It is not enough to burn the museums...

It is not enough to burn the museums. They must also be sacked. Past creativity must be freed from the forms into which it has been ossified and brought back to life. Everything of value in art has always cried aloud to be made real and to be lived. This 'subversion' of traditional art is, obviously, merely part of the whole art of subversion we must master (cf. Ten Days That Shook the University). Creativity, since Dada, has not been a matter of producing anything more but of learning to use what has already been produced.

- idem, ibidem.

Human life?

In the end

In the end, for all its fury (and Symbolists and Anarchists worked side-by-side in the 1890s) revolutionary art was caught in contradictions. It could not or would not break free of the forms of bourgeois culture as a whole. Its content and method could become transformations of the world but, while art remained imprisoned within the social spectacle, its transformations remained imaginary. Rather than enter into direct social conflict with the reality it criticized, it transferred the whole problem into an abstract and inoffensive sphere where it functioned objectively as a force consolidating all it wanted to destroy. Revolt against reality became the evasion of reality. Marx's original critique of the genesis of religious myth and ideology applies word-for-word to the rebellion of bourgeois art: it too "is at the same time the expression of real distress and the protest against real distress. It is the sigh of the oppresses creature, the heart of a heartless world, just as it is the spirit of a spiritless situation. It is the opium of the people" [Marx, Contribution to the critique of Hegel's "Philosophy of Right"].

- The Revolution of Modern Art and the Modern Art of Revolution, written by Tim Clark, Christopher Gray, Charles Radcliffe and Donald Nicholson-Smith.

Note: mistakenly described as a "manifesto" by Chronos Publications, which published it as a pamphlet in October 1994, this text was never published by either the English section of the Situationist International nor by the SI as a whole. It appears to have circulated as a "confidential" manuscript.

Forever and Ever

Your eyes are an island

You're a ghost on the highway,
And I'll love you forever
Ghost on the highway
And I'll love you forever
Forever and ever
And ever and ever
Your eyes are an island
And I'll own them forever
Your eyes are an island
And I'll love them forever
Forever and ever
And ever and ever
You're a ghost on the highway
And I'll love you forever
Ghost on the highway
And I'll love you forever
Forever and ever
And ever and ever

Ghost Highway, Mazzy Star
"She Hangs Brightly", 1990

Do you think the emptiness of space will ever crumble away?

Crystalised

(...)

i’ll forgive and forget
before i’m paralyzed
do i have to keep up the pace
to keep you satisfied

things have gotten closer to the sun
and i’ve done things in small doses
so don’t think that i’m pushing you away
when you’re the one that i’ve kept closest

(...)

Crystalised, The XX

We have never met

It's easy to forget

(...)

The moment we believe that we have never met
Another kind of love it's easy to forget
When we are all alone then we do both agree
We have a thing in common this was meant to be

You close my eyes and soothe my ears
You heal my wounds and dry my tears
On the inside of this marble house I grow
And the seeds I sow will grow up prisoners too

(...)

Marble House
The Knife, "Silent Shout" (2006)

We have passed each other in dream

We dream of each other until we wake

I dream that I meet you deep under
the deepest place of the Earth, Atlantic trench, seafloor

Between Nanga Parbat, K2 and Everest,
the roof of the world, there I'll give you a celebration
Where I can no longer see forward
If you come, I'll see you come from the edge of the world
There is nothing interesting here
Just the ruins of Atlantis But no sign of you

I believe you come no more

We have passed each other in dream
You dream of me, I of you
Don't worry, I won't wake you
Before you wake yourself

(...)


Einstuerzende Neubauten - Stella Maris (English)

We sailed through endless skies

Corto

«Il n’y a personne qui soit en accord avec soi-même...»




Hugo Pratt - Extrait de Corto Maltese en Sibérie

Two hearts with accurate devotions

They say we can love who we trust

“We can fight our desires
But when we start making fires
We get ever so hot
Whether we like it or not

They say we can love who we trust
But what is love without lust?
Two hearts with accurate devotions
And what are feelings without emotions?”


La Roux, In For the Kill

A Luta Continua

(In the Hands of) Chance

Chance

"I am simultaneously and contradictorily both happy and unhappy: 'to succeed' or 'to fail' have for me only ephemeral, contingent meanings (this does not stop my desires and sorrows from being violent ones); what impels me, secretly and obstinately, is not tactical: I accept and I affirm, irrespective of the true and the false, of success and failure; I am withdrawn from all finality, I live according to chance..." [— Roland Barthes]

Paralized

One Falling Star to Another

"I like too many things and get all confused and hung-up running from one falling star to another till i drop. This is the night, what it does to you. I had nothing to offer anybody except my own confusion." [— Jack Kerouac]