Residue

By Carlos Drummond de Andrade

From everything a little remained.
From my fear. From your disgust.
From stifled cries. From the rose
a little remained.

A little remained of light
caught inside the hat.
In the eyes of the pimp
a little remained of tenderness,
very little.

A little remained of the dust
that covered your white shoes.
Of your clothes a little remained,
a few velvet rags, very
very few.

From everything a little remained.
From the bombed-out bridge,
from the two blades of grass,
from the empty pack
of cigarettes a little remained.

So from everything a little remains.
A little remains of your chin
in the chin of your daughter.

A little remained of your
blunt silence, a little
in the angry wall,
in the mute rising leaves.

A little remained from everything
in porcelain saucers,
in the broken dragon, in the white flowers,
in the creases of your brow,
in the portrait.

Since from everything a little remains,
why won’t a little
of me remain? In the train
travelling north, in the ship,
in newspaper ads,
why not a little of me in London,
a little of me somewhere?
In a consonant?
In a well?

A little remains dangling
in the mouths of rivers,
just a little, and the fish
don’t avoid it, which is very unusual.

From everything a little remains.
Not much: this absurd drop
dripping from the faucet,
half salt and half alcohol,
this frog leg jumping,
this watch crystal
broken into a thousand wishes,
this swan’s neck,
this childhood secret…
From everything a little remained:
from me; from you; from Abelard.
Hair on my sleeve,
from everything a little remained;
wind in my ears,
burbing, rumbling
from an upset stomach,
and small artifacts:
bell jar, honeycomb, revolver
cartridge, aspirin tablet.

From everything a little remained.

And from everything a little remains.
Oh, open the bottles of lotion
and smoother
the cruel, unbearable odor of memory.

Still, horribly, from everything a little remains,
under the rhythmic waves
under the clouds and the wind
under the bridges and under the tunnels
under the flames and under the sarcasm
under the phlegm and under the vomit
under the cry from the dungeon, the guy they forgot
under the spectacle and under the scarlet death
under the libraries, asylums, victorious churches
under yourself and under your feet already hard
under the ties of family, the ties of class,
from everything a little always remains.
Sometimes a button. Sometimes a rat.

luigi_ghirri_lido_di_spina_1973

Lido Di Spina. Luigi Ghirri. 1973.


Life’s a Beach

Martin Parr has been photographing beach life over many decades, documenting all aspects of this tradition including close ups of sun bathers, swimming dips and picnics in the UK as well as in countries as far apart as China, Argentina and Thailand. This [collection] demonstrates Parr’s engagement with a cherished subject matter, where all absurdities and quirky National behaviours seamlessly fuse together. Text from Magnum Photos
MartinParrLifesABeachmartin-parr-couple-showering-copacabana-beach-2007Martin Parr RioMartin Parr Lifes a BeachITALY. Riva del Garda. 1999. Contact email: New York : photography@magnumphotos.com Paris : magnum@magnumphotos.fr London : magnum@magnumphotos.co.uk Tokyo : tokyo@magnumphotos.co.jp Contact phones: New York : +1 212 929 6000 Paris: + 33 1 53 42 50 00 London: + 44 20 7490 1771 Tokyo: + 81 3 3219 0771 Image URL: http://www.magnumphotos.com/Archive/C.aspx?VP3=ViewBox_VPage&IID=2S5RYD12ILER&CT=Image&IT=ZoomImage01_VForm

ITALY. Lake Garda. 1999.

JAPAN. Miyazaki. Miyazaki Ocean Dome. 1996.


Targets in Tijuana

Chris Bradley is a sculptor known for his assemblage sculptures in which he replicates things using other things. In this case, a palm tree is made out of cast bronze, paint, wood, aluminum, beer can, aqua resin, broom handle, pencil, tripod.

Targets in Tijuana. Chris Bradley. 2010/11

Targets in Tijuana. Chris Bradley. 2010/11


Maracas

Maracas. Peter Doig. 2004.

Maracas. Peter Doig. 2004.


Beach Scene

Leon Levinstein

Beach Scene: Woman in Bikini Cuddling Baby, Coney Island, New York. Leon Levinstein. 1960s.


Looking Out

The Lonely One. Edvard Munch. 1896

Young Woman at the Beach: The Lonely One. Edvard Munch. 1896


Blue House on the Shore

Blue House on the Shore. Paul Nash. 1930-1.

Blue House on the Shore. Paul Nash. 1930-1.


On The Beach

Here are some breathtaking photographs of the sea/beaches by two highly influential photographers: Richard Misrach and Massimo Vitali. Immerse yourself in the fantastic shades of turquoise.

Richard Misrach

In his series On the Beach, Californian photographer Richard Misrach studies human interaction and isolation through aerial photographs (taken from hotel balconies) of beaches in Hawaii. Misrach says, “I always thought about it as being a god’s-eye view, looking down and seeing these amazing human interactions.” Richard Misrach ON-THE-BEACH-Untitled-394-03-2003misrach2misrachswimmer119Misrachmisrachmisrach

Massimo Vitali

Italian photographer Massimo Vitali has been documenting crowds since 1994, studying how and where people gather. Nature vs colonisation. These photographs are taken in Greece and Brazil. “Upon these swaths of water, sand, and sky are people parked and splayed, inactive, passive, disinterested, as neutral as grains of sand in an hourglass or the dots on a box of dominoes spilled out of their box onto a blanket… [Massimo Vitali] illuminates the apotheosis of the Herd”  (What the Butler Saw)

“I have tried to avoid behaviour that is too focused on everyone doing the same thing. e.g a football stadium, where everyone is looking and reacting in the same way. I focus on groups of people, but I try to photograph them at times when they are not doing the same thing, in situations where they are free to maintain their own personality and individuality.”  From an interview with Massimo Vitali 

Massimo-Vitali-Talks-To-Yatzer-18massimo-vitali-brazil-01massimo-vitali-brazil-11massimo vitalimassimo-vitali-best-shot-001


Rineke Dijkstra

Kolobrzeg, Poland, July 26 1992. Rineke Dijkstra. 1992.

Kolobrzeg, Poland, July 26 1992. Rineke Dijkstra. 1992.

“I have a preference for introverted people because I feel an affinity with them and therefore I can look at them longer than I do at exuberant people, who are very much focused on their surroundings. I like a particular kind of face, very classical and therefore timeless – the girl in the green swim suit in Kolobrzeg, for example. It’s about a particular kind of beauty that other people might find ugly, but it’s a kind of ugliness that I find beautiful.”
(Quoted in Rineke Dijkstra 1997, [p.38].)

 


Tents, Beach, Sunrise, Watermelons

Four beautiful photographs to sum up one beautiful weekend:

alex hartley.resized

Alex Hartley

On the Beach. Richard Misrach.

On the Beach. Richard Misrach. 2004.

The Green Ray from The Sun Quartet. Tacita Dean. 2001

The Green Ray from The Sun Quartet. Tacita Dean. 2001

Cats and Watermelons.  Gabriel Orozco. 1992.

Cats and Watermelons. Gabriel Orozco. 1992.