Some of my velvet Odyssey pandemOnium paintings, last shown in 2015 in NYC at Galerie Richard (121 Orchard Street), have been featured in the current issue of Cybernetics & Human Knowing : A Journal of Second Order Cybernetics, Autopoiesis & Cybersemiotics (volume 24 http://chkjournal.com/node/250 on Systems, Power, and the Phenomenological Basis of Triadic Semiotics) and are online here http://chkjournal.com/node/258
My art review of Alia Farid’s show Between Dig and Display at Galerie Imane Farès (Paris)
Photographs of me at work in the Paris studio by Alexandra Breznay
BIRTH AS CRITERION by Jure Detela as translated by Raymond Miller
God puts to the test, not I.
I only verify
what has been reported.
In God there is no doubt,
there is no malice.
The starry child
of Lappish legend—
a status symbol.
THEREFORE it is good luck
for me if I
move down the blade.
FULL SMASH!
To transcend being
trapped in perception?
Along
with portents of death?
How the sensuality in me scatters!
There is no more law
for my eyes.
Blood is spilled throughout the world,
but to no end.
Nothing is
consoled by it.
No guilt is washed
away by it.
It lacks a whole speck
of the world.
It seems to be
that I look through it,
though I see nothing,
nothing except for it.
Here I am smaller
than I ever was
in all the history
of the cosmos.
Just one tiny,
tiny happiness
that is not mine at all.
A spark enveloped
by a huge, compact
blackness,
as if by a wrapper.
Which something alien
searches for constantly.
How lovely it is
if you relinquish
the very last defense
of the body.
And to know that
there is no small nook
in the whole cosmos
where hovering and floating
can completely commingle.
And to be condemned to
the duality of
one’s own mind,
which something totally
unknown imagines
for all eternity.
Yes!
To be without
salvation for
all eternity!
And to be a huge
portent of death left
for the sovereign use
of various worlds.
Not like an angel,
who moves and who dances,
but something massive
and immobile.
Even more!
To be the only
incarnation of death.
I am the first to
proclaim its beauty
for all time.
Because I know that for
its birth it wants
only my body,
which is eternal.
And all previous
polarizations
into living and dead
it declares to be wrong.
Just one fate is enough
for all eras to
blaze up in it like
a camera flash.
Nothing is forgotten
in all of history.
God learns from
my example.
– Jure Detela (b. Ljubljana, 1951; d. Ljubljana 1992)
My Hyperallergic review of Alun Williams’s show of paintings: For the Selenites Pleasure at Galerie Anne Barrault (Paris)
https://hyperallergic.com/385375/paintings-in-which-splotchy-blobs-stand-in-for-historical-figures/
My art review at Hyperallergic of Lucio Fontana : Crosses at Galerie Karsten Greve (Paris)
https://hyperallergic.com/384598/lucio-fontanas-psychedelic-ceramic-crucifixes/
Photos from the opening of the exhibition Body Esc – where my Cyclops (piano eye) projection was shown. The show was integrated in the program of the conference Taboo-Transgression-Transcendence in Art & Science – part of the 11th Audiovisual Arts Festival and took place at the Municipal Gallery in Corfu from May 25th to June 4th, 2017.
