XVIII. Le première matin d'année [ pour le Têt]

XVIII. Le première matin d'année [ pour le Têt]

Oui, c’était elle, l’enfant de la rue droite qui avait pleuré sur la Valse. C’était aussi celle qui savait que la femme qui avait joué cette Valse était la même que celle habillée de rouge qui était passé sur la piste blanche –Marguerite Duras’s L’Amant de la Chine du Nord (1991)

Rather than wring the truths of roses, leave the higher up Parnassius Apollo on a burnt
Orchid—Taken years after our directorial debut, La Musica (8 October 1966), after November’s green (1967)
Way to the directrice of la petite Roquette that housed Genet as a minor (1925)—With an overnight
Bag to you from La Samaritaine; the proprietor endeared to mother for her enterprise, onto Jäysinia, and refuge of intervening
Years—Filming le Gouffre Jean Bernard spelunkers under Samoëns (1984)—Piste noir of Lucio Fontana’s
Tagli taken as spatial concepts, and then expectations, from the citron panel where the hand mudrā

Of Buddha’s fingers, sought to enter—Love, plaintive for the hat makes the whole scene pink, shape my unknowing hand into a mudrā
Theophrastus first mentioned (371 B.C.E.)—The strange lemon seeded in pierced pots, as date palms that contour the oases, among the burnt
Offering of Le Jour (1962) made more satisfactory by puncturing its unary gold—Lucio Fontana
Required no less than ten pink tones for the growth of La Fine di Dio(1963-4)—Crescentic chatter of glacial blush an hour’s drive from Geneva; two, from Nabokov’s Montreux—Ours, being one continent, multiplies stonecrops, Sedum sp., of glancing Apollos, from another—Carboniferous marble and coal balls deposited from the atmosphere that excited green
Wildfires—At eighteenth place in the Puranas with the rupture of the Cosmic Egg, follow Argentina’s ligneous monkey puzzle tree seeds sped with overnight
Solutions to Che Guevara and Lionel Messi’s Rosario on the Paraná River—Maternal homeland of
Fontana, who begins in models, as if fashioned from the drying latex, Crucifixion (1948), from the Araucaria araucana, the monkey puzzle tree, Chile pine, or cinephile of the centenary crossword (1913) compiler of The Guardian (2013)—Intervening

Pére Fontana's grave monuments, and Unique Forms of Continuity in Space (1913), which was inspired by a footballer, though never to be cast in bronze in Boccioni’s lifetime—Two years before the fourth pour, the son finds the intervening
Weight of gesture, in the slash, with the lustrini crackling if allowed to set (1946)—With lunettes burnt
With lines as black body radiation, to later repeat that realization; in the manner of the mudrā
Disrupting so much stagnant composure, the terracotta, then bronzed spheres scored throughout an atrocious unnerving silence of imminent Moon travel, yet Natura (1959–60) sustains this vital drag as Phanes, was called by dispersed Nyx, Overnight—
Nyx begat Gaia, which is also a crater photographed by Voyager 1 and 2 (1979-80) from the Almathea gossamer ring of Jupiter, and like the driver who held the laurel ring over the Dux, Auriga (1944) with the stretched arm of the earlier Lucio Fontana,
Memento homo—Auriga casts an outline of Brahma’s heart, but also for the third decan of Aries, the March allegory of the Palazzo Schifanoia (1478), with light hair, 0-magnitude, Capella, in red leggings steeped on the horns of Taurus, in Aldebaran—Filtering the screens that type green

Stars, Auriga is crouched in conjunction, bearing two goats, from the 32 hand-colored plates issued in a moss-green
Case, to be held before a light source, Urania's Mirror (1830)—As for the Olii (1968), and intervening
Dual breaks made by Schiaparelli, the astronomer, and by the designer, who found a Cartier diamond a colour of China and Peru but not of the West –a shocking colour, pure and undiluted (1937)—Lucio Fontana
Grounded César Vallejo’s The Black Heralds (1919) from space—Trilce (1922), tres dulce, the equivalent of three years before the poet absconded to Europe (1923), after the Santiago de Chuco general store had burnt (1921)—
The delivered Summer rose, by September’s evening, when I sowed in your embers, as decreed / the puddles of this December night—Mudrās,
Producing joy, which Yves Klein qualified his pink as the signifier of the flesh, galvanize the five elements in ramifications of the Rose family—Peach trees that meet their chilling requirement in the Andes, Nepal and Vietnam; the latter, where their flowers are collected for Tết; pruned to their most burgeoning, almost overnight—

An incisive collector, or la gadoue, Iris Clert’s Portrait (1961) is a folded butterfly wing among azure flecks of its scales, or pendants, following Arman’s accumulations advertised by sardine can, whose wife, Éliane Radigue, became known for consistent frequencies of pink sound, overnight—

A second Iris (1961), completed on gold, contravenes the sitter’s low estimation—Fontana upturned a neon structure of the IX Triennale of Milan (1951), to later assimilate the illuminated chemist’s cross in Talens and cadmium green—
For us, beyond the fundamental orders of rose; then its scaffolding—A bower of gấc framing your father’s terrace in Sa Đéc, with the oven beyond the canvas, where a single stalk of jackfruit that reddens rice towards the finish of February, and the beginning of a new Lunar New Year, performs the Vajra mudrā
Above us, on this pallet; being too warm inside, this evening—Staging the 1961 Venice Biennale, in the intervening
Months before the exhibition, originates Murano glass into Spatial Concept: Venice Moon; perhaps, from discerning their shards in the canal bottom—The copper originals of the quadriga of St. Mark’s further import into Lucio Fontana’s
Wash of Attese (1961), of the patina Petrarch regarded (1362) while sorting out the bequest of his library, unlike the one at burnt

Alexandria; the perpetually rising tides ensured the volumes would be first water-laden, and eventually returning to Vaucluse—If, to provide a counterpoint black moon, using tools from Yves Klein’s burnt

Anthropometries, then Otto Piene’s Rauchbilder on red grounds, embedded platinum on argil as raster layers (2009)—From which he extends the technology of Fontana’s spontaneous copper crossings by making the punctures steady, and backlighting them, with a timer—Overnight,

Dreaming; for being less careworn, of the perennial vine of one’s youth, Momordica cochinchinensis, whose inflamed pigment when ripe can only be matched by the carbonized corollas—Lucio Fontana
Found the specialty of lacquering, for Teatrini (1964-66), to end on the link of trailing birds transiting a planetary body, or Ellisi (1966-68)—Hermann Hesse, who wrote until becoming a painter at 40, ended his tenth novel (1927, 1929) at The Magic Theater—After remorse over the old hospital wall with its gray-green

Weathering […] in which a thousand frescos could be fancied, and from glimpses of the bonsai araucaria on the landing, on the river whose estuaries hold the black panthers, the right hand’s agni mudrā
To actively seek out the nymphalid Blue Clipper from the cinnamon-apple tree, whose description has been misplaced from any post-colonial imprint, which in the intervening

Years of being on separate continents, we are united in an instant over the same burnt incense, or watching those intervening
Matinees caught away from school at the Eden cinema—With bánh tét, square-wrapped in green banana leaves, for the earth, from the Ho Chi Minh City Flower Street in honor of the eighth sign of the goat—With the discovery of all the compass rose, as a water rabbit and a wood rat, in the overnight

Fog that covers this alpine valley with its broadening blue slivers of midday regaining us in July for the Apollo breeding, we sense their mudrās with our whole bodies as Lucio Fontana’s The Sky of Venice (1961)—