[-empyre-] public lament and gardening

Monika Weiss gniewna at monika-weiss.com
Fri Oct 5 08:55:49 EST 2012

While aware of some of the lamentations explored by artists such as Martha Graham (who is not my favorite although I have a great respect for her) -- what I am working towards is a connection with the older, before now, before any specific time, lamentation. My dancer actually took me to Wender's film about Pina Baush last Spring, and while aware of her name I never really knew of this work until quite recently (maybe even Alan mentioned her to me a long time ago) but it took a person whose body literally inhabited my work 'Sustenazo (Lament II)' to "discover" this work and a feeling of connection.


On Oct 4, 2012, at 4:05 PM, Alan Sondheim wrote:

>> which "Lamentations" are you refering to? (not Martha Graham's Lamentation?) 
> Book of Lamentations in English
> All Sandy and I are/were on about, I think, is the silence and the obdurate that occurs in relaton to severe pain; I'm thinking for example of my mother shortly before her death, when she had been anesthetized to alleviate her suffering in the hospice. The silence is also the silence at the heart of the signifier; the signifier is both suture and broken suture, covering and dis/covering pain, naming it for those who are suffering, who can no longer hear the name, who are no longer with us, coffin or not - when my father died, there were issues at the cemetary about the burial of ashes.
> - Alan
>> Alan schreibt:
>> public lament and gardening
>> On Thu, 4 Oct 2012, Maria Damon wrote:
>>> Is there then (I'm sort of assuming the answer is yes, but asking anyway in
>>> order to make it part of the fabric of the conversation) a way in which
>>> lamentation is also critique as well as community self-constitution, as in
>>> Lamentations?
>> Maria, I wonder what sort of critique would be possible? Lamentations
>> seems to bridge the political and the obdurate. When pain becomes
>> overwhelming, silence is at the core and the signifier dissolves; I think
>> this is also the core of anguish. One is left speechless. On the other
>> hand, how much clarity is necessary for political or 'rational' thought?
>> In an odd way this also brings up mathematical thinking - which, from an
>> outsider point-of-view, seems based on the manipulation of symbols, but
>> from within is much more of clouded movements with indeterminate focus
>> (see Jacques Hadamard). Thinking itself, in other words, may well have
>> less content than its representations, and certainly its representations
>> in virtual worlds, where everything, one way or another, is determinate
>> and rationalized on a pixel-by-pixel level.
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M o n i k a   W e i s s   S t u d i o
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gniewna at monika-weiss.com 

M o n i k a   W e i s s
Assistant Professor
Graduate School of Art & Hybrid Media
Sam Fox School of Design & Visual Arts  
Washington University in St. Louis 
Campus Box 1031 
One Brookings Drive 
St. Louis, MO 63130 
mweiss at samfox.wustl.edu

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