Original Artwork by Raymond Dijkstra / Louise Landes Levi
Numbered edition of 25 ex.
Date of Release: 8 september 2019
Spoken Word and Mellotron / Pianoharp by Raymond Dijkstra and Louise Landes Levi, Somewhere in 2019, Somewhere. Text: Henri Michaux.
Louise Landes Levi is a poet/performer-translator/traveler and a founding member of Daniel Moore’s Floating Lotus Magic Opera Company, America’s first fusion orchestra. After receiving a BA, with Honors, from UC-Berkeley, and studying at Mills College with the sarangi-master Pandit Ram Narayan, she traveled alone overland to Afghanistan in the late 1960s and to India, via Istanbul, Tabriz, Mashed, Herat, Khandahar, Kabul, Peshawar, Rawalpundi and Lahore, to research North Indian sangeet (classical music) and its poetic tradition. Several translations followed: Rene Daumal’s classic study of Indian Aesthetics, RASA (New Directions, 1982); from the Middle Hindi of Mira Bai, an archetypal singer-saint of the 16th century, Sweet On My Lips: The Love Poems of Mira Bai (Cool Grove Press, 1997, 2003 & 2016); and Henri Michaux’s Toward Totality: Selected Poems (Shivastan, 2006). She has published more than a dozen books of poetry and autobiographical prose, including most recently: Love Cantos, 1-5 (Jack In Your Box, 2011); The Book L (Cool Grove Press, 2010); Tower 2/Tara or dc-x (Il Bagatto, 2009); Banana Baby, with facing Italian translations by Alessandro Tuoni (Super Nova, 2006); and Avenue A & Ninth Street (Shivastan, 2004). Her electronic chapbooks may be found at the website Big Bridge. Her recordings include most recently: From the Ming Oracle (Sloowax, 2014), an instrumental and spoken word compilation of her works from the late sixties to the near present; City of Delirium (Sloow Tapes, 2011); Colloidal Love Poem (AudioMER.); Poetry Reading (Des Astres d’Or, 2018); Bombay Lunatic Asylum (Des Astres d’Or 2018). John Giorno writes: “Her poems sing in the mind and dance through the heart and throat, and arms & legs, w. great clarity and bliss. Louise is Saranswati, goddess of poetry.” Levi has studied with such masters as Annapurna Devi, Ali Akbar Khan & La Monte Young. When not performing, she lives in a stone tower in Bagnore, Italy, with winter quarters in New York, her birthplace, and elsewhere.
Raymond Dijkstra is a musician/visual artist. Founding member of Asra, La Poupée Vivante (with Timo van Luijk), Wendingen 1918 (with Bart de Paepe). He has collaborated with Frédérique Bruyas, Jon Mueller, The New Blockaders, Keith Connolly (NNCK), Dave Nuss (NNCK). RD is an autodidact who believes strongly art should be derived from worldly experiences and can’t be learned at school. The basis of the art lies in non knowledge, from which roads are chosen. Teachings came from life, loneliness, alienation, drug-experiences, self-exploration, dreams… Dijkstra has a discography of approximately 150 titles, mostly self-published, in a DIY way of exploring life. “An artist should be independent- from the making of art to the freeing of the work to the public.” The vinyl-records of this publication are hand-cut by RD himself. The works are distributed through his imprint Des Astres d’Or.
Henri Michaux (Namur 1899 – Paris 1984)
The French writer, painter and graphic artist Henri Michaux was born in the Belgian town of Namur in 1899 and spent his childhood in Brussels. He wanted to become a priest, but followed his father’s wish and began to study medicine in 1919, but soon abandoned this plan and signed on as a seaman.
After reading works by Lautréamont he began writing in 1922. His acquaintance with Paul Klee, Max Ernst and Giorgio de Chirico, whom he met in Paris in 1925, inspired him to first painting and drawing attempts. Between 1927 and 1937 he travelled through South America and Asia. Afterwards Michaux sketched and painted his Phantomisms.
He had his first exhibitions in Parisian galleries, followed by important shows abroad. In the mid 1950s Michaux began experimenting with hallucinatory drugs, particularly with mescaline, letting his experiences inspire his writing, painting and drawing. These works were first exhibited in 1956 at the Galerie La Hune in Paris. Then there was a large exhibition at the Palais des Beaux-Arts in Brussels in December 1957 and a retrospective exhibition organised by Daniel Cordier in Frankfurt/Main in March 1959.
His ink drawings evoke scriptural elements and calligraphic symbols which are a seismographic reflection of the artist’s inner emotions. The two systems of word-language and sign-language pervade each other. Henri Michaux’s impressive oeuvre attracted much international recognition. He exhibited works at the “documenta” in Kassel in 1959 and 1964; he was awarded the Einaudi-Prize at the Biennale in Venice in 1960.
Henri Michaux’s paintings always remained figurative, in-spite of all tendency towards abstraction. The artist’s intention was not to flee from the world, but to expand the world by changing the awareness. The real world was to be enhanced by additional levels of perception.
Henri Michaux died in Paris in 1984 at the age of 85.
ON THE STREET OF DEATH
On the street of Death,
My mother met a great ice field;
She wanted to speak,
It was already late,
A great cotton ice field.
She looked at us my brother and I,
And then she cried,
We told her — a truly absurd lie —
that we understood.
And then she smiled the very gracious smile,
of a young girl,
That was truly herself,
Such a lovely smile, almost coy;
And was taken into the Opaque.
Peace in the nerves of a sick heart.
Steady peace ripens its law,
sucked into life,
into a nebulous life, into life…
but heavy the chariot, heavy, heavy.
Send wind to them,
the warm wind of delicate mouths,
the warm wind of sovereign deserts.
your corollas of anguish!”
THE MASTER OF HO
THE MASTER OF HO
I heard the crowd of the spanked speaking of pride, says the
Master of Ho. And I did not laugh.
New laws have been prepared. New laws have come. The laws
accumulate says the Master of Ho. But it is still the edict of the old
dwarf, scattered leaves of an already uprooted tree.
Calm, says the Master.
Calm and worry. These are the peregrinations of the doe and
the panther until finally they meet. O moment! O extraordinary
moment! and everything becomes so simple, so simple.
Calm, says the Master of Ho.
Labyrinth, life, labyrinth, death
Labyrinth without end, says the Master of Ho.
Everything buries, nothing frees,
The one who suicides is reborn to a new suffering.
The prison opens onto a prison.
The corridor opens another corridor:
He who believes he unwinds the thread of his life
Unwinds nothing at all.
Nothing leads nowhere,
The centuries also live underground, says the Master of Ho.
Everything falls, says the Master of Ho. Everything falls, alreadyyou wander in the ruins of tomorrow.
The man who talks to you is Sphinx. The man who you were,the father that you had, was Sphinx. And then,
what did you understand of the Sphinx who made you submit?
He who does not dissolve the one who comes to him, a Sphinx,grows there and it is from this Sphinx that one dies.
Everything hardens, says the Master of Ho, everything hardensand returns to the skull. The incomplete gesture, the faltering ofthe heart, the remark that strikes the ear is him, it is he himself, notunderstood, who will wound you and who, in time, will obstructyou, endlessly, with hard rocks.
Everything sediments. Everything turns into stone, says theMaster of Ho. From the lip to the stone, from the ray to the ruin.
He whose destiny it is to die must be born. Alas, a thousand
times alas for the births, says the Master of Ho. It is an enlacing
which is an interlacing.
One loses in gaining. One retreats in approaching. The girl with
the tight yoni, however great her heart, has a fault.
Many fine things have them.
Take from me the scholar, says the Master of Ho. The coffin of
knowing has limited his thought. O! Liberty says the Master. Take
from me he who sits down to think.
Speak first. Speak and you will not be ignorant. First attain, and
then you will approach.
Everything flows, says the Master of Ho. Everything overflows.
Everything is there.
A look with the wings of a dragonfly poses itself on the loved
one and rhymes the World without the knowledge of he who must
sing of it.
EACH DAY MORE WEAK
Unhappiness whistled to his little ones and designated me.
“It’s him, he said to them, don’t leave him alone anymore.”
And they no longer left me alone.
Unhappiness whistled to his little ones,
“It’s him, he said to them, don’t leave him alone anymore.”
They have no longer left me alone.
BUT YOU, WHEN WILL YOU COME?
But You, when will you come?
One day, stretching out Your hand
In the quarter where I live,
in the mature moment when I truly despair;
in a second of thunder,
uprooting me with terror and sovereignty,
from my body and from the scabbed body,
from my thoughts-images, ridiculous universe;
leaving in me Your horrible probe,
the dreadful drill of Your presence,
raising itself up in an instant on my diarrhea
Your great and insurmountable cathedral,
projecting me not like a man
but like a mortar shell in the vertical path
YOU WILL COME
You will come, if you exist,
attracted by my waste,
my odious autonomy.
Coming from Ether, from it doesn’t matter where, from beneath
my overwhelmed self, perhaps;
throwing my match in Your immeasurableness,
and goodbye, Michaux.
And then, what?
Say, Great fortune, where then do you wish to fall?
|Raymond Dijkstra & Louise Landes Levi ~ In The Face Of Faceless Eye|
|LP Original Photo-collage Prints, Mixed Media||120 euro ex. postage|
Artwork Description: Photo-collages by Raymond Dijkstra