“When you come right down to it, opinions are the most superficial things about anyone.” Borges
“For Women Who Are Difficult to Love” – written and performed by Warsan Shire
You are a horse running alone
and he tries to tame you
compares you to an impossible highway
to a burning house
says you are blinding him
that he could never leave you
want anything but you
you dizzy him, you are unbearable
every woman before or after you
is doused in your name
you fill his mouth
his teeth ache with memory of taste
his body just a long shadow seeking yours
but you are always too intense
frightening in the way you want him
unashamed and sacrificial
he tells you that no man can live up to the one who
lives in your head
and you tried to change didn’t you?
closed your mouth more
tried to be softer
less volatile, less awake
but even when sleeping you could feel
him travelling away from you in his dreams
so what did you want to do love
split his head open?
you can’t make homes out of human beings
someone should have already told you that
and if he wants to leave
then let him leave
you are terrifying
and strange and beautiful
something not everyone knows how to love.
In early 2011, artist, designer, and TED Fellow Candy Chang, queen of thoughtful installations in public spaces that invite collaborative storytelling, covered an abandoned house in her New Orleans neighborhood in chalkboard paint and stenciled on it a grid of the deceptively simple unfinished sentence “Before I die I want to . . .,” which any passerby could complete with a piece of chalk and a personal aspiration. To Chang’s surprise, the wall was completely filled by the next day. Soon, the project took on a life of its own and was replicated in over 10 languages across more than thirty countries, giving voice to millions of such private yearnings.
The project also inhabits — champions — another important dimension, the notion that public spaces anchor us to our physical reality and, at their best, awaken a richer relationship with our surroundings.
Our public spaces are as profound as we allow them to be. They are our shared spaces and reflect what matters to us as a community and as individuals. … At their greatest, our public spaces can nourish our well-being and help us see that we’re not alone as we try to make sense of our lives. They can help us grieve together and celebrate together and console one another and be alone together. Each passerby is another person full of longing, anxiety, fear, and wonder. With more ways to share in public space, the people around us can not only help us make better places, they can help us become our best selves.
Street art combines all forms of art that are expressed on the street, usually illegally, and describes the work of people who have developed a mode of artistic expression by using various techniques such as templates, posters, stickers, murals and graffiti among the most important, in a new form of communication through text, content and social opinion.
Main aim of the Street art is, by integrating its elements in high-traffic public places, to surprise the audience and usually to embed a subversive message that criticizes society with irony and invites social struggle, political criticism or simply to reflect.
It’s called also graffiti art and we can find examples dating back to Ancient Egypt, Ancient Greece, and the Roman Empire. Especially among the Romans it was very common habit to write occasionaly on walls and columns where many inscriptions were found in Vulgar Latin with political slogans, insults and declarations of love.
The International Museum of modern and contemporary art “Tate Modern” in London has made several street art exhibitions and now is selling one of the best analyses of this trend, the book “Street Art- The Graffiti Revolution“, which discusses in depth the phenomenon of urban art.
Meditations on and responses to censorship from a selection of literary heroes from the past century.
In Mrs. Warren’s Profession (public library), George Bernard Shaw puts it in the most deterministic terms possible:
All censorships exist to prevent anyone from challenging current conceptions and existing institutions. All progress is initiated by challenging current conceptions, and executed by supplanting existing institutions. Consequently, the first condition of progress is the removal of censorship.
In September of 1965, Susan Sontag wrote in her diary, As Consciousness Is Harnessed to Flesh: Journals and Notebooks, 1964-1980:
I am against censorship. In all forms. Not just for the right of masterpieces — high art — to be scandalous.
But what about pornography (commercial)?
Find the wider context:
notion of voluptuousness à la Bataille?
But what about children? Not even for them? Horror comics, etc.
Why forbid them comics when they can read worse things in the newspapers any day. Napalm bombing in Vietnam, etc.
A just/ discriminating censorship is impossible.
In 1985, when the Public Library in Nijmegen decided to remove Charles Bukowski’s Tales of Ordinary Madness (public library) after a complaint from a reader, declaring it “very sadistic, occasionally fascist and discriminatory against certain groups (including homosexuals),” a local journalist reached out to the author for a response. Bukowski immediately fired off an altogether brilliant letter, which included a direct shot at the essence of censorship:
“Censorship is the tool of those who have the need to hide actualities from themselves and from others. Their fear is only their inability to face what is real, and I can’t vent any anger against them. I only feel this appalling sadness. Somewhere, in their upbringing, they were shielded against the total facts of our existence. They were only taught to look one way when many ways exist.”