After the self-abolition of this performance as an art work in the 3rd phase, we comprehend the work as an artistic means, a methodological tool which we wish to share with contemporary dance and performance artists, who are willing to reflect their contexts and public work and with all who have something to say about the structure of the global World of contemporary dance and performance.
We would like to invite you to join us in this research and to develop your own “private bio-politics” – thinking about which other stories could be told about symbolical ownership over history and concepts, about the monopolizing of the global dance and performance scene, and about the patronization of “the backward” and “the always late (comers)”.
We would usually propose to start with a discussion or an after talk moderated by a (local / present) theorist, artist or in this case by you on the spot....
I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the black persons that I met were gardeners or maids. I felt – I am sure I am not lying – even at that very young age, not a sense of injustice, but a sort of guilt.
Guilt for what? My parents were nice people, they treated everyone well. My father was avidly learning languages, he spoke many African languages and also Pidgin English very well and he used to speak it...
1. L’art n’est pas la descente sublime de l’infini dans l’abjection finie du corps et du sexe. Il est au contraire la production, par le moyen fini d’une soustraction matérielle, d’une série subjective infinie.
2. L’art ne saurait être expression de la particularité, qu’elle soit ethnique ou moïque. Il est la production impersonnelle d’une vérité qui s’adresse à tous.
3. La vérité dont l’art est le processus est toujours vérité du sensible, en tant que sensible. Ce qui veut dire : transformation du sensible en événement de l’Idée.
4. Il y a nécessairement pluralité des arts, et quelles que soient les intersections imaginables, aucune totalisation de cette pluralité n’est, elle, imaginable.
5. Tout art est venu d’une forme impure, et la purification de cette impureté compose l’histoire, et de la vérité artistique, et de son exténuation.
6. Les sujets d’une vérité artistique sont les œuvres qui la composent.
7. Cette composition est une configuration infinie, qui,...
Ich habe mehrmals die Mantras »Jeder Code ist ein Begräbnis« und »Im Raum des Codes zu operieren oder zu verweilen bedeutet, bereits tot zu sein« wiederholt, aber jetzt möchte ich sie verändern, oder vielmehr, sie durch ein einziges Wort ersetzen: crypt, Krypta.
Zugleich Gegenstand und Verfahren, setzt das serielle Denken, wie es sich in diesem Band abzeichnet, mithin eine Reihe von sonst selbstverständlichen Unterscheidungen außer Kraft.
Today, the architectural elements—space and plane, volume and membrane—return once more to their basic neutral condition, waiting to be charged with some new energy.
Voice 2: So the house from the inside would also suggest the thing that is outside. It would suggest another object as it were, from the inside.
Voice 3: And on the smallest scale, the people who live in a house are separate entities themselves; they reproduce the state of the world outside, and sometimes, when they go out into it, they become like it and are apart. But inside the house they are also together. To simply reaffirm their separateness from the world would be to fall back on the oldest of clichés, the house as nest; the inside of the house would remain undivided and no new questions addressed. But the real question is, When the members of the family come back into the house are they together or separate, both from each other and from the world?
Voice 2: In this context, the house becomes a semipermeable membrane between...
The very idea of a Thomas Jefferson Memorial was held up to ridicule: for a few advanced thinkers, it appeared that “the day of the ‘monument’ is over.”
The 1930s were an auspicious time for Jefferson. Never had Jefferson’s star shone brighter or seemed closer; never had it been followed by so many, including the current president. In an epiphany that had left him “breathless,” Roosevelt had recently discovered Jefferson’s pertinence to his own times. Henceforth, Roosevelt spoke privately of Jefferson “as if he had been one of his grandfathers,” while publicly he unerringly sought and found every occasion when Jefferson could be cited or honored, celebrating Jefferson’s progressiveness and making him the patron saint of the liberal but nonetheless most un-Jeffersonian New Deal.
The commemoration of Jefferson could draw on a rich blend of what Merrill Peterson has called the “images of Jefferson.” The older image of Jefferson as the “Great Commoner” and champion “of the little man”—which could not fail to have a special resonance in the period of the Great Depression—and as American revolutionary were complemented...