BALSE NEWSLETTER 033

 





Two weeks, at Balse.


In the desert. The harsh Joshua Tree, Palm Springs, LV, then the soothing breeze that is the Pacific Ocean. Julio. Second half of this year. Refocusing on the rest of the year.

‘if we resist or ignore an archetype, it will possess us’ - Jung

death and rebirth. life is death, death is life.

access to great wisdom. day after day, friendship that arrived from Tokyo.



origins of ideas, ‘as you walk around the woods. derivative to original, somewhere along this axis. Verisimilitude, it is the idea behind works of art that make the work interesting.’ ‘quieting the mind and the body, empty the mind.’ emptying the mind is an impossibility. Modified Transcendental Meditation Method. The closer that we look at any subject the more you see. Ideas will inexorably manifest itself….background cognitive process.’



more archetypal journey - choosing a path of change.

are you living a lie? the acid test. Initiation into life. Individuation and courage. The glorious freedom that awaits. lie vs truth. Need to make the transition alone. Are they ready to accept the call to rebirth. To live again. The Fountain.



Ask new and different question. Asking questions is a way of thinking. The reality is, we don’t have the answers. We lose sight of opportunities that are right in front of us.

What makes us uniquely human is our creativity. Curiosity. Be clumsy students of something, anything.



JACQUEMUS Capri.

Gautier, Odilon Redon, Gustav Moreau the Apparition with Salome - late 19th and early 20th century Paris. Symbolist movement.

Learning From Past Lives

Love Acid Arab

Döne Döne Acid Arab

Gouloulou Acid Arab





The art of mourning - Taryn Simon
’this absolutely felt like it needed to be sonic…and something beyond language, beyond image…beyond definition that is inarticulable.’






DJ set

Richie Hawtin - Womb, Tokyo 20.04.2024



literature - Brave New World


till next time.

Charles A. Balse

 
 
 

Words of Wisdom

 

A disservice, a slander, a libel-for angelology as properly constituted has nothing to do with Touched by an Angel or Hummel figurines. Angelology, rather, is the discipline that probes the ecstasies of transcendence, the ineffable nature of meaning that permeates reality, in a space with which words themselves can't fully grapple. Just because angelology reduces us to the wooliest of superlatives -"infinite," "eternal," "ecstasy," "transcendence" —doesn't mean that they don't refer to that something, nor is it a reason to abandon angels themselves to the saccharine and the mawkish.  The poet and folk musician Leonard Cohen, a consummately nonmawkish and antisaccharine artist, a lover but not a sentimentalist, was asked in a 1984 interview by the journalist Robert Sward of the Canadian Broadcasting Corporation about his affection for the word "angel." Detailing his attraction to the way the term was used by those great poets of beatitude Allen Ginsberg, Jack Kerouac, and Gregory Corso, Cohen admits that "I never knew what they meant, except that it was a designation for a human being and that it affirmed the light in an individual." This is a telling answer about the angelic, our attractions to them whether in Paradise Lost or It's a Wonderful Life, the manner in which such beings reflect the divinity in humanity and the humanity in divinity. They are otherworldly but near; alien but familiar; pure alterity and yet totally personal. Angels are the waystation between us and the unapproachable God. Cohen explains how the Beat poets were anything but maudlin in their attraction to the image of the angel; such a being to them wasn't evidence of cheap faith, but rather of the connections between the suffering soul and something in the great beyond, a light in the perennial darkness. "An angel is only a messenger, only a channel," Cohen says, and yet we're angels to each other, for the "fact that somebody can bring you the light, and you feel it, you feel healed or situated. And it's a migratory gift," suggesting that angels themselves are as much verb as noun. - ELYSIUM, a visual history of angelology, by Ed Simon, Introduction - page 8

FG: I think a good work is a work that doesn't know its audience. Upon its creation, it doesn't yet know what its audience is, because otherwise it's just communication. Communication is about the transfer of information between two pre-constituted subjects. But the question mark is what I'm obsessed with — and I think Pierre is also. You don't know the identity of the audience or the viewer. And I think that's crucial, not to presuppose.  Otherwise, you do bad work.

AS: I agree with you. The work should not be addressed intentionally to an audience as such. It should be indifferent. To push the idea further, it can also exist independent of the presence of the viewer, which is something essential in Pierre's work. He often says, "I'm not exhibiting some thing to someone. I'm exhibiting someone to something.” 

FG: It's very difficult to presuppose what the human really is. The only definition of the human I can come up with is that it's something always in the process of transformation of de-identifying itself to become itself.

AS: The human is an escape route.

Ursula magazine -  artists Fabien Giraud and Raphael Siboni in conversation with Anne Stenne about possible futures and the influence of Pierre Huyghe, page 73





Willem de Kooning e l'Italia

Gallerie dell'Accademia in Venice

Main Studies

 
 
 
 

APPENDIX:

 

Self and Beyond, a group exhibition

Ota FineArts Tokyo

5/11 - 6/15/2024






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