In 1998, I found myself in Aparan, a large town an hour’s drive from Armenia’s capital, Yerevan. A local dance troupe was performing that evening, in the open air, with most of the suburb in attendance. The old, the young, everyone was present, sitting hunched on stools or cross-legged on the floor, transfixed. In the background, small mountains and jagged cliffs framed the scene.
As soon as I took my first shot, an old man approached me. Tears streamed down his face. He told me that his son had died. That he had been electrocuted, that he was his pride and joy, and that I looked just like him. He broke into sobs and moved towards me with outstretched arms. His name was Ishran.
I asked if he would dance for me, and he began dancing. The troupe paused and perched on an outcrop of rocks in the background. It was beautiful, not because the man is beautiful, but because he represents something deep inside the collective consciousness of the Armenian community: a celebratory resilience in the face of overwhelming loss.
Antoine Agoudjian, “An Armenian man dances for his lost son”
David Lynch: The Art Life (2016)
jacques gotko, "in spite of everything," 1942, watercolor and ink on paper. gotko created art throughout his years of imprisonment at the compiègne and drancy camps. he died soon after arriving at auschwitz in july 1943. from ghetto fighters' house museum:
This work commemorates the anniversary of being interned in the [Compiègne] camp. The inmates listed were interned on 21 May 1941 in the "Billet Vert" operation, being summoned to a Parisian police station and then sent to Compiègne. The work contains the signatures of various inmates and the numbers given to them by the camp: Isis Kischka 787 122; A. Leon 2203; Zladin 1381; Goychman 356; Curfist 1379; Rivinof 797; S. Max 388; Berliner 369; S. Schleifer 163; A. Berline 944; K. Kirschenstein 1152; Herzberg 1061.
Sadamasa Motonaga (1922-2011) [Japan] ~ ‘Untitled’, 1968. Watercolour on postcard (14.5 × 9.5 cm).
Georges Nasser’s ‘Where to?’//‘إلى أين؟’
(Lebanon, 1957)
Ig: @murasaki.verso
Comrades, undecideds, and somatic cynics. It is nice to meet you. It is nice move on from the leisurely ghouls, the misanthropic and parasitic fools of fear and insecurity who have delighted in your pain, misery, and loneliness.
The cold winter wind of hatred is harsh but you are loved. To the changed, it is nice to meet you The hands on the cave wall will outlast us all So please, help me go with compassion In the meetings arranged, in spirit, exchanged The hands on the cave wall will outlast us all It is nice to meet you
Eleni R
Jan Dibbets - Big Comet Sea Sky Sea 3˚ – 60˚
Individually framed colour photographs, overall 424 × 678 cm, 1973
The figure of yourself (name redacted) appears at the corner of Aesthetics and Nostalgia
So the roulette wheel of impressions disappears behind curtains where on stage, who should near
The stranger to yourself who inhabits your stare above, beneath With teeth like plastic chairs
The figure of yourself (name reviled) desires their gruesome styles and their teeth and perfect hairs
repeat as needed, yourself (name unimportant) will see the curse a message you will not heed
repeat as needed, yourself (arguably? who cares?) will see that this is the only way, to feel
Eleni R