[...]> ...using the concepts and tools of exhibition ="trms">history

the ='thdf'>bad idea of the artistic is conceived in exhibitions ='and'>& the exhibitionary in artworks

postulate ="trms">matter in terms of
="lsts lst1">•errors
="lsts lst1">•="trms">questions
(not necessarily in terms of)
="lsts lst1">•exhibition
="lsts lst1">•artwork


exhibitionary ="trms">heritage of
="lsts lst1">•artistic practices ='lgc'>='lgc'>--> the miracle in ideas/objects
="lsts lst1">•curatorial practices ='lgc'>='lgc'>--> ="trms">categories of the miracle
="lsts lst1">•exhibitionary practices ='lgc'>='lgc'>--> the miraculous as datum of the ="trms">world

miracle can be contained or can burst into the study of traditions and trans="trms">missions

="large lg2" stl="font-size:112%"> miracle='lgc'> = content ='lgc'>+ form

miraculous ='lgc'>='lgc'>--> surrogate medium of the artistic

(="frds scrmbld">Renan='lgc'>:) how a miracle can turn the hopeful perplexity surrounding Virgin Mary into the relentless exhibitionary ='lgc'>='lgc'>--='lgc'>='lgc'>--> ='strcls'>*the power of sug="trms">gestion is curatorial='strcls'>* ='lgc'>='lgc'>--> ="trms">materials can be rearranged (or other contents can be shaken off from them ="trms">according to the ="trms">demands of art ="trms">history)


flower showers

="large lg1" stl="font-size:127%"> an auspicious beginning for a lasting devotion

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


problem of the exhibitionary ="trms">heritage ='lgc'>--="frds scrmbld">Renan='lgc'>='lgc'>--> discursify that even miracles can be ="trms">interpreted art ="trms">historically, that they are worthy of belief

="brkr">
="ppl">Julia ="ppl">Scher (first two weeks of April (1-14.04) and last two weeks of June (14-30.06))
Marie-Luise ="trms"nttrm="danger,stranger">Angerer (last two weeks of June)

Luis Negrón van Grieken (free)
="frds scrmbld"nttrm="Christianson">Christian Sievers
Daniela Kinateder

David Hahlbrock
Zilvinas Lilas

Matthias Müller
Phil Collins
Heide Hagebölling

Mischa Kuball
Andreas Henrich
Ute Hörner
Peter Friedrich Stephan


////////////////////

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

="lsts lst1">•Maulwurfe in the Moschee (shit on the head looks like T="trms"nttrm="disturban">urban(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's trans="trms">mission, talking about shit in a mosque, etc.)
="lsts lst1">•king lear in the Hochzeitssalon (space for speech act, ritual, marriage of daughters, etc.)
="lsts lst1">•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on ="trms">memory ="trms">relation to research, reciting Koran brings the dead as witness, etc.)


////////////////////

shyness is prescribed for woman, it exists in ="trms">religion as a female virtue

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

="trms">intervention is not always attacking the other-as-stupid, but rather how do you perform your ="trms">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 ="trms">transition from my amazon project to my diplom, via ="trms">animal talk='qstn'>?

='lgc'>='lgc'>--> ‘face’ in performance. (="trms"nttrm="already,spread">read ="ppl">="ppl">Haraway, ="ppl">Levinas, ="ppl">Derrida)
face is linked to sensibility and vision in an intimate way. something that resists ="trms">categorization, containment or comprehension, in="trms">finitely foreign. it is not the biological face. it is ='thdf'>the idea of in="trms">finity within oneself. this idea of in="trms">finity which the face encapsulates is for ="ppl">Levinas the key means by which thought is brought into ="trms">relation with what goes beyond its capacity. and this is crucial in art and ="trms">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 ="trms">communication). the face to face ="trms">situation founds ="trms">language.
="trms">presence of the face coming from beyond the ="trms">world , but committing me to human fraternity (Gemeinschaft) does not overwhelm me as a numinous essence arousing fear and trembling. to be in ="trms">relationship while absolving oneself from this ="trms">relation is ‘to speak’. the face always speaks directly and absolutely to me.

many late 20th century ="trms">horror films feature a masked villain. the act of masking the face is not only ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">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 ="trms">responses. the facelessness of the alien, swarms of ants, or other villains of pop culture.

="large lg3" stl="font-size:111%"> for face look at facade too.

='lgc'>='lgc'>--> ‘provocation’ in performance. (="trms"nttrm="already,spread">read ="ppl">="ppl">Haraway, ="ppl">Levinas)

='lgc'>='lgc'>--> ‘act’ in performance. (="trms"nttrm="already,spread">read grotowski)
what is to be='lgc'>: ‘completely ="trms">natural and logical’. dealing with the discomfort of unreasonable ="trms">presence on the ="trms">stage. nonre="trms">presentational aspects of performance

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

="large lg4" stl="font-size:112%"> ='lgc'>='lgc'>--> ‘eyes’ threatening or seducing eyes of the performer (="ppl">Rainer)

='lgc'>='lgc'>--> ‘ranting’ of the drunk in the face of the sober. dist="trms"nttrm="disturban">urbance of a continuity with attack with words.

='lgc'>='lgc'>--> ‘saying’, before it conjugates a ="trms">verbal sign, is al="trms"nttrm="already,spread">ready an ethical ="trms">gesture. saying is therefore al="trms"nttrm="already,spread">ready the proximity of one to the other, the commitment of an approach, the one for the other.
one saying enters into the service of the said, that is the thematization of being, purity of its intentions will be inevitably compromised. a saying that must be unsaid. a movement of thought that continues to resist collapsing into a settled expression, freedom from the cage of thematics. this ="trms">mission (="trms">responsibility for the other) can be adequately expressed only through a certain impossible undoing of ="trms">language. ="trms">presenting a philosophical other is only possible when we generate a saying saying saying itself.
my performance talk='lgc'>: to ="trms">situate my subjectivity ="trms">linguistically (in a non="trms">presence and a nonplace). (='qstn'>?) (if the stakes are at ="trms">situating myself, then the ="trms">question is why='qstn'>?)
saying becomes totally exposed in its approach to the other. in limited ="trms">social ="trms">situations it creates risks of embarrassment or rebuttal and perhaps sounding psychotic. something that will strip away all protective layers, whether cultural or ="trms">literal, from the body (of knowl="trms"nttrm="knowledge,Knowledge">edge). it can also be masochistically painful for the subject. the absolute saying is a trauma, with vulnerability and passivity even is a bodily way, where the ethical being is='lgc'>: one penetrated by the other. (saying is ethical while said is juridical.)

='lgc'>='lgc'>--> ‘psychology’ not only what we do but why we do. the ="trms">science that should be studied so much in art, specially in performance art. the how of human behavior, feelings and emotions.
the psychological space, the ="trms">intermediary space of the ethical ="trms">relation, shyness and commitment to the other. “i am in="trms">finitely more ="trms">demanding of myself than of others”. (is this the realm of shyness being before god='qstn'>?)

='lgc'>='lgc'>--> ‘intelligence’ in the sense that what do i pay attention to and why, and what do i ignore and why, and how do i put it together. (synthesizing)

="large lg5" stl="font-size:127%"> ='lgc'>='lgc'>--> ‘cornered’ someone that is cornered ="trms">ontologically. can not shy out of the corner.

='lgc'>='lgc'>--> ‘="trms">present’ of ="trms">presence signifies nowness. The movement of time makes things ="trms">present by making them now. What is the ="trms">relation of this “making ="trms">present” to the ="trms">world='qstn'>? Is the movement of time ultimately to be traced to that of the ="trms">world='qstn'>? On such a view, we take the successive nows that constitute time’s movement as a function of the ="trms">world. Their o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin is the successive impressions we receive from its objects. We, thus, come to affirm that nowness is the ="trms">world’s ="trms">presence to us in the impressions it leaves. ="ppl">Augustine gives the classic expression of this pos[...]