Bernard-Marie Koltès, Roberto Zucco (1989)

Text: ROBERTO ZUCCO (1989) by BERNARD-MARIE KOLTES
by Editions de Minuit

In the end of 1988, French writer BERNARD-MARIE KOLTES finished to write what will be his last play. Entitled ROBERTO ZUCCO (1989), the text is inspired by the life and crimes of Italian serial killer ROBERTO SUCCO. A murderer without a motive, who decimated his own family, killed innocent citizens, and executed policemen.

The lecture-spectable has been directed and realised for the radio by GEORGES LAVAUDANT and BLANDINE MASSON. It has been recorded in public at the Theâtre de la Ville in Paris on Friday October 30, 2009.

 

We are currently in a situation in which displacement. This permanent displacement provides a location for refusal and collective ennui. The projection of the critical moment is the political potential of the discursive. It is not a location for action, but instead provides an infinite suspension of critical moments—the opposite of performance. This is its “just-around-the-corner-ness”—a permanent interplay of micro-critical expressions within the context of a “setting.” Projects arch suspension and repression are the dominant models. There is anxiety about who controls the reshaping of the stories of the recent past. The discursive framework has been predicated upon the rejection of the idea of a dominant authored voice. Clear-cut, authored content is considered to be politically, socially, and ideologically suspect. However, there is still the feeling that stories get told, that the past is being reconfigured, and that the near future gets shaped. There is a constant anxiety within the discursive frame about who is doing this, who is marking time. The discursive is the only structure that allows you to project a problem just out of reach and to work with that permanent displacement. Every other mode merely reflects a problem, generates a problem, denies a problem, and so on. The discursive framework projects a problem just out of reach, and this is why it can also confront a socio-economic system that bases its growth upon “projections.” In the discursive art process we are constantly projecting. We are projecting that something will lead to something else “at some point.” True work, true activity, true significance will happen in a constant, perpetue realized that expose a power relationship with the culture. They achieve this through an adherence to parasitical techniques: destroying relations of production through a constant layering of profoundly differing and contradictory aims. Somehow it might be possible to bring together small groupings and create temporary, suspended, semi-autonomous frameworks. It is possible that we have seen a rise in the idea of parasitical relationships to the point where they have reached a fluid state of acceptance. We may have reached a moment of constant reoccupation, recuperation, and aimless renovation. Maybe the discursive makes possible a parasite without a host—feeding off copies of itself, speaking to itself, regenerating among its own kind. – Liam Gillick, Maybe it would be better if we worked in groups of three? Part 1 of 2: The Discursive, e-flux, January 2009

Martin Sulzer. King James Version Genesis Chapter Nineteen

King James Version Genesis Chapter Nineteen, 2015
8’10”, script: The Bible, Genesis 19 King James Version

Genesis 19, or “Sodom and Gomorrah” – not only in the bible but also in the Quran and the Torah – marks a foundation for attitudes towards homosexuality historically and to vast geographical expanses. An elemental challenge for all religions, nonetheless, is that of interpretation: how can religious stories be read and retold without affecting the authentic godly word through human interpretation?

The title of the video work itself, King James Version Genesis Chapter Nineteen, already suggests strict adherence to the text as a conceptual principle. In contrast, the term version in King James Version, the most widespread English language translation of the bible that is itself considered holy, already indicates multiple reincarnations of the original text.

The mere reading of rather short biblical texts produces mental images that pose contradictions and problematise the purity of meaning. An unaltered copy only exists in the digital. King James Version Genesis Chapter Nineteen marks the artist’s and performers’ attempt at retelling and translating such a text into moving image with utmost neutrality.

Religion finds its force and influence much less through true inner belief, but through the repetition of rituals that stand in for meaning. It is thus performative rather than ideological in nature. Given the true faithful’s realisation of their own human limitations in respect to the authentic holy word, the correct reproduction and re-enactment of rituals must become their main point of pedantic insistence.

The performers’ translation of the biblical text into movement, captured by 3D cameras, can be understood as such a ritual. Through the technical process, the physical dimension of their movement is immaterialised and translated into motion data and only visualised again later through clay rendering, the most neutral way of giving shape to three-dimensional data. Flaws and imperfections remain visible in the final video. Rendering in this case can be read as the human’s faultiness when attempting to retell, while a notion of the existence of perfect godly data prevails. – MARTIN SULZER via http://martinsulzer.com/index.html

one pic thursday. Jenny Holzer

Tallahassee #2 (from the series Anti-Gun Truck), 2018
image courtesy of the artist

Made in 2018, Anti-Gun Truck is an installation series in which a truck bearing poignant slogans on its side pulls up by specific locations: Trump Tower, the White House, a cemetery. Tallahassee #2, for me, was particularly disheartening. The dismally dark truck – which was like an automotive Grim Reaper, and brandished the words ‘TOO LATE NOW’ in white – was positioned in front of a Florida graveyard. The graveyard in question, however, wasn’t an ordinary graveyard: it was one of the burial places for students killed in the 2018 Marjory Stoneman Douglas High School massacre.THOM JAMES, Jenny Holzer In Conversation with Francis Morris , The White Review, July 2018

Artist Rooms by JENNY HOLZER is on view at the Tate Modern, London until July 31, 2019.

 

 

Birmingham Museums Trust has decided to go for “open access”, the first major British museum to do so. In a pioneering move, the trust will make images of copyright-expired works of art freely available to use under a CCO Creative Commons licence. This is the most open form of licence, and essentially means that the images are now in the public domain. The trust has over 800,000 objects, spread across nine sites (…). There is a catch, but I think it’s potentially quite a clever one. The free images will be limited to 3MB in size, at a resolution of 300 dpi. Birmingham will still charge for its highest resolution images, allowing the trust to retain the possibility of raising income from more overtly commercial use of images. Far better, then, to follow Birmingham’s new model, which at a stroke ends all the costly bureaucracy behind image fees. A limit on file size is far more efficient than trying to limit usage or print runs. For most educational publishing purposes, 3MB is a high enough resolution. But if Louis Vuitton want to make more of their Old Master themed handbags, then they’ll need a higher resolution file, and will have to pay for it. – Bendor Grosvenor, Diary of an art historian: at last, some common sense for the abolition of image fees

wfw weekend #453

exhibition view, DAVID CLAERBOUT
seen at Kunsthaus Bregenz
on Saturday, July 29, 2018
image © we find wildness

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Dominique Gonzalez-Foerster & Perez. Cerveau

Cerveau, PEREZ
video clip: DOMINIQUE GONZALEZ-FOERSTER
cinematography: JEAN-LOUIS VIALARD
editing: CAROLE LE PAGE

DOMINIQUE GONZALEZ-FOERSTER signed the last video clip for PEREZ, a french singer, with whom she collaborated for her EP called Exotourisme (2018).

Called Cerveau, the video clip has been released in April 2018.

More recently, DOMINIQUE GONZALEZ-FOERSTER gave a Masterclass via the french radio France Culture: https://www.franceculture.fr/emissions/les-masterclasses/dominique-gonzalez-foerster-jai-toujours-eu-une-fascination-pour-les-personnalites-multiples

 

one pic tuesday. Lucia Elena Průša

Cycle, 2018
aluminium, steel, rubber, plastic, UV-print, 14 x 85 x 60 cm

image courtesy of the artist and Pina, Vienna

Cycle (2018) is part of the solo exhibition entitled ZAHN–AUGE–FUSS–Kindheit–Teenager–Baby–Senior–Junior–Dame–Herr–KNIE–BRUST–ARSCH–ARSCHLOCH–DARM–UTERUS–Mutter–Vater–Haare by LUCIA ELENA PRŮŠA. The exhibition is on view at Pina in Vienna until July 20, 2018.

Once published, a Script, as a social form, is resolved only by reacting toward reactions toward it. It is an algorithmic social construction that seek to shift or create Objects, Object-relations, and social-relations within the material world in a manner that necessitates the unexpected. To embrace the unexpected is: a) to desire to see, despite knowing that there is a brutality to see (realism), b) to desire to keep moving, despite knowing that pain is certain (optimism), and c) to desire a future, despite knowing it will get worse (hope). Scripts are blueprints for unknowableness: hopeful gestures of realist optimism or optimistic realism. A Spectator engaged in Script-forming and/or Script-enacting engages with the present in order to suspend the future by imagining its alternatives. The Future is also not an Object. – The Function of a Script (in relation to a Spectactor), In Relation to a Spectator: Studio for Propositional Cinema, October 2017

wfw weekend #452

exhibition view, JOHN BALDESSARI
seen at Mai 36, Zürich
on Friday, June 29. 2018
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wfw weekend #451

exhibition view, PHILIPPE PARRENO
seen at Gropius Bau, Berlin
on Saturday, July 7, 2018
image © we find wildness

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Jutta Koether. Trinity: Present (Phase II)

all images:

Trinity: Present (Phase II), 2018
installation views, Bortolami Artist / City, Philadelphia
Images courtesy of Bortolami, New York

Trinity: Present (Phase II) by JUTTA KOETHER is taking place in a three-story house also called ‘Trinity’ in Philadelphia. This location is currently hosting one of the experimental exhibition initiatives created by Bortolami Gallery in New York.

Using the idea of the Trinity as its organizing principle, the exhibition develops in three parts: Past, Present, and Future. The previous phase, Trinity: Past, focused on the paintings KOETHER made from 1995 onward, evincing her identity as a German artist who moved frequently between her homeland and the U.S., specifically the distinct Cologne and New York City art scenes.

Trinity: Present comprises a succinct survey of JUTTA KOETHERs black paintings from 2001 to present. KOETHER’s Volume paintings, a series of works she made in 2001, some of her earliest experimentations with black paint, are dispersed throughout the house.*

Trinity: Present (Phase II) by JUTTA KOETHER is on view at Bortolami Artist / City in Philadelphia until September 9, 2018.

*excerpt press release Bortolami Gallery, April 2018

I believe that the emotional makeup of people is a system not unlike the circulatory system or the muscular system. And if you can make a film that not only lays bare that system but is itself constructed out of those things, it would be an incredible thing to witness and to feel. – Francis Ford Coppola in conversation with Brian de Palma, Filmmakers Newsletters, May 1974

John Giorno. Suicide Sutra (1973)

Suicide Sutra, 1973
7’22”

Suicide Sutra (1973) was written by JOHN GIORNO (born 1936) and appeared as a piece on his Dial-A-Poem phoneline which he founded in the late Sixties. People could ring in and hear poems by many writers, among them WILLIAM BURROUGHS, PATTI SMITH, ED SANDERS, ALLEN GINSBERG, JOHN CAGE, JIM CARROLL and LAURIE ANDERSON. Over a million calls were logged in the five months it ran in New York.

You can still hear some of the readings here.

The Italian sculptor Medardo Rosso (1858-1928), one of the few artists recognised by the Futurists as models, began in the late nineteenth century to devote his attention increasingly to photography. He photographed the reproductions of his sculptures over and over again, experimented with photographic paper, photo-plates and enlargements, until only the traces of the original image were left. When he exhibited some of his photographic experiments in Paris shortly before the turn of the century, Degas is said to have cried out: ça c’est de la peinture ! – Michaela Chiriac, The Image from the Image: The Disappearance and Appearance of Images in the Works of Marieta Chirulescu, Kunsthalle Basel, 2010