knjiga ana d.

From Report No. 9 – SMS chapter (The Ana D Book; pg. 237):

AUGUST 9 /Tuesday/

Child (13:33)
THERE ARE TIMES WHEN
THE DAY DEVELOPS SO ONE
WOULD’VE BEEN BETTER
OFF WITHOUT IT.. MY
HEAD IS TAKEN WITH AN
INDETERMINATE SADNESS..

Peripat to CHILD (13:41)
Tell, C, what has been?

Child (13:44)
..don’t know.. how to..

Peripat to CHILD (13:47)
Then don’t be sad!
Off to the KHM*!

* abbreviation Kunst Historisches Museum; The Art History Museum (Ger.)

Child (13:48)
Have a good look
and enjoy it for me
as well..

Asja (17:31)
At 00:25 far from the
river and near the
forbidden city by
Tiananmen Square, also
within reach of the
Great Wall, which will
be our gift tomorrow..

Peripat to ASJA (17:35)
At 17:33, far from
peace and close to
Children’s Games by the
Tower of Babel and
within reach of
Rembrandt’s son Titus
who will be reading his
book tomorrow as well .

Pieter Breughel
The Tower of Babel /1563
(114 x 155 cm, Oil on wood)

Asja (18:20)
What wonderful things
you are surrounded by..
there at the KHM, hmmm,
hmmm..

Rembrandt Harmensz van Rijn
Titus van Rijn, the Artist`s Son, Reading /1656/57
(70,5 x 64 cm,Oil on canvas)

* Call Child in the evening, have a chat about the visit to the Museum: “I was not as delighted at seeing Breughel this time as I had hoped!”

Child (20:12)
WHO DID YOU MEET
TODAY APART FROM B?

Peripat to CHILD (20:18)
C’ David, H’s Ages of Man,
R’s Titus and his granny, and
also D’s Venetian Lady..

Caravaggio – Michelangelo Merisi
David with the Head of Goliath /1606/07
(90.5 x 116 cm, Oil on wood)

Hans Baldung Grien
The Three Ages of Man /1510
(48 x 32,5 cm, Oil on wood)/
** A conscious mistake by Peripat?
He had mistaken Baldung for Holbein!

Child (20:31)
C-CARAVAGGIO, H-
HOLBEIN, R-REMBRANDT,
D-DAVID?

Rembrandt Harmensz van Rijn
Tha Artist's Mother as Prophetess Hannah

Child (20:39)
D-DÜRER!!

Albrecht Duerer
Venetian Lady /1505
(33 x 25 cm, Oil on wood)

Peripat to CHILD (20:44)
BRAAAAVOOOO!! I was
just sending the
correction to the last.
When writing, I was
reminded of the Essay
on Blindness and then
immediately thought:
THIS IS NOT POSSIBLE..
STOP TESTING! BRAVO!!!

Child (20:47)
THANK YOU, THANK YOU..

Peripat to CHILD (20:50)
NOTHING TO BE
EMBARRASSED ABOUT,
JOB WELL DONE!!

Child (20:53)
OK,OK (C,R,H –
immediately, not so D.
Then picked up Larousse
to verify.) FEEL I’M
BEING TESTED?
I WONDER WHY?

Peripat to CHILD (20:58)
MEANT TO ASK ABOUT
BOOKS, BUT THERE ARE
ONLY 160 SIGNS, YOU KNOW..?!

From Report No. 9 (The Ana D Book; pg. 252):

“Let’s go across,” she indicated the museum twins on the other side of Burggarten, “…to see your Pieter B and his Children’s Games…”

Pieter Breughel
Children’s Games /1560
(118 x 161 cm, Oil on wood)

When we were then walking past the Butterfly House and the self-satisfied iron and glass constructions, bolted and green, which made me think of the false times of Universal Exhibitions, Child B suddenly stopped. I stopped too. She was looking me straight in the eyes and there was no anger in her voice.
“You gave birth to me and brought me up… Now you are no longer content with what I have become… You are looking for a chaste being on whom you could repeat the experiment…”
“Be nice, you know I am only one. If I were two or three, then it would be easier. You know, like you, you too are only one…”
She didn’t smile. She just looked away and continued on her way. I followed her. I chased her.
“Look, you give me everything… Except her!”
She made no reply, just started to put one foot in front of the other with more severity.
“You are wrong… I am well aware that she lives in the world of consumption, not of love. In her world, no thing can spend a month intact, without getting gnawed…”
Again, she stopped and looked at me.
“I’ve told you before, she is crazily just so… I wish she became repulsive to my gaze.”
I fell silent. We stood behind the Neue Burg. It was from the balcony opposite that Hitler declared the Anschluss.
“If she does not repel my gaze, I will repel it myself…”
“What you are saying is not good.”
In the KHM we went straight to the Breughel room. We stopped longest in front of the Hunters in the Snow. As we were leaving, she asked me to take her to C’s David, H’s Ages of Man, R’s Titus and his granny and D’s Venetian Lady. We were able to laugh again. Her next question was also tinged with laughter.
“What am I to do with you?”
“If I’m a shoot, pluck me! If I’m a beast, kill me!”
“At times I feel enormously guilty for still being normal!”

Pieter Breughel
Hunters in the Snow /1565
(117 x 162 cm, Oil on wood)

Giorgio de Chirico
Duo /1915
(82 x 59 cm; olje na platno)

Iz XIV. POROČILA (Knjiga Ana D; str. 395)

(...)
Igro spogledovanja sva kasneje še nekajkrat ponovila. In če sem odmislil poskakujoče oči, me je njen izpraznjeni obraz spominjal na glave De Chiricovih metafizičnih figur, tistih njegovih krojaških modelov: lepih, slepih, gluhih in nemih.
... DAVNO NEKOČ SEM SPOZNAL DEKLICO TUJEGA IMENA ... VSEENO, VSEENO JE ZAHTEVALO TOLIKO LAŽI, KOT BI HOTEL IZ BESED ZGRADITI DOBER SVET ...
Če sem povsem odkrit, me je temnolaska spominjala na mnogo bolj trivialne trenutke, ko sva si z njej podobno deklico v nekem že zdavnaj propadlem klubu stiskala roke in skrivala prešuštno tresavico pred naokoli stoječimi znanci. Bilo je povsem sprevrženo, ker sva si v nasprotju s kradljivimi dotiki med gubami zimskih plaščev lahko v vsem tistem šundru povsem svobodno kričala različne laži in opolzkosti. In sem ji tudi kričal, da je lepa. Želela je vedeti, zakaj. Pa sem ji spet zatulil, da zato, ker ima tako prazen obraz. Z rahlim nerazumevanjem je sprejela bedast kompliment in stiski njenih rok so nekoliko popustili, vendar se v tisti živčnosti pač nisem uspel dovolj hitro zlagati ali se po že storjeni napaki do konca izkričati vsaj še o meni zelo dragih Pesnikovih sanjah, Motečih muzah in Maskah.
./.

Giorgio de Chirico
Pesnikove sanje /1914
(89.5 x 40.5 cm; olje na platno)

./. Po vsej verjetnosti pa sem takrat že prav dobro vedel, da najina ujetost v drže iz de Chiricovih variacij na temo Hektorja in Andromahe res ne priča o ničemer drugem kot le o mojstrovem geniju.
(...)

Giorgio de Chirico
Hektor in Andromaha /1946
(82 x 60 cm; olje na platno)

Iz VII. POROČILA (Knjiga Ana D; str. 197)

(...)
"Edino glasba se lahko vsaj na dotik približa smrti. Pa vesta zakaj? Zato, ker se edino ona od vsega človeškega lahko zavrta v neskončno ... Abstraktna in neulovljiva je kot slutnja, mnogo daljša od najdaljše misli ... Ali poznaš Rothka ... slikarja Marka Rothka?" se je nalahno obrnil k meni.
"Ja, monokromija in samomor ..."
./.

Mark Rothko
brez naslova /1957
(231.9 x 176.7 cm; olje na platno)

./.
"Mhmm ... Njega je umoril njegov lastni medij. S sliko ne moreš nikoli bliže k smrti, kot je to storil on ... Slikarska abstrakcija se nujno konča v praznem platnu, lahko v belem, rdečem ali črnem, vseeno ... dlje ne gre. Poznaš Schielejevo sliko Deklica in smrt?"
./.

Egon Schiele
Deklica in smrt –avtoportret z Walli/ 1915
(150 x 180 cm; olje na platno)

./.
Tokrat še toliko ni počakal, da bi mu pritrdil, ampak je kar nadaljeval.
"Tisto je igračkanje ... nekakšno naricanje o smrti, ki ji z govorico, čeprav slikarsko, nikakor ne moreš bliže od Rothkovega rdeče popleskanega platna ... Lahko se samo še ubiješ ... kot on. Glasba počne to drugače. Nikoli ne lovi konkretnega, največ vsebine ima pisk ali žvižg ali zvonjenje ... pri telefonu in cerkvenih zvonovih, ali če hočeš, tudi pri Pavlovem psu ... Pa to še ni glasba. Za razliko od Shieleja na primer Straussa sploh ne prenesem, ampak tudi on se je preizkusil z Deklico in smrtjo ter se ... sploh nič čudnega ... dotaknil smrti mnogo bolj zares, kot je to uspelo Egonu ali celo Rothku. Pri tem zadnjem, preveč zavzetem norčku tega seveda ne mislim bukvalno. Pa saj vesta, kaj hočem povedati ... En ton je lahko daljši od žalosti celega življenja, en sam ton je lahko globok kot neskončnost ... Z besedo ali podobo, ki je zgnetena iz končnosti, se ne bosta nikoli dotaknila smrti ..."
Ko je pred koncem preskočil na dvojino, sem razumel, zakaj sta bili obe vprašanji o slikarjih naslovljeni izključno name. Ni šlo za naklonjenost. Vedel je, da Asja prav dobro pozna dela in usodi obeh nesrečnikov.
(...)

Mark Rothko
brez naslova – rdeča, bela, plava /1953
(197.5 x 207.7 cm; olje na platno)

Ma ne, ni šans … ne bom živel 33 let.

Branko Grims (psevdonim v odhajanju)