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CHRISTOPHER ALEXANDER KOSTRITISKY GELLERT

TEXT

"HIRONDELLE", CollABORATIVE TRANSLATION WITH LÉNAÏG CARIOU, Point de CHUTE, DECEMBER 2020

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"DEUX TASSES", FrAGILE REVUE DES CRÉATIONS

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"J’ai cassé
deux belles
tasses
bleues et
blanches
il m’en reste
une seule
dans laquelle
je me sers
mon café
matinal..."


Translation of LÉNAÏG CARIOU's PoEM "Décorserter"

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DÉCORSETER

"Mes doigts creusent
dans le sable
par mouvements compulsifs
pour trouver   un corps

pas les cadavres de mes rêves   non
un corps
assez humide
pour que sur lui
glissent     les injonctions..."




STRIP

"My fingers dig
into the sand
in compulsive movements
to find       a body


not the cadavers of my dreams no
a body
humid enough
so that
upon him
slide       injunctions..."


Visions of Liberty, Rooms With Views. Squaring The Circle: Harriet Hale Woolley, Past & Present

Art Exhibition at the Fondation des États-Unis, (June 6 - July 31, 2018)

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Transatlantica, 2018

This article is a critical response to an exhibition held at the Fondation des États-Unis (Cité internationale Universitaire) from June 6th to July 31st 2018 entitled “Squaring The Circle: Harriet Hale Woolley, Past & Present”, which gathered together fourteen past recipients of the Harriet Hale Woolley scholarships in the visual arts. The exhibition focused on the history of the grant and its importance to American artists studying in Paris, as well as what it means to be an American artist living abroad in France. This article takes the pulse of a particular community of artists who are reunited through their work in the exhibition and reflects on their common experience and the dialogue that emerges from their work, and joins them together.

Image: Lucy Kirkman, The Process of Painting (2010)

"For A.F." (part i), Parentheses

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summer 2018

 "Egyptian phantoms", ESSAY

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love, -j., March 2016

"As a boy, I wandered galleries lined with elaborate unearthed coffins -- dollhouse versions of chattel (human and material) to haul with you to the afterlife, the rows of stiff humorless shirtless martinets mid-stride, bedecked in serpentine headdress. I did not radiate the fascination of some of my schoolfellows. 

Picking my way through the Cleveland Museum of Art’s new exhibition, Pharaoh: King of Ancient Egypt, I felt like one of the cats on display: stony, indifferent, curious. Yet as I slinked through the galleries I surprised myself in wonder..."

"Still Movement", Essay

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love, -j., March 2016

"I’m almost hesitant to label UNFIXED: The fugitive image as a photography exhibition. The show, currently on exhibition until April 3 at the Transformer Station (the Cleveland Museum of Art’s West Side annex), resists traditional assumptions about photos as pictures. Instead, it asks us to approach photography, and video, as a process that does not immortalize, but like all things inevitably dies. That death is written into the works encourages us to treat them as living objects, to find beauty in their movement, meaning in their brief passage, as in our own..."

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"It being summer, "All this about the weather, or the light in the morning", and "P.S."  FORTH Magazine, November 2015

"Here With The Boys, The Concepción Sessions"

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News-Decoder, November 2015

"Paulo, Pablo, Pablo, Paolo and Marcelo.

A night a while back I turned to introduce Pablo and before I could stumble, forget and mispronounce his name, he cut me off. “Not Paulo, not Paolo and not pololo.”


Pololo — boyfriend — is a sure way to know someone’s from Chile..."

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 "Chopping Onions", Belleville Park Pages
late April 2015

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 & "Nights of Sleeping" in Nº 35.

my past life as an art and theatre critic, a year in New York
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