Teorema Ritournelle, HZ Journal, Stockholm

Teorema Ritournelle

HZ Journal,  #15,  September 2010

edited by Sachiko Hayashi

supplicant and plume (teorema19)

supplicant and plume


Teorema Ritournelle published in HZ Journal, no. 15, Stockholm, 2010


(second version, 2011)

(Imagine drawing a teorema. A provisional observation. What do you see in the fire and in the
plume? Contemplate the probability that any hypothesis about the world’s end is incorrect, add to
this a desire to draw lines on the skin of your lover. Make a black paste, thin it. Apply a brush with
a narrow ferrule.)

Pasolini: “’unfortunately the ways of order are always infinite.’ [1] In Pasolini’s TEOREMA, an angel appears to
each member of five members of a household.The angel is the observing witness. He looks with a
dispassionate or compassionate gaze into the eyes of each person. This gaze proves to be
devastating. .Each (offscreen) makes love to the angel. Then one day the angel makes a
perfunctory farewell. Each member of the family has a psychotic break thereafter.
I take the moment of the encounter as a point of departure for new work in drawing. What if at the
moment of the break, new content and new possibilities appear? This is the kairotic or
opportunistic condition. I am interested in exploring topologies that arise out of this moment of
possibility, which was perhaps not accessible to Pasolini in his time but might be, now.
The Teorema drawings explore the possibilities of taking on the presence of the drawing as a
(transferred) subjectivity, as well as an object of contemplation. What if the drawing is observing,
like the angel in Pasolini, but also in Klee? The dynamic space of the drawing on an interactive and
responsive level of ‘affective presence’ is in front of the drawing– where the observer stands. The
drawings seem to provoke speech, a speech act and writing. So the Teorema series concerns how
a drawing might be a provisional observation, a theorem. Made by observations of the interior
balances and movements of my body in the Shed, the drawing studio, interpolating the
heliotropes of light across the walls; in the Shed, shedding drawings. The possibility of a
generative configuration, reaches for glyphs or incantations or both….as if the drawings are
reaching into a future that is almost immediate.
Each drawing arises via the news. Over in the Gulf, oil skeins tattoo the epidermis of the ocean.
Hey, but. What if I do a line, see what you say. I keep getting visions. The limp dead birds like poor
cocks of dead men left over after the killers left too drunk to hide the evidence. But I want to hear a
story. The drawing might be just about to tell a bloody Sunday, about a month of Sundays of
blood. Or and also to sing songs in triple sprung rhymes how hers is a lush situation, how her face
was dancing like a flame. How crimson flames tied through my ears. How to explode the holes in
your bones. How your spot got tooked. What’s the delta on these. WTF happened here. The
drawing’s bloody lips. Lips liking licking the vowels and gutteral stops, the consonant limits. long
lines tumble out into cascades. The cascades spread like the spill but not in vain, in veins. Oxygen
of drawing is aphasic, moving in and around phase and phrase. These form a mesh or structure
that stands, a tadasana. The teorema drawing will stand. Invites your sentence, your your scrape
across your mouth. You speak back to the drawing = teorema ritournelle.

[1] Dario Giugliano, “For an (A)e(s)th(et)ics of Apocalypse: Body History Power and Pasolini’s
Revelation of Consumer Culture,” Third Text, Vol. 23, issue 6, November 2009, p. 698, note.

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