By Rito Ramón Aroche
That. Writing as a sign of deterioration… Painting. Paint that drips or stains – and doesn’t mirror. Already – not – mirrors. The writing (…)
And there are some thickening, strata. Inclinations. E. B. says -he says us- and scribbles. He knows, or-does-not-know, that articulates.
I remember Camus:<…we must break the fixed games of the mirror…>>
That. A pantry that delimits a trace, a face -a Christ?- a certain telurgy.
INSCRIBINGS. Because now my idea is to review such images of Grünewald
Review tumors -deformities.
From Grünewald’s images. Feet, arms, heads. Of the gestuality or kinetic mutation. Of the Christs. Of the nature in the uniformity (dis- conformity) of bodies, torsos. The volume of these torsos. Of those bodies. Clinging to the act of the bark – to the act of, barking the muscles – in Grünewald’s images. And, something that, much better than embracing contemporaneity, makes it extemporaneous.
Bellows action. Traction. <<What happens when you write without seeing?
B. << My idea is to write down how some tractions are shown -run or misplaced->> Even more :<< To be one and to be -diverse>>. Which leads to an extenuation (and, prolongation) of the campus. The traction.
I was going to say story, or better, micro story. Which is the way the fragment operates. By fibers. By dis-connections. And that’s what I see. Erasures that march like, and from a gesture.
The introduction of the active element: a) hermetic. And Socratic: b) hermeneutic.
<< I have not thought about Deleuze/ Guattari, Beuys, Warhol, nor Borowski. I have not thought about John Cage>>
<<The first is a) Duchamp and Duchamp b) is the second>>
Decals and Erasures – <<restos>> from E. B.
Rito Ramón Aroche (C. H. 1961) poet. He has published the book of poetry Material entrañable. He has an unpublished book of essays: About the Polyhedral Text.