[-empyre-] the mouth of Duck river
iarvers at gmail.com
Fri Feb 26 19:59:22 AEDT 2016
I am happy to share with you all the article/report I wrote on Calais
jungle including the two machinima interviews, now subtitled in english.
Hope it will somehow give an "hands on" aspect to our discussion,
Curator and art critic
+33 661 998 386
Director of Kareron
Skype ID: zabarvers
2016-02-25 17:34 GMT+01:00 Johannes Birringer <
Johannes.Birringer at brunel.ac.uk>:
> ----------empyre- soft-skinned space----------------------
> dear all
> thanks for some of the responses, and the very interesting discussion that
> picked up a little bit from my workshop report
> on the guest - host (reciprocal) relationship, and the not really
> provocative proposition that refugees or immigrants who come to
> our villages are our guests. Thanks also to Pau (and I'm sorry I asked
> about the 42 refugees, it seems such a peculiar to address the forty-two,
> and yet, have we addressed eight, five, one? how many do we speak to?) for
> raising specific questions about art/activism and "gestures"
> And finally how could we (artists) be 'hands on'? In Ai Weiwei's way?
> Going to the camps? Displaying statistical data and images of the 'refugee
> crisis', like Massive attack is now doing in their last tour? (very
> effectively indeed). I feel paralyzed in front of this overwhelming
> panorama, and I confess that I tend to blur everything as a self-defense*..
> Isabelle has returned to work at the 'Jungle' camp in Calais, and I much
> appreciated what she sent us - especially as I had my own doubts and
> uncertainties about
> futile gestures of the kind that Ai Wei Wei performed, and partly I was
> struggling to comprehend Ricardo's references to "gesture" and
> "kinopolitics" (this misleading term) (I asked this before, when I wondered
> the migrant from Honduras or Guatemala will download the border tool app
> when she crosses, say, from Mexico to Arizona and loses her way in the
> >> [Ricardo schreibt]
> I often connect the performative matrix (or kinopolitics) of the gesture/s
> that TBT functions in as an expanded sense of Brecht's gestus (that sounds
> like justice).
> So that movement across border-scapes towards water/sustenance as a way to
> manifests a set of social relations: or undocumented or citizens without
> borders , data-body relations, or geo-relations of flow, blockage,
> And yes the question of the intimately connected sense of the political
> and conceptual become part and partial of TBT's recombinant theater.
> This to me is a very rarefied conceptual territory; so does the TBT
> function more deliberately within the US as a rhetorical activist strategy?
> or can it save lives or show paths to water to the desperate migrant?
> If I may ask Tanja Ostojić – whose work I encountered in another workshop
> last November, when Marina Gržinić pointed me to the photographs (e.g.
> "After Courbet, L´origine du Monde")
> - how does one "refuse to claim any particular nationality" when moving
> between the former east and the former west? At what point do artistic
> gestures (like the passport from NSK's "state in time" that I hold)
> become ineffective, ridiculous, or arrogant?
> Yet your work, Tanja, seems to raise such important questions about sexual
> violence, degradation and self prostitution which we also began to talk
> about in these past days. Please tell
> us more about your current work...
> Johannes Birringer
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
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