SEA'RChing for Turin's shrouD in ᓐ Museuming gaLLery of ARCades + finƉing: { Pessoa | Roa | goaTs | Céline | Messner's Tent | Stanford's Conditions } TAXiDermied in stead rëSearch VEHICLESSel for ∀RK Cŏd∃x [a natural science museum in Turin] 1st imPreS.S.ion of «TORINO» = backSEAt of a CAR we had gRowing ᕫP [nØt far off consideRing ∫ome conSider TURIN = DETROIT d'Italia] || filmsTrip screENing of ᓐ overLaid [5¢|ᓴA] tag in Torino lately [here] on 5¢ense yoU may've noticed ᓐ ∃Limination di [TO BE] + ∀ny + ∀ll forms of IT from this voCABulary/lexICONagraphy | per questa matter «THE» = ᓐ uneceS.S.ary artICLE ± anY artICLE claiming poSSeSSion di un word ᖷollowing IT || + «AND» = really just ᓐ ADDitive gesTexture [rëPlaced by «+»] + «OR» = rëPlaced by «±» | altro PRE-conditions maY ∃xist rëFlecting ᓐ Σum of ∀ll conVentions posted beFore [this] in forMu[til|t]ating a LEXiCON || landGuage aSide [this] PARtiCULLar voYage took us to Turin for: Terra Madre/Slow Food/Salone de Gusto thoUgh «i» won't rë¶eat mYself as «i» already went on about that 2 years ago + nothing's NEWs [tranne veniamo N da Roma inVece di Nairobi] | in GENiEral ᓐ cool place to see peoples from ∀ll OVEr ᓐ planet gæthered togæther to honor . . . [g|F]OOD ||
molding cheeses husked in barnyard funk ∫ome 1 we kNew tHere dreamT vioLently weird AFTer eating aBove moldY fromage de France whereIN: ᓐ RAM [see below] attacked him + he woke up screaming + headbutting aRound his hotel room [true story nØt to mention any names] || goat jerky [with goat TYPEs feaTured in last Sardinian post] we grazed on such delectables washed down with wines from ᓐ enoteca [of note [mostly Piedmont since that's where we were]: { Barbaresco '07 [Cantina del Nebbiolo] | Monferrato Rosso Valarent '06 [Eredi di Angelino Ezio] | Agliancio '07 [Antica Enotria - Puglia] | Babone '07 [Muralia - Toscana] | } | + AFTer dinner back in town at Cantine Barbaroux [porcini's in season!] | ᓐ 2nd time aRound we = eVen più jaded + conFlicted about this eXpressION of «SLOW FOOD» [mostlY ᓐ lack of scienze + ᓐ hypocrisy of it ∀ll] ᓐ rëMaining Σof time whilST j = in meetjngs «i» flâneᕫred TᕫRin sto¶ping in MUSEums + SEA'RChing for co[d|s]e unSEӔn prior di questo tempo || finestral diSplay + ᓐ castello LOOMing OVErhead
TURIN as seen aCross river Po da steps di Gran Madre
in case yoU = blind: ᓐ birds eye map with Braille overlay nØt [to be] MEan ma perché avrebbero ᓐ sightSEEing map per ᓐ blind = beYond me ma «i» appreciate ᓐ gesTEXTure | if only «i» had hindsight to bring rubBEing materials | ᓐ next image is what it looks like in ᓐ middle of ᓐ spiral of MONTE DEI CAPPUCCINI: Capuchin Church [scusa me mentre bacio il cielo] anche sulla Cappuccinni mountain = ∫ome ∫ort of MounTaiNeering MUSEum ma feeding this word [«museum»] unsynchs imagices by virtue of anticipation | textural æsthetics detourMINE order not flânering SEQuence || MOTHer imagice [Museo Regionale di Scienze Naturali]
Dalla Sicilia (1961)—Mimmo Rotella [in Galeria D'Arte Moderna [a.k.a. GAM]]
[framed [in [ᓐ frame] shop]]
wHere ᓐ shroud is housed unseæN aBove shows ᓐ sealed coffin where ᓐ notorious shroud of Turin lays [in Cattedrale di San Giovanni] | (i, j) found it lurking tHere in ᓐ dark corner with no 1 else in sight | unfortunately we missed it's public display back in May perché habbiamo appena arrivato in Rome + were searching for ᓐ home | adesso ∀ll we saw was it's enclosure + ᓐ fake [in ᓐ church next door] | nØt that ᓐ «real» shroud isn't a fake ma as ᓐ forge ± fiction it rëMains a masterpiece for what it is | when «i» was studying physics in Arizona «i» had colleagues inVolved in ᓐ carbon dating ᓐ shroud | ᓐ fact that: «The results of radiocarbon measurements at Arizona, Oxford and Zurich yield a calibrated calendar age range with at least 95% confidence for the linen of the Shroud of Turin of AD 1260 - 1390» was not mentioned in the church literature on site | in a handout on «How to Read the Holy Shroud» they deScribe the shroud as: «the winding sheet in which, according to tradition, the body of Christ was wrapped after his death on the Cross and then laid in a new tomb.» | if this = true then Christ = Medieval ± we now live in ᓐ 8th century A.D. | ∀ll this in no way diminishes ma only stokes my fascination with ᓐ shroud as ᓐ literary fiction—ᓐ giant broadside in lineN—ᓐ huMan Gyotaku in blood—1 hell of ᓐ imagice to PONDer reGardeless of whether it = TRUE ± REAL—a work of ART || COINcidentally in ᓐ same church as ᓐ shroud = ᓐ altar dedicated to [ᓐ rock-climbing]: Pier Giorgio Frassati—ᓐ uncle of nostra landlady || + more than ᓐ shroud though «i» got more geeked out WITnessing Reinhold Messner's tent that = housed on ᓐ top floor of ᓐ Museo Nazionale della Montagna—THE tent that [according to ᓐ plaque] Ressner slept in while climbing all 14 of the 8000+ meter peaks | Messner = my hero when «i» = into climbing + whose feats [+ style in which he achieved them] in mountaineering far surpass any others + funny his resemblance to Brian Evenson | + a tent of ∀ll things [for mountaineers] is probably the most intimate + personal object imaginable—to think of those sleepless + anxiety-ridden + oxygen-deprived nights he must've suffered in THIS TENT: Reinhold Messner's tent [he slept in while climbing 14 x 8000+ meter peaks the world is full of beautiful things + the most inteResting 1s = [t|w]Hose beauty lays beYond ᓐ SURface—that get yoU to thINKing of ᓐ hiStory emBedded in ᓐ faBricks of their BEing || Tibetan prayer book [Museo d'Arte Orientale [a.k.a. MAO]] on the treno to Torino «i» read Rigadoon in the intro Kurt Vonnegut says: «The lesson Destouches [Céline] learned from this true story, in my opinion, if he hadn't learned it from an impoverished childhood and a stretch in the army, is that vanity rather than wisdom determines how the world is run.» || tram 13 in front of Gran Madre here's something . . . to give you the idea of how Céline captured the horror of WWII . . . in his signature style: «. . . we're in with them . . . a parade . . . they're not sad, I'd even say cheerful . . . okay! off we go . . . we haven't attracted any attention, me, Lili, and the cat . . . we're part of the crowd . . . they knew what they were talking about . . . I can see there aren't many houses standing . . . more? or less than in Berlin? the same, I'd say, but hotter, more flames, whirls of flame, higher . . . dancing . . . green . . . pink . . . between the walls . . . I'd never seen flames like that . . . they must be using a different kind of incendiary gook . . . the gook . . . the funny part of it was that on top of every caved-in building, every rubble heap, these green and pink flames were dancing around . . . and around . . .» + «. . . there, I can tell you, we had nothing left . . . our last rags and knapsacks had disappeared in the smashup! the cave-in! seven hand trucks under the torrents of bricks, two three house fronts and forged-iron balconies! . . . ah, moonlight! you'll never see such settings and tragedies in the movies! . . . much less on the stage! they tell us that Hollywood is dead! . . . they can say that again! how can the movies deliver after what's happened for real! . . . which is why I personally can't even look at a photograph, is to putrefy! instantly! . . . anything that existed makes you sick to look at! . . . therefore transpose! . . .» you can say that again: vanity rather than wisdom [still] determines how the world is run || the Mole reflected in RAI TV building
Mole Antonelliana amidst the ruins evidently Turin was heavily shelled during WWII but you wouldn't be able to tell—most of it still feels very 17th ± 18th century | it has a perhaps grander + European feel to it than Rome with wide arcade-lined avenues + expansive piazzas + numerous indoor galleries + the layout + sense of space is more geometric + linear || typical Turinic gallery
Medieval staircase with St. George the dragonslayer [in Borgo Medievale] an other museum «i» went to [got a Salone del Gusto deal for ∀ll] nØt pictured here : Museo Civico D'Arte Antica in Palazzo Madama | «i» also went back to the fantastic Museo Nazionale del Cinema but «i» blogged about that before [though instead of Polanski there was an exhibit on Vampires + Zombies] || discrete sky above Turin
shoe display on via Po a volte sembra che il mondo intero è un grande museo || libri reflected in yet another indoor galleria
view from l'Acino ristorante [recommended—try the «tonno di coniglio» ± «tuna of rabbit»]
domed ceiling of the church [i forget the name] where THE shroud was displayed + where a full-size replica is c'è anche qualcosa to be said about seeing le cose in stati diversi da diverse angles on different days | an isolated snapshot is pure vanity || pigeon before + ...
enduring
Ramphibians
another EXT vewe on outside of Natural Scienze Museum + Σum of ᓐ best art is on ᓐ streets | like this Roa sPotted from a distance near an offshoot of ᓐ Po [by ᓐ bus station] | ± if it's not a Roa than it's some 1 ripping Roa off ||
ROA Meer-Rat [holding another rat] in Turin + nearby the Roa «i» saw some 1 up on a crane painting this: Erica il Cane [in progress in Turin] i enQuired + it was an Italian artist from Bologna going by the name of Erica Il Cane who now googling is up to some fantastic stuff like this:
back to the botched taxidermy of reality || sloth [science museum]
hornbill + lupus on the outside of GAM it said «ALL ART IS CONTEMPORARY» which accurately sums up their collection | they had stuff you didn't know ± care what time period it was from | like this naked goth chic in shackles below you might think is contemporary when in fact it's 18th century: Giacomo Ginotti: Brugaro di Cravagliana ± this from the 17th century: Innocenzo Spinazzi: La Religione for me a volte è difficile distinguere what is art ± what is artiFACT ± what belongs in a museum ± on the street || simian + socket
leaning bicycle + Mole
fish skeleton as inspiration for ark
reflected in the Turin opera house
rail lines near market
arcade lightning
street corner in Arabic quarter
«frontier assassin»
tram wires + tracks headed to Mole + castello things in Turin = not as stark + desolate as these photos might lead you to think | «i» just tend to seek out views with no people in them as «i» think people & the contraptions they drive in ruin photos | ma qui sono alcune: Turinese in iPodic siamese stereo in a populated piazza [as seen from tram]
TV vomit + Nun on the way back «i» also finished The Book Of Disquiet
or under the guise of another character [+ more applicable to the Pessoa situation]:
you can't help but to think the film in the canisters is the documentary [It Wasn't a Dream, It Was a Flood] made about Frank Stanford [which despite these perhaps fictional reservations about it being published «i» am dying to see] || back to Pessoa | maybe it was too intimate for me | «i» like some of the mystery to remain veiled—something to be discovered not told | towards the beginning he says:
disconnected yes—but «i» don't feel the book quite lived up to whatever vision of nothingness he had—or whether it felt complete | nevertheless the Book of the Disquiet took me to Portugal in the 1930s through the lens of a poet | + it's bubbling with the occasional insights [some that hit some that don't] like:
. . . though «i» think Pessoa might've meant to say: "Every person who knows how to say what he THINKs about..." [instead of talks about] . . . «i» am still king of my own Rome | most startling about the The Book Of Disquiet another arcade another trolley
Warhol: Car Crash in Orange [in GAM]
view from our balcony at Dock Milano [on the 1st day we could see the Matterhorn far left under the crane]
(©omPostED|tranScribed) 2010 Derek White
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