sexta-feira, 27 de fevereiro de 2026

Ontem







 (Fotografia: João Torres.)

A Noite de Jazz & Poesia deste ano...







... terá lugar a 7 de Novembro, na Galeria Safra, no Lumiar. 
A música estará a cargo de Ravenna Escaleira (saxofone), Alex Cortez (baixo eléctrico e electrónica) e João Madeira (piano e contrabaixo eléctrico); as leituras serão feitas por três tradutores de poesia muito diversa: João Menezes Ferreira, António de Castro Caeiro e João Moita. 
Mais notícias em meados de Outubro.

 



 

 


Eclogue the Second: HASSAN; or, the Camel-driver.

 

scene, the desert.

time, mid-day.

 

In silent horror o’er the desert-waste

The driver Hassan with his camels past.

One cruse of water on his back he bore,

And his light scrip contained a scanty store:

A fan of painted feathers in his hand,

To guard his shaded face from scorching sand.

The sultry sun had gained the middle sky,

And not a tree, and not an herb was nigh.

The beasts, with pain, their dusty way pursue,

Shrill roared the winds, and dreary was the view!

With desperate sorrow wild, th’ affrighted man

Thrice sighted, thrice struck his breast, and thus began:

Sad was the hour, and luckless was the day,

When first from Schiraz’ walls I bent my way.

 

Ah! little thought I of the blasting wind,

The thirst or pinching hunger that I find!

Bethink thee, Hassan, where shall thirst assuage,

When fails this cruise, his unrelenting rage?

Soon shall this scrip its precious load resign;

Then what but tears and hunger shall be thine?

 

Ye mute companions of my toils, that bear

In all my griefs a more than equal share!

Here, where no springs in murmurs break away,

Or moss-corned fountains mitigate the day,

In vain ye hope the green delights to know,

Which plains more blessed, or verdant vales bestow.

Here rocks alone, and tasteless sands are found,

And faint and sickly winds for ever howl around.

Sad was the hour, and luckless was the day,

When first from Schiraz’ walls I bent my way!

 

Cursed be the gold and silver which persuade

Weak men to follow far-fatiguing trade!

The Lily-Peace outshines the silver store,

And life is dearer than the golden ore.

Yet money tempts us o’er the desert brown,

To ev’ry distant mart and wealthy town:

 

Full oft we tempt the land, and oft the sea;

And are we only yet repaid by thee?

Ah! why was ruin so attractive made,

Or why fond Man so easily betrayed?

Why heed we not, whilst mad we haste along,

The gentle voice of Peace or Pleasure’s song?

Or wherefore think the flow’ry mountain’s side,

The fountain’s murmurs, and the valley’s pride,

Why think we these less pleasing to behold,

Than dreary deserts, if they lead to gold?

Sad was the hour, and luckless was the day,

When first from Schiraz’ walls I bent my way.

 

O cease, my fears! all frantic as I go,

When Thought creates unnumbered scenes of woe,

What if the lion in his rage I meet!

Oft in the dust I view his printed feet:

And fearful! oft, when Day’s declining light

Yields her pale empire to the mourner Night,

By hunger roused, he scours the groaning plain,

Gaunt wolves and sullen tigers in his train:

Before them death with shrieks directs their way,

Fills the wild yell, and leads them to their prey.

Sad was the hour, and luckless was the day,

When first from Schiraz’ walls I bent my way!

 

At that dead hour the silent asp shall creep,

If ought of rest I find, upon my sleep:

Or some swoln serpent twist his scales around,

And wake to anguish with a burning wound.

Thrice happy they, the wise contented poor,

From lust of wealth, and dread of death secure!

They tempt no deserts and no griefs they find;

Peace rules the day, where reason rules the mind.

Sad was the hour, and luckless was the day,

When first from Schiraz’ walls I bent my way!

 

O hapless youth! for she thy love hath won,

The tender Zara, will be most undone!

Big swelled my hearte and owned the pow’rful maid,

When fast she dropped her tears, as thus she said:

“Farewell the youth whom sighs could not detain,

Whom Zara’s breaking heart implored in vain;

Yet as thou go’st, may ev’ry blast arise,

Weak and unfelt as these rejected sighs!

Safe o’er the wild, no perils mayst thou see,

No griefs endure, nor weep, false youth, like me.”

O let me safely to the fair return,

Say with a kiss, she must not, shall not mourn.

Go teach my heart to lose its painful fears,

Recalled by Wisdom’s voice and Zara’s tears.

 

He said, and called on Heav’n to bless the day,

When back to Schiraz’ walls he bent this way.

 

WILLIAM COLLINS


 

quarta-feira, 25 de fevereiro de 2026

Auchan



 



NÃO SOU


Não sou uma lésbica gritando na cave acorrentada a uma teia de aranha de cabedal

Não sou um Rockefeller com um ataque cardíaco na cama da amante com as calças em baixo

Não sou um estalinista radical paneleiro intelectual

nem um rabino anti-semita com chapéu preto barba branca & unhas sujas

nem o poeta da cela da cadeia de São Francisco espancado pelos preferidos da polícia cobarde na véspera de Ano Novo

nem Gregory Corso Orfeu Maldito destes Estados

nem ainda um professor com um salário maravilhoso

Não sou ninguém que eu conheça

De facto só estarei aqui 80 anos

 

ALLEN GINSBERG

Liam Neeson


 

Éliane Radigue (1932-2026)

 https://cachimbodemilho.blogspot.com/search?q=radigue

segunda-feira, 23 de fevereiro de 2026

Qualquer dia não saímos de casa: Steinway Spirio | The Best Piano in the World Now Plays Itself!

Discover the Steinway Spirio. See how you can have the world's best artists, playing your own Steinway, via the touch of an iPad.

Documentary: Nicolas Autheman's Les lampes de Manet (2025)


Quand une scène de vie nocturne peinte par Édouard Manet – "Un bar aux Folies-Bergère" (1882)  ouvre sur un nouveau monde : celui de l’invention de la lumière électrique et, plus inattendu, des échanges entre l’Europe et le Japon… Narré par Vincent Dedienne, un nouvel opus de la collection qui raconte, via une œuvre, une histoire connectée du monde.

C’est l’une des pièces maîtresses de la collection de la Courtauld Gallery à Londres – et l’un des tout derniers tableaux peints par Édouard Manet, qui l’achève en 1882, quelques mois avant sa mort prématurée. Un bar aux Folies-Bergère est l’une de ces scènes de vie parisienne si prisées par le Groupe des Batignolles, dont fait partie l’artiste dandy : debout au centre de la composition, une serveuse blonde, Suzon, regarde au loin, l’air absent. Sur le comptoir devant elle, des bouteilles de champagne et de bière, qui traduisent la diversité du public de ce lieu de nuit festif, où bourgeois et prolétaires s’encanaillent de concert. À l’arrière-plan, un grand miroir renvoie un reflet étrangement décalé. La lumière y est blanche, crue, comme en plein jour : elle émane de globes ronds comme des pleines lunes – d’extraordinaires lampes électriques, parmi les toutes premières de l’histoire.

"Monde flottant"
C’est l’histoire d’un tableau qui raconte la fin d’un monde et le début d’un autre. Dans cette enquête artistique, narrée avec malice par le comédien Vincent Dedienne, on entre dans la composition par le détail des lampes, qui à elles seules racontent l’incroyable basculement dans la modernité qu’est l’invention, en cette fin de XIXe siècle, de la lumière électrique. En se penchant sur cette technique révolutionnaire, l’investigation suit les expérimentations de Thomas Edison et nous emmène jusqu’au Japon. Le pays, qui s’ouvre alors pour la première fois au reste du monde, lui offre à la fois le précieux filament en bambou des ampoules à incandescence, et une esthétique qui laissera dans l’art occidental une trace indélébile. Et si l’étrange posture de la jeune serveuse de Manet traduisait ce "monde flottant", représenté dans les estampes d’Hokusai ou d’Hiroshige ? Un voyage aussi passionnant qu’inattendu à travers les siècles et les continents, nourri par les perspectives de nombreux intervenants – un éclairagiste des Folies-Bergère, des moines shintô, une éditrice d’estampes à Tokyo, un ancien mineur du Nord-Pas-de-Calais…

Documentary: Mathieu Schwartz & Anaïs Van Ditzhuyzen's Les trésors oubliés de la médecine arabe (2025)


 

sábado, 21 de fevereiro de 2026