Quote:
Fri 08 Jan ∞ Permalink

A primeira pessoa é aquilo que tenho mais à mão.End quote.

—Mário Cesariny, “A Maravilha do Acaso” (entrevista de Maria Bochicchio) in Cesariny - Uma grande razão - os poemas maiores, Assírio e Alvim, 2007, p. 21
Quote:
Mon 06 Jul ∞ Permalink

Quando digo Eu não me refiro apenas a mim, mas a todo aquele que couber dentro do jeito em que está empregado o verbo na primeira pessoa.End quote.

—Almada Negreiros, Eu in A Invenção do Dia Claro, Colares Editora, 1993, p. 31
Fri 05 Jun ∞ Permalink
Katharina Sieverding, Transformer, 1973

Katharina Sieverding, Transformer, 1973

Fri 05 Jun ∞ Permalink
Katharina Sieverding, Weltlinie, 1999

Katharina Sieverding, Weltlinie, 1999

Fri 05 Jun ∞ Permalink
Katharina Sieverding, Weltlinie, 1999

Katharina Sieverding, Weltlinie, 1999

Fri 05 Jun ∞ Permalink
Katharina Sieverding, Weltlinie, 1999

Katharina Sieverding, Weltlinie, 1999

Quote:
Fri 05 Jun ∞ Permalink

Identity is a continuous process of change, and so it’s a process of development as well. The interesting question here is: out of what, and where is it going?End quote.

—Katharina Sieverding in Intimacy on a Large Scale: A Conversation with Katharina Sieverding (db-artmag.de) aqui
Fri 05 Jun ∞ Permalink
Katharina Sieverding, 196 III, 1973

Katharina Sieverding, 196 III, 1973

Fri 05 Jun ∞ Permalink
Katharina Sieverding, 196/III, 1973

Katharina Sieverding, 196/III, 1973

Quote:
Fri 05 Jun ∞ Permalink

Katharina Sieverding’s close-ups assert the arbitrariness of the relationship between the way we read a face and the inaccessible subjectivity behind it. One might be tempted to think of these photographs as critiques of “essentialism” or as instances of the way in which the self is “performed” in a society where images—especially images of women—are commodified, but Sieverding’s photographs are far more demonic than such language allows. These faces appear less as adopted masks than as almost inevitable, external forces, which the subject herself is helpless to resist.End quote.

—Daniel Baird in The Brooklyn Rail aqui