Mandus Ridefelt [annual-exhibition]

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Impasse[1]

It is nowhere in time. It is nowhere on Earth. The noise in the cantina is unbearable, just as the frizzling of the uniform against his thighs[2]is yet another contamination. He nibbles the chicken nuggets and the frequency of processed white meat against philosopher’s teeth is dispersing throughout his cranium like quakes tearing open that which was supposed be the ground, like a needle tracing the coronal shapes of his shaved head[3]. “Being a body is like having tinnitus”, he thinks before pacing himself back to his cell. Through his quiet demeanour he had been granted restricted access to a gramophone. Once a week, for an hour after dinner, he would watch the playback device. They had asked him if he wanted some records to go with it “Maybe you’d like to hear what your pals are listening to these days?” He had turned the offer down. He would place the gramophone on the aluminium sink under the mirror, dim the lights and place his chair just close enough to be able to discern the broken tip of the needle. At one point, something seeps up through the cold stone floor. His neighbour one floor below had seemingly been granted the same privilege and apparently also accepted the offer of some records to play. He listened:

‘Maybe I’m good on my own
Could it be time to let go
Sometimes I wanna believe in you
Then I remember it’s you

How’d it end up like this
Gone with the wind like a kiss
Breaking my heart just to try
Staying alive til I die

And my heart goes on
And my heart goes on
And my heart goes on
And my heart goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on
And my love goes on'”[4]

[1]This is an impasse broken out of a larger body of text.

[2]“His thighs” refers to the thighs of the French communist, soon to be philosopher, Bernard Stiegler while imprisoned for armed robbery between 1978 and 1983. During this time, Steigler constructed a seminal argument on how the recorded melody revealed the temporalization is constituted exteriorly to the subject. Bernard Stiegler, Acting Out, (Stanford: Stanford University Press, 2009) 1.

[3]Rainer Maria Rilke, “Primal Sound and other Prose Pieces”,trans. Carl Niemeyer (Cummington: Cummington Press: 1943)

[4]Hannah Diamond, Love Goes On, track 3 on Reflections, PC Music, 2019.