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.
Mmh, I think i was not there, this is not me. It’s a fake me.
but I was there and there (yes at the same time)
What is fake when you can’t locate the authentic (by the way, how is the difference between authentic and original).
Is kitsch Fake?
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.
Maria Nordman à Castillo Corales, cet après-midi. Quelle aubaine. Je vois des sculptures, des livres. Je rentre – et je peux les lire aussi, avec des gants. Soins et accessibilité. Je me rappelle la pièce en “dépôt” à Genève et l’effet que m’a fait cette pièce. Et puis cette histoire, pour une commande public, où elle demande de mesurer un terrain avec la portée de la voix.
Elle est là, je peux revenir pour la conférence de 15h. Je reviens, j’attends. Elle parle avec un couple, son public. Je les rejoins, je deviens aussi public. Accueil. Quelqu’un téléphone, on se resserre pour s’entendre. Et puis elle lit à haute voix avec son public les textes co-écrits de son intervention à Chartres. Spontanèment. Elle nous raconte des histoires: “It’s your christmas gift”. – comment une lettre a eu de l’effet … 20 ans après.
Le sérieux et l’enthousiasme me laisse penser à une piece en cours, elle s’appellera matter considered over suspended matter. Et puis je pense à la performance Soins Esthétiques, sur laquelle je dois revenir. La notion de public délimité y est au coeur.
Filed under: good wishes, itinaries of desire, joyful heterogenous culture, my dear city, travel
“je n’y ai passé que 2 semaines, mais oui, une ville formidable. En fait, plus une ville. Une étendue qu’il faut explorer avec beaucoup de temps. Le centre historique est évidemment une perle de concentration de couches historiques et les artefacts culturels sont époustouflants. Un basculement météo et tu passes d’une cousine du Caire à la soeur de St-Petersbourg.
Et puis les Istanboulites, dont certains disent qu’istanboul is home of nobody, sont agréables et accueillants. Ils ont une expérience de l’entre-deux pleinement incorporée. J’y retournerais avec grand plaisir.”
for a post for there as I am back here. I have to activate my own Mage, like the one i’ve seen at Beaubourg, dreaming again about a general public. It’s all about love: That’s what I said on the stage with Imad Wasif in Vienna, celebrating our 20th issue Trixie.
i’m with friends on a stage, right before the beggining. It’s thrilling, we are still deciding on what to eat as we have a birthday to celebrate. We decide to eat mussels, moussaka and papardelle with salmon. Then we got in the sides. We decide to be a different band for each song. One of us got on stage, to introduce us, and apologises for the mess on stage – it’s because we can’t stop working. Our last band is called the auteurs.
It was a dream. and I remember now how powerful a dream is, and what it means to have a dream. To be something, to do something. It’s a genuine sensation. It’s impossible to stop and flows through my whole body.
I called my friends from the magazine we are doing, a zeitschrift based in Vienna. We’ll do it, like we change font for each issue, like we do grusicals. it’s gonna be great. be there or be square
