Karl Evver has spent decades sitting by the world watching its moving without his push. When he’s alone and unused, away from prying faces, some artist wallows in venturing that his canvas matches more than the canvas can contain, but our mind is porous through oblivion - Borges gets us to wonder if it would be wiser rarefying ourselves and our deeds towards the natural whole oblivion appearances fall into.
[ Death’s two
attendants, pyrography and lipliner on paper, 34,7 centimetres in height, 33,7
in width: fifteenth paper of The Surratt Albun ] shows us the carpentry
which constructs those
gallows where person really comes into its own as an unsealer. Henceforth and forever after, there will be no word the person makes itself clear with, expatiates with, amends with: since they are boys, men assume moreover that any guise of them will not stay on here for long due to never-ending pressing-in from younger conspicuousnesses
If Conrad’s Stein takes pleasure in the dead butterfly which catches the eye in solitary grandeur inside a case, Evver stands aside from the gusto in secluding – and as such misrepresenting – the death. Even dolled up in the dearest coats, women remain of scant consequence inside the world device, and Evver is more interested in this device than in that privileged madamerie. which still bribed the most qualified Old Masters to depict smoothness, harmony and, as a rule, the enamelling of truth through cunning.
Depth philosophies fail to put people off this enamelling, but failure to disprove is not the same as to prove that women are worth drawing about. Evver consecrates paper by paper to Mary Surratt, whose clumsy friction with the huge device resulted in a thick hempen rope around a bagged neck. Why did the State of junction and blending bag her? Worried that the swinging lady might be seen in her death-throe bentness and that a quadrupled tongue might be the bugle of a severing truth, It was and will ever be a device wholly at odds with a thinking singleness.
Evver doesn’t dispute the device: by keeping merely two workmen at the gallows in view, he cares about the death practice as such, not from an affected and affecting perspective. Painting produces no paper train of the overwhelming most of aches, atrocitiesand smotherings as pleased with its own spatial balance, palette-proud and obsessed by caressing the onlookers with niceness as it is, and criticism dies too on this side of the words, without having stated the short lives of the gone minds.
Why is it that criticism extols an art without grammar, without topic, without meaning pattern, and yet doesn’t display the same lust for anarchy and vacuum when it comes to building its sentences? Whosoever has urged that criticism’s bluff be called has never tightened its double-dealing into frankness, while Cy Twombly at his best relieves in MCMLV’s Criticism any syntactic power of its readability and tastes forward his utter steering its gratuitous rolling in half a century early.
Italian law includes the claque contract in the contra bonos mores contracts, but critics have never been sentenced of red and hot hands. La società non è pari alla natura, nella quale anche i residui hanno un valore. Ognuno crea se stesso in una classe o in una funzione con indelebili caratteri, ma, distruggendo questa personalità, non gli rimane né posto, né gruppo [ Society is not like nature, in which residues also count for something. Everybody forms himself in one class or in one function with indelible peculiarities, and, by destroying this individual form, neither place nor group are left to him ]: thus Alfredo Oriani rivetted the man to one lifelong necessity. This would excuse the critics’ anxiety in strenghtening with verbiage and oracularity that or that other group, their persistence in building ever on the same logical place.
Do stand in front the hanged woman with entrails wrung by an undangerous emotion. That was the commandment to the thousand people below the bent Surratt, and the self-possessed ceremony bought time for their hands to gain strenght for the next claque engagement.
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