Two Covers

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Giorgio Agamben, O Cinema de Guy Debord

"Os historiadores do cinema assinalaram como uma novidade desconcertante o facto de que, em Monika de Bergman (1952), a protagonista, Harriet Andersson, fixa de repente o seu olhar na objectiva da câmara. O próprio Bergman escreveu a propósito desta sequência: “Aqui e pela primeira vez na história do cinema estabelece-se de súbito um contacto directo com o espectador”. Desde então, a fotografia e a publicidade banalizaram este procedimento. Estamos habituados ao olhar da estrela do porno que, enquanto faz aquilo que tem a fazer, olha fixamente a câmara, mostrando assim que se interessa mais pelos espectadores do que pelo seu partner."

Giorgio Agamben, O Cinema de Guy Debord.

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STREET LIT:

download - Giorgio Agamben, O Cinema de Guy Debord, PDF file, 5p. (77KB)

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Giorgio Agamben, O Fim do Pensamento

"Em nossa língua, a palavra pensamento tem por origem o significado de angústia, de ímpeto ansioso, que se encontra ainda na expressão familiar: stare in pensiero (estar atormentado). O verbo latino pendere, de onde deriva a palavra nas línguas romanas, significa estar suspenso."
Giorgio Agamben, O fim do pensamento. (versão brasileira)
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STREET LIT:
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Quotations about Political Art

"(...) emancipation can’t be expected from forms of art that presuppose the imbecility of the viewer" (Rancière)

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"The exploited have rarely had the need to have the laws of exploitation explained to them." (Rancière)

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"(...) the artist’s task is to hold them a arm’s length, inculcating a skeptical distance" (Kester)

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"The discourse, [Claire Bishop] argues, has focused mainly on the artist's process and intentions, or the project's socially ameliorative effects, to the neglect of the work's aesthetic impact." (Roche)

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STREET LIT:

download - Quotations about Political Art, PDF file, 2p. (53KB)

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Gabriel Orozco, Interview

"(...)I wasn’t interested in having a political experience with the public, nor an ideological one, meaning I tried to avoid using clichés like “What does it mean to be Mexican?” or “What is the nation?” et cetera. Mostly, I tried to face myself as an individual, as a person of a determined physique. I wanted to recuperate a sense of human scale in dealing with the public."

in Carmen Boullosa, Gabriel Orozco, Bomb Magazine 98 (Winter 2007)

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STREET LIT:

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Michelangelo Antonioni, L'Eclisse

Robert Walser

"[T]he Walser tone, hovering between beatific quietism and a burlesque of conventionality, is detectable in the immortal reply he gave a man who visited him at an asylum and asked about his writing: “I am not here to write, but to be mad.”
Benjamin Kunkel, Still Small Voice - The fiction of Robert Walser, The New Yorker, August 6, 2007
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STREET LIT:
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