Junho 2013 No. 8 ECSTASY ALLEGORY 1 for Dissident Desire Archive 2 at District Kunst- und Kulturförderung Berlin, Germany 3 4 she played the flute in tight garments procession creatures, together lungs oscillated, expanding rhythm when futures were fearless pomegranate releasing cells, contagiously dyeing worlds ability conquested to describe plastic contours she gave her neck to her lover proving her love string sheltering mutual sacrifice she lost her flute and shuttered herself in cloths neglected by seasons dried mouth doubted, arid and breakable, muscles gathered marble, repeatedly stiffen illusions abstained from playing all becomings she searched for her lover never to find blindly disguised to giants vigilants she was the flute naked and ornamented infringed by wind, whole skin opened, vibrant and resistant soft bones foam, capturing and nurturing intensities effortless landscape of singular contours out of new associations never done before beliefs she had her love back fully present within out endless benefiting blessed battle 5 Clara Batalha poem and drawings 6 Isabel Carvalho text and art Like a container, the poem reassembles a col- lection of spiritual references gathered around a central topos: the being as a work in itself, a work that demands love, and love as the condi- tion for being. The poem is developed in three moments – progressive steps, forever repeated, towards the construction of a poetic machine that is not only a description of itself, but also the result of it. The poetic machine is the flu- te – a metaphor for the being connected with everything and to all things. In the first step, the flute is an outside object that circulates as material capital. The work as love is external to the being. Their union is dependent on the outside and for that reason it’s not reliable enough. It’s activated only by human will and frail desires. In the second step, the flute is lost. That brings about sadness and enclosure, the lack of possibility of exposure and the ability of expression – of being in the world and trans- forming it. In the third step, the flute is made from the body. It’s the achievement of being in the world, transforming and multiplying it, effortless. More than on mere individual will, it depends on the intensities that the being cap- tures and exchanges from its own condition of being alive. As a cylinder, the flute is an infinite circular machine, where sound circulates blur- ring inside and outside space. At the same time it reiterates the body (a resonating and musi- cal body), it also releases it from its constraints and celebrates its full potency. The spiritual (in the sense of the invisible) is here summoned as the fundamental content for the production of this machine which works as capital’s counter- -machine. In other words: flux against flux. 7 Drawing Materials brush & face powder 8 Written in Essaouira, Morocco 9 Date 11 June 2013 10