is a game in which the players meet and get to know two or three things about each-other.
Toys look forward, they want to play: stick, ball (stone), rope and bag are among the most basic things used as toys
Traces point backwards in time, they register a past event: a hairy hair clip, a chewing gum stuck under the desk, a stone smoothened by steps
- Pretend it never happened
- Act utterly surprised
- Shamelessly repeat it
- Pretend it was fully intentional
- Blame it on Force Majeure
- Do something else, totally irrelevant and unexpected, in order to randomise the occurrence.
- Excessively praise others for not having lost control
About blurring the ‘magic circle’ of the game and the distinction between game and narrative.
Process of Lying.
“I wish you were with the cannibals and it was dinner-time.”
Mark Twain, On the decay of the art of lying.
What is lying?
In general the lie is a false statement done by somebody[thing] or a group who knows the statement is not the whole truth…
compléter de la France tout en bénéficiant des baguettes, fromages, bières et vins.
I added some new thoughts [ placebo & confession ] [read more … en savoir plus]
‘Rain is a self regulating system but there’s no goal’…. Isn’t every change in this particular system a goal in itself? Or is the the goal to change the goal?
…on organisation is to be found under Martine! (which needs updating after Klaas’ class this tuesday)
…and on further discussing the topic of Relational Aesthetics: i wrote an article on ‘usefull art’ for Jorinde’s class last year. Unfortunately it is in Dutch, so not readible for all of you. As an appetizer this quote on Tania Bruguera:
‘Het lijkt er op dat Bruguera het politiek, sociaal-economisch systeem omhelst heeft in plaats van alternatieven te bieden. Het project Immigrants Movement International en de inzet van nuttige kunst lijken uiteindelijk net zo vlak en ontluisterend als de realiteit die ze probeert te kopiëren. Bruguera incorporeert in IMI hetzelfde organisatiejargon (ze spreekt over effectiviteit en implementatie) dat ze feitelijk ook probeert te bestrijden. Het lijstje voorwaarden voor het maken van nuttige kunst is net zo vaag en on-inspirerend als de competentielijst van een vacaturetekst. Bruguera heeft, ondanks goede intenties, niet de juiste vorm gekozen, sterker nog: ze heeft helemaal geen vorm gekozen.’
the whole text:
Come back to a kind of eat art but with a other dimension: create a social link by sharing food together (1990, 1993, 1994)
Untitleled(Blind) 2nd personal exibition at Randy Alexender 1991. Put on the floor of the gallery, closed envelopes containing letters from her to her gallerist
PHILIPPE PARRENO (reflexion about the espace-time of an exibition)
First, there was the book (Snow Dancing, as told to Liam Gillick and Jack Wendler, GW Press LTD, London, 1995).
It describes a building, a group of visitors in that building,
and propositions for several activities.
The book is alltogether scenario
and commentary of an event.
Then, there was the exhibition.
The day before its inauguration, a few hundred people were invited for an event that was simulating the aesthetics of a party, taking place in the art center that was wrapped in blue jeans.
La nuit des héros
Scénario P.Parreno & N.Bourriaud
Production Air de Paris / Les films du requin
Film 35 mm
“communication works as well by its lack, its deceptions..”
ESTHER SHALEV GERZ & JOCHEN GERZ
work about transmission & witnesses seeing as a “gift” “gift of subjectivity
Les portraits de l’histoire
In 2 “difficult” areas (Aubervillier & marseille) “asked people which history should be told today?”
Monument contre le fascisme
In hambourg, A 12m column where people can sign or write what they want (normally to agree to stay alert against fascisme), more there is stuff written on it more the column desapear in the floor. At the end, the memory of it stay in the mind of people only.