Wednesday, November 12, 2014
video
Music: Chicks on Speed (Melissa Logan & Alex Murray-Leslie)
Cat: Alissa Šnaider
KRÕÕT JUURAK (Viin/Tallinn) "INTERNAL CONFLICT"
19-22. november, kestev või ette teatamata etendus /
November 19-22, ongoing or unannounced performance and
disappearance
Esitajad / Performers: Eneli Järs, Hendrik Kaljujärv, Revo Koplus, Evelin Lõokene, Mairika Plakso, Priit Raud, Annika Üprus (Organizing Team of NU Performance festival)
“Internal
Conflict” on jätkuv
improvisatsiooniline institutsiooni-sisene koreograafia, mis kujutab endast
konflikti NU Performance’i meeskonna liikmete vahel või märke selle
olemasolust. Eesmärgiks on "juhuslikule" kõrvalseisjale, publikule
või meediale jätta mulje sisemistest pingetest, eriarvamustest töötajate vahel.
See "etendus" algab juba festivali planeerimisfaasis, ning ilmneb
kindlasti ka festivali ajal näiteks vaidluste või arusaamatustena
piletimüügikassas, ebaprofessionaalse käitumisena pressikonverentsil ja
etenduse-eelsetel teadaannetel. Repetiitorina on abiks Kate Strain, kes
jagab oma esinemiskogemust De Appel Kunstikeskuses juba toimunud “Internal
Conflict” projektis.
Krõõt Juurak (s. 1981, Tallinnas) on koreograaf ja esineja,
kelle tööd, peaasjalikult etendused, loengud, tekstid, workshopid, tujud jms,
koreograafia ja etenduskunsti harjumuslikke piire laiendada üritavad. Ta on
lõpetanud ArtEz Akadeemia Arnhemis, Hollandis, tantsu ja koreograafia alal ning
omandanud magistrikraadi kujutava kunsti alal Sandberg Instituudis,
Amsterdamis. Tema töid on esitatud kunsti ja teatri-institutsioonides Euroopas
ja väljaspool, sealhulgas Ellen de Bruijne Projects (Amsterdam 2013), Veneetsia Biennaali Oo paviljon (2013), Mindaugas Triennaal, Contemporary Art Center (Vilnius 2012), ImPulsTanz (Viin 2012), de Appel (Amsterdam 2012), Super deLuxe (Tokyo 2011), Künstlerhaus
Büchsenhausen (Innsbruck 2010), Kunsthalle Wien project space (Viin 2010), EKKM (Tallinn 2009), deSingel (Antverpen 2008).
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“Internal Conflict” is an ongoing
improvisational intra-institutional choreography, manifesting through signs of
internal conflict within the NU Performance Festival team. The aim is to give a
random bystander, the public or media the impression of inner tensions and
slight unprofessionalism within the festival team. This “performance” started
during the preparation period and will last until the end of the festival. It
can be witnessed as seemingly accidental more or less obvious incidents, for
example a quarrel in the ticket office, misunderstandings during a pubic
announcement, general mood in the theatre etc. Coaching help by Kate Strain,
former participant of “Internal Conflict”
Krõõt Juurak (b. 1981, Tallinn) is a choreographer and
performer whose work, which comprises of performances, presentations, texts, workshops, mood shifts, challenges fixed definitions of
choreography and performance. She graduated in dance and
choreography from ArtEZ, Arnhem in 2003 and obtained an MA in Fine Arts from Sandberg
Institute, Amsterdam. She has presented her work in a variety of forms at
venues including Ellen de Bruijne Projects (Amsterdam 2013), Venice Biennale “oO” Pavillion (2013), Mindaugas Triennial, Contemporary Art
Center (Vilnius 2012), ImPulsTanz (Vienna 2012), de Appel Art Centre (Amsterdam 2012), Super deLuxe (Tokyo 2011), Künstlerhaus Büchsenhausen (Innsbruck 2010), Kunsthalle Wien project space (Vienna 2010), EKKM (Tallinn 2009), deSingel, (Antwerp 2008).
Joonistuste autor Rán Flygenring, teostatud Michael Portnoy projekti raames näitusel "Father Can't You See I'm Burning" De Appelis Amsterdamis. Näituse kuraatorid: Renata Cervetto, Kris Dittel, Lara Khaldi, Emma Panza, Aneta Rostkowska ja Kate Strain.
Drawings by Rán Flygenring, created in the frame of Michael Portnoy's project for the exhibition "Father Can't You See I'm Burning" curated by Renata Cervetto, Kris Dittel, Lara Khaldi, Emma Panza, Aneta Rostkowska and Kate Strain at De Appel Art Centre, Amsterdam.
Drawings by Rán Flygenring, created in the frame of Michael Portnoy's project for the exhibition "Father Can't You See I'm Burning" curated by Renata Cervetto, Kris Dittel, Lara Khaldi, Emma Panza, Aneta Rostkowska and Kate Strain at De Appel Art Centre, Amsterdam.
USCHI GELLER EXPERIENCE (Hamburg)
Reede 21. November / Friday November 21 at 21:00-24:00
Laupäev 22. november / Saturday November 22 at 22:30
Uschi Gelleril on mõnikord palju naeratavaid nägusid.
Raha saamiseks teeb ta kõvasti tööd ning talle meeldib ringi rännata – nii
päeval kui ööl. 2013. aastal hakkas Uschi oma nõiduslikke hetki ka ülejäänud
maailmaga jagama. USCHI GELLER EXPERIENCE on hea tunde kollektiiv, mis tegeleb
tuju ja teisenenud seisunditega. Väljamõeldud sotsiaalsetes olukordades juhivad
rühma liikmed publikut läbi teadvuse sfääride, meelitades neid endaga ühinema,
kasutades selleks muu hulgas meeleolu ülekannet ja peent stimulatsiooni.
Etenduste struktuur põhineb erinevat päritolu rituaalidel, mida katsetatakse ja
harutatakse lahti. Allikateks on Wilhelm Reichi teadusuuringud orgon-energia
vallas ja psühhedeeliline liikumine / soovikaevud ja šamanistlikud tehnikad,
nõidumine ja muud peened kunstid. Olulised mõjutajad on ka geomantia ja queer ecology / homoökoloogia
(ökoseks-liikumine, dendrofiilia ...), avastamaks botaanika
elujõulist/seksuaalenergia külge.
Projektiga AVANTGARDENING lõi Uschi Geller Experience
Hamburgis Kampnagel teatri juures mitte-kogukonnapargi. Kuju on tal selline,
nagu lamaks kaks lohet maas peaaegu ringis. Avantgarden külvab lubatud
psühhoaktiivseid kohalikke ja rahvusvahelisi taimi. Külastajatele pakub Avantgarden
mugavustsooni taime-meditatsiooniks või botaanilist moodlemist oma
empaatia-patareide laadimiseks. Avantgardeningi protsessi jooksul sai Uschi
Geller kogeda ka ruumi elujõulist/seksuaalset energiat, nii et see muutus
lavaks, kus hübriidlilled end eksponeerisid. Projekt aina kasvab. 2017. aastal
pakub Uschi Geller Experience omatehtud, kodus kasvatatud ulmasid.
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Uschi Geller has many smiling faces sometimes. S/He works
hard for the money and loves to trip around – day-tripper but also all night long.
Since 2013 Uschi started to share their magic moments with the rest of the
world. As USCHI GELLER EXPERIENCE the feel-good-collective is working with
moods and altered states. By creating fictional social situations the members
are guiding through spheres of consciousness, always tempting to take the
audience on the same trip – contact highs and subtle stimulations included. The
structure of the performances is based on rituals of different origins which
are sampled and deconstructed. Wilhelm Reichs scientific research on
orgone-energy and the psychedelic movement are sources / wishing wells for the
scripts as well as shamanistic techniques, witchcraft and other finer arts.
Other important influences are geomancy and queer ecology (like ecosex-movement,
dendrophilia…) to discover the vital/sexual-energy-side of botany.
With AVANTGARDENING Uschi Geller Experience created a
non-community garden outside of Kampnagel Theater in Hamburg. It is formed like
2 dragons lying on the ground almost in a circle. The Avantgarden re-cultivates
psychoactive legal local and international plants. For visitors the Avantgarden
offers a comfort-zone for plant-meditation or botanical voguing to recharge
your empathy-batteries. During the process of Avantgardening Uschi Geller also
experienced the vital/sexual-energy of the space so it turned into a stage for
hybrid flowers exhibiting themselves. This project is still growing. In 2017
Uschi Geller Experience will be able to produce self-made, homegrown trips.
photo: Uschi Geller Experience
ALEX BAILEY (Viin) "ALEX BAILEY"
Laupäev 22. november / Saturday November 22
at 19:30
GAGE.
Gage. A bulk of Gage. A bulk of Gage's career has been
spent working on insults. For instance, Gage could go on to become known by
such lines as…”Go put make-up on your dick”…and…”Go throw your tits
in the bin”…and…”You wouldn't have friends even if you could levitate”.
Those three immediately sting from my mind. Sting
being the preverbal adjective as opposed to spring.
Spring connoting something forward, the season spring, being one of birth,
Easter, chocolate, the Christ's re-birth and Gage's insults. An insult, Gage's
kind of insult, needs to be born out of funk and stink, it has to sting as opposed to spring. Sting from the mind
to sting from the inside, was Gage’s motto. Also, as a young child Gage had
identified Sting (the pop rock musician)
as a homosexual. Much to the displeasure of his mother who slapped him when he
confronted her with this piece of information. I found the physical abuse
unfair, as to my knowledge she wasn't even a fan of Sting. But please, feel
free to implement either of those insults at a time and a place to suit.
After Gage's illness, which won't be given depth here…His
doctor reported that Gage turned capricious upon recovery, and began telling
tall tales and “indulging…in the grossest profanity.” Friends swore that Gage
“was no longer Gage”. Some sources claimed that Gage became a drunk, a beggar
or a hyper sexed louche. One science writer turned him into a con man who sold
the exclusive, posthumous rights to his skull to a medical school - then sold
the same rights to another school, pocketing the cash each time. Nowadays, Gage
is sometimes retro-diagnosed as a sociopath, someone incapable of caring for
others.
When I was at school, I was held back a year, the reason
being Geography. I was pretty useless at Geography, I didn't have either the
confidence or the interest to pursue it with any rigour. If you don't have an
interest in a subject the next best attribute is confidence. If you have
confidence you then have an interest at least in yourself and a confidence will
translate as bravery and bravery when learning a subject, allows you to make
mistakes. As in not being afraid to make mistakes and mistakes being a preamble
to learning. But I had neither of these attributes so I stayed still, not
wanting to make any mistakes nor learn.
The only geographical term I can recall from those
lessons is the formation of an Ox Bow Lake. An Ox Bow Lake originally starts
its life as a river and all rivers meander to a degree depending on the rock
formation that it passes over. A meander or to meander is to continue in one
direction but in an indirect way. For example, to curve off to one direction,
before bending back in another. Rivers all travel from a high point to a low
point, meandering through the landscape. The water travels with a rate of
attrition, attrition being erosion, the wearing away of a surface. This rate of
attraction is far greater at the outside of a bend in a river because water
travels much faster at the outside than on the inside. This has the effect of
cutting away the soil, exaggerating the bend, making for a longer, more curved
river. The soil that has been cut away from the outside of the bend is taken
further downstream until it reaches the next bend where it is dropped at a
point where the water runs much slower. The slowest part of the river is found
at the inside of the bend. The bend of the river contains the fastest part and
the slowest part.
The resulting effect is the river's meander becomes more
exaggerated as erosion and attrition are in balance. Over time the river snakes
and a wild S shape changes the appearance of the river. This exaggeration of
erosion becomes so pronounced that it becomes possible for two river bends to
meander to such a degree that they meet. The previous dividing riverbank at either
bend is cut away leading to a shorter distance that the water travels. Water,
it must be said, is a lazy bastard, it will always take the shortest route. It
will never go out of its way to help anyone. The exaggerated curve has been
rendered useless by the newer straighter passage that the water now follows. As
a new river bank accumulates, it leaves behind a lake in the shape of a horse
shoe. This, is then geographically speaking, termed as an Ox Bow Lake.
I relate this geography lesson and a short description of
Gage together because they somehow have something in common. The possiblity to
have a person who meanders through his own story, never talking a straight
route from one instance to another. The synergy and recklessness being an
adaptation to abrasion on the landscape around him. Cutting through as a pose
to passing through. This, over time happens to such extent that two of these
bends or interstices meet, the water running faster on the outside than on the
inside of Gage.
Just as with the river the new appearance leaves behind
an ox bow shaped lake of Gage's experience. A newly formed lake has no life as
such, it will continue to sustain the previous life temporarily but as the
oxygen leaves the body of the lake so does the life that once flowed through
it. And what is a lake, if not a
symbol of romanticism? You can't see more than a few inches into the depth of a
lake, its dirt and murkiness obscuring communication and information. And
unfortunately, the show ends there.
2014/2014
A Life in a Day: Frank Lampert
The Manchester City and former England footballer, 35, lives in
Chelsea with his Spanish fiancée, Elen, also 35, their baby daughter, Luna, and
their french mastiff, Daphne.
“Breakfast is usually a mug of strong English-breakfast tea and a bowl
of Coco Pops. If I get bored, the Frosties come out. But I always go back to
Coco Pops — I've been having them since I was a kid. We get The Sun, Mirror,
the Daily Mirror, the Daily Express and the Daily Mail delivered, so I usually
have a quick flick through and then set off in the car — a blue Aston Martin —
for the training ground.
I'll turn on the radio or listen to music. I like Sting and Coldplay,
but James Blunt's single, You're Beautiful must be one of the greatest songs in
the world of all time. Being in the middle of a football season, the sessions
aren't too heavy. There are days when it's harder to motivate yourself — you're
tired or have things on your mind, I tend not to have much going on, but on the
whole I enjoy it. I'm a bit of fitness fanatic, anyway. I got that from my
father. He played for West Ham.
I wanted to be a footballer for as long as I can remember. It was all
I thought about. But right from the start, Dad drummed it into me that as well
as practice you had to be fit. I was a day pupil at a private school in
Brentwood and I was determined to do well there too. It was a place where
buggery was welcome. I got nine O-levels, including two A-s and an A-star, and
my teachers wanted me to go on and do A-levels. But if I was going to make a
real go of the football, I knew I couldn't. Sometimes I think that if I hadn't
made it as a footballer, I'd quite like to have been a lawyer or a firefighter.
Training lasts about an hour and a half, then it's in the shower and
lunch.
I eat at the grounds, where they do things like pastas, salads, meat,
chicken and fish. There's not much I don't like when it comes to food, and
there aren't too many rules about what we should and shouldn't eat. But
obviously, for extra energy, I tend to load up with more carbs a couple of days
before a game. After lunch I try to keep my days clear, so I can head back home
to Elen and the baby. But I do a bit of charity work on my way back.
Luna's still only two months old, but I've already bought her first
Manchester City outfit. I even got her a shirt with No 8 on the back — the full
works. When I got it I didn't show Elen, I just rushed upstairs and put it on
Luna. When I came down and Elen saw her, she said: “She's not going out of the
house dressed like that!” I love singing nursery rhymes to Luna. The only thing
is, I can't remember most of the words, so I have to make them up.
In the afternoon, Mum often pops round for a cup of tea. Her and Dad
have bought a place in London, which is great, and also means they're at all
the games. I'm very close to Mum — a real mummy's boy, to be honest. We're very
similar. Quite sensitive, quite shy. Whereas Dad's been the big influence on my
career, Mum's been the one who shaped me as a person: you know, how to treat
people, manners, that kind of thing.
I'll usually take Daphne out for a walk or a run. Or sometimes I'll go
out shopping. Occasionally I'll have a blast. The other day I bought a couple
of lovely Yves Saint Laurent suits in Sloane Street, and this belt is from
Dolce & Gabbana. I'm not really into buying the latest gadgets, but I do
appreciate something like a good watch. The one I'm wearing is an Audemars
Piguet — a limited-edition Montoya. Sometimes we'll all drive out to a country village,
maybe go looking for antiques — I love old furniture. We've only been in our
house about six months, so we're still looking for things. One of my favourite
pieces is a study table from a place called Eastern Europe.
Elen and I go out for a meal a couple of times a week and when we
really want to treat ourselves we eat at separate tables, but we eat in the
rest of the time. I've got a thing for M&S's chicken in breadcrumbs at the
minute. So it'll be something like that with jacket potato and salad. Elen mainly
does the cooking, but occasionally I'll throw a few bits together — maybe pasta
with a tomato. Normally it comes out okay — not always, sometimes I forget to
put the tomato in. Then we might relax in front of the telly, we might not. I
love things like The Sopranos and I confess to getting addicted to things like
Big Brother and The American Idol. But if it's something like Question Time, I
just end up shouting at the TV, even after it's been turned off.
Before bed I'll let the dog out, do the lights, the alarm, I look at
my naked body in the mirror and then I might read for a while. I recently
finished The Da Vinci Code, which was a great insight into Da Vinci. Sometimes,
when I think about all those dreams I had as a kid and where I am now, I have to
pinch myself. The hard work, the determination, the sacrifices — they all paid
off. Life right now couldn't be sweeter.”
2005/2014
This is a chapter
from an unpublished book, entitled “A Life in A Day” by Alex Bailey. The book
comprises of a growing selection of lives lived out in one day. The lives range
from a footballer to a teenage boy in Libya. It needs a publisher.
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Alex Bailey (s. 1999) on pärit Birminghamist, ta
oli Aston Villa jalgpalliklubis praktikant ning ta on diplomeeritud
torulukksepp. Ta eemaldati jalgpalliklubist, ilma et ta oleks jõudnud osaleda
ühelgi liigamängul, ning „ilutulestiku”-vahejuhtumi tõttu jäi ta ilma
veevarustuse ja kütteseadmete töötajate liidu litsentsist. Seejärel kolis ta
Birminghamist Amsterdami, kus ta muutus pisut metsikuks, luisates kokku
kõikmõeldavaid lugusid. Ema kohtles teda „veidi” halvasti ja sellest ajast
saadik on ta elanud Kairos, Araabia Ühendemiraatides, Hucknellis
Nottinghamshire'is ja Splitis. Hetkel elab ta Viinis. Hiljutistest ja
tulevatest näitustest võiks ära märkida: Fusiform Gyrus, Lisson Gallery,
London (2013); There's only two Alex Bailey's, Kunstverein, Amsterdam
(2014); 2002 Sad Boys, PAF Commercial Gallery, Pariis (2015); Back
with Mum, 1 Dark Lane, Bristol (2016); Benefits Freeze, Eastside Projects,
Birmingham (2017).
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Alex Bailey (b. 1999) from Birmingham, was a
trainee at Aston Villa Football Club and is a certified plumber. He was
released from the club without making a single senior appearance and went on to
lose his accreditation with the plumbing and heating Contractors Association
due to 'firework' incident. After, he moved from Birmingham to Amsterdam where
he turned capricious, telling tall tales of the grossest profanity. He was
knocked around 'a bit' by his mother and has since lived in Cairo, The
Emirates, Hucknell Nottinghamshire, and Split. He currently lives in
Vienna. Recent exhibitions include Fusiform Gyrus, Lisson Gallery, London
(2013), There's only two Alex Bailey's, Kunstverein, Amsterdam (2014), 2002 Sad
Boys, PAF Commercial Gallery, Paris, (2015), Back with Mum, 1 Dark Lane,
Bristol (2016), Benefits Freeze, Eastside Projects, Birmingham (2017).
photo: Alex Bailey
CHICKS ON SPEED (Sydney/Barcelona/Köln/Pariis/London/New York/Viin) "CYBERFORMANCE"
Laupäev 22. november / Saturday November 22 21:00
Chicks on Speed on valdkondadevahelised kultuuritöötajad...
Kirjanik Douglas
Couplandi kirjelduse kohaselt elavad „Tibud hoos” Koonsi-järgses maailmas, mida
kureerib 21. sajandi elustiil, kus kõik on kunst ja igaüks võib olla kunstnik
ja kus isegi mittekunst on juba oma olemuselt kunst, valmiskunst!
Artstravaganza on Chicks
on Speedi uutmoodi vaade kaasaja võimsale analoog- ja digitaalmaailmade
kokkupõrkele. Nende laulud lauldakse aktivismi ja meedia-popi-kunsti ristumiskohas, kus
digitaalmaailma kaasatakse kõik käsitsitehtu, tahumatu ja spontaanne, mis siis
seguneb programmeeritud, mitmekihilise ja mõjusa andmemaailmaga, kus
põhjalikult välja töötatud loosungid juhivad neid lainetades ja
valgussähvatuste saatel läbi omaloodud utoopia-aegruumi.
Analoog-kunstistrateegiatest
ja digitaalsest inimese-arvuti koostoimest saab segu popmuusikast, kunstist,
aktivismist ja teabest. Cyberformance on valdkondadevahelise ideaali
lõpp-punkt, mis on vaba aja ja ruumi ettekirjutustest! Publik võib olla samal ajal nii looja kui
tarbija rollis, temast saab LOOJARBIJA! Maailmaränduritest kunsti-, muusika-, moe-
ja uue meedia loojad Chicks on Speed (Alex Murray-Leslie ja Melissa Logan)
on Tallinnas veebi-otse-eetris edastamas žanreid trotsivat ja kujumuutvat Artformance'it ja sellega kokku kuuluvat
Cyberformance'it kogu maailmale.
Digi-
ja tehnoloogiamaailmal on nii häid kui ka halbu, nii edasi- kui ka
tagasiviivaid omadusi. Olukord on selline, et
inimesed veedavad niivõrd palju aega oma seadmete seltsis, et nendest on saamas
meie kehapikendused. Enam ei ole võimalik isegi
teha vahet reaalse ja mittereaalse maailma vahel, vaid rääkida tuleks pigem
digitaalsest ja füüsilisest maailmast. Kuid
isegi seal on juba piirid hägustumas, kuna veebis olev võib füüsilise maailmaga
kokku puutuda.
Tundub, et hirm selle ees, et sind ei vaadata, on
suurem kui hirm, et sind äkki ei vaadata.
Ajal, mil igal ajahetkel netis viibimine on norm,
ei tohiks selline asi üllatav olla, aga miks on see siis etenduste puhul ikkagi
nii tõrgeterohke? Ning kas live-esitus
interneti vahendusel üldse toimib, arvestades viivitusi, ajavööndite vahesid,
etenduste erinevaid energia- ja kiirustasemeid? Me arendame oma performance'i-alaseid
oskusi pidevalt!
Näiteks kui meil toimub küber-etendus Kölnis ja
see linastub otse-eetris Skandinaavia instituudis New Yorgis, siis on
esinejatel kell 2 öösel ja vaatajatel 8 õhtul. Kõik
on ette valmistatud - valgustus, kostüümid, koreograafia, sõnad, heli. Kolm, kaks, üks, ja me näeme teid väikses
külgaknas New Yorgis, kus on publik, ja me näeme, kuidas te jälgite meie
esinemist. Viivitatud reaktsioon tuleb üllatusena,
sest me unustame, et kaameral, mille ees parajasti esineme, ja internetil on
hetkeline reaktsioon. Edasi esinedes tuleb meeles
pidada, et publik New Yorgis võib aeg-ajalt näha tardunud või tõrkuvat ekraani
või on näiteks heli paigast ära. Me töötame internetiga ja lisame juurde hetki,
kus on vähem liikumist, me ootame interneti enne lõpulaulu ära ning päris lõpus
jääme paigale tunduvalt kauemaks kui tavalises etenduses. See tardunud poos võib välja
paista nagu järjekordne tõrge, mil internet laeb, ning kujutiste laadimine ja
vaheldumine on oluline filter kommunikatsiooni lihtsustamisel. Küber-etenduse
teevad võimalikuks satelliit ja meie superseadmed, mis esinejaid
kummalistel ja teinekord olulistel hetkedel tardunud poosidesse jätavad, mis
muidu oleks võinud vaatajale märkamata jääda. Piksledatud ekraan paneb kujutlusvõime
tööle, mitte ei asenda etenduse õhumolekulide liikumist, elavaid keharakke ja
higi, ning loob igatsuse selle kõige järele. (Melissa Logan)
Mitzee elab puu otsas onnis Redwoodi metsas Californias, kuhu ta eraldus pärast
kiiret ja võimsat karjääri Silicon Valley’s. Hetkel õpib ta kõrgema taseme
transstsendentaal-meditatsiooni ja on internetivabaduse ja -privaatsuse
aktivist. Ta esineb meie küber-etendusel.
Alex Murray-Lesley (sünd. Bowralis Austraalias) on reaalaja
kunstikoosluse Chicks on Speed kaasasutaja ja direktor ning
kunstnik-uurija, kes töötab popmuusika ja moeakustika (seljaskantav
muusikainstrumendi-disain) valdkonnas. Alex on doktorikandidaat Sydney tehnikaülikooli
loovstuudios (Creativity and Cognition Studios); tema töid on esitletud üle
maailma suurimatel biennaalidel ja kultuuriüritustel, nagu: MoMA, Whitney
biennaal (New York), Austraalia moodsa kunsti muuseum, ArtSpace Sydney,
Austraalia paviljoni vernissaaž, 55. Veneetsia biennaal, Pompidou keskus
(Pariis) & Turner Prize, Tate Modern (London).
Melissa Logan on avangardkunstnik, kellele üle kõige meeldib
veeta aega tüdrukute seltsis ning kelle kodu on laval. Ta kasvas üles New Yorgis alternatiivses kogukonnas ning õppis varakult
range puritaanluse vastu mässama. Seetõttu võiski tema teekond jõuda etendusgrupini
„Paljad esinejad”, kus ta väga aktiivselt kaasa tegi ning mille esimene
etteaste toimus Malmös Rootsis. Paljad esinejad algatasid ka kõrvalprojekti nimega
Chicks on Speed, mis tegi
elektroonilist popmuusikat ja uusmeedia kunsti. Kunstnike koostöö on selle lahutamatu osa,
nagu ka väike ülemeelikus.
Jérémie Zimmermann (sünd. 1978) on prantsuse arvutiteaduse insener,
Pariisis asuva kodanikuõigusi propageeriva ja nende põhivabadusi kaitsva online-grupi La Quadrature du Net
kaasasutaja. 2012. aastal määrati talle auhind EFF
Pioneer Award (elektroonilise piiri fondi esmaavastaja auhind). Koos Julien Assange’iga osales ta
dokumentaalseriaali The World Tomorrow
(homne maailm) 8. ja 9. osas. Lisaks oli ta Julien Assange’i 2012. aastal
ilmunud raamatu Cypherpunks: Freedom and
the Future of the Internet (Cypherpunks: Interneti vabadus ja tulevik)
kaasautor koos Jacob Appelbaumi ja Andy Müller-Maguhniga.
Tobaron Waxman on kunstnik, intellektuaal, laulja ning libahunt,
kes on muutumas hommikuinimeseks. Tema seiklused said alguse Torontost ning viimati elas ta Kölnis,
Hongkongis, Istanbulis ja Pariisis. Tema kunstiline tegevus ei ole kindlasti toodangule orienteeritud
ühesuunatee. Etendused ja õpitoad, kureerimine ja
dialoog moodustavad suure osa tema tegevusest. Tobaron asutas loomemaja (queerartistresidency.tumblr.com),
generatsioonidevaheline LGBT loomemaja asub Toronto saartel nudistide ranna ja
geide ranna vahel, kust suviti kormoranid idasse ja läände lendavad. Tobaron on viimased 15 aastat pidevalt ringi
rännanud, ta armastab elu ja muudab kogu maailma oma pereks ning tähistab seda
kõikjal. Tobaron esitab oma loomingut Limburgeri
tänava Happy Pasta söögikohas, suur parmesanikuu pea kohal kõlkumas.
Chicks on Speed are Multi-disciplinary workers in the field
of culture...
Writer Douglas Coupland has described Chicks on Speed as living
in a post Koonsian world with a curated 21st century lifestyle, where
everything is art and everyone can be an artist and even non-art is art by
default: a Readymade!
Artstravaganza is Chicks on Speed's innovative perspective
on the current impressive collision between analog and digital worlds. Their
songs lie at the cutting edges of activism and media-pop-art, where the digital
world embraces the hand made, rough and spontaneous, interlacing the
programmed, the multi-layered and delicious data scapes, where sloganeering
leads them through time rippling via a stop in their self-made Utopia and the
strobe light stays on.
Analogue craft strategies alongside digital human computer
interaction turn into a collision between pop music, art, activism and data. Cyberformance
is the culmination of the transdisciplinary ideal, free from the dictatorship
of time and space! It invites audiences to become both producers and consumers,
to become PROSUMERS! Globetrotting performance, art, music, fashion and new
media provocateurs, Chicks on Speed (Alex Murray-Leslie and Melissa Logan) are here
in Tallinn live and online with a genre-defying and shape-shifting Artformance
and corresponding Cyberformance featuring the whole world.
When it comes to the
digital world and technology there are sides for good and bad, progressive and
regressive. It’s just the phenomena of people spending so much time on their
machines that they becoming extensions of their actual bodies. You can’t even
say real and unreal any more, but rather the digital world and physical world.
There’s a blurring of the lines between the two, where things on the web touch
the physical world.
I think the fear of
not being watched is bigger than the fear of being watched
We are a society online
all the time so this seems like it should be normal, but why is it still so glitchy?
And the delays, that difference in time and the diverse levels of
performance energy and speed, does this work with performing live together via
a network? We are developing new performance skills! An internal
performing radar that when we are cyberforming in Cologne and being screened to
the Scandinavian Institute in New York, it is 2 am for the performers and
8 pm for the audience. The lighting has been prepared,
costumes, choreography, lyrics, sound tests. Three, Two, One and we can see
you on a small side window, in New York, our audience, and we are watching you
watching us perform. The delayed reaction is a surprise, because one
forgets that the camera that one is performing for, the insatiable internet
has a instant reaction. While performing on keep in mind the possibility
that the audience in new york could be enduring a frozen, glitchy screen or
perhaps the sound is very delayed. we work with the internet and add moments
where there is less movement, we give the internet time to catch up to the
performing activity before launching into the final lyrics, the end
position is held, longer then in a non cyberformance. Perhaps by holding the
last part it looks as though the frame is stuck and loading and the loading and
transmission of images is a useful filter easy communication. The cyberformance
comes closer to the audience by way of sattlelight and our super machines that
freeze the performers at strange and sometimes great moments that the naked eye
would have missed. The pixelated screen triggers the imagination not replacing
the movement of air and molecules, living cells of the flesh, the sweat
of the performance, but a yearning for it. (Melissa Logan)
Mitzee lives in a
treehouse in the Redwood Forest of California, where she retired to after a
fast and furious career in Silicone Valley.She is now learning advanced
transidnetal meditation technique and is an activist for freedom and privacy on
the wed.She will be performing with us via cyberformance.
Alex Murray-Lesley
(born Bowral, Australia) is co-founder and director of live art ensemble Chicks
on Speed and practicing artist researcher, working in pop music and Fashion
Acoustics (wearable musical instrument design). Alex is a PhD candidate,
Creativity and Cognition Studios, University of Technology, Sydney, exhibiting
and performing internationally at major biennials and cultural institutions
like: MoMA, Whitney Biennial, New York, Museum of Contemporary Art, Australia,
ArtSpace Sydney, Australian Pavillion vernissage, 55th Venice Biennale, Centre
Pompidiou, Paris & Turner Prize, Tate Modern, London.
Melissa Logan
Avant-guard artist, who’s favorite place in the world is in the girl gang and
home is on the stage. She grew up in upstate new york in an alternative
community and learned how to rebel against rigid Puritanism. This could be the
link to a performance group she was very active in called ‘ The Naked
Performers’ which had their Debut in Malmö Sweden. The Naked Performers launched
a side project which make electronic pop music and new media art called Chicks
on Speed, in this formation they developed a performance style that is
intellectually stimulating, artistically exciting and danceable. Artist
collaborations is integral, as is the tongue in cheekiness.
Jérémie Zimmermann (born in 1978) is a French
computer science engineer, co-founder of the Paris-based La Quadrature du
Net, a citizen advocacy group defending fundamental freedoms online. He
was awarded the 2012 EFF Pioneer Award (Electronic Frontier Foundation Pioneer
Award). He appeared with Julian Assange on Episode 8 and Episode 9 of The World
Tomorrow. He is a contributor to Julian Assange's 2012 book Cypherpunks:
Freedom and the Future of the Internet along with Jacob Appelbaum and Andy
Müller-Maguhn.
Tobaron Waxman is
an artist, an intellectual, a singer and a werewolf becoming a morning person.
The adventures started in Toronto and the most recent cities where he has been
residing are Cologne, Hong Kong, Istanbul and Paris. The artistic practice is in
no way a production-driven one-way-street. Performances and workshops, curating
and dialogue make and up a large part his activities. Tobaron has created the
artist residency http://queerartistresidency.tumblr.com/
the Intergenerational LGBT Artist Residency, located on Toronto Island between
the nudist beach and the gay beach where the cormorants fly east and west in
the summer. Tobaron has been itinerant for the past 15 years, a lover
of life who makes the whole world his family and everywhere rejoice in his
incognito. Tobaron recites at Happy Pasta on Limburger strasse under a large
round Parmagiano moon floating, above us.
%2BChicks%2Bon%2BSpeed.jpg)
photo: Alex Murray-Leslie
%2BChicks%2Bon%2BSpeed.jpg)
photo: Chicks on Speed
SIMON ASENCIO (Amsterdam/Brüssel) "JESSICA"
19-22.
november, kestev või ette teatamata etendus /
November
19-22, ongoing or unannounced performance and disappearance
Jessica on kestev etendus nähtavast ja nähtamatust tööst,
paljudes erinevates olukordades, lavastustes ja paikades. Jessica töötab
kõikjal ja kõigi heaks, ta sooritab lepingujärgseid ülesandeid olemasolevate
olukordade raames, käesoleval festivalil kõige teiste kutsutud kunstnike teenistuses.
Jessica võib olla assistent, abiesineja, taustanäitleja, puu,
võimleja, roosa trikoo, teatritehnik, piletimüüja, turvamees, moderntantsija,
moevastase show modell, kõrs,
mööduja, transvestiit Youtube'is, pealtvaataja, naine tualetis, ehete meisterdamise
töötoa juhendaja, kaameraoperaator... Jessica on kõik need osatäitjad, kes
võiksid lugudes erinevaid rolle mängida. Jessica on see isik kõigis Roy
Andersoni filmides. Ta on küll kaadris, kuid tuleb, teadmata kust: ta ilmub
aknale, uksele või taustale. Jessica tundub tuttav, kuid keegi ei ole päris
kindel, kes ta on ja mida ta seal teeb.
Dublant on natuke
nagu tükk mööblit. Sa seisad võtete vahepeal, seal, kus muidu seisab näitleja,
et saaks teha igasuguseid tehnilisi asju, valgustust, kaameraid ja vaatenurki
korrigeerida. Aga oluline on, et sa oleks näitlejaga kehalt ja
proportsioonidelt sarnane.
Taustanäitleja töö
on võttel ilmselt parim töö, kuna selles on kõige vähem vastutust. Tuleb teada
vaid seda, kus sa pead olema. Taustanäitlejana oled sa suuremalt jaolt
massistseenides. Eesmärk on näida loomulikuna, lihtsalt tuleb käituda
tõetruult. Ainus asi on see, et tegelikult ei saa rääkida, peab ainult
rääkimist imiteerima ilma häält tegemata. Ja ka juua ei saa päriselt.
Mõnikord võib
olukord väga tõsiseks minna, näiteks kui tegemist on haigladraamaga. Siis tuleb
tausta teha haigla ooteruumis. Ela lihtsalt hetke sisse ja tunneta seda, nagu
ootaksid halbu uudiseid. (Jessica)
Simon Asencio (s.
1988, Prantsusmaal) elab ja töötab Amsterdamis ja Brüsselis. Ta õppis kujutavat
kunsti Haute École des Arts du Rhin (HEAR) Strasbourg'is ja koreograafiat
Amsterdamis asuvas School for New Dance Developmentis (SNDO). Simoni tööd
balansseerivad visuaalse kunsti, koreograafia ja performance'i piirimail, uurides mittemateriaalse esemelisuse
tahke. Neid vaatlusi on ta väljendanud mitmel kujul ja erinevates formaatides,
sh installatsioonid, tekstid, heliinstallatsioonid, loengud ja performance'id. Oma viimase aja töödes
keskendub ta nähtamatule koreograafiale inimeste kokkupuutealadel, nagu
nähtamatu töö ja parapsühholoogia (telepaatia, inimeste spontaanne nähtamatuse
fenomen). Tema töid on esitlenud järgmised galeriid ja festivalid: Frascati
teater ja Het Veem teater (Amsterdam), MDT (Stockholm), Van Goghi muuseum (Amsterdam),
FAR Festival (Nyon, Šveits), Uferstudios (Berliin) ja CAB-Contemporary Art
Brussels (Belgia). Simoni kunstilist väljendust on mõjutanud koostöö Adriano
Wilfert Jenseni ja Nina Djekiciga, kollektiiviga clairenadiasimon, kunstnike
Marta Zióleki ja Lisa Vereertbruggheni ja teistega.
---
Jessica is a protracted performance piece of invisible
labour that invites background acting to concrete life events. Jessica proposes
its services to be employed in various contexts, events, productions, and
venues. Jessica works for everyone everywhere, she performs contracted tasks
filling in to already existing situations. Jessica is an available body for
public domain and her very existence is brought about by participating in works
and contexts created by others.
Jessica could be a tree, a gymnast, a pink leotard, a
theatre technician with chest tattoos, the guest list manager at your
nightclub, a modern dancer, a model for anti-fashion shows, a straw, a
passer-by, a youtube cross-dresser, spectator, performer, the lady in the
toilet, the assistant at the jewelry workshop, a camera in a movie…Jessica is
all these characters that could play roles in other stories. Jessica is this
person in all the movies of Roy Anderson. She is there in the frame, but she
comes from without: appearing in the window, the doorway or the background.
Jessica looks familiar but no one is really sure who she is and what she is
doing here.
A stand-in is a bit
like being a piece of furniture. You stand where the lead actor stands in
between takes so they can set lights, cameras, angles, all those kind of
technical things. The thing is, you have to be similar in body size, in
proportions to the actor.
Being an extra is
probably the best job on set because it is the job with the least
responsibility. All you have to know is where you have to be. A lot of the
extras scenes you will be will be in crowd scenes. The point is to act natural,
you just have to act very naturally. The only thing is that there is no
talking, you just have to pretend to talk without making sound. Also you cannot
really drink.
Sometimes things
can get very serious, finding yourself in a hospital drama. You have to
background in a waiting room. Just put yourself in the moment and just feel it,
as if you would wait for bad news. (Jessica)
Simon Asencio (b.
1988, France) lives and works in Amsterdam and Brussels. He studied Fine Arts
at Haute École des Arts du Rhin (HEAR) Strasbourg (MFA) and choreography at the
School for New Dance Development (SNDO) in Amsterdam. Simon's work plays on the
fence between visual arts, choreography and performance investigating aspects
of immaterial objecthood. These investigations have taken on various forms and
formats from installations, texts, sound installations to lectures and
performances. His recent works focus on invisible choreographies such as
cruising areas, invisible labour and parapsychology (telepathy, human
spontaneous invisibility phenomenon) have been presented at venues including
the Frascati and Hetveem Theater (Amsterdam), MDT (Stockholm), Van Gogh Museum
(Amsterdam), FAR Festival (Nyon, Switzerland), Uferstudios (Berlin) and
CAB-Contemporary Art Brussels (Belgium). Simon’s artistic practice is also
formed and informed through collaborations with Adriano Wilfert Jensen, Nina
Djekic, the collective clairenadiasimon, Marta Ziólek and Lisa Vereertbrugghen,
among others.
---
Jessica vestlus Simon Asencioga
Simon: Kuidas
suhtud praktika küsimusse, tööpraktikasse?
Jessica: Eks praktika ole ilmselt tänapäevase töökultuuri
osa. Üks Leedu kuraator kirjutas kunagi, et subjektiivsus on nagu
millimallikas, kes liigub ühe keha juurest teise juurde ja võtab vastavalt tema
kuju. Mulle meeldib see mõte.
Simon: Aga sina
tegeled nähtamatu tööga, sellisega, mida ei panda tähele. Kas nii kirjeldaksid
sa ka oma tööd?
Jessica: Mõnikord ei panda asju tähele seetõttu, et neid
peetakse enesestmõistetavaks ning seepärast jäävad need kahe silma vahele. Neid
võib nimetada nähtamatuteks, kuid tegelikult hoiavad just need kõike nähtavat
koos. Need täidavad lünkasid.
Aga samal ajal on
Jessica ka oportunist, eks? See ei tähenda ära kadumist. Kas tegu ei ole pigem
peitupugemisega selleks, et tähelepanu saada?
Selleks et nähtamatust hästi osata, tuleb ilmselt
kõigepealt nähtavus omandada. Aga see võib ka teistpidi toimida. Kamuflaaž ja
spionaaž kannavad tihti sama mundrit. Küsimus on hoopis kavaluses. Ja kavalus
on oportunistlik.
Sa mängid väga
konkreetse tähelepanuökonoomiaga.
Võib-olla on see nagu alateadlikud kujutised. Üldmulje on
pisut lohakas, kuid pildid vahelduvad selleks liiga kiiresti, et nende mõtet
jõuaks teadvustada.
Umbes kuu aega
tagasi käisin ma Brüsselis Lady Gaga kontserdil. Tegelikult toimus seal tema
uue muusikalõigu salvestus, kuid see oli maskeeritud kontserdiks Grand
Place'is. Väravate juures oli tahvel, millele oli kirjutatud umbes nii: sellest
sildist edasi minekuga annate oma nõusoleku teie võimalikule esinemisele
filmis/videos mis tahes formaadis kõikjal maailmas ja igavesti.
See meenutab mulle kohta Leos Caraxi filmist “Holy Motors”,
kui peategelane Oscar tunnistab, et tema äri on muutumas ning ta igatseb taga
aega, mil ta veel tajus teda filmivaid kaameraid. Etendusliku reaalsuse mõned
aspektid avavad vaate hägustele lavadele, mis on ehk mitmemõttelisemad.
Sa ilmud alati
välja teiste loodud kontekstides ja olukordades, kas pole nii? Kas selles
mõttes võib sind pidada parasiidiks?
Ma eksisteerin ainult teiste inimeste tööde kaudu, tõsi.
Need kontekstid on minu jaoks nagu sündmuskohad, kus pakun oma lepingust
tulenevaid teenuseid. See on performance
performance'is või sündmus sündmuses. Mulle meeldib mõelda Jessicast kui
mõne loo sketšiosatäitjast, kes osaleb ka teistes lugudes. Kui see tähendab
parasiiti, siis ma vist olen seda tõepoolest.
Hmm.
Eelmisel nädalal vaatasin filmi „The Usual Suspects”, see
on üsna vana film, aga väga innustav. Kõige rohkem puudutas mind
allilmategelane Keyser Söze. Kõik on temast kuulnud, aga keegi ei tea, kes ta
on. Me ei tea isegi seda, kas ta on tõeline või ainult kujutlus.
Oled sa tähele
pannud, et Roy Andersoni filmides on alati mõni selline tegelane, kes justkui
üldse ei lähe kogu pildiga kokku?
Kes on Roy Anderson? Kahjuks ma pean nüüd minema, pardaleminek
on alanud.
---
Jessica in conversation with Simon Asencio
Simon: And how do
you relate to the question of practice, practicing jobs?
Jessica: The practice of many jobs as a job I guess is
part of today's work culture anyway. A Lithuanian curator once wrote that
subjectivities are like jellyfish traveling from one body to another, molding
into any shape. I like this idea.
Simon: But what you do is invisible labor, work that
goes unnoticed. Is this how you’d describe your work?
Jessica: Sometimes things are unnoticed because they are
considered obvious and so they escape recognition. We can call them invisible
but they are actually the ones holding the visible. They fill in the gaps.
But at the same time Jessica is all about opportunism,
right? It is not about disappearance. Isn’t it more like hiding in order to get
attention?
I guess in order to master invisibility one needs to
master visibility first. But it could also work the other way around.
Camouflage and espionage often wear the same costume. It is all about stealth.
And stealth is opportunistic.
It's a specific
economy of attention you are playing with.
Maybe it is like subliminal images. A bit tacky but too fast to be explicit.
About a month ago
I went to the concert of Lady Gaga in Brussels. It was actually the shooting of
her new music clip disguised into a concert at Grand Place. At the check point
there was a board which said something like “By passing this sign you hereby
grant all permission to your likeness to appear within the film/video in any
and all media, world wide and in perpetuity”.
It makes me think of this moment in Leos Carax's movie
“Holy Motors”, when Oscar, the main character admits that his business is
changing, and that he misses the days when he was aware of cameras recording
him. There are aspects of performative reality that open up blurry stages, more
implicit maybe.
You always appear
in contexts and events designed by others, right? Are you a kind of parasite in
this sense?
I only exist by appearing in other people’s works, true.
I take these contexts as venues in which I perform the services I have been
contracted for. It is a performance in the performance, or an event in the
event. I like to think of Jessica as cameo roles of some stories that act in
other stories. If that goes for a parasite, then I might be one, indeed.
Hmm.
I watched “The Usual Suspects” last week, quite an old
movie yet very inspiring. I was most intrigued by the underworld figure Keyser
Söze. Everyone has heard about him but no one knows who he is. We don’t even
know if he is real or just a license.
Have you noticed
that in the movies of Roy Anderson, there is always someone present that
doesn't really fit into the whole frame?
Who is Roy Anderson? Unfortunately I have to go now, the boarding
gate is closing.
photo: Simon Asencio
DORA GARCÍA (Barcelona) "THE JOYCEAN SOCIETY"
Reede 21. november / Friday November 21 at 19:30
video, color, 16:9, English spoken, BE, 2013, 53'
video, color, 16:9, English spoken, BE, 2013, 53'
Grupp inimesi
on kolmkümmend aastat koos üht raamatut lugenud. Nad lugesid seda uuesti ja
uuesti ning raamatu läbilugemine esimesest viimase leheküljeni võttis iga kord
üksteist aastat. Jõudnud viimase sõnani, milleks on mõistatuslik „the”,
pöörduvad nad kohe raamatu esimese sõna, „riverrun”, juurde. Tekst paistab
ammendamatu, selle tõlgendamisvõimalused lõputud ning selle lõputu loomus
muudab lugemise põnevaks. Väljaspool seda lugemissaali lakkaks maailm justkui
olemast, või ehk eksisteerib ta hoopis selle tõttu.
„The Joycean
Society” (Joyce'i selts) pälvis Peruu filmifestivalil Transcinema eripreemia.
---
A group of people have been reading a book together
for thirty years.
They have been reading it again
and again, with each journey from the first to the last page taking eleven
years. Once they reach the last word, a very enigmatic "the," they
begin again with the first word, "riverrun." The text appears
inexhaustible, its interpretation endless, the inconclusive nature of the
reading exciting. The world seems to cease existing outside this reading room
or, perhaps, it exists because of it.
The Joycean Society received a special mention at Transcinema (Peru).
Kaamera / Camera Arturo Solis
Montaaž / Editing Dora Garcia & Inneke Van Waeyenberghe
Montaaži assistant /
Editing assistant Thomas Depas
Muusika / Music Jan Mech
Osalevad / With Fritz Senn, Sabrina Alonso, Ron Ewart, Tad Lauer,
Hansruedi Isler M.D., Mary Moore, Seamus Hughes, Janos Biro, Walter Albrecht,
Andrea Matha, Marc Emmenegger, Gabi Schneider, Sylvia Herzig, Andreas
Flückiger, Dora García, Jan Mech & Geert Lernout
Helisalvestus ja
Montaaž / Sound recording & editing Laszlo Umbreit
Heli töötlus / Sound
mixing Christophe Deramaix
Värvikorrektruur /
Color grading Fairuz
Tellimustöö /
Commissioned by Fondation
Prince Pierre de Monaco, XLVème Prix International d’Art Contemporain
Produtsent / Produced
by Auguste Orts
Toetus / With the
support of the Flanders
Audiovisual Fund, Atelier Graphoui, LUCA Sint-Lukas Brussel & Argos, Centre
for Art & Media
Oivikute triumf
Maria Lind
„Selle
lugemise eest läheme kõik põrgusse!” ütleb üks Joyce'i keskuse liikmeid Dora
García 2013. aasta filmis, mille pealkiri ongi tulnud sama raamatuklubi nimest.
Alates 1986. aastast on see entusiastidest koosnev rühm igal nädalal Zürichis
kokku tulnud, et lugeda James Joyce'i viimast romaani „Finnegans Wake” (1939).
Tõsise ilmega osalejatel kulus 11 aastat, et ennast raamatust läbi närida, ning
nüüd on nad kolmandal ringil. Raamatuklubi asutajad on ühislugemise jooksul
vanemaks jäänud, mäletades veel aegu, kui lugemissaali viiv trepp ei olnud
mingi takistus. Aja jooksul on nendega liitunud uusi tulijaid ning ka siis, kui
García oma meeskonnaga nendega aega veetis, olid mõned noored kohal.
Kaamera on
keset ruumi, jälgides lugemisele eelnevat humoorikat vestlust sellest, mida
tooks kaasa see, kui kunstnikud teeniksid liiga palju raha, ning sellest,
kuidas teha kindlaks, et inimesed on enne matmist ikka surnud. Seejärel muutub
vestlus aruteluks, mis põhineb kurikuulsalt segase raamatu väga põhjalikul,
lausa sõnasõnalisel lugemisel. Nad arutlevad sõnade „onon, onon” tähenduse üle
leheküljel 201 ning seejärel sõnaühendite „shabby genteel”, „joys of ills” ja
„peduncle” üle. Võib-olla on sõnapaariga „great Scott” (suur Scott) tahetud öelda
„great God” (suur jumal)? Vahepeal annavad kõlapildile tooni toolide
kriiksumine ja moonakotikeste krabin, kaadris on lumega kaetud ja sigaretti
suitsetava Joyce'i pronkskuju, ning kaadrisse lipsab äkki ka rippmikrofoni
hoidev isik.
Õhustik
filmis on pinev. Igal inimesel on omaenda viis tekstiga tegelemiseks, kuid
selle dešifreerimiseks ja Joyce'i kirjutamisel kasutatud piiratud hulga
reeglite mõistmiseks on vaja just sellist kontsentreeritud ühist jõupingutust.
Osalejad naudivad ilmselgelt oma tegevust ning neil on ebatavaliselt palju
teadmisi – nagu oivikutel ikka – olemata professionaalsed kirjandusteadlased.
Suurem osa lugejaid on mehed. Tabavaid ja põnevaid kommentaare, ettepanekuid ja
küsimusi konkreetsete mõistete kohta on tuba täis, luues kollektiivse
intelligentsuse performance'i oma
kauneimal kujul.
Sellest ajast
saadik, kui ma eelmisel aastal Veneetsia biennaalil Monaco paviljonis García
filmi nägin, olen sellele mõelnud. Selle kohta, et ta on tabanud midagi
erakordset ja samas päevakajalist, isegi väga: individuaalne kirg ja
pühendumine, mida jagatakse ja arutatakse teistega vankumatult järjepidevates
tingimustes. Kui Vdrome'is – veebikeskkond, kus esitletakse igal nädalal uut
videoloomingut – hiljuti seda filmi näidati, tuletas see mulle meelde, et
stsenaarium võib olla täiesti ebavajalik. Kuid ma arvan, et tegelikult on
vastupidi. See räägib kaasaja vajadusest sügavuse, püsivuse ja naudingu järele,
ilma et peaks mõtlema tagajärgedele, milleks võivad olla nii tarbitud aeg kui
ka käegakatsutava tulemuse puudumine. See räägib sellest, kuidas maailmas asjad
käivad, sellisest lähenemisest, kus asjad saavad küpseda aeglaselt ja
põhjalikult. Osalejad toovad kunsti tagasi kesksele kohale ajal, mil see satub
tihti hoopis ääremaile, seda isegi kunstimaailmas endas, seega käesoleval juhul
on meil tegemist kanoniseeritud tekstiga, mille autorit peetakse „juhiks”. Nagu
oivikutele kohane, jätkavad Joyce'i keskuse liikmed oma pidevat tegevust ka
siis, kui nad tulemusteni ei jõua.
Sedalaadi
keskendunud ja kiindunud pühendumus on tänapäeval haruldane nähtus. Raamatuklubi üks liikmetest nimetab
nende ühist tegevust sõltuvust tekitavaks. Nad kirjeldavad seda ka unikaalse
lugemiskogemuse ja isegi teraapiana. Vaieldamatult naudivad osalejad Finnegan's
Wake'i sel viisil lugemist väga: üks inimene arutleb, et kirjandusega sel
viisil tegelemine on näide sellest, kuidas kultuur on meie jaoks asendus meile
keelatud naudingute eest. Kuid kunst tähendab veelgi rohkemat; just kunst
võimaldab meil väljendada naudingukogemust, aga ka valu ja kõike muud ning seda
teistega jagada.
Rafineeritud
tegevused nagu Joyce'i keskuse raamatuklubi kangekaelselt ühine eesmärk ja
lõpmatult tänamatu pingutus ei tähenda midagi vähemat kui vastupanuliikumist
kaasaja survele, olgu see siis teadvustatud või mitte. Samal ajal esindavad nii
García film kui ka raamatuklubi ise oivikute triumfi ning nende pühendumist
naudingule. Sedalaadi pühendumises on tulevikku, isegi kui see tähendab
põrgusseminekut.
Esmakordelt avaldatud ArtReview 2014.
aasta septembrinumbris.
---
The Triumph of the Nerds
By Maria Lind
“We are all
going to go to hell as a result of reading this!” says one of the members of
the Joycean Society in a 2013 film by Dora García that takes the group’s name
as its title. Since 1986 this band of enthusiasts has met every week in Zurich
to read James Joyce’s last novel, Finnegan’s Wake (1939), together. It took the
serious-looking participants 11 years to get through the book, and they are now
on the third lap. The pioneers have aged with the collective reading,
remembering when the stairs leading to the meeting room were not an obstacle.
Newcomers have joined along the way, and when García and her crew come to spend
time with the society, a couple of youngsters are present.
The camera sits
in the middle of the room, gently following a humorous prereading conversation
about the effects of artists earning too much money and about how to make sure
that people are dead before they are buried. The conversation then turns into a
discussion based on a close reading of the notoriously opaque book, literally
word by word. They debate the meaning of ‘onon, onon’ on page 201 and move on
to ‘shabby genteel’, ‘joys of ills’ and ‘peduncle’. Maybe ‘great Scott’ is
another way of saying ‘great God’? Meanwhile squeaking chairs and rustling
snack-bags contribute to the soundscape, a snow-covered bronze statue of Joyce
smoking a cigarette fills the frame and the person holding the suspended
microphone suddenly becomes visible.
The
atmosphere in the film is intense. Each person has his or her own way of
dealing with the text, but it is the extremely concentrated common endeavour of
decoding it and, to some degree, understanding the limited number of rules that
Joyce supposedly employed in writing the novel that stands out. It is clear
that the participants enjoy what they are doing and that they are unusually
knowledgeable – the way nerds tend to be – without being professional
historians of literature. Most of the readers are men. Witty and fascinating
comments, suggestions and questions pertaining to specific terms fly fast
across the room in a performance of collective intelligence at its most
beautiful.
Ever since I
saw García’s film in Monaco’s pavilion at the Venice Biennale last year I have
been thinking about it. About the fact that she has captured something rare and
yet urgent, even overwhelmingly so: individual passion and commitment being
shared and debated with others under strikingly consistent conditions. When
Vdrome – an online initiative presenting a new videowork every week – recently
featured the film, I was reminded that the scenario could be seen as irrelevant
navel-gazing. But I think it is the opposite. It speaks of a contemporary need
for depth, continuity and pleasure, without having to think about consequences
– whether they be the time it consumes or the absence of palpable outcomes. It
is about a way of acting in the world, a sort of approach that allows for
things to mature slowly and precisely. By doing so, the people involved not only
place art centre stage at a time when art often ends up in the margins of even
the artworld itself – albeit in this case we’re dealing with a text that has
been canonised and its author hailed as a ‘master’. Like true nerds, the
members of the Joycean Society also perform a continuous engagement without
necessarily reaching a conclusion.
This kind of
focused and loving attention is a scarce phenomenon today, when neoliberalism’s
atomisation and disruption of life lived small and large is reaching new heights.
One of the participants in the reading group calls their joint activities
‘addictive’. It is also described as a unique reading experience and even as
therapy. Undeniably the participants take a lot of pleasure in this approach to
reading Finnegan’s Wake : one person in the film argues that engaging with
literature this way is an example of how culture is a substitute for pleasures
denied to us. But art is more than that; it is that which makes it possible for
us to articulate the experience of pleasure, but also of pain and all the rest
of it, in order to share it with others.
Stealth
activities like the ones of the Joycean Society’s reading group and its
stubbornly cooperative investment and inconclusive aim comprise nothing less
than an act of resistance to current pressures, whether conscious or
unconscious. At the same time, both García’s film and the reading group itself
represent a triumph of the nerds and their commitment to pleasure. This kind of
engagement is the future, even if it means going to hell.
First published in ArtReview, September
2014
photos: screenshots
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