lynne sachs &

LYNNE SACHS & BERNADETTE MAYER

VISIT TO BERNADETTE MAYER’S CHILDHOOD HOME / VISITA À CASA DA INFÂNCIA DE BERNADETTE MAYER

30 DE JULHO DE 1971 (por bernadette mayer)

30 de Julho Quando você é mulher, você faz um ótimo disco e uma filha, cuja filha, as portas e a placa de armadura do busto de uma mulher e os cachos, morcegos negros, desastre iminente desgraça iminente interminável iminente uma reorganização do emprego das faculdades um pombo voa pela janela o assunto emoldura, veja, apenas, tanto, quem é você? como eu vim por você? Sou a raiva minha raiva é o sentido de perfurar você eu estou colocado dentro esta peça, este é um jogada, seu homenzinho boneco cai pequena mulher boneca se aproxima, fica ferida, você se levanta de novo um milagre, nós acasalamos, como dois relógios na mesma pulseira, à prova d’água espero. Coloque-os. Acerte-os algumas horas antes do meio-dia. Algumas horas antes do meio-dia. Com tinta, sua jogada, em um certo número de horas movem-se horas. Como você mencionou antes como uma reorganização daquele que foi mencionado antes, para aquele com quem minha presença fala, eu atiro nos homens lunares de uma vez e então tenho todo esse tempo sobrando para chupar o dedo. Eu preciso arrumar um relógio e começar a precisar dele. Não há duas maneiras de fazer isso é como mijar na versão mais analítica de todas as estrelas, é como respirar, respirar a fumaça da sua própria porra de marca. Então eu fumo o seu. Seu renegado, por que não admitir e me libertar. Eu odeio as peças de xadrez. Odeio todas as correções de poder exceto o poder que tenho para te mostrar algo.

JULY 30, 1971 (by bernadette mayer)

July 30 When you are a woman you make a great record & a daughter, whose daughter, the doors & the bust armor plate of a woman and curls, black bats, impending disaster impending doom unending impending a reorganization of the employment of faculties a pigeon flies by the window the subject frames, see, just, so, much who are you? how did I come by you? I’m anger my anger is sense drills into you I am set in this piece this is a move you little man doll fall down little woman doll moves closer, is wounded, you get up again a miracle, we mate, like two watch faces on the same wrist band, waterproof i hope. Set them. Set them back a few hours to noon. Back a few hours to noon. Inked, your move, in a certain number of hours moves hours. Like you mentioned before as a reorganization of the one who was mentioned before, to the one my presence here speaks to, I shoot the moon men all at once & then I’ve got all this time left to twiddle my thumbs. I’ve got to get a watch face & start needing it. There’s no two ways about it it’s like pissing on the most analytical version of all the stars, it’s like breathing, breathe the smoke of your own fucking brand. So I smoke yours. You renegade, why not admit it & set me free. I hate chess sets. I hate all power fixes except the power I have to show you something.

—translated by sean negus

LYNNE SACHS & PAOLO JAVIER

STARFISH AORTA COLOSSUS / COLOSSO DE AORTA ESTRELA DO MAR

10. (por paolo javier)

Não é mais hoje, mas eu admito ontem eu nunca pensei
Novamente lágrimas chamam à porta começam a cair na tábua dos vinte
Langor interno verde maravilha a emergência do poema
Vento estouro chegada é você
Apareça ante o espaço vazio
Nomeia Português a minha divindade praia vazia
Nessa praia vazia nos sentamos perto por nos aquecer
Viva krakooom praia vazia filhotes de foca brincam quando submerge o panda
Fundo do oecano lareira rodízio alienígena estrada horizonte largo
Ele vem chamando feito sinal de pá sobre a tundra iluminada
Eu sei ele talvez saiba movimentos de caneta intenção chicote sob aorta de estrela-do-mar
Furacão crescendo ou bagre cidade Português sublime
Nomeie Português a ressaca além qua divindade
Terror lamente volta pergunte por que o horizonte aorta colosso impede

10. (by paolo javier)

Today it is no longer cry but admit yesterday I never once thought it
Again tears call to the door begin to fall on the board of twenty
Green inside languor wonder emergency the poem
Wind sprint arrival are you
Appear before blank space
Name English mine divinity empty beach
On that empty beach we sit close to keep warm
Live krakooom empty beach seal pups play while panda submerge
Ocean bottom hearth buffet alien lane wide horizon
He comes calling like a shovel sign above sunlit tundra
I can will may know pen movement sling intention under starfish aorta
Hurricane crescendo or catfish city sublimate English
Name English tide return furtherance qua divinity
Terror lament volta inquire why horizon aorta colossus impeach

—translated by rodrigo bravo

LYNNE SACHS & LAURA HARRISON

ORANGE GLOW / BRILHO LARANJA

BRILHO LARANJA (por lynne sachs)

Um rosto desmoronando azulado fragmento edifício rochedo em luz fúcsia não é espaço, mas um traço um nado uma escova indivisível do olho que esculpe a visão alguma luz é lâmpada e alguma é sol dentro da gema, cada traço tão diferente um rosto em uma moldura se torna um melancólico e também uma casa de triângulo de caixa.

Entrar no fogo. Entre a fumaça do oeste capturada no índice de qualidade do ar de um escuro 2 PM. Agora a poeira da hospitalidade hermética em seus pulmões fumaça em seus ouvidos.

Sim, eu posso ouvir o zumbido em seus ouvidos esfregado por esta imagem que você fez, não realmente São Francisco agora, mas é para mim, torna-se aquele lugar. Me manda lá. Sinta o calor. Nada vem através do nevoeiro, mas o calor, a crepitação da mato queimando sob os pés, o calor, a preocupação, e através de tudo isso uma linha se desenha cuspindo em movimento no líquido.

ORANGE GLOW (by lynne sachs)

A face crumbling blueness fragment building crag in fuchsia light is not space but a stroke a swim a brush indivisible from the eye that carves sight some light is bulb and some is sun inside the gem each stroke so different a face in a frame becomes a wistful and also a box triangle home.

Enter fire. Enter smoke from the West caught in the air quality index of a dark 2 PM now hermetic hospitality dust in your lungs smoke in your ears.

Yes, I can hear the ringing in your ears rubbed by this image you made, not really San Francisco now but is for me, becomes that place. Sends me there. Feel the heat. Nothing comes through the fog but the heat, the crackling of the burning brush underfoot, the heat, the worry, and through it all a line drawing itself spitting in motion in liquid.

—translated by sean negus

Lynne Sachs is a filmmaker and poet who grew up in Memphis, Tennessee and is currently living in Brooklyn, New York. Her moving image work ranges from short experimental films, to essay films to hybrid live performances. Lynne discovered her love of filmmaking while living in San Francisco where she worked closely with artists Craig Baldwin, Bruce Conner, Ernie Gehr, Barbara Hammer, Gunvor Nelson, and Trinh T. Min-ha. Between 1994 and 2006, she produced five essay films that took her to Vietnam, Bosnia, Israel, Italy and Germany — sites affected by international war – where she looked at the space between a community’s collective memory and her own subjective perceptions. Looking at the world from a feminist lens, she expresses intimacy by the way she uses her camera. Objects, places, reflections, faces, hands, all come so close to us in her films. Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with every new project. With the making of “Every Fold Matters” (2015), and “The Washing Society” (2018), Lynne expanded her practice to include live performance. As of 2020, Lynne has made 37 films. The Buenos Aires International Festival of Independent Cinema, Festival International Nuevo Cine in Havana, China Women’s Film Festival and Sheffield Doc/ Fest have all presented retrospectives of her work. Tender Buttons Press published Lynne’s first book, Year by Year Poems, in 2019.

Bernadette Mayer is an avant-garde writer associated with the New York School of poets. The author of over 27 collections, including most recently Works and Days (2016), Eating The Colors Of A Lineup Of Words: The Early Books of Bernadette Mayer (2015) and The Helens of Troy (2013), she has received grants from The Guggenheim Foundation, Creative Capital, National Endowment for the Arts and the Foundation for Contemporary Arts. From 1980-1984, she served as the director of the St. Mark’s Poetry Project, and has also edited and founded 0 to 9 journal and United Artists books and magazines. She has taught at the New School for Social Research, Naropa University, Long Island University, the College of Saint Rose, Miami University and at University of Pennsylvania as a Kelly Writers House Fellow.
Paolo Javier was born in the Philippines and grew up in Las Piñas, Metro Manila; Katonah, Westchester; al-Ma‛adi , Cairo; and Surrey, Greater Vancouver. A featured artist in Queens International 18, he is the author/co-performer of the 2019 chapbook/cassette EP Maybe the Sweet Honey Pours (Nion Editions/Temporary Tapes), and O.B.B., a long comics poem forthcoming from Nightboat Books. Publisher’s Weekly calls his previous book, Court of the Dragon, “a linguistic time machine,” and is the inspiration for Lynne Sachs’ film Starfish Aorta Colossus.
Laura Harrison lives and works in Chicago. Her animations focus on marginalized, social outcasts with their own sub cultures. These fringe characters provide a focal point for her concerns with diaspora, trans humanism, gender and the loss of touch in an overwhelmingly visual world. Her films have shown at various festivals internationally including The New York Film Festival, Ottowa International Animation Festival, Japan Media Arts Festival, Boston International Film Festival, Florida Film Festival, GLAS, Animafest Zagreb, VOID and Melbourne International Animation Festival. Her work has garnered many prizes, most recently a Guggenheim and Best Animation at Mammoth Lakes Film Festival.