We Find Wildness

13 August 2018 - hyperlink, text - Comments Off on 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

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

3 July 2018 - hyperlink, text, web - Comments Off on 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

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

1 July 2018 - hyperlink, text - Comments Off on 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