Philip Larkin

The Importance of Elsewhere: Philip Larkin’s Photographs by Richard Bradford – review

Philip Larkin’s astute pictures make a tantalising companion to his verse

Sean O'Hagan
Sunday 15 November 2015

I

n October 1947, Philip Larkin wrote to his friend Jim Sutton about a recent “act of madness” – he had spent £7 on a camera. The British-made Purma Special had cost him more than a week’s wages, but it was state of the art compared with his previous model, a box camera that had been given to him by his father in 1937, when Larkin was 15.

A life in poetry / Paul Muldoon

Paul Muldoon

Paul Muldoon: a life in poetry

I'm interested in what can be done with words, but I like to jazz things up a bit

• 
• • Nicholas Wroe
  • The Guardian, Saturday 30 March 2013
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The poet Paul Muldoon … 'I'm horrified at how many lyrics I can still remember from songs from the 50s.' Photograph: Murdo Macleod for the Guardian

Collecting lyrics from the more literary end of pop songwriting into a book is nothing new. In recent years Leonard Cohen, Bob Dylan, Jarvis Cocker, Ian Dury and Paul Simon are just some of those whose words have been stripped of the music and presented essentially as poetry, taking their chances with exposure to the unforgiving white page. Their efforts are joined this month by another book of lyrics, The Word on the Street, by Paul Muldoon. As a Pulitzer prize winning poet, former Oxford professor of poetry and current New Yorker poetry editor, Muldoon is no stranger to the challenges of making words stand alone on the page. But for all his successes, he is also aware of the pitfalls.

 

Foto de Ren Hang

Love de Ren Hang en C/O Berlín

BIOGRAPHY OF REN HANG

Renata Martins
sábado 7 de diciembre de 2019

I’m lonely
I think the mirror is lonely too
I wish we could have each other
But I’ve never believed
two negatives could make a positive
I only believe that
1+1=2

(I don’t like to look at myself on the mirror – 10.01.2013)

Cuerpos humanos que, muchas veces, rompen el límite del binarismo de género se entrelazan en una exquisita composición explícitamente erótica. Sin embargo, lo que se ve impreso en las más de 150 obras exhibidas en “Love” en la C/O Berlin no son para nada imágenes pornográficas.

Crédito: Untitled 25, 2015. © Ren Hang. Courtesy Estate of Ren Hang and OstLIcht, Galerie für Fotografie, Viena.

Lo que se ve son tomas en primer plano que Ren Hang (1987-2017) hace de cuerpos humanos en simbiosis tanto con otros de su especie como con lo de animales y plantas. A través de eses cruces corporales se generan formas abstractas, poses acrobáticas y una exquisita paleta de colores orgánicos en una atmosfera introvertida, graciosa, por momentos lúdica y surreal, por otros escalofriante y provocadora.