Pina Bausch (b. 1940)

Pina Bausch or the Joining of Emotion and Thought in the Movement of Bodies on Stage

 A mortal can only start from here, from his mortality.
Jacques Derrida, Aporias

Emil Nolde_Otto Dix_Käthe Kollwitz_an Edward Munch
Egon Schiele breathes all through
in its almost irrecoverable Romanticism

I was 19 and Pina Bausch was the theater
as much as Camus had redefined my world
together with Samuel Beckett, Sartre, Ionesco

we all knew her, as we knew Andy Warhol
maybe her opposite, hers a distinct search, inward
connected with postwar Germany
a Europe left without hope

_intense _quality _the special talent of the single dancer
following Pina Bausch's Idea

the compromise:
a superior attainment [Nietzsche, Leonardo]

in an exquisite decadence
the violence
the violence of personal relationships
                                             (smile, show your teeth, smile)
satirical grotesque
a farce

she speaks
and her eyes keep on reading
I could imagine Virginia Woolf
with a similar untiring imperceptible moving of lips, hands, head,
a regard reading on simultaneous levels
perceptive of myriads of unseen worlds
she smokes & smokes
coughs with sophisticated nonchalance

emotions from philosophical reflections
in movement joined in a dance

                                             Müde, traurig
                                             die Leute
                                             man weiß in welchem Welt man lebt
                                             wo alle diese Menschen
                                             diese Gefühle vorkommen

her creativity is part of the game
the one of survival or of life
she was able to move the human body as no one before

                                             They don't know what I am looking for
                                             I never say it is good

nothing was achieved
nothing is concluded
a work-in-progress
progressing since the beginning
the end a beginning for a new progressing
since each one speaks his/her own language
each one in her/his own self-character
abstractions / intuitions / a journey into the private / common psyche
the variety of messages

I work so much, until 11-11.30pm, get back home and start working again till 2am

the energy
                                             dancers bring forth such a great part of their lives
in the never-ending at-traction
between director & directed
              directed & director

How much a spirit needs for its nourishment, for this there is no formula; but if its taste is for independence, for quick coming and going, for roaming, perhaps for adventures for which only the swiftest are a match, it is better for such a spirit to live in freedom with little to eat than unfree and stuffed. It is not fat but the greatest possible suppleness and strength that a good dancer desires from his nourishment — and I would not know what the spirit of a philosopher might wish more to be than a good dancer. For the dance is his ideal, also his art, and finally also his only piety, his "service of God."
Friedrich Nietzsche, 381, The Gay Science, 345f.

Mark Leckey

Beauty (whether it be of nature or of art) may in general be termed the expression of aesthetic ideas. But the provision must be added that with beauty of art this idea must be excited through the medium of a concept of the object, whereas with beauty of nature the bare reflection upon a given intuition, apart from any concept of what the object is intended to be, is sufficient for awakening and communicating the idea of which that object is regarded as the expression.
Emmanuel Kant, Critique of Judgment, 1790

nothing to party _ if not a Friday _ a Saturday _ any evening
a must _ made mass _ uniformed _ the young you can be
in an urban area _ don't mention farms _ farmers_ far from
mucky nature_it stinks_what is it_why for someone's sake
where is my make-up? asks Mme Bovary, Lolita says
moss-like Machiavellically
it is me, me, I am different, I am the same
must be the machinability member
I want to be the same, but I am different, look at how I can dance
just look at me, I am in_de_pen_dent___
black_white_anyhow in a group part of the group me
a morbid pathological group
the same cool coolest stuff in the gang
tapes then cd's then i-pods /_but Apple_\ like all the rest then
molded by the collective youth's factory dark in the dark
with sunglasses
work_move that body_bud
move it like movables
stoned, asphyxiated, suffocating whistles
beeping, ticking, mow down parents, neighbors,
friends, is there such a thing as friends, leveling of human
human intelligence, is there any oxygen? blue smog,
little compassion as of so far, what ahead?
mucilaginous morbific
multiplied me
the hardcover

Fiorucci Made Me Hardcore (1999)
Mark Leckey (b. 1964)

It is because of the lack of inner vision amongst those who photograph that there are really but few true photographers the spirit of my "early" work is the same spirit of my "later" work. Of course I have grown, have developed, "know" much more, am more "conscious" perhaps of what I am trying to do. [...] There is no such thing as progress or improvement in art there is art or no art there is nothing in between.
Alfred Stieglitz, Pictorial Photography, Scribner's Magazine, 1899

Ekleksographia #2

July, 2009


Anny Ballardini

Anny Ballardini lives in Bolzano, Italy. She grew up in New York, lived in New Orleans, Buenos Aires, Florence. A poet, translator and interpreter (simultaneous interpreter for English, French, Italian), she received her MFA in Creative Writing from UNO, University of New Orleans, Chair and Director Bill Lavender. She teaches high school; edits Poets' Corner - Fieralingue, an online poetry site; and writes a blog: Narcissus Works. Besides various full length publications of translations, to be mentioned are her two collections of poems, Opening and Closing Numbers, published by Moria Editions, Editor Bill Allegrezza, 2005; and Ghost Dance in 33 Movements published by Otoliths Press, Editor Mark Young, 2009. For a detailed CV see