.Yesterday, the regard of proximate consciousness. In that dream, the mighty being came so close at one moment I drew back in trepidation.
This morning, looking at Andre Dias' cinema blog We have yet to start thinking, I saw again a familiar and similar image to that of my dream; but here the exchange is actually in the water/
consciousness and it is not going well. Klaus Kinski in Werner Herzog's Aguirre, the Wrath of God (1972) :
A Person Looks At A Work Of Art/
someone looks at something ...
"On November 26, 1965, Beuys put the hare into the leading role in an Action. The title: How to Explain Pictures to a Dead Hare. The place: Galerie Alfred Schmela, in Dusseldorf, a gallery that had commited itself early and strongly to Beuys and had done a great deal to promote his reputation. Beuys sat on a chair in one corner of the gallery, next to the entrance. He had poured honey over his head, to which he had then affixed fifty dollars worth of gold leaf. In his arms he cradled a dead hare, which he looked at steadfastly. Then he stood up, walked around the room holding the dead hare in his arms, and held it up close to the pictures on the walls; he seemed to be talking to it. Sometimes he broke off his tour and, still holding the dead creature, stepped over a withered fir tree that lay in the middle of the gallery. All this was done with indescribable tenderness and great concentration."
Heiner Stachelhaus, Joseph Beuys, Abbeville Press, New York, 1987, (Translated by David Britt) p.135
Several days ago another such image, one of a more equal regard, arrived in the mail: this poster, FACE TO FACE (2004), by Lindsey Kuhn of (as chance would have it) Swamp posters.