How much of this is imagined, I wonder. Either a production company that is not affiliated with the state, or showing up to work on Sunday in a crisp ironed shirt and pants that don’t match the elegance. If pulling the double shift can be an outward action, instead of a statement of withdrawing ///// silence, being silenced //// an outward action to face and resist the implicit declaration of value: “I don’t want to hear what you have to say” disguised as “let’s talk about what really matters”. The institution remains witness to one of the greatest applications of the words “but who is to say?” The answer lies in the moment of verbalizing the question, a recognition of space and time, of condition and circumstance.

A cinema with tickets you don’t have to pay for. And the cultural institution in rubble operationally and maintaining the funding to afford the strong light set up. Because even the billboard light gets softer when shattered in traffic. The closest we get to a gallery is these lights. The farthest possible from theater. We do know, for a fact, that it is not up to the institution by any means to determine the fate of art, nor is it up to artists. But then why does it feel that way?

If nouns or adjectives were worth as much as verbs. Literature of description - literature of action is sometimes foreign to me. Action: what would you like me to perform to you today?

Proximity can also be a harsh thing. Close to this, because I can’t be far. At the end of the day/month, we move. Regardless.