23/57
The sun turns black, earth sinks in the sea,
The hot stars down from heaven are whirled ;
Fierce grows the steam and the life-feeding flame,
Till fire leaps high about heaven itself.
23/58
Now Garm howls loud before Gnipahellir,
The fetters will burst, and the wolf run free ;
Much do I know, and more can see
Of the fate of the gods, the mighty in fight.
23/59
Now do I see the earth anew
Rise all green from the waves again;
The cataracts fall, and the eagle flies.
And fish he catches beneath the cliffs.
The poetic Edda, Translated from the Icelandic with an introduction and notes by Henry Adams Bellows
He would lie in wait for monks grown weary with working in the oppressive heat, seizing a moment of weakness to force an entrance into their hearts. And once installed there, what havoc he wrought! For suddenly it would seem to the poor victim that the day was intolerably long and life desolatingly empty. He would go to the door of his cell and look up at the sun and ask himself if a new Joshua had arrested it midway up the heavens. Then he would go back into the shade and wonder what good he was doing in that cell or if there was any object in existence. Then he would look at the sun again and find it indubitably stationary, and the hour of the communal repast of the evening as remote as ever. And he would go back to his meditations, to sink, sink through disgust and lassitude into the black depths of despair and hopeless unbelief. When that happened the demon smiled and took his departure, conscious that he had done a good morning’s work.
Ivan Gutierrez, a 37-year-old artist who lives in the nearby village, stood before the pyramid and blew a low, sonorous blast on a conch horn. "It has already arrived, we are already in it" he said of the new era. "We are in a frequency of love, we are in a new vibration."
the group exhibition Rumiko Hagiwara – Dillan Marsh – Elizabeth Rowe brought together three artists whose work encapsulated notions of distraction, futility and perseverance. Working with the aesthetics of mass media, Elizabeth Rowe’s practice merged images from printed material to regain an element of control over an overwhelming accumulation of information. In preparation for exhibition, Rowe produced F—k reason (2009) which singularly featured on the front image of the exhibition flyer. In line with ideas of ineffectuality, four new works were commissioned and intended for inclusion in The Coventry Telegraph. When the commissions were denied printing due to the ambiguous non-commercial content, an enlightening conversation between Rowe and the editor discussing ideas about the ephemeral in art, formed an integral part of the show. Displayed within the window frontage, the protagonist in Rumiko Hagiwara’s film Escalator (2003) performs a subtle passive aggressive act by walking the opposite way, on a downward flowing escalator. By drawing attention to the use of the public space, Hagiwara suggests that the viewer rediscover trivial elements around them. This was shown in conjunction with Dillan Marsh’s work Multiple Failures (2008), which documents futile attempts to inflate a self-constructed air-balloon. Marsh strives to realise a fantasy of escape, but the end result is a catalogue of short-lived unsuccessful endeavours.
