Now available the first edition of music notebooks!

This issue contains: 
50 pages of music paper size A4 

Cover illustration by natalia fried

"Gespleten piano" by cecilia arditto


Fascination and avarice made me keep since childhood those books to draw that used to be offered in the newsstands. They had pages with dots to link and find a hidden figure, unfinished landscapes and codes representing colours to replace. Those pages used to generate fascination. But also, I said, an element of avarice or maybe of fear of failure. Perhaps the inevitable postponement of desire (forecasting a neurosis badly or well taken) contributed to mantain many of these pages yet immaculate. So I preserve those books blank, unfinished, as a vain attempt. Today, they are mine in that way, even when I see them and feel quite prudish.
Maybe that´s why I joined enthusiastically in this project. Quickly I understood that this was that book to draw of that time. And I would´t let it go! That´s why, although I am not a musician, F. invited me to introduce this series of notebooks and to summon others as I had been summoned. To use them, to write on them, to doodle and even to cross them out full of resentment.
To transmit that experience of fascination, I asked F. for clues to undertake the task. They turned out to be so pertinent that I made them mine. And I get to my own quote.[1]
If every artist is a plagiarist (of another artist, of his or her time, of their ineffable misery), this is a quote book. And book on quotes of quotes. The parody exercise consists in that iterate citation that introduces new turns every time. To continue the cicle, two elements are necessary: a) to asume that there´s is no original, and b) to have the courage to continue inventing it. The creation resulting will be both individual and collective and the authorship as scattered as this page.
Here go those words I received as a guide.
R.H. (GES, Studies on sexualities)

[1] In Spanish cita is to make an appointment, but also to quote a text.

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