Protection

birds fluttering feathers beasts secretly cringing
as if musk spreading in the mists astray, fading
then never a sound in Death/ nor breath/ not even heart
Death seals and stagnates the pale wax of light
in her mouth
as if a tooth-filing ceremony as if anaemia as if bleeding

Rebecca Horn, “The Feathered Prison Fan” (from Der Eintänzer), 1978

“It is oblique, magical and ironic, and has none of the in-your-face tone of complaint (men are colonizing thugs, women are victims, and a display of wounds is all you need to make a piece of art) that renders the work of so many of her transatlantic sisters so monotonous.” 
— Robert Hughes, “Art: Mechanics Illustrated.” Time Magazine, 13 Sept 1993; Web. 17 Nov 2009.

玉

蒼白，是血的原色與美學的逆鱗。
他舌尖的蓮消蝕一如
右頰的月光
聲音是時間與蛇的舞姿
交纏蜿蜒的連綴
而生存，歌詠著水波紊亂
殞落著無性之魅
猩紅，似卵與熱的曲線
錯誤的春花秋月
頹萎之靡交合在古印度的菱鏡
天人於是註定了五衰
水面下的墜
玉


Celadon

Paleness, the primary colour of blood,
Aesthetics of one disobedient scale under the Dragon’s throat
The lotus on the tip of his tongue eclipses as if
the moonbeam on his right cheek.
Voices unfold in the dance between Time and the Serpent,
interweaving the movements of musical trills, winding, meandering, murmuring.
And existence, an ode to unquiet rippling, to violent waters,
perishing allures of an androgyne.
Scarlet blood, resembling the curve of an embryo and of heat
I mistake those spring flowers and autumn moon
for the decadently beautiful unison mirrored in ancient India
And angels are thus destined to decline,
falling under the water surface.
Celadon

Rebecca Horn, Dreaming Stones, 2006 (via)

死亡美學（獻詩三島之金閣）

戰後的廢墟，重建
赭色小提琴喤泣聲線
金箔剝蝕的蒸氣與躁動的香

月華清明塗抹石橋
一如滌淨生的 死亡的確知
我兀自佇立文字的金閣
美學修長的眼睫投影
蔭翳，光正自盡。

顫抖顫抖再顫抖，這齣劇本
與血的斑痕纏綿似水
海面痛苦地沉默
光，一如岩礫，一如陰影，光的自縊。

自縊的美學倫理糾結糾結死的似非而，是。
仁波切寂然誦經
呢喃破曉前刻精神與美的歸巢
逐步逐步，緊貼眼睫的哀悽

生的諷刺文體的，死
的潔白墓塚
光正瀉落一湖的私密，若水。

Rebecca Horn, Lenny Silver's Dream, 1990. Sheet music, brass, electric motor. *via Musée des Beaux-Arts de Montréal

煢煢

半圓形的天頂被一層月華光澤的膜緊緻地拉扯住，像一只充滿著水的氣球，虛擬著生腥的焦慮與一種無所事事的、完完全全脫離精神性的美與憂鬱。那個午后，是薄如蟬翼且裹上銀粉的新生的卵，適於討論命理與禪。雲以敏捷的腳步滑行於透明且虛弱的藍，泡沫似的溫順與漠然。青春其實是極度缺乏生命力的。在旺盛與浮躁之中貪慕假象的匱乏，而後需索從不曾或缺的旺盛；在柔弱的本質中渴求堅強與信仰，之後因對於軟弱愚蠢的不自覺與惑於自我宣稱的虛偽堅強而尋覓所謂謙恭溫潤的中庸。青春是僅只存活於對純粹的堅持下、一種具備了美卻不易碎的浪費。如果死的優雅與精神性建構了藝術中闡釋生命的美學，則生不過是為襯托死的一種附屬的存在。但是生命卻是無法磨滅的，即使蒼白而無意義，卻無止盡地散發出猩紅的血的氣味。印度神濕婆在宇宙的輪迴當中毀滅自己所創造的鏡花水月，而後使之重生，不斷重複操縱著生與死的轉輪；祂是否也感受到生命中那種匱乏虛弱的美，以及死亡中屬於生之投影的愛與信念？藍所象徵的嫌惡與非難，以清澈且充滿靈性的美存在於自然界的蒼穹。隅隅獨行的生，幾人在腐臭中仍吟哦走了調的聖詩，又幾人能擺脫所有倫常的帷幕而誠摯地憎恨與厭惡？然而這一切的思索總似時間過度充裕的青春所編織的蛛網，純白得美麗亦膚淺得軟弱。當青春終於被擺脫後，生命開始進入下一段對死複雜的戀慕和禁忌，與對消逝的水光緬懷的遺憾。

Nick Knight, Roses (via)

奔馬

夢先於現實。
而純粹
似花，似血，似詩
，似枯腐前消逝的生。


Runaway Horses (Realistically Synaesthetic Purity)   

Dreams, a priori, then reality.
And purity
Resembles a flower, resembles blood, resembles poetry,
Resembles life, a priori, disappearing before decay.

荒木経惟，花。