Absurdnost (Type Translations) Process Book

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J UAN M AN U E L CO R R E D O R CO U R S E

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W I O LE TA K AM I N S K A P R OJ EC T

T Y P E TR AN S L ATI O N S

JULY 18–23, 1924, PARIS

—“IN FRONT OF THE MIRROR”

BY VLADISLAV KHODASEVICH

“Is that man over there really me? The one who laid his entire boyish energy into late night arguments—”

STUDENT

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THE POEM

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EXPLORATIONS | PART 1

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EXPLORATIONS | PART 2

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TRANSLATIONS | PART 1

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TRANSLATIONS | PART 2

TH E P OE M

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For this project, each one of us chose a poem written in an unknown language without any given translation. The idea was to use the poem’s letterforms as the basis for a series of drawings that could be approached with any tools available.

The challenge consisted in translating any information that could come from the poem into a visual interpretation. The only thing that I identified at first glance, was that the poem is in Russian, but the meaning of the poem itself, is irrelevant, what matters is the interpretation based on the form.

The poem I worked with is “Before the Mirror” by Vladislav Khodasevich.

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E XP LOR ATIONS | PART 01

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Extracting meaning from the poem wasn’t easy. Most of the information ends up being fillers we come up with based on our projections, what we ant to see. But words such as bold, organic, worn out and imperfect, were the ones I observed from the letterforms. I knew the poem was Russian, but I thought It would be more useful to ignore that and rather concentrate on what emanates from the form itself.

These are my bi-dimensional interpretations from those observations.

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E XP LOR ATIONS | PART 02

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The bi-dimensional explorations from the previous stage of the process were now to be translated into tri-dimensional objects.

I interpreted the initial poem based on the letterforms. The characters looked rusty, imperfect, yet bold and unique. I thought of something called Kintsugi (“golden joinery�), the Japanese art of repairing broken pottery with lacquer mixed with powdered gold, silver, or platinum.

I wanted to explore the idea of a strong and solid object that looks more interesting by having a story behind It. The passing time leaves marks, wearing us down while taking everything bit by bit. But those who still stand might actually gain something else. Wounded, not defeated.

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TR ANSL ATIONS | PART 01

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Later on, we were given a translation of the poem we chose at the beginning.

“Before the Mirror” by Vladislav Khodasevich This could be used to enhanced or transform the process, or, It could also be meaningless, sticking to our first impressions, shapes, lines, rhythm, etc…

I decided to use the translation to redirect what I had done at the beginning. Despite having interpreted something completely different there were some aspects of the poem that I was able to capture on my 2d and 3d explorations.

What I Initially thought to be a poem about resilience, ended up being a poem about self-reflection, being exhausted and worn out, wondering where time had gone. Since when the playful and energetic youth once had, was transformed into hopelessness, and solitude. The reflection in the mirror only speaks of sorrow.

What at the beginning was solid gold, has been damaged to the point where most of the luster is gone. What do we have left then?

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HALF WAY THROUGH LIFE’S JOURNEY I, I, I. What a wild, elusive word!

Is that man over there really me?

Did mama really love someone like that?

With a pasty yellow face, half grey hair, And all-knowing, like a snake?

The boy who danced at parties At summer houses in Ostankino— Is that me? The one whose every remark To a freshly hatched poet Induces revulsion, malice and fear?

The one who laid his entire boyish energy Into late night arguments— Is that me? The very same one who Has learned to keep quiet or make jokes When talk turns to tragedy?

And still—it’s always like this halfway Along this earth’s fateful path: From one insignificant cause to another, And look—you’re lost in the wilderness, And can’t find your own tracks.

Yes, it was not a panther that drove me with leaps to this Paris attic.

And Virgil is not at my shoulder.

There is only Loneliness—framed In the looking glass, speaking the truth.

JULY 18–23, 1924, PARIS TRANSLATION BY NATASHA ZHILTZOVA. —VLADISLAV KHODASEVICH

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IN FRONT OF THE MIRROR

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TR ANSL ATIONS | PART 02

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The previous explorations gave me some idea on how some visuals could speak to the idea I wanted to materialize for the conclusion of this project.

I wouldn’t use every single visual, but I developed enough material to produce a visual system.

Vladislav Khodasevich mentions how he feels lost, probably speaking of a mid life crisis, he feels he and people in general go from one search to another, never being fulfilled. Perusing something that is never reached, and all the youth that made us feel amazed or exited about the world eventually wears of, being replaced by a feeling of emptiness leaving questions about our own existence. He looks into mirror and noticing how time has changed him, wonders if that man is himself, he cant recognize his identity when he compares how his feelings have changed, how different he was.

I approached the project thinking on how would I react or what would I think of the authors thoughts. I remember one of my favorite philosophers Albert Camus and his toughs on life itself, with something he calls “The Absurd”. This is the idea that humans have always asked for meaning, we have the need to attach ourselves to a higher purpose and we try to answer that question in so many different ways, but the universe remains indifferent and silent to our inquiry. In his essay the “The Myth of Sisyphus” Camus tells the story of a man that has been condemned to push a rock up a hill and when he reaches the top the rock falls back down and he has to start all over again. This cycle repeats for eternity.

Sisyphus then, is deprived from purpose, just like all of us, but Camus likes to think that if Sisyphus is happy while coming back down from the hill and he decides to accept how things are, he rebels again his condemnation, he becomes stronger than his rock, he gives meaning to his existence.

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31 Absurdnost (Russian) translates to absurdness in English. Based on Albert Camus’s philosophy as a response to the poem by Vladislav Khodasevich.

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35 Spreads from a booklet that comes with the bottle of Absurdnost that explains briefly what the project is about and how philosophy has something to do with the packaging and the poem from the beginning.

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