A Quote by Teju Cole

In a sense, Open City is a kind of Wunderkammer, one of those little rooms assembled with bric-a-brac by Renaissance scholars. I don't mean it as a term of praise: these cabinets of curiousities contained specific sorts of objects - maps, skulls (as memento mori), works of art, stuffed animals, natural history samples, and books - and Open City actually contains many of the same sort of objects. So, I don't think it's as simple as literary inclusiveness.
I was selling bric-a-brac in Portobello and Camden Market. I love objects. But I was embarrassed by the idea of collecting, so I began using these things in my art.
My flat is a bit like an oriental bazaar. It's filled with the oddest objects from all my travels, and you can't really move in it. I love collecting antiques and often spend weekends driving around bric-a-brac markets.
One of the things that we talked about was this idea of 'Memento Mori' - like the reminder of our own mortality - and so we were sort of trying to express that in our press photos. And it's one of the themes of the album [Modern Vampires of the City] as well.
If you develop a technology that only works in a single city, where it's kind of optimized for a specific city, that's not really that exciting.
But all categories of art, idealistic or realistic, surrealistic or constructivist (a new form of idealism) must satisfy a simple test (or they are in no sense works of art): they must persist as objects of contemplation.
Paris. City of love. City of dreams. City of splendor. City of saints and scholars. City of gaiety. Sink of iniquity.
I always had a kind of strange relationship with New York City, with total love affair in the beginning then retreat during the kind of conservatives of politics and real estate and business came, and then I am again kind of fighting for the justice to the city, to open the city for the artists.
Anything that is beautiful is beautiful just as it is. Praise forms no part of its beauty, since praise makes things neither better nor worse. This applies even more to what it commonly called beautiful: natural objects, for example, or works of art. True beauty has no need of anything beyond itself.
Open eyes will discover opportunities everywhere; open ears will never fail to detect the cries of those who are perishing for assistance; open hearts will never want for worthy objects upon which to bestow their gifts; open hands will never lack for noble work to do.
It would be wrong to say that the city of Berlin is not regulated. What I think is more interesting is to what extent a city creates a sort of safe haven for its users, so that people feel confident that the city works on their behalf.
We need this city to actually live up to its name-The City of Angels. We need to spread our wings. We need to show that we are more than red carpets, we are more than Hollywood, that we are a city ourselves of open arms. We are a city of generosity and compassion.
Ancient art has a specific inner content. At one time, art possessed the same purpose that books do in our day, namely: to preserve and transmit knowledge. In olden days, people did not write books, they incorporated their knowledge into works of art. We would find a great many ideas in the works of ancient art passed down to us, if only we knew how to read them.
Venice is a cheek-by-jowl, back-of-the-hand, under-the-counter, higgledy-piggledy, anecdotal city, and she is rich in piquant wrinkled things, like an assortment of bric-a-brac in the house of a wayward connoisseur, or parasites on an oyster-shell.
The stars awaken a certain reverence, because though always present, they are inaccessible; but all natural objects make a kindred impression, when the mind is open to their influence. Nature never wears a mean appearance.
I resolve to venture into the city on my own. I look at maps in the library—subway maps, bus maps, and regular maps—and try to memorize them. I’m afraid of getting lost; no, I’m afraid of sinking into the city as in a quicksand, afraid of getting sucked into something I can never escape.
All natural objects make a kindred impression, when the mind is open to their influence.
This site uses cookies to ensure you get the best experience. More info...
Got it!