rebuild recompose rejoy


To flow like air in the streets is not natural by dailylabel
21/06/2016, 10:56
Filed under: art, joyful heterogenous culture, my dear city, resources

Air time is “is an audio work and collective action that was performed synchronously in public space in 10 cities across Europe as the opening of TRANSEUROPA festival 2013.”

See details below – but for now  i’m thinking first to the performance I set up in 2013 in Lausanne, allowing to audio travel to Bobigny or Berlin from Lausanne: PortailEuropTransLocal, based on the sci-fi genre of teletransportation.

So we enjoy the (public) space we have in cities. And we definitely should celebrate it, every time we’re out on the street, walking with confidence among all these other people, frictioning with thousands of habits and ways of being, deciding at each street corner what is the best, shortest, most exciting, preferable path to wherever. The question though I want to quickly raise is how to qualify the kind of freedom cities offer (or not) to their inhabitants. Freedom of movement, at least in Europe, is taken for granted. Yet it is not so long ago, there were doors (barricades, customs, racketing, etc… long story I know) around and in the city. It sounds naive, but in the context of these kind of audio works, it would be relevant to think about the fact that they are possible at all, and how they test, extend, confirm, confront rulings that are not, or hardly, explicit. Moreover in the context of hardening fronts when it comes to demonstrations.

For the finish, this very good historical up working of “Bewegungschöre” and their possible function in the city by Ligna:

Still from Tanz Alle, LignaScreen Shot 2016-06-21 at 10.34.49

“This performance happened on 6th of June 2013 in Düsseldorf. Questioning the relation of dance and politics, LIGNA invites radio listeners to remember bodily the nearly forgotten heritage of the movement choirs that were part of the workers movement in the Weimar Republic.”

———————–

details for Air Time

http://www.transeuropafestival.eu

5th October 2013 at

1:30 PM
PARLIAMENT SQUARE, London

2:30 PM
DAM SQUARE, Amsterdam
FORAT DE LA VERGONYA, Barcelona
ALEXANDERPLATZ, Berlin
PLACE DU TROCADERO, Paris
VACLAVSKE NAMESTI, Prague
STAZIONE TIBURTINA, Rome
NICOLAUS COPERNICUS MONUMENT SQUARE, Warsaw

3:30 PM
PIATA UNIRII, Cluj-Napoca
IVAN VAZOV NATIONAL THEATRE SQUARE, Sofia

AIR TIME is the result of the collaboration between 12 artists under
the direction of the artist collective LIGNA (Ole Frahm and Torsten
Michaelsen): Anna Hoetjes, Jordi Ferreiro, Joanna Von Mayer Trindade, Flaviu Rogojan, Kerri Meehan and Alex Ressel, Alexandre Poisson and Alice Lahana, Roman Štetina, Elisa Abela, Nataliya Todorova, Wojciech Tymicki

The project received funding from the Culture program of the European Commission and Allianz Kulturstiftung

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sand and movement: a agglomerate by dailylabel
13/02/2015, 09:41
Filed under: art, joyful heterogenous culture, resources

DSCF4515

 

 

 

heap of sand for my installation

Piazzale Europa (MA*GA), Gallarate

Show “Voglie vedere le mie montagne”

 

 

27.01.15
http://www.fondspascaldecroos.org/en/inhoud/werkbeurs/sand-wars

In his book ‘Sand: The Never-Ending Story’ British geologist and sand expert Michael Welland

The construction of a house costs on average two hundred tons of sand.

watchdog Global Witness sounded the alarm in 2010 with its report ‘Shifting Sand’


27.01.15
http://bldgblog.blogspot.sg/2011/09/caverns-of-singapore.html

Earlier this year, we looked at the idea of forensic geology, whereby even a single piece of sand can be tracked back to its terrestrial origins. As that link explains, the source of electronics-grade silicon is often deliberately occluded from public documents, treated as an industrial trade secret. Here, though, it is not microchips but internationally recognized political territory that is being mined, traded, and assembled—a black economy without audit or receipts.
——
28.01.15

“The problem movements like these have is stickability. The challenge is for them to build structures that are ongoing; to sustain these new voices.”


01.02.15
http://prolapsarian.tumblr.com/post/105025464662/all-the-worlds-a-platform-dispatches-from-berlin

That art is produced under such conditions regardless – that the resistance that art forms may well be continually destroyed, that the heads will continue to be shot off as they have been throughout the capitalist epoch – does not, for Adorno, justify such resignation to the course of the world, and the jettisoning of artistic expression into a whirlpool of blind contingency. Steyerl certainly disagreed: her theoretically most forthright contribution to the evening was a claim that a distance from the artwork, its separation from the subject as object was problematic. In her defence of engagement she claimed that dialectics doesn’t work, and probably never did. But for Adorno such a position would amount to a misrecognition of what it means for art to be social: sociality is not just the immediacy of violence, but instead precisely the mediacy of a violence that conditions an alienation from and within society, a social separation of the things of the world. For Adorno art can become critical only in taking up its separation from society which is itself part of society.

But Adorno at least would resist a claim to a practical immediate truth found in partisanship, which despite being part of society would hope to discover deep within itself some power that has escaped society’s total system of production and value. For Adorno the part and the whole are already fully mediated in one another – indeed this is society’s dialectical form.

Finally instead of imagining a great online commons it would note that the systems of value and valorisation that drive this vast machine are only partially encompassed by it, and while offering a practical use within it do not give a full representation of circulation itself, and therefore offer no capacity for the system to become self-conscious.

It is not the case that semblance itself is not capable of critique in the way that concepts are. But rather that the semblance made universal fails to recognise its own political limitations.

To this class of entrepreneurs there is no means of action that would transform history, and works of art disavow their responsibility to history through claiming pure semblance as pure content while renouncing questions of form.


2.2.15
Pasquinelli_-_Anomaly_Detection_paper-libre.pdf

Aside from the defense of privacy and the regulation of the algorithmic panopticon, other political strategies must be explored. We need maybe to invent new institutions to intervene at the same scale of computation of governments, to reclaim massive computing power as a basic right of ‘civil society’ and its autonomy.
Humankind has been always about the alliance with alien form of agency: from old microbes to new medicines, from old materials to new technologies. A progressive political agenda for the present would be then about moving at the same level of abstraction of the algorithm: in order to make the patterns of new social compositions emerge.



new and same by dailylabel
16/10/2012, 10:38
Filed under: itinaries of desire, joyful heterogenous culture, kitchen

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.



fake post by dailylabel
02/08/2012, 20:55
Filed under: joyful heterogenous culture, travel, Uncategorized

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?



cubicles by dailylabel
12/03/2012, 15:54
Filed under: joyful heterogenous culture, my dear city

mine crafted city

http://www.berlin-studie.de/



full shelves by dailylabel
22/02/2012, 16:00
Filed under: art, joyful heterogenous culture, review, world news

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.



architecture of decay by dailylabel
09/02/2012, 12:41
Filed under: art, joyful heterogenous culture, resources, statement

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.