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Esculpido Fluir, 2017.
DOCUMENTA 14, Atenas.
Esculpido Fluir, 2017.
DOCUMENTA 14, Atenas © Wim van Dongen.
Esculpido Fluir, 2017.
DOCUMENTA 14, Atenas © Wim van Dongen.
Esculpido Fluir, 2017.
DOCUMENTA 14, Atenas © Wim van Dongen.
Esculpido Fluir, 2017.
DOCUMENTA 14, Atenas © Wim van Dongen.
Esculpido Fluir, 2017.
DOCUMENTA 14, Kassel.
Esculpido Fluir, 2017.
DOCUMENTA 14, Kassel.
Esculpido Fluir, 2017.
DOCUMENTA 14, Kassel.
Esculpido Fluir, 2017.
DOCUMENTA 14, Kassel.
Esculpido Fluir, 2017.
DOCUMENTA 14, Kassel.
Esculpido Fluir, 2017.
DOCUMENTA 14, Kassel.
Esculpido Fluir, 2017.
DOCUMENTA 14, Kassel.
Wetin você vai fazer? na TATE MODERN, abril de 2017.
Exibições da exposição em THE TANKS.
Wetin você vai fazer? na TATE MODERN, abril de 2017.
Exibições da exposição em THE TANKS.
Wetin você vai fazer? na TATE MODERN, abril de 2017.
Exibições da exposição em THE TANKS.
Wetin você vai fazer? na TATE MODERN, abril de 2017.
Exibições da exposição em THE TANKS.
Wetin você vai fazer? na TATE MODERN, abril de 2017.
Exibições da exposição em THE TANKS.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Em um tecido de lugar desconhecido, não tecido, reservatório, creme e tecido 266 x 180 cm © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Em um tecido de lugar desconhecido, não tecido, reservatório, creme e tecido 266 x 180 cm © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Em um tecido de tecido local ainda desconhecido, reservatório, creme e tecido de 266 x 180 cm © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Em um tecido de lugar desconhecido, não tecido, reservatório, creme e tecido 266 x 180 cm © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Aço para Ferrugem - Derretimento Tecido têxtil 222 x 306 cm no total © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Aço para Ferrugem - Derretimento Tecido têxtil 222 x 306 cm no total © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Aço à Ferrugem - Crescimento Lento Tecido Têxtil, cristaux 240 x 160 cm © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Aço à Ferrugem - Crescimento Lento Tecido Têxtil, cristaux 240 x 160 cm © Philippe De Gobert.
Prêmio de Arte da Bélgica 2017, BOZAR, BRUXELLES.
Aço à Ferrugem - Crescimento Lento Tecido Têxtil, cristaux 240 x 160 cm © Philippe De Gobert.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Vistas da exposição em Nottingham Contemporary, Reino Unido © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Gosto das vistas de uma exposição de pedra em Nottingham Contemporary, UK © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Gosto das vistas de uma exposição de pedra em Nottingham Contemporary, UK © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Gosto das vistas de uma exposição de pedra em Nottingham Contemporary, UK © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Gosto das vistas de uma exposição de pedra em Nottingham Contemporary, UK © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Gosto das vistas de uma exposição de pedra em Nottingham Contemporary, UK © Stuart Whipps.
O encontro que teve uma parte de mim, 2016.
Gosto das vistas de uma exposição de pedra em Nottingham Contemporary, UK © Stuart Whipps.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
Galerie In Situ - fabienne leclerc, Paris.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
Em Busca do Bling - Coalizão, 2014 Lambda print 62,5 x 42,5 cm Vista da exposição na Galerie In Situ - fabienne leclerc, em Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
Moeda Affair & War and Love Booty, 2011 - 2016 4 Estampa Lambda 4 x (47,5 x 62,5 cm) Exibições na Galerie In Situ - fabienne leclerc, Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
Onde está a Traces, 2015-2016 Tapisserie, peinture, mйtal, impression sur forex, impressões sur la intérieure et minerai 110 x 90 x 3 cm Vistas da exposição na Galerie In Situ - fabienne leclerc, em Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
De volta ao buraco, 2016 Acrylique, crayon e fusain sur papier 159 x 59 cm Vistas da exposição na Galerie In Situ - fabienne leclerc, em Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
Exibições da exposição na Galerie In Situ - fabienne leclerc, Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
Rachaduras ao virar da esquina, 2016 Acrílico e peinture sur bois 170 x 189 cm Vistas da exposição na galeria In Situ - fabienne leclerc, Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
Memória cinzenta de modelagem de zona, 2016 Acrylique et peinture sur bois; fotografia lambda print (Diptyque) 136 x 105 cm encad. Exibições na Galerie In Situ - fabienne leclerc, Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
I Dey O, 2016 2 shières en bйton (diâmetro 42 cm), cordão et système son Exibições da exposição na Galerie In Situ - fabienne leclerc, Paris © Rebecca Fanuele.
Rachaduras ao virar da esquina, 01-30 de junho de 2016.
I Dey O, 2016 2 shières en bйton (diâmetro 42 cm), cordão et système son Exibições da exposição na Galerie In Situ - fabienne leclerc, Paris © Rebecca Fanuele.
Em busca de Bling - Desejo, 2014-2016.
Edição de 5 ex + 1 AP.
Em busca de Bling - Coalizão, 2014.
60 x 40 cm (62,5 x 42,5 cm encadré)
Edição de 5 ex + 1 AP.
Em busca de Bling - Indulgência, 2014-2016.
40 x 60 cm (43 x 63 cm encadré)
Edição de 5 ex + 1 AP.
Exibições de exposição "Contusões e Luster" M HKA Anvers - Bélgica, 2015-2016.
Exibições de exposição "Contusões e Luster" M HKA Anvers - Bélgica, 2015-2016.
© M HKA & photoclinckx - Anvers.
Exibições de exposição "Contusões e Luster" M HKA Anvers - Bélgica, 2015-2016.
© M HKA & photoclinckx - Anvers.
Exibições de exposição "Contusões e Luster" M HKA Anvers - Bélgica, 2015-2016.
© M HKA & photoclinckx - Anvers.
Manobras sólidas, 2015.
Maquiagem, Vermiculit / Vários metais, Forex, Acrílico e Alcatrão.
141 x 147 x 206 cm.
Manobras sólidas, 2015.
Manobras sólidas realizadas.
Manobras sólidas, 2015.
Manobras sólidas, 2015.
Maquiagem, Vermiculit / Vários metais, Forex, Acrílico e Alcatrão.
141 x 147 x 206 cm.
O Peso das Cicatrizes, 2015.
Têxtil (Viscose, Laine, Mohair et coton) e Impressão em 10 placas de forex.
Edição de 3 ex + 1 AP.
© M HKA & photoclinckx - Anvers.
Rendimento Infinito, 2015.
Edição de 6 ex + 1 AP.
Wetin você vai fazer? De 2015.
29 esculturas em béton teinté, corde et son.
40 cm a 80 cm de altura.
Wetin você vai fazer? De 2015.
29 esculturas en bйton teinté, corde et son Vista da exposição na Bienal de Lyon 2015.
Wetin você vai fazer? De 2015.
29 esculturas en bйton teinté, corde et son Vista da exposição na Bienal de Lyon 2015.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Opinião da exposição - faça-me emprestar-lhe meu Mine, fundação da arte de Kadist-Paris, 27.09-20.12.15.
Vista da exposição - em ruínas através da Powdery Air, Portikus, Frankfurt, Alemanha (16.07-06.09.2015)
Vista da exposição - em ruínas através da Powdery Air, Portikus, Frankfurt, Alemanha (16.07-06.09.2015)
Vista da exposição - em ruínas através da Powdery Air, Portikus, Frankfurt, Alemanha (16.07-06.09.2015)
Vista da exposição - em ruínas através da Powdery Air, Portikus, Frankfurt, Alemanha (16.07-06.09.2015)
Vista da exposição - em ruínas através da Powdery Air, Portikus, Frankfurt, Alemanha (16.07-06.09.2015)
Vista da exposição - em ruínas através da Powdery Air, Portikus, Frankfurt, Alemanha (16.07-06.09.2015)
Vista da exposição - em ruínas através da Powdery Air, Portikus, Frankfurt, Alemanha (16.07-06.09.2015)
Em busca de Bling, 2014.
Mídia mista e 2 filmes (ed de 5)
Em busca de Bling, 2014.
A vista lateral da Transformação.
Em busca de Bling, 2014.
A vista lateral do Discovery.
Adesivo e acrílico sobre papel.
42 x 30 cm não encadrado.
Em busca de Bling: The Discovery, 2014.
Edição de 5 ex + 1 AP.
Em busca de Bling: The Transformation, 2014.
Edição de 5 ex + 1 AP.
Alterscapes: Playground, 2005-2015.
3 c-impressão em alumínio.
3 x (50 x 67 cm) (3 x (54 x 71 x 4 cm) encadrй)
Edição de 7 ex + 1 AP.
Alterscapes: Playground (A), 2005-2015.
c-impressão em alumínio.
50 x 67 cm (54 x 71 x 4 cm encadrй)
Edição de 7 ex + 1 AP.
Alterscapes: Playground (B), 2005-2015.
c-impressão em alumínio.
50 x 67 cm (54 x 71 x 4 cm encadrй)
Edição de 7 ex + 1 AP.
Alterscapes: Playground (E), 2005-2015.
c-impressão em alumínio.
50 x 67 cm (54 x 71 x 4 cm encadrй)
Edição de 7 ex + 1 AP.
Alterscapes: Playground (C), 2005-2015.
c-impressão em alumínio.
50 x 67 cm (54 x 71 x 4 cm encadrй)
Edição de 7 ex + 1 AP.
Alterscapes: Playground (D), 2005-2015.
c-impressão em alumínio.
50 x 67 cm (54 x 71 x 4 cm encadrй)
Edição de 7 ex + 1 AP.
Gosto de uma pedra, 2010-2014.
Fotografia Inkjet imprime em calcário Galala e estruturas de madeira.
6 x (100 x 40 x 140 cm)
Edição de 3 ex + 1 AP.
Gosto de uma pedra - ferramenta, 2010-2014.
Fotografia Inkjet imprime em calcário Galala e estruturas de madeira.
100 x 40 x 140 cm.
Edição de 3 ex + 1 AP.
não há 2 edições complica indissociables.
Gosto de uma pedra - Demarcar, 2010-2014.
Fotografia Inkjet imprime em calcário Galala e estruturas de madeira.
100 x 40 x 140 cm.
Edição de 3 ex + 1 AP.
não há 2 edições complica indissociables.
Medidas Contidas de Memórias Tangíveis, 2009-2011.
Bois, mtal, cosmique, Mica, Savon noir, Cassia Fistula, Teinture Indigo, Mica, Savon noir, Cassia fístula, corante índigo (Le bleu magique) e pierre d 'Alum, © 2015 vidoe filme (8 min 37)
Medidas Contidas de Memórias Tangíveis, 2009-2011.
Medidas Contidas de Memórias Tangíveis, 2009-2011.
Medidas Contidas de Memórias Tangíveis, 2009-2011.
Medidas Contidas de Memórias Tangíveis, 2009-2011.
Medidas Contidas de Memórias Tangíveis, 2009-2011.
Medidas Contidas de Memórias Tangíveis, 2009-2011.
Bois, cramramica, mica, sabonete preto (Savon noir), fístula Cassia, corante índigo (Le bleu magique), alúmen, tela digital e vídeo.
Restos Esvaziados (Aguardando para Migrar), 2004-2015.
4 c-impressão montes em alumínio.
(1 Foto 88 x 116 cm, 2 Fotos 43 x 55 cm, 1 Foto 88 x 116 cm) No geral: 90 x 293 cm encadré.
Edição de 3 ex + 1 AP.
Restos Esvaziados (Cor da Natureza é definitivamente Verde), 2004-2015.
5 cópias impressas em alumínio.
(90 x 118 cm; 90 x 57 cm; 90 x 118 cm: 45 x 57 cm; 45 x 57 cm) No geral: 90 x 350 cm.
Edição de 3 ex + 1 AP.
Restos Esvaziados (Campo de Gás), 2004-2015.
4 cópias impressas em alumínio.
90 x 118 cm; 45 x 57 cm; 45 x 57 cm; 90 x 118 cm (total: 90 x 293 cm)
Edição de 3 ex + 1 AP.
Moldando Memória, 2012-2014.
120 x 90 cm (enc. X 136 x 105 cm)
Edição de 5 ex + 2 AP.
Existe apenas o So Can a Neck Can Carry, 2011-2012.
Têxtil (viscose, laine, mohair et coton) e impressão sur placa de forex.
Edição de 3 ex + 1 AP.
Medidas Contidas de Estados em Mudança, 2012.
Novembro 2012 Os Tanques TATE MODERN, Londres.
Medidas contidas de Estados mutáveis, 2012.
Novembro 2012 Os Tanques TATE MODERN, Londres.
Medidas Contidas da Terra, 2008.
Acrylique et Huile sur toile.
3 x (135 x 145 cm)
O que é meu não é seu (135 x 145 cm); A luta (135 x 145 cm); Crise (135 x 145 cm)
Partição: Divórcio, 2005.
Encre sur papier.
29,7 x 21 cm (39 x 30 cm encadré)
Atlas de Objeto - Enfrentando o Adversário (exibição de exibição), 2012.
Atlas de Objeto - Enfrentando o Adversário (exibição de exibição), 2012.
Atlas de Objeto - Enfrentando o Adversário (exibição de exibição), 2012.
Predicamento dos Fragilologistas, 2011.
Exposição permanente da exposição da coleção Museu de Kiasma, Helsínquia, Finlandia.
Fragilologists Predicament (detalhe), 2011.
Exposição permanente da exposição da coleção Museu de Kiasma, Helsínquia, Finlandia.
Deitado com arma II, 2010.
Fotografia Inkjet imprime em calcário Galala e estruturas de madeira.
70 x 40 x 60 cm e 20 x 20 cm.
Edição de 5 ex + 2 AP.
Resistência Lagos Roads 1992, 2010.
Consequências Sociais II - Construtivismo, 2009.
Escolhas que fazemos, 2009.
Aproveite tudo que você pode, 2009.
A Sobrecarga / Projéteis / Pressão Piercing / Hostage / Wastescape / The Overflow, 2009.
Six Inches, 1988, BSP, Chatou-Croissy, 2009.
Teargas, 1978, Yaba, Lagos, 2009.
Reduzido para Cinzas, 1978, Yaba, Lagos, 2009.
Histórias de Alterscapes: desenraizando o passado, 2006-2016.
Photographie contrecollée sur alumínio.
3 x (114 x 114 cm)
Edição de 7 ex + 2 AP.
Sonho em One Meter Square, 2004-2005.
Sonho em One Meter Square, 2004-2005.
Aguardando Prazeres enquanto Giro, 2003.
Aquarelle, encre e crayon sur papier.
31,8 x 24 cm (não encadrado)
Aguardando Prazeres mas cortou, 2002-2003.
Escultura e placa em mosaico, Encre sur papier, Rhodoid et calque.
© País Graco de Lay.
Dessin (60 x 50 cm); Calque (70 x 80 cm); Rhodoid (126 x 55 cm); Placa de cristal (125 x 75 x 1cm); Escultura em mosaico (50 x 70 x 70 cm)
Aguardando Prazeres mas cortou, 2002-2003.
Aguardando Prazeres mas cortou, 2002-2003.
Fiac 2014 - Instalação Otobong Nkanga.
Gosto de uma pedra.
Vit et travaille & agrave; Anvers, Belgique.
MHKA Anvers & laquo; Contusão e brilho & raquo; (2015); Kadist Foundation Paris Confie em seus olhos Faça você me emprestar Mine (2015); Portikus, Francoforte / Main, Allemagne (2015); Unisono 28: Otobong Nkanga - Gosto de uma pedra, Museu Stedelijk Schiedam, Schiedam, Hollande (2015); Diaspore, 14 salas Basel, Suisse, (2014); Em busca de Bling, 8 & egrave; me Biennale de Berlin, Berlim, Allemagne (2014); Glimmer Fragments - Simpósio "Landing and Confessions", Museu Stedelijk, Amsterdã, Holanda (2014); 11 & egrave; eu Biennale de Sharjah, Sharjah, Emirados Arabes-Unis, (2013); Across the Board: Política de Representação, Tate Modern, Os Tanques, Londres, Royaume-Uni (2012); Inventando o mundo: O Artista como cidadão, Bienal do B & eacute; nin, Cotonou, B & eacute; nin (2012); Tropicomania: A Vida Social das Plantas, Betonsalon, Centro de Arte e Pesquisa. Local associado da Trienal 2012 - Proximidade Intensa. Paris, França (2012); e Object Atlas - Trabalho de campo no Museu, Weltkulturen Museum, Frankfurt-am-Main, Allemagne. (2012). ARS 11, Museu de Arte Contemporânea de Kiasma, Helsinque, Finlândia. (2011)
Texto de Philippe Pirotte.
Nascido na cidade nortenha de Kano, no norte da Nigéria, e atualmente sediado em Antuérpia, os desenhos, instalações, fotografias e esculturas de Otobong Nkanga examinam várias idéias sobre a terra e o valor ligado aos recursos naturais.
No trabalho do artista nigeriano Otobong Nkanga, atividades e performances permeiam todos os tipos de mídia e motivam a fotografia, o desenho, a pintura, a escultura, a instalação e o vídeo, embora todas as diferentes obras sejam tematicamente conectadas por arquitetura e paisagem. Como um traço humano que testemunha os modos de vida e as questões ambientais, a arquitetura e a paisagem atuam como uma caixa de ressonância para a narração e a performativa. Segundo a própria artista, ela usa seu corpo e voz em performances ao vivo ou em vídeos para se tornar protagonista em seu trabalho. No entanto, sua presença serve principalmente como um catalisador auto-apagador, uma mão invisível que põe em movimento o processo artístico.
Nesse sentido, a presença do artista é uma reminiscência dos auto-retratos que Velázquez ou Goya incluíam em suas maiores pinturas históricas, que expunham a criação da obra de arte e criavam uma imagem dentro de uma imagem.
Nascido na Nigéria e vivendo em Antuérpia, na Bélgica, Nkanga negocia a conclusão do ciclo da arte entre a esfera estética da exibição e uma estratégia de dessublimação que repetidamente empurra o status da obra para a contingência. Em seu texto sobre o conceitualismo africano, Okwui Enwezor conectou a última estratégia às tradições africanas. [1] Dentro de um sistema fluido de trocas e relações entre objeto, artista e audiência, o objeto é importante. Quando se trata de intenção e significado, no entanto, o objeto paradoxalmente funciona como uma entidade anti-perceptiva, valorizando ou mobilizando a fala e a comunicação oral.
Um projeto importante em relação ao exame contínuo da paisagem em Nkangas e o valor ligado aos recursos naturais além de sua comercialização e uso imediato foi sua "reinvenção" [2] de "Baggage" (2007-08), um acontecimento de 1972 originado pela O artista americano Allan Kaprow. Em 1972, Kaprow, juntamente com 20 estudantes da Rice University em Houston, transportaram sacos de areia de um canteiro de obras do campus para uma praia em Galveston, onde eles evacuaram o conteúdo das bolsas e retornaram com areia do mar. A ação aconteceu sem audiência e a apresentação da documentação foi a única maneira pela qual o acontecimento foi traduzido para um público de arte. "Bagagem" foi um dos muitos acontecimentos realizados pela Kaprow que lidam com o deslocamento de mercadorias de um lugar para outro. Em alguns desses acontecimentos, Kaprow prestou atenção às diferenças de cor da terra em toda a América e ao forte contraste que observou quando se encontraram.
Quando Nkanga reformulou a "Bagagem" (2007-08), a noção (arte-histórica) de "paisagem" assumiria uma importância apenas vagamente compreendida na versão original de Kaprow. areia embalada da Holanda foi enviada para Lagos e em troca areia da região do Delta da Nigéria foi enviada de volta para a Holanda. Ao levar a areia holandesa à paisagem radicalmente mutável da Nigéria, um país rico em petróleo, Nkanga enfatiza fortemente a noção de deslocamento entre os dois continentes. No processo, o artista republica o acontecimento original de Kaprow. Embora seja evidente que o contexto das viagens aéreas, tanto para pessoas quanto para bens, mudou drasticamente desde 1972, o artista não quis aprofundar direta ou explicitamente as óbvias questões políticas que estão ligadas ao deslocamento de commodities hoje em dia. . Ela preferiu tornar um panorama em constante mudança, pouco visível em um mundo hoje em que os produtos são transportados de um continente para outro e onde as origens dos produtos (matérias-primas) passaram por diferentes transformações. Como o artista explicou em uma conversa em agosto de 2008, este trabalho poderia ser uma metáfora de uma situação em que vemos o "deslocamento" em um contexto mais amplo, não apenas para o movimento de bens, mas também para o deslocamento humano.
Em muitas de suas obras, Nkanga reflete metonimicamente sobre o uso e o valor cultural ligados aos recursos naturais. Em destaque na exposição "Flow" do museu do estúdio de 2008, seu díptico fotográfico "Alterscapes" (2006) mostra o artista como um demiurgo, derramando um líquido azul indefinido em uma paisagem. "Medidas contidas de memórias tangíveis" (2009), uma instalação mais recente, apresenta dois pedestais móveis duplicados em cima do qual o artista colocou cinco tigelas contendo mica, sabão preto, fístula de cássia, corante índigo e alume, materiais naturais disponíveis no Marrocos e na Nigéria, mas usados ​​de maneiras completamente diferentes. O trabalho, apresentado na Bienal de Artes em Marraquexe, de 2009, explora como o significado e a função são relativos nas culturas e revela diferentes papéis e histórias para os mesmos produtos, particularmente no contexto da autobiografia e das memórias do artista. Ligada ao domínio da arte, a perversidade permanece na ideia de que a exploração é fundamental para a cultura quando a cultura é definida como a adaptação dos recursos naturais aos fins humanos. Nkanga se abstém de entrar no reino do perverso apenas criando um veículo para mostrar e transportar os recursos, ela não cria um novo produto a partir deles. (Ela repetiu essa estratégia em seu trabalho "Contained measures of Fragments pointe Noire" (2009), que enfoca as cores específicas da terra encontradas na pointe Noire, Congo; bolsas de areia foram perfuradas durante a abertura da exposição e lentamente derramado para moldar um novo cenário dentro da instalação.)
Os vários trabalhos fotográficos de Nkanga evidenciam uma abordagem mais documental para a interrogação das implicações dos atos humanos e seus efeitos em ambientes e contextos variados. Em sua série "Dolphin Estate" (2008), ela fotografou um conjunto habitacional de Lagos que controvertidamente empregava técnicas de construção pré-fabricadas. Concluído em 1992, o Dolphin Estate ", explica o artista," caiu gradualmente em um estado de abandono, deixando os moradores para cuidar de suas necessidades diárias, como água, eletricidade e lidar com problemas de inundação ". As fotografias de Nkanga mostram os resultados e condições O nome americano do conjunto habitacional, que compreende apartamentos de dois e três quartos e dúplex de quatro quartos, sugere uma utopia suburbana, mas na realidade os edifícios são muitas vezes inadequadamente equipados. As fotografias de Nkanga mostram essas alterações improvisadas, que incluem tanques de água grandes e com cores vivas, instalados precariamente no exterior.
em um meta-nível, "Dolphin Estates" parece abordar as questões morais ligadas à estética da não-arquitetura e à originalidade que anima a urbanidade paralela, como fonte de inspiração para artistas e arquitectos. Novamente, como em outras obras, é uma questão que gira em torno dos paradoxos da exploração. [3]
A série de desenhos de 2005 - 06 de Nkanga, "Delta Stories", oscila entre uma descrição pessoal e universal dos conflitos gerados por recursos no Delta do Níger, onde a população local considera a exploração da natureza como fonte de problemas ambientais e destruição. A classificação positivista das coisas naturais, através da observação, medição e aplicação de métodos puramente quantitativos, é considerada perturbadora do nosso relacionamento com eles e encoraja a atitude indesejável de que eles nada mais são do que coisas a serem investigadas, consumidas e dominadas. . A crise no Delta surgiu no início dos anos 90, devido às tensões entre corporações petrolíferas estrangeiras e alguns grupos étnicos minoritários da região. A competição pela riqueza do petróleo, que faz parte de uma "luta pela África" ​​em curso, alimentou a maior parte da violência, mas o conflito também é sintomático de um confronto de visões de mundo opostas. Alguns desenhos se assemelham a mapas topográficos pontuados por pinos (representando poços de petróleo?) Que indexam a ocupação do território, embora também lembrem indiretamente a pele de um animal, como um troféu a ser levado. O nível de abstração traz à mente o legado do mapeamento colonial; ao mesmo tempo, a visão distanciada invoca o positivismo da ciência e da tecnologia, que não apenas remove nosso medo da natureza, promete conhecimento e poder ilimitados, mas também destrói nosso senso de reverência e admiração em relação a ele.
As "Delta Stories" de Nkanga (2005/06), e os projetos de desenho relacionados, como "Pointe Noire Fragments" (2009) ou "Conseqüências Sociais I e II" (ambos 2009), formam uma meditação sobre a exploração dos recursos naturais. maneira principalmente alegórica. Um dos princípios mais interessantes no método de desenho do artista, que eu chamaria de um tipo de animação orgânica, é que ela usa uma parte do desenho ou uma folha inteira para testar as cores a serem usadas, esses pontos aparecem em um cluster em no canto superior esquerdo e formam uma colcha de retalhos repleta de tudo o que sai dela. Parece que os desenhos se põem em movimento, uma característica que é mais óbvia.
em "Social Consequences II", um desenho em acrílico de seis páginas onde os patches dão origem a uma maquinaria completa ("The overload"), incluindo prédios corporativos com agulhas que ameaçam silhuetas humanas ("projéteis"), que por sua vez são ocupadas um dispositivo de observação ("pressão perfurante"), diretamente conectado a um aparato mecânico ("refém") movendo braços desmontados extraindo recursos do solo ("Wastescape"), e no final perfurando poços que estragam a água ("O transbordamento") . Cobrindo a ampla gama de mudanças da criação de valor humano à extração de valor corporativo, as representações de ações em uma narrativa, equiparadas aos significados que estão fora da própria narrativa, sugerem "ex negativo" ao mundo corporativo, que alcançou o controle monopolista, proibindo por lei, os locais competem com as empresas na extração de recursos ou na venda de mercadorias. [4]
Em seu trabalho posterior, o filósofo alemão Theodor Adorno defendeu uma atitude estética de "imediatismo sensível" em relação à natureza. Adorno empresta o termo, que ele considera a característica definidora da arte, da "Estética" de hegel (1885). Em sua própria "Teoria Estética" (2004) Adorno considera "o sensual" como parte da compreensão estética, que é considerada uma qualidade de resistência à quantificação ou uma qualidade que permanece após a violência da nomeação e categorização. O entendimento estético toma nota do sensorial, do não racional, isto é.
tantas vezes descartada como meramente irracional e que não pode ser esgotada por codificação racional. Isso significa um reconhecimento das possibilidades de estar direta e espontaneamente familiarizado com a natureza sem intervenções de nossas faculdades racionais. Adorno se refere ao "excesso" das obras de arte, algo mais do que sua mera materialidade e valor de troca, que é semelhante às coisas naturais, e deveria, portanto, ser capaz de reencantar o mundo através da experiência estética, que ao mesmo tempo ser um reencantamento de vidas e propósitos. [5]
Otobong Nkanga reconhece isso em seu trabalho, mas ao mesmo tempo expressa ceticismo. Em sua recente escultura, "A operação" (2008), que Nkanga mostrou como parte de sua instalação "Contained measures" em Las Palmas, ela suspendeu a raiz de uma laranjeira de uma parede da galeria Casa África. Decorada com plantas de Tillândia, a raiz cortada foi perfurada com longas agulhas de aço inoxidável. Um gesto chave no trabalho de Nkanga, o piercing foi feito com precisão científica.
1. okwui Enwezor, "Onde, o quê, quem, quando: Algumas notas sobre o conceitualismo africano", em: Conceitualismo global: pontos de origem, anos 1950-1980, (Nova York: Queens museum of Art, 1999), p.110 .
2. É da natureza do trabalho relacionado ao tempo e à performance do artista americano Allan Kaprow que, em princípio, um acontecimento - ou uma "atividade", como ele chamou sua obra mais tarde - não pode ser repetido. No entanto, o próprio Kaprow encenou um grande número de peças em várias ocasiões. Na década de 1980, ele fez as primeiras "reinvenções", muitas vezes com ingredientes e resultados surpreendentemente alterados. Segundo Kaprow, as atividades e os acontecimentos não envelhecem ao longo dos anos; Não é nostálgico repetir obras, mas antes um desafio para adaptá-las ao momento, às questões e temas, talvez até à moda de hoje - desde que a "metáfora central", como ele a chamava, fosse mantida. Por isso as obras permanecem contemporâneas, comparáveis ​​às transmissões de conteúdo na história oral. Veja: philippe pirotte, - participação. Um Legado de Allan Kaprow -, em Uma Invenção de Allan Kaprow no momento, philippe pirotte (Kunsthalle Bern, 2009), p.9.
3. Veja Paola Berenstein Jacques, Esthetique des Favelas, L'harmattan, paris, 2002.
4. A corporação, como uma entidade virtual, media todo contato lateral entre pessoas ou pequenas empresas e empresas, e redireciona todo o valor criado para um seleto grupo de investidores. Segundo o artista Walead Beshty, as corporações são uma multidão de vozes congeladas em uma entidade singular, uma transcrição de um conjunto efêmero de compromissos e agendas concorrentes com uma voz unificada. Beshty observa ainda a caracterização de Gilles Deleuze da corporação como um espírito e se pergunta o que significa para esse fantasma falar. Como a maioria das inovações da era colonial persistindo nos tempos pós-coloniais, esse fantasma extrai valor da chamada periferia e traz.
de volta para o chamado centro. Veja Walead Beshty, "American Engenho (E o fracasso do Readymade)", na Afterall revista n º 17 (Antuérpia, Londres, Los Angeles, 2008), p.23.
5. Alguns estudiosos do trabalho de Adorno argumentaram recentemente que seu relato do papel do "imediatismo sensível" pode ser entendido como uma tentativa de defender um "antropomorfismo legítimo". que chega perto de uma forma fraca de animismo. Veja Jay Bernstein, Adorno: Desencanto e Ética (Cambridge: Cambridge University press, 2001), p.196.
Otobong Nkanga: Para cavar um buraco que colapsa novamente, MCA - Museu de Arte Contemporânea, Chicago, EUA.
Galerie In Situ-Fabienne Leclerc, Paris, França.
Landversation Beirute, Centro de Arte de Beirute, Liban.
Transhistory, Museu Arnhem, Arnhem, paga Bas.
O encontro que teve uma parte de mim, Nottingham Contemporary, Nottingham, Reino Unido.
Os teus olhos emprestam-te a minha, Kadist Foundation Paris, France.
Desintegrando-se através do ar pulverulento, Portikus, Francfort, Allemagne.
Unisono 28: Otobong Nkanga - Gosto de uma pedra, Museu Stedelijk Schiedam, Schiedam, Hollande.
Contusões e brilho, M HKA, Anvers Museum, Anvers, Belgique.
Confissões de rastreamento, Museu Folkwang, Essen, Allemagne.
Glimmer: Fragments in & ldquo; Desembarques: confronto e confissão, Stedelijk Museum, Amsterdam, Hollande.
Diaspore, performance ao vivo em 14 salas & ndash; B & acirc; le, Suisse.
Across the Board: Política de Representação, desempenho e peça de instalação Contained Measures of Shifting States, Tate Modern, The Tanks, Londres, Reino Unido.
No entanto Long the Night, O Amanhecer vai quebrar, Galeria Lumen Travo, Amsterdam, Hollande.
Medidas Contidas de Memórias Tangíveis: Indigo Regina, L'appartement 22, Rabat, Maroc.
A síndrome de Western, (com Pirkle Jones), Galeria La Bank, Paris, França.
Não Seja Hoje História O! , Lumen Travo Gallery, Amsterdam, The Netherlands. (With artist book and special editions)
L'edition Populaire #1 , Vitrine Gallery, Antwerp, Belgium.
Pointe Noire Fragments , Centre Culturel Français, Pointe-Noire, Congo.
Diagonal Views , Nieuwe Vide, Haarlem, Hollande.
Smokescreen , Fokus 2, (with Jens Haaning), Kunstverein Springhornhof, Neuenkirchen, Allemagne (With artist book)
On Fragile Grounds , Window Gallery and Objectif_exhibitions as part of "CLOSE READING #3", Antwerp, Belgique.
Classicism & Beyond , Fotofest 2002, Project Row Houses, Houston, Texas, USA (With catalogue)
Être pierre, Musée Zadkine, France.
I am a native foreigner , Stedelijk Museum Amsterdam, AMsterdam, Netherlands.
The Tanks , Tate Modern, Londen, UK.
Manifesta Biennal , The European Biennal of Contemporary Art, Amsterdam, Netherlands.
The encounter that took a part of me , Kunstal Aarhus, Denmark.
Carved To Flow , Documenta 14, Athens, Greece.
Carved To Flow , Documenta 14, Kassel, Germany.
Belgian Art Prize , Bozar, Belgium.
Le musée absent , WIELS, Bruxelles, Belgium.
En toute modestie - Archipel Dirosa , Musée Internation des Arts Modestes (MIAM), Sète, France.
Colori , Castello di Rivoli Museum of Contemporary Art / GAM, Torino, Italy.
Beautiful Africa , La Galerie du 5e, Marseille, France.
En marge , Galerie In SItu - Fabienne Leclerc, Paris, France.
Kaleidoscope: It’s Me to the World , Modern Art Oxford, UK.
Life Itself , Moderna Museet, Stockolm, Sweden.
Gwangju Bienniale , Korea.
EVA International , Ireland’s Biennial.
ON/OFF , Centre Pompidou, Paris.
Biennale de Sydney , Australia.
Streamlines, Oceans, Global Trades and Migration , Kulturstiftung-des-bundes, Hambourg, Germany.
El Iris de Lucy , MUSAC MUSEUM, Castilla y Léon, Spain.
La vie moderne , 13e Biennale de Lyon, France.
Take me (I am Yours) La Monnaie de Paris, France.
Eli and Edythe Broad Art Museum - Michigan State University, USA.
Biennale de São Paulo , Bresil.
Diaspore , 14 Rooms, Basel, Switzerland.
8th Berlin Biennale , Germany.
Animism , Ashkal Alwan/Home Workspace, Beirut, Lebanon.
Foreign Exchange/Ware & Wissen (or the stories you wouldn't tell a stranger) , Weltkulturen Museum, Frankfurt-am-Main, Germany. (With catalogue).
The Megacity and The Non-City , LagosPhoto Festival 2013, Lagos, Nigeria.
Play! Recapturing the Radical Imagination , Göteborg International Biennial of Contemporary Art, Goteborg, Sweden.
Earth Matters: Land as Material and Metaphor in the Arts of Africa , National Museum of African Art, Smithsonian, Washington DC, USA. Sharjah Biennial 11, Re: Emerge Towards a New Cultural Cartography , Sharjah, United Arab Emirates.
Art Dubai 2013 , Dubai, UAE.
Ja Natuurlijk , Gemeente Museum, Den Haag, The Netherlands.
Shuffling Cards - Mouvement Aléatoire des Cartes , Galerie des Grands Bains Douches de la Plaine, Marseille, France. 50 Days at Sea, Antwerp Pavilion, Shanghai Biennale, Shanghai, China.
Inventing World: The Artist as Citizen , Biennale Benin, Cotonou, Benin.
Amsterdam Drawing, An Art Fair for Original Works on Paper, Amsterdam, The Netherlands.
De Nederlandse Identiteit - Half Suiker, Half Zand, De recente geschiedenis door de ogen van mister Motley , Museum De Paviljoens, The Netherlands. Manifest Aanwezig (Manifestly Present), Parallel Events Manifesta 9: The European Biennale of Contemporary Art in Genk. Kasteel d'Aspremont - Lynden, Old Rekem, Belgium. (with exhibition guide)
Tropicomania: The Social Life of Plantes, Betonsalon, Center of art and research. Associated venue of La Triennale 2012 - Intense Proximity. Paris, France. (With exhibition guide).
Art Rotterdam, with Lumen Travo Gallery, Rotterdam, The Netherlands.
Object Atlas - Fieldwork in the Museum, Weltkulturen Museum, Frankfurt-am-Main, Germany. (With catalogue).
Don't/Panic, Durban Art Gallery, Durban, South Africa.
Connect, Group exhibition Rijksakademie Alumni, with Lumen Travo Gallery, Amsterdam, The Netherlands.
The Altered Landscape, Photographs of a Changing Environment, Nevada Museum of Art, Reno, Nevada, USA. (With catalogue).
MarklinWorld, Kunsthalle KAdE, Amersfoort, The Netherlands. (With catalogue).
The Collectors Show, part of Vanuit Hier - Out of Here, Van Abbemuseum, Eindhoven, The Netherlands.
L'inattendu du Tout Monde, Un Hommage a Goddy Leye, L'appartement 22, Rabat, invited by Art-O-Rama, Marseille, France.
All We Ever Wanted, Center of Contemporary Arts, Lagos, Nigeria.
Summer Show, Lumen Travo Gallery, Amsterdam, The Netherlands.
Outre Mesures et Programmes Radio (Maps, Timelines, Radio Programmes), La Galerie Contemporary Art Center, Noisy-le-Sec, France. (With exhibition guide).
FaitesCommes Chez Vous, Raw Material Company, A center for art, knowledge and society. Dakar, Senegal.
ARS 11, Kiasma Museum of Contemporary Art, Helsinki, Finland. (With catalogue).
Africa, Objects and Subjects, Centro de Expositiones Fernan Gomez, Madrid, Spain.
Sentences onthe Banks and Other Activities, Darat al Funun, Amman, Jordan.
WorldFestivalofBlackArtsandCulture, Dakar, Senegal. BodyLanguage, Lumen Travo Gallery, Amsterdam, The Netherlands.
TheProductionofSpace, The Studio Museum Harlem, New York, USA. Unfixed, CBK (Center for Contemporary Arts Dordrecht), Dordrecht, The Netherlands.
FIAC, with Lumen Travo Gallery, Amsterdam, Grand Palais and Louvre, Paris, France.
There Is AlwaysA CupOfSeaToSailIn, 29th BiennialofSao Paulo, Sao Paulo, Brazil. (With catalogue).
MakeYourselfatHome, Kunsthal Charlottenbourg, Copenhagen, Denmark. (With catalogue).
Africa, ObjectsandSubjects, Palacio Revillagigedo, Gijon, Spain. (With catalogue).
A ProposalForArticulatingWorksandPlaces(Part2), Riso Museo d'Arte Contemporanea della Sicilia, Palermo, Italy.
Whose MapIsIt-INIVA (Institute of International Visual Arts), Rivington Place, London, United Kingdom.
CommonGround, Nieuw Dakota, Amsterdam, The Netherlands.
Amsterdam Art Fair, with Lumen Travo Gallery, Amsterdam, The Netherlands.
Animism, Kunsthalle Bern, Bern, Switzerland. (With catalogue).Une Aiguille dansuneBottedeFoin, Printemps des Poètes, Museédu Quai Branly, Paris, France.
Animism, Extra City Kunsthal and M HKA Museum van Hedendaagse Kunst, Antwerpen, Belgium. (With catalogue)
Sentences on the Banks and Other Activities, Darat al Funun, Amman, Jordan.
World Festival of Black Arts and Culture, Dakar, Senegal.
Body Language, Lumen Travo Gallery, Amsterdam, The Netherlands.
The Production of Space, The Studio Museum Harlem, New York, USA.
Unfixed, CBK (Center for Contemporary Arts Dordrecht), Dordrecht, The Netherlands.
FIAC, with Lumen Travo Gallery, Amsterdam, Grand Palais and Louvre, Paris, France.
There Is Always A Cup Of Sea To Sail In, 29th Biennial of Sao Paulo, Sao Paulo, Brazil. (With catalogue).
Make Yourself at Home, Kunsthal Charlottenbourg, Copenhagen, Denmark. (With catalogue).
Africa, Objects and Subjects, Palacio Revillagigedo, Gijon, Spain. (With catalogue).
A Proposal For Articulating Works and Places (Part 2), Riso Museo d'Arte Contemporanea della Sicilia, Palermo, Italy.
Whose Map Is It? INIVA (Institute of International Visual Arts), Rivington Place, London, United Kingdom.
Common Ground, Nieuw Dakota, Amsterdam, The Netherlands.
Amsterdam Art Fair, with Lumen Travo Gallery, Amsterdam, The Netherlands.
Animism, Kunsthalle Bern, Bern, Switzerland. (With catalogue).
Une Aiguille dans une Botte de Foin, Printemps des Poètes, Museé du Quai Branly, Paris, France.
Animism, Extra City Kunsthal and M HKA Museum van Hedendaagse Kunst, Antwerpen, Belgium. (With catalogue).
A Delicate Touch, Watercolors from the Permanent Collection, The Studio Museum Harlem, New York, USA.
AIM International Biennale 3rd Edition, Marrakech, Morocco.
Autres Mesures, Curator Cécile Bourne-Farrell, Centre Photographique Ile de France, Pontault-Combault, France.
Art Brussels, 27th Contemporary Art Fair, Nomad Moba Gallery, Brussels, Belgium.
This is Now 2, L'Appartement 22, Rabat, Morocco.
Re/Presentaciones: Ellas, Casa Africa, Las Palmas de Gran Canaria, Canary Island, Spain. (With catalogue).
This is Now 1, L'appartement22, Rabat, invited to the 1st Johannesburg Art Fair, South Africa.
Delight, Arti et Amicitiae, Amsterdam, The Netherlands.
Flow, The Studio Museum in Harlem, New York, USA. (With catalogue).
Snap Judgments, Stedelijk Museum, Amsterdam, The Netherlands. (With catalogue).
Snap Judgments, Brooks Museum of Arts, Memphis, USA. (With catalogue).
Africa Remix, Contemporary Art of a Continent, Johannesburg Art Gallery, Johannesburg, South Africa.
Simmels Gelijk, Over het IJ Festival, Amsterdam, The Netherlands.
Allan Kaprow, Kunst Als Leben, Kunsthalle Bern, Switzerland.
Snap Judgments, The National Gallery of Canada, Ottawa, Canada. (With catalogue).
Snap Judgments, Tamayo Museum, Mexico city, Mexico. (With catalogue).
1st Architecture, Art & Landscape Biennial of the Canaries, Canary Islands, Spain.
Snap Judgments, Miami Art Central, Miami, USA. (With catalogue).
De Grote Oversteek, Stedelijk Museum, Zwolle, The Netherlands. (With catalogue).
Shared History/Decolonising the Image, Arti et Amicitiae, Amsterdam, The Netherlands.
Generique, Galerie 14, Paris, France.
There & Back, La Casa Encendida, Madrid, Spain. (With catalogue).
One Game - Many Worlds, Football in inter-cultural comparison, Münchner Stadtmuseum. Munich, Germany.
Snap Judgments, International Center of Photography, New York, USA. (With catalogue).
Africa Remix, Zeitgenössische Kunst eines Kontinents, Mori Art Museum, Tokyo. (With catalogue).
Belonging, Sharjah International Biennial 7, Sharjah, United Arab Emirates. (With catalogue).
North /South Lab, Tanzquartier, Vienna, Austria.
Africa Remix, Zeitgenössische Kunst eines Kontinents, Centre Georges Pompidou, Paris. (With catalogue).
Africa Remix, Zeitgenössische Kunst eines Kontinents, Hayward Gallery, London. (With catalogue)
Flying Circus Project, TheatreWorks Ltd, Singapore.
Do You Believe in Reality?, Taipei Biennial, Taiwan. (With catalogue).
Free Territory, 26th Sao Paulo biennial, Sao Paulo, Brazil. (With catalogue).
Flash Right, Turn Left, Artwalk, Amsterdam, The Netherlands.
Africa Remix, Zeitgenössische Kunst eines Kontinents Museum Kunst Palast, Düsseldorf, Germany. (With catalogue).
Women Artist, No 4, Peter Hermann Gallery, Berlin, Germany.
Epifyten, De Klassieke Hortus als Voedingsbodem voor Hedendaagse Kunst, Hortus Botanicus, Amsterdam, The Netherlands. (With catalogue).
El Arte Con La Vida, VIII Biennale de la Habana, Havana, Cuba. (With catalogue).
MIP, International Performance Manifestation, CEIA, Belo Horizonte, Brazil.
Transferts, Palais des Beaux-Arts, Brussels, Belgium. (with catalogue).
Shift and Wait, Collaborative work with Le Petit Jaunais Edition House. Maison de la Loire, Paris, France.
Awaiting Pleasures, Open Ateliers, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
Classicism & Beyond, Fotofest 2002, Project Row Houses, Houston, Texas, USA. (With catalogue).
Observatorio # 3, Casa Camouflage, Brussels, Belgium.
Dak-Art 2002, 5th Biennale of African Contemporary Art, Dakar, Senegal. (with catalogue).
Rond Point, La Halle de Gombe, Kinshasa, RDCongo.
Observatorio # 1, Casa Camouflage, Brussels, Belgium.
Made In Africa Fotografia, Biennale di Fotografia Africana/ Sparzio Oberdan, Milan, Italy. (With catalogue).
En Direct De Bamako, Galerie Photo Fnac Etoile, Paris, France.
Dessins XXL, Le Lieu Unique, Nantes, France. (With catalogue).
Memoires Intimes D'un Nouveau Millenaire, IV Biennale de la Photographie Africaine, Bamako, Mali. (With catalogue).
Infamous Labels No 10, Bateau Phare collaborating with The Research program, ENSBA, Paris, France.
Diaoptasia, BMW Tate Live : Performance Room, TATE MODERN, London, UK.
Take Me I'm Yours, Monnaie de Paris, Paris, France.
Diaspore, 14 Rooms, Art Basel.
Glimmer: Fragments, Landing Symposium: Confrontation and confessions, Stedelijk Museum, Amsterdam, The Netherlands.
Glimmer: Aurum. Das Jubiläumsfestival, 50 years of the Berliner Künstlerprogramm des DAAD, 1963 - 2013, Berlin, Germany.
Glimmer, Berliner Herbstsalon, Maxim Gorki theatre, Berlin, Germany.
Face me, I Face you, Berliner Herbstsalon, Maxim Gorki theatre, Berlin, Germany.
Where Gist you, (with Eunhye Hwang), Berliner Herbstsalon, Maxim Gorki theatre, Berlin, Germany.
When all things flow, the bird sings, FF Temporary Autonomous Zone, Berlin, Germany.
Taste of a Stone: Itiat Esa Ufok, Sharjah Biennial 11, Sharjah, UAE.
Contained Measures of Shifting States, Across the Board: Politics of Representation, Tate Modern, The Tanks, London, United Kingdom.
Sing, I will tell you who we be, Stedelijk Museum Bureau Amsterdam, The Netherlands.
Contained Measures of a Kolanut, Tropicomania: The Social Life of Plants, Betonsalon, Center of Art and Research. Associated venue of La Triennale 2012 - Intense Proximity. Paris, France.
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Partitions (Performances), Fondation d'entreprise Ricard, Paris, France.
A Song for the Moment, Brussels living room Festival, Brussels, Belgium.
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Festival Theatreformen, Braunschweig, Germany.
Tropicology, Nieuw Dakota, Amsterdam, The Netherlands.
Things, Carla Mittersteig, Vienna, Austria.
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Arco Art Fair, Madrid, Spain.
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Kunsthalle Bern, Switzerland.
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, De Appel, Amsterdam, The Netherlands.
Arrested Moment before the State of Amnesia crops in, 1st Architecture, Art & Landscape Biennial of the Canaries.
Unravelling, Arti et Amicitiae and the Muiderpoort Theatre, Amsterdam, The Netherlands.
Dream in One Meter Square, Belonging, Sharjah International Biennial 7, Sharjah, United Arab Emirates.
Surgical Hits #03, (The Needle), Tanzquartier, Vienna, Austria.
Surgical Hits #02, (The Needle), Theatre Works Ltd, Singapore.
Surgical Hits #01, (The Needle), Kunst Palast Museum, Düsseldorf, Germany.
On fragile grounds, Window Gallery and Objectif_Exhibitions as part of "Close Reading #3", Antwerp, Belgium.
Fractured Gaps, Group performance involving 6 dancers, Open Ateliers, Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands.
Shift and Wait, International Performance Manifestation, CEIA, Belo Horizonte, Brazil.
State of Amnesia, International Performance Manifestation, CEIA, Belo Horizonte, Brazil.
Perfect Measures, Transferts, Palais des Beaux-Arts, Brussels, Belgium.
Sustained Suture, Rijksakademie van beeldende kunsten, The Netherlands.
The new acquisition of Jennifer McBright, Classicism & Beyond, Fotofest 2002, Project Row Houses, Houston, Texas, USA.
Bomboyi, Ecole des Beaux-Arts Kinshasa, Chooseone Organisation, Paris, Rond Point, La Halle de Gombe, Kinshasa, RDCongo.
The Dual Match, (Footpitch), TOXIC, Chateau d'Oiron, Oiron, France.
Yanghyun Prize, 2015.
Shifting States - Platforms for Experimentation, Dutch Art Institute, DAI, Master program of ArtEZ, Arnhem, The Netherlands.
1:54 Forum, Artist talk : Hans Ulrich Obrist in converstion with Otobong Nkanga, 1:54 Contemporary African Art Fair, London, United Kingdom.
Facing the Opponent: Fieldwork at the Weltkulturen Museum Frankfurt. Kunsthistorisches Institut in Florenz, Max Planck Institut, Florence, Italy.
Artist Talk: with Otobong Nkanga, Institut für Raumexperimente, Universität der Künste Berlin, Berlin, Germany.
Art Basel Salon, The Global Artworld, Focus Africa, Basel, Switzerland.
Think-Tank II: Persecuted, Mourned, Pitied, Admired/Collected and Photographed, Weltkulturen Museum, Frankfurt, Germany.
Art as a meeting point, with Andrea Buddensieg, Otobong Nkanga and Joanna Warsza, discussion organized by Antje Majewski, FF Temporary Autonomous Zone, Berlin, Germany.
Sharjah Biennial 11 panel discussion with Hoor-Al-Qasimi, Yuko Hasegawa and Otobong Nkanga, Sharjah, UAE.
Think-Tank I: The administration of people and goods, Weltkulturen Museum, Frankfurt, Germany.
The Impossible Aesthetic: Situating Research in Arts and Social Sciences/Humanities "Artistic Research and Museum" Collections, Lessons from the Weltkulturen Museum, Frankfurt, Zentrum Moderner Orient, Berlin, Germany.
Performance Year Zero: A living History "Conversation: Knowing through Doing" Otobong Nkanga with Catherine Wood, Part of the series The Tanks: Art in Action, London, United Kingdom.
Permeabilities, Presentation of works and workshop with participants at CEIA, 8th international event, Belo Horizonte, Brazil.
When the stage hits you, workshop with the Dutch Art Institute students, DAI, Master program of ArtEZ, Arnhem, The Netherlands.
Art-iculate: A performative lecture by Otobong Nkanga, CCA, Lagos, Nigeria.
Tracks and traces of violences conferences, Lecture Performance by Otobong Nkanga, The University of Bayreuth, (BIGSAS), Germany.
Clark-Mellon Workshop: International Initiatives and Regional Collaboration, The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA.
6000 Collectors : Experimental Talks with Objects, Lecture by Otobong Nkanga, Weltkulturen Museum, Frankfurt am Main, Germany.
Presentation of project at Outre Mesures et Programmes Radio (Maps, Timelines, Radio Programmes), La Galerie Contemporary Art Center, Noisy-le-Sec, France.
Workshop and project, Intituto Buena Bista, Curacao Center for Contemporary Arts, Residency Program, Curacao, The Netherland Antilles.
Workshop Unfixed, Photography and postcolonial perspectives in contemporary art, CBK Dordrecht, Dordrecht.
Memory as a photographic process, presentation at Unfixed Symposium, CBK Dordrecht, Dordrecht, The Netherlands.
Otobong Nkanga's works on Land and Mapping, presentation at Crossing Boundaries symposium, Royal Geographical Society, London, United Kingdom.
Presentation of works in Whose Map Is It?, INIVA (Institute of International Visual Arts), Rivington Place, London, United Kingdom.
Artist talk at the Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands.
Workshop and project with the students of Haute École d'Art et de Design, Geneva, Switzerland (in collaboration with Alexandra Bachzetsis).
Lecture and Workshop State of Bodies/ Suffering, Mieke van de Voort, Generale Staten and Game/Performance. Utrecht, The Netherlands.
Discussion and round table at Foam Fotografie Museum, Amsterdam, The Netherlands.
Studio Visits, Masters Programme, Dutch Art Institute (DAI), Enschede, The Netherlands.
Seminar on African literature, Casa Encendida, Madrid, Spain.
Lecture at the Ecole des Beaux-Arts, Kinshasa, R. D. Congo.
Foreign Exchange/Ware & Wissen (or the stories you wouldn't tell a stranger, exhibition catalogue, Diaphanes publishers, edited by Clementine Deliss and Yvette Mutumba, p. 101 - 102, 118, 133, 140, 150, 162 - 163, 290.
Play! Recapturing the Radical Imagination, Göteborg International Biennial of Contemporary Art, exhibition catalogue, p. 90 - 91.
Asynchronous Objects, by Susanne Leeb, Globalismus Globalism, Texte Zur Kunst, September 2013, 23 Jahrgang, Heft 91, p. 48, 52 - 53, 56.
Animism, by Anselm Franke, /exhibition catalogue, p. 120 - 121.
Across the Board: Otobong Nkanga and Nástio Mosquito, by Elvira Dyangani Ose, in: Atlántica #53, Journal of Art and Thought, p. 142-149.
Sharjah Biennial 11, Re: Emerge Towards a New Cultural Cartography, exhibition catalogue, p. 436 - 439.
Earth Matters: Land as Material and Metaphor in the Arts of Africa, National Museum of African Art, Smithsonian, exhibition catalogue, p. 178 - 180.
Ja Natuurlijk/Yes Naturally : How art saves the world, Neit Normaal Foundation, Nai010 publishers, exhibition catalogue, p. 88 -91, 94.
Jenseits der Vitrine/Beyond the Vitrine by Jan-Philipp Possmann, Spike Art Magazine, Art Quarterly No 35, p. 50, 53.
Mich interessiert das wo, was und warum, by Dorina Hecht, in: Artmapp, Antwerpen, Winter 2012/13, p. 28-29.
Object Atlas - Feldforshung im Frankfurter Weltkulturen-Museum, by Dagmar Mundhenke, in: Africa Positive, Nummer 45, p. 42.
Re-make, Re-model, by Catherine Wood, in: Frieze Masters, No 1, p. 38-39.
Tropicomania, La vie sociale des plantes, exhibition catalogue. Betonsalon, Centre d'Art et de Recherche, p. 15
Unfixed, Photography and postcolonial perspectives in contemporary art. Edited by Sara Blokland and Asmara Pelupessy. Unfixed projects, Japsam books, p. 48-53 and p. 202-204.
Object Atlas-Fieldwork in the Museum, Weltkulturen Museum, Kerber Forum, edited by Clementine Deliss, p. 153-197.
MärklinWorld : A model of the world by 40 artists, exhibition catalogue, KA Series 14, Kunsthal KAdE, p.123.
Altered Landscape : Photographs of a changing environment. Collection of the Nevada Museum of Art, edited by Ann M. Wolfe, Skira Rizzoli publications Inc., p. 56-57.
29th Biennial of Sao Paulo, Catalogue, p. 194-195.
Make Yourself at Home, Kunsthal Charlottenbourg, Exhibition catalogue, p. 54-58, 98-99.
África. Objetos y Sujetos, Cajastur, Exhibition catalogue, p. 286-287.
Social Consequences, by Philippe Pirotte, in: Art South Africa, Volume 09, Issue 01, Spring 2010, p. 66-69.
Africa, Objects and Subjects, Palacio Revillagigedo, Gijon, Spain, p. 286-287.
Contemporary African Art since 1980, Okwui Enwezor & Chika Okeke-Agulu, p. 280, 327.
Animism, Volume I. Edited by Anselm Franke, 2010, p. 211-212.
An intervention of Allan Kaprow for the moment, documentation of all Re-Interventions and Re-enactments of Happenings and Environments, Kunsthalle Bern.
Foam Album 08, 2nd Edition, p. 184.
Kunstbeeld. nl Magazine, Het tijdschrift voor beeldende kunst, Nr 9 2009, p. 16-17.
Flow, The Studio Museum Harlem Exhibition catalogue, p. 94-95.
Frieze Magazine, Issue 116, June-August 2008, Sean O'Toole.
Le Monde Diplomatique, August 2008 : 55e année - N° 653, p. 25
Seeing Africa through African eyes, 17-30th Juillet 2008, by Vincent Solomon, in: Amsterdam Weekly, p. 10
ZAM Magazine, Africa Magazine Summer 2008, no. 2, p. 20-21.
New Talents, in: Blend NL Magazine, Issue 31, July 2008, p. 55
1st Architecture, Art & Landscape Biennial of the Canaries, Canary Island, p. 256-257.
Snap Judgements, New positions in contemporary African Photography, Okwui Enwezor, p. 34, 160-165, 367.
MIP, International performance manifestation CEIA, p. 132-133, 164-165.
Belonging, 7th Sharjah Biennial, p. 354-357.
Território Livre, 26th Sao Paulo Biennial, national representations, p. 238-239.
Zonder internationale uitwisseling geen kunst; De Stelling, een gesprek met Otobong Nkanga, by Saskia Monshouwer, in: Kunstbeeld, no. 9, p. 48-49.
Africa Remix, Zeitgenössische kunst eines kontinents, Museum Kunst Palast, p. 214-215.
Shifting Map, Artists' platform and strategies for cultural diversity, RAIN Artists' Initiatives Network, Nai publishers Rotterdam, p. 46
Epifyten, de klassieke hortus als voedingsbodem voor hedendaagse kunst!, Hortus Botanicus Amsterdam, p. 19-21.
Flash Art, Issue November - December, p. 88
Mondiale Maalstroom by Christine Vuegen, in: Kunstbeeld, Issue no. 6, p. 10-11.
Transferts, Brussels, page 138-143, Exhibition catalogue.
El arte con la vida, 8th Bienal de la Habana catalogue, p. 168, 329.
No Palco, Vitoria de Visibilade, by Walter Sebastiao, Estada de Minas - Sexta Fiera, Brasil.
Kunst met Afrikaanse roots, by Lars Kwakkenbos, De Standard, Belgium.
Flash Art International, Vol. XXXIV no. 225, Issue July - September, p. 49, 59.
Blink, 100 Photographers 10 Curators 10 Writers, Simon Njami, Phaidon Press, London, p. 276-279.
PF fotographie (BLINK), by Robbert Roos, in: PF, Magazine voor fotographie en imaging, Issue no. 6, p. 16-18.
Classicism & Beyond, Fotofest, 9th International Biennal of Photography catalogue, p. 176-179.
Made in Africa_fotografia, by Michela Manservisi (curator), Epicentro Edition, Italy, Exhibition catalogue, p. 78-79.
Dessins XXL, Filigranes Edition Exhibition catalogue.
Dak'Art, V Biennale of African Contemporary Art catalogue, p. 50
Memoires Intimes d'un Nouveau Millenaire, by Akinbode Akinbiyi, IV Biennale de la Photographie Africaine, Bamako, catalogue, Mali, p. 140-149.
Anthologie de l'Art African du vingtieme siècle, by N'gone Fall, Revue Noire Editions, p. 396-397.
Telerama, Issue no. 2702, p. 68-69.
Nigeria, by Jean Loup Pivin, Revue Noire, no. 30, Paris, p. 38-39.
M HKA, Anvers, 2015.
Somerset House, London, 2015.
KADIST ART FOUNDATION, PARIS, 2015.
Portikus, Franckfurt, Germany, 2015.
Booth O. C03, 2014.
MCA - Chicago 31.03.2018 - 16.12.2018.
Haus der Kunst, Munich 02.02.2018 - 19.08.2018.
VILLA MEDICIS : Festival des lumiиres 16.12.2017 - 28.01.2018.
Temple Bar Gallery + Studios 08.12.2017 - 10.02.2018.
Otobong Nkanga, Athi-Patra Ruga.
Musйe de l'Orangerie 18.10.2017 - 19.02.2018.
Musйe Zadkine - Paris 28.09.2017 - 11.02.2018.
Beaux-Arts de Paris 26.04.2017 - 27.04.2017.
Tate Modern - Londres 24.04.2017.
Joana Hadjithomas & Khalil Joreige, Otobong Nkanga, Athi-Patra Ruga.
MAC VAL 22.04.2017 - 03.09.2017.
WIELS - Bruxelles 20.04.2017 - 13.08.2017.
Carved to Flow / Athиnes - Kassel 08.04.2017 - 17.09.2017.
BOZAR - Bruxelles 17.03.2017 - 28.05.2017.
Meschac Gaba, Otobong Nkanga.
Portikus Sternberg Press, June 2017.
21.06.2016, Le Monde.
15.06.2016, Le Journal des Arts.
01.12.2015, Museum Tijdschrift.
01.11.2014, Afterall 37.
& Otobong Nkanga : Nothing Is Like It Seems, Everything Is Evidence (by Yvette Mutumba )
01.07.2014, MOUSSE 44.
07.04.2010,.docs // M. geopoliticArt Edition N°1.

Forex world bureau de change johannesburg south africa

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If you are traveling to Cape Town, you will need to exchange your currency for the South African Rand. You may exchange your money for the South African Rand at most Cape Town banks or at specialized stores called Foreign Exchange Bureaus. Procure sinais que digam o Bureau De Change, Geld Wechseln ou Cambio. You may be able to exchange your money at the Cape Town airport, but exchange rates may not be the best. You should consider purchasing the South African Rand currency at a more favorable exchange rate before you arrive in Cape Town. Você pode fazer isso pesquisando corretores de moeda on-line que fazem câmbio. If on holiday, vacation, or business you can also inquire about purchasing travellers checks (Travellers Cheques). Also, before your trip, consult with your credit or debit card bank about the foreign exchange transaction fees charged for using your card in Cape Town, S. Africa.
About Cape Town.
Cape Town (Afrikaans: Kaapstad; Xhosa: iKapa) is the second-most populous city in South Africa, and the largest in land area, forming part of the City of Cape Town metropolitan municipality. It is the provincial capital and primate city of the Western Cape, as well as the legislative capital of South Africa, where the National Parliament and many government offices are located. The city is famous for its harbour as well as its natural setting in the Cape floral kingdom, including such well-known landmarks as Table Mountain and Cape Point. It is hailed as one of the most beautiful cities in the world as officially recognised by Forbes. National Geographic has also enlisted Cape Town as one of the most iconic cities on the planet and "Places of a Lifetime". Cape Town is also Africa's most popular tourist destination.
Located on the shore of Table Bay, Cape Town was originally developed by the Dutch East India Company as a victualling (supply) station for Dutch ships sailing to Eastern Africa, India, and the Far East. Jan van Riebeeck's arrival on 6 April 1652 established the first permanent European settlement in South Africa. Cape Town quickly outgrew its original purpose as the first European outpost at the Castle of Good Hope, becoming the economic and cultural hub of the Cape Colony. Until the Witwatersrand Gold Rush and the development of Johannesburg, Cape Town was the largest city in South Africa.
Today it is one of the most multicultural cities in the world, reflecting its role as a major destination for immigrants and expatriates to South Africa. As of 2007[update] the city had an estimated population of 3.5 million. Cape Town's land area of 2,455 square kilometres (948 sq mi) is larger than other South African cities, resulting in a comparatively lower population density of 1,425 inhabitants per square kilometre (3,690 /sq mi).

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Risk Control Self Assessment [RCSA] – Sound Practice Guidance.
Risk Control Self Assessment [RCSA] – Sound Practice Guidance – March 2010 – The aim of an operational risk framework is to identify, assess, control and mitigate operational risk and to champion effective reporting of risk and emerging risk issues. RCSA forms an integral element of the overall operational risk framework, as it provides an excellent opportunity for a firm to integrate and co-ordinate its risk identification and risk management efforts and generally to improve the understanding, control and oversight of its operational risks. Title: Risk Control Self Assessment Date issued: 10 March 2010 Risk Control Self Assessment March 2010.
Índice.
1. The Development of RCSA.
1.3. Benefits / Value Add.
2. Generic Characteristics of an RCSA Approach.
2.3. Design and Operating Effectiveness.
2.4. Verification of Control Assessments.
2.5. Avaliação de risco.
3. RCSA Approaches and Techniques.
3.1. Workshop Approach.
3.1.2. Who Should Attend.
3.1.3. Pros and Cons of Inviting Management.
3.1.4. How Many Should Attend.
3.1.5. Thematic Structure of Workshops.
3.1.7. Top Down and Bottom Up.
3.1.8. How Many Sessions Should Be Run.
3.1.9. How Long Should the Workshop Last.
3.1.10. Ground Rules.
3.1.10.1. Facilitation and Other Required Key Skills.
3.1.11. Data Collection.
3.2. Questionnaire Approach.
3.2.1. Structuring the Questionnaire.
3.2.2. Timing and Regularity.
3.2.3. Effective Questions (Structure and Number)
3.2.4. Effective Responses (Style, Respondent and Hierarchical Sign-off)
3.3. Hybrid Approach.
4. Effective Use of RCSA within a Fully Integrated Operational Risk Management Framework.
4.1. RCSA and Internal Loss Data.
4.2. RCSA and External Data.
4.3. RCSA and Scenario Analysis.
4.4. Keeping It Alive (post RCSA exercise)
4.5. Central Risk Repository.
4.6. Action Plans.
4.7. Reporting and Follow-up.
4.8. Measurement of RCSA – Quantitative vs. Qualitative.
4.9. RCSA and Internal Audit Engagement.
5.1. Specimen Templates.
5.1.1. Workshop Record Example No 1.
5.1.2. Workshop Record Example No 2.
5.1.3. Heat Map Report.
5.1.4. Example Questionnaire.
5.1.5. Example RCSA End to End Process Evaluation Assessment.

Song of Myself.
By Walt Whitman.
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I lean and loafe at my ease observing a spear of summer grass.
Born here of parents born here from parents the same, and their.
parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.
I breathe the fragrance myself and know it and like it,
The distillation would intoxicate me also, but I shall not let it.
distillation, it is odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.
Echoes, ripples, buzz'd whispers, love-root, silk-thread, crotch and vine,
My respiration and inspiration, the beating of my heart, the passing.
of blood and air through my lungs,
The sniff of green leaves and dry leaves, and of the shore and.
dark-color'd sea-rocks, and of hay in the barn,
A few light kisses, a few embraces, a reaching around of arms,
The play of shine and shade on the trees as the supple boughs wag,
The delight alone or in the rush of the streets, or along the fields.
The feeling of health, the full-noon trill, the song of me rising.
from bed and meeting the sun.
Have you practis'd so long to learn to read?
Have you felt so proud to get at the meaning of poems?
You shall possess the good of the earth and sun, (there are millions.
You shall no longer take things at second or third hand, nor look through.
the eyes of the dead, nor feed on the spectres in books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from your self.
beginning and the end,
But I do not talk of the beginning or the end.
Nor any more youth or age than there is now,
And will never be any more perfection than there is now,
Nor any more heaven or hell than there is now.
Always the procreant urge of the world.
increase, always sex,
Always a knit of identity, always distinction, always a breed of life.
To elaborate is no avail, learn'd and unlearn'd feel that it is so.
entretied, braced in the beams,
Stout as a horse, affectionate, haughty, electrical,
I and this mystery here we stand.
Till that becomes unseen and receives proof in its turn.
Knowing the perfect fitness and equanimity of things, while they.
discuss I am silent, and go bathe and admire myself.
Not an inch nor a particle of an inch is vile, and none shall be.
less familiar than the rest.
As the hugging and loving bed-fellow sleeps at my side through the night,
and withdraws at the peep of the day with stealthy tread,
Leaving me baskets cover'd with white towels swelling the house with.
Shall I postpone my acceptation and realization and scream at my eyes,
That they turn from gazing after and down the road,
And forthwith cipher and show me to a cent,
Exactly the value of one and exactly the value of two, and which is ahead?
People I meet, the effect upon me of my early life or the ward and.
city I live in, or the nation,
The latest dates, discoveries, inventions, societies, authors old and new,
My dinner, dress, associates, looks, compliments, dues,
The real or fancied indifference of some man or woman I love,
The sickness of one of my folks or of myself, or ill-doing or loss.
or lack of money, or depressions or exaltations,
Battles, the horrors of fratricidal war, the fever of doubtful news,
the fitful events;
These come to me days and nights and go from me again,
But they are not the Me myself.
Stands amused, complacent, compassionating, idle, unitary,
Looks down, is erect, or bends an arm on an impalpable certain rest,
Looking with side-curved head curious what will come next,
Both in and out of the game and watching and wondering at it.
linguists and contenders,
I have no mockings or arguments, I witness and wait.
And you must not be abased to the other.
Not words, not music or rhyme I want, not custom or lecture, not.
Only the lull I like, the hum of your valved voice.
How you settled your head athwart my hips and gently turn'd over upon me,
And parted the shirt from my bosom-bone, and plunged your tongue.
to my bare-stript heart,
And reach'd till you felt my beard, and reach'd till you held my feet.
all the argument of the earth,
And I know that the hand of God is the promise of my own,
And I know that the spirit of God is the brother of my own,
And that all the men ever born are also my brothers, and the women.
my sisters and lovers,
And that a kelson of the creation is love,
And limitless are leaves stiff or drooping in the fields,
And brown ants in the little wells beneath them,
And mossy scabs of the worm fence, heap'd stones, elder, mullein and.
How could I answer the child? I do not know what it is any more than he.
A scented gift and remembrancer designedly dropt,
Bearing the owner's name someway in the corners, that we may see.
and remark, and say Whose?
And it means, Sprouting alike in broad zones and narrow zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I.
receive them the same.
It may be you transpire from the breasts of young men,
It may be if I had known them I would have loved them,
It may be you are from old people, or from offspring taken soon out.
of their mothers' laps,
And here you are the mothers' laps.
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.
And I perceive they do not come from the roofs of mouths for nothing.
And the hints about old men and mothers, and the offspring taken.
soon out of their laps.
And what do you think has become of the women and children?
The smallest sprout shows there is really no death,
And if ever there was it led forward life, and does not wait at the.
end to arrest it,
And ceas'd the moment life appear'd.
And to die is different from what any one supposed, and luckier.
I hasten to inform him or her it is just as lucky to die, and I know it.
am not contain'd between my hat and boots,
And peruse manifold objects, no two alike and every one good,
The earth good and the stars good, and their adjuncts all good.
I am the mate and companion of people, all just as immortal and.
fathomless as myself,
(They do not know how immortal, but I know.)
For me those that have been boys and that love women,
For me the man that is proud and feels how it stings to be slighted,
For me the sweet-heart and the old maid, for me mothers and the.
mothers of mothers,
For me lips that have smiled, eyes that have shed tears,
For me children and the begetters of children.
I see through the broadcloth and gingham whether or no,
And am around, tenacious, acquisitive, tireless, and cannot be shaken away.
I lift the gauze and look a long time, and silently brush away flies.
I peeringly view them from the top.
I witness the corpse with its dabbled hair, I note where the pistol.
The heavy omnibus, the driver with his interrogating thumb, the.
clank of the shod horses on the granite floor,
The snow-sleighs, clinking, shouted jokes, pelts of snow-balls,
The hurrahs for popular favorites, the fury of rous'd mobs,
The flap of the curtain'd litter, a sick man inside borne to the hospital,
The meeting of enemies, the sudden oath, the blows and fall,
The excited crowd, the policeman with his star quickly working his.
passage to the centre of the crowd,
The impassive stones that receive and return so many echoes,
What groans of over-fed or half-starv'd who fall sunstruck or in fits,
What exclamations of women taken suddenly who hurry home and.
give birth to babes,
What living and buried speech is always vibrating here, what howls.
restrain'd by decorum,
Arrests of criminals, slights, adulterous offers made, acceptances,
rejections with convex lips,
I mind them or the show or resonance of them--I come and I depart.
The dried grass of the harvest-time loads the slow-drawn wagon,
The clear light plays on the brown gray and green intertinged,
The armfuls are pack'd to the sagging mow.
I felt its soft jolts, one leg reclined on the other,
I jump from the cross-beams and seize the clover and timothy,
And roll head over heels and tangle my hair full of wisps.
Wandering amazed at my own lightness and glee,
In the late afternoon choosing a safe spot to pass the night,
Kindling a fire and broiling the fresh-kill'd game,
Falling asleep on the gather'd leaves with my dog and gun by my side.
My eyes settle the land, I bend at her prow or shout joyously from the deck.
I tuck'd my trowser-ends in my boots and went and had a good time;
You should have been with us that day round the chowder-kettle.
the bride was a red girl,
Her father and his friends sat near cross-legged and dumbly smoking,
they had moccasins to their feet and large thick blankets.
hanging from their shoulders,
On a bank lounged the trapper, he was drest mostly in skins, his luxuriant.
beard and curls protected his neck, he held his bride by the hand,
She had long eyelashes, her head was bare, her coarse straight locks.
descended upon her voluptuous limbs and reach'd to her feet.
I heard his motions crackling the twigs of the woodpile,
Through the swung half-door of the kitchen I saw him limpsy and weak,
And went where he sat on a log and led him in and assured him,
And brought water and fill'd a tub for his sweated body and bruis'd feet,
And gave him a room that enter'd from my own, and gave him some.
coarse clean clothes,
And remember perfectly well his revolving eyes and his awkwardness,
And remember putting piasters on the galls of his neck and ankles;
He staid with me a week before he was recuperated and pass'd north,
I had him sit next me at table, my fire-lock lean'd in the corner.
Twenty-eight young men and all so friendly;
Twenty-eight years of womanly life and all so lonesome.
She hides handsome and richly drest aft the blinds of the window.
Ah the homeliest of them is beautiful to her.
You splash in the water there, yet stay stock still in your room.
The rest did not see her, but she saw them and loved them.
Little streams pass'd all over their bodies.
It descended tremblingly from their temples and ribs.
sun, they do not ask who seizes fast to them,
They do not know who puffs and declines with pendant and bending arch,
They do not think whom they souse with spray.
at the stall in the market,
I loiter enjoying his repartee and his shuffle and break-down.
Each has his main-sledge, they are all out, there is a great heat in.
The lithe sheer of their waists plays even with their massive arms,
Overhand the hammers swing, overhand so slow, overhand so sure,
They do not hasten, each man hits in his place.
underneath on its tied-over chain,
The negro that drives the long dray of the stone-yard, steady and.
tall he stands pois'd on one leg on the string-piece,
His blue shirt exposes his ample neck and breast and loosens over.
His glance is calm and commanding, he tosses the slouch of his hat.
away from his forehead,
The sun falls on his crispy hair and mustache, falls on the black of.
his polish'd and perfect limbs.
I go with the team also.
To niches aside and junior bending, not a person or object missing,
Absorbing all to myself and for this song.
is that you express in your eyes?
It seems to me more than all the print I have read in my life.
They rise together, they slowly circle around.
And acknowledge red, yellow, white, playing within me,
And consider green and violet and the tufted crown intentional,
And do not call the tortoise unworthy because she is not something else,
And the in the woods never studied the gamut, yet trills pretty well to me,
And the look of the bay mare shames silliness out of me.
Ya-honk he says, and sounds it down to me like an invitation,
The pert may suppose it meaningless, but I listening close,
Find its purpose and place up there toward the wintry sky.
chickadee, the prairie-dog,
The litter of the grunting sow as they tug at her teats,
The brood of the turkey-hen and she with her half-spread wings,
I see in them and myself the same old law.
They scorn the best I can do to relate them.
Of men that live among cattle or taste of the ocean or woods,
Of the builders and steerers of ships and the wielders of axes and.
mauls, and the drivers of horses,
I can eat and sleep with them week in and week out.
Me going in for my chances, spending for vast returns,
Adorning myself to bestow myself on the first that will take me,
Not asking the sky to come down to my good will,
Scattering it freely forever.
The carpenter dresses his plank, the tongue of his foreplane.
whistles its wild ascending lisp,
The married and unmarried children ride home to their Thanksgiving dinner,
The pilot seizes the king-pin, he heaves down with a strong arm,
The mate stands braced in the whale-boat, lance and harpoon are ready,
The duck-shooter walks by silent and cautious stretches,
The deacons are ordain'd with cross'd hands at the altar,
The spinning-girl retreats and advances to the hum of the big wheel,
The farmer stops by the bars as he walks on a First-day loafe and.
looks at the oats and rye,
The lunatic is carried at last to the asylum a confirm'd case,
(He will never sleep any more as he did in the cot in his mother's.
The jour printer with gray head and gaunt jaws works at his case,
He turns his quid of tobacco while his eyes blurr with the manuscript;
The malform'd limbs are tied to the surgeon's table,
What is removed drops horribly in a pail;
The quadroon girl is sold at the auction-stand, the drunkard nods by.
the bar-room stove,
The machinist rolls up his sleeves, the policeman travels his beat,
the gate-keeper marks who pass,
The young fellow drives the express-wagon, (I love him, though I do.
The half-breed straps on his light boots to compete in the race,
The western turkey-shooting draws old and young, some lean on their.
rifles, some sit on logs,
Out from the crowd steps the marksman, takes his position, levels his piece;
The groups of newly-come immigrants cover the wharf or levee,
As the woolly-pates hoe in the sugar-field, the overseer views them.
from his saddle,
The bugle calls in the ball-room, the gentlemen run for their.
partners, the dancers bow to each other,
The youth lies awake in the cedar-roof'd garret and harks to the.
The Wolverine sets traps on the creek that helps fill the Huron,
The squaw wrapt in her yellow-hemm'd cloth is offering moccasins and.
bead-bags for sale,
The connoisseur peers along the exhibition-gallery with half-shut.
eyes bent sideways,
As the deck-hands make fast the steamboat the plank is thrown for.
the shore-going passengers,
The young sister holds out the skein while the elder sister winds it.
off in a ball, and stops now and then for the knots,
The one-year wife is recovering and happy having a week ago borne.
her first child,
The clean-hair'd Yankee girl works with her sewing-machine or in the.
factory or mill,
The paving-man leans on his two-handed rammer, the reporter's lead.
flies swiftly over the note-book, the sign-painter is lettering.
with blue and gold,
The canal boy trots on the tow-path, the book-keeper counts at his.
desk, the shoemaker waxes his thread,
The conductor beats time for the band and all the performers follow him,
The child is baptized, the convert is making his first professions,
The regatta is spread on the bay, the race is begun, (how the white.
The drover watching his drove sings out to them that would stray,
The pedler sweats with his pack on his back, (the purchaser higgling.
about the odd cent;)
The bride unrumples her white dress, the minute-hand of the clock.
The opium-eater reclines with rigid head and just-open'd lips,
The prostitute draggles her shawl, her bonnet bobs on her tipsy and.
The crowd laugh at her blackguard oaths, the men jeer and wink to.
(Miserable! I do not laugh at your oaths nor jeer you;)
The President holding a cabinet council is surrounded by the great.
On the piazza walk three matrons stately and friendly with twined arms,
The crew of the fish-smack pack repeated layers of halibut in the hold,
The Missourian crosses the plains toting his wares and his cattle,
As the fare-collector goes through the train he gives notice by the.
jingling of loose change,
The floor-men are laying the floor, the tinners are tinning the.
roof, the masons are calling for mortar,
In single file each shouldering his hod pass onward the laborers;
Seasons pursuing each other the indescribable crowd is gather'd, it.
is the fourth of Seventh-month, (what salutes of cannon and small arms!)
Seasons pursuing each other the plougher ploughs, the mower mows,
and the winter-grain falls in the ground;
Off on the lakes the pike-fisher watches and waits by the hole in.
the frozen surface,
The stumps stand thick round the clearing, the squatter strikes deep.
Flatboatmen make fast towards dusk near the cotton-wood or pecan-trees,
Coon-seekers go through the regions of the Red river or through.
those drain'd by the Tennessee, or through those of the Arkansas,
Torches shine in the dark that hangs on the Chattahooche or Altamahaw,
Patriarchs sit at supper with sons and grandsons and great-grandsons.
In walls of adobie, in canvas tents, rest hunters and trappers after.
their day's sport,
The city sleeps and the country sleeps,
The living sleep for their time, the dead sleep for their time,
The old husband sleeps by his wife and the young husband sleeps by his wife;
And these tend inward to me, and I tend outward to them,
And such as it is to be of these more or less I am,
And of these one and all I weave the song of myself.
Regardless of others, ever regardful of others,
Maternal as well as paternal, a child as well as a man,
Stuff'd with the stuff that is coarse and stuff'd with the stuff.
One of the Nation of many nations, the smallest the same and the.
largest the same,
A Southerner soon as a Northerner, a planter nonchalant and.
hospitable down by the Oconee I live,
A Yankee bound my own way ready for trade, my joints the limberest.
joints on earth and the sternest joints on earth,
A Kentuckian walking the vale of the Elkhorn in my deer-skin.
leggings, a Louisianian or Georgian,
A boatman over lakes or bays or along coasts, a Hoosier, Badger, Buckeye;
At home on Kanadian snow-shoes or up in the bush, or with fishermen.
At home in the fleet of ice-boats, sailing with the rest and tacking,
At home on the hills of Vermont or in the woods of Maine, or the.
Comrade of Californians, comrade of free North-Westerners, (loving.
their big proportions,)
Comrade of raftsmen and coalmen, comrade of all who shake hands.
and welcome to drink and meat,
A learner with the simplest, a teacher of the thoughtfullest,
A novice beginning yet experient of myriads of seasons,
Of every hue and caste am I, of every rank and religion,
A farmer, mechanic, artist, gentleman, sailor, quaker,
Prisoner, fancy-man, rowdy, lawyer, physician, priest.
Breathe the air but leave plenty after me,
And am not stuck up, and am in my place.
The bright suns I see and the dark suns I cannot see are in their place,
The palpable is in its place and the impalpable is in its place.)
are not original with me,
If they are not yours as much as mine they are nothing, or next to nothing,
If they are not the riddle and the untying of the riddle they are nothing,
If they are not just as close as they are distant they are nothing.
This the common air that bathes the globe.
I play not marches for accepted victors only, I play marches for.
conquer'd and slain persons.
I also say it is good to fall, battles are lost in the same spirit.
in which they are won.
I blow through my embouchures my loudest and gayest for them.
And to those whose war-vessels sank in the sea!
And to those themselves who sank in the sea!
And to all generals that lost engagements, and all overcome heroes!
And the numberless unknown heroes equal to the greatest heroes known!
It is for the wicked just same as the righteous, I make appointments.
I will not have a single person slighted or left away,
The kept-woman, sponger, thief, are hereby invited,
The heavy-lipp'd slave is invited, the venerealee is invited;
There shall be no difference between them and the rest.
This the touch of my lips to yours, this the murmur of yearning,
This the far-off depth and height reflecting my own face,
This the thoughtful merge of myself, and the outlet again.
Well I have, for the Fourth-month showers have, and the mica on the.
side of a rock has.
Does the daylight astonish? does the early redstart twittering.
through the woods?
Do I astonish more than they?
I might not tell everybody, but I will tell you.
How is it I extract strength from the beef I eat?
Else it were time lost listening to me.
That months are vacuums and the ground but wallow and filth.
goes to the fourth-remov'd,
I wear my hat as I please indoors or out.
doctors and calculated close,
I find no sweeter fat than sticks to my own bones.
And the good or bad I say of myself I say of them.
To me the converging objects of the universe perpetually flow,
All are written to me, and I must get what the writing means.
I know this orbit of mine cannot be swept by a carpenter's compass,
I know I shall not pass like a child's carlacue cut with a burnt.
I do not trouble my spirit to vindicate itself or be understood,
I see that the elementary laws never apologize,
(I reckon I behave no prouder than the level I plant my house by,
If no other in the world be aware I sit content,
And if each and all be aware I sit content.
And whether I come to my own to-day or in ten thousand or ten.
I can cheerfully take it now, or with equal cheerfulness I can wait.
I laugh at what you call dissolution,
And I know the amplitude of time.
The pleasures of heaven are with me and the pains of hell are with me,
The first I graft and increase upon myself, the latter I translate.
into new tongue.
And I say it is as great to be a woman as to be a man,
And I say there is nothing greater than the mother of men.
We have had ducking and deprecating about enough,
I show that size is only development.
It is a trifle, they will more than arrive there every one, and.
I call to the earth and sea half-held by the night.
Night of south winds--night of the large few stars!
Still nodding night--mad naked summer night.
Earth of the slumbering and liquid trees!
Earth of departed sunset--earth of the mountains misty-topt!
Earth of the vitreous pour of the full moon just tinged with blue!
Earth of shine and dark mottling the tide of the river!
Earth of the limpid gray of clouds brighter and clearer for my sake!
Far-swooping elbow'd earth--rich apple-blossom'd earth!
Smile, for your lover comes.
O unspeakable passionate love.
I behold from the beach your crooked fingers,
I believe you refuse to go back without feeling of me,
We must have a turn together, I undress, hurry me out of sight of the land,
Cushion me soft, rock me in billowy drowse,
Dash me with amorous wet, I can repay you.
Sea breathing broad and convulsive breaths,
Sea of the brine of life and of unshovell'd yet always-ready graves,
Howler and scooper of storms, capricious and dainty sea,
I am integral with you, I too am of one phase and of all phases.
Extoller of amies and those that sleep in each others' arms.
(Shall I make my list of things in the house and skip the house that.
of wickedness also.
Evil propels me and reform of evil propels me, I stand indifferent,
My gait is no fault-finder's or rejecter's gait,
I moisten the roots of all that has grown.
Did you guess the celestial laws are yet to be work'd over and rectified?
Soft doctrine as steady help as stable doctrine,
Thoughts and deeds of the present our rouse and early start.
There is no better than it and now.
The wonder is always and always how there can be a mean man or an infidel.
And mine a word of the modern, the word En-Masse.
Here or henceforward it is all the same to me, I accept Time absolutely.
That mystic baffling wonder alone completes all.
Materialism first and last imbuing.
Fetch stonecrop mixt with cedar and branches of lilac,
This is the lexicographer, this the chemist, this made a grammar of.
the old cartouches,
These mariners put the ship through dangerous unknown seas.
This is the geologist, this works with the scalper, and this is a.
Your facts are useful, and yet they are not my dwelling,
I but enter by them to an area of my dwelling.
And more the reminders they of life untold, and of freedom and extrication,
And make short account of neuters and geldings, and favor men and.
women fully equipt,
And beat the gong of revolt, and stop with fugitives and them that.
plot and conspire.
Turbulent, fleshy, sensual, eating, drinking and breeding,
No sentimentalist, no stander above men and women or apart from them,
No more modest than immodest.
Unscrew the doors themselves from their jambs!
And whatever is done or said returns at last to me.
By God! I will accept nothing which all cannot have their.
counterpart of on the same terms.
Voices of the interminable generations of prisoners and slaves,
Voices of the diseas'd and despairing and of thieves and dwarfs,
Voices of cycles of preparation and accretion,
And of the threads that connect the stars, and of wombs and of the.
And of the rights of them the others are down upon,
Of the deform'd, trivial, flat, foolish, despised,
Fog in the air, beetles rolling balls of dung.
Voices of sexes and lusts, voices veil'd and I remove the veil,
Voices indecent by me clarified and transfigur'd.
I keep as delicate around the bowels as around the head and heart,
Copulation is no more rank to me than death is.
Seeing, hearing, feeling, are miracles, and each part and tag of me.
The scent of these arm-pits aroma finer than prayer,
This head more than churches, bibles, and all the creeds.
my own body, or any part of it,
Translucent mould of me it shall be you!
Shaded ledges and rests it shall be you!
Firm masculine colter it shall be you!
Whatever goes to the tilth of me it shall be you!
You my rich blood! your milky stream pale strippings of my life!
Breast that presses against other breasts it shall be you!
My brain it shall be your occult convolutions!
Root of wash'd sweet-flag! timorous pond-snipe! nest of guarded.
duplicate eggs! it shall be you!
Mix'd tussled hay of head, beard, brawn, it shall be you!
Trickling sap of maple, fibre of manly wheat, it shall be you!
Sun so generous it shall be you!
Vapors lighting and shading my face it shall be you!
You sweaty brooks and dews it shall be you!
Winds whose soft-tickling genitals rub against me it shall be you!
Broad muscular fields, branches of live oak, loving lounger in my.
winding paths, it shall be you!
Hands I have taken, face I have kiss'd, mortal I have ever touch'd,
it shall be you.
Each moment and whatever happens thrills me with joy,
I cannot tell how my ankles bend, nor whence the cause of my faintest wish,
Nor the cause of the friendship I emit, nor the cause of the.
friendship I take again.
A morning-glory at my window satisfies me more than the metaphysics.
The little light fades the immense and diaphanous shadows,
The air tastes good to my palate.
Scooting obliquely high and low.
Seas of bright juice suffuse heaven.
The heav'd challenge from the east that moment over my head,
The mocking taunt, See then whether you shall be master!
If I could not now and always send sun-rise out of me.
We found our own O my soul in the calm and cool of the daybreak.
With the twirl of my tongue I encompass worlds and volumes of worlds.
It provokes me forever, it says sarcastically,
Walt you contain enough, why don't you let it out then?
Do you not know O speech how the buds beneath you are folded?
Waiting in gloom, protected by frost,
The dirt receding before my prophetical screams,
I underlying causes to balance them at last,
My knowledge my live parts, it keeping tally with the meaning of all things,
Happiness, (which whoever hears me let him or her set out in search.
Encompass worlds, but never try to encompass me,
I crowd your sleekest and best by simply looking toward you.
I carry the plenum of proof and every thing else in my face,
With the hush of my lips I wholly confound the skeptic.
To accrue what I hear into this song, to let sounds contribute toward it.
clack of sticks cooking my meals,
I hear the sound I love, the sound of the human voice,
I hear all sounds running together, combined, fused or following,
Sounds of the city and sounds out of the city, sounds of the day and night,
Talkative young ones to those that like them, the loud laugh of.
work-people at their meals,
The angry base of disjointed friendship, the faint tones of the sick,
The judge with hands tight to the desk, his pallid lips pronouncing.
The heave'e'yo of stevedores unlading ships by the wharves, the.
refrain of the anchor-lifters,
The ring of alarm-bells, the cry of fire, the whirr of swift-streaking.
engines and hose-carts with premonitory tinkles and color'd lights,
The steam-whistle, the solid roll of the train of approaching cars,
The slow march play'd at the head of the association marching two and two,
(They go to guard some corpse, the flag-tops are draped with black muslin.)
I hear the key'd cornet, it glides quickly in through my ears,
It shakes mad-sweet pangs through my belly and breast.
Ah this indeed is music--this suits me.
The orbic flex of his mouth is pouring and filling me full.
The orchestra whirls me wider than Uranus flies,
It wrenches such ardors from me I did not know I possess'd them,
It sails me, I dab with bare feet, they are lick'd by the indolent waves,
I am cut by bitter and angry hail, I lose my breath,
Steep'd amid honey'd morphine, my windpipe throttled in fakes of death,
At length let up again to feel the puzzle of puzzles,
And that we call Being.
(Round and round we go, all of us, and ever come back thither,)
If nothing lay more develop'd the quahaug in its callous shell were enough.
I have instant conductors all over me whether I pass or stop,
They seize every object and lead it harmlessly through me.
To touch my person to some one else's is about as much as I can stand.
Flames and ether making a rush for my veins,
Treacherous tip of me reaching and crowding to help them,
My flesh and blood playing out lightning to strike what is hardly.
different from myself,
On all sides prurient provokers stiffening my limbs,
Straining the udder of my heart for its withheld drip,
Behaving licentious toward me, taking no denial,
Depriving me of my best as for a purpose,
Unbuttoning my clothes, holding me by the bare waist,
Deluding my confusion with the calm of the sunlight and pasture-fields,
Immodestly sliding the fellow-senses away,
They bribed to swap off with touch and go and graze at the edges of me,
No consideration, no regard for my draining strength or my anger,
Fetching the rest of the herd around to enjoy them a while,
Then all uniting to stand on a headland and worry me.
They have left me helpless to a red marauder,
They all come to the headland to witness and assist against me.
I talk wildly, I have lost my wits, I and nobody else am the.
I went myself first to the headland, my own hands carried me there.
Unclench your floodgates, you are too much for me.
Did it make you ache so, leaving me?
Rich showering rain, and recompense richer afterward.
Landscapes projected masculine, full-sized and golden.
They neither hasten their own delivery nor resist it,
They do not need the obstetric forceps of the surgeon,
The insignificant is as big to me as any,
(What is less or more than a touch?)
The damp of the night drives deeper into my soul.
Only what nobody denies is so.)
I believe the soggy clods shall become lovers and lamps,
And a compend of compends is the meat of a man or woman,
And a summit and flower there is the feeling they have for each other,
And they are to branch boundlessly out of that lesson until it.
And until one and all shall delight us, and we them.
And the pismire is equally perfect, and a grain of sand, and the egg.
And the tree-toad is a chef-d'oeuvre for the highest,
And the running blackberry would adorn the parlors of heaven,
And the narrowest hinge in my hand puts to scorn all machinery,
And the cow crunching with depress'd head surpasses any statue,
And a mouse is miracle enough to stagger sextillions of infidels.
grains, esculent roots,
And am stucco'd with quadrupeds and birds all over,
And have distanced what is behind me for good reasons,
But call any thing back again when I desire it.
In vain the plutonic rocks send their old heat against my approach,
In vain the mastodon retreats beneath its own powder'd bones,
In vain objects stand leagues off and assume manifold shapes,
In vain the ocean settling in hollows and the great monsters lying low,
In vain the buzzard houses herself with the sky,
In vain the snake slides through the creepers and logs,
In vain the elk takes to the inner passes of the woods,
In vain the razor-bill'd auk sails far north to Labrador,
I follow quickly, I ascend to the nest in the fissure of the cliff.
I stand and look at them long and long.
They do not lie awake in the dark and weep for their sins,
They do not make me sick discussing their duty to God,
Not one is dissatisfied, not one is demented with the mania of.
Not one kneels to another, nor to his kind that lived thousands of.
Not one is respectable or unhappy over the whole earth.
They bring me tokens of myself, they evince them plainly in their.
Did I pass that way huge times ago and negligently drop them?
Gathering and showing more always and with velocity,
Infinite and omnigenous, and the like of these among them,
Not too exclusive toward the reachers of my remembrancers,
Picking out here one that I love, and now go with him on brotherly terms.
Head high in the forehead, wide between the ears,
Limbs glossy and supple, tail dusting the ground,
Eyes full of sparkling wickedness, ears finely cut, flexibly moving.
His well-built limbs tremble with pleasure as we race around and return.
Why do I need your paces when I myself out-gallop them?
Even as I stand or sit passing faster than you.
What I guess'd when I loaf'd on the grass,
What I guess'd while I lay alone in my bed,
And again as I walk'd the beach under the paling stars of the morning.
I skirt sierras, my palms cover continents,
I am afoot with my vision.
Along the ruts of the turnpike, along the dry gulch and rivulet bed,
Weeding my onion-patch or hosing rows of carrots and parsnips,
crossing savannas, trailing in forests,
Prospecting, gold-digging, girdling the trees of a new purchase,
Scorch'd ankle-deep by the hot sand, hauling my boat down the.
Where the panther walks to and fro on a limb overhead, where the.
buck turns furiously at the hunter,
Where the rattlesnake suns his flabby length on a rock, where the.
otter is feeding on fish,
Where the alligator in his tough pimples sleeps by the bayou,
Where the black bear is searching for roots or honey, where the.
beaver pats the mud with his paddle-shaped tall;
Over the growing sugar, over the yellow-flower'd cotton plant, over.
the rice in its low moist field,
Over the sharp-peak'd farm house, with its scallop'd scum and.
slender shoots from the gutters,
Over the western persimmon, over the long-leav'd corn, over the.
delicate blue-flower flax,
Over the white and brown buckwheat, a hummer and buzzer there with.
Over the dusky green of the rye as it ripples and shades in the breeze;
Scaling mountains, pulling myself cautiously up, holding on by low.
Walking the path worn in the grass and beat through the leaves of the brush,
Where the quail is whistling betwixt the woods and the wheat-lot,
Where the bat flies in the Seventh-month eve, where the great.
goldbug drops through the dark,
Where the brook puts out of the roots of the old tree and flows to.
Where cattle stand and shake away flies with the tremulous.
shuddering of their hides,
Where the cheese-cloth hangs in the kitchen, where andirons straddle.
the hearth-slab, where cobwebs fall in festoons from the rafters;
Where trip-hammers crash, where the press is whirling its cylinders,
Wherever the human heart beats with terrible throes under its ribs,
Where the pear-shaped balloon is floating aloft, (floating in it.
myself and looking composedly down,)
Where the life-car is drawn on the slip-noose, where the heat.
hatches pale-green eggs in the dented sand,
Where the she-whale swims with her calf and never forsakes it,
Where the steam-ship trails hind-ways its long pennant of smoke,
Where the fin of the shark cuts like a black chip out of the water,
Where the half-burn'd brig is riding on unknown currents,
Where shells grow to her slimy deck, where the dead are corrupting below;
Where the dense-starr'd flag is borne at the head of the regiments,
Approaching Manhattan up by the long-stretching island,
Under Niagara, the cataract falling like a veil over my countenance,
Upon a door-step, upon the horse-block of hard wood outside,
Upon the race-course, or enjoying picnics or jigs or a good game of.
At he-festivals, with blackguard gibes, ironical license,
bull-dances, drinking, laughter,
At the cider-mill tasting the sweets of the brown mash, sucking the.
juice through a straw,
At apple-peelings wanting kisses for all the red fruit I find,
At musters, beach-parties, friendly bees, huskings, house-raisings;
Where the mocking-bird sounds his delicious gurgles, cackles,
Where the hay-rick stands in the barn-yard, where the dry-stalks are.
scatter'd, where the brood-cow waits in the hovel,
Where the bull advances to do his masculine work, where the stud to.
the mare, where the cock is treading the hen,
Where the heifers browse, where geese nip their food with short jerks,
Where sun-down shadows lengthen over the limitless and lonesome prairie,
Where herds of buffalo make a crawling spread of the square miles.
Where the humming-bird shimmers, where the neck of the long-lived.
swan is curving and winding,
Where the laughing-gull scoots by the shore, where she laughs her.
Where bee-hives range on a gray bench in the garden half hid by the.
Where band-neck'd partridges roost in a ring on the ground with.
their heads out,
Where burial coaches enter the arch'd gates of a cemetery,
Where winter wolves bark amid wastes of snow and icicled trees,
Where the yellow-crown'd heron comes to the edge of the marsh at.
night and feeds upon small crabs,
Where the splash of swimmers and divers cools the warm noon,
Where the katy-did works her chromatic reed on the walnut-tree over.
Through patches of citrons and cucumbers with silver-wired leaves,
Through the salt-lick or orange glade, or under conical firs,
Through the gymnasium, through the curtain'd saloon, through the.
office or public hall;
Pleas'd with the native and pleas'd with the foreign, pleas'd with.
the new and old,
Pleas'd with the homely woman as well as the handsome,
Pleas'd with the quakeress as she puts off her bonnet and talks melodiously,
Pleas'd with the tune of the choir of the whitewash'd church,
Pleas'd with the earnest words of the sweating Methodist preacher,
impress'd seriously at the camp-meeting;
Looking in at the shop-windows of Broadway the whole forenoon,
flatting the flesh of my nose on the thick plate glass,
Wandering the same afternoon with my face turn'd up to the clouds,
or down a lane or along the beach,
My right and left arms round the sides of two friends, and I in the middle;
Coming home with the silent and dark-cheek'd bush-boy, (behind me.
he rides at the drape of the day,)
Far from the settlements studying the print of animals' feet, or the.
By the cot in the hospital reaching lemonade to a feverish patient,
Nigh the coffin'd corpse when all is still, examining with a candle;
Voyaging to every port to dicker and adventure,
Hurrying with the modern crowd as eager and fickle as any,
Hot toward one I hate, ready in my madness to knife him,
Solitary at midnight in my back yard, my thoughts gone from me a long while,
Walking the old hills of Judaea with the beautiful gentle God by my side,
Speeding through space, speeding through heaven and the stars,
Speeding amid the seven satellites and the broad ring, and the.
diameter of eighty thousand miles,
Speeding with tail'd meteors, throwing fire-balls like the rest,
Carrying the crescent child that carries its own full mother in its belly,
Storming, enjoying, planning, loving, cautioning,
Backing and filling, appearing and disappearing,
I tread day and night such roads.
And look at quintillions ripen'd and look at quintillions green.
My course runs below the soundings of plummets.
No guard can shut me off, no law prevent me.
My messengers continually cruise away or bring their returns to me.
pike-pointed staff, clinging to topples of brittle and blue.
I take my place late at night in the crow's-nest,
We sail the arctic sea, it is plenty light enough,
Through the clear atmosphere I stretch around on the wonderful beauty,
The enormous masses of ice pass me and I pass them, the scenery is.
plain in all directions,
The white-topt mountains show in the distance, I fling out my.
fancies toward them,
We are approaching some great battle-field in which we are soon to.
We pass the colossal outposts of the encampment, we pass with still.
feet and caution,
Or we are entering by the suburbs some vast and ruin'd city,
The blocks and fallen architecture more than all the living cities.
I turn the bridgroom out of bed and stay with the bride myself,
I tighten her all night to my thighs and lips.
They fetch my man's body up dripping and drown'd.
The courage of present times and all times,
How the skipper saw the crowded and rudderless wreck of the.
steamship, and Death chasing it up and down the storm,
How he knuckled tight and gave not back an inch, and was faithful of.
days and faithful of nights,
And chalk'd in large letters on a board, Be of good cheer, we will.
How he follow'd with them and tack'd with them three days and.
would not give it up,
How he saved the drifting company at last,
How the lank loose-gown'd women look'd when boated from the.
side of their prepared graves,
How the silent old-faced infants and the lifted sick, and the.
sharp-lipp'd unshaved men;
All this I swallow, it tastes good, I like it well, it becomes mine,
I am the man, I suffer'd, I was there.
The mother of old, condemn'd for a witch, burnt with dry wood, her.
children gazing on,
The hounded slave that flags in the race, leans by the fence,
blowing, cover'd with sweat,
The twinges that sting like needles his legs and neck, the murderous.
buckshot and the bullets,
All these I feel or am.
Hell and despair are upon me, crack and again crack the marksmen,
I clutch the rails of the fence, my gore dribs, thinn'd with the.
ooze of my skin,
I fall on the weeds and stones,
The riders spur their unwilling horses, haul close,
Taunt my dizzy ears and beat me violently over the head with whip-stocks.
I do not ask the wounded person how he feels, I myself become the.
My hurts turn livid upon me as I lean on a cane and observe.
Tumbling walls buried me in their debris,
Heat and smoke I inspired, I heard the yelling shouts of my comrades,
I heard the distant click of their picks and shovels,
They have clear'd the beams away, they tenderly lift me forth.
Painless after all I lie exhausted but not so unhappy,
White and beautiful are the faces around me, the heads are bared.
of their fire-caps,
The kneeling crowd fades with the light of the torches.
They show as the dial or move as the hands of me, I am the clock myself.
I am there again.
Again the attacking cannon, mortars,
Again to my listening ears the cannon responsive.
The cries, curses, roar, the plaudits for well-aim'd shots,
The ambulanza slowly passing trailing its red drip,
Workmen searching after damages, making indispensable repairs,
The fall of grenades through the rent roof, the fan-shaped explosion,
The whizz of limbs, heads, stone, wood, iron, high in the air.
He gasps through the clot Mind not me--mind--the entrenchments.
(I tell not the fall of Alamo,
Not one escaped to tell the fall of Alamo,
The hundred and fifty are dumb yet at Alamo,)
'Tis the tale of the murder in cold blood of four hundred and twelve.
Nine hundred lives out of the surrounding enemies, nine times their.
number, was the price they took in advance,
Their colonel was wounded and their ammunition gone,
They treated for an honorable capitulation, receiv'd writing and.
seal, gave up their arms and march'd back prisoners of war.
Matchless with horse, rifle, song, supper, courtship,
Large, turbulent, generous, handsome, proud, and affectionate,
Bearded, sunburnt, drest in the free costume of hunters,
Not a single one over thirty years of age.
massacred, it was beautiful early summer,
The work commenced about five o'clock and was over by eight.
Some made a mad and helpless rush, some stood stark and straight,
A few fell at once, shot in the temple or heart, the living and dead.
The maim'd and mangled dug in the dirt, the new-comers saw them there,
Some half-kill'd attempted to crawl away,
These were despatch'd with bayonets or batter'd with the blunts of muskets,
A youth not seventeen years old seiz'd his assassin till two more.
came to release him,
The three were all torn and cover'd with the boy's blood.
That is the tale of the murder of the four hundred and twelve young men.
Would you learn who won by the light of the moon and stars?
List to the yarn, as my grandmother's father the sailor told it to me.
His was the surly English pluck, and there is no tougher or truer,
and never was, and never will be;
Along the lower'd eve he came horribly raking us.
My captain lash'd fast with his own hands.
On our lower-gun-deck two large pieces had burst at the first fire,
killing all around and blowing up overhead.
Ten o'clock at night, the full moon well up, our leaks on the gain,
and five feet of water reported,
The master-at-arms loosing the prisoners confined in the after-hold.
to give them a chance for themselves.
They see so many strange faces they do not know whom to trust.
The other asks if we demand quarter?
If our colors are struck and the fighting done?
We have not struck, he composedly cries, we have just begun our part.
of the fighting.
One is directed by the captain himself against the enemy's main-mast,
Two well serv'd with grape and canister silence his musketry and.
clear his decks.
They hold out bravely during the whole of the action.
The leaks gain fast on the pumps, the fire eats toward the powder-magazine.
He is not hurried, his voice is neither high nor low,
His eyes give more light to us than our battle-lanterns.
Two great hulls motionless on the breast of the darkness,
Our vessel riddled and slowly sinking, preparations to pass to the.
one we have conquer'd,
The captain on the quarter-deck coldly giving his orders through a.
countenance white as a sheet,
Near by the corpse of the child that serv'd in the cabin,
The dead face of an old salt with long white hair and carefully.
The flames spite of all that can be done flickering aloft and below,
The husky voices of the two or three officers yet fit for duty,
Formless stacks of bodies and bodies by themselves, dabs of flesh.
upon the masts and spars,
Cut of cordage, dangle of rigging, slight shock of the soothe of waves,
Black and impassive guns, litter of powder-parcels, strong scent,
A few large stars overhead, silent and mournful shining,
Delicate sniffs of sea-breeze, smells of sedgy grass and fields by.
the shore, death-messages given in charge to survivors,
The hiss of the surgeon's knife, the gnawing teeth of his saw,
Wheeze, cluck, swash of falling blood, short wild scream, and long,
dull, tapering groan,
These so, these irretrievable.
In at the conquer'd doors they crowd! I am possess'd!
Embody all presences outlaw'd or suffering,
See myself in prison shaped like another man,
And feel the dull unintermitted pain.
It is I let out in the morning and barr'd at night.
and walk by his side,
(I am less the jolly one there, and more the silent one with sweat.
on my twitching lips.)
My face is ash-color'd, my sinews gnarl, away from me people retreat.
I project my hat, sit shame-faced, and beg.
Somehow I have been stunn'd. Stand back!
Give me a little time beyond my cuff'd head, slumbers, dreams, gaping,
I discover myself on the verge of a usual mistake.
That I could forget the trickling tears and the blows of the.
bludgeons and hammers!
That I could look with a separate look on my own crucifixion and.
I resume the overstaid fraction,
The grave of rock multiplies what has been confided to it, or to any graves,
Corpses rise, gashes heal, fastenings roll from me.
Inland and sea-coast we go, and pass all boundary lines,
Our swift ordinances on their way over the whole earth,
The blossoms we wear in our hats the growth of thousands of years.
Continue your annotations, continue your questionings.
Is he waiting for civilization, or past it and mastering it?
Is he from the Mississippi country? Iowa, Oregon, California?
The mountains? prairie-life, bush-life? or sailor from the sea?
They desire he should like them, touch them, speak to them, stay with them.
head, laughter, and naivete,
Slow-stepping feet, common features, common modes and emanations,
They descend in new forms from the tips of his fingers,
They are wafted with the odor of his body or breath, they fly out of.
the glance of his eyes.
You light surfaces only, I force surfaces and depths also.
Say, old top-knot, what do you want?
And might tell what it is in me and what it is in you, but cannot,
And might tell that pining I have, that pulse of my nights and days.
When I give I give myself.
Open your scarf'd chops till I blow grit within you,
Spread your palms and lift the flaps of your pockets,
I am not to be denied, I compel, I have stores plenty and to spare,
And any thing I have I bestow.
You can do nothing and be nothing but what I will infold you.
On his right cheek I put the family kiss,
And in my soul I swear I never will deny him.
(This day I am jetting the stuff of far more arrogant republics.)
Turn the bed-clothes toward the foot of the bed,
Let the physician and the priest go home.
O despairer, here is my neck,
By God, you shall not go down! hang your whole weight upon me.
Every room of the house do I fill with an arm'd force,
Lovers of me, bafflers of graves.
Not doubt, not decease shall dare to lay finger upon you,
I have embraced you, and henceforth possess you to myself,
And when you rise in the morning you will find what I tell you is so.
And for strong upright men I bring yet more needed help.
Heard it and heard it of several thousand years;
It is middling well as far as it goes--but is that all?
Outbidding at the start the old cautious hucksters,
Taking myself the exact dimensions of Jehovah,
Lithographing Kronos, Zeus his son, and Hercules his grandson,
Buying drafts of Osiris, Isis, Belus, Brahma, Buddha,
In my portfolio placing Manito loose, Allah on a leaf, the crucifix.
With Odin and the hideous-faced Mexitli and every idol and image,
Taking them all for what they are worth and not a cent more,
Admitting they were alive and did the work of their days,
(They bore mites as for unfledg'd birds who have now to rise and fly.
and sing for themselves,)
Accepting the rough deific sketches to fill out better in myself,
bestowing them freely on each man and woman I see,
Discovering as much or more in a framer framing a house,
Putting higher claims for him there with his roll'd-up sleeves.
driving the mallet and chisel,
Not objecting to special revelations, considering a curl of smoke or.
a hair on the back of my hand just as curious as any revelation,
Lads ahold of fire-engines and hook-and-ladder ropes no less to me.
than the gods of the antique wars,
Minding their voices peal through the crash of destruction,
Their brawny limbs passing safe over charr'd laths, their white.
foreheads whole and unhurt out of the flames;
By the mechanic's wife with her babe at her nipple interceding for.
every person born,
Three scythes at harvest whizzing in a row from three lusty angels.
with shirts bagg'd out at their waists,
The snag-tooth'd hostler with red hair redeeming sins past and to come,
Selling all he possesses, traveling on foot to fee lawyers for his.
brother and sit by him while he is tried for forgery;
What was strewn in the amplest strewing the square rod about me, and.
not filling the square rod then,
The bull and the bug never worshipp'd half enough,
Dung and dirt more admirable than was dream'd,
The supernatural of no account, myself waiting my time to be one of.
The day getting ready for me when I shall do as much good as the.
best, and be as prodigious;
By my life-lumps! becoming already a creator,
Putting myself here and now to the ambush'd womb of the shadows.
My own voice, orotund sweeping and final.
Come my boys and girls, my women, household and intimates,
Now the performer launches his nerve, he has pass'd his prelude on.
the reeds within.
climax and close.
Music rolls, but not from the organ,
Folks are around me, but they are no household of mine.
Ever the eaters and drinkers, ever the upward and downward sun, ever.
the air and the ceaseless tides,
Ever myself and my neighbors, refreshing, wicked, real,
Ever the old inexplicable query, ever that thorn'd thumb, that.
breath of itches and thirsts,
Ever the vexer's hoot! hoot! till we find where the sly one hides.
and bring him forth,
Ever love, ever the sobbing liquid of life,
Ever the bandage under the chin, ever the trestles of death.
To feed the greed of the belly the brains liberally spooning,
Tickets buying, taking, selling, but in to the feast never once going,
Many sweating, ploughing, thrashing, and then the chaff for payment.
A few idly owning, and they the wheat continually claiming.
Whatever interests the rest interests me, politics, wars, markets,
The mayor and councils, banks, tariffs, steamships, factories,
stocks, stores, real estate and personal estate.
I am aware who they are, (they are positively not worms or fleas,)
I acknowledge the duplicates of myself, the weakest and shallowest.
is deathless with me,
What I do and say the same waits for them,
Every thought that flounders in me the same flounders in them.
Know my omnivorous lines and must not write any less,
And would fetch you whoever you are flush with myself.
But abruptly to question, to leap beyond yet nearer bring;
This printed and bound book--but the printer and the.
The well-taken photographs--but your wife or friend close and solid.
The black ship mail'd with iron, her mighty guns in her turrets--but.
the pluck of the captain and engineers?
In the houses the dishes and fare and furniture--but the host and.
hostess, and the look out of their eyes?
The sky up there--yet here or next door, or across the way?
The saints and sages in history--but you yourself?
Sermons, creeds, theology--but the fathomless human brain,
And what is reason? and what is love? and what is life?
My faith is the greatest of faiths and the least of faiths,
Enclosing worship ancient and modern and all between ancient and modern,
Believing I shall come again upon the earth after five thousand years,
Waiting responses from oracles, honoring the gods, saluting the sun,
Making a fetich of the first rock or stump, powowing with sticks in.
the circle of obis,
Helping the llama or brahmin as he trims the lamps of the idols,
Dancing yet through the streets in a phallic procession, rapt and.
austere in the woods a gymnosophist,
Drinking mead from the skull-cap, to Shastas and Vedas admirant,
minding the Koran,
Walking the teokallis, spotted with gore from the stone and knife,
beating the serpent-skin drum,
Accepting the Gospels, accepting him that was crucified, knowing.
assuredly that he is divine,
To the mass kneeling or the puritan's prayer rising, or sitting.
patiently in a pew,
Ranting and frothing in my insane crisis, or waiting dead-like till.
my spirit arouses me,
Looking forth on pavement and land, or outside of pavement and land,
Belonging to the winders of the circuit of circuits.
man leaving charges before a journey.
Frivolous, sullen, moping, angry, affected, dishearten'd, atheistical,
I know every one of you, I know the sea of torment, doubt, despair.
How they contort rapid as lightning, with spasms and spouts of blood!
I take my place among you as much as among any,
The past is the push of you, me, all, precisely the same,
And what is yet untried and afterward is for you, me, all, precisely.
But I know it will in its turn prove sufficient, and cannot fail.
single one can it fall.
Nor the young woman who died and was put by his side,
Nor the little child that peep'd in at the door, and then drew back.
and was never seen again,
Nor the old man who has lived without purpose, and feels it with.
bitterness worse than gall,
Nor him in the poor house tubercled by rum and the bad disorder,
Nor the numberless slaughter'd and wreck'd, nor the brutish koboo.
call'd the ordure of humanity,
Nor the sacs merely floating with open mouths for food to slip in,
Nor any thing in the earth, or down in the oldest graves of the earth,
Nor any thing in the myriads of spheres, nor the myriads of myriads.
that inhabit them,
Nor the present, nor the least wisp that is known.
I launch all men and women forward with me into the Unknown.
There are trillions ahead, and trillions ahead of them.
And other births will bring us richness and variety.
That which fills its period and place is equal to any.
I am sorry for you, they are not murderous or jealous upon me,
All has been gentle with me, I keep no account with lamentation,
(What have I to do with lamentation?)
On every step bunches of ages, and larger bunches between the steps,
All below duly travel'd, and still I mount and mount.
Afar down I see the huge first Nothing, I know I was even there,
I waited unseen and always, and slept through the lethargic mist,
And took my time, and took no hurt from the fetid carbon.
Faithful and friendly the arms that have help'd me.
For room to me stars kept aside in their own rings,
They sent influences to look after what was to hold me.
My embryo has never been torpid, nothing could overlay it.
The long slow strata piled to rest it on,
Vast vegetables gave it sustenance,
Monstrous sauroids transported it in their mouths and deposited it.
Now on this spot I stand with my robust soul.
O manhood, balanced, florid and full.
Crowding my lips, thick in the pores of my skin,
Jostling me through streets and public halls, coming naked to me at night,
Crying by day, Ahoy! from the rocks of the river, swinging and.
chirping over my head,
Calling my name from flower-beds, vines, tangled underbrush,
Lighting on every moment of my life,
Bussing my body with soft balsamic busses,
Noiselessly passing handfuls out of their hearts and giving them to be mine.
after and out of itself,
And the dark hush promulges as much as any.
And all I see multiplied as high as I can cipher edge but the rim of.
the farther systems.
Outward and outward and forever outward.
He joins with his partners a group of superior circuit,
And greater sets follow, making specks of the greatest inside them.
If I, you, and the worlds, and all beneath or upon their surfaces,
were this moment reduced back to a pallid float, it would.
not avail the long run,
We should surely bring up again where we now stand,
And surely go as much farther, and then farther and farther.
not hazard the span or make it impatient,
They are but parts, any thing is but a part.
Count ever so much, there is limitless time around that.
The Lord will be there and wait till I come on perfect terms,
The great Camerado, the lover true for whom I pine will be there.
never will be measured.
My signs are a rain-proof coat, good shoes, and a staff cut from the woods,
No friend of mine takes his ease in my chair,
I have no chair, no church, no philosophy,
I lead no man to a dinner-table, library, exchange,
But each man and each woman of you I lead upon a knoll,
My left hand hooking you round the waist,
My right hand pointing to landscapes of continents and the public road.
You must travel it for yourself.
Perhaps you have been on it since you were born and did not know,
Perhaps it is everywhere on water and on land.
Wonderful cities and free nations we shall fetch as we go.
And in due time you shall repay the same service to me,
For after we start we never lie by again.
And I said to my spirit When we become the enfolders of those orbs,
and the pleasure and knowledge of every thing in them, shall we.
be fill'd and satisfied then?
And my spirit said No, we but level that lift to pass and continue beyond.
I answer that I cannot answer, you must find out for yourself.
Here are biscuits to eat and here is milk to drink,
But as soon as you sleep and renew yourself in sweet clothes, I kiss you.
with a good-by kiss and open the gate for your egress hence.
Now I wash the gum from your eyes,
You must habit yourself to the dazzle of the light and of every.
moment of your life.
Now I will you to be a bold swimmer,
To jump off in the midst of the sea, rise again, nod to me, shout,
and laughingly dash with your hair.
He that by me spreads a wider breast than my own proves the width of my own,
He most honors my style who learns under it to destroy the teacher.
but in his own right,
Wicked rather than virtuous out of conformity or fear,
Fond of his sweetheart, relishing well his steak,
Unrequited love or a slight cutting him worse than sharp steel cuts,
First-rate to ride, to fight, to hit the bull's eye, to sail a.
skiff, to sing a song or play on the banjo,
Preferring scars and the beard and faces pitted with small-pox over.
And those well-tann'd to those that keep out of the sun.
I follow you whoever you are from the present hour,
My words itch at your ears till you understand them.
I wait for a boat,
(It is you talking just as much as myself, I act as the tongue of you,
Tied in your mouth, in mine it begins to be loosen'd.)
And I swear I will never translate myself at all, only to him or her.
who privately stays with me in the open air.
The nearest gnat is an explanation, and a drop or motion of waves key,
The maul, the oar, the hand-saw, second my words.
But roughs and little children better than they.
The woodman that takes his axe and jug with him shall take me with.
The farm-boy ploughing in the field feels good at the sound of my voice,
In vessels that sail my words sail, I go with fishermen and seamen.
On the night ere the pending battle many seek me, and I do not fail them,
On that solemn night (it may be their last) those that know me seek me.
My face rubs to the hunter's face when he lies down alone in his blanket,
The driver thinking of me does not mind the jolt of his wagon,
The young mother and old mother comprehend me,
The girl and the wife rest the needle a moment and forget where they are,
They and all would resume what I have told them.
And I have said that the body is not more than the soul,
And nothing, not God, is greater to one than one's self is,
And whoever walks a furlong without sympathy walks to his own.
funeral drest in his shroud,
And I or you pocketless of a dime may purchase the pick of the earth,
And to glance with an eye or show a bean in its pod confounds the.
learning of all times,
And there is no trade or employment but the young man following it.
may become a hero,
And there is no object so soft but it makes a hub for the wheel'd universe,
And I say to any man or woman, Let your soul stand cool and composed.
before a million universes.
For I who am curious about each am not curious about God,
(No array of terms can say how much I am at peace about God and.
Nor do I understand who there can be more wonderful than myself.
I see something of God each hour of the twenty-four, and each moment then,
In the faces of men and women I see God, and in my own face in the glass,
I find letters from God dropt in the street, and every one is sign'd.
And I leave them where they are, for I know that wheresoe'er I go,
Others will punctually come for ever and ever.
try to alarm me.
I see the elder-hand pressing receiving supporting,
I recline by the sills of the exquisite flexible doors,
And mark the outlet, and mark the relief and escape.
I smell the white roses sweet-scented and growing,
I reach to the leafy lips, I reach to the polish'd breasts of melons.
(No doubt I have died myself ten thousand times before.)
O suns--O grass of graves--O perpetual transfers and promotions,
If you do not say any thing how can I say any thing?
Of the moon that descends the steeps of the soughing twilight,
Toss, sparkles of day and dusk--toss on the black stems that decay.
Toss to the moaning gibberish of the dry limbs.
I perceive that the ghastly glimmer is noonday sunbeams reflected,
And debouch to the steady and central from the offspring great or small.
I sleep--I sleep long.
It is not in any dictionary, utterance, symbol.
To it the creation is the friend whose embracing awakes me.
It is not chaos or death--it is form, union, plan--it is eternal.
life--it is Happiness.
And proceed to fill my next fold of the future.
Look in my face while I snuff the sidle of evening,
(Talk honestly, no one else hears you, and I stay only a minute longer.)
Very well then I contradict myself,
(I am large, I contain multitudes.)
Who wishes to walk with me?
and my loitering.
I sound my barbaric yawp over the roofs of the world.
It flings my likeness after the rest and true as any on the shadow'd wilds,
It coaxes me to the vapor and the dusk.
I effuse my flesh in eddies, and drift it in lacy jags.
If you want me again look for me under your boot-soles.
But I shall be good health to you nevertheless,
And filter and fibre your blood.
Missing me one place search another,
I stop somewhere waiting for you.
DayPoems Poem No. 1900.
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