Jack Kerouac

Brindemos pelas loucas, pelas desajustadas, pelas rebeldes e arruaceiras, pelas que não se encaixam, pelas que veem as coisas de um modo diferente, pelas que não gostam de regras e não respeitam o status quo. Podem denunciá-las, não estar de acordo, glorificá-las ou vilipendiá-las, mas o que não podem fazer é ignorá-las. Porque elas mudam as coisas, empurram para a frente a condição humana. Enquanto alguns as veem como loucas, nós vemos o génio delas, porque as mulheres que se acreditam tão loucas como para pensar que podem mudar o mundo são as que o fazem.

Jack Kerouac

Dorothea Lange

Dorothea Lange, Migratory Cotton Piker, Arizona, 1940

Sally Mann

Sally Mann, Easter Dress, 1986

Paula Rego

Paula Rego, Noiva, 1994

Alejandra Pizarnik

Mis palabras exigen silencio y espacios abandonados.

Alejandra Pizarnik (excerto do poema La Noche - 23/11/1969)

Alejandra Pizarnik

Os que chegam não me encontram.
Os que espero não existem.

Alejandra Pizarnik (excerto do poema Fiesta)

Selma Lagerlöf

Play Time, Cristina Tavares

Cristina Tavares, Play Time (d'après José), janeiro 2020

Frida

Lola Álvarez Bravo, Two Fridas, Coyoacán, Cidade do México , c. 1944

Katrien de Blauwer

Katrien de Blauwer

Rachel Whiteread

Rachel Whiteread, S/Título, 2005

Forough Farrokhzad

I will greet the sun again
and the little river that once ran in me
and the clouds that were my ruminations
and the aching blooms of poplar trees,
my companions in those seasons of drought.
I will greet the crowd of crows again,
who brought me their rich perfumes,
gifts from gardens of the night,
and my mother who lived in the mirror
and whose shape was the shape of my own old age.
I will greet the earth again,
who in her lust to create me again,
fills her fiery belly with seeds of green.
I am coming, I am coming, I will come again,
with my long hair dripping the scent of dirt,
with my eyes inflicting the density of darkness,
with brambles I’ve picked from the far side of the wall.
I am coming, I am coming, I will come again,
and the doorway once more will be filled with love
and I’ll greet the lovers standing in the doorway,
and the little girl there
still standing in love.

Forough Farrokhzad

...

Saudarei de novo o sol

e o pequeno riacho que dantes corria em mim

e as nuvens que eram os meus pensamentos

e os doridos rebentos dos álamos,

meus companheiros nessas estações de seca.

Saudarei de novo a multidão de corvos,

que me trouxeram os seus nobres perfumes,

presentes dos jardins da noite,

e a minha mãe que vivia no espelho

e cuja sombra era a sombra da minha própria velhice.

Saudarei de novo a terra,

que na luxúria de me criar de novo,

enche a sua fogosa barriga de verdes sementes.

Estou a chegar, estou a chegar, chegarei de novo,

com o meu longo cabelo pingando o aroma da poeira,

com os meus olhos impondo a densidade das trevas,

com amoras escolhidas do lado oposto da parede.

Estou a chegar, estou a chegar, chegarei de novo,

e a entrada mais uma vez se encherá de amor

e saudarei os amantes, de pé à porta,

e a menina aí

ainda firme no amor.

(trad. muito livre, CT, dezembro 2019)

Forough Farrojzad

Talk to me,

Say something,
I am sheltered in the window,
I have a relationship with the sun.

Forough  Farrojzad ( trad. de farsi para inglês por Maryam Ala Amjadi)






Forough Farrojzad (1934-67), poetisa, cineasta e escritora iraniana

Marlene Dumas

Marlene Dumas, The Mother, 2009

Mirtha Dermisache

S/título,  c.1972

S/Título 1973

S/Título c. 1970

S/Título, 1970

"I started writing and the result was something unreadable. In fact, illegibility is a key aspect of my work. With hindsight, I must admit that all my works create some tension between the communication formats offering a stable framework and the act of writing, which provides the unstable dimension. Maybe it’s like saying that for me the liberation of the sign takes place within culture and history, and not on their margins. In this sense my work is not behind the times, at all. Graphically speaking, every time I start writing I develop a formal idea that can be transformed into the idea of time. My work is characterized by movement. There are no closed forms.

There are no secrets in my work. I develop a form up to its highest point of evolution. You will never find any title referring to feelings or psychological dimensions. Titles just identify the format, i.e. they tell how to organize writings on the paper and possibly their order of appearance in a given year of production."

Mirtha Dermisache, September 2011

Mirtha Dermisache, Buenos Aires, 1940-2012

Bridget Riley

Bridget Riley, Untitled (Study for Circular Movement), 1961

Kiki Smith

Kiki Smith, The Blue Feet, 2003

Rose algae (b&w)

Cristina Tavares, Rose Algae (b&w), 2019

Bridget Riley

Ida Kar, Bridget Riley, 1963

Helene Schjerfbeck

Helene Schjerfbeck, auto retrato, 1915

Helene Schjerfbeck, Auto retrato, 1944