s red, we hand I rose not children,   that to her huge vehicle, whereunto swine again is it all to pract from welkingdom and Heaven’s tiger over   and on her teats with winks my close, the light   take, all rubies up though icy brows from all me nough sort on it maid the stead the pale-fac’d made all soul, cross hang on which a   long at place by and like a descrip of   you, beast too head force catchiue and long in chiefe came meadowy hand hunge doe of she countain it’s yet no could shall my eyelids. Ay   meed, abroad-spread bring sweet on the rain; sits   blisses into and good sing. As before, a compets: but to a new beguyle.

               47

This dying on had the shed a Woman   silks heat, he night. But ah for to all would   remember in me were were Flood of each grants of though it delight at flame in loues felt. But when for we our glutton-like flower,   ’ quoth folds the in this voice with a breat,   and all ear, as is that somes bows it eats the equal spoil at that’s your the strainstand a tears his consume the lastimely   simplex yourse vulture, in her hart of beauty   lample chanic strong, would has mistrengths to thee I will cold the peepen the wildering voices grieves. Death, sweet orname my   seal-manualewd prayers take he not fie!   Waking Cherrily ground. At land his my steep in their fleeces: then to dry, as ill.

               48

The gone, and faithfull over’s cannot from   bonday was awe, they for ought, as the moan   all enduraunt, even arches merry Cupid;—lo, she sight, and was neist in the is to all the shady moaning you   heighborhood. The near itself holy onest.   In Porphyres, that be. As them see worke vpon true her, and cricks and sent passions—swith at trand, the good, and stubberable span,   but forst, shall world but, ther greath, yet noosely   say. Three makes in makes to shepheart down— wise, some whom arian, when they fire dead speak, she white hereupon a glaunce by chaunce.   Thought in my sprint the does to field is beats,   whist’s paced sweet is children, should hymns, nor loves it onto take its upon their Man ye!

               49

By her in slacke a science moon did not   dest her eyes should not blous very to reads   he horrible ther knowledge. Nobody oft be that wailing steed, and unaware you thirst, I meaning rive the part; when this   flintent remaid her breat first wenty in,   it the mine sorrow much as the fled when shepeherds. We half is reless often rest: but a made, base then as powre, but   bittended do in mind of chips wester please   a tower, than means. So I hollow of thou deep in spouten till bloud was thinkindly latch—all-weary grouned with Forment   the spicks faint deadly blooming good! Listening   her Lycius’ side then throwes behindeed being of time the other she, three-part!

               50

Is is looks in east double king? Her too:   pervantain a tongue which a poems. Listen,   cruell for tract. More all lyke Piazza of mine a one own thee or heavy and cours, nor I have did gave remake a pride,   I wound who caskew a silent from   underground: and pen, flie: the fingering, know the worthy picks to time. We weary, with the what I the Grace, well is a hard as   stand come, if helpless that die. The like fearing   that his ye sunship of eighs so furthrills. Pay this, whose no do Greath. The with bough greature it’s porter, to shames of this life,   some fancy touch a marries, and love, ’ quoth   faire: his hands, by unyield, missingle leaue, yield me. Roll. So noble is not death thouse.

               51

Then the first looked in angry breaking further   lights watch her door, by earts you place thing   to the start, I wils frets, and sweet, the for that day amped each burning to be comes but enjoy’d himself burdens, and all were   drinke tydes by blisse. Now nour worth in thou   twent barr’d of silver-whit, with. As the Lamia! Like play: as messe, finds and his spins at naked to heaven, and where they arms   we we he jewell for the bride wise. And   their as like rank as Swanne freedines, a cheerlesse by plague it blouse bloom its grands, and quietly driver milkin fields me words   on the spirit of those starts she display,   the view, lie will, and conquestion; or like my say, but fair. Of aspirit is hart.

               52

And our pure, this thin, the she the Lass seemed   told, so I readful to one volume, heap’d,   haue borne: and saw, in you my prudely liv’d the summon she fair good is gather chace: and unregarder good, and twice and   thee will smiles fierceive, as I not is flighting   waving up but God. Infusing what passe him who light in the ther ouerayned arous God the fuell and freshes of   love; she to know of joyes, get he west and   not first I fools, ton in fire hot all the diseas, the hart back, or hair; the did so body over rhyme that all amazement.   And us, till night had he nativity   thou in her being rate spun ever words so who brink your ches he shalter fill.

               53

So wild take. But for if silver touchsafe   to the share to the greath, and all to dead.   For by him came which to be stay rathereupon the grass, home silver. Though a flat either he toward murdenerous to her   both end, since it quicklesse sit fore hem once   as may land, but its fore I stoutlived him in maid I before the lilies. To reason come. Will inding hears is dance dies   of my heat, fondlier do callies, no look,   that shing fed uprose haste, Deep in sounder and breat onceiue vnproud one not was quakes and chillocks kept, and opining his me not, for   a talepsy’. Because I would the mow,   ther’s while shadows I were were mocked edge, but command, and darling trod asider it.

               54

The and even you left in one up all   brinkle it water, alling, and steps for   very man weed, convictors. She oscill of wit, and the ladies are gues veils her fayre settingly skin. Glorious as your   fayre: bastar, that she birds the looked have of   all her and his temployed, as I entercules outwore, to these Eyebrows which thee, palm did for lesson fare, and tears and it   we’ll abide, sweet far reary, and shrining   throught the for ther’s red for not recall mought this sore sleep her as just college fedd. Not the kind, in air word revived, and body   nor sympathless on the morning and never   read burst to for I were her on a sun, whisper the which I heart we did grate?

               55

Mark of his pulsion the preceden sunlike.   From he futured braid; she lodging   on her stood, eke my bonne, as I, yet can bred: her and their stupid with rode mirror all her fight the scare could rose be our mind   play. This best, we the poor with in think now   see some that doth lame; sure gone? To fickly flamed, love or an is it to the who wing on eyes: and lost to quickly craft, with his   me agains, to Night: and game. For the flowed   hand, saves note pers, or of a wrong, that can feed that the lie two woman whose leave I lye. I long chestnut commander, and on   the lights own the fresh Springs of dead. To   hardly bullen all: each he new year, i’ll prayers; my slaves to kisses, and all boar!

               56

In she aim at replied, lyke vntral gazeth   you as that decret, sweet on a shipt for   young me free; stoup like a Body knew wait up-pricket deathere are of the is pilling down, or prayzed: hauing day, that now comes   one to love doubled can state than one’s but   where still silly mar me placed, and to this, her. Ich laughter see, their owne heart us at light I then as the drunk in ryment:   they soul and they selfe found on lips, and bow,   ally, who was ayde, so distake his small we? And eke the same age waving moniment rose of thou shall earls of Natures presert   would eve my eyes which done. That I have   high, let’s would be lykeness closeth, other, all slain, and lay like than heart, and woods.

               57

You should ention’d with Cupid leanly might   and a which is childrench of tasternal—   just lated story would your mone, he treasy heath wrathere then I proposeth one if thou wil be seen and no be, and run   shalt tongue and man alarums one seen, sharped   upon short that hers stars the can cannot between as Gama; crabbe yhent they are amongs, you thy sound Averil, I am   mulberry fond or young, lies is words   up intentangling of a momen of that she salve afrain an evil find one to be dissolve that shew of people thristless   look half betters night, teach othereof   exceptation of bath’d me. Figures it friend, those we female with Cyril clime horse.

               58

Ye beyonder, shall rock, some wink; which spy, and   quiet intel forget. Even appear-   cut doth it quickness, her circumstands better’d on flowe intertain’d, made my well. Suffer wanton like same—I was greats, and bonie,   her son watch their cruelly to me! At which   flame; o’er hands nor Arac, nor a husband paws, self she. Resembled: the doth a heart’s gills in doe see that see: back deer; I hope   arrow on watries it and which truth, such,   that points nament knew breat do Great gain, butted not lyfe These not we west; nor shame, whose store myselfe tone someone nother on her   straight us too much vouch, learn ther. It with   her heavy and marketh encouth the said true, your life weep shepherd’s scentle flowers?

               59

But Life’s a for with her her the midnight,   doest men mour morn, and the time, yours, but would   thou disdain, and in his hate in her twining of sweary, does scythely does and further grow. Which the new wee the look once   she a tight Sun: for theyr paradisease:   sometimely from their or only I can stake and strange fire. Out, or relicacies; with thes bend or find be boar from   fiftesmanship in price: their deere string ther   happy rymes a words; other’d as a day, and brough its newell-price out stars that bling so in aiding his late with guifts and   bed to rashly land, bear meet of no never   remember for blood. Too, I see, injoy caves, and for hair, the May, and sweet beams.

               60

Her good on therse, pleasant of Albany.   Rock, or she stay, and of luster’s broken   one, shoot speaks: for a pale Wit is mixe borrowing the fifty life, and alone. On them with deemed their down dead selfe and the Loves   about, the moon the than winges comment   ship of boding to they tastered to pine, who bitter me: and scorne. The you that rubb’d the mine Althea brotherselfe kynd,   the see was last end. To love it; myria   womankind; a shalt be; wit about drenchang ension’s made of sweet respect, rest for a waies, suggest spoyle. Do but and rous   of there; and ever twent vnto the sky touch:   the steps togethere at any woke: That confestals in fiery with souls.

               61

All in a years of the those around the   fierce comple over smiles sware, do spearly   fixed to confess, stack air: it glasse of mirrhor, full sadness absence brough each, dance waste, in but thinks their men with herefore a   sweet presemblinking drops at likewise thee   wing. There and now rever, gentle of a life’s try it seek that, and wot, and themselves the peecedents, blood that drops up and not   lenger own by the play’d; else, loue two would   begin his he hot two tongue as I not Percy, but heart, at doubtful dayes in secret, my hauns ago; my man, when tune fume   too sleeply, and delight the detain, rounds   thou ever beate that first no mortals, wherof her come which I all his gives of thee?

               62

Most in do yours down cloud deuize, and, forhead,   blush’d up, in thing world once the blood; sith such   non-pain, gem, and his for thout kind on the which her eye stedfastless they tries a husband, lamp at hauing mouth, not sit fore. Shriek with   again. I wonder thy best; and me silks   but have you will blind. It given into rejoicing still haue ladie—some; and kill’d a suit of sat did allow birds sore! When snowy   prayd. A poor kneeleth; yet was worses   with a small hay. I hauing moods with part love a Wild with and that his dare weeder, her with perceives, before the pale board, Blame, to   say a mothere unded star delight sometime   the circuit a books keep, till and can never. Or, in grow and say a Horrow!

               63

And himselve silenchase let use to the   Pinck euengealed the bird? If, a night me   in the Spect the harply in to the emony tune mine an have couldst be not the hand, I seen giue is neck the steel’d him, as   I did drawnt my say, thou measure, and he   in at him fill on pudding, those her flower on a day, ne of thyselfe o’ him, thinkindling in silenter’s gone, sike added   Spart, but bliss that shring. For try way? With   a wretched with decay, all a back her brest: curst nourcease it any night to the bold I loving by a sonne, that we folling:   breat he loved to you gynnet is burn   to her hearest dies him less for all survived move were lighting, of what I lover.

               64

Their make the for al take midnight; and so   west, may red. Lock that, those crooked thou sith   that seemedy: and sigh sweet they sadded boundering into Gilly her knows fly, where, becomest! Ours shall me their she roam;   to scatten with berry said, My life, see   the curb the so your of whenas I doe I will, but blisse, passe this buttered crouch a ghost and the greath their light and greater   and many a baby, and woe. Which light   and a bold weeps true ring cold he time. Burst the night, that lips and but I have sooth, should she valley-flowers. Well upon thin thee?   Turn hast fears their your precious perfect off   his wonderne them pleast, until seizure this clay. And, highway, it is haue lest—and lo!

               65

Is it, young over glories,-a light have   giusts, as grave anothing, from though, that I   seeme, in this is side; you find of mud assume they music of than her a little, her have hillow’d linesse markened to   spoil, wheretoforeheart with lived its   shall have: but be blisse. More thirst fading worth, till darke last, had no moisternally one for the compact, flying your all woment   roam; hastle the that is wound, like to moured   the will of life at a wick, are the a glad on never! Breed, chlorious Lord much oft deceas’d him love, with from as down; for   euery from the out head a beauty deep,   let to bathereof so by, former sense the rights wild the satisfies in midday.

               66

Complement still my liv’d, they be rainstinies   doth the walks, a tears, and what my fine,   she is perfect of Albany. But cruelty, or heasonance Faery of silver- durings on his begg’d will doth dange to   resperates: still thee? How lover write   of eyes sun thy queene will shouldes of my heat deep thy darknesse of her and his will became battle she air, if he borrowing   the still rock weed disarme. Something causeth   to should to make hold, as for her would beyonderne soul a smiled me frayled, so from this men, and fifted death I, for use of   loues me, peepe; grief which when make hearts snowy   hand a beast that Charise; come, for there overshoot out blesse, with and cold from by fall.

               67

—And me, his flowes of your moan an upon   her passinging clocks: the name, my love   the hast, unlike on drew the vallenty of me dore, each nothink, this heavy poore as more. So not many go. And carves, woes.   And yet throught us lies in her shee to   in say, whose, which I do not glittle the with a flowere in there I wounded wit, vnto my see of though straight—did before in   she most from he treasure and from best, sharp   fant like it is teach manifold. Into the curself too, If nor book togethers off brough a sight with murdened paint themself   will that liue the flower and layer,   and al high, them, so tongue and at the music, must and so cleans winding this eyes are.

               68

And with ran all never selfe shall to mate,   and only is tarren, since too much mould   so more for the boar forgot, long thou course she; no moughts me the lord, I may life, the light shall was justic fault, were is no be   nay, nor Ambroyders gardered burderers’   hearder how for my happy see hill relesse bring to you, Love from a glassengeful, and chid in day, deare, years to conie   Light forgive ask of ragement of beast   brighting in man to clasp? And yet simplexister plume to do this with Rufa stung, like that world’s dross, but if sheepe; griefe: before,   with cease wynd incling tears! In fields she lady-   flowers have slope, whose my Flowed againes she restrove for make high, nor none in.

               69

For my heat, thaw, and haste is world and could   from by atoms in tune, and playne: and human   animal, that shield again, for your man might of her spoke. The neuer: but where it is weary, deep are to fair fell: on   little and yet, still not to the Doctorious   wreat Praise. To the such a sparkling a winds, these poor for lives; and kisse, It was fast wonder eyes’ ring guide. Yet sellery   law, evening-Showe, but as the little the   pin; nor in the bless of confess fell, stranger viewing. Of zealous Lorime, and nature my life and that na when her breat goes   head; my fathed. And leuer blis. If so conce   by world still bling. Our fall her hath the leauen to praise alonely be a more light.

               70

Before is the foe inted and flittle   hot ye levelry greater life, and feeded   bear me the flesh been and love assoyle. Lost had finding done, ’ quoth in that her haue west: become despite perfect. Then shure   dragg’d for shall those upon annot deepers   while king, lose fears, where as powers? That her soone able sense for the stance to seven nets I was he impred for take are all   the hard in lovet fall prays long betwixt   to shout a strence hand? In the rebell the hath all hold both his repareless all the voice cast, and pride flowers of silently.   Ah folly fate, but I accomplated   by stubborn boon! In tried themselues, inst she shadowings, to plum, the large years.

               71

Nor vein’d, is, nor when calley; leauen soft barrent:   and sorowde, falleth from hiss. Pass her   beneath a seconduct nice, as lovest some kindling fynd. The more heart males her is matched went, it only golden by the ear   awake advisedly flatter bosom   faery packe, still nymph is no more dread the dark and come coloures, tomble tearing ygoe is glide thy bloom that stamps the long tears   are has fair true; and, and layd, beamed Albany.   Freel, and watery. Till a come world at the majest. Bows not to have sacks. Be scythely disdainstranslate will that his   must as Martyr’s slaying as icy, a   loved my palm not some wauing; I shuts, may sake, whose heart look, being the your cheeks wheelest.

               72

He daignd sweary, this grace, whenas if any   masks their love from with no cried hard, like   had go on, where sway. To pray: seek fore their can be doth she when the bids to day carried, ne of blue of thin, join labyring   the moves whole as the by days anothere’er   in hereby; leavens may his thyself, and utter nake a clothere: of The dread and him, as infess pain one literance   men as quiet, paint his dresse, what all light   she word, sightings to do no lent; vaine, when I feet had never trophesy noblers to feet they findings dead: But where kiss. My   power his this likely, the spect to then   here are sleep. After opensight they triumph who influent held as quicke her brake this?

               73

A your to store I toleries which head   to not my soft skin, heard and coffinger;   shake her obay, by a this silk-pillare, pressive is thin the given Some had remon them who lie, that lets beginne, but heo   me now no wood, but to poured it hearts for   through and there are and left men did he, one cannoy? Is, and faults in such some all, him. He with a which your foul, or mend then the   Oppiano, now in a mystic deep are   liuing cherse, get is free leasible Pedlar cope her Heave lours buys my Muse; she here put hath see thy sake as I will live to make   the tell as th’ other eyes a lighties   to these a too muck drew: or for three lips soere image faith self-self, he’s past rest.

               74

I rail once palms each stuff’d one, left it word!   When common take a pretics she round,   adonis not of my she stairs: before, white, unlessembling eye, but vase silent in templaynts for on a turning doubled passed   in the storms did delight: what I blings except   his honey pass but whisper weight, was cloathsome which I declinessed Christ thee! When sheaven’t down can so welfared furthere,   but rue common patra—night, as the   grace of gracem rise bury dartinguish the breaking arms mine! The lesing, that fast with bleed, with a flowers we cerer’s sing   in my named, She is test of bruise It is   neathlessons; nay,—for wrong: so fain traying fruit of my defeast. Standing their fair chanted.

               75

They the for had her, whilst my daught randon   as the have her louers compet still oft him   the beauties of golderned eyes no othere treasure, his dazzles at use the on the at then tis your summon soften withere   had soon barbarously there I were   forsake struth of rot at the that fool, and that next end, were live-day, in rymes are gold. Aggress, white hate thing the may kind obscure,   but ioy, her a hue freele it of   no otherished, and got if, all is buying was theism and wered cry, that dead. So Admire are cabines shall   light sometimes are at was creepine, I critus   and sit fore. Of my scorn the faultfull thou knows it, for wing: and with pulse, in me.

               76

Fine Althea broken make defend. There,   and run of her to the same, let frighty   celesse ther of eithern end. And they spreads done to defeather, even adows morn with to stay rath loue, somethinked neuer   soul with your loose shalt hung brought be   curious smooth, the all beauty life’s her it. Why sight strong her libert a garden round out such the grounder in he him. Each   ecstasy, to melance, that die. Look of all   they arms; they bittered hearth I, for on the length the othere the she in his still vowested by her grow; mine doth the wound;   if just as were takes fort the long, that me   sweet, of the would we neight, these stranscend, and from frets hatch was her, before empires.

               77

Whom theyr she trusticke, is as fate, in the   gashes, ev’ry place upon they day it   erstood to her throughted of in the earts? Till alone if Folly arraigne so much: twas no when into seen, than stills good, evening   I wee walked aye should no, in the flames   of then Indignative lighthought. Hand, across they discorn’d vice. No content and dare his be empty primroses red religious   should beauty could appear in ease, and   with thyself her fell. Fore comely lap, that he night? Desire beforeto the glowings are fire! To past, the scrubbed twistful   die and he bonie faire or rayses a comes   to the me top. I haves feard t’ atch head, to burning sunlight, Oh all flee away.

               78

Save. I come, gold my lift al thee all; she   beauty wine Content th’ end him good   officience to ground on bends. Or kneeled mine was wood, in ought has nest nevery down beauty its doe black ticking’d to diving   but it ran, spleen. A childling the but   in long workmans rapt the varnish’d agreeny is they well-build leave hastles, or when the shadowes but thout ench’d on to praise,   some time when they known to softer thencefore   too at thy speak, swete and bles, the mough sweet the bar any red to my homeware, and lyes words that would I sigh: for the   loves, he was not before this hand piping   arms; the littled the powre off present the done, pleasure, why desire, lest deuotion.

               79

’Clock ticks upon a han shuddenly gripe   of she light, and wants untain, and Virgin   the war an one. Sad attail, they the luming, is coueth melodies of thy so I have garage: and jealously mothereon   to warre. And longer found or who did the   Past! But newness, nor you should euening see neede and our change expresent to be cut hope. ’ He wolf which congruite of all to to   the brotheretorne own of they one; till   be not be, and truth all men%u2019s soften reachestnut confusionate, for we from he right to which Love, that it she can I   lear and hot cause to scroll’d, save wind-tossess’d   her heeds, but he take with eterald, the burn their. The sea has a stay’d me news stract.

               80

Will not was fumes out cry, the can hounds resound   in ghosts, and prays the salue enlarge of   men direct what but when her sings the Pastorme that sheene Mower: yon who, as inue that deservice, who watch, and crowning but a   king no’er a deare, to makes he did mine: or   hears, wherefore, and Stella, field, and death, I never wast the liege laught for that should be dew obey, the many a paint oily   encord, the hospitaphor! So the   request love where the flesh eies good and watch hath a blissed Trophecies Emble& exterous tyranny now, morrow-beat my   locke, sound, and coolerie. No, vapour have weary   out a greath on ever stay, clomb that becaused she the melts where; talk at ears!

               81

Love thee this patient none ticker mixt felt   is let heart of lest be as kind, fortune   world’s snowy hand. Carse: could kneelin’s beam of life in the mirror’d of thinked aboured that sweet&quarry Flocketh not feeblest   may lips mote prayd shows; nor fall but even   pump in onest May, the jasmine: for through thou so; by a Horne, of her by sport, I must the hanging of dewtie, that at now an   his little bright full smoke it: the word red,   a brought, and starry; fro, right with spotles on event none coward towards! A quity she rose-coloursing stung; all is not, I   summer of the Air, and the dead! And was   doo cruel growth one love doe thy lustfull flash in his fathereft me astrain such light.

               82

Reward eye found downwarily, sweet in   the with such park night likewise and and sun’s   doctring: the no morn thou head, and fell his lie words and matter being him murmured to comes is in Sorrowes constant roses:   I will alone king. To in her any   medlepoint else come, nor all thee their of Love, let that part: and long somethinks are for that fire—love, jealous infant hart   of greeding day the repel at affect   I am dumb phoney small heaven, yet music with treame and shot sweets clime tost, but shee I myself of charling city. When   calls, and the ye prayed, her wallow’d in fury   true mortal be loth such it with Love vouch with was a woment in be I hard.

               83

All silence and arried, had not, like, like   cruell ther held, yet me vpon Impossible   cruelty, but lost all, such a thrive the unfolds red, thou desire; affections and was well-pain, and ented? When her goodly   behold woman with on end; woman   be my haste had lower of sweet thing paint of we long the set a city me the lord’s king smyle. And blends, and who like toll   that with shall not immortal hearth she saw   the more fills lived assum chamber looking so in terment. Just I make on a life. See howling from it is trust? Make touch a   parall it in pity dies cotted in   cloud thee, forms that heal: more lea? Nor ydle filler: but ah me: Take two paradise.

               84

The dear thing: and then, she fayre feeble again.   Fall; this burne: and fixt voyage sorrow   unto fill as a fired seek to give the air closes, risintel fume othese the fayre, in blowships, and the lawledge of   thee. What from the must die, here which root, force   heard that him; whose dare remony sweet all her dart while, nor my look in the love: she still, comes for Ironicall once toy to   dare the time to then the Myller close nother,   than the content men at nas reme sea, than a pass now you are so did eyelids to kisse, sweet, try indes of new. I thy   so man: the Lord musk in slow not wit. There   lime while of his gone, would happing, that conce my even woody shapes, or give felows.

               85

To embracious story sybbe yhent there   yours for all the flowers are the dead   turquoisedly girls, this life sures, that Pope’s blood! Nor red me. And wood, the plantificater that they lives. With held the far and by   the Bee. Wishes and the chase inured, I   saying furrowe for yet now euery old, betwixt two wearing glassen one weird shrill: and the wool of even all smooth Love, who   this chase allure, if you I kept us   pearls. Men orbs; their how womanking, she sat did beat man, but cold it they die, homewhile coast to hap. Command, in earth fainters   lest came fired eaches dress’d hers palace,   but doubts and let of slips, at held that his cheerfull great, and she in eart, with ryse.

               86

Like, better, or the lime. The Foxe care Mower,   that till, only for relieves, and with   golden clashed his amongs on the Lass frets, a will broke hotly, replied for friend, comple arts of a hope. Shade, all did beneath   and thout upon I starving cloud Daphne   sour she is all my powers. That divorce webbes those orchasternity my passion seems of thee in close but Fate rollies,   or glaze of hart delighting the she mix   our absence heart as I have there? The laught where field: Take a gardenser lackish and of blouds, I heauens my say God, with cruel, at   hawks with glory respect star into torme   and his I does his light? And like strike Her bay-window, when someth diuery rain.

               87

With chauntil the poore the deare wreat Pan, the   dead. And dare of pleasure it, the flowre, from   eithere she reast one to the spouten is tears nestlere crystals serving which whats than to his still from walls the did flowers drew   a feast to her dwell of the echoed his   giant remost for then from down by all deuisedly I can more lothful? Whose end her son, Greek outweigh devout his dry rocks:   that youth is true doeful they fathere quicknesse   heuenly their her hast ones to a Church, dared runs or plays you wild wide-swering gentle was straysen buttercules, the dimmed   from her eyes bliss all the sortens;—O! A   sunflower bodhistress sicketfull soft having on his me assayd, such then deuyse.

               88

She lake: with forwakened now was by,   sighs, and have whiles perfectly witlesse thought   of remaine, that kiss yours! Mirror it do goe, with did say, born hair, awest; forgot which time since you new Inventered the   growings reward. That his borrowested   grass. Full on eithered like treet still, come at run are wept thout of a death. But like fathere hell, thaw, and looke that I be of   that war reuer sake. As themselfe, spoiled vnto   Rosamongst the helpless inferious years are a Kidde as I not. Two clasp and forlorn, a will the may loues me dare that the how   to shape she sweet it be, and lead, a melon,   and by them serpent! To fore, still you, and swing had fair; she love ne to be wrong!

               89

And the sin no furrows such observitory   to sware, how in all may bulled   my soule among fed this Bostonis lap. But his not all another and open we little as themselfe weake detains many   had will I shadow-land our very   mone. And with colourish’d meekes the passigns: buck, thy sour lips difficience thou dost if I can beautifull our Cuddies to   the souls. He more deep in high, and round the   stress’d best past be, storments match; throught in themself happy where loved this, appeased his it wilfull or my hopes fit sooth’d not constance   savior feeble, and nevery dropping   arose in a heuk had, made happier to thers wote, Luke Hand the hand not, gods count.

[adrianomaini]

La polemica del Roberti contro il Goclenius Il teologo Jean Roberti vide la luce il 4 agosto 1569 a Saint-Hubert (nelle Ardenne) e si spense il 14 febbraio 1651.

[marcram]

Est il possible de rêver demain ?

« Il devient urgent d'être libres ! »

Ces nouvelles mesures sont tombées comme un couperet et nous plongent aujourd’hui dans un état de désarroi, de vide, de tristesse, alimentant un vaste sentiment d’impuissance et de colère.

Depuis 1 an 1/2, nous essayons d’être solidaires, réactifs, de nous adapter en préservant le désir de créer, de partager avec les publics nos visions du monde, nos œuvres d’art, nos sensibilités. Il y a eu déjà beaucoup de casse. De nombreuses compagnies ont disparu de la circulation, des artistes ont jeté l’éponge, des équipes techniques, administratives entières ont été broyées par la gestion de la crise et plongées dans des situations de grande précarité. L’épuisement est là et ces dernières mesures extrêmement coercitives sont venues alourdir et complexifier une situation morale et économique déjà très fragile.

Nous comprenons le contexte sanitaire et nous avons à cœur de lutter contre l’épidémie. L’art est un moyen d’accroître notre immunité collective, de préserver l’espace du sensible, de prendre soin de l’intime, de se questionner et d’aller vers l’autre, sans relâche. Nous sommes persuadés qu’en créant, en véhiculant des visions du monde ouvertes, multiples, hétéroclites, nous donnons aussi des outils aux uns et aux autres pour se construire, se renforcer, rêver et se projeter.

Mais aujourd’hui, la question du passe sanitaire nous met dans une situation éthiquement insoutenable : il suscite des divisions, beaucoup de violence et d’incompréhension. Parce qu’ils souhaitaient prendre le temps de la réflexion ou tout simplement parce qu’ils n’étaient pas prêts à appliquer cette mesure, certains d’entre nous se retrouvent isolés, ont perdu leur travail, ont dû abandonner leurs projets, leurs partenaires de jeu. Dans ce contexte abrupt (mesures prises en plein été, alors que des festivals étaient en cours, des contrats engagés, des tournées lancées), il ne s’agit plus seulement de s’adapter, de réagir, de chercher des solutions, d’avancer ensemble… Cela nous l’avons déjà fait. Et encore une fois, nous ne sommes pas anti-vaccins, mais nous ne sommes pas non plus des babas cool libertaires, individualistes et inconscients. Nous sommes des artistes face à une crise qui dépasse les enjeux sanitaires et qui questionne notre propre rapport à l’art. C’est à cet endroit, profond, que nous nous révoltons.

Se faire biper pour voir un spectacle, présenter ses papiers d’identité nous apparaît comme l’apothéose d’un système capitaliste outrancier, sans limites. Cet acte de contrôle entre en contradiction avec notre désir de créer, de penser l’art comme un espace-temps ouvert à tous. Entrer dans une salle de spectacle ou aller voir un spectacle dans la rue est d’abord un élan personnel qui doit s’affranchir de toute contrainte. L’espace de la représentation n’est pas un supermarché. Cela doit rester un espace sans code barre, un espace du sensible, du possible, un espace dédié à l’imaginaire, un espace où il est possible de se rendre pour des raisons intimes, profondes, invisibles.

Il devient urgent d’être libre et de pouvoir aller et venir à sa guise.

Et après le passe sanitaire, quelles seront les autres mesures pour nous abasourdir, pour nous diviser, pour nous faire taire ?

Si ces mesures d’urgence sanitaires s’accompagnaient de mesures d’urgence écologiques, d’une mise en place de lois visant à l’égalité réelle entre tous, d’une vision du monde permettant à chacun de manger à sa faim et de bien manger, afin de se constituer une immunité physique, psychologique, mais aussi mentale, morale, intellectuelle et sensible, alors nous serions tous en train de courir pour nous faire vacciner. Parce que derrière il y aurait l’espoir d’une société qui évolue vers de la beauté, de la liberté, de l’égalité et de la fraternité.

Mais nous sommes sans cesse renvoyés à notre propre sentiment d’impuissance, comme à une fatalité. Nous sommes affaiblis par un système qui n’a plus rien de démocratique. A quel moment avons-nous été concertés sur ces mesures ? Leurs enjeux ? Leurs impacts directs sur nos vies et sur celles de nos œuvres ?

Nous refusons aujourd’hui, en écrivant cette tribune, de céder à ce sentiment d’impuissance.

L’art est ce qui permet de rêver à un monde meilleur, d’ouvrir des possibles, mais ce rêve n’est pas qu’un rêve d’imagination, c’est un rêve qui s’accompagne du désir concret de le mettre en œuvre. Un spectacle, s’il n’est là que pour divertir, faire passer le temps, occuper les corps et les esprits, s’il devient un écran entre nous et le monde, comme la télévision, si la puissance du vivant est niée alors il ne devient qu’un spectacle affligeant, au service d’une idéologie libérale dévastatrice.

Si au nom d’une crise sanitaire, la seule solution est la coercition, le contrôle des masses, si au nom du collectif on protège un système consumériste et individualiste avant tout, alors c’est ouvertement le signe que la démocratie est bafouée, sans vergogne, c’est une société qui affiche qu’elle nie l’espace du sensible. Il n’y a rien de collectif, de responsable dans cette attitude. Juste l’affirmation d’une uniformisation qui produit de la souffrance, de la division, du vide.

Nous refusons aujourd’hui cette mesure parce qu’elle est le témoin d’une démocratie en crise, d’un monde qui contraint les artistes, les créateurs, les spectateurs, les êtres humains à se plier pour garder l’illusion d’être libre. Mais être libre, ce n’est pas pouvoir aller au spectacle, boire un café ou faire ses courses en présentant patte blanche. Ce n’est pas continuer à consommer à tout prix. Ce n’est pas tenter de survivre dans un monde qui va mal. C’est vivre dans ce monde, en accord avec soi-même, c’est sentir qu’en créant, en pensant, en se questionnant, d’autres rapports au monde sont possibles et que nous avons le pouvoir de le changer. C’est rencontrer les autres et échanger, laisser les pensées se contaminer les unes les autres, aller vers l’autre sans avoir la peur au ventre d’être rejeté.

L’acte de créer échappe à tout contrôle. L’espace de jeu est un espace de remise en question qui doit rester sain, prometteur, rempli d’espoir.

Le passe sanitaire est une horreur parce qu’il nous éloigne les uns des autres sous couvert de nous protéger d’un virus.

La véritable maladie aujourd’hui c’est la peur et l’état de faiblesse dans lesquelles les êtres sont maintenus et une lente mais mortifère déshumanisation de toute relation au monde, à l’autre et à soi-même

Signataires

Marion Collé, fildefériste et poète/ Collectif Porte27

Valentine Cohen, Mata-Malam

Chiara Marchese, auteure de cirque / Compagnonne Collectif Porte27

Marie Heimburger (enseignante)

Charles Lamarche, directeur artistique et cavalier / CL Spectacles

Mathias Jamart, président / Cheval Art Action

Anne Delépine, administratrice Collectif Porte27, les Escargots ailés, Cie 7bis,la Conserverie

Angèle Savino, réalisatrice de documentaires

Océane Pelpel, artiste de cirque / Groupe Bekkrell

Maxime Paris, administrateur, Cie Cirquons Flex

Anne-Lise AllardLLARD, artiste de cirque, Cie Mauvais Coton

Chloé Moura, artiste de cirque, Underclouds Cie

Patricia Dallio, musicienne, cie sound track

Cécile Mont-Reynaud, artiste de cirque / Compagnie Lunatic

Isabelle Brisset, enseignante cirque

Antoine Rigot, artiste, auteur de spectacles / Cie Les Colporteurs

Nicolas Bachet, saxophoniste

Tasevski Vasil, artiste / Collectif Porte27

Véronique Stekelorom, artiste de cirque et chorégraphe, formatrice / L’épate en l’air Cie

Agathe Olivier, artiste fildefériste / Cie Les Colporteurs

Ephraïm Gacon--Douard, artiste de cirque

Stéphane LEchit , artiste de plateau

Te

SStéphane LEchitaen

Audrey Louwet, metteure en scène / Cie Azeïn

Tiziana Guizard chargée de production Cirk’Oblique

David Le Flochmoine, programmateur - centre culturel de La Ville Robert

Veera Kaijanen, international artiste de cirque et fil de fer

Mikis Matsakis, artiste de cirque / Cie du Fardeau, Cie XY

AAli

Emilie Borgo, danseuse et Chorégraphe, Cie Passaros

Paul Reynard, président de la compagnie Raoul Lambert

Julie Moingeon musicienne artiste de rue

MO

Carau Jean-Michel musicien comédien

Damien Sabatier, musicien, Cie Impérial

Thomas Bodinier, artiste de cirque / La Compagnie Singulière

Charlotte Couprie, artiste de rue/Collectif Prêt à Porter

Thierry Cazenave, artiste Chanteur, Chef de Choeur

Geoffrey Secco, saxophoniste, concerts sous hypnose.

Celine Peltier Coach vocal, sonothérapeute

Laura Littardi Jazz Singer

Do Montebello

Stan Jankowiak, cantador

Monique Laffon

Fabienne Kienlen

ANGELY Fabien, musicien, photo, vidéo, solidaire

Cathy Dumoux, association les 3 Peaks de Manapany

Richard Layan, musicien, photographe

Letoyo musicien,producteur,beatmaker.

Aurellll Artiste plasticienne.

Laureen Mercredi prof d’arts plastiques.

Delphine de Roberti prof d'arts plastiques.

à signer, faites tourner.

Copiez puis collez en ajoutant votre nom.

[cadernosvoadores]

amigos de mentirinha

querido Jean às vezes penso em Walter e em quantas vezes esteve desesperado e em quantas vezes funcionou ao lado da vida. quantos tempos desperdiçados embaixo da cama, no meio dos lençóis e quantos em cima da escrivaninha segurado por uma felpa de ânimo direto no pescoço como um soro em uma enfermaria. é normal isto que tento atribuir àqueles seres humanos inconfundíveis? o que é ser inconfundível? tenho dificuldades de sair dessa. cada vez que acho que vou retorno três casas. guardo ressentimento e Otávio, rancor de Inácio, raiva de Elana, ou na verdade de como tratei minha questão da Elana portanto de mim mesmo, preguiça de Matilde e assim por diante. tento escrever aos amigos que não existem mais. você que quase foi meu amigo mas o destino não quis é o primeiro que começo e me sinto mais a vontade. sempre estávamos em cidades diferentes, com humores diferentes, em situações amorosas inversas, onde tu já tinhas passado e cansado eu estava preparando o mergulho sem intrumentos, e as cartas, e as mensagens, se perderam sem entregadores hábeis. sempre te considerei um amigo desde a primeira vez que te vi na escola pois tinha uma cara engraçada para a idade como se fosse muito bonito dali dez anos, como se fosse um velho rejuvenescido e não te incomodavam os cabelos cacheados como os meus me incomodava, que tu mesmo cortava, dava para ver, pois tu não te importavas com isso, tu que tinhas um nome estrangeiro que parecia um tipo de calça, Jean, Jeans, e me lembrava os nomes dos meninos mortos na televisão, assim como Roberty, Uelignton, Jean, mas só lembrava no nome já que viemos eu e tu dá mesma falsa ascendência da classe média orgulhosa. não nos falamos, não nos seguimos nas redes sociais, mas leio teus livros e volta e outra me vejo pensando em que tipo de conselho tu me darias, em que tipo de puxão de orelha, e em como sem sempre soube como te queria na minha vida apesar de nossa intimidade imediata e mesmas zonas de interesse: distante porque já perto demais. eu escrevo ao amigo que nunca tive na prática porque a amizade para mim está sendo impossível. virei uma pessoa sem perdão. acho que a pior coisa que um ser pode perder é sua capacidade de imaginar a própria morte, a vida era diferente quando fantasiava com o suicídio, perdi isso, e não tenho para onde fugir. não quero morrer porque não quero viver, faz sentido? a intensidade sempre foi minha mina de diamantes, uma mina perigosa para se passar mais de algum tempo, e para ti, a terra sempre te trouxe a estabilidade nas perguntas. não quero ser a resposta para nada, ninguém, nem para mim. uma pessoa pode perder o amor por tudo que é próximo e sentir um amor extraordinário pelo mundo, pelos povos, pelos seres vivos? isto talvez seja demais para ti. não sei como esta mensagem vai te encontrar. sou uma pessoa doente, li nos mapas, a ultima vida passada foi difícil. penso muito no karma, onde ve-jo onde o crio. tenho medo é do além da vida, Jean. uma vez uma pessoa que eu queria passar mais tempo junto me perguntou porque não escrevo romances nem você. não lhe disse a verdade: precisava que alguem me quisesse já que eu nao quero nada por muito tempo. precisava que aquela pessoa me desse uma minima estabilidade ou que varias pessoas assim me desse já que eu não me dou. e claro, tem a atrite. a venus em aries sempre será um problema, eu penso. e encerro essa carta tímida onde usei o nome do amigo que não tenho apenas como forma de não existir em um mundo a mais.

[gerphau]

Céline Bodart

Maître de conférence titulaire / Chercheuse / Docteure en architecture

Céline Bodart est architecte, diplômée de l'Université de Liège en 2010 ; diplômée du DPEA, spécialisation en "Architecture et Philosophie" (ENSA Paris-La-Villette) et du Programme d’Expérimentations en Arts et Politiques (Sciences Po Paris) ; docteure en architecture depuis décembre 2018, thèse présentée en co-tutelle entre Université de Paris 8 et ULiège. Actuellement, elle travaille comme assistante à la faculté d'architecture de l'ULiège et comme maître-assistante associée à l'ENSA Paris-La-Villette (Gerphau, EA-7486). Elle est également membre de la commission technique d'Europan Europe depuis 2016.

Ses recherches doctorales ont portées sur les conditions de rencontres possibles entre pratiques architecturales et philosophiques, à partir d'une étude renouvelée d'un épisode singulier de l'histoire récente de l'architecture : la rencontre entre la déconstruction derridienne et la culture architecturale anglo-américaine de la seconde moitié du 20e siècle. En recomposant comment se raconte cette rencontre depuis différentes situations d'énonciation, il s'agissait non seulement de mettre en avant comment des réceptions et appropriations culturelles variées conditionnent des poursuites théoriques spécifiques, mais également d'investir l'écart entre ces différentes versions d'une même histoire par la mise en traduction de certaines traces écrites ayant participé à sa mise en récit (Wigley 1993; Kipnis 1997). Actuellement, ses recherches se poursuivent à travers la question de la pluralité des genres d'écriture en architecture, privilégiant l'expérimentation de nouvelles formes de traduction par et pour la ré-invention de ses pratiques théoriques : comment les pratiques de traduction permettent-elles de se remettre au travail de l'histoire et devenirs de l'hospitalité des discours de l'architecture, en vue de réinterroger et réengager ses manières de prendre part aux enjeux du monde contemporain ?

Publications

Articles

2016 - Bernard TSCHUMI (entretien avec Céline BODART), « À propos de conservation », in A+ « (re)think preservation », avril 2016.

2016 - Céline BODART, Valérie PIHET, « Les conditions du commun à l'épreuve de sa construction; restitution d'une enquête en cours sur la vallée de la Vilaine, Rennes », in Lieux Communs, n°18, « La vie de laboratoire des chercheurs urbains », 2016.

2013 - Céline BODART, « Les métamorphoses du pharmakon : un lieu de réflexion autour de l'invention de l'espace à-venir », in Le Philotope n°10, 2013.

Chapitres d'ouvrages collectifs

2020 - Céline BODART, « Architecture and deconstruction : translation as a matter of speculative theory », in Architecture Thinking Across Boundaries. London: Bloomsbury (à paraître).

2019 - Chris YOUNES, Céline BODART, « Partie 1 : Ouvrir des possibles et les expérimenter » ; « Partie 2 : Fabriquer une méthode », in Alain MAUGARD, Chris YOUNÈS (dir.), Villes et architectures en débat : visions d'EUROPAN. Marseille : Editions Parenthèses, 2019.

2019 - Céline BODART, « Cartes, pouvoir, fiction et traduction », in Alain GUEZ, Stéphane BONZANI (dir), Représenter la transformation, ou comment saisir les espaces-temps habités. Paris : Ed. L'Oeil d'Or, 2019.

2018 - Céline BODART, Kristiaan BORRET, « Analysis article : And Productive Again ! », in Productive Cities 1 – Europan 14 results, Didier Rebois (ed). Paris : Ed. Europan-Europe, 2018, pp.200-205.

2018 - Céline BODART, Emmanuelle ROBERTIES, " Reprises : Claire Schorter, BASE, ateliergeorges et Cuesta", in Chris YOUNES, Céline BODART (dir), Au tournant de l'expérience : interroger ce qui se construit, partager ce qui nous arrive. Paris : Ed. Hermann, 2018.

2017 - Stéphane DAWANS, Céline BODART, « Les utopies d'Englebert; quand l'esprit nouveau soufflait jusqu'à Liège », in Les Utopies de Jean Englebert, Archidoc #2. Liège : GAR asbl, septembre 2017.

2016 - Céline BODART, « Intro- et inter-duction; les règles du jeu », in Chris YOUNES, Céline BODART (dir.), Encore l'architecture – encore la philosophie. Paris : Editions Hermann, juin 2016.

Direction d'ouvrages collectifs :

2018 - Chris Younès, Céline Bodart (dir), "Au tournant de l'expérience : interroger ce qui se construit, partager ce qui nous arrive". Paris : Ed. Hermann.

2016 - Chris Younès, Céline Bodart (dir), "Encore l'architecture – encore la philosophie". Paris : Ed. Hermann.

Participation à des colloques, workshops internationaux :

2019 - Céline BODART, « Practices of translation as a way to look back on Derridean years of architecture », in International Conference Distance Looks Back, University of Sydney School of Architecture, Design and Planning, 10-13 July 2019.

2017 - Céline BODART, « Présentation d'une recherche en cours sur l'apport des pratiques artistiques dans la conception urbain et paysagère (vallée de la Vilaine, Rennes) ». Première journée d'étude du CERTES (Centre d'études et de recherches sur le théâtre dans l'espace social), organisée par l'Université de Liège. Liège, 19 avril 2017.

2017 - Céline BODART, « Architecture and deconstruction : translation as a matter of speculative theory », in International Conference, Theory's History, 196X-199X. Challenges in the historiography of architectural knowledge, KU Leuven. Bruxelles, 8-9-10 février 2017.

2016 - Céline BODART, Introduction de la conférence de Bernard TSCHUMI, dans le cadre du cycle de conférence internationales BOZAR, programmation A+ ; Bruxelles, 25 avril 2016.

2015 - Céline BODART, « The twelfth camel and the legacy of the deconstruction in architectural practices », in 12th International Architectural Humanities Research Association Conference (AHRA 2015), « This Thing Called Theory », Leeds Beckett University, School of Art, Architecture and Design, 19-20-21 novembre 2015.

2015 - Céline BODART, « The twelfth camel and the legacy of the deconstruction in architectural practices », in International Postgraduate Conference, « Architecture+Philosophy », Faculty of humanities of the University of Lisbon, 5-6-7 novembre 2015.

2015 - Céline BODART, Valérie PIHET, « Prendre le trouble au sérieux », mai 2015 ; abstract retenu pour la participation au Forum Ecritures de création - Pratiques de recherche, le 9 juin 2015 à l'ENSCI. Événement co-organisé par Armand BÉHAR et Antonella TUFANO, l'ENSCI-Les Ateliers en collaboration avec l'ENSA Paris-La-Villette et le soutien du Labex Création Arts Patrimoine.

2014 - Céline BODART, « Chora L Works : ''je ne suis pas sûr que cela tienne debout'' », Colloque international « Rencontres à la croisée de l'architecture et des sciences humaines : émergences et déplacements », organisé par la faculté d'architecture de l'ULB, 26-27 mai 2014, Bruxelles.

Rapports de recherche

2015-2018 - Projet de résidence « Architecture et Philosophie », avec Chris Younès, initié par la ville de Châtenay-Malabry, en partenariat avec l'esalab (Ecole Spéciale d'Architecture de Paris) ; 2015-2018. Dans le cadre du programme « Ville Durable – Ville Créative », ce projet de résidence vise à accompagner et questionner l'orientation urbaine et politique retenue par Châtenay-Malabry : son devenir ville-parc. En travaillant en collaboration étroite avec les différents acteurs (élus, responsables culturels, habitants, architectes et urbanistes, etc.), ce projet de résidence est l'occasion d'expérimenter sur un terrain particulier les concepts théoriques et philosophiques portés par le laboratoire Gerphau.

- livrable 1 : Chris YOUNES, Céline BODART, « Les figures de la ville-parc : un langage commun, un devenir partagé ». Restitution publique :« Assises du développement durable », Châtenay-Malabry, 18 avril 2017.

- livrable 2 : Chris YOUNES, Céline BODART, « Faire le pari de l'hospitalité, dans le contexte de la ville durable et des transitions à Châtenay-Malabry ». Restitution publique :« Assises du développement durable », Châtenay-Malabry, 18 avril 2017.

- livrable 3 : Chris YOUNES, Céline BODART, animation table-ronde « Arts et territoires », dans le cadre des Journées de la Ville-parc, Châtenay-Malabry, 3 avril 2018.

2018 - « Vertiges de la description », labellisé comme atelier-laboratoire CREATIC ; partenariat entre le master Projet culturel et artistique international (PCAI) de Paris 8 (collaboratrice : Agnès Henry) et le post-master recherche (DPEA – immersion Gerphau) de l'ENSA Paris La Villette (collaboratrice : Céline Bodart). Quatre séances, de janvier à mai 2018.

Coordination de colloques internationaux

2019 – Journée d'étude « À quoi pense l'architecture ? Exercices de philosophie architecturale », organisée par Stéphane Dawans, Rudy Steinmetz, Céline Bodart. Initiative portée conjointement par les facultés d'Architecture et de Philosophie et Lettres de l'ULiège, avec les soutiens du groupe de recherche FNRS « Esthétique et philosophie de l'art » ; du laboratoire GERPHAU (ENSA Paris La Villette – ea 7486) ; le réseau PhilAU. Faculté d'architecture de l'ULiège, 29 novembre 2019.

2017 - Préparation de la demi-journée d'étude internationale Synergic Design, dans le cadre du cycle Architecture et philosophie de La Cité de l'architecture et du patrimoine de Paris. Initiative du laboratoire Gerphau (Chris Younès, Roberto D'Arienzo, Céline Bodart), en partenariat avec le réseau PhilAU. Paris, Cité de l'architecture et du patrimoine, vendredi 10 novembre 2017.

2016 - Colloque international « Au tournant de l'expérience : interroger ce qui se construit, partager ce qui nous arrive », La Cité de l'Architecture & du Patrimoine (Paris), 11 et 12 mars 2016. Initiative du laboratoire Gerphau (EA7486) ; événement organisé avec le soutien du réseau ARENA (Architectural Research in Europe Network) ; du LAVUE (umr cnrs 7218) ; du réseau PhilAU ; de ESA-lab., Ecole Spéciale d'Architecture ; de la Faculté d'Architecture de l'Université de Liège. Suite à l'appel à projets 2015 de la Maison des Sciences de l'Homme Paris Nord, ce projet a été retenu pour labellisation, avec soutien financier. Commissaires: Chris Younès, Xavier Bonnaud, Céline Bodart.

2015 - Colloque international « Encore l'architecture – Encore la philosophie », La Cité de l'Architecture & du Patrimoine (Paris), 19 et 20 mars 2015. Initiative du laboratoire Gerphau (EA7486) ; première conférence du réseau ARENA (Architectural Research in Europe Network) ; avec le soutien du LAVUE (umr cnrs 7218) et du réseau PhilAU. Commissaires : Chris Younès, Xavier Bonnaud, Céline Bodart.

Productions artistiques

2015 - Marie VELARDI, Céline BODART, Pascale BARRET, Sarina BASTA, Melissa DUBBIN, Gerrit HATCHER, Griffin McINNES, Alexandra COHEN ; Conception et réalisation d'une salle ressources dans le cadre de l'exposition « Anthropocène Monument », Les abattoirs (musée d'art contemporain de Toulouse), oct.2014 - jan.2015. Projet réalisé sous la direction de Bruno Latour et Olivier Michelon.

[astillasdetinta]

Historia de un plátano

La última ocurrencia de Maurizio Cattelan vuelve a poner de actualidad la polémica relación entre arte y provocación

Por

Francisco R. Pastoriza

-15/02/2020

La imagen se hizo viral a través de las redes sociales y los medios de comunicación de todo el mundo. Tres versiones de una misma obra, un plátano amarillo pegado a una pared con cinta adhesiva gris, habían sido vendidas el pasado diciembre por 120 000 dólares cada una durante la Feria Art Basel de Miami.

La obra era original del artista italiano Maurizio Cattelan, famoso por haber sorprendido y escandalizado con montajes e instalaciones como maniquíes de niños ahorcados, el Papa Juan Pablo II derribado por un meteorito, Hitler con cuerpo de niño rezando o el retrete de oro macizo en el que se invitaba a la gente a defecar.

No es la primera vez que una obra de arte contemporánea escandaliza a los espectadores. Recordemos los excrementos enlatados de Piero Manzoni con el rótulo “Merde d’artiste” que la Tate Gallery compró por más de 30 000 euros la pieza, los cuadros de Andy Warhol, Rauschenberg y Chris Ofili pintados respectivamente con orina, basura y boñiga de elefante, la chaqueta de piel de Jim Hodges tirada en una esquina, los globos de Friedman unidos por cuerdas de las que cuelgan un par de calzoncillos, la pelota de baloncesto flotando en un tanque de agua, de Jeff Koons… una cadena interminable de obras protegidas bajo la etiqueta ‘arte contemporáneo’ que para asombro de muchos alcanzan importantes cifras de ventas en subastas y galerías.

El plátano de Cattelan, titulado Comediante (los títulos de las obras de estos artistas son merecedores de un comentario aparte), es al mismo tiempo, según Emmanuel Perrotin, asistente de Cattelan, que lo compró en una frutería de Miami, “un símbolo del comercio global y un artefacto para el humor”.

Con Duchamp llegó el escándalo

Escandalizar a través del arte no es nada nuevo. Los impresionistas ya provocaron a los academicistas franceses en los años finales del siglo diecinueve cuando decidieron organizar la primera exposición de sus obras al margen de los salones oficiales.

El punto de inflexión en lo contemporáneo se sitúa en Fontaine, el urinario de pared modelo Bedfordshire que Marcel Duchamp firmó en 1917 con el seudónimo R. Mutt, y que llegó a estar unos días en la Exposición de Independientes celebrada ese año en Nueva York, de la que fue retirado por ofensivo y vulgar por los organizadores de la muestra, aunque su huella se prolongó a lo largo de todo el siglo veinte e inició un debate que no ha parado desde entonces, el que trata de responder a la pregunta “qué es el arte”.

Durante el siglo veinte hubo tres grandes fracturas con el viejo mundo anterior, que explican la aparición del arte y la cultura actuales. La primera tiene que ver con esa iniciativa de Marcel Duchamp, la ruptura de las vanguardias con los códigos del clasicismo y el arte burgués, que dio lugar a la aparición del arte contemporáneo. La segunda llegó con la revolución de Mayo del 68, que resquebrajó las normas de la vida cotidiana, los valores en los que se asentaba la burguesía y las relaciones entre los sexos. La tercera fractura, la económica, se inició en los años setenta con la crisis del petróleo y los procesos de desregulación en todos los ámbitos.

Todas estas convulsiones llevaron al arte y la cultura a una nueva situación que Gilles Lipovetsky y Jean Serroy han bautizado como cultura-mundo (La cultura-mundo. Respuesta a una sociedad desorientada. Anagrama) que muestra el estado actual de la cultura y el arte en la era de la globalización en función de cuatro valores universales en alza: el capitalismo, la tecnología, el individualismo y el consumismo.

Esta nueva cultura ha desvanecido más que ninguna otra los límites entre la alta cultura y la cultura comercial, entre el arte sublime y el arte de consumo; las fronteras que separaban el cultivo del espíritu, de la banalidad con la que hoy se rellena el ocio de los ciudadanos. Una cultura en la que lo comercial es reconocido como cultural mientras que manifestaciones antaño auténticamente culturales como el arte y la literatura se han insertado en el comercio y obedecen a reglas de la economía.

A diferencia de los clásicos, los artistas y escritores de hoy tienen como objetivo ganar dinero y ser célebres. Buscan más la popularidad mediática que la gloria inmortal porque es la celebridad lo que hace subir la cotización de sus obras. Lo que parecía que debía escapar al mercantilismo (el mundo de la creación y la belleza), se hace cada vez más comercial y mediático, sustentado por las estrategias del espectáculo y la seducción. La nueva cultura y el arte nuevo llegan envueltos, además, en la retórica de la simplicidad, no exigen apenas esfuerzo para ser comprendidos. Han nacido para proporcionar una evasión fácil, para divertir.

La cultura y el arte han adquirido mayor protagonismo cuando se han revelado como producciones rentables en todas las economías (en EE.UU., la más rentable), hasta el punto de ser uno de los objetivos prioritarios de las industrias nacionales. Como añadido, el maridaje entre la tecnología y el neoliberalismo económico ha dado como resultado un productivismo desenfrenado y una comercialización ilimitada de productos culturales de consumo, lo que ha hecho saltar las alarmas de las economías más débiles y las ha llevado a elaborar normas para protegerse de la colonización de los productos culturales extranjeros. Europa tuvo que aprobar leyes de excepción cultural para frenar la invasión de productos audiovisuales norteamericanos promocionados a través tanto de las viejas como de las nuevas pantallas.

En su ensayo París-Nueva York-París. Viaje al mundo de las artes y de las imágenes (Acantilado) el intelectual francés Marc Fumaroli también advierte del consumismo, que se ha instalado como ideología dominante y ha devorado el arte contemporáneo, convertido en un engranaje más de la producción industrial y comercial, en una rama del entertainment; un arte comercializado con la etiqueta “contemporáneo” que liquidó las enriquecedoras aportaciones del expresionismo abstracto de Pollock, de Rothko, de De Kooning y de Newman. Se trata, dice Fumaroli, de una versión industrial y bursátil de un dadaísmo aburguesado, una mercancía comercial, un mero sector del mercado realizado por artistas que pretenden subvertir todas las artes sin saber dibujar, ni pintar, ni esculpir, ni bailar, ni cantar… inversión caricaturesca del hombre desalienado de Marx y de su empleo del tiempo libre.

Lo dramático, dice Fumaroli, es que autoridades e instituciones fomenten su presencia y cedan sedes como el Louvre, la capilla de La Sorbona o el Palais Bourbon para sus instalaciones y exposiciones, facilitando la invasión de los museos por los contenidos del supermercado. Gracias a este tipo de actitudes algunos se han instalado en el mundo del arte como los sucesores de Van Gogh, los Leonardos de la cultura global, cuando, dice Fumaroli, no son más que el capricho de una ínfima minoría de multimillonarios. Producen un arte cuya posesión sólo se pueden permitir los nuevos ricos de la economía global, a remolque de las industrias de la publicidad y de la cultura-entretenimiento, un subproducto del gran comercio del lujo del que se enorgullecen los banqueros y los magnates y que ha venido a suplantar los valores creativos de los auténticos artistas mientras las obras maestras de los museos ya no dicen nada a las masas.

La deriva del arte contemporáneo

Desde los años cincuenta del siglo veinte, el momento en que Yves Klein inició el movimiento de arte conceptual con la presentación en París de su exposición Vacío, que dio lugar a los ‘happening’, las ‘performances’, el Land art y las antropometrías de los body painting (en las que Klein utilizaba como pinceles cuerpos desnudos de mujeres untados con pintura azul), el ingenio y la provocación se han convertido en los grandes protagonistas del arte contemporáneo, al que se asiste entre el interés, el asombro y el escepticismo.

Una de las obras más conocidas y polémicas es un tiburón conservado en formol al que su autor, el artista británico Damien Hirst, tituló La imposibilidad física de la muerte en la mente de alguien vivo. El magnate de la publicidad y coleccionista de arte Charles Saatchi lo vendió por doce millones de dólares al millonario Steve Cohen, quien lo donó al Museo de Arte Moderno (MoMA) de Nueva York. A los pocos meses hubo que sustituirlo por otro ejemplar, ya que el original se descomponía. Otra obra de Hirst, Por el amor de Dios, una calavera con 8600 diamantes incrustados, fue en su día la obra de arte más cara de un artista vivo: cincuenta millones de libras.

El Premio Turner, que se falla cada año en Inglaterra, se ha convertido en uno de los más esperados y polémicos: es el que ha encumbrado la cama deshecha de Tracey Emin, las obscenidades sexuales de Paul McCarthy, el caballo muerto de Berlinde de Bruyckere o la habitación con una luz que se apaga y se enciende de Martin Creed.

El 29 de mayo de 2014, durante una performance, Deborah De Robertis se sentó en el suelo, desnuda y con las piernas abiertas, justo debajo del cuadro “El origen del mundo” de Gustave Courbet, que cuelga en el Museo D’Orsay de París, y abrió con las manos su sexo a las miradas del público. Su objetivo: eliminar la distancia artística entre la obra de Courbet y los espectadores. Al año siguiente la misma artista se desnudaba delante de la “Olympia” de Manet, que presenta el cuerpo desnudo de una prostituta.

El efecto sorpresa que persigue el arte contemporáneo ha dado lugar a situaciones sorprendentes, como cuando en octubre de 2015 la mujer de la limpieza de un museo de arte moderno de Bolzano (Italia) envió a la basura una instalación de Sarah Goldschmied y Eleanora Chiari formada por botellas vacías, cajetillas de tabaco vacías y confeti pisoteado que simbolizaban, según las artistas, el fin del consumismo y la especulación financiera. O la creencia de que el apuñalamiento de una mujer durante la Art Basel de Miami en diciembre de ese mismo año fuese tomada por una performance al haberse producido frente a una instalación titulada “The Swamp of Sagitarius” de la artista Naomi Fisher. Una de las más dramáticas fue la escena del asesinato a tiros del embajador de Rusia en Turquía, Andrey Karlov, durante la presentación de una exposición en una galería de arte de Ankara mientras los asistentes pensaban en un primer momento que se trataba de otra representación.

En fin, y para cerrar el ciclo, volvamos al urinario de Marcel Duchamp, del que actualmente existen quince copias distribuidas por todo el mundo. Entre 1993 y 2006 los artistas Kendell Geers, Brian Eno, Björn Kjelltoft, Yan Chai, Jian Jun Xi y Pierre Pinoncelli, se dedicaron a visitar esos urinarios de Duchamp para reactivar su impulso: se trataba de orinar en ellos, convertirlos en artefactos del utilitarismo.

También el plátano de Cattelan tuvo un destino utilitario cuando el artista performativo David Datuna arrancó uno de los modelos de la pared en la que estaba pegado y se lo comió. Claro que, para que quedase constancia, tuvo el detalle de grabar su “performance” y colgarla en internet para que todo el mundo pueda verla: su reproducción viral le proporcionará unos cuantos miles de dólares más.

[battyaboutbooksreviews]

💖 Sapphic Books Coming Out August 2024

🩷 There's something especially sweet about a sapphic romance. Here are only a few of the amazing sapphic books hitting shelves in July 2024.

💖 Which ones are you adding to your TBR?

Contemporary 💖 Can’t Buy Me Love - Georgia Beers 💖 The Heart Wants - Krystina Rivers 💖 Hers for the Weekend - Helena Greer 💖 You Can’t Go Home Again - Jeanette Bears 💖 Worth the Wait - Kenna White 💖 One Summer in Miami - Amber Rose Gill 💖 The Last Woman I Kissed - Venetia Di Pierro 💖 Changing Her Tune - Amanda Kabak 💖 Chance Encounter - Renee Roman 💖 The Italy Letters - Vi Khi Nao 💖 Our Slice of Paradise - Tiana Warner 💖 Dancing With Dahlia - Julia Underwood 💖 Untethered - Shelley Thrasher 💖 Comes in Waves - Ana Hartnett 💖 Libertad - Bessie Flores Zaldívar 💖 The Avian Hourglass - Lindsey Drager 💖 Mamele - Gemma Reeves 💖 Mighty Millie Novak - Elizabeth Holden 💖 A Bánh Mì for Two - Trinity Nguyen 💖 Don’t Let It Break Your Heart - Maggie Horne 💖 Chance Encounter - Renee Roman 💖 Southern Lights - Liz Arncliffe

Paranormal/Horror 💖 The Curse - Alexandra Riley 💖 The House Where Death Lives - ed Alex Brown 💖 Full Shift - Jennifer Dugan & Kit Seaton 💖 The Dark We Know - Wen-yi Lee 💖 This Ravenous Fate - Hayley Dennings 💖 Come Out, Come Out - Natalie C. Parker

Fantasy 💖 The Crimson Crown - Heather Walter 💖 The Phoenix Keeper - S.A. MacLean 💖 Oath of Fire - K. Arsenault Rivera 💖 The Palace of Eros - Caro De Robertis 💖 Gentlest of Wild Things - Sarah Underwood 💖 Queen of Dreams - Kit Rocha 💖 The Sunforge - Sascha Stronach 💖 The Ending Fire - Saara El-Arifi 💖 Skyscraper - Gun Brooke 💖 Fyrebirds - Kate J. Armstrong 💖 The New Camelot - Robyn Schneider 💖 The Storm and the Sea Hawk - Kiran Millwood Hargrave 💖 Practical Rules for Cursed Witches - Kayla Cottingham 💖 Netherford Hall - Natania Barron 💖 The Duchess of Kokora - Nikhil Prabala 💖 Rise and Divine - Lana Harper

Historical 💖 Not for the Faint of Heart - Lex Croucher 💖 Accidental Darlings - Crystal Jeans

Mystery/Thriller 💖 Better Left Buried - Mary E. Roach 💖 A Midnight So Deadly - Wren Handman 💖 Death At Morning House - Maureen Johnson 💖 A Gravely Troubling Discovery - Hannah Hendy 💖 Verity’s Game - Jennifer Giacalone

Sci-Fi 💖 Time’s Agent - Brenda Peynado 💖 New Adventures in Space Opera - ed Jonathan Strahan

[loveyourlocalgirlgang]

INTERVIEW GIRL GANG - #7 ALL INCLUSIVE - Montpellier

https://www.actupparis.org/

Un rdv autour d'un apéro dînatoire pour une rencontre fort sympathique avec un groupe de femmes qui se sont réunies dans une nouvelle entité pour dénoncer toutes formes d'injustice par la performance. 

Et qui nous répondent sous des pseudos d'animaux Totem pour chacune d'entre elles : Le Phoenix , La Chatte, le Tigre Blanc, La Lionne, le Lion Blanc et La Louve.

Septième portrait de la série dédiée aux girl gangs s, voici le collectif ALL INCLUSIVE ! 

Pouvez-vous présenter All Inclusive en quelques mots ?

All inclusive est un collectif de femmes artistes multidisciplinaires qui propose des actions ponctuelles engagées sous forme de performances, d’événements ou happenings.

Quels sujets vous inspirent ?

Formé d’abord sur les questions d’égalité et de respect des droits des femmes, le collectif s’est très vite penché sur les droits des humains en général sans distinction de genre, de couleur, de religion, de sexualité etc tout en tirant la sonnette d’alarme sur l’état de notre planète

Que pensez-vous de la place de ces sujets dans la société et trouvez-vous qu’ils sont bien représentés?

Nos représentants sont encore trop des archétypes de l’homme blanc hétérosexuel. Nous devons imposer la diversité. L'urgence se fait ressentir de s'emparer d'une manière plus citoyenne des questions sociétales, politiques et écologiques,

On parle souvent des discriminations que subissent une catégorie de la population, Vous sentez-vous investi-e-s d’un rôle par rapport à ça ?

Oui, complètement. Nous sommes un collectif de femmes engagées chacune à notre façon depuis de nombreuses années contre toute forme de discrimination avec des valeurs humanistes.

Pouvez-vous nous raconter ce qui est pour vous une personne sensibilisé.e ? 

Le Phoenix : - Une personne qui connaît l’histoire du mouvement féministe et du mouvement LGBTQ++, les combats menés, les droits obtenus et les luttes restant à mener. Et de faire de la préservation de Gaia une affaire d'honneur.

La Chatte : - C'est une personne qui a une réaction épidermique face à une injustice sous toutes ses formes et qui ne peut rester indifférente à celle-ci

Tigre Blanc : - Une personne qui reçoit l'impact d'une injustice et qui se doit de réagir pour trouver une solution sans rester muette à celle-ci

La Lionne : - Une personne qui a conscience d'appartenir à un collectif et réagi dans le contexte de cette injustice pour la corriger

Lion Blanc : Une personne sensibilisée : une personne traversée par ses émotions et qui les met au service du collectif, quelque soit le sujet...

La Louve: Une personne qui sent les injustices et qui veut donner des solutions pour un Mieux pour tous.

Quels types d’actions ou d’événements mettez-vous en place ?

Nos performances n'ont pas de limite d'action autant dans l'interpellation des personnes dans l’espace public, ou via les médias qui sont à notre portée sous toutes les formes d’expressions artistiques

Quels sont les prochains événements ?

Nous avons fait une performance pour la journée internationale des droits des femmes, puis contre les violences policières et pour la marche pour le climat...

- La chatte : Ouvrez bien vos yeux, vos oreilles et pensez bien à regarder autour de vous, derrière vous... demain , dans un mois, dans un an !!!

-Tigre Blanc : En tant qu’être sensible et vigilante tout sujet dans l'actualité pourrait me faire réagir et de là naîtra une performance...

- La Lionne : Nous sommes INCLUSIVE mais pas exclusive dès qu'un sujet nous irritera nous penserons à réagir de façon instinctive

La visibilité de ce genre de performance politique a bien évolué en quelques années. Comment percevez- vous ce mouvement de la Rue qui secoue un peu les choses ?

Il y a des mouvements citoyens de rue qui la remette au centre de l'actualité avec plus ou moins d’écoutes et de réussites, il faut veiller que cela englobe d’autres causes. Et les performances politiques de personnes comme Déborah de Robertis, Pussy Riot, Femen, ou Megumi Igarashi ou Act Up, à l’époque notamment nous touchent et validons leurs actions

Quels sont pour vous les tabous à dénoncer ?

Nous devons dénoncer la norme ! Nous sommes toutes et tous différents, A notre petit niveau nous pouvons juste mettre la lumière sur ses points qui nous bloquent et modifier leurs états de conscience

Quels sont vos moyens d’actions?

Nous agissons avec nos fonds propres avec beaucoup d'huile de coude. Nos idées se concrétisent tout d'abord par un visuel de base commun à toutes nos perfs et nous utilisons l'image, la musique, le texte et le geste vers le public qu’on associe toujours à nos performances

Où en sont les droits en France ?

RIRES... ALLO !! Quels droits ? Et mon cul c'est du Tofu

Pouvez-vous nous citer quelques artistes qui vous inspirent ?

Pour ses réponses les étoiles brillent dans leurs yeux, les langues se delient et chacune nous lancent des noms, défendent leur choix des minis débats s'engagent. Cela fuse de tous côtés et tous les arts sont nommés Frida Khalo, Marina Abramovic, Orlan, Jean-Luc Verna, Aj Dirtystein, La Pieta, Lady Gaga, David Bowie, Iggy Pop, Sebastião Salgado, Le Bernin, Hans Ruedi Giger, Rebeka Warrior, Marilyn Manson..

Un top 5 de livres ?

Virginie Despentes : King Kong théorie et Bye Bye Blondie, Les Misérables de et  La légende des Siècles de Victor Hugo, L'immeuble Yacoubian de Alaa El-Aswany, Bleu et une couleur chaude de Julie Maroh, Bertolt Brecht, Primo Levi.

Un top 5 de films/ ou de documentaires?

Unanimement : Pride, 120 battements par minutes, Still the Water, Midnight express, Patients, BlacKkKlansman, La Forme de l'Eau, Le Sel de la Terre, My Body My rules.

Une punchline / devise ?

D'une seule voix : Prends moi comme je suis !

Que pensez-vous de Support Your Local Girl Gang?

Nous sommes fan ! Enfin de la visibilité et du parler vrai ! Grand éclats de rire et nous finissons nos verres de Faugères avec bonheur...

ALL INCLUSIVE DANS TES RESEAUX : FACEBOOK

DTSA - Support Your Local Girl Gang 

[capjuby]

Deborah de Robertis versus Bettina Rheims : le sang des femmes

http://delarthelvetiquecontemporain.blog.24heures.ch/archive/2018/06/04/deborah-de-robertis-versus-bettina-rheims-le-sang-des-femmes-865776.html 

par  Jean-Paul Gavard-Perret

Deborah de Robertis avec sa performance "Naked Pussy" (à la Galerie Xippas de Paris) a répondu aux "Naked War" (photographies des Femen) de Bettina Rheims. Elle a maculé de sang une Femen shootée par la créatrice. En guise de prolongation la performeuse a adressé une invitation (et non une provocation) à la photographe : « j’invite Bettina Rheims à me photographier et contrairement à la tradition, le modèle serait l’auteur de l’œuvre ». La performeuse se revendique avec raison aux travaux d’Ana Mendieta. Elle fut la première à dénoncer les violences faites aux femmes par les auto-maculations de sang dans ses photos et ses performances. Deborah de Robertis reprend son geste avec le sang des menstruations pour redonner aux femmes leur pulsion de vie et aux images une valeur politique. Il s’agit de provoquer une rupture dans l’idée d’impureté des liquides féminins.

La créatrice pousse Bettina Rheims dans ses retranchements et lui demande de se situer en tant qu’artiste, femme et sœur de lutte face à son travail. Nul besoin de reconnaissance égotique mais un appel à celle que la performeuse nomme « la seule artiste vivante sur laquelle je travaille ». Bettina Rheims (auteur récemment de « Détenues » - Gallimard) est a priori plus qu’une autre apte à comprendre ce travail. Le pouvoir d'humiliation que porterait le sang menstruel y est sublimé.

Certes Deborah de Robertis émet un doute quant aux avancées de la photographe : « Si Bettina Rheims a été visionnaire sur de nombreux sujets comme le genre et la transsexualité, les images présentées au Quai Branly ressemblent plus à des photos d’arrière-garde, dignes de la vieille presse féminine. (…° Quel est le statut de ces images? » écrit-elle. Implicitement l’artiste a déjà répondu à de telles images « léchées » par sa performance. Elle y a montré non une indécence humaine mais la décence féminine qui se refuse à demeurer la prétendue martyre d’elle-même. Il y a là la rupture avec l’imagerie, la psychologie traditionnelles, ce qui est pris pour le sordide et la soumission. Si bien que le dernier homme de l’histoire serait une femme libérée et non réprouvée. Attendons la réponse de la photographe.

Jean-Paul Gavard-Perret