[...]derstandings and use of) *touch = curatorial*

professionalisation of curating
short-term education
cultural exchange

@apass feedback: (terrain of) peer engagement --> understanding each other’s practices

education, research, literacy, management, networking, custodianship, audience development

research (overdue) relationship with intelligence --✕--> **research: adventure of charismas**

...to be migratory (in thought, praxis, community)

...subjectivities without a heritage in criticality and art

constraint: a source of self-abundance --Renan--> suffering and risk = opportunities to hybridize with life

curating:
•nutrition and extension
•analysis and transplantation
•=/= content historicization
•=/= data


extraterritoriality
being collocated in all the whispers of the world


wild pollination
artificial breeding

Renan: Institutional work carried by a freelancer, a private individual or a civil servant can improve the publicness of art. It gives confidence to the work of art in public service. This institutionality creates new tasks in art that can be sustained by other practitioners.
@apass

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publication of the miracle
[the miraculous in exhibitions + self-exhibiting miracles]
Renan's *exhibitionary heritage* of miracles

seeing (risk of sight) --> passionate misunderstanding, confusion, rejection

cultural engineering of anthropology of heritage

exhibitionary heritage: a scaffolding that times, locates, and proliferates all that is exhibitionary (like a shower, or rainfall)

curatorial subjectivity

exhibitionary complex
•describe the problems of an exhibitionary heritage
•find solutions to artistic problems in the description of exhibitionary complexes

(the bad idea of interpreting exhibitionary heritage as an) exhibitionary solution to problems that are represented by the works of art --> correlate artistic solutions with exhibitionary problems }<--Renan-- consumes the links between art, exhibits, and curation naturally and atheoretically

creation of art <--✕--> birth of exhibition
(artistic problem ~/= exhibitionary problem)

...using the concepts and tools of exhibition history

the bad idea of the artistic is conceived in exhibitions & the exhibitionary in artworks

postulate matter in terms of
•errors
•questions
(not necessarily in terms of)
•exhibition
•artwork


exhibitionary heritage of
•artistic practices --> the miracle in ideas/objects
•curatorial practices --> categories of the miracle
•exhibitionary practices --> the miraculous as datum of the world

miracle can be contained or can burst into the study of traditions and transmissions

miracle = content + form

miraculous --> surrogate medium of the artistic

(Renan:) how a miracle can turn the hopeful perplexity surrounding Virgin Mary into the relentless exhibitionary ----> *the power of suggestion is curatorial* --> materials can be rearranged (or other contents can be shaken off from them according to the demands of art history)


flower showers

an auspicious beginning for a lasting devotion

گلبرگ --> the petal applied to the body of the sick and invalid, a sacred relic that is progressively distant yet proliferative


problem of the exhibitionary heritage --Renan--> discursify that even miracles can be interpreted art historically, that they are worthy of belief


Julia Scher (first two weeks of April (1-14.04) and last two weeks of June (14-30.06))
Marie-Luise Angerer (last two weeks of June)

Luis Negrón van Grieken (free)
Christian Sievers
Daniela Kinateder

David Hahlbrock
Zilvinas Lilas

Matthias Müller
Phil Collins
Heide Hagebölling

Mischa Kuball
Andreas Henrich
Ute Hörner
Peter Friedrich Stephan


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i am using these spaces basically as their potential for being a host for something else, rather than pointing their pure site specificity.
my work has worked (for me?) whenever it was an intervention to/for its objecthood as a being-in-art-form or for my own fantasies. the problem/matter of exhibition.
the theoretical work would base on reading shyness as for a philosophical opening for the practical part of the diploma that comes afterward. By this way of writing i operate myself, breaking free from the process of offering philosophical evidence.

•Maulwurfe in the Moschee (shit on the head looks like Turban(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's transmission, talking about shit in a mosque, etc.)
•king lear in the Hochzeitssalon (space for speech act, ritual, marriage of daughters, etc.)
•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on memory relation to research, reciting Koran brings the dead as witness, etc.)


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shyness is prescribed for woman, it exists in religion as a female virtue

thinking in yoga posing (thinking, thanking), the thanking pose and the always thinking pose in yoga.

intervention is not always attacking the other-as-stupid, but rather how do you perform your intervention in that sense that is that YOU are stupid before the other

the moment of madness in encountering art, understanding has to go through that madness

i am going to have a smooth transition from my amazon project to my diplom, via animal talk?

--> ‘face’ in performance. (read Haraway, Levinas, Derrida)
face is linked to sensibility and vision in an intimate way. something that resists categorization, containment or comprehension, infinitely foreign. it is not the biological face. it is the idea of infinity within oneself. this idea of infinity which the face encapsulates is for Levinas the key means by which thought is brought into relation with what goes beyond its capacity. and this is crucial in art and specifically in performance art for encountering something such as face, face of the performer or the face of the work. the face is perceived as something that resists possession or utilization. the face promotes a discourse when it invites me. (ranting against sober means of communication). the face to face situation founds language.
presence of the face coming from beyond the world , but committing me to human fraternity (Gemeinschaft) does not overwhelm me as a numinous essence arousing fear and trembling. to be in relationship while absolving oneself from this relation is ‘to speak’. the face always speaks directly and absolutely to me.

many late 20th century horror films feature a masked villain. the act of masking the face is not only metaphorical, but also has the terrifying effect of dehumanizing the villain. in herbert kelman's work on dehumanization, when the perception of a person “as an individual, independent and distinguishable from others, capable of making choices is denied, they no longer elicit compassion or other moral responses. the facelessness of the alien, swarms of ants, or other villains of pop culture.

for face look at facade too.

--> ‘provocation’ in performance. (read Haraway, Levinas)

--> ‘act’ in performance. (read grotowski)
what is to be: ‘completely natural and logical’. dealing with the discomfort of unreasonable presence on the stage. nonrepresentational aspects of performance

--> ‘teaching’ that is not rhetorics where the revelation of the other can take place (Avital, Levinas). teaching is synthesizing for someone else. what kind of communication is teaching involved?
the discourse inherent in the relation with the other is like or as a sermon.

--> ‘eyes’ threatening or seducing eyes of the performer (Rainer)

--> ‘ranting’ of the drunk in the face of the sober. disturbance of a continuity with attack with words.

--> ‘saying’, before it conjugates a verbal sign, is already an ethical gesture. saying is therefore already the proximity of one to the other, the commitment of an approach, the one for the other.
[...]