The Book of

to Silvia

Public Commons

the Book of Jol

Calamity and Hope, Inc.

Prologue

In an exhibition process, hosted by the Tambo museum in la Paz, Bolivia, I asked the artist to abscise some architectural parts of the building.

Foreword

Today I feel very alive which might have something to do with the fact that I have absolute no other intension than just being here, present. Although Im not going to do much today. I will take a coffee break, check out the animals and cross the street. Get some fresh air and eat an apple. Im working slow, like the tortoise. Finding ourselves working at the same time, working same shifts. We are now together, synchronized. what we need is a butterfly to remind the tortoise and the hare to the importance of a subjective (based on lust) understanding of time. Thus, not like the tortoise, going going going and going, slow but surely. Also not like the hare, going as fast as possible, but rather like the butterfly, going according to your lust. I must say that I dont like animals no matter what. My neighbours have this cat and when they go on holiday, we take care of this cat and although it is a nice cat she still gives me an allergic reaction. up, I believe that I should get up now.

Credits

Subtext

INDEX (Subtext)

Chapter 4 (Reading the recipe)

innocent blood - inhabited forever/from generation to generation - a desolate wilderness (1) - the hills shall flow with milk - there shall no strangers pass through refuge - the stars withdraw their shining (1) - multitudes in the valley of decision - the winepress is full - I sit to judge all the nations - gather yourselves together - let the weak say: 'I am strong.' - stir up the mighty men - sell your sons and your daughters return your retribution - my silver and my gold - render retribution on my behalf - a boy for an harlot - my heritage - in those days, and in that time

Chapter 3 (That which is read)

those that escape - before the great and terrible come - pillars of smoke - the servants and the handmaids - old men shall dream

Chapter 2 (Z.)
never be ashamed - eat in plenty and be satisfied - the canker-worm and the caterpiller full of corn - the former rain and the latter rain - be not afraid - be glad and rejoice great things - answered and said: 'Behold' - pity - between the porch and the altar gather the people - call a solemn assembly (1) - leave a blessing behind -rend your heart - weeping and lamentation - abide it - the stars withdraw their shining (2) - enter in at the windows like a thief - thrust another - run like mighty men - all faces have gathered blackness - the noise of chariots - the appearance - a desolate wilderness (2) great people - blow the horn

Chapter 1 ("God, is that You")

pastures of the wilderness - all the trees of the field - the flocks of sheep are made desolate - the barns are broken down - joy and gladness - a destruction - call a solemn assembly (2) - Gird yourselves - the pomegranate-tree - the harvest - the new wine the meal-offering - the husband of her youth - the branches are made white - the jawteeth of a lioness - cut off from your mouth - that which the canker-worm left - let your children tell their children, and their children another generation - give ear - the word

Deutschsprachige Fassung

Editorial

Bitte so verwenden, bzw. Ankndigen diese sms habe ich am 15.3. aus Bolivien erhalten. Der Sender hlt sich zur zeit in der Schweiz auf und feiert mit seinem Bruder dessen 39. Geburtstag. Ich lese ihnen die sms aus meinem Handy vor. Telegramm aus la Paz. Das Wetter Nieselregen, khl. Habe meine Jacke im Hotel vergessen. Am Morgen schien die sonne so hei. Der Himmel war wolkenlos. Jetzt friere ich. Das museo tambo absorbiert Klte und strahlt sie wieder an die Knstlerkrper und die Besucherkrper und den Bewachungskrper ab. Alle frieren, auer die cholita mit ihren sieben Rcken. Die Ausstellung luft schon und wird gesucht und besprochen. Ich schaue mich im Hof um. Am liebsten htte ich ein Stck mauer. Aber die mauer ist solide und brckelt nicht. So wird schnell klar, dass ich ans Fundament muss. Der Boden ist mit rechteckigen Steinen ausgelegt. Die meisten sind ziemlich verwittert. Ich habe meine Tasche mit der kleinen Blechschaufel im Museumsbro vergessen. Eigentlich wollte ich damit ein paar Steine und Dreck herausstochern. Nun Mach ich es von Hand. Am Ende fliegen mit mir drei verschieden groe Steine nach Europa. Das Museum steht noch. La Paz 15.3.07

That which is read

Kapitel 1 Das Institut der nicht Glaubigen, Ihr Unheil und wie man daran glauben kann

D ie A rch e N o a h ___________________

D ie M o n ster w aren b ereit, u m in d ie B ek a n n te W e lt ein zu d rin g e n . M eh r n o ch , sie w are n sch o n an L an d g ek ro ch en . S ie w are n sch o n u n ter u n s. S ie S IN D u n ter u n s. Im b lin d en F leck sitzen L eo p ard u n d P ap ag ei. D er L eo p ard tu t so , als w rd e er d en P a p ag ei n ich t b e m erk en , u n d d er P ap ag ei tu t so , als o b e r sic h d er A n w esen h e it d es L e o p ard en n ich t b ew u sst ist.

D e r P a p a g e i w a r d a s p e rfe k te S p ie g e lb ild d e s L e o p a rd e n u n d v o r a lle m d a d u rc h h a tte e r d a s S c h la c h tfe st b e rle b t. D a s S c h e rb e n g e k lirr k la n g im P a p a g e i w ie d e r. D e r P a p a g e i sp ra n g a u f d e n L e o p a rd u n d b e g a n n z u p ic k e n . W u n d e n a c h W u n d e . M a l n a c h M a l. U n d d a n n p a s sie rte e s. D e r L e o p a rd sc h ie n d ie F o rm v o n je d e m W e se n , d a ss e r je m a ls g e ja g t u n d v e rsc h lu n g e n h a tte , a n z u n e h m e n. U n d d ie B e stie , d ie d e r P a p a g e i sa h , w a r e in e m P A R D E L g le ic h , u n d s e in e P fo te n w a re n d ie P fo te n e in e s B re n s, u n d s e in M a u l w a r d a s M a u l e in e n L w e n s. E in s n a c h d e m a n d e re n . W ie d e rg e b u rt n a c h W ie d e rg e b u rt e s ist e in D in g , w a s e in fa c h a lle s sc h lu c k t, w ie d e r a u ssp u c k t a ls 'd ie S a a t, d ie w e d e r b e fru c h te t n o c h v o m V a te r z u r c k g e n o m m e n , so n d e rn d ie w e ith in v e rstre u t w ird '.

E s h e i t, d a ss d e r S tr o m n e u e r B e d e u tu n g e n n ie m a ls v e r sie g e n k a n n (in Z e ite n v o n G lo b a lisie r u n g m u ss m a n sic h se in e G r e n z e n e b e n se lb e r b a u e n ). ____________________

Ic h w e i . D u b ist e in M e n sc h u n d g e f h rlic h u n d d e sh a lb b in ic h v o rsic h tig u n d b e w e g e m ic h d e s N a c h ts; a b e r se i D u a u c h v o rsic h tig u n d b le ib e m ir a u s d e m W e g , d e n n ic h b in e in L e o p a rd u n d s c h la g e , w e n ic h w ill. Ic h b in d e r L e o p a r d ic h b in d e r L e o p a r d . Ic h b in d e r S t rk ste . ic h b in d e r L e o p a r d . Ic h fre sse e u c h a lle . Ic h b in d e r L e o p a r d . ic h fre sse F le isc h .

Ic h b in d e r S c h p fe r d e r W e lt, u n d d a s ist d a s W e se n tlic h e a n m ir sa g t T h e o p h il B o o m e r a n g v o r je d e r o ffe n e n T r . ___________________

Ic h k o m m e im m e r w ie d e r g e rn e z u r c k a n d ie se s E ld o ra d o . Im m e r w ie d e r d e n B e rg h o c h la u fe n u n d fe stste lle n d a s g a r n ic h ts d a is t. M a n w e i n o ch v o m le tz te n M a l w ie e s w a r h ie r o b e n z u se in u n d d en W e g b is z u m a n d e re n E n d e z u su c h e n . m it o d e r o h n e L e o p a rd e n , sic h v e rla u fe n ist a u sg e sc h lo sse n . M e ta H O D O S u n te rn im m t m a n a b e r sc h o n d e sh a lb n ic h t a lle in , w e il m a n h ie r a lle in n ic h ts m a c h e n k a n n , m a n so ll h ie r so w ie so n ie a lle in e a g ie re n , so n d e rn m it K o m p liz e u n d d a ist so e in L e o p a rd e n e in fa c h p e rfe k t.

D ie K o m p liz e n sin d sc h o n a lle d a , e s sin d d ie se lb e n v o m le tz te n M a l, o d e r d o c h so u n g e f h r. D ie K o m p liz e n sin d im p o sitiv e n w ie im n e g a tiv e n S in n e V e rb n d e te . M e n sc h e n , d ie g e m e in sa m , e n g m ite in a n d e r v e rflo c h te n z u r T a t sc h re ite n . D a s w a r im m e r sc h o n so . K o m p liz e n sc h a ft ist a b e r n ic h t stra te g isc h , sie ist g e p r g t v o n T a k tik e n , m it u n d in B e z u g a u f d e n A n d e re n a g ie re n d . D e r T a k tik e r n im m t d ie v o rh a n d e n e n K r fte , Q u a lit te n u n d E ffe k te u n d o rd n e t sie s itu a tiv a n . K o m p liz e n ste h e n in e in e m V e rh ltn is z u m A n d e re n , o h n e d ie se n v o llst n d ig e rfa sse n z u k n n e n u n d o h n e ih n a u f D ista n z h a lte n z u k n n e n . B e st n d ig a g ie re n sie m it v e rsc h ie d e n e n B a u ste in e n , d ie ih n e n M g lic h k e ite n d e s H a n d e ln s e r ffn e n . W e r d ie ric h tig e n K o m p liz e n fin d e t, e rre ic h t im m e r se in Z ie l o d e r sc h e ite rt a n sic h se lb e r. M e tho d e

B e rg e h o c h la u fe n u n d fe stste lle n , d a ss g a r n ic h ts d a is t, ist f r T h e o p h il B o o m e ra n g g e n a u so se lb stv e rst n d lic h w ie f r se in e n S c h w e iz e r A lte r E g o u n d G a st S e ra fin a L a m p io n , a u c h b e k a n n t a ls C a ssa n d ra , U n te rn e h m e rin f r L ic h t u n d B h n e A u ssta ttu n g u n d F re u n d in v o n T h e o p h ils V a te r, d e m S ta u b sa u g e r V e rk u fe r O liv e ira d a F ig u e ira a u s d e n G e sc h ic h te n v o n H e rg s T im u n d S tru p p i. S e ra fin a ist e in e jo v ia le F ra u in e in e m g u t g e sc h n itte n A n z u g , e in e P la u d e rta sc h e m it e in e m a b so lu te n U n v e rm g e n , a n d e re n z u z u h re n o d e r a u f d e n G e m tsz u sta n d ih re r M itm e n sc h e n e in z u g e h e n , a b e r m it e in e m k la re n Z ie l: L ic h t u n d B h n e A u ssta ttu n g f r ih re G e s e llsc h aft L a m p io n z u v e rk a u fe n . O liv e ira d a F ig u e ira d a g e g e n ist e in k le in e r, u n te rse tz te r M a n n m it H a lb g la tz e u n d e in e m fe in e n S c h n u rrb a rt, d e r a b e r e b e n fa lls e in e M iss io n h a t: d a s V e rk a u fe n v o n n u tz lo se m M ist a n je d e n , d e r se in e n W e g k re u z t. O liv e ira d a F ig u e ira h lt e s so g a r f r m g lic h , S ta u b sa u g e r m itte n in d e r W ste a n B e d u in e n z u v e rk a u fe n . D a b e i ist e s v llig e g a l, w o D u b ist: a u f e in e m S c h iff m itte n im O z e a n , in d e r g r te n W ste d e r W e lt o d e r z u H a u se im E ld o ra d o : in A u g e n b lic k e n , w o D u a u f sie v e rz ic h te n k a n n st w ie a u f e in e n N ie re n ste in , ta u c h e n sie a u f, d ie v e rm a le d e ite S e ra fin a L a m p io n , d ie v e rsu c h t, D ir e in e L ic h t u n d B h n e A u ssta ttu n g a n z u d re h e n , o d e r O liv e ira d a F ig u e ira m it se in e n V e rd a m m te n S ta u b sa u g e rn .

Im S in n e d ie se r L o g ik l sst T h e o p h il a n d ie se m T a g , so w ie g e w h n lic h , e in e F la sc h e W o d k a f r se in e n G a st S e ra fin a L a m p io n zu r c k . In d ie se r F la sc h e sitzt je d o c h e in v e rk le in e r te r T e x a s-R a n g e r, d e r u m H ilfe ru ft u n d e r z h lt, d a ss d e r b sa rtig e S h e riff v o n D u m b C ity d a m it d ro h t d ie S ta d t m it e in e m F e ls b ro c k e n zu v e rw ste n . T h e o p h il B o o m e ra n g , - d e r d a s a lle s v o rh e rg e se h e n h a t u n d d e sse n S ta u b sa u g e r le tzte n d lic h d a f r so rg e n w ird , d a ss d e r F e lsb ro c k e n n ic h t a u f d ie S ta d t f llt - l sst d a s T a n ze n a b e r g e n e re ll a n d e re m a c h e n u n d d a s ist n a t rlic h d e r U n te rg a n g f r je d e U to p ie

S o g e z w u n g e n m u ss d e r G a st a u c h b e k a n n t a ls C a ssa n d ra d e n H ilfe ru f d e s T e x a s-R a n g e rs b e a n tw o rte n u n d b e n u tz t d ie Z e itd iffe re n z z w isc h e n E u ro p a u n d d e n U S A u m m it H ilfe d e r T e le z e itm a sc h in e so fo rt n a c h D u m b C ity z u g e h e n so w ie sie d a s fr h e r sc h o n in T e rra in c o g n ita g e ta n h a tte . Ih r F re u n d , d e r, s o w ie T h e o p h il B o o m e ra n g , d a s v o ra u s sa h , ist sc h o n a m K o ffe r p a c k e n a ls sie u n e rw a rte t B e su c h b e k o m m e n v o n d e m s e lb ig e n T h e o p h il, d e m p e n e tra n te n H a n d lu n g sre is e n d e n . S e ra fin a w im m e lt ih n v e rk ra m p ft u n d la u th a ls a b w o m it a lle s in O rd n u n g sc h e in t. In d e r T e le z e itm a sc h in e m e rk e n sie a b e r, d a ss e in b lin d e r P a ssa g ie r a n B o rd ist, u n d d ie se r b lin d e P a ssa g ie r ist n ie m a n d a n d e re s a ls - T h e o p h il B o o m e ra n g , d e r e in p ro fita b le s G e sc h ft w itte rt. ..E n d e g u t a lle s g u t u n d m it d e r T e le z e itm a sc h in e k e h rt je d e r w ie d e r z u r c k n a c h H a u se . Z u H a u se a n g e k o m m e n z e ig t S e ra fin a ih re n F re u n d e n sto lz e in e n B rie f. T h e o p h il sie h t, da ss

d ie fre m d e S p ra c h e J a p a n isc h se in m u ss. H ie r b e r e n tste h t e in S tre it u n d T h e o p h il l u ft b e le id ig t w eg . D a ra u fh in w e rd e n d ie F re u n d e u n d a u c h T h e o p h il se lb st w e g e n S t ru n g d e r N a c h tru h e v o n d e r P o liz e i v e rh a fte t. S e ra fin a w ill n u n ih re F re u n d e u n d T h e o p h il a u s d e r P o liz e ista tio n h o le n , a b e r d ie se sin d b e re its fre ig e la sse n w o rd e n u n d fa h re n z u sa m m e n in U rla u b z u B o o m e ra n g s V illa in d ie B e lg is c h e n A rd e n n e n . (G ib t e s h ie r e in e m G ro v a te rp a ra d o x )?

E s g ib t Q u a lit te n , d ie in d e r N a tu r u n a b h n g ig v o n d e r sp e z ifisc h e n T ra n sfo rm a tio n d u rc h m e n sc h lic h e S in n e so rg a n e v o rh a n d e n sin d . E ig e n sc h a fte n d e r D in g e se lb st, w ie A u sd e h n u n g u n d G e sta lt in R a u m u n d Z e it. U n d e s g ib t Q u a lit te n w ie F a rb e , T n e , G e ru c h , H rte , e tc ., d ie n u r d u rc h d ie B e r h ru n g , d ie sin n lic h e E rfa h ru n g e in e s g e g e n b e r, sic h tb a r w e rd e n . W e n n d ie n e u ro n a le K o d ie ru n g v o n S c h o k o la d e n g e sc h m a c k a b e r se lb s t n ic h t w ie d e r n a c h S c h o k o la d e sc h m e c k t, re ic h t d a s b lo e L e c k e n a m G e h irn e in e r S c h o k o la d e e sse n d e n P e rso n n ic h t a u s. M a n m u ss d a s G e h irn e in e r S c h o k o la d e e ss e n d e n P e rso n v o n e in e m K o m p liz e n le c k e n la sse n u n d d ie se s L e c k e n a n sc h lie e n d n e u v e rw e rte n . Im Ja h r 2 0 1 1 to b t d e r E n d k a m p f z w isc h e n M e n sc h e n u n d M a sc h in e n , d ie a u s T e rra In c o g n ita - e in e r a u e r K o n tro lle g e ra te n e n k n stlic h e n In te llig e n z , d ie v o m M ilit r e n tw ic k e lt w u rd e , u m stra te g isc h e E n tsc h e id e z u fa lle n - a n g e f h rt w e rd e n . D ie M e n sc h e n sc h e in e n d e n K rie g z u g e w in n e n , a ls e s T e rra In c o g n ita g e lin g t, Z e itre ise n in d ie V e rg a n g e n h e it te c h n isc h u m z u se tz e n . T e rra In c o g n ita sc h ic k t e in e n C y b o rg in d ie V e rg a n g e n h e it, u m d ie M u tte r v o n T h e o p h il B o o m e ra n g , d e m A n f h re r d e r

M e n sc h e n , z u t te n , b e v o r d ie se T h e o p h il g e b re n k a n n . U m d ie s z u v e rh in d e rn , se n d e t T h e o p h il O liv e ira d a F ig u e ira , d e n F re u n d se in e s G a ste s, in s Ja h r 1 9 8 4 z u r c k , u m s e in e M u tte r v o r d e n A n g riffe n d e s C yb o rg s z u sc h tz e n . N a t rlic h k o m m t e s im Ja h r 1 9 8 4 in d e r Je ff K o o n s M a s se n p ro d u z ie rte n S ta u b sa u g e r d ie A u ra d e s e w ig B e g e h re n s w e rte n g ib t, z u r S c h la c h t z w isc h e n O liv e ira u n d d e m C yb o rg .

D ie se V a ria tio n d e s G ro v a te rp a ra d o x o n s b e h a n d e lt e in e n Z e itre ise n d e n in d ie V e rg a n g e n h e it, d e r se in G ro v a te r u m b rin g e n w ill, b e v o r d ie se r d e n V a te r d es Z e itre ise n d e n z e u g e n k a n n , w a s d a z u f h rt, d a ss d e r Z e itre ise n d e n ie m a ls z u r W e lt k o m m t u n d d a h e r k e in e Z e itre ise n u n te rn e h m e n k a n n , w a s w ie d e ru m d e n G ro v a te r, u n d d a h e r d e n Z e itre ise n d e n , a m L e b e n b e l sst, u n d a lso d ie M g lic h k e it v o n m rd e risc h e n Z e itre ise n o ffe n l sst... F a lls a lso d e r C yb o rg s e in e n m rd e risc h e n A u ftra g a u sf h re n k a n n , w ird T h e o p h il n ie m a ls g e b o re n , u n d k a n n d a h e r d ie M e n sc h e n n ic h t z u m S ie g b e r d ie M a s c h in e n f h re n . D ie s w ie d e ru m b e d e u te t, d a ss T e rra In c o g n ita k a u m e in e n A n la ss h at, Z e itre ise n z u e n tw ic k e ln , d a ih re E x iste n z ja n ic h t m e h r b e d ro h t ist w a s e s w ie w ir w isse n e ig e n tlic h n ie w a r. F a lls T e rra In c o g n ita d a s z e itre ise n a b e r n ic h t e rm g lic h t, w ird n ic h ts d ie G e b u rt v o n T h e o p h il v e rh in d e rn .

D e r P lo t v o n d ie se m S z e n a rio ist a lle rd in g s n o c h u m e in e P r d e stin a tio n P a ra d o x ie a n g e re ic h e rt, d ie d a s d ro h e n d e G ro v a te rp a ra d o x o n z u m in d e st in d ie se m F a ll a u fl st. D e r A u ftra g d e s C y b o rg s w a r e s, T h e o p h il d a ra n z u h in d e rn , z u m A n f h re r d e s m e n sc h lic h e n W id e rsta n d s z u w e rd e n .
P a ra d o x e rw e ise w ird d ie s g e ra d e e rs t d a d u rc h e rm g lic h t, d a ss d e r C yb o rg in d ie V e rg a n g e n h e it re ist u n d s o O liv e ira d a F ig u e ira v e ra n la sst, e b e n fa lls in d ie V e rg a n g e n h e it z u re ise n . S p te r ste llt sic h n m lic h h e ra u s, w ie w ir sc h o n w isse n , d a ss O liv e ira d a F ig u e ira d e r V a te r v o n T h e o p h il ist, le tz te re r ab e r e rst a u f d ie se r Z e itre ise g e z e u g t w u rd e . H tte n d ie M a sc h in e n a lso n ic h t v e rsu c h t, T h e o p h ils G e b u rt z u v e rh in d e rn , w re e r g a r n ie g e b o re n . T h e o p h il m a c h t h ie r d e n R a u m se lb st z u r B h n e , a u f d e r d ie G a stN e h m e r z u b a ro c k e n T n z e r w e rd e n . D ie B h n e ist d e r R a h m e n , d e n e r a n b ie te t a n se in e G ste , d ie sie z u T n z e n a n n e h m e n k n n e n . In Z e ite n v o n G lo b a lisie ru n g m u ss m a n sic h se in e G re n z e n e b e n se lb st b a u e n u n d d a T h e o p h il H a n d e lsv e rtre te r f r P a p a g e ie n z im m e r is t, tu t e r d a s v o n T r z u T r, in d e r T r.

D a s e in z ig e , w a s n o tw en d ig is t, is t e in e Z u n g e . D a s is t d ie g eh e im e Q u e lle , a u s d e r a lle s h e rvo rsp ru d e lt. V ie lfa rb ig . Ich m a le o h n e F a rb e . Ich seh e D ich a n u n d in d ie sem M om en t f h ls t D u , w ie e in e Z u n g e B u ch s ta b en in D e in e M u n d h h le b r in g t.

Kapitel 2 Der Geburtstag der Publizitt Drei Phasen fr ein ewiges Leben (Das Reale Institut)

PROLOG

Eine Einfhrung ist immer eine Reflexion von irgendwo in der Mitte [Fig.22]. Aber wir sind die Ghostwritern, die Beteiligten, und nicht die mittleren. Und was Hier ist, ist nur ein Teil von dem was es gibt.

A: PRSENTATION
(Der Komplize nutzt den Raum)

Krass h?! Diese Aneignung des Raumes. Erst legt sie Papier ber Papier und am Schluss die unnlige Karte der leeren Landschaft. [Das Boot, das immer wieder kommt] Jemand will hier offenbar verschwinden. Tne haben aber eine andere Biografie als Menschen, und die genaue Anleitung fr das Komponierte Pendel fehlt auch. [Produktiver Umgang] Was habe ich gefunden? Alles einfach in Bezug setzen alleine reicht nicht. Dann bleibt alles reine Negativitt wie das Bild einer radikalen christlichen Sekte. Der richtige Vorgang wre: erst alles zu sammeln, [Abdruck (1)] dann eine Geste zu machen, [Pendel (1)] und mit den

Ergebnissen [La trahison des images] ein [Knigsmacher] Muster zu erstellen. [Die Dreifaltigkeit (2)] So bekommt man ein repetitives, als Biografie konstituierendes Element. Wie das wohl [Freundschiff] in einem Schattenwurf [Irgendwo] aussieht? Wahrscheinlich wie ein Foto eines Bildes eines Fotos. Es ist jetzt aber immer noch nur die Projektion einer Idee eines Schattens einer Traube. [Iranischer Pornostar in Amerika / Amerikanischer Pornostar im Iran] Und jetzt zur Wahrheit als Tarnungstheorie. Die politische Ebene ist fr mich wie ein groes Loch. [Pendel (2)] Ich kenne die Regeln nicht, aber die

Verantwortung beschftigt mich immer wieder. [Ausgangspunkte fr Fulnis] Ich finde es spannend, dass ich immer noch nichts wei. [Die Dreifaltigkeit (1)] Die politische Verantwortung ist wie unsere Reisebegleiter, die Tiere tten und sie anschlieend kochen, um sie zu reduzieren. Frieden schlieen, sonen Quatsch! [Plastik gieen] Wer hat gewonnen? Die Inselbewohner debattieren mittlerweile auch. Nicht nur ber Khe oder Brathhnchen. [Wenn die Krankheit im Darm sitzt] Wo sind wir gelandet? Mit welcher Qualitt? Sehr pervers! Es ist das Bedrfnis irgendwo zuzugehren. [Schutzmaske (1-3)] Kein Zugang. [Immer wieder mit

seinem Latein am Ende sein] Immerhin mache ich nicht als Frau Kunst, sondern[Abdruck (2)] Wo ist der Wurm? Wo der Wurm ist!? [Wahrnehmungsblase] Wir sollten alles zermahlen, nicht nur aufschreiben. Krass h?! Diese Aneignung des Raumes. [Topos] < Sagt sie wieder und wieder neu. > Sie legt Papier ber Papier und am Schluss die unnlige Karte der leeren Landschaft. [Abdruck (3)] Jemand will hier verschwinden. [Eine Schar wunderschner Engel] Vielleicht sollte sich jeder eine Weltkugel in die Haut ttowieren lassen. [Verwunderung]

NOTATION

[Exkremente und Trauben] DREI FRAUEN MACHEN EINEN MANN

Es gibt immer einen guten Grund, mit etwas Neuem auf Franzsisch zu beginnen, vor allem weil niemand mehr Latein versteht. Meine Glaubensbasis liegt im Latein aufgrund meines katholischen Hintergrunds. Aber verstehen tue ich nichts mehr davon. Verstehen und Glauben sind sowieso ein Gegensatz. Man muss beim Glauben beginnen. Das

Interessante beim Glauben ist, dass man es verstehen will, sonst bleibt es zu abstrakt. Es geht hier um Knigsmacher. Machen und Macht liegen nebeneinander. Immer. Das Eine ist das Negativ des Anderen, der Abdruck des Anderen. [Wir sind auf dem Wasser, kommen irgendwo mit dem Boot an]. Diplomatie gibt es nicht mehr oder hat es noch nie gegeben, jedenfalls gibt es sie jetzt nicht. Um Macht zu installieren im Prozess des Knigmachens orientiert man sich an dem Urgedanken des Marathons. Athen und

Sparta hatten es satt, gegeneinander zu kmpfen. Da haben sie beschlossen, gegeneinander zu laufen. Das Laufen ist zweitrangig. Es geht um Essen und Exkremente produzieren Abdruck und Bild. Es geht nur um Trauben. Wenn zwei Menschen um die Macht kmpfen und die Knigsmacher die Regeln festsetzen, dann beziehen sie sich auf die Dreifaltigkeit: Gesellschaftskrper, IchKrper, Warnehmungskrper. Die Wahrnehmungsgrenze ist eine Blase, eine Maske: man kann sie schnell platzen lassen.

Wenn das die Regeln der Knigsmacher sind, wenn sich zwei Menschen bekmpfen, und es nur die Mglichkeit gibt, Trauben zu essen und es dabei undeutlich ist, ob es sich um echte Trauben handelt oder billige Plastiktrauben aus China, dann setzt man sich also mit nacktem Unterleib hin und beginnt, Trauben zu essen, und versucht gleichzeitig, Exkremente zu produzieren. Und man wundert sich stndig darber, was man eigentlich macht. Aber man kann nichts anderes machen, um zu einem Machtparameter zu kommen. Es ist ein Pendel,

das hin und her geht. Geboren werden, sterben. Gewhlt wird immer aufs Neue. (Die Frage, was war erst, das Huhn oder das Ei, ist irrelevant). Die Frage ist, wie man den Abdruck bewertet. Der Abdruck ist die Wahrnehmungsblase, die Haut, die Maske, das Negativ, die Exkremente. Und um das zu bewerten, muss man vom Allgemeinen, Groen, Ganzen zu einer persnlichen, subjektiven Krpererfahrung kommen. Muss das Umfassende verlassen hin zum Persnlichen. Die Erdobergrenze auf die

eigene Haut projizieren. Vielleicht sollte jeder sich eine Weltkugel in die Haut ttowieren lassen.

Dieser Text hat sich aus der Performance des Ghostwriters XYZ ergeben und ist neu zusammengestellt worden als: A: NOTIZEN (Der Verdaurer nutzt die Allmende)

B: ANNOTA TION (Der Wurm nutzt das Schlupfloch)

Fig.1

Fig.2

Iranische Pornostar in Amerika / Amerikanische Pornostar im Iran.

Kennen Sie den Aufbau Persischer Teppiche? Sie haben in der Mitte das Zentralmotiv, das gro und dominant ist. Am Rand aber hat es Verzierungen, Ornamente, oft findet dort eine ganz eigene Geschichte statt. Und Iraner funktionieren genau gleich. Man ist sich dem Zentralmotiv durchaus immer bewusst, versucht aber, in den Verzierungen drum herum zu leben.

Eine Schar wunderschner Engel.

Die Ursache des Todes von Hans W. Meyer wurde nie vollstndig geklrt. Im Juli 2012 verffentlichte die Polizei eine Verlautbarung, nach der sich die Todesursache aufgrund des fortgeschrittenen Zerfalls am Leichnam nicht mehr mit absoluter Sicherheit habe feststellen lassen. Ein Verbrechen sei doch mit groer Wahrscheinlichkeit auszuschlieen. Die Dorfvereinigungen der Gegend hatten schon lange vor dieser Auskunft angefangen, Gelder fr die Familie des Umgekommenen, fr seine Frau und zwei Kinder im Vorschulalter, zu sammeln. Als endgltiger Betrag wurden 5.728,15 Franken an die Witwe in Thailand berwiesen.

Fig.3

Irgendwo
Als im Hafen ein fhrerloses Boot einluft, wird die Hafenpolizei gerufen um nach dem Rechten zu sehen. Bei genauerer Inspektion der Segelyacht greift ein Unbekannter die Beamten an und ttet einen der beiden Polizisten durch Bisse. Einige Reporter

entschlieen sich, der Sache nachzugehen und begeben sich auf die Suche nach dem Ursprung des Bootes.

welcher Untersuchungsmethode wir sie fr wahr oder unwahr befinden. Aussagen zu Moral und Kausalitt sind nicht im selben Mae sinnvoll zu formulieren.

Fig.4

Fig.6

Freundschiff
Ein Schiff ist etwas bewegliches, etwas das manchmal den grten Sturm berlebt, oder bei einem lauen Lftchen untergeht.

Abdruck (1).
Glaubst du das Adam Und Eva die ersten Menschen waren, Das Moses das Meer geteilt hat, und und und.Glaub dran oder nicht, deine Sache.

Fig.7

Fig.5

Plastik Giessen
Zur Produktion von individuelleren und kunstfertigeren Objekten wurde damals ein anderes Gussverfahren gewhlt, in dem man eine Form vorfertigte, die nur einmal benutzt werden konnte. Es wird daher auch als Guss in verlorener Form genannt. Nach dem Aushrten des Objektes wird die Gussform zerstrt, um das fertige Artefakt herauszuholen. Am hufigsten wurden diese verlorenen Formen aus Lehm oder Sand mit Hilfe von Wachs bzw. Holz geformt.

La trahison des images

Ein Mops schlich in die Kche und stahl dem Koch eine Traube,/ da nahm der Koch den Lffel und schlug den Mops entzwei./ Da kamen viele Mpse und gruben ihm ein Grab/ und setzten ihm 'nen Grabstein, auf dem geschrieben stand:/ Ein Mops schlich in die Kche und stahl dem Koch eine Traube / das Projekt der Weltabbildung hat logische Grenzen, die sich in einem Nachdenken ber die Verifikation von Aussagen ergeben. Aussagen sind demnach sinnvoll, solange wir wissen, nach

Fig.8

Gute Pendler sind jene Menschen die einen gesunden Menschenverstand, ein seelisches Gleichgewicht, und einen guten Zugang zum Unterbewusstsein haben. Die Pendelfhligkeit gehrt der geistigen Entwicklungsstufe eines Menschen an, je feinfhliger ein Mensch ist umso besser ist das Pendelergebnis. Ein guter Pendler beherrscht mit Disziplin seine Arbeit, er konzentriert sich auf die gestellte Frage.

Wenn die Krankheit im Darm sitzt

Grnde fr zwischenmenschlichen Stress sind in der Regel ungnstige Ernhrungsgewohnheiten und zu wenig Bewegung. Aber auch eine zu geringe Flssigkeitszufuhr, eine durch Anspannung und Stress eingeschrnkte Atmung, sogar Partnerschaftsprobleme und eine Reihe weiterer Einflsse knnen die Verdauung stark beeintrchtigen. Bei vielen Menschen kommt es zu einer chronischen Verstopfung. Die Sure und der abfhrende Effekt von Trauben verursachen einen spritzenden Stuhlgang und absoluten Erleichterung.

Fig.11

Topos
Die Frage nach der Bedeutung des Topos "Buch" fr die Konstruktion kollektiver Identitten um 1900 richtet sich nicht auf die knstlerische Produktion und die sthetischen Kontroversen im Feld der Verlagsindustrie, sondern auf die spezifischen Konnotationen und Bedeutungen, mit denen Performative Kultur aufgeladen wurde.

Fig.9 Sehe Vorderseite Fig.10

Fig.12

Die Dreifaltigkeit (2)

Uns, Heutige, denen die Trinitt gleichgltig geworden sind wie der Schnee eines Verflossenen Winters, verwirren Differenzen die viel Blut kosten. Wir fragen uns

Pendel (1)

Warum Pussy Riot sich so standhaft verbrennen lie. Ein Wiederruf htte sie vor diesem Schicksal bewahrt. Sie treiben im gleichen Meer des Irrtums wie Calvin und wir.

Fig.13 Sehe Rckseite Fig.14

Pendel (2)
Verortung, Topos, Abdruck, Traube und Exkrementen. Die Konstruktion kollektiver Identitten ist auch heute immer noch nix anderes als eine bloe Blase. Mit oder ohne gesunden Menschenverstand, Schner Wohnen werden wir dadurch nicht, Jedenfalls nicht alle.

Verwunderung
Ohne Maske, ohne Bewertung, ohne Glauben.

Fig.17 Sehe Vorderseite Fig.18

Fig.15

Knigsmacher
Masken der Macht oder die Macht der Masken. Nahezu unbemerkt wchst hinter den Masken der Macht immer eine tdliche Bedrohung heran, die das ganze Land in den Abgrund zu reien droht. (Abgrund Abdruck: sich in die unendlicher Wiederholung werfen). Geboren werden, sterben. Gewhlt wird immer aufs Neue (3x3=9 das muss man Glauben).

Abdruck (2)
Das Projekt der Weltabbildung hat, wie schon erwhnt, logische Grenzen. Mise en abyme, La trahison des images oder wie man diese Problematik auch Beschreiben mag, eine Bestimmte Spiegelung ist wohl immer dabei. Die Welt ist ein Fass voller Trauben ohne Boden, unendlich.

Fig.16

Fig.19

Ntzliche Maske und wie wir jetzt wissen ist die Frage, was war erst, das Huhn oder das Ei, Die Polynesier oder die Maske, irrelevant.

Fig.22

Fig.20

Das Boot dass immer wieder kommt

Immer abends, wenn das Wetter schn ist, ganz besonders an Wochenende, sitzen hier mehr oder weniger junge Mnner und lassen Boote bers Wasser fahren. Manchmal sitzt morgens um sieben schon einer da, allein und in sich versunken, guckt seinem Schiff nach, das auf den Wellen schaukelt. Am frhem Nachmittag werden es mehr. Drben kommen drei mit zwei Booten, die so schwer sind, dass sie per Gestell gewassert werden. Blau und Rot. Knnten Vater und Sohn sein und ein Bekannter. Von der Silhouette her haben sie Versorgungsschiffe von Bohrinseln dabei.

Fig.21

Fig.23

Schutzmaske (1-3)
Ttowierungen sind die frheste Art der Krperkunst, die schon lange vor der christlichen Zeitrechnung praktiziert wurde. Immer wieder wird das Volk der Polynesier als Erfinder der Krperbemalung genannt. Dabei kann man gar nicht genau sagen, wer das Ttowieren eigentlich erfunden hat. Es ist einfach eine

Abdruck (3)
Der Abdruck ist die Wahrnehmungsblase, die Haut, die

Fig:9

Ausgangspunkte fr Fulnis
Eine kombinierte Anwendung eines Bioregulators und einer zweimaligen eimaligen Botrytizidanwendung ist die sicherste Manahme, Fulnisbefall an Trauben zu vermeiden. Aber wie sollen die Wrmen denn Schlpfen?

Fig.17

Die Dreifaltigkeit (2)

Die Besonderheit am Tourismusmanagement ist, dass es aus drei verschiedenen erschiedenen "Lehren" besteht. Dieser Knigsmacher des Konsums muss nmlich die allgemeine Betriebswirtschaftslehre, allgemeine Managementlehre re und die Tourismuslehre miteinander vereinen, um erfolgreich zu sein.

Fig.13

Produktiver Umgang
Unsere Kultur basiert auf dem Wissen vom Anderen. Gerne blenden wir uns dabei weg welche Wirkung der Andere auf uns hat. Welche Ziele verfolgen wir in der Begegnung mit ihm? Ist das nicht die Frage, die ebenso bedeutend ist wie die Frage, wie und wer der Andere ist? (mach dich weg und denke wir)

Fig.24

Wahrnehmungsblase
Die Wahrnehmungsgrenze ist eine Blase: man kann sie schnell platzen lassen. Es wird erst anregend wenn man anfngt die Blasenabdrcke zu Bewerten. 1983 verlie z.B. ein groer Teil der Skinheads die Punkbewegung der DDR und ging in eine rechtsextreme Richtung. Whrend einige Punks also begannen politisch aktiv zu werden, versuchten sich andere komplett aus der Gesellschaft zurckzuziehen, flchteten in Alkoholismus oder neigten zu autoaggressivem Verhalten.

Maske, das Negativ, die Exkremente. Es geht hier aber nur um Trauben. undeutlich ist es immer noch, ob es sich um echte Trauben handelt oder billige Plastiktrauben aus China. Also setzt man sich mit nacktem Unterleib hin und beginnt, Trauben zu essen, und versucht gleichzeitig, Exkremente zu produzieren.

Fig.24 Sehe Rckseite Fig.25

Immer wieder mit seinem Latein am Ende sein.

Und man wundert sich stndig darber, was man eigentlich macht. Aber man kann nichts anderes machen, um zu einem Machtparameter zu kommen.

Kapitel 3 Das echte Kunstwerk (nur fr glaubigen)

Das Editieren der Woche... VORGEHEN Seite Am Anfang war.../Innen-Aussenraum (Seite aus dem Vorbereitungsdossier)

Erklren wir einander, was diese Woche passiert ist? Anhand rumlicher Transformation, T auf dem Papier Ziel? Diskrepanz zwischen beiden T? Nicht? Unwesentlich Direkte Referenz fr diesen Raum? Abb.1: der Raum? Innen-/Aussenraum Bedeutung dieser Dualitt wird erst im Verlauf des Projekts bewusst (Aussenraum entstand, als der Innenraum gebaut wurde) Zu Beginn stand der Kopierer in der Mitte des Raumes (sakral); ein paar Sthle; vor allem viel Platz (Luftraum, Freiraum); Raum fllt sich langsam These: Abb.2 ist ebenfalls Ausgangsituation Innenraum, Tische, Sthle Abb.1 + Abb.2 = Abbildung des Transformationsprozesses Vorschlag: noch eine Abb.3 (1) die vier Ecken (Mythos etc.); (2) das Mobile (erste Skulptur) Abb.1 = Evaluationsprozess Abb.2 = Basissituation

J: Die Seite selbst = Basissituation = Abb.2 = das erste Angebot fr unsere Gste: Sthle, Tische, Aussen-/Innenraum, Freiraum, uns als Knstler) N: Ausgangslage = Konzept, die Geschichte/das Leben des Konzepts J: Das sind die nicht-rumlichen Aspekte der Ausgangslage N: weitere Ausgangslagen: Auflagen des Festivals, Relationsgeschichte zwischen uns Knstler, das Gsteverhltnis (Editoren), Wunsch nach Forschung, Raumvorlage... Ziel: Amalgam zwischen Hirst und Gadaffi

Artikel Le Courier

N: Das war der Startschuss Erste Behauptung in die Welt gesetzt Journalistin versteht unter dem Projekt: Il sagit surtout de trouver un protocole de recherche.; Lobjectif nest pas dobtenir une unit finale, mais dtablir une complicit entre les diffrents contextes prsents. J zitiert: die Flle einnehmbarer Positionen verkompliziert die Kollektivitt und multipliziert die Widersprche der Komplizenschaft. (Unnegotiated research, Seite 27) N: Startschuss war die verbale usserung

unseres Konzepts Vor- und Nachlauf Verschriftlichung der usserung, deren Verteilung, deren Rezeption J: Ziel: Zwischen uns Sinn kreieren STAPEL Seite Mobile Seite Wir wollen heute nicht zur Erkenntnis kommen, dass G. ein Knstler ist. J: Legen wir mal ab... G. uns seine empathischen Fhigkeiten (liest Larry King und kann ihm dadurch parieren) G. stellt vergleiche her Ihr tut es doch auch... Ihr versteht mich nicht! Weshalb werde ich eingeladen? G. versteht nicht, weshalb er sich hier erklren muss Fhigkeit der Empathie = knstlerische Handlung? G. handelt knstlerisch? Gefahr: der Ansatz wrde verneint werden bei der Kunst geht es um den Ansatz! G. ist daher kein Knstler N: Wir drfen keinen Vergleich zwischen D.H. und G. machen! Haupterkenntnisse: (1) wir haben es nicht geschafft einen Link herzustellen! (2) Die Komplizenschaft hat sich in ein Dogma verwandelt J: Wir knnen nicht mehr als Komplizen agieren, sondern als Einheit (Wir unterwerfen uns diesem Satz)

Erkenntnis Wir gehen nicht linear vor!... Interessant.... Weshalb haben wir den Bogen so geschlagen? Artikel (Anfang) Grundsatz/Abmachung/Dogma G. ist kein Knstler (Ende)

N: Ich bin mit der Erkenntnis von gestern NICHT einverstanden! Es ist nicht meine Erkenntnis! J: Es ist aber eine der Erkenntnisse der Mythendruckerei! (Mit Einfluss des Gastes) LINK J: Wie formulieren wir unsere Beziehung? (s. Artikel Le Courier) STAPEL Seite Acteur Lecteur (Diskussion um Vorgehen)

Abgelegt? J: Wie wollen wir den Transformationsprozess wahrnehmen, wenn wir nicht linear vorgehen knnen? (Analyse des Stapels) N: Wie gehen wir durch die Woche? Was ist unser Raster? Der Link findet sich im Stapel! keine neue Systeme einfhren (z.B. Linearitt Diskussion um Abb.1+2 wieder verworfen?) N: System der thematischen Hufchen! (ich: Codes?) J: Daran halten wir fest! N: Passt zu unserem (unbewussten) Bogen Anfang und Ende waren schnell

gefunden J: Stapel Weiter- und Wiederverwenden! N: Die vier Ecken behalten wir bei! Seite Poisson Fruit J: Unwichtig! N: Wichtig! (Ich: weiss nicht, was mit der Seite passiert) N: Das ist das Resultat! (Ecke Mythos) N: Der Drucker verlinkt (Masse, Verdichtung...) Blatt ist nicht relevant! Weg! D.H. hat Angst davor Kontrolle ber Arbeit zu verlieren, weswegen er den Verkauf kontrolliert N: Seite gehrt zu Methode (Stapel)! J: Das Gegenteil von Kontrollverlust! N: Zusammen mit Kontrollverlust eine interessante Verbindung! N: Als Forschungsperspektive! N: Der Verfallsprozess als knstlerisches Spiel! Das sind diplomatische Mittel Stapel Diplomatie

Seite Transfert fichier Seite Gebrauchsanleitung Drucker

Seite Kontrollverlust

Seite Droit de suite

Seite Drauf gucken vs. drin stecken S. Rezeptionswelle

S. Rasterfahndungsprozess S. Liegesthle NEU der Kunststapel S. Le lien commence lensemble... S. Geschmacklosigkeit S. Trigger S. Some substance... S. Is Lockerbie really death? S. Skull ist the a... S. No one can say... S. Guesteditors S. Empathie + Larry King Wand + Seite : Lebenslauf von Gaddafi

J: Kopieren der Rasterfahndung = ERROR Stapel Fahndungsraster N: Das ist D.H.! Stapel Hirst J: Seiten, die einfach gut aussehen und wir noch nicht wissen, was sie bedeuten J&N: Das ist sehr schn! N: Wo hin tun? Stapel Kurzschluss! N: Geschmacklosigkeit ist ein zentrales Wort! N: Stapel in der Mitte! N: Das ist genau der Gedanke! Stapel Missing Link N: die Auseinandersetzung mit dem Flugzeug und dem Zelt! Stapel Stapel Damian + Death Stapel Missing Link ? Rasterfahndung Stapel in der Mitte Gaddafi: Trotz der Werte Kampf gegen Kolonialisten (?) Das Ende von Libyen durch die Bezahlung des Attentates (Welche Bedeutung hat diese Aussage?) Stapel Mitte N: ergibt diese Sortierungsform etwas? J: Fr mich nicht. Jetzt noch nicht.

S. Qui est coupable? ZWISCHENBLICK

Seite Darstellung der Ausgangslage (Blcke auf dem Boden) S. Metasphre

J: Das Editieren der Woche... durch die Benutzung des Tisches, wird uns klar, wo der T-Prozess stattgefunden hat (Obwohl ich jetzt noch nicht so genau sehe wie...) Stapel Forschung J: Das ist wieder so ein Dreieck! ( Dreiecksbeziehungen: Ich sehe berall Dreiecke, ich weiss aber noch nicht was sie bedeuten) Stapel Afrika In der Mythendruckerei werde Modelle hergestellt, die dazu dienen, die gegenseitige Abhngigkeit zu durchbrechen

Unser Raum im Belluard ist ein Mikrokosmos dieser Metasphre und die Aktivitt (Performance) des Mythendruckens ist der Versuch, die gegenseitige Abhngigkeit durch Modelle des unverhandelten Handelns zu durchbrechen. S. The physical impossibility... Bearbeiten S. The basis of the principle...

Stapel Hirst ( N: Wichtige Frage an die Kunst! Ding der praktischen Unmglichkeit (Verantwortung fr Handeln) Stapel Afrika Unterscheidung der Begriffe Performance und (?)

S. Empathie to... S. Performance

Durchlauferhitzung (Verfahren) S. Gift Alles zu Victor P. S. 1988 (Geschichte von Cline) S. Cut & Paste

N: Wie sind wir zu diesem Satz gekommen, der stimmt doch gar nicht? (G. kann kein Knstler sein!) N: Kann der soziale Krper so eine Katharsis erfahren? Stapel Afrika Stapel D.H. Diamanten Stapel Narration Stapel Forschung

Illustrations

Impressum

Eine Person tanzt fr etwa 60 min. einen Kreisfrmiger Schreittanz mit rhythmisch gesetzten Hpfern. Die Person trgt mehrere Lagen Outdoorbekleidung und ist mit diversen Flaschen voll Wasser behngt. Eine zweite Person kommt und erklrt, dass sie nun Wolken herstellen werden. Der Tnzer legt die Flaschen ab und zieht sich schnell bis auf die Unterhose aus. Er trgt sehr viele Schichten Kleidung. Der Partner schttet das Wasser ber den vom Tanz erhitzten Krper. Dampf steigt von dem Krper auf.

Sehend einen Faden spannend und einem Weg blind nachfolgend in Interaktion mit dem Publikum - ruhig und archaisch war die Performance von Y. Mit voller Aufmerksamkeit - die Spannung war im Raum sprbar - verfolgte man den tastenden Weg der Barfigen Frau - berhrte sich kurz, bangte mit ihr undverfolgte mit den Augen ihren weiteren Weg in ihrer Verletzlichkeit.

Zwei Mnner sitzen in einem Glaskasten, um den herum sind Zuschauer. Im Glaskasten sind 117 Grad und 21,8 Prozent Luftfeuchtigkeit. Alle 30 Sekunden wird ein halber Liter Wasser auf die Steine gegossen und alle 30 Sekunden heben sie im Glaskasten den Daumen zum Zeichen - "mir geht es gut". Vor ihnen haben vier Mnner den Glaskasten verlassen, weil sie es nicht mehr ausgehalten haben. T. ruft aus dem Glaskasten den Zuschauer zu: "Haut ab, wir kommen nicht raus". Auerhalb des Glaskastens kann man dies nicht hren. 6 Minuten 25: W. wischt sich mit der Hand bers Gesicht, dabei lst sich die Haut von seiner Stirn, rutscht langsam hinunter, wie flssiges Kerzenwachs, sie bleibt an der Nasenspitze hngen. 6 Minuten 50: T. atmet schwer, er schwankt, die Augen geschlossen. T. erbricht. Sein ganzer Krper zittert. W. reagiert nicht mehr. Er hlt auch seinen Daumen nicht mehr hoch. Die Kameras bertragen, wie er langsam verbrennt. T. verliert das Bewusstsein. Er ist drei Monate im Koma.

Notes

.......als die Tre zu dem groen weien Raum im zweiten Stock des Gebudes aufgeht...... wenn an allen Ecken und Enden modifiziert wird.....Bilder nehmen, modifizieren, dokumentieren, wieder in die Runde geben.........bis eine Eieruhr losklingelt, bis die Uhr bimmelt und so weiter.......platziert eine Axt in der M itte des Raumes.....unter einem Pavillion fr Diskussionen. Das journalistische Vorgehen wre, zu verstehen, was am Anfang war. Was das Thema ist. Welches Bild, welche Idee am Anfang stand.....versuche zu verstehen, was die Bilder von zerschlagenen Gesicht von Berlusconi auf dem Boden, die Kunstbnde an der Wand, der Pizzakarton miteinander gemein haben. Und kapituliere. von Tisch zu Tisch............um zu begreifen, was hier eigentlich passiert. Selbst befragt. Eine ungewhnliche Situation fr jemanden, der es von Berufs wegen gewhnt ist, nur zuzuschauen, in das Geschehen von einer beobachtenden Warte aus einzugreifen. Hingehen, Rechercheauftrag abgeben, wiederkommen, Recherchematerial mitnehmen......einen Anker ins Geschehen zu werfen zu begreifen, was dort alles gleichzeitig passiert, was die Intention dahinter ist, wie alles zusammenhngt. Erst indem wir uns darauf einigen, dass sie M acht haben, bedeutsam sind, werden sie es, sagt sie. Anders als es vielleicht erwartbar sein knnte, wird nicht an jedem Abend zusammengefasst......die Arbeiten bleiben im Raum verstreut....Dokumente, die sie eigentlich wieder zurcksortieren sollte. Aber wie gesagt, etwas in ihr scheint sich dagegen zu struben....in unterschiedliche Richtungen arbeiten. Anders als es vielleicht aber erwartbar wre............beide streben in unterschiedliche Richtungen.......die M glichkeit der Invasion von auen....flchig im Raum, dass nur schwer zugnglich ist, was ber den Tag verstreut berhaupt passiert ist......

Glossary

Tschss kleiner

Paragraph 13. Das Private hat keinen Geist. Ein persnliches Band verknpft Person und Werk. 13 Der Geist ist eine nicht-ffentliche Person. Das Werk ist gesagt. Jetzt ist das Werk glcklich. Das Theater ist jetzt privat

13 Der Geist und sein Versuch ersetzen sich selber. Selbst ist jeder froh. 13. Die Frau ist ein Geist. Sie ist zu begeistern vor dem Erscheinen der Hausfrau und gelegentlich auch vor Ort. Das Werkstck ist grundstzlich unabhngig von Schpfungsakt. Der Geist ist ein Glas, das vergiet. Staatenlose sind flchtig, der Geist ist aber geil zurckgetreten. Das Schpfungswerks und das Wetter sind auslndisch.

13 Maximalwert. 13 Der Geist ist der, der Schpfungshhe wnscht. 13 Schtzt das Werk unter Ausschluss aller Personen. 13 schtzt das Werk unter Ausschluss aller anderen Personen. Unter Ausschluss aller anderen Personen, ihrer Bedrfnisse und ihres Drfens. 13 wurde zurckgezogen. Er ist kein Bedrfnis. Geld ist das Erste, dann Gas. Die Welt ist ein Werk. Nur Geld ist ein Pferd und kein Bedrfnis. 13 schifft auf dein Geld. 13 gilt nur im fristwahrenden Gebrauch einzelner Nutzer.

13 Passversagungsgrund Ich ist eine Kunst. 13 Es gengt jedoch nicht ein einziger Schutzhelm, Akt oder Gedankensplitter zum Fahren einzelner Gedanken. 13 Tentakel-Splitter Sind Inhalt eines Geistes und fertig, wenn es gelingt. 13 ist der geilste, der den Geist in einer bestimmten Form zum Ausdruck bringt. 13 ist angereist. 13 Denkgesetzlicher Werkbegriff ist ein Gesetz 13, Abs. 113 Allem Ungesetzlichem ist er ein Zeichen. 13 Die Anweisung steht auf Papier. Der Geist und damit auch das war rechtswidrig. 13 ist oben. Der Geist ist seine eigene Verwendung durch Dritte, seine Verbindung durch Dritte, seine Fortbildung. 13 Geist und seine Aussage. Auer der Form ist der Ausdruck ein Ausdrucksmittel. Er ist flchtig. Dem Ausdrucksmittel zum Ausdruck zu verhelfen darf also gegen den Willen der Urheber zum Beispiel nicht aufgenommen werden. 13. Geist & Auslauf Form ist eine Hecke.

Ich werde Literatur, Wissenschaft, Kunst und Literaturwissenschaft. Ich bin dein Prinz der geistlichen Werke.

13 Eins und zwei: Geistesdarstellung Nichts dagegen, nichts dagegen. Danke. 13 Nur persnliche Bilder sind Kunst, Sprachwerk, Wertdarstellung, Werke. Darstellung ist nichts gegen einen Berg. Das Gartenhaus soll geistlicher, also persnlich werden. 13 Nur individuelle Geister sind schwer geil. So ist ein ganzer Geist einer. 13 Schrankenregelung Persnliche Schpfung ist ein kleiner Freitag. 13 Persnliche Schpfung ist ein Geist, ein Erzeugnis intellektueller Elektrizitt, ein Kreis. Ist das Werk ein Erzeugnis? 13 Ist das Werk ein Verzeichnis, ein erzeugtes intellektuelles Kreativittsbindemittel, dann sind der Geist und seine Fhigkeit ein Tier. Ein Computer kann kein Herz und keine Heimtiere haben.

Weitere 13: Der Geist ist sich selber. Der Ort des Werkstcks ist grundstzlich unabhngig vom Schpfungsakt. Der Geist ist ein Glas. Der Geist ist aber geil zurckgetreten. Das Schpfungswerk und das Wetter ist auslndisch.

Das Private hat keinen Geist. Geist ist ein nichtffentlicher Person, das Werk ist gesagt (jetzt ist das Werk glcklich).

Das Theater ist jetzt Privat.

Beitrag 13 schtzt das Werk unter Ausschluss aller anderen Personen. Unter Ausschluss aller andere Personen, Bedrfnisse und Bedrfnis und Bedrfnisse Brunnens Bedrfnis Drfens und so, und.

13 Schrankenregelung ist ein Persnlichkeitstest. Persnliche Schpfung ist ein Geist, ein Erzeugnis intellektuellem Elektrizitt und Fertilitt. Weitere 13: ist das Werk ein Verzeichnis? Ein Bindemittel von Geist und seine Fhigkeit, ein Tier. 13 Denkgesetzlicher Werkbegriff ist ein Gesetz. Weiter 13: die anweisung steht auf Papier. Der Geist, und damit auch DAS, war rechtswidrig. Weiter 13: oben. Der Geist ist seine eigene Verwendung durch Dritte. Da ist einer Verbindung durch Dritte. Es ist einer Fortbildung, du Dritter!

13 (Geist und seine Aussage) Das Ausdrucksmittel ist flchtig. Das Ausdrucksmittel darf gegen den willen der Urheber nicht aufgenommen werden. 13 Ich werde Literatur werde Literatur, Kunst und Wissenschaft. Ich bin dein Prinz Carstensen.

Freundschaft. Nur persnliche Bilder sind Kunst, Sprachwerk und Wertdarstellung. Werke bewirken Darstellung. Nichts dagegen. Nur, individuelle Geister sind schwer geil.

Preface

There wasn't much wind but it rained a lot. Ip remember that we were looking for some guide because we were planning to travel in the pyrenees but it was in the Basque area of Spain and they only had these manuals in Spanish and nobody seemed to consider that there also exists a French part, because Z. wanted to see the whole area, but that was OK ones we were travelling along. Some people helped us. We ended up in the mountains and were hiking a lot. It is a very beautiful area, a bit like the Alps, but there is hardly any tourism there. I don't really know why, but it is hardly exploited. That is pretty nice. From there on, we went back to Paris. It got a bit boring after a while, because we were driving and driving. I don't really like sitting hours in the car. Back in Paris it was very fun because we were staying with this young couple and they were just married, they were already together for eight years but it looked as if they had just met. They were kissing and hugging and everything. They really were trying to do their best, because they want a kid, but up to now they haven't succeeded yet. It is a shame though because they are such a lovely couple. She is a professor a the university and he actually studied philosophy, but he works now for this company to sell cleaning systems for factories and everything. It is not something he really wants to do but he just does it because everybody has to earn a living. But that was two months after I came back to Belgium. I came back because I spend three years abroad, and I really had to take care of some administration procedures. I had this letter from the government that I had to collect my new identity card. So I Just went there and - can I have a glass of water, please - so I just went there and it happened to be that my ID was already there for two years. The photograph looked old and everything, but that was OK. So then I had to go to the labour office and register myself as being unemployed. Normally that takes a hell of a lot of time and a lot of paper work you have to do.

I really don't like this, well actually I don't know anything about this paperwork, well I have never done it before, but I was quite lucky because the woman who worked there, used to be a guide in Prague, where I lived for two years and she was very interested in the fact that I lived there, so we started talking, and after a while she ended up filling in all the paperwork for me, directly on the computer, so that was good. While I was there, I spend some time with my parents because I hadn't seen them for a while. It was nice, but my mother went back to work and in the evening she has to work for my father, so that gets kind of boring after a while so I spend a lot of time in Antwerp with going to a lot of bars. After two weeks, My girlfriend arrived, so that was really good because I was missing her a lot. We went to the cost. That's where I had that experience with all the wind and the seagulls who couldn't fly up to the wind current and they where kind of floating in the air, that was a very beautiful sight. We did a lot of hiking and spend time together, we invited some friends over for dinner, that was also very nice. We cooked a lot, that was good. I went out one day to a local shop and they had big bottles of Californian wine, I never had Californian wine before and I didn't really trusted it completely but I tried it because it was very cheap, and I must say that it was pretty good. My girlfriend is from Chicago, and she told me that they make some very good wine in California, so I could better try it, and it was very good. I enjoyed that. Two weeks ago, I went to Sweden with my mother because my grandmother died the previous week. That was a sad moment, but she was eighty-nine, and I think that if you have reached the age of eighty-nine, you can't really complain. She never had to suffer much, only the last week was kind of hard. We tried to bring her to the hospital, but I think it was too late. Lots of small diseases that became too much for the old body. But anyway, we buried her and that was all right. But my mother, I guess you're never really prepared for it, as a daughter.

So I decided to take her on a trip. We went to Stockholm, and it was very nice. I think it was like low season, there was like hardly anybody in the city. It was my first experience whit Stockholm, and also with Scandinavia. The actual reason, why we went to Stockholm, was because it was the cultural capital of Europe and I expected a lot of happenings and exhibitions and everything but that was kind of a disappointment because the museums, I mean, they were there and the theatres were there and everything but the quality was not what I expected to see. There was an exhibition about the new acquisitions by the British council, and it was just the usual stuff that you see everywhere, Mona Hatoum and Damien Hirst. It was good to see, but I had seen it before, and so it wasn't anything new. one of the habits they have over there is afternoon tea. It seems to be a very English habit, but it is not really, it is euh. What they do is , they go to these really nice places and they have coffee or tea with cake, and they really take the time for it; it is really beautiful to see that. I arranged the trip somehow, and my mother, she didn't really care about anything, but it all happened really quick and you know, when you've reached a certain age, you don't want any hassle any more, everything has to run smoothly, so she really wanted me to arrange everything perfectly and, so I booked the hotel and I booked the flight, and when we arrived in Stockholm, I didn't have the address of the hotel with me but she didn't know that so we took a taxi but we only had the name of the hotel, and the taxi driver didn't know where the hotel was, so she started thinking that we got stuck and we don't even have the address. It turned out that the taxi driver just started driving, it was a fixed price for a taxi trip. I can't remember how much it was but you just had to pay the fixed price and the taxi brings you to wherever you want to be, so that was nice and after half an hour driving we found the hotel and everything turned out right.

So that was good. I also remember one day when we invited some friends over, Z. works as a chef in a restaurant and he decided to make a nice dinner for us. Well nice it was but I think we over ate dramatically. I must have suffered from over eating for the next two or three days. It was also the grease I think, it was so much food, heavy food, it was foie grass and very greasy chicken wings and everything. It tasted very good but it was just too much. The thing that I liked most about this small break were the long walks along the sea shore. It sounds very romantic but it wasn't really because I mostly did it alone, But it really gave me some time to think and everything. That was nice. At first it seems that it was like a period of time where I didn't really do anything, although when I look back at it now, I must have done a lot although I don't perceive them as something I really did because nothing concrete came out. I also left at a good time I think because last time I opened My parents' wine cellar, their was only one bottle left so I think it was time for me to leave. I think they must have enjoyed it a lot having me around for such a long time. For me it was already fixed, the fact that I would leave again, but I think that my mother hoped that I would be coming back to live in Belgium for a while, I guess everybody has that kind of problem. The second time I went to Paris I took the bus. It is just two and a half hours by train but it costs much more, so the bus takes around four or four and a half hours and you arrive in Paris so that's fine. last time I went there, I saw an exhibition by some Scandinavian artists at the museum. That was very interesting, it started with some older work and ended completely contemporary. I never really saw that old kind of Scandinavian art so I didn't really know it. It was also the first time that Paris really attracted me because I've always had some sort of bias towards Paris and also the people there. but this time I really liked it, I really enjoyed it. I think that helped me getting over my problem with Paris, although I still don't want to live there

but it's a nice place I think. The whole period of this time took about four months. it started off very relaxed but during this period of Christmas and new year, it's just the usual story that everybody has like nobody wants to do anything special for new year but everybody wants some kind of party so we decided just to stay home and to ignore all party atmosphere. For Christmas we had turkey like everybody else. There was also my sisters' birthday in the beginning of February, but nothing really happened. It just went by and the whole of January I spend with my girlfriend, so that was very nice. But for the rest I can't really tell you anything concrete that happened are something where there is like a physical are material result of. But maybe that's not really necessary. It ends somewhere, well exactly on the twenty-seventh of march, because that day I arrived back at this airport. Apart from a small dog and some good food and restaurants, there wasn't any special reason to tell this story.

What did you do after Paris? The first time or the second time? [The question was, what I did after the second time in Paris.] I think that I spend two days in Antwerp after that because I wanted to get back immediately to the coast but I arrived to late in Brussels so I couldn't take the train anymore to the place that I wanted to end up, so I just took the train to Antwerp and I stayed two days with a very good friend of mine. I think it was one of these days that we saw one of these new movies that came out but I can't really remember which one. But it wasn't such a good one so it's not really something to remember. Any other questions?

Do you feel guilty for leaving Belgium and your parents? No, I don't feel responsible for them, not yet, maybe at some point I'll have to but now I don't really feel responsible so I think that I can just leave.

Does the story seems better to you now after having experienced it? Does it looks better now, than when you lived it? I don't think so. I think I had a better perspective on it while it was happening, because at that time I was not thinking about what I was doing. Now it's more assimilated and the direct feeling with it is gone.

Do you have any negative feelings in connection with it? No, not negative; instead I would say passive. It was nice, but it did not mean any significant change in my life. You might compare it to a store where they take inventory every year so that they can find out what is still in the warehouse and what has to be ordered. That way they know what kind of shape they are in.

Is this something you want to change? Yes, to carefully avoid spending time with people you don't really want to be with. Instead of wasting time with just anybody, to choose consciously who you want to have contact with or not to have contact with.

Z.

A pizza is something with a dough base, a layer of tomato sauce and a variety of things floating on top.

[a pizza is something with a grounding dough a layer of tomato sauce and a variety of things floating on top] - this is a useful metaphor for any setting.

I realize, my descriptions are more like propositions. die pizza und das Raumgitter (the Raumgitter is considered as an experiment). I dont understand the experiment. By adding the pizza I start to understand. There is something in the space going on. The tension between the set grid and the diffusion of the clouds. They are happening in parallel. I can see the information being connected to every other bit of information. A highly complex network appears surrounding a clear whole in the center, probably the unknown, unsolved question, the lack of knowledge which keeps the engine spinning. We are giving concrete matter from one desk to the other, taking material from here to there, and tying our knots by connecting content. In contrast, there is something cloudy, clustering happening in space. Something which influences me from the periphery of my consciousness, there where the consciousness meets the consciousness of the common. Suddenly it appears, that we are working on similar things, that content can meet automatically other content and is possible to merge also with other content. There is something dynamic going on in this space because we are an environment together and because we are not aware about it.

Not sure if pizza is a good metaphor for it, but I experienced it more like trying to bake a pizza from scratch in outer space, floating in the ether without gravity. Everyone as a lonely astronaut!

Everything is a blank page. The cardboard under the pizza was one as well. It got stained by the oil of the pizza. What is it then? I see grey circles, which are a clear sign that there once was a pizza there.

I ignore it and see it again as a 'blank page'. I copy it and see how I can relate it to other material. I see it as a landscape, as a moon landscape and produce a new page by copying it. I ignore content formed by the carbon and see it as a 'blank page', put it on the table and wait.

Eating up. It takes place where there was something before; and of course it is an invasive, probably infantile and inflationary gesture. This gesture is what we can give away by incorporating. Probably the packman-image helps me here. I'm at the table. My eyes are running around, eating whatever they can eat on this table. By copying it into my mind, I overlay the old content with new. Therefore the photocopier is our best tool. I would like to incorporate it. I would love to sneak into its corpus and manipulate it! The copier is a body where I can perform my relationship to knowledge. I sit in its body, it sits in my mind and helps me to spit my knowledge out again! Spitting it out! Otherwise I get overloaded

I'm already full. Spitting the overlaid papers out of my brain is a survival technique. The knowledge has to be digested until it is forgotten!! This is very important. If I can't spit it out, I cant forget properly. And if I spit it out and no one helps me to digest it, I will soon drown in the spitout of knowledge around me. Therefore I have to communicate and so the channel of communication where something can be digested has to remain open and kept floating. I have to understand and I have to be understood - never by everyone, not by anyone, but by some people who digest the shit I spit out while I am copying.

Let's go to our islands, we have to start swimming. By being incidental persons for each other, we ask the questions, who is jumping into the cold water, who is floating and who is swimming? In which context are we bumping into the horizon of each other's personal view the island?

"God, is that You?"

Z: J: Z:

Where are they? Ok - I'll go and buy some beer and see you when I get back If it be your will that a voice be true From this broken hill, I will sing to you but a song not of love, or its calamities; I fear I'm above such crude banality and then he began writing some lyrical letters, bordering on kitsch, the lines trembling with passion. His whole being quaking with the deep need to precipitate a meaningful moment in literature...Dare to err and to dream. Deep meaning often lies in childish play Fuck no!!, the eels have eaten the seaweed. When the water temperature reaches 10-12 C, the glass eels swim actively upstream in the estuary. The female deposits her eggs in a sheltered place, and the male then fertilizes them with his sperm. The Elvers then swimming up river will climb waterfalls and even dams by leaving the water and wriggling over damp areas.

J:

Occasionally a two-headed mutant may be discovered among these elvers. Z: J: Z: masturbation you can share does it work? I don't know - i never tried shared masturbation...tell me when you've done it! cooking some soup soup's good fennel what colour?

J: Z: J: Z:

J: No colour attached to it, just the taste. Anyway good to hear from you and i wish you were here instead of wherever it is that youre going Z: Soup has to have colour - otherwise it's just hot water

J:

OK I'll add some green stuff. I've invited Damien Hirst and Khadafi to talk about their collaboration Way back before either of us had a mobile, ou waited over an hour for me to play a few games of pool in the pagoda pub on tower bridge our relationship. Now such a situation is impossible to imagine, since a simple text message or call would let you know that i'm on my way and what had held me up. So you're going to have to demonstrate the value of our relationship in another way, wanker! This would mean that I will have to go out on the street and try to find you. I would do that and still do that right now. I even know where to find you and since I also know that you can imagine me looking for you, it shouldn't be such a hard job. Well you found me once, but i don't walk the same streets any more, nor with the same zeal If you mean the theological virtue opposite to acedia, it could make my job even easier

Z:

J:

Z: J:

Z:

No I mean the Bloomsbury, but they took out the pool table long ago...The English public bar has lost its true quality and surrenderet to the new expectations. I hope possess enough empathy to be consistently considerate of the needs possed by our friendship to even do without the pooltable....Mama's birthday this weekend. i'll have to see after that as i'm awaiting visa application Send her my love. I was thinking that you would stay in kasachstan to document the fire drama. There is still a bottle of port waiting for you About the photograph, as it has been known, that has dissolved into the 'photographic' or shit like that. Intellectualising the photo. I kind of like the idea of the sexual real as in truth without any real It's basicaly to attrackt attention Well, that's what lies behind most of what you do

J:

Z:

J: Z:

The main question is wether experiences can be owned. J: Yep and still growing, 33 a pound those bananas.Where are they????????????????? Good to hear from you. Ok love hear you soon, read Politics of Nature by Bruno Latour. Z: Fuck that, business is a rose that you can eat. I know nothing of business, but I once ate a tulip Red? And yellow, bitter as hell White ones are bitter too but they look better J: I'll take your word for it. I have no real talent to write aphoristically but somehow the idea of eating a tulip is always bitter Ever since I ate that tulip, I became interested the fact that Van Gogh cut his ear off within six weeks of Nietzsche going mad.

J: Z:

Z: in

J:

I think eating tulips can help when overcome my problem with very short attention spans, it also cures syphilis. Maybe Nietzsche should have tried eating them? Not sure about Vincent - was he also syphilitic? But that was not my reason for trying the tulip Apart from a couple of herpes attacks and a mild case of chlamydia i have been fairly VDfree "Is it possible to discuss photography as a medium separate from the thing being photographed?" Put another way, is a photograph in and of itself capable of being self reflexive while critiquing its subject?

Z:

J: Z:

Of course it is And the individual only existed as an individual by being indentified. Despite the plethora of complication, a photograph usually emerges. This is the process of accident,

chance and magic. But does photography-the index--challenge authorship as such? J: So it does challenge authorial control but at the same time there will always be that chance no matter how much diretion there is or control. i still think that the photographer is the one in control even though chance has a hand in it. There will always be chance and that cannot have control but the mere fact that the image is being taken and that chance happens with in the photograph that then becomes apart of the authorship whether choice or not. What's the point for a deliberate effort to influence something on speculative grounds? Experimentation? Oh yes, or for the hell of it, sui gratis What about need? Masturbation, it's a kind of release, a very underrated activity. Can you give your mom a kiss on her left ear from me.

Z: J: Z: J:

Z:

Hmmm - i was thinking more about the shift in meaning of the word icon, from religious artefact to celebrity to small symbol on a computer screen Simply an icon could therefore mean 'simply the most sacred thing in the orthodox church', or simply Jackie Onassis, or simply click here. Symbols impregnated with our expectations

J:

Ok but I understand the word ICON as one thing, an image or depiction, that represents (as in symbol) something else of greater significance through literal or figurative meaning. this is alway a symplified representation of the real. A simplified representation of the anticipated potency of the real Yep Today Ive accepted to produce a theatre piece for and with children

Z: J:

It's a big state theatre with all its pro and contras but at least I can do whatever I want and have time untill the end of January Z: J: I have been offered a job in Ashgabat with UN Well the questioin is if they serve a good prandium. Research required... dinner in the Kara- Kum, breakfast in Xanadu! And lunch in the Kopet-Dag with the debt book from David Graeber No, cognac with a veteran of the soviet-afghan war. So, it can be done in the dark day before. but optional after the light has come back The light never comes back - it goes on till it consumed by the darkness that surrounds it. Whether that be the darkness of the day before all the days to come Sounds good, in for that anytime So the light will be different. Consumption by darkness is the future that awaits us all. Hungry already, can't wait

Z:

J: is or Z: J:

Z: J: Z: J:

Maybe you can start consuming without the darkness - i'm sure he won't mind Who, the soviet veteran? No - the darkness. The veteran lost his teeth in Afghanistan La rptition et le souvenir sont le mme mouvement, mais en direction oppose. Car le souvenir fait partie du pass, il est rpt rebours, alors que la rptition se souvient en avant. Sren Kierkegaard, La Rptition, 1843 Oh no, temptation is something to relish so forget about fighting, and relish, relish foo, too Please call my psychotherapist and tell her my pills have run out and i'm experiencing the paranoic delusions again

Z:

J:

Do you want me to talk about your stress level, depression, anxiety, self-knowledge and self- esteem problem or just mention your

childhood resolved. Z: J:

problems that have never been

Say whatever - i just need the pills! Paranoic delusions are nothing but false beliefs that one is being harmed or persecuted by a particular person. Just take a walk and keep your faith in God. He's the one who's following me! He's everywhere! Sees everything i do, I see his face in everyone I meet Yep, they contain the powdered flesh of dead human babies. God would love these ones I wonder what they're supposed to cure? Or are they for longevity? They cure you from the love of God, you FOOOL Ok wise guy - gotta go now, taxi just called. Waiting for the walking proposal. From the petrol station on Tpudovik Micro District,

Z:

J: Z: J: Z:

Boralday, I miss you. Where are you FOOL, could go for a beer J: Yeah, I just got up = could do with a beer. Coffee just makes me feel worse. Some days are just like that. You wake up and see everything cristal clear. You just know what you need. Ok love got to make some food. Leek and veal. With rice or potato? Tempted to say potato, but rice sounds better for the evening unless you make puree, easier to digest. With capers and carrots Z: Then definitely puree, with lots of pepper! and marjoram and butter Yeh lots of butter, good good with puree. It's beerday! With smoked fish. Add peppercorns and some brown sugar, J: Z: Brown sugar?! Or any seasoning that you like with fish. Take the meat from a smoked trout and blend it

together with some cream cheese, garlic, salt and pepper J. Add lemon juice, drink lots of beer to take away the awful taste You can also have just the garlic but bake it in the oven for about 10 minutes, add butter, salt Z: I think i'll stick to beer and pepper. Ok but......drink it from the bottle in open air. Pepper only after the beer Im focusing on the former. Is the authentic a notion which is becoming more irrelevant, or irrelevance becoming more significant? Yes, I think that the authentic is becomming irrelevant. My question would be: how can a mechanical and mindless process like photography be made to produce pictures meaningful in human terms? Application of a humanistic approach to subject matter; the microphone and recorder do not prevent an interviewer from asking

J: its Z:

meaningful questions and receiving equally valuable responses from his subject, equally so the photographer. the key is in their attitudes, an understanding that the machinery is only creating a record, and an equal understanding that that record is wholly subjective J: To me this is denying the actual quality of the machinery. I would say that the interesting element about mechanical or automated proceses is exactly its clear relation towards the non presence of subjective expression Presenting the output as non-subjective, but this is the myth of the authentic Z: J: Z: J: Does mechanical process add or detract from the value of a given item? From its perceived value, or from its inherent value? Does it even possess an inherent value? When subject gets divided into subject and object, the subject forms some impression ^

about the object. This is called subjective impression about the object. from the two times that I've been photograped by you (the who is this person series in berlin and the FAUL series in Brussels) I must say that I didn't noticed your presence at the moment but the pictures look very differen from my own recollection of those perticular moments. so yes, you manage a clear subjective expression in your pictures but you are not there while taking the pictures. Z: J: Z: I am there while taking the pictures, but my presence is irrelevant No you were not there, you were at the bar FOOOL but this is also the age-old conundrum concerning one's inability to know oneself completely, since one can never really know how one is perceived thru the eyes of others the myth of objectivity... we have been invited to dinner on sunday evening with Caitlin

J: Z:

Isn't it the myth of subjectivity? It is the myth of -ivity, since there are no subjects, only objects. "Je est un autre." by Rimbaud After all, I am only a subject inasmuchas I perceive the world around me with me at its centre. If I remove me, only objects remain with nothing at its centre. I cannot be a subject if I do not exist, whereas im always object, whether I exist or not I see what you mean, but empowered subject authors? Any examples of that approach? Well the fact that my FAUL performance in Brussels was good just because you were photographing it. It's all about complicity. But you yourself said that I was not there! Complicity in the sense that you approved of the fact that i was there, or deeper - you were conscious of that fact and altered your behaviour accordingly..?

J:

an Z: J:

Z: J:

Z: J. Z:

Playing to the camera, as it were... I mean that I didn't notice you but ofcourse I was aware of you being there Conscious of that fact and altered your behaviour accordingly not just altered but my behaviour was catively affected Should have been So where's the difference? Playing to the camera, woudn'd say it like that Well, there's a fine line... But isn't that more to do with audience perception rather than the image per se? The image becomes meaningful because of this complex dialog I think there is always some complicity in the making of documentary images that go deeper than photojournalistic sensationalism

J: Z: J: Z: J: Z:

J:

Well yes some influence is always there but complicity is about not being able to do what you need to do without the other Not being able to do what you need to do without the otherwithout the other's full cooperation I would add, since as photojournalist i still need the other, but am not affected by the other's cooperation Well, according to Kepler we just need to measure the object's velocity So it must be performative ...at the periapsis, and performance at the apoapsis

Z:

J:

Z: J:

Good, that's settled Indeed, it is a way of collaborating as well as overcoming the human-subject centred instrumental knowledge; it also questions ideas of ownership/authorship since we are, in effect, appropriating.......being

Z: J:

Sounds good, appropriating being and collaborating with the absent But omar khayyam said it's cool to drink, because today we are wine vessels, but tomorrow we will return to the earth as broken pottery Well, I hate to blow my own trumpet, but I do make a nice breaded chicken filet with blue cheese and wild mushroom fetuccini.. ...and yes, I am cooking with the express purpose of seduction! "I'd rather have a free bottle in front of me than a prefrontal lobotomy."

Z:

J:

They even do lecture performances for children these days, just went to see one. very funny about insects. Something between a slam and puppet theatre in a museum Is there a word in psychoanalysis to describe the condition that Freud was afflicted with i.e. that of blaming all his adult failures on some childhood mishaps?

Z:

J:

Did you know that there is no formalized definition of when the appearance of fictional characters in another author's work constitutes a shared universe? No, but there is definitely a point when it constitutes plagiarism. It's a bit like the zebra conundrum. A Zebra dies and arrives at the Pearly Gates. As he enters, he asks St. Peter, 'I have a question that's haunted me all of my days on earth...fuck - I'm the new Allen Ginsberg! By the way, zebras are a myth left over from the ancient times - people painted their horses with stripes so as not to be seen by the enemy. What's on the menu? Topinambur with pork ass Watching a cartoon where a lamb is chasing a koala bear.. Must be in China Gentleness and meekness versus the savage koala. But, as we know, with the Almighty's divine protection, we can walk upon any

Z:

J: Z:

koala and not be harmed. enjoy your cartoon and don't be scared. J: Into the valley of the shadow of death... James Joyce meets Trent Reznor! In a bar under the sea Yesturday my parents performed FAUL#2 in a church near Herentals. still waiting for the pictures.I believe yes I do, I do believe and believe in the truth but where do I find a place of worship? Z: That's the catch with religions, you gotta pay for it! Used to have to sacrifice some cattle or firstborn or virgin, these days you sacrifice your wallet! But Prometheus helped man trick zeus with burnt offering of meat, and zeus was angry. He chained prometheus to a rock and his liver was eaten daily by a voracious eagle, but man's fate was even worse - zeus created the bigmac!

J: the

Are you a responsible storryteller? Z: J: A jester What is the responsibility of a jester today? (the possibility of a relevant position) Z: I think it is to make people believe you are doing something good for them - like saving their souls, or taking responsibility for their livelihoods... President or archbishop... newsreader or tv show host... something like that J: Z: J: Do you want to make people believe something? No - I want to make them un-believe which is really fucking hard, I might tell you! But isn't believe all there is? What is there to be found in the realm of un-believe

to

The realm of un-believe is really just putting question belief and the authorities that uphold those 'truths' I unbelieve I was born and wore a sailor's suit until I was seven.

Z:

You can't unbelieve yourself, fool! Deal with that using gestalt or Freudian sex therapy. Put on some red pants and pretend you can fly, therein lies the answer to all your problems Why do you think Jesus didn't succumb to the devil's temptation? Cos he knew, really, deep down, that he believed in falsehoods and illusions. And he was afraid to unbelieve. And so the bible teaches us that unbelief is bad = devil, but don't try and test your faith, cos that's bad too.

J:

Kids get locked up, sedated and given months of therapy for having invisible friends, but the pope gets a huge fucking house filled with

servants and art treasures, and treated like a king! To believe seems to be the only reason for doing something at all. if testing doesN#t mean to actually doing something, it might well be that producing good art is just one way to escape from the devil I think that producing good art means belief in something outside the realm of systematic belief: the idea that truth is not inherent but needs to be sought or created Z: Which means it is diabolic, since it is not founded on the idea of divine infallibility

Reading the recipe

Running water makes a noise, a noise that makes you piss. I hope you agree.__________________________

I As a photographer: I think that domestic interior has always held a particular fascination for you. H omes are very personal places, littered with the objects and artefacts that identify us both to us and to the world outside. They are conglomerations of both public and private spaces.

W ould you please show me the rubbish bin, Ill show you mine.

playing only serious vibrating her f ngers against a hard object (in her mind) and arouse my ****desire (I hope) havent seen you in a while, hope you grow as sweet sweat grows. In a while lets see you a while, its been only a while anyway, but a good while.

I have taken x= 0 at t= 0 for all of the possible world lines involving speed below the speed of light. Our discussion to be, regarding the frequency of travel in light needs to be clarif ed in regard to the souls of individuals who have come from the past.

1972 in the mountains In the mountains, it was cold Fighting with my sister was fun, my brother agrees. I guess she thought it was like a competition. She was going mad because one day my brother saw her setting up a video camera in the kitchen and trying to f lm herself as she played football in her ski outf t. M y father too, played football in his ski outf t all the time thats where she must have got the idea. I asked my brother to help me build a tunnel under the kitchen so that we could watch her doing it again.

Sometimes I feel very muddle-headed, especially when le soleil est rare et le bonneur aussi. Thats French for advertisement in fashion magazines.

Some. This comes from Belgium. I bought two of them. From someone who liked it , but not particularly. I bought them very cheap. But, theyre very beautiful. I think theyre coming from a very high standing house. M aybe they are from a chair.

Deal with it. Its hard to encounter you from a distance not that I dont have a picture Its the atmospheric energy that fails the belt the rice bow the photograph the dairy Your dads car collection the still missing cello suites the port wine the potato stew the game of pool

W ell, you think the way of avoiding letting things become transf xed as relics is to keep moving, isnt it? So, you keep moving. And you think thats part of the idea of nomads, isnt it?. I mean, at this point in time you are f nding yourselve in a situation where you just have to keep moving... you are able to move in many ways, not just physically, but in other ways. you f nd yourself in a position where your relationship to the things you do is def ned by this kind of movement or this kind of ambiguity - perhaps a place without a centre, not a position that is f xed but that is def ned by a certain cultural relationship, right? you are still def ned by yourself, which goes to say that you are not really def ned. This is part of how it came about. I mean this kind of ambiguity. I mean it in that sense. So, its more than just work, its a fact of life. I think thats how it worked out. But, of course, you are still trying to def ne yourself within this mobility and movement on the basis of certain relationships you have to whats around you and based on what you think is, perhaps, a sort of spiritual connection to the world.

making use of cassandra the desire for success in something which is of no importance to me ****is stronger than the desire for success in that which is important.*******If ability is relative to ones fulf lment of*************desire. Desire must be relative to ones ability to be *******fulf lled. It is ********more satisfying to desire ones success as it is to********satisfy ones desire. Desire *************cannot exist without the fulf lment of ones abilities.

how do you say thank you in czech? what time is it? you have a red watch. walking straight taking something home. graf ty. as I remove all my clothes to become recognizable again. I walk my dog in the park.

a space, a bird cage, john cage, nicolas cage.

sitting on the terrace; she doesnt look; she doesnt talk; we dont talk about that; I feel engrossed; I sense it; She does it again; she goes; we go; we talk about it; After stop move eye about mouth open express without saying take a snap for about half an hour then slowly in danish spell letter by letter when f nished move eye take snap slowly about then start to blink rapidly then turn face prof le to camera of ....................; snap.

M y personal ability for

concentration reaches one meter.

H ow far would I get with

my meter of concentration if I
would lead your life?

f ve years later Youre happy now I can see that youve found her, she will be good for you nothing is good enough work, its work, the more you work........you know the second one is comming now even better than the real thing stopped years ago now its so much better Im not a writer thank you for your help. something inside me .....stay.......... I mean, for a while we were def ned by the idea that we wouldnt live until that time. You know, we were certain that something big, bigger, was going to happen. And now were not being def ned at all, because its all quite open in fact. Actually, I think that we have to realise that thats a good position to be in and to keep on going, rather than fall into a sort of apathy. Its just another day.

W ell, You are susceptible to disorder. But my relationship to it is, in a sense, always kind of precise, no matter how right or wrong, its always right, you know. You approach it with an open mind.

So, things just fall where they want to and happen the way they do.

You establish a frame of reference, or make some relationship within a certain frame of reference, but its open and not closed... Perhaps precision is necessary to establish that open framework. And once you can get to the point that things fall into place, its always working.

H a, ha! W ell, youre kind of interested in not really def ning time and space. *****W hat you mean is, things have to be able to change, so you cant def ne them in terms of when, where and how. ******************************That struck you coming here from Spain and thinking about what is going on within that scene and how it is received, or how it is perceived. You know, you think something has to change and you hope it changes before the end of time. Or at least, they should start thinking about what has to change, because you for one dont see how they can go on as they are at the moment. There are, after all, dif erent kinds of relationships involved and dif erent reasons why these things are being dealt with in the way they are. ********************** ************

In the f nal analysis, you dont think it really has anything to do with that, right? So, that, you think, should be reconsidered. You think that we really cant def ne ourselves now because were going to be too old by the year 2030.

N o, this isnt linear, it wouldnt be fair. It isnt the right sofa either, it doesnt matter. It corresponds in a certain way. Its about love for aesthetics. Love for that .. it matters what matters is that it matters.

Im back from where I started years ago only richer in some part as will soon be ********Clear but not to me until much later you grow slow I grow in waves this is one *******************************Of our dif erences dif erences that bring us closer in the years to come drinking M int tea in the afternoon in the sun*************** **** ************************* 5 years later ******************************** Lots of things have happened, It actually happened; who could have imagined it? N o, not yet the babies, its to early for them, fortunately. I mean the actual search and the f nding of that .at least its a start, and away out of the books, out of the impasse. I dont even want to talk about the other thing. . By the way, maybe you should have taken a stronger position then . I know its against your principle but nevertheless. . .. ..

TH IS IS A VERY IM PORTAN T M OM EN T. N ow I know we did just. To be continued .. If I knew, things wouldnt have been dif erent. W e grow, not as fast as I would like it to be, but we grow. Can I say this? **********

The other is good too*********** I feel close. *************************************************** ********** *******************************Intermission**** *************************************************** ** ***************************selling oneselve **********************learning to know that . One already knows.

Im loosing the other Start .I m leaving now for the f rst time youre not coming over this is not problematic. Im moving again, This time youre coming. I feel close again and so do you I think. Its goooooooooooooooooooooooooooooooooood. .. .. W e go back to where I was the f rst time, N ow its even better******************************* ********** *********************************Established.

Black day stormy nights ..The cross further into the future 26.02.1999

Its a song I play it on my CD player ********** next to your sofa on the f oor,the heating is turned on ************** ************

......from bunker to tabak and further into the future a conversation may be valit but a meaning, opinion or personality only lasts as long as..................................KALOS KAI AGATOS. ..............................thank you........... sleeping somewhere................ in the loudspeakers. .........................now I was alone, and I didnt sleep. I hope

I mean, I am interested in being precise in conceptual terms. But Im not really interested in achieving some kind of formalistic perfection. And although things sometimes look as if they are, from a formal point of view, hard and precise, I think that this is the outcome of a certain kind of spontaneity and openness. Greet appeard

I think one is always speculating on whether certain things will work or not. But, of course, you learn as you go on and you realise that certain things will happen if you put others in their right places. N aturally, there are surprises, but thats part of the enjoyment and you eventually even begin to surprise yourself.

I guess I, I have a bond. The commen bond between U s may be the Other. The Other may not be even as localised as a def nable Them that one can point to**********The Other is everyones experience. Each person can do nothing because of the Other. The Other is everywhere elsewhere.

Lets talk about you, who are you and what do you want. The meaning and value of that which seems meaningless. W orking with text, separating the actual message from the stuf ng. Its about camouf age, leaving out that which is important.

(my f rst book, the happy ***) This is the only countryside (before the war) this side of heaven where life begins (clothes, no clothes). my eyes are made to believe every word (she was german too, very) Too many oysters. Too much (hutre).

For heinrich schif , p. wispelwey, kodaly, escher and crumb. I suspect there is a nobler human being in his art than in his life, sometimes that happens in art. (Sometimes it is the other way around, and the person in real life is nobler than the person in the artworks is. Sometimes there is hardly any relationship between the person in the artworks and the person in real life.)

Tell me who your friends are and Ill tell you who you are.= = = = = = = = = = = = = = = =

Olala Im trapped

I listen to the music you gave me for my birthday. Its good to listen to this music; it makes me think about you and our relationship. Some images come to mind, talking is good too, and even doing sports has some interesting elements. I do it all the time, listening to this music. Its good. Sometimes I dont even need the music. Anyway, I dont really like music, thats why you gave me this CD anyway didnt you? I like it now, Thanks.

guest

I wywh I wywh to do I wywh to do nothing I wywh, melancholy I wywh to meander I wywh for me I wywh for us Iwywh, self interest I wywh to babysit

im going to the opera with maria. yes, i know. what can i do about it? do you want me to? shes your friend too. stay in bed. its not that bad is it? you have your medicine dont you?

why didnt you come home last night? on the computer. just you and lard? working? Yes yes it looks good.

All good things come in small packages.

In my dreams, I have a dick. N ot in all of them, only in the good ones. N ot just for a day, but for always. In my dreams, I have a dick. N ot in all of them, only in the good ones. N ot just for a day, but for always. In my dreams, I have a dick. N ot in all of them, only in the good ones. N ot just for a day, but for always.

Outright obscenity is not disturbing. A naked woman, if she is old and ugly, *********************************** *************************************************** ** leaves me unmoved: but if such a woman is obscene without disturbing anyone, the obscenity which the nude body of a pretty woman let me glimpse**************** arouses to the extent that it is obscene, that it causes anguish but does not suf ocate, that its animality is repugnant yet doesnt exceed the limits of a horror which beauty makes bearable and fascinating at once.

I guess most men have nothing better to do wankers

U nannounced but planned. Dropped of in an expensive car, shining. M eanwhile, I realise, that, I must learn to be noble without being cruel, to be f lled with faith and yet open to truth. But before this can happen, I must f rst face the terrible realisation that the Gods before whom I have bowed down are false and that the sacrif ces I make are in vain.

Reclaim This is not protest. Repeat. This is not protest. This is some kind of artistic expression. Over. Along with personal recollection, the matrix of the work I do is the wish to extend, f ll in and complement existing narratives. But only the matrix. W hat comes of all that is dictated by other concerns, not least among them the works own integrity. This is an anecdote. Repeat. This is an anecdote. The King commanded General Sun Tse: you who are a great strategist and claim to be able to train anybody in the arts of war take my wives (all one hundred and eighty of them! ) and make soldiers out of them. I dont know why the king conceived this desire (or was it a need?) But it is a Kings wish, after all. This is conversation. Repeat. This is conversation. The soldier was worried about the shape of her pubic hair. Pubic hair enables you to partake of the enjoyments of possibilities that utility dont justify. W ar.

Post exilic retribution

1. (mise en cause) viens, oui, oui (come, yes, yes) (I)... Its good to see those green ends emerge again. Ends that point out towards a future they can only hope for. Just like every tree, these ends have a history that is dominated by ot th e first tim e th at Im w r itin g to y ou nature and inscribed in time, circulating.Its al so n but this time it feels a bit different. For about six months now, we are quite successfully writing a book that is called an autobiographiction and isnt really written but rather performed and exhibited. Anyway, a biographys medium is information, and information consists of reporting through the use of verbal and visual language on something that has taken place somewhere else, in other words the practice of making visible. This strategy also pertains to our practice and culminates in the writing sessions embodying its public life. Already our other publication with VerlegtVerlag, the Coyotl Yournal was based on the idea that texts elicit other texts responses, echoes; links which make up a history of effects. The narrative efficacy of both journal and Yournal is based on the notion of belief for the former this consists of the trust we have in the degree of truthfulness that the journalist can achieve, while in the latter something makes sense as soon as the whole set of additional elements that form the inter-subjective art discourse is activated by the piece.

2. During the past few days Ive been thinking about the economy of speech gestures, the diversity of formats and methods that could be used in the writing of this letter. Last year we had difficulties signing the contract for the Belluard festival in Fribourg and in the same way this text isnt free of negotiation tactics - its main goal serves a similar purpose in setting some parameters for our collaborative working structure. Theres no contract here, no bureaucratic record attached to this text. At the same time or even for this reason the existence of the text itself makes the content binding,al th ough unnegotiated. However,

3. The third autobiographiction event is a worksession as part of the first month of performance art, hosted by the Freies Museum, Potsdamer Strae 91. The book begins with the description of a shadow cast by one of the Freies Museum pillars and then moves to a description of you and your activities, then to a railing, then back to you, then to the general physical surroundings of the Museum. The tone of the book is now set; a calm, detached, almost scientific description of what the narrator sees at the museum concerned with the displaying and archiving of objects ----- Creativity and economy go hand in hand. ----- The museum is open Monday through Saturday from midday till 9pm and on Sunday from 3pm till 6pm. ----- The Organisation Lawyers for the Arts e.V. manages the museum, which also supports the idea of social sculpture as a specific example of the extended concept of art that was advocated by the artist and politician Joseph Beuys. The goal of the Museum is to give space to creative producers and if the artist notes that there is an audience for his product, he or she can rent a permanent studio at the Museum. This allows the artist to become a professional merchant. This simplistic idea, which is based on a belief in synergetic effects and a creative economy for artists, forms the physical surrounding of this autobiographiction writing performance. As such, the Freies Museum is an awkwardly strange setting, for as we know from previous VerlegtVerlag events there is no creativity, just appearance.

4. Unnegotiated, I want you to need me for our journey at the Museum, since there is no sense collaborating if theres no need for it. During the most recent autobiographiction event at the Burning ice festival, we saw a shit load of red lines, boundaries and margins in red tape, marking potential activity like an architectural map on the floor and on the roof of the Verlegtverlag tent. In times of globalisation and nondiscipline we have to create our own borders. The first two hours of the autobiographiction at Freies Museum could be a kind of metalogue research, a communication about the communications that have taken place in previous autobiographiction events. Although the term metalogue doesnt seem to be in the dictionary, it nevertheless has a place in artistic discourses as a site where boundaries are debated. The situation for working at this metalogue as a starting point for the autobiographiction should be such that not only do the participants discuss the existing material, but the structure of the conversation as a whole is also relevant to the same subject. Research by means of performance thus shares characteristics of other experiment

5. Verlegt as in VerlegtVerlag comes from complicity, just like the Coyotl, a wild dog penetrating his host. Hospitality in this context is a second yes ("oui, oui"): coming as it does in response to the first yes it enacts a tactic of hospitality in which a subject promises to welcome any other, no matter whom. It is not (I), the host, it is the other, the proactive guest that can say this second yes. To say yes to this yes, to pronounce this second yes, that is hospitality. Accordingly, the (I) always comes as reflux, passive in response to the other and ready to run the risk of receiving more than one can contain. A danger that isnt too hard to imagine, being penetrated by a wild dog. Instead of plot, I therefore propose the autobiographiction writing performance be propelled along by the compulsive energy to observe and examine without personal preference. In the usual understanding of the term, I expect no story in this Hi-story. Your method of narration could, as always, be deliberately designed to challenge conventional reader expectations.

Since we are staging a trialogue between three accomplices [Artist Public - Guest], the book creates a public space for artistic research while opening up artistic research for public use. The guest usually adopts a rather passive attitude, but should attempt to transform the linear, two-dimensional plane of conflict into a three-dimensional, triangular situation, becoming proactive by putting forward answers to questions we have not yet asked. Events in this autobiographiction writing performance do not follow in a straight line from beginning to end; the pattern is more a convolution of episodes repeated again and again with minor variations, out of which there emerges a partially realized story in an attempt to create an empty centre, dislocating the "host". This first-person accomplice installs us in the 'hole' that he occupies in the centre of the book, much like an incidental person, avoiding the you vs. me disposition typically adopted to resolve differences.

6. Every autobiographiction session works on a micro level. Working in a place like the Freies Museum makes it feel like a double dialogue rather than a triangular set up. When we see complicity as a sort of interdependent micro-community alliance operating along the border of existing structures, where then is the effect of our individual behaviour on societal

structures and vice versa? Is it possible to structure our shared, Free micro-interactions and to use this reciprocal relationship as a medium? Perception, affect, thought, expression and relation: a space or situation like autobiographiction may be translated into a location from where other stories are transmitted. The initial artistic act consists of establishing this environment (meta situation) and setting the parameters for a larger inquiry. The inquiry becomes expressive, multiple and overflowing the initial frame, opening up unexpected possibilities. What emerge from this kind of practice are elements of an agencement (Anordnung), or a device for the articulation of collective speech. (Korrektur der Realitt) I need you to help me build these situational structures, connecting political and artistic agendas. I need you for this agencement, for amorphous authorship and for doing things things that would otherwise not be possible to do individually. I need you to help me find experimental forms of structure that develop in precarious micro-situations for a limited period of time, testing new modes of organization and interplaying with other experiments. The event Im looking for here is not a presentation on paper like conventional books, but rather like a brochure, set in the ad hoc language of pamphlets and posters made for the moment"; a responsive writing project undertaken in the hope of avoiding tolerance and neutrality by eschewing the limits of complicity. This I understand as passivity in the sense of seemingly doing nothing while in fact doing precisely what it takes to hold someone's attention.

Be my author and restate the beginning. Let us say yes to who or what turns up, before any determination, before any anticipation, before any identification, Unnegotiated.

1. VERLEGT, It-self (SHAKEN, NOT STIRRED [DISENTANGLED, NOT DECIPHERED]): I M A LEGAL PERSON - (to give a text an author is to impose a limit on that text).

We find ourselves in a situation where the division between researcher and institution or production has been completely abandoned. Verlegt, meaning: been put away, at another place. Such a research frame is thus one where the engaged is continuously shifting from being a researcher and representing an institution or product, a receiver and producer, a staff member and guest. The common mode of engaging in this artistic research is behind a closed door, where a multiplicity of orientation is possible as long as the engaged is willing to negotiate the validity and ontology of each and every decision and its process of emergence, i.e., according to what mode of production a decision can be taken. Since about two decades a heterogeneous group of independent players appear on this marketplace with new needs and desires, players that to a higher or lesser degree do not wish to be inscribed in the established market or simply are not welcome. Today, process orientated research on the basis of ad hoc structures still appears to be an attractive mode of production. This is where we are now and you are, another.

2. As I pass the other in public, our eyes meet briefly, saying yesyes and no at the same time. The whites of your eyes are fringed with egg-yellow shading to red along the lids. For a vertiginous moment I feel myself bound, as though on a seesaw with you, pinned to an axis that could tip us into each other s life. On one side of the axis sits this very generous, unprecautious man who still carries the wild flair of his youth in his eyes. He s modest and opulent, eminent and yet mundane at one. Above all, he possesses the necessary amount of humbleness that is needed to twist reality. And I? Standing on the other side of the seesaw, I want to jump on and become an accomplice in tilting reality but intriguingly, I don t know (yet) how to acknowledge the other man.

3. I don t know. It is not often believed that participants are keen on keeping their innovations to themselves but an allowing climate where sharing knowledge is stimulated instead creates responsibility for the situations or products quality, status and place on its market. So, what is the lack that needs to be fulfilled by VerlegtVerlag, what is there to know and what is this lack nourished by? Which, I assume, to be a deterritorialization of the research playground for a more progressive future. When research findings are presented as performative utterances, there is an articulation that brings into being what, for want of a better word, it names (without knowing). Such research process inaugurates movement and transformation: it is not qualitative, it is it-self. But how then does artistic research identify its user if not through acknowledgement? Or, does the field itself actually need users, and if so, how can it be its own client without becoming a self-indulgent territory which produces closer and closer family relations? In short: it is time to look into what responsibility the fields researchers claim. Therefore, the question is not if I need a position such as researcher and institution or product, but how it is possible to produce an interdisciplinary frame in which engagement in any position is the result of a particular negotiation (as in complicity). How else can I, standing on the other side of the seesaw, know how to acknowledge the other man? As a prerequisite to engagement I must know this. Only then, can this research claim for liability (I acknowledge, therefore I am responsible.)

4. With both process and interdisciplinarity it is awkward to realize that its manifestation, as with collaboration and research, seems to have been formalized to include only a process just prior to a finished product, but is rarely considered to include any other frame of time or space. Never mind any interdisciplinary attempts which often sound great on the level of application but seldom offer any further production of knowledge in its presentation. An activity, whatever process is involved, necessarily will be represented by or through somebody, and it is therefore important to address, not what process is implied, but what differentiation of ownership a given process provokes. To what extent and in respect of what mechanisms are, or are not, also processes owned by somebody, or some entity? Corporate research for example, is naturally dependant on the economic expansion of a representative body, placing the researcher under the oath of efficiency. Seen in this perspective, it is only if the artists produce a demand based on engagement and argumentation for its share in the budget that artistic research can grow and own its place in

u st b e p l aceda t society. So, matters of ownership and representation are intertwined andm the heart of any process-orientated work: complicity to a process is a form of liability.

5. The political questions inherent in claiming one's own space - inviting or excluding the outside, the formation of groups and production of locality and culture - constantly question the conceptual structures of VerlegtVerlag UG (haftungsbeschrnkt) itself. It is therefore important to raise these questions on responsibility that necessarily occur in respect of process and production. The VerlegtVerlag practice actively searches for both, spatialised production methods and the dissemination of models by engaging in complicit work processes. The practice of building and thus situating oneself in such a collective space evolves through asking questions based on repetition and contingency. One of these central questions that I want to pose is: how can what I assemble become the entry point to the practice-knowledge that I use in such a way that anybody can invest in learning it, resuming the work where I have left it off and evolving it further? Here, it is important to realise that the responsibilities of hospitality are individual and not institutional. Reflective space is thus not the precondition for performative action. On the contrary; performative action is the precondition for reflective space or, more appropriately, space and action must be coproduced. Artistic researchers can therefore not rely on the capacities of institutions and platforms (at least not without them being an accomplice).

6. A conceptual work, as inscribed in art history, is protocol based. In respect of this it is important to properly negotiate the differentiation between conventional business models and the protocol of collaboration and/or collective/collectivity in use at VerlegtVerlag. It seems to me to be a bad omen when simple teamwork and collaboration is intermixed. Collaboration needs to be the topography of a work or works to qualify as relevant, in front of groups and constellations that announce their method as collaborative. Therefore, any collaborative method should be understood as an extended business model. Most artists, however, perceive business organisations as just an element of the broad economic system instead of living entities one can engage with. That is why business organisations are often just sought by artists to be a source of income beyond the art market. Here, the organisation itself is of no interest for the artistic practice. VerlegtVerlag envisions the organisation (business as well as any other, including its own) as part of the content and resource of our research praxis. This means, introducing artistic discourse into the organisation. The current VerlegtVerlag draw-up should be seen as a scenario that needs to be tested and most of all, as a performance that can and must be affirmed. Any conceptual organisation (like VerlegtVerlag) refers to objects (societal as well as personal protocols) that can serve as an interface between different communities of practice, i.e., these protocols (plans, photos,

CV, etc.) can be shared by several different communities but viewed and used differently by each of them. Photographs, plans and initial observations are collated by VerlegtVerlag in scene of crime books which allow successive investigators to orientate themselves at site and to relive events. This is a process of speculative modelling which demands no hierarchy between empirical attention, analysis and leaps of the imagination. The aim, whether it is recognized or not, is to construct something new out of old, to connect what may appear dissimilar in order to achieve new insights and understanding. This emergence of new meaning depends on the perception of instability, of retaining energies of interruption and disruption. Encounter movement and incoherent babbling, as a chorus of conflicting voices, as a way of telling. In a relationship based on complicity, every partner is liable (through being engaged) for the whole but dependant on his autonomous strategic action (engagement) in time and place. Or, to put it differently, life is more than it-self.

So please, tell me how I can make use of your practice even when you aren t there.

Verlegt on September eleven 2011

1. Talking about live art in public always makes me feel so serious about myself, or at least it gives me the feeling that the topic must be serious otherwise there would be absolutely no point talking about it. The very fact that Im talking about live art makes it serious: Its a simple self-reflexive gambit that reveals more about contemporary art discourse than it does about me. Along this line of thought, I would even say that the raison d'tre of art and its discussions must be defined within terms of materialisation and not some higher insight. As if artists (at least the interesting ones) have ever known what it is they are doing. What we all do know, however, is that there is absolutely no external justification for the greater part of what we do. This might explain why designated purposes of artistic intervention, from social benefit to strategic marketing, have always failed to prove a point in trying to justify artistic production. In contemporary times of general overproduction where consumption is the most prominent form of social interaction, we face audiences that apply selection and editing (Duchamps ready-made technique) as their own means of production. This social transformation runs parallel to a flood of performance art variations (lecture performance, performative installations, sound performances, etc.), which tackle this social interaction most directly and move towards the formation of what I call publicness. Talking about art is one thing, but of course we all just want to see good performances. The visibility of the Berlin Month of Performance Art has been enormous, considering the fact that the platform was organised by a handful of enthusiasts on a minimal budget. Nevertheless, because of the fields expansion an open dialogue is urgently needed to develop the curator's position as central focal point for MPA-B2013. This might explain the reason for writing this letter.

2. This curatorial focus is not a theme for the next MPA or some kind of programmatic agenda but actually a precondition for generating a discourse on live arts specific qualities and values. To me, the one thing that makes live art unique as a cultural phenomenon is its

moment of production. This moment is a so-called spatiotemporal event that is always public and therefore needs to be dealt with by the audience and the artists as well as the curator. In terms of curatorial importance, the power of each performative gesture thus lies in this public moment of appearance; an appearance with a distance, similar to the photographic moment of capture. Capturing the moment means pushing the button, and for the performance artist this means entering a particular constructed space and doing whatever it is he or she needs to do. However, it is not solely the artist building his or her subjective environment it is simultaneously the moment of the audience an audience which is prepared and expecting to be challenged. For MPA-B2013 it is therefore important to charge curatorship with a particular responsibility regarding topographical acknowledgement of performative art.

3. 4. Essentially there is nothing wrong with being wrong, but we have been living far too long with such lies as: art is good for you; human beings exist independently from societal contexts, etc etc. Notwithstanding the kind of subjectivity the artist is looking for (i.e. individual versus common subject), the question remains: for whom does he do what he does? And more accurately, on what level do we as curators and artists hope to meet a public expecting to receive that which we cannot offer (knowledge) or which we are not prepared to give (our subjectivity). This means that the curator might need to rephrase the opening statement, with a focus on the actual production of publicness in the sense of a common, dematerialised space. Publicness is not some kind of relational aesthetics that uses groups of people or social systems as its medium, but rather constructs modes of public assembly and forms of address. Producing publicness means to acknowledge the public as a construction in and of itself and as something which produces in its own right, and is not just an instrument.

5. The endeavour of the MPA-B platform in assigning live art curatorial praxis with a responsibility towards public acknowledgement stems from a desire to disencumber artists in whatever it is that they do. Public acknowledgement means in this case to place artistic production within a social context as a social context, and to respect the public as a productive partner. So, the curatorial question of how we want to live a public life is not just spatiotemporal (contextual) but should be placed within existential ethics (individuals consciousness of their own possibilities of existence). This makes curating live art both complex and very rewarding. It also shows the need for a dematerialised and empty space, a constructed void. To recapitulate the above, if the public is both productive and constructed, curating live art needs to be focussed on the installation of open, dematerialised space for the shared production of publicness beyond the constraints of the white cube or black box. This might already come closer to an understanding of producing the distance mentioned above. So, as an opening statement, I would finally say that producing publicness developed through the economic activity of artists is the core business of live art curatorship.

6. When the curator has nothing to offer but a void, when the artist has no external justification and the public has become a producer, it is clear that we are all totally interdependent. A framework for potential publicness sounds like a gesture without consequence, but in fact such a structure could provide the distance needed to maintain the necessary subjectivity of all parties involved in the production of meaningful artistic output. Do the premises of this framework mean that what we do only makes sense as long as we dont know who it is we are talking to? Anyway, the question still remains how to produce this publicness? Publicness has no fixed architecture, no ground but pure presence and appearance. It is therefore clear that were not talking about the provision of a free space but rather a kind of service. General overproduction and the unstoppable stream of mass media have killed the possibility for pre-set, given artistic value. Creating value through situational context is only possible if somebody provides the conditions for engagement with dematerialised space. In my view, this somebody could be the curator. The created value can then best be understood as the shared production of a common reality, in statu nascendi. ...and they all lived happily ever after.

Verlegt on October 21

1. 2.

When I speak of performance art in this story, I speak of reality as it is practised (in a space towards the performative). As a cultural phenomenon, performance art doesnt relate to anything but only manifests situational behaviour in its moment of appearance. Looking at recent hi Please love Austria by Christoph Schlingensief, 2000 has the above mentioned clear-cut correspondence (reality) to for example the state of democracy as it is practiced. Of course this can be done poetic or through visual presentation and play. However, performance art is not a medium, form or genre for the simple reason that it is not a tool. Yet, my experience is that people-together-in-a-room is a medium in itself. A performance is thus an act without formal qualities, something you do in the presence of others, not to achieve something else but rather the act in itself. Like any other media, being-with-other-people-in-a-room has the simple potential to change the way we think.

This is not as easy as it may sound. Older examples in my little historical outline still show a preoccupation with the so-called loss of meaning in societal life (which derived from general commodification in all parts of society and made sense in their context and time of production). Contemporary performance art has largely freed itself from such a praxis rooted in 19th century artistic critique. The widespread tendency for artists today is to adopt a paradoxical position in which affect is both rejected and reclaimed: they both, insert themselves into a social network and celebrate the universe of art as such. This new won freedom has the potential to DISTANCE the artist from affective labour and the dominant narrative of negation, allowing him or her to play (Brecht upside down).

3.

Something can be mine only if it excludes others who might otherwise own it. This conceptual framework based on negation is called private property. The logic of ownership and DURATION that has guided our understanding of the world of things and relationships no longer answers to the challenge. Most commodities live longer than their creators and consumers alikefor even a simple plastic bag will outlive us all many, many times over. As commodities ourselves, even our bodily organs can outlive us. Therefore, as all objects that enter into this world are commodities (including the body and its kidney stones), we must realize that this is not our world, but rather theirs. We dwell in the world of commodities. For reasons of normative self-understandings of the author, three US events are missing in this story without further explanation: Meat Joy by Carolee Schneemann, 1964; Conversation at the Castle by Mary Jane Jacob, 1996 and It's an Earthquake in My Heart by Goat Island, 2001.

4.

And, and, and....double, triple ontology, both....and, also...a book, a film and an evening meal all produced live on the spot, simultaneous. In this way, lots of contemporary performance artists reconfigure the notion of time and DURATION from an identifiable, single matter to the common matter of dissemination, presence and resource. This conceptualisation of performance into a publication of ensemble, affect and event seems to gain more and more strength while the individual work recedes. Taking this situation one step further is to understand art as an open form that can never be finalised or brought to a definite materialisation. Integrating such an indefinite void into ones artistic praxis facilitates a permanent reappropriation of cultural production. By subscribing to this notion of lacunae, one thus acknowledges every art work as being part of the general commons: reappropriating the commodity, personal and

5.

In the 1970s it was not yet possible to conceptualise public discussion as an artistic activity (Joseph Beuys and the Artist Placement Group have both tried it but their actions where never received as such). Today, the production of a dynamic experience for participants has developed into discursive situations where everyone is a producer. General dissatisfactory outcomes of these events are ascribed to endless processes without meaningful materialisation and the lack of disruptive events that could challenge consensus. Dealing with this problem of DURATION, some artistic situations are deliberately constructed as "Too big to fail" (a colloquial term in describing certain financial institutions). This is a very questionable strategy for economics but it might be a good one for art, especially for the MPA-B. At least some marvelous performances have tried to use it, albeit with uneven success: FOOD by Gordon Matta-Clark, 1971; The Battle of Orgreave by Jeremy Deller, 2001 and The Bijlmer Spinoza-Festival by Thomas Hirschhorn, 2009. These projects make reality look strange again, aesthetic (one more Brechtian twist). Such large scale activities are very hard to organize. For most of us this could work out maybe once or twice in a lifetime. Alternatively, performance artists working in non-democratic regimes have shown that performance art can also do without a shared experience of authentic presence and immediacy. Somehow I really like that too.

6. Subscribing to the notion of lacunae, these letters are intended as shared privatised experiences (a collective space amongst mutually trusting colleagues) in which I can freely publish some of my performance art favourites. It is the physical act of publishing (the making of public) - where presence itself is commodified into a living object - that grants a space performativity. When the commodity is first and foremost a presence - a mode of being - then, contemporary performance art is affirmative by nature and based on aesthetics of emergence [in the present]. I will start this final list which should exemplify this convergence of DISTANCE and DURATION with three performers each holding a living object: Consider the Lobster (Performance Interrupted by Other Artists) by Anya Liftig, 2012; Le saut dans le vide by Yves Klein, 1960 and La Monnaie vivante by Pierre Bal-Blanc, 2006. Three New York ladies sitting in a bar under the sea: Notes on camp by Susan Sontag, 1964; Complete untitled film stills by Cindy Sherman, 1977 and Museum Highlights: a Gallery talk by Andrea Fraser, 1989. Last but not least, three bad communists celebrating idiosyncrasy with a handful of friends longing for some privacy: Albums by Ilya Kabakov, 1976; Classic escape by Jan Mloch, 1977 and Poliscar (testing) by Krzysztof Wodiczko, 1991. Of course no history of performance art can end without at least mentioning Oscar Masotta to who I dedicate this letter. Verlegt on April sixth 2013

Appendix

13 I'll be literature. I'll be literature, art and Science. I'm your prince Carstensen. Only personal pictures are art, linguistic work and value representation. Works bring about forms of representation. Ive nothing against this. Only, individual spirits are difficult to cool down. A testimony of a ghost is not art. I'm a horny, but not enough. A horny nothing is enough. If you meet someone, do you look first at the Ground?

13 Do you look first at the mouth, not on the ears? Do you look at a picture. Do you look first at the horizon? No one looks first at the horizon. 13 Someone. Someone looks quite good. Someone looking at the boat in the middle. On the table, a plate with a flax oh no! Loaf of bread. I fall asleep, Im dreaming of a room, all in pink.

13 Ceiling, walls, plush carpeting, drapes to the floor, bulge into the room, in front of the open window. The room is quite large, full of toys and ballerinas, and everything is pink. (I sleep and I dream of a room, a lot of drink, diapers, fluffy carpet and friends). 13 One is old. One is stupid. One laughs. One is curved. One comes around. One goes away.

13 One sighs. One speaks to me. Two look out of the picture. Its not really kind of you. One says: My verticals are not your Vertical. It says nothing about the horizon (every image has one). For a long time, you can see it on her hair / you can see it their Hair on. Formless mop. Restless concrete. I want to cry, but not much. Her teeth worry me, but not much. Their Teeth reassure me, but not much.

13 Not at all played. Clown faces, rabble, pack to do anything. Can we see beyond forms? I'm finally stupid enough? 13 Barrier controls are personality tests. Personal Creation is a spirit, a product of intellectual electricity and fertility. More 13: is the work a directory? Mind, and its ability to be a beast. (Mind and its statement)

13 The expression is fleeting. The expression may appeal against the will of the author not be included. The legal concept of the work of thinking is a law. Next 13: the statement is on paper. The spirit and Therefore, THAT was unlawful. Next 13: above. The mind is its own use by third parties. There is a connection by third parties. Its a training course, you others!

Acknowledgments

This performance is connected to the video "Woman", filmed on the Cliffs of Mother in Ireland: During the shooting of Woman, I wanted to transmit a feeling of defeat, despair and humiliation. I shrouded the face of the figure to represent numerous faceless victims, a sense of shame, danger, of abuse and death. This work was inspired by events and experiences which have altered my perception of the world. A world that inflicts by violence and is dominated by a lack of respect for women:

This performance is an art-music hybrid about the ancient figure Penthesilea, queen of the amazons. Set in the present, the performance, inspired by Heinrich von Kleists lurid drama, is an apocalyptic happening -- combining original live music, dramatic installations and historical film footage. The elements are interwoven to create an unsettling tableau where social boundaries and conditionings are deconstructed. The film dives into the world of the collective subconsciousexploring the battle of sexes and internal conflictsand in the end, encourages us to follow our own inner voice.

Fallen Angels - plagued and tortured. High-flying - moving out for a-questing happiness. This will be my last hope. THE PORCELAIN SUICIDES. And therefore my lips are longing for the devil's hand. Will he hear me? Will I, myself, hear me? Then I'd be saved. Saved from myself. All hell breaks loose and I go into the battle against myself. Against myself. Against myself. HATE IS GENERATED BY SELFHATE SO WELCOME TO THE PORCELAIN SUICIDES.

My submission is a video-based performance about the ambiguity of political action/inaction. During the piece, I wear a rabbit mask and deliver a speech of mock political philosophy accompanied by precisely choreographed gestures. Motivated by televised protests to protect workers rights, the piece is a ritual embodying the tense relations between labor, art, movement, and taking to your bed. What's a girl to do when there are beasts that sleep with both eyes open, and they set their sights on our rightful place? Perhaps we should start dreaming from the wrong place and see what happens.

Due to a number of cancellations on saturday night, there was an empty space. J. asked if anyone would like to spontaneously offer a performance. A. got up applied a little red lipstick to her lips and drew us in onto the stage as if to tell us a story, creating a sense of intimacy and intrigue. Her presence was incredible and the performance simplicity itself she took me through a vast range of emotions from fear to delirious hilarity. I cannot say anymore except that she is a master of performance, simple genius.

In December 1974, and the whole week leading up to Christmas, 100 Santas fuelled Copenhagen with red and white happiness. They turned up on skates, they were singing, they had animals with them, and then suddenly they where all in the department store Magasin. Here they shared their gifts with real Magasin customers. 'Gifts', which they had taken down from the shop shelves. This is the greatest performance ever made, as it is the best Danish artwork ever. Therefore I (Zarathustras Uncle) have made several re-constructions of this performance. Today for the first time outside Denmark at the KDW in Berlin.

performative art brut; banal but thoughtful, a condensation of a certain matrix of subversion but not in a simple way. A developing of a certain almost (post)Brechtian process of waking up those who are listening and watching. Like old Papa Tzara the-artist-as-a-genius is mocked as the whole CONTEMPORARY APPARATUS OF ART reduced to a simple umbrella and the artist as the instrument, as the CLASS OF EDUCATED ZOMBIES who share the HOLY PHALLIAC SAUSAGE OF KNOWLEDGE, the politics of BOOM, ...

This project has been started in January 2011. It will be the greatest thing that has ever been done in art history. It will be amazing. it will be outstanding. it will be overwhelming. It will be perfect. It will be everything that you can imagine. Everything and much more. This is the greatest thing that will be done. The greatest thing that can be done. Ever.

BCIP is a performative mathematical or scientific model based on site-specific, labour-historical, material culture research. It can be performed by large groups of diverse people with little or no performance experience, with very short preparation time. It is a social event which attempts to develop a popular participative way to represent the human stories inscribed in the things we use and see around us every day. BCIP makes accessible, and expressive, the material complexity of our hyper-modernity.

The female of these species, waiting for her lovers, lies on the grass and shines. She cannot fly but only crawl. To spend& enjoy her time she eats the shining males of the Lamprophiza splendidula, a smaller species attracted by her traitorously. The male of her species can fly but do not shine & do not eat. We at least hope them to be good lovers! The shining artist lies in the gallery covered by his luminescent dress as a chrysalis in its cold light, similar to those insects, playing over rules & roles

Attempt to touch every visitor of the space before or during the event using any means necessary (i.e. social conventions, accidental collisions, restricting space) and ensuring that the public is not aware of the performance taking place. The piece ends when the last remaining person is touched or the performance is unable to continue due to event programming. The piece may be declared as having taken place anytime after this point.

Disgusting Beauty is a performance and music video about schizophrenia caused by abuse. For me the leech is a symbol for ambiguity. This little blood sucking vampire is disgusting and very healthy at the same time. I found it very interesting that Zen monks use within their method of meditation certain techniques of double bind and paradox communication. Hunng asked Hui Ming: "Without thinking of good or evil, show me your original face before your mother and father were born."

What happen to hidden sounds when we find them? The performance began with the idea of transforming small noises produced by cutting, drawing, building up, into a sound landscape. A dialogue without words between two artists speaking and processing different languages and their sensibilities, tools & things, images that refers to the world, the space & the audience! A chorus rises up from their actions yet gently yet aggressive yet opening to a void that can only make sense again through our perceptions.

What exactly? A creature walk? A bonus extra? Imagination, presence, transmutation. Be there or be not. That was all it was about. Being presence produced the happening. Everyone involved and responsible at the same time: performing abstraction. The bowl was full of possibilities elements, images, & media games. The responsibility of empathy and euphoria and the opposite. Whats more political & risky than being present? Maybe turning into a creature as a bonus extra.

Well need more rules the director says, seven tired participants dispersed through the stations platform. Its done, answers multitudinous Antigone I buried my brother. A shrill whistling, the play can start again, practice. Noise of a train passing Grenzallee; no voice resembles his masters and only earphones represent statements in this schedule informed script, where one rule breaks another and sometimes an accident occurs. Switch teams, obey!, that is: let the game continue, work.

The four performers of S. undertake an expedition into the unknown, into liminal spaces. Peripheries, where things come to light that are unknown: how the world is build, the construction. The Performers act as ancient messengers but report with the modern communication tool SMS from the edge of the world. These reports will be transferred into a liminal space itself: a lobby of a hotel. The periferie of the everyday life shifts into the centre and attributes a new meaning.

Amusing performance. Not entirely sure, what this was all about, but it was good entertainment. Furthermore I like the girl. Got a sweet butt. Nice dancer.

Supplement

Its quite simple come out of the station and cross the concrete bridge, He had told me. Its a winters day and Im on my way to his house. When I opened the front door of the building, I ran head first into a wall of stairs. As I walked up, my knees touched the next few steps. A woman is lying in an awkward pose against a chair back. As I approach, He taps her belly, producing a hollow sound. I come across the woman in various places. Shes like a word that he keeps using. Sometimes shes well chosen, and used with precision, like a word you come across in a poem. Sometimes shes the start of a line that has yet to be finished. I sit down as a writer whos expected to produce a performance the action of writing.

I write a word. Its a thinking space, but above all its thought space (not thought-up space, but space as it occurs in thoughts). As seen by the writer in this space, the walls of the room are built of bricks. Seen from a broader perspective, the walls turn out to be too thin for this. The bricks are painted on wood. The room the writer is sitting in has shrunk to a corner of a room resting on his tabletop. It refers to concentration, the way in which you lose awareness of the space around you, when you become lost in your work. But its also more general the projection of an environment. That makes the corner not just a reduction, but also an enlargement, like a silhouette in a white museum room, but in fact proves to have

a complex and spatial structure: interlinked spaces of various sizes. This linkage suggests that here, as in a digestive tract, something is being consumed, but also produced. A concertina structure can be seen halfway along. The chimney protruding at the top could be the end of the tract, but also the start of it. There could be smoke coming out of it, but this pipe could also be the place where ideas are sucked in. both, an illustration of itself and the actual object. Stacks of papers on the edge of the desk extend into stacks next to the desk which form a corner a wall. This sequence occurs to me first, because my desk constantly disappears under growing stacks of paper which I push to the edge to make room when I start writing. After a while the stacks form an intimidating

wall. There is no sequence whatsoever in this work. The walls can just as well have caused the stacks. Theres no sequence in a visual work. The object is solidified in space and time. But it isnt simply object-like. It does suggest a sequence of actions and events, like a still of a film, which implicitly includes the previous and subsequent history. Walls that grow out of stacks of paper suggest a situation in which someone gets bogged down in his work or correspondence. Walls that extend into stacks of paper suggest an external constriction that necessitates a personal defence. Both connotations are implicit in this work, and in both cases the paper, or the wall, is so low that you could just see over it if you sat down at this desk.

The fact remains that Ive made my own version of this work by describing it, reduced to 100%. What is striking is that this overlapping of realities comes very close to how I myself perceive reality. If I look over the wall of stacks on my desk I can look outside. From the stage Ive built for myself as a writer I can see a reality. A woman passes by. She moves sluggishly, slowed down by the snow that has fallen this morning. I can also see a story, as I decide that the woman is on her way to see a friend. When it starts snowing, it snows all the times I remember flakes swirling down from the sky. I see myself on the deck of a boat, out at sea. Only the boat turns white the sea remains

dark grey. I see myself coming down a slope, on skis for the first time, certain that death is waiting for me at the bottom. I see all the times I thought a new world had begun, in the silent, untrodden snow. Its snowing. And its snowing images from my past. Snow is falling, and written snow is falling. It reminds me of the way in which Cicero advises people to deal with memory. As he sees it, the mind which can so easily develop holes is a building that needs to be properly cared for. There has to be peace and quiet, and plenty of light in the rooms.

This is a place where concrete things are made. Its also a place where thoughts are given space to emerge. Above all, its a place where he takes the world and recasts it, creating situations and images that can be used to assess and sharpen your own thoughts. He makes concrete, physical, almost supernatural poetry, as if this explains the fact that a building has appeared out of thin air. Walking through the snow to the station to catch the train home, I am no longer the person I was this morning. Somehow I cant take myself so literally any more. My thoughts are my thoughts, but they are no more than formulations that would have a different meaning in a different context.

Am I someone else as I stop outside this exhaust-blackened shop front? And what if I lie down next to that dog, with one leg outstretched?The world around me forces me to reflect on things and make choices. My own role is limited. Every detail of reality whispers to me, wanting to be seen. The environment I move in is tingling.

Colophon

This book is the outcome of more than two years of research, during which the artist attempted to make a new story from one (Joel) of twelve prophetic books known as the Twelve Minor Prophets, part of the Tanakh. This was eventually achieved; it proved possible to convert (absurdly large quantities of) performative text from the last 10 years into tiny prophecies (understood as a process in which one or more messages that have been communicated to an artist are then communicated to others during a performance.) However, the result generated more questions than answers: how was this very subjective process to be presented and made relevant to others? What does it mean to make and to discover new things?

A collection of writings by the artist Joel Verwimp, containing hunderd sixty eight edits from conversations, performaces and notes. It serves as an abstract scenario of the personal realities which have informed his praxis over the last fifteen years. The writings have been transformed one more time through the inclusion of footnotes/Funoten by Carl Whetham and Barbara Frie.

Foreword Preface / Two men eating a doll Prologue Epilogue Notes (to the pages) Postscript Primary material Appendix Illustrations Glossary Acknowledgments Colophon Credits (Distribution & partners)

this is not a prophecy

Frames, like carpets on the ground, framing some functions. Z. was Just talking with Florian about their newest family achievement: the distribution of the rooms in the flat no longer belong to persons but to functions! Beds are there to be used, no mater who needs it; scissors have to remain in one space; the kitchen is a kitchen.

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Superman didn't become Superman. Superman was born Superman. When Superman wakes up in the morning, he's Superman. His alter ego is Clark Kent. His outfit with the big red "S", that's the blanket he was wrapped in as a baby when the Kents found him. Those are his clothes. What Kent wears - the glasses, the business suit - that's the costume. That's the costume Superman wears to blend in with us. Clark Kent is how Superman views us. And what are the characteristics of Clark Kent. He's weak... he's unsure of himself... he's a coward. Clark Kent is Superman's critique on the whole human race. Z.

cover version