[...]ciator (lending his voice to other invisible beings ='lgc'>='lgc'>--> p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural and contradictory identity)
acoustic mask='lgc'>: a reflexive means to define the ritual identity of the speaker
reflexive application of parallelism
(='at'>@Isabel, how to make ="trms">community without becoming a cult='qstn'>?)
use snake ='lgc'>='lgc'>--> capture the ="trms">imagination of the followers ='lgc'>==> ="trms">authority
="trms">imagistic (iconic mode, sequence of acid) ='lgc'>+ doctrinal (discursive mode, text, prayer)='lgc'> = ="trms">pragmatics context of ="trms">enunciation ='lgc'>==> messianistic ="trms">religion
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both paradoxical ='and'>& paralle="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic
new ways to be faithful...
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exhibition-making and preventive conservation ='lgc'>='lgc'>--> inspection and ex="trms">position ='lgc'><='lgc'>-- (="trms">different understandings and use of) ='strcls'>*touch='lgc'> = curatorial='strcls'>*
professionalisation of curating
short-term education
cultural exchange
='at'>@="nms">apass feedback='lgc'>: (terrain of) peer engagement ='lgc'>='lgc'>--> understanding each other’s practices
education, research, ="trms">literacy, management, ="trms">networking, custodianship, audience development
research (overdue) ="trms">relationship with intelligence ='lgc'>--='not'>✕='lgc'>='lgc'>--> ='strcls'>**research='lgc'>: adventure of charismas='strcls'>**
...to be migratory (in thought, praxis, ="trms">community)
...subjectivities without a ="trms">heritage in criticality and art
constraint='lgc'>: a source of self-abundance ='lgc'>--="frds scrmbld">Renan='lgc'>='lgc'>--> suffering and risk='lgc'> = opportunities to hybridize with life
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curating='lgc'>:
="lsts lst1">•nutrition and extension
="lsts lst1">•analysis and transplantation
="lsts lst1">•='lgc'>=/= content ="trms">historicization
="lsts lst1">•='lgc'>=/= ="trms">data
extraterritoriality
being collocated in all the whispers of the ="trms">world
="trms">wild pollination
artificial breeding
="frds scrmbld">Renan='lgc'>: 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.
='at'>@="nms">apass
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publication of the miracle
='lgc'>[the miraculous in exhibitions ='lgc'>+ self-exhibiting miracles='lgc'>]
="frds scrmbld">Renan's ='strcls'>*exhibitionary ="trms">heritage='strcls'>* of miracles
seeing (risk of sight) ='lgc'>='lgc'>--> passionate misunderstanding, confusion, rejection
cultural engineering of ="trms">anthropology of ="trms">heritage
exhibitionary ="trms">heritage='lgc'>: a scaf="trms">folding that times, locates, and proliferates all that is exhibitionary (like a shower, or rainfall)
curatorial subjectivity
exhibitionary complex
="lsts lst1">•describe the problems of an exhibitionary ="trms">heritage
="lsts lst1">•find solutions to artistic problems in the description of exhibitionary complexes
(the ='thdf'>bad idea of ="trms">interpreting exhibitionary ="trms">heritage as an) exhibitionary solution to problems that are re="trms">presented by the works of art ='lgc'>='lgc'>--> correlate artistic solutions with exhibitionary problems ='lgc'>}='lgc'><='lgc'>--="frds scrmbld">Renan='lgc'>-- ="trms">consumes the links between art, exhibits, and curation ="trms">naturally and atheoretically
creation of art ='lgc'><='lgc'>--='not'>✕='lgc'>='lgc'>--> birth of exhibition
(artistic problem ='lgc'>~/= exhibitionary problem)
...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
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
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
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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 ="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.)
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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
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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.
for face look at facade too.
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='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 di[...]