HATTY NESTOR HANNAH REGEL C O R P O S A N T S
Transcription
HATTY NESTOR HANNAH REGEL C O R P O S A N T S
THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 1–13 C O R P O S A N T S HATTY NESTOR HANNAH REGEL THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 2–13 DE S T IN Y Destiny is not a feeling, not a cultivation of identity, but a complex metropolis constructed by synchronizing materials. Each element of Destiny’s materiality exists as its own unified sculpture, individual ontology, presenting a unique dialogue and visceral language to the viewer. The form rests lonely amongst its others, differentiated by the visual colour in which signified, accurately personified, the individual form pieces limp and pregnant with emotion.Thick slabs of foam lay gently upon one another, constructing a composition which appears constructivist as a visual manifestation of a stacking of house of cards; a deliberate layering of similar forms. This daring construction surrenders to the uncertainty of in-balance, a quasi object of irregular weight. The function of text thus mirrors the objectification of material forms.The material elements of Destiny perform not the outside, visceral and visual experiences of the substances employed, but make paramount the interaction between opposing forms. Each substance within Destiny exemplifies our preconceived ideas of the performativity it encompasses; the rigid glass, miniscule glass and soft, bending foam. When forms are as simplistic as these, the viewer is invited to elaborate and construct their own meaning and significations of what the object compels to be. The formation has natural relations between inside and outside, exterior and interior motifs of materiality. Destiny is the moment in which you surrender to vulnerability, when your mode of forming associations to another align with your anxiety. THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 3–13 WATCH ING TIM E PAS S T H O RU G H T H E H U E O F A BRU IS E Mould is beautiful because it looks like an uprising “I am coming for you” is an aesthetic “I am coming for you” is an aesthetic I can get behind It also says “Form has consequences” And “I love myself and I want to live” THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 4–13 THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 5–13 IF S WEAT WA S C O N S E QU E N C E A stench is a smothering like If want had a signature scent They would milk it from the resinous buds Of what I am obliged to offer And turn it over in cement And paste it to the bulwarks And we would do that for every girl And the world would stink of longing so bad That power would feel like it was wading Through what is perpetual And I think it would surrender Because then it would know THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 6–13 N E X T T IM E ARCHIVE OF THOUGHTS EMBEDDED IN OWN KEEPING METRAMONE WAYS WHAT SITUATION PEOPLE ALWAYS REMEMBER WHATS CONVENIENT SOME PEOPLE, LIKE PHRASES, SIT RELUCTANTLY IN YOUR HEART WHATS MOST PROGRESSIVE IS OFTEN AT THE FOREFRONT OF FEAR I WILL BE MOVING IN THE STREETS OF YOU WALKING THE STRING OF YOUR WEB ACHING BONES OF A FRAGILE CREATURE TURNING UP TIME AND TIME AGAIN DYING AND BEING ON DEMAND REPETITION OF YOUR BODILY HABITS INFULTRATING MY OWN YOUR SELF RESPECT IS IN DISSARRY ROTTING DISAPPEARING LIMITING WHATS NATURAL ONCE AGAIN don’t worry I know things about desperation. THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 7–13 ADVICE FROM T H E M E N IN M Y L IFE It is like this: If you cut off an arm and plant it It will not grow Nor will conjuring perform accretion. Antimacassars draped onto the world Soft and fake Bloodless and floating; Pancake testicles and rubber ribs. A pervert You said, Unable to muster enough meaning To provide an alternative Like living THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 8–13 O IL that familiar flood gushing in the evening unattainable uncontrollable ever upon this stage selves linger the precious valleys of yesterdays emotional pallet. grey gaps disclose themselves I may never situate myself firmly in the grip of contentment when will this fall through the floor? the masses and the singular (Me,,,,,,,,,,, you( what a contrary terrain to dance around it is good to hear the rain. Tiny movements of foreclosure placid lives desert planes enchanted days. we are the duo which could have tamed these disobedient relations to the alien entity we name society. I marvel in what appears to you so potent, so rich in purpose. a grey wall for me now— stained grey curtains, overly grey teabags sagging in the corner this is what I’m made of a slippery oil one in which you so knowingly smothered me in and is impossible for me to crawl out of leaves unsettling marks next to the pillow of my bed like anonymous finger prints Darling, your cruelty makes me alive It’s a miracle oneiric life what an amorous frenzy I’ve met London in your face and smelt whisky on your breath THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 9–13 I VO RY TOW E R A privileged seclusion from the practicalities of real life a disdain iron taste in my mouth feeding off each other Offering this only amounts to a chaotic equation I want to work this out but the actions are sketchy like traces of an organised surprise or the death of a birthday party two cream stone statues approach one another a meeting an encounter a fleeting moment (them, the other) they watched all our meetings when we said (un)comfortable things to one another lies smothered our self respect like moulding blankets four rows Of people four hands What a perfect symmetry. You must stay awake until this ends Or you’ll be sleeping on the steps of Omen. THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 10–13 I U S ED TO B E ALL L IG H T I U S E D TO BE S O L IG H T Melt your heart to the sky everything in this One last effort to exorcise the sharpness Dyed black with negligence Not quite Older Sulking After Stained joints brandy hip Flask blown On the bowling green. Charlie Red. Better now but still Remember How little you used to care THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 11 – 1 3 RES EA R C H O N DR E A D Four Reactions to a Public Crisis: Contaminated food elicits strong disgust, and rumours of food contamination often arouse social panics. ‘Madness’ has negative emotional associations because it evokes a lack of control and predictability. Language theorists have argued that naming a disease makes people feel as if they have delimited it: ‘‘A disease well named seems half cured’’. The mad cow is me, and this has given me a joy, an extraordinary joy. THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 12–13 V IR G IN S O IL S cultivating purity the unstoppable beginnings overlap and interpenetrate comic-book characters pulsating with pain Inside those party favours (sickening) Since several major bodies Touch the core of the density (inflicted) With their form of a rich sampling / She’s the Venus of her own body, and group potency or fertility illustrated next to that station on West 23rd THE·INTERJECTION·CALENDAR·VII – H AT T Y · N E S TO R · / · H A N N A H · R E G E L – MONTEZ·PRESS·2015 13–13 INS TRU C T IO N S FO R A BU R IA L After I got fired I dug my nails into the arm of an autistic boy on the bus He said he liked how long they were And that he would like to feel them. I offered him my hand to touch and he said no not like that So I dug them into his arm and he said yes that’s better and it was Now, money is clenching Little half moons on the palm of my hands And I can see how easily I am emptied out by you For you So that there is room for you It is inevitable, and so beautiful That the fresh stages begin immediately That the buildup of pressure is combined with a loss That the integrity of skin cannot hold out during. It is fair to Scoop out of me what you need. At this point Seriously Take it Lay it out Make a landscape A clean death is as real as our hunger