Sunset – No time forever

by Alberto Albertini – Milan (Italy) – images by Alberto Albertini –

no title, by Rosanna Albertini

1 Undeniably, sunset is romanticism: it contains all of it! The golden light about to disappear, as you do know, is your desires, and hopes like phantoms disquieting the inmost lake. Ah, what a delicious pain to be spectator in the end, of the end, one end … inebriating, like the sundown there. 

2 To someone questioning, it seems Fontana answered that behind the cut he wanted to see what’s was there, not the wall, obviously.  Yet, the statement is simplistic. Artist should not explain or define their work : one could see different things.

The space, the space, what does it tell you?

If it is empty, free, uniform, it represents no thing…

or every thing! Why do you think Fontana introduced the cut?  He was furious not being able to own the whole thing! Space is irresistible attraction: one mark, many marks, your inner space in one mark, a comet!

3 I am the sunset. Postponed for a long time now it hesitates like the sun, already cut in a half by the horizon staying for one more instant, as if something had to be brought to an end, a regret, a wish, one more glimpse of life… A flash of light and evening starts. 

The daily toil is heavy. For today the sun is done, time to go home, cook a couple of potatoes, light a candle for a useless prayer.

4 Sunset on fire. Clouds redder then the luminous sun, stripes degrading to a dark purple, until the deep blue where the night is waiting.

5 The plain ends meeting the lake. The horizon erased in a light that looks like an atomic bomb. Red, radiant, the arrogant sun towers: shortly thereafter he will find the horizon, and disappear. Along the road to Monte Ceneri everybody stopped, annihilated by such enchantment as maybe never ever after.

6 This evening there is no sunset for the sun. The air is humid, not worth it.  In its indifference, the lake consents, slightly rippled by a jumping fish. Long shadows of naked trees. Time has been suspended, and the future, the marvelous future, has disappeared. Così per sempre…No time forever…

no title    by rosanna albertini – January 11

I don’t want Alberto to jump beyond the edge of his life. His legs are not strong enough. He walks as if the skinny body was weightless, with fast, long steps and apparently without looking around. No car hit him while crossing the street. Miracles can be prosaic, almost uneventful. 

He picks nice shirts and pullovers, he cares about his looks. Trying to be spotless, almost dandy like. He cooks a delicious goulash and shares it with friends. His ninety eight years seem eternal. 

I don’t know if by wisdom or superstition he convinced himself that time doesn’t exist; being mentally prepared to the place with no time? Alberto wrote many posts in this blog about the long waiting, while the eyes became more and more blurred, and the legs hurt.

Pretty often we exchange images, of my tropical garden in abundance. He quickly answers they remind him the luxuriant garden of a novel by Zola, with a priest infuriating in his senses. The title doesn’t come back, but Alberto finds in his archive the images of drawings he had done: his “pathetic attempts” to represent that garden. It doesn’t count when, time is now. It happens that I am so close to his state of mind that I share his nonsense which is calming down fears and giving intensity to whatever happens, at every moment. If it is odd I don’t mind. 

I don’t even know why he sent me old B&W photos of sunsets in our native countryside. I asked him to write about the idea of sunset. He pretended to be tired, but sent five lines. “Whatever comes up again, please send it to me.” One by one, six parts arrived. 


Let me finish this blog before the sun disappears. If it does, I promise no tears. Alberto is eternal for me, he will never disappear. I hope he laughs at me. He doesn’t want to become a dream for sure. Un-romantic as he is, Alberto considers dreams, their infinite movable links of unrelated fragments, a revenge of memory on reason. A way to shake the opportunisms out of the person, or else “ a reshuffling of the past in the impossible attempt to rebuilt a new person”. 

 These days of fire in Los Angeles are a bad dream burning illusions and stereotypes about this city so often mistaken for the the film images of imaginary stories. The real story is only pain, loss, attachment, power of the wind. Let’s go away Via col vento – Gone with the wind, all the fake images of Los Angeles, where angels are free. 

TRAMONTO

1 Ma il tramonto è il romanticismo: lo contiene tutto! Quella luce dorata che sai che sta per scomparire sono i tuoi desideri, le speranze come fantasmi che turbano il tuo intimo. Ah quale delizioso dolore assistere alla fine, la fine, una fine ….. inebriante, come laggiù il sole.

2 A domanda, pare che Fontana rispose che lui dietro lo squarcio voleva vedere cosa c’era, non il muro ovviamente. Mi sembra comunque riduttivo. Gli artisti non dovrebbero spiegare o definire il loro lavoro: ci si possono vedere cose diverse!

Lo spazio, lo spazio, cosa ti dice?

Se è vuoto libero uniforme, rappresenta il nulla…oppure il tutto!

Perché credi che Fontana vi abbia introdotto lo squarcio? Per il furore di non poterlo possedere, il tutto! È un’attrazione irresistibile, lo spazio: un segno, tanti segni, il tuo intimo in una traccia, una cometa! 

3 Io sono il tramonto. A lungo rinviato ora esita come il sole che già a metà sull’orizzonte si trattiene ancora un attimo, come avesse qualcosa da terminare, un rimpianto, un desiderio, ancora un guizzo di vita … Un lampo di luce e poi la sera.

Pesa la fatica di ogni giorno. Il sole per oggi ha terminato, è ora di tornare a casa, mettere due patate sul fuoco, accendere una candela per un’inutile preghiera.

4 Tramonto infuocato. Nubi più rosse del sole lucente, strisce che degradano fino al viola oscuro, fino al blu profondo dove la notte attende…

5 Laggiù la piana termina per via del lago. L’orizzonte cancellato, luce come in un bagliore atomico. Il sole gigantesco troneggia spavaldo, rosso, raggiante: l’orizzonte l’avrebbe trovato lui di lì a poco per poi scomparire. Lungo la strada per il Monte Ceneri tutti si erano fermati annullati da quell’incanto che così forse mai più.

6 Questa sera il sole non farà tramonto. L’aria è umida e non ne vale la pena. Il lago indifferente, acconsente, il guizzo di un pesce l’increspa, un poco. Ombre lunghe di alberi spogli. Il tempo è sospeso e non c’è più il futuro, meraviglioso. Così per sempre… no time forever

tonight, sunset with smoke – tramonto con nuvole di fumo photo by PeterKirby

BETYE SAAR : HER WONDER

An imaginary dialogue between

BETYE IRENE SAAR and WILLIAM CARLOS WILLIAMS

Paterson  New Jersey    and     Los Angeles  California 

BETYE SAAR, Every Secret Things (Almost) 1982 Mixed media collage on paper 20 x 13.25" Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, Every Secret Things (Almost) 1982. Mixed media collage on paper 20 x 13.25 in  Courtesy of the artist and Roberts & Tilton, Culver City, CA

Note from the editor, Rosanna Albertini. This dialogue is based on my impression that her visual poems made with found objects and his poems made with words -we find them as well around us, since the time our ears could grasp them- are nothing but small machines endowed with an “intrinsic, undulant, a physical more than a literary character.” (W.C.W.) Not only they are not sentimental, their subject is not their point. As works of art Saar’s visual poems are made as islands of perception, imaginary cages for human stories touched with gentleness, not to break their skin or alter their movable presence in her mind.

The price she pays to shape her land of wonder is distance: objects coming from other  lives, and fragmented images that were probably lost or hidden in her brain if she needs to add stitches to drawings and glue as if preventing them from vanishing, pinning them down. Time, in her art, seems to struggle against the eternal present of the art work when it’s finished, and becomes a still, impenetrable combination of feelings about all the things that stir our lives and do not have the same clarity of words. Directions, orientation, destiny, chance? They are cages for feelings before they solidify in concepts. Collages on paper, three-dimensional  assemblages are simply things living their own life.

They declare nothing. It is the hidden sparkle they surround with beauty that pulls our hair.

Their eyes look at us forcing us to wonder about what we do not, we can not see. The poet writes:

So let us love
confident as is the light
in its struggle with darkness

and the visual artist takes the wind in the same direction, through darkness and light. Darkness is time painted by history, and caged in words, but for her as an artist darkness is a fact that patiently, stubbornly, she brings back to light. Game of chance, or game of destiny: she is standing in the shadow of love. Which is the real step out of darkness, and makes each piece of her art a strong physical metaphor, a cage for magic, and a house for ideas.

(The poem is the second part of Shadows, in William Carlos Williams Selected Poems, (selected by dr. Williams himself), first published in 1949, New York, New Directions Books.

The images are from Betye Saar’s double exhibition: Blend and Black White at Roberts & Tilton Culver City, CA Oct.-Dec. 2016)

 

BETYE SAAR. Standing in the Shadow of Love

BETYE SAAR, Standing in the Shadow of Love  2000, Mixed media assemblage  18 x 26.25 x 1.50 in  Courtesy of the artist and Roberts & Tilton, Culver City, CA

 

BETYE SAAR, Destiny of Latitude and Longitude

BETYE SAAR, Destiny of Latitude and Longitude, 2010.  Mixed media assemblage  54 x 43 x 20.5 in  Courtesy of the artist and Roberts & Tilton, Culver City, CA

Ripped from the concept of our our lives
and from all concept
somehow, and plainly,

the sun will come up
each morning
and sink again.

BETYE SAAR, To Follow Separate Stars 1982, Mixed media collage on paper 18 x 15.5" Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, To Follow Separate Stars 1982, Mixed media collage on paper 18 x 15.5 in   Courtesy of the artist and Roberts & Tilton, Culver City, CA

So that we experience
violently
every day
two worlds
one of which we share with the
rose in bloom
and one,
by far the greater,
with the past, the world of memory,
the silly world of history,
the world
of the imagination.

BETYE SAAR, Heartbreak Hotel, 2016 Mixed media assemblage 15.75 x 8.75 x 4" Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, Heartbreak Hotel, 2016 Mixed media assemblage 15.75 x 8.75 x 4 in Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, Heartbreak Hotel, 2016 Mixed media assemblage 15.75 x 8.75 x 4" Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, Heartbreak Hotel, 2016 Mixed media assemblage 15.75 x 8.75 x 4 in Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, Illusion of Freedom,

BETYE SAAR, Illusion of Freedom, 2009 Mixed media collage  8.5 x 18.5 x 11 in  Courtesy of the artist and Roberts & Tilton, Culver City, CA

Which leaves only the beasts and trees,
crystals
with their refractive
surfaces
and rotting things
to stir our wonder.

BETYE SAAR, Always Just Out of Focus 1982, Mixed media collage on paper 18 x 13.5" Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, Always Just Out of Focus 1982, Mixed media collage on paper 18 x 13.5 in   Courtesy of the artist and Roberts & Tilton, Culver City, CA

BETYE SAAR, Collecting Twilight Corners 1982, Mixed media collage on paper 19.5 x 14.75" Courtesy of the artists and Roberts & Tilton, Culver City, CA

BETYE SAAR, Collecting Twilight Corners 1982, Mixed media collage on paper 19.5 x 14.75 in   Courtesy of the artists and Roberts & Tilton, Culver City, CA

Save for the little
central hole
of the eye itself
into which
we dare not stare too hard
or we are lost.

BETYE SAAR, Red Bone Black Scouts

BETYE SAAR, Red Bone Black Scouts, 2001   Mixed media collage on paper  17.5 x 25 in  Courtesy of the artist and Roberts & Tilton, Culver City, CA

The instant
trivial as it is
is all we have
unless-unless
things the imagination feeds upon, the scent of the rose,
startle us anew.

BETSYE SAAR, Dark Times 2015, Mixed media on vintage washboard 21.25 x 8.5 x 2.5"

BETSYE SAAR, Dark Times, 2015   Mixed media on vintage washboard 21.25  x  8.5  x  2.5 in   Courtesy of the artist and Roberts & Tilton, Culver City LA

BETYE SAAR, Serving Time

BETYE SAAR, Serving Time, 2010  Mixed media assemblage  64 x 17.25 x 9.75 in  Courtesy of the artist and Roberts & Tilton, Culver City, CA