Why do things differently when they are the same: like the good old chili con carne. It’s the same but not. It’s it and not a fake and yet not the what it was. Like every Europe square. It’s all the same, but not the same. Like Auto, Libertine and Déja Vu.
How to get on with this? I start with a basic statement by Gene Ray talking in Greece about how modernity is questioned by the coming biospheric meltdown (and nearly continued on josh fox’s Gasland. but didn’t have time for the whole now) I step back and try to get some definitions: Are we now in the anthropocene?
This gives a kind of horizon. Well it seems to at least. But then there is the twist. The thing that comes back in very unsettling way. There is no safe point of view. It’s bound to be collective at some point. I got interested in traumas, especially of war. Since Benjamin talking about the non-experience of war. I just watched this now (in german or french, but you can hear the o-voices in english in the background): Suicidistan – The war coming home. Bringing peace and meaning in an army …
The question of the trauma, the way our minds and bodies integrate the damage appears to be a central loci to explicit and adress as far as art is concerned with experience. How do we relate to these traumas and give them way out as much as ourselves. It’s a global concern in the most material and tangible way.
Mmh, I think i was not there, this is not me. It’s a fake me.
What is fake when you can’t locate the authentic (by the way, how is the difference between authentic and original).
Is kitsch Fake?
thanks to LBV I could just see what is going to be lost in less than 2 hours.
While in Geneva they finally found it. Or think they’ve found it. It’s not sure yet.
On April 26th, 8pm, Mettler and Negarestani will have a public conversation via video-conference at the Musée cantonal des Beaux-Arts de Lausanne. The conversation will focus on how our most intimate corporeal and psychological constitutions have vertiginous proximities with the Earth’s cosmological history, and how we are bound through backdoor narratives and subtle complicities to the most liveless materials.
As the exhibition of the reconstruction of an exploratory oil rig in 1929 in Switzerland is heading toward its end, the installation is now covered with printed sheets, each representing a diverging narrative of the rig accumulated over time. Every two weeks a new session was published, a transcript of an analysis of Patient O by The Rig, further immersing the legacy of the rig and the modern landscape of the Pays de Vaud into more convoluted depths. The analysis ended with session VII, published on April 19th.
The fictitious dialogue is a collaboration between philosopher Reza Negarestani and artist Yves Mettler, whose architectonic sound installations focus on our built environment, bringing into light ruins, memories and fragmented narratives left on the roadside of our heterogeneous cultural history.
… do it again!
Cu in London on Saturday at Publish and Be Damned
(did Brecht say that?)
saying “I love You”?
mine crafted city
While working on links between Langenthal’s industry and the world in which it sells its know-how, I couldn’t hold a smile coming up on the website solarindustries:
ground is also reading Reza Negarestani’s writing about earth-sun complex and the subject-as-focus or The-Modern-Man-and his traumas. Deepening, Widening them. Anything local is global. While the industry continues modelizing our world through any way of doing something:
It is all suspended on the waiting a catastrophe
although it has been told since long time
This huge familiarity with clips of all kind is in many ways all attempts of grounding something, of self-extracting, isolating and re-telling as an out-of-synchronized puppet something from a present without time.
The show curated by Thibault De Ruyter for the Club Transmediale on the Theme Spectral, “Ghosts off the Shelf”, gave me a something like a sensation of time, my time. And a part of it was nested in a technology. VHS. Unlike Gondry’s reassuring movie ‘Be kind, Rewind, the show touched with great caution an area of experimentation, how a technology and story-telling essays combine endlessly to join and make the local, I mean earthly, “Dark Matter” more and more consistent. A storm which reminded me the “Hans Schaudi Electromagnetic Experience” from 2002.
the drilling rig from Arnex, 1929, rebuilt on the Place Riponne, Lausanne, for the festival Les Urbaines, migrated in the Musée Cantonal des Beaux-Arts, and found a new form.
The opening of the groupshow 9=10 is Thursday, February 9th, 6.30pm.
On Thursday, April 26th, 8pm a performance / lecture will be held by Yves Mettler and Reza Negarestani (via video-conference) as the closing event for their writing collaboration.
Written as a serial publication since the beginning of Mettler’s installation, the text ‘Arnex-1: Twenty Thousand Leagues Under the Asphalt’ unfolds a psychoanalytical dialogue between the analyst Rig and the mysterious Patient O. Over seven psychoanalytical sessions schematizing the seven circles of hell, the dialogue unravels an aetiological examination of the memory of geological time as the twisted sum of traumatic scars left by the cosmological shock and contingent mobilization of capital. Art’s meticulous attention to the surface (landscape) parallels psychoanalysis’ dedicated focus on superficial phenomena as a means of dramatically bringing into focus transversal dynamics of depths otherwise invisible to the keenest of eyes.