A conversation with Eva Seufert

The Song of the Dogs' by
The Mekons & Kathy Acker
Pussy, King Of The Pirates (1996)

http://ubumexico.centro.org.mx/sound/acker_kathy/pussy/Acker-Kathy_Mekons_Pussy-King-of-the-Pirates_04_The-Song-of-the-Dogs.mp3



and then an excerpt of



THE AESTHETICS OF SILENCE / SUSAN SONTAG

…..
Though no longer a confession, art is more than ever a deliverance, an exercise in asceticism. Through it, the artist becomes purified — of himself and, eventually, of his art, The artist (if not art itself) is still engaged in a progress toward "the good." But formerly, the artist's good was mastery of and fulfillment in his art. Now it's suggested that the highest good for the artist is to reach that point where those goals of excellence become insignificant to him, emotionally and ethically, and he is more satisfied by being silent than by finding a voice in art. Silence in this sense, as termination, proposes a mood of ultimacy antithetical to the mood informing the self-conscious artist's traditional serious use of silence: as a zone of meditation, preparation for spiritual ripening, an ordeal which ends in gaining the right to speak. (Cf. Valery, Rilke)
So far as he is serious, the artist is continually tempted to sever the dialogue he has with an audience. Silence is the furthest extension of that reluctance to communicate, that ambivalence about making contact with the audience which is a leading motif of modern art, with its tireless commitment to the "new" and/or the "esoteric" Silence is the artist's ultimate other-worldly gesture; by silence, he frees himself from servile bondage to the world, which appears as patron, client, audience, antagonist, arbiter, and distorter of his work.
Still, in this renunciation of "society," one cannot fail to perceive a highly social gesture. Some of the cues for the artist's eventual liberation from the need to practice his vocation come from observing his fellow artists and measuring himself against them. An exemplary decision of this sort can be made only after the artist has demonstrated that he possesses genius and exercised that genius authoritatively. Having already surpassed his peers, by the standards which he acknowledges, pride has only one place left to go. For, to be a victim of the craving for silence is to be, in still a further sense, superior to everyone else. It suggests that the artist has had the wit to ask more questions than other people, as well as that he possesses stronger nerves and higher standards of excellence. (That the artist can persevere in the interrogation of his art until he or it is exhausted isn't in doubt. As René Char has written, "No bird has the heart to sing in a thicket of questions")

III

The exemplary modern artist's choice of silence isn't often carried to this point of final simplification, so that he becomes literally silent. More typically, he continues speaking, but in a manner that his audience can't hear. Most valuable art in our time has been experienced by audiences as a move into silence (or unintelligibility or invisibility or inaudibility); a dismantling of the artist's competence, his responsible sense of vocation — and therefore as an aggression against them.
Modern art's chronic habit of displeasing, provoking, or frustrating its audience can be regarded as a limited, vicarious participation in the ideal of silence which has been elevated as a prime standard of seriousness in the contemporary scene.
But it is also a contradictory form of participation in the ideal of silence. It's contradictory not only because the artist still continues making works of art, but also because the isolation of the work from its audience never lasts. With the passage of time and the intervention of newer, more difficult works, the artist's transgression becomes ingratiating, eventually legitimate. Goethe accused Kleist of having written his plays for an "invisible theatre." But in time the invisible theatre becomes "visible" The ugly and discordant and senseless become "beautiful." The history of art is a sequence of successful transgressions.
The characteristic aim of modern art, to be unacceptable to its audience, can be regarded as the inverse statement of the unacceptability to the artist of the very presence of an audience — in the familiar sense, an assembly of voyeuristic spectators. At least since Nietzsche observed in The Birth of Tragedy that an audience of spectators as we know it, those present whom the actors ignore, was unknown to the Greeks, a good deal of contemporary art seems moved by the desire to eliminate the audience from art, an enterprise that often presents itself as an attempt to eliminate "art" altogether. (In favor of "life"?)
Committed to the idea that the power of art is located in its power to negate, the ultimate weapon in the artist's inconsistent war with his audience is to verge closer and closer to silence. The sensory or conceptual gap between the artist and his audience, the space of the missing or ruptured dialogue, can also constitute the grounds for an ascetic affirmation. Samuel Beckett speaks of "my dream of an art unresentful of its insuperable indigence and too proud for the farce of giving and receiving." But there is no abolishing a minimal transaction, a minimal exchange of gifts, just as there is no talented and rigorous asceticism that doesn't produce a gain (rather than a loss) in the capacity for pleasure.

About Sculpture #1 / Lady Fitness

About Sculpture #1: Das MAHO-Programm / curated by Janine Eggert und Johannes Weiss

participating artists: Caroline Bayer, Gabriel Braun, Wolfgang Flad, Janine Eggert,
Stef Heidhues, Erik Niedling, Michael Rockel, Philipp Ricklefs, Johannes Weiss


Lady Fitness
contemporary art space
Stromstr. 11-17, 10551 Berlin

Sofia Stevi / Hotel nostos. Humble, nimble, dreamlike tumble

Sofia Stevi / Hotel nostos. Humble nimble, dreamlike tumble at Marignana Arte | Venice
Exhibition curated by Alma Zevi

Friday, June 27, 2014 to Saturday, September 20, 2014 

UBER-BODIES / Hydra School Projects

UBER-BODIES at HYDRA SCHOOL PROJECTS
curated by Dimitrios Antonitsis

Participating artists:
Heimir Bjorgulfsson, Saint Clair Cemin, Graham Collins, Lovett/Codagnone, Dionisis Christofilogiannis, Martha Dimitropoulou, George Lappas, Andreas Lolis, Christian Heidsieck, Brice Marden, Ioannis Wolfgang Kardamatis and Grigoris Anargyrou.

Duration: 27.06.2014 to 29.09.2014
Opening: Friday 27.06.2014, 20:30
Hydra

Heimir Bjorgulfsson

The Naked / Daily Lazy Presents

DAILY LAZY PRESENTS

by Daily Lazy
Daily Lazy has invited three artists connected with the Athenian art scene to introduce themselves and their practice through a display of personal statements and images.
Focusing on the relationship between local and global, we decided to introduce the work of three Greek artists who are currently based in New York, Brussels and Stockholm but retain their connection to Athens. 

IRINI MIGA 
GIORGOS KONTIS
ANASTASIOS LOGOTHETIS

Irini Miga, Work in Progress, Studio Installation View, ceramic, paper, kitchen-cloth, thread, wood, cement, plaster, air, wall paint, dimension variable, 2014.

Der Grund ist nicht Licht, sondern Nacht at Galerie Christian Ehrentraut

"Der Grund ist nicht Licht, sondern Nacht"
Julie Oppermann, Yorgos Stamkopoulos, Alexander Wolff
30.04.2014-07.06.2014

Christian Ehrentraut
Friedrichstr. 123D-10117 Berlin



Tuesday to Saturday 11am  to 18pm


The terrestrial globe is covered with volcanoes, which serve as its anus (G. Bataille)


Participating artists: Eleni Bagaki, Katerina Kana, Panos Papadopoulos, Zoë Paul, Petros Touloudis, Freddy Tuppen

Curated by Michelangelo Corsaro

The show will be open from the 22nd to the the 25th of May from 20:30 to 22:30, or by appointment.
Third floor, 9 Pittaki, Psirri, 10554, Athens



A conversation with Caribic Residency


A conversation with Valentinas Klimašauskas

I'd like to see a conversation between other conversations that take
and/or took places around us all the time.

One of the most famous conversations that was televised is a conversation
between two philosophers Noam Chomsky (b.1928) and Michel Foucault
(1926-1984)that was recorded for Dutch television in 1971.





I often return to it in a similar manner as Gene Hackman's character
returns to his tapes in  "The Conversation" (1974), an American
psychological thriller film written, produced and directed by Francis Ford
Coppola.




Do you know what the Turing test is? It tests machine's ability to exhibit
intelligent behaviour. In Turing's original illustrative example, a human
judge engages in a natural language conversation with a human and a
machine designed to generate performance indistinguishable from that of a
human being. All participants are separated from one another. If the judge
cannot reliably tell the machine from the human, the machine is said to
have passed the test. A fictional version of this test took place in
"Blade Runner" movie and there it was called a Voight-Kampff Test,
designed to provoke an emotional response.





Andy Warhol eating a hamburger will go for a silent talker.





A video of the New York School of poetry's Frank O'Hara (1926–1966)reading
"Having a coke with you" as read in his flat in New York in 1966, shortly
before his accidental death.




Although introduced in this order, the order of appearance in this and
other conversations is to stay unknown.

A conversation with Sofia Stevi

For the "A conversation with" I would like to send you the script of the opening monologue from Ferris Bueller's Day Off, written and directed by John Hughes and performed by Matthew Broderick (1986)

Sofia Stevi

Incredible! One of the worst performances of my career and they never doubted it for a second. How could I possibly be expected to handle school on a day like this? This is my ninth sick day this semester. It's getting pretty tough coming up with new illnesses. If I go for ten, I'm probably gonna have to barf up a lung, so I'd better make this one count. The key to faking out the parents is the clammy hands. It's a good non-specific symptom. I'm a big believer in it. A lot of people will tell you that a good phony fever is a dead lock, but, eh, you get a nervous mother, you could wind up in a doctor's office. That's worse than school. You fake a stomach cramp, and when you're bent over, moaning and wailing, you lick your palms. It's a little childish and stupid, but then, so is high school. Life moves pretty fast. If you don't stop and look around once in awhile, you could miss it. I do have a test today, that wasn't bullshit. It's on European socialism. I mean really, what's the point. I'm not European. I don't plan on being European, so who gives a crap if they're socialists. They could be fascist-anarchists and it still wouldn't change the fact that I don't own a car. (Singing in shower) It's not that I condone fascism or any 'ism' for that matter. Ism's, in my opinion, are not good. A person should not believe in an 'ism' he should believe in himself. I quote John Lennon: 'I don't believe in Beatles. I just believe in me'. A good point there. After all, he was the walrus. I could be the walrus. I'd still have to bum rides off of people.

Athanasios Argianas, A Sequencer**



Athanasios Argianas, A Sequencer**
14 March - 26 April 2014
Aanant & Zoo
Bülowstr. 90
D–10783 Berlin

Wednesday – Saturday
11am – 6pm 

Gabriel Kuri

DAILY LAZY showing YES, BUT at ainsA friday, 11.april

DAILY LAZY showing YES, BUT at ainsA friday, 11.april

ainsA
köpenickerstrasse 4
10997 berlin FRIDAYOFLOVE
coming up friday 04.11 9pm


boy loves girl

FRIDAYOFLOVE by F60.4

come and drink with Stelios Karamanolis, Tula Plumi, Fridey Mickel, Jurgen Ostarhild

DAILY LAZY showing YES, BUT, by TASIOS PAVLOS athen 1972

 F.60.4

...since march 14th 2014 every friday night an artshow
in collaboration with FRIDEY MICKEL, ainsA and JURGEN OSTARHILD 







Plot:The movie takes place in Athens during it's dictatorship in early 70s. A young man, Fanis, works at a funeralhome and lives an ordinary life with a woman whom he doesn't love, but was forced to marry due to societal ethics. His everyday is constant oppression and he creates fantasies with other women he meets. His wife's infertility deprives even the possibility to find meaning in his marriage through the child. Randomly he meets a student, Melanie, on whom he develops a crush.

A conversation with Evita Tsokanta

Karl Kraus, In dieser grossen Zeit, 1914

In these great times which I knew when they were this small; which will become small again, provided they have time left for it; and which, because in the realm of organic growth no such transformation is possible, we had better call fat times and, truly, hard times as well; in these times in which things are happening that could not be imagined and in which what can no longer be imagined must happen, for if one could imagine it, it would not happen; in these serious times which have died laughing at the thought that they might become serious; which, surprised by their own tragedy, are reaching for diversion and, catching themselves redhanded, are groping for words; in these loud times which boom with the horrible symphony of actions which produce reports and of reports which cause actions: in these times you should not expect any words of my own from me – none but these words which barely manage to prevent silence from being misinterepreted. Respect for the immutability, the subordination of language before this misfortune is too deeply rooted in me. In the realm of poverty of imagination where people die of spiritual famine without feeling spiritual hunger, where pens are dipped in blood and swords in ink,  that which is not thought must be done, but that which is only thought is unutterable. Expect no words of my own from me. Nor would I be able to say anything new, for in the room in which one writes there is such noise, and at this time one should not determine whether it comes from animals, form children or merely from mortars. He who encourages deeds with words desecrates words and deeds and is doubly despicable. This occupation is not extinct. Those who now have nothing to say because actions are speaking continue to talk. Let him who has something to say come forward and be silent! Nor may I bring out old words as long as deeds are committed that are new to us and spectators say that they were notto be expected of them. […]But I am truly of the opinion that in this time, however we may call itor evaluate it, whether it is out of joint or already set right, whether it is accumulating murder and rottenness before the eyes of a Hamlet or is already becoming ripe for the arm of a Fortinbras – thatin its condition the root lies at the surface. This sort of thing can be made clear by a great confusion, and what was once paradoxical is now confirmed by the great times. Since I am neither a politician norhis half-brother, an esthete, I would not dream of denying the necessity of anything that is happening or of complaining that mankind does not know how to die in beauty. […]The necessity to eat in order to live cannot be disputed philosophically, though the public nature of this function evidences an ineradicable lack of modesty. Culture is the tacit agreement to let the means of subsistence disappear behind the purpose of existence. Civilization is the subordination of the latter to the former. […]

In these great Times: A Karl Kraus Reader, Manchester, edited by H. Zohn, 1976/84

John F Kennedy snagged 1,200 Cuban cigars before 1962 trade embargo


President John F. Kennedy secured for himself 1,200 Cuban cigars just hours before enacting the Cuban trade embargo in 1962. Before signing the embargo, Kennedy requested his head of press, Pierre Salinger, to get him “1,000 Petit Upmanns.”
Salinger first made the revelation to Cigar Aficiando magazine in 1992.


Salinger recalled Kennedy summoning him into his office to see if he could provide 'some help' in securing 'a lot of cigars' by the following morning. In hindsight, it is evident that Kennedy wanted to stockpile the Cuban products before he banned their import.
“The next morning, I walked into my White House office at about 8am, and the direct line from the President's office was already ringing. He asked me to come in immediately,” said Salinger.
Kennedy was pleased to learn that Salinger was successful and had gotten him 1,200 Cuban cigars.
Salinger remembers, “He took out a long paper which he immediately signed. It was the decree banning all Cuban products from the United States. Cuban cigars were now illegal in our country.”
The story of Kennedy’s cigars reemerged in 2012 as the United States rolled into its 50th year of trade embargo with Cuba. The embargo is a source of political debate today.
Supporters believe that the trade restrictions are justified as Cuba continues its “repressive” form of government, while critics are vocal that it has hurt the Cuban population rather than the government itself.


Theophilos Hatzimihail (Θεόφιλος)


































  Theophilos Hatzimihail (Θεόφιλος Χατζημιχαήλ or Θεόφιλος Κεφαλάς; ca. 1870, Vareia, nearMytilene, island of LesbosGreece – Vareia, 22 March, 1934), known simply asTheophilos, was a major folk painter of Neo-Hellenic art. The main subject of his works are Greek characters and the illustration of Greek traditional folklife and history.

COL O BARA Delivers Injustice



First look on the upcoming "Col O' Bara Delivers Injustice" in thriller/horror style. An action/crime/thriller/comedy taking place somewhere between the 70's and the 80's. Col O' Bara is a cop that doesn't hesitate to play out of the rules and he tends to do that a lot. With his sidekick, played by Nico Pipico (Nick Diamantidis), he confronts the "crem de la crem" of the criminal underworld while making a mess out of everything with their unorthodox ways and their incompetence...A 10-minute promo will soon be released and you'll be able to watch it here at "Theodoras Vogiatzidis Productions" blog.

Written by Theodoras Vogiatzidis and Stelios Karamanolis. Directed and edited by Theodoras Vogiatzidis. Starring Stelios Karamanolis as Al J. Heimer as Col O' Bara, Nick Diamantides
as Nico Pipico, Jim Tsiamis as "Chief", Dimo Balo, Theodoras Vogiatzidis, Georgia Karydi, Stavros Karizonis, Tasos Kasapis and Zoi Nikolaou as Mikaela.


WATCH HORROR STYLE TEASER


A conversation with Tina Pandi

For the A conversation with, I would like to send you Schema, 1966 by Dan Graham which was originally published in 1967 in Aspen magazine (no. 5+6). In this work, Graham proposed a poem-generator, a “schema’ for composing a poem the specific form of which is determined by each editor (or viewer-reader) every time it is published.

Tina Pandi




POEM, MARCH 1966 / DAN GRAHAM


Schema for a set of poems whose component pages are specifically published as individual poems in various magazines. Each poem-page is to be set in its final form by the editor of the publication where it is to appear, the exact data in each particular instance to correspond to the fact(s) of its published appearance.

1 Using any arbitrary schematic (such as the example published here) produces a large, finite permutation of specific, discrete poems.
2 If a given variant-poem is attempted to be set up by the editor following the logic step-by-step (linearly), it would be found impossible to compose a completed version of the poem as each of the component lines of exact data requiring completion (in terms of specific numbers and percentages) would be contingently determined by every other number and percentage which itself in turn would be determined by the other numbers or percentages, ad infinitum.
3 It would be possible to 'compose' the entire set of permutationally possible poems and to select the applicable variant(s) with the aid of a computer which could 'see' the ensemble instantly.


SCHEMA

(number of)
(number of)
(percentage of)
(percentage of)
(number of)
(number of)
(number of)
(number of)
(number of)
(number of)
(number of)
(number of)
(number of)
(number of)
(number of)
(perimeter of)
(weight of)
(type)
(thinness of of)
(number of)
(number of)
(number of point)
(name of)
(number of)
(number of)
(number of)
(number of)
(number of)
adjectives
adverbs
area not occupied by type
area occupied by type
columns
conjunctions
depression of type into surface of page
gerunds
infinitives
letters of alphabet
lines
mathematical symbols
nouns
numbers
participles
page
paper sheet
paper stock
paper stock
prepositions
pronouns
size type
typeface
words
words capitalized
words italicized
words not capitalized
words not italicized

POEM

35
7
35.52%
64.48%
1
1
0 mms.
0
0
247
28
6
51
29
6
8" x 8"
80 lb.
dull coated
.007"
3
0
10
Universe 55
61
3
0
58
61
adjectives
adverbs
area not occupied by type
area occupied by type
columns
conjunctions
depression of type into surface of page
gerunds
infinitives
letters of alphabet
lines
mathematical symbols
nouns
numbers
participles
page
paper sheet
paper stock
paper stock
prepositions
pronouns
size type
typeface
words
words capitalized
words italicized
words not capitalized
words not italicized

Original format: Single sheet, 16 by 8 inches, folded to make four pages.






THE NOVEL THAT PREDICTS RUSSIA’S INVASION OF CRIMEA

idov-crimea.jpg
“Who wouldn’t recognize, amid the crazed architectural flourishes of Downtown Simferopol, the assertive skyscraping simplicity of the pencil-like home of the Russian Courier.” Thus begins one of my favorite novels of the twentieth century. The same novel ends with Russia annexing Crimea after its citizens are snookered into requesting the invasion themselves: in other words, it eerily anticipates this week’s news.

new vocabulary


Villa Müller Adolf Loos


Villa Müller in Prague was designed by architect Adolf Loos, assisted by architect Karel Lhota, in 1930 for František Müller and his wife, Milada Müllerová. The client was the owner of a company specialized in reinforced concrete, so the house was to be a showcase of this (at the time) pioneering technique as well as of the influent architect’s theories. The Villa, with its cubic shape and its white and austere façade, embodies in its exterior appearance the principles exposed by the architect in his seminal essay “Ornament and Crime”.
A strong contrast is staged between the simple, almost hermetic façade and the rich and complex interiors cladded in marble for the public areas and wood for the private rooms. The distribution is based on the principles of the Raumplan (spatial plan) already applied by Loos for the Ministry of War (“Kriegsministerium”) in Vienna in 1907. The Villa Mueller’s Raumplan is a complex exercise set to avoid the organization in separated floors and structure the space in a sequence of stepped areas while differentiating the height of the ceiling in relation to different functions.

always and forever

Why do you love me 
Why do you need me 
Always and forever 

We met in a chat room 
Now our love can fully bloom 
Sure, the World Wide Web is great 
But you, you make me 'salvivate' 

Yes, I love technology 
But not as much as you, you see 
But I still love technology 
Always and forever 

Our love is like a flock of doves

Flying up to heaven above 
Always and forever 
Always and forever 

Yes, our love is truly great 
Always and forever 

Why do you need me 
Why do you love me... 

Sorry I'm late. I just got done taming a wild honeymoon stallion for you guys. 
Hey Deb, can you take a photo of me on the horse real quick' 
Sure. 
Thanks. 
I hope you guys's experiences are unforgettable. 
Lookee lookee, a little keepsake for you guys. 
Lucky.



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