For Anonymous

Upon seeing Per Kirkeby’s series of five paintings at Louisiana, Wald-variation, the one in the middle recalls for me a Shakespearian setting. Thinking of architecture, I turn to my husband and tell him: "there’s Romeo and Juliet’s Verona." While admiring what in my head are three arcades, I continue saying that I can almost hear Juliet’s dress swishing on the traversing balcony. Although Kirkeby’s main color is green, I see Juliet’s dress as blue as the blue Tiziano used in his depiction of Ariosto. “Arcades?”, my husband goes. “Forget setting. What you see is Romeo, Juliet, and Anonymous." “Woa, some revelation,” I think to myself. The setting falls into the background. Sex and sensuality emerge from the image. I see myself at home. “Which of the two,” I ask? “We’ll have both,” he says. Sometimes husbands have all the correct answers. First Juliet died. Then Romeo died. Juliet did it again, shortly after her resurrection. We don’t know what happened to Anonymous. This uncertainty builds on architectonic knowledge. The window of opportunity is open towards the world of potential not the world of principle. Was it this that made Orlando Furioso?


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