Manríquez
Painting
is Finite
PAINTING IS FINITE
© 2012 Hugo García Manríquez
LRL e-editions
www.littleredleaves.com/ebooks/
“themselves”
materials
fires or
successive fires
5
the prior condition of all documents is their existence without us
6
rocks,
like all matter
7
whenever the voice occurs it is in the most unstable places
8
memory behaves in both directions
9
winter colors without multitudes
capital moves
10
nothing that preceded you
has prepared you for the experience
in correspondence:
“the occasion”
“painting is infinite”
11
who wants that mantle of nontranslatability between their work and the world?
12
a turn towards foliage
13
/visibility
history
14
to the fields
at the age
of seven
What is content?
15
Pastoral of Things
Or one,
One writes in the cold
to animosity
19
.
A mobilization of arguments
A supposed return
to the void prior to the project,
da capo, for there is no inside
that remains attentive to the position of its object
Fire is
the company one keeps
20
.
If asked,
they’d say words
grew bitter. Related words grow
bitter too,
necessarily
21
.
Alone or in
groups the mind
in a landscape
Someone glances
into the photograph
something dark is added
22
Reeds, Grand Dark Black
Masses /
pastoral of things
constant unchanged
27
certain mistakes left open
phrases open
in that opacity
28
movement infects the surroundings
29
what rejects fixation
bugs attached
30
and the city is open
so is the poem
thickets of laurel
of advancing
31
you go on with that desire
in turn/
among facts
“i like darkness”
“waiting”
waiting
32
notation towards a mass
a sort of contact
33
these, varied materials
out of what is
open
one to
34
a long series of questions / all of the same kind
35
an exposition, a
36
even the “archetypical” forest of the mind
of a man/ among
others
his ears
37
remnants of contact with others
process
38
reeds, grand dark black
masses/
39
Tiépolo Sky / In the Ribs of November
Seeded with Quotes
caravans of orchids
where is it deposited?
43
tiépolo sky / in the ribs
of november
deposited as history
on the surface,
44
politics of the quote
“dear i: positive
pleasure i felt hearing your talk on …. interesting to witness
that your fine feminine sensibility has been able to capture so
much of this... among the ... tribe…
45
a melancholic conquest
of facts
46
translate, “he is outside of himself”
of what love is
47
in a more recent photograph
“turned inwards”
48
working with it [with time]
49
throughout the translation he replaced
that- which-will-not-go
50
we read and that
of love
or the notion
we preserve
of what love is
therefore we write
51
we reread
a doubt is deposited
love
52
people under the stars
or like stars
first fact
53
“history is made with documents”
or with
diseases of blood
lives of others
54
Errant Thus Signifying
59
first he described him as “he doesn’t speak,
just mumbles.” later he went on
to say, “he was mute,” “he could not
speak,” and eventually
“he never spoke”
60
the materials contain the human figure
61
errant, thus signifying
62
in which sky of the mind that sky dazzles
63
Untitled
65
UNTITLED
67
UNTITLED
68
UNTITLED
69
PAINTING
NOTES ON SOURCES
70
ACKNOWLEDGMENTS
ON SOURCES
“Painting is Finite”
Lines on page 14 from the interview “Generosity as Method:
An Interview with Myung Mi Kim.” Yedda Morrison, Myung Mi
Kim, 1997.
73