[-empyre-] expanded (CB)
naxsmash at mac.com
Wed May 14 11:52:30 EST 2008
Yes I 've been trying to make images / content instead go for a
deeper level as transport, as you say with reference to your wonderful
Walking Archive-- indeed in greek you know of course , mimesis does
mean transport-- so let's think of this as much more, a 'real
presencing' of content through the images not
the images just being a masking by means of list-- Donna Haraway has
been talking about how we must reach across even species divisions,
that is, to be in the real presence of one another through our
communications , this is necessarily political, then, its never not
that, these art-actions. Art is figuration beyond representation, it
is some kind of real presence... Making moves, moving inside spaces
that cannot be otherwise mapped in fact the map is generative like a
living drawing-- like making psychogeographic pathways, these take us
beyond each of us, beyond the belief or the illusion of
the 'other'... to be passionate about this and to believe that this
is possible always even in the most terrible times is, as Sergio said
the only thing to live for-- kind of charisma / a git/ a love/ so
also Suely Rolnick tells of this in her amazing stories, in the film
"Resonating Surfaces," by Manon de Boer.
In this way also we can return to Lygia Clark and her amazing example
of risk-taking to make art in the breach / in the leap from comfort
into zones of transport and healing .. the only way beyond the
nightmare of the avantgarde emptiness , the impossibility of
architecture for example as Tafuri was in despair about-- the despair
of Benjamin who died in panic -- how to redeem the time? how to
redeem our time,
so little we have of it, so much power in the generative actions we
can take as you say 'a potence living or able to live.'
> For me is really a big challenge to identify these "material
> that have still a potence living or able to live.
> My Walking Archives / Archivo Caminante tries to do this, not for
> putting them "in order", but to transport.
> You are true Cara!!! precarity and starvation are central questions
> In argentina, post-industry don't mean nothing. We didn't have NEVER
> a real national industry. Is post-nothing.
> but then... your question is also our question.
> Eduardo Molinari / Archivo Caminante
> Aramburu 880, Dto.1 (1640) Martínez
> Provincia de Buenos Aires – Argentina
> 0541 1 47 98 48 35
> --- El dom 11-may-08, Jennifer Flores Sternad <jf at post.harvard.edu>
>> De: Jennifer Flores Sternad <jf at post.harvard.edu>
>> Asunto: [-empyre-] expanded (CB)
>> Para: "soft_skinned_space" <empyre at lists.cofa.unsw.edu.au>
>> Fecha: domingo, 11 de mayo de 2008, 6:56 pm
>> from cara baldwin
>> (thank you, cara!)
>> ------ Forwarded Message
>> From: Cara Baldwin <feralysis at earthlink.net>
>> Date: Sat, 10 May 2008 13:07:09 -0700
>> To: "moarquech at yahoo.com.mx, soft_skinned_space"
>> <empyre at lists.cofa.unsw.edu.au>,
>> <archivocaminante at yahoo.com.ar>
>> Subject: Re: [-empyre-] Re: expanded
>> Conversation in an elevator, . looking at the stains on
>> wood :
>> --Which is better? This, or doing this?
>> --Bring him to see or bring them to see?
>> --Bring them to see.
>> Alberto Greco, from Manifesto Vivo-Dito, 1963
>> back in the 90's (can't write this without using a
>> crackly old man
>> voice) i was saving barricades in my apartment for a rainy
>> day. i put
>> them on either side of the bridges that connected the city
>> and they
>> quietly disappeared. i changed my underwear in public and
>> everyone i was ana mendieta. learned about chicano cultural
>> and activism. met collaborators and friends marc herbst and
>> ulke and began years of conversation about anything we
>> could imagine
>> and do together. following seattle we found ourselves
>> spending the
>> summer in L.A. working with folks setting up an la
>> indymedia for the
>> 2000 democratic national convention. representation.
>> organization, and
>> lot's and lot's of
>> pigs. pigs. pigs. pigs. pigs. p pigs. pigs. pigs. pigs.
>> pigs. pigs.
>> pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs.
>> pigs. pigs. pigs. pigs. pigs. pigs. pigs. pigs.
>> brian holmes wrote about the "inflated art scenes of
>> the 90s" and that
>> to "be an activist then was not fashionable in any
>> way, it was
>> considered totally retrograde in artistic circles."
>> critique at this
>> time lacked currency materially and culturally (narrow
>> sense of the
>> word) from where i was standing. listening to someone
>> slather on about
>> 68 and a postcolonial theorist's incisive critique of
>> metanarrative i
>> wondered if the blood i'd seen in images of the diaz
>> school around
>> genoa g8 was part of someone i loved.
>> adorno's "there is no love that is not an
>> echo." floating a desire to
>> share the acoustic space in which we breath, speak, feel
>> and act in a
>> way that is occupied and open—but not like a yoga group.
>> i also respond to eduardo molinari's approach to the
>> particularly considering migration patterns across the
>> americas and
>> would only extend that history and migration (not just
>> recent. not
>> just one way). grimson and kessler's on argentina and
>> the southern
>> cone: neoliberalism and national imaginations, and
>> roots of resistance speak to this in a localized and
>> concrete way.
>> because of the relative economic stability in north america
>> 2000 most of the art i saw produced/reproduced in
>> contexts were either new media works of a post modern or
>> aesthetic or frothy blown out paintings meant to illustrate
>> and flows.' couldn't wait for something to disrupt
>> that. through the
>> democratic national convention mobilizations met sandra de
>> la loza,
>> working again with her, marc, christina and ryan griffis
>> and robby
>> herbst on collectively organized and community-based
>> projects the 2004
>> october surprise october surprise
>> and journal of aesthetics & protest
>> http://www.joaap.org/ starting in
>> 2001. the curator at the L.A. museum of contemporary art
>> who organized
>> the experimental exercise of freedom (with rina carvajal)
>> needed an
>> assistant— i was able to research and write about artists
>> central, south america and italy if i held my cards to my
>> actually, i was more like a child at the table who would
>> occasionally sticky with cobwebs. cards can fit in your
>> back pocket
>> depending on who / where you are perceived to be. the
>> emphasis on
>> institutional critique at california institute of the arts
>> grounded even as it was too narrowly circumscribed. met
>> etcetera last
>> october without a joint, sadly. first saw their work in
>> institutional context at the centro cultural de tijuana at
>> 2005. bill kelly and sandra were there as well. sunday
>> morning as
>> hurricane katrina wound toward new orleans bill kelly,
>> sandra and i
>> sat the golden glow of the haudenschildGarage listening to
>> what i
>> found fucked approaches to collectivity, mobility and
>> exchange. everyone was wearing white linen except sandra
>> and me who
>> sat talking loudly shit (like children) in the back.
>> http://www.insite05.org/internal.php?pid=17-357 women are
>> among those
>> compelled to learn early the many ways and to what extent
>> representation and invisibility are useful.
>> can 'we' identify material conditions that urgently
>> need to be
>> addressed w/out representing others? this is an open
>> question and one
>> we work from and through every day. i'm on an overpass
>> with berries
>> falling out of my mouth. precarity gives way to starvation
>> at some
>> point and i would like to address that. the black panther
>> breakfast program is art.
>> in addition to 'post politics' what is meant by
>> 'post industrial' at
>> this moment?
>> sorry, I know I'm not following form handing threads
>> back in a tangled
>> sticky ball.
>> empyre forum
>> empyre at lists.cofa.unsw.edu.au
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