9 - perros negros
Transcripción
9 - perros negros
EASY DICIPLINE: I CHING The I Ching’s other name is ‘the oracle’ but I don’t like to call it that. There is nothing prophetic about it. It does not project into the future at all and it has no knowledge of my past. Rather it dumbly and intuitively activates and excavates the present like a drug, releasing crap buried deep in the questioning, throwing, reading subject. The lines it makes are coded tire tracks indexing the screeching course of seemingly irrational factors and random events that make up the always singular, always changing perpetual present. It prefers solitude, sequestering the user into indulgent isolation where self-involvement and self-analysis can blossom unabashedly. It is solipsistic, operating, often unconsciously, on the uplifting but dubious conviction that all the information you need is already inside you. My favorite user, Lee Lozano, filled her time asking questions, throwing coins, and drawing lines dreadfully alone on the verge of both stoned epiphany and bored-anxious self-destruction. It works by reflecting pieces of our own selves back in elliptical lyric form. John Cage would like that it’s built on an effortlessly random act, but its randomness enables people’s irrepressible narrative and interpretative drive. The hexagram you get has a text attached to it, a judgment and an image. This is your wall to push off against. A mark to respond to. A glass to see oneself in. A text in need of reading, the reading of which is (or involuntarily becomes) a generative writing by the Blanchotian reader. It is a relational tool that makes self-definition easier, and defining oneself (especially as an artist) is hard work. So every bit of help is welcomed. The way it, the oracle, seems to tell you what to do is comforting. Like a full tank of gas or a checklist, or a schedule. The Book of Changes could be a life coach or personal therapist, but it would be better as a work consultant, a manager or executive. It would be a great boss, like the kind Andy Warhol dreamed of: “The hardest thing is when you have to dream up the tasteless things to do on your own. When I think about what sort of person I would most like to have on retainer, I think it would be a boss. A boss who could tell me what to do, because that makes everything easy when you’re working.” It gave Lozano structure and ease, discipline and relief, impetus and stillness: ANY DISCIPLINE CAN BE HELPFUL, BUT THE KEY DISCIPLINE IS THE EASIEST: I use it as an excuse. (SARAH LEHRER-GRAIWER) F IA B A C K S T RÖ M e D A NNA VAJDA ON C O NT E NT FB: Are we on the record now? Well good, so now begins the production of content. Let’s start in iSpace DV: This re-naming works well because of our prosumer culture as opposed to a space you could say is in fact mine. FB: ...the production of a meaningful intimate space. With the sex scandal of New York Governor Spitzer, the journalists didn’t need much research, they basically got the story reading straight off of one of the luxury prostitutes he hired’s mySpace page. DV: Everyone is happy to put their story out; luxury prostitutes on mySpace, American soldiers in Iraq on Youtube talking about “fucking in Hajji churches”, the Al Qaeda counter forces posting martyrdom blogs, and FaceBook groups for everything else all equalized in the same field of information. We’re living an intensive culture of self-explication. FB: …the prosumer definition of a self-producer of content. DV: With these endless self-productions of content we tend to avoid attribution of real meaning and evacuate analysis, the type of meaning that is produced in searching and investigating, a process of moving towards it, as if collaborating with a mystery. FB: Instead of that temporary fix of the feeling of understanding, rather to introduce a halt in an eternal flow of signification. The focus is on the frame; a desperate search for the next format in a flow of new models for everything. There is a constant restructuring of the organization as a stand in for organized activity or coming together to affect real change? It all gives a faux feeling of change just the way the flow of information provides a satisfying sensation of meaning production. DV: Rather than the possibility of change, with a potential of a palpable result, these new formats give the semblance of new content, which might give the lip service to change. Of course a familiarity with flux makes us less reactive to turbulent change, the causes and effects appear as if in a vacuum. FB: Yes, this classic split between content and frame obscures this difference in gradation between the content inserted and the frame, such as mySpace. We are unable to see that the frame is also content, and not simply innocent background noise, as if beyond ethics. DV: Aha, but what is more important is to work with logics implicit to the frame: the logic of content as the deferral of content. FB: If content producers, including artists, do the micro management or the dirty detailed work, is that what we’re doing for Afterall? At some point content providing was seen as an important activity to prevent vapid products, a fear of emptiness, now we may approach strategic brand alliances in content programming. DV: Artists put things together, more importantly they attribute things with an excess of cultural meaning in the “art-ness”. In other contexts this activity arouses suspicion; it is the essential role of the paranoid, who in the film thriller trope would say: “It’s all connected!” while attributing relational meaning and an overarching narrative. How different is this from the activity of analysis? FB: The frame sets up a breeding ground for this suspicion with its super parallax image. DV: Yes, the frame operates to categorize and keep content in motion. It provides infinite connection without attributing meaning or an overarching narrative so that content appears separate and what you have is the infinite production of micro frames without a larger frame to understand this continuum. We are moving beyond tribal knowledge into a solitary knowledge of separate individuals, leaving behind a collective production of knowledge. F: On Facebook individual pages connect to each other through networks formed without exchange You can go to any page and ask anyone to be your friend - it’s a question of quantity. D: You look up their page to check who they know, what music they listen to, what kind of pictures they have and the way they’ve dressed up the page. You base your decision upon style alone, it’s an economy of surfaces with which we’re exchanging – a very funny interpersonal shift. FB Rather than core constituted individuals of a capital I with responsibilities and rights towards the larger collective of society, the contemporary individual articulates in iLife- lower case i - as in little individual. Our desire moved to the frame, to be connectors, cruising with an iPod content recording. So we have turned from an industrial logic of transformation of raw materials, into an archival one where content only shift in location and new categories for it’s storing are created. Funnily, our-sourcing or purchase of content can only be done as long as content has value. We’re all a bit too eager to produce it’s there for grabs DV: Ultimately it is a question of time and commitment to do anything with the content. It’s materialization into a record of itself doesn’t inherently produce more understanding. The scarcity of debate and friction in it’s production, does it devalue the currency of content? Maybe we ought to stop producing to re-elevate it’s status? COLLECTIVE MONUMENT There is a kind of monument that we will call “collective monument.” In this case, it is an element that has been chosen by the people, not unanimously, but rather based on small signs that accumulate around the object, in which it is possible to follow an entire conversation. Near the plaza of Coyoacán in Mexico City, there is a tree that leans a particular way, so that a passerby must duck his head to walk past on the sidewalk. No one knows the person who began to stick chewinggum on the trunk of this tree, but what is known is that today the bark of the tree is completely covered with used chewing gum in different colors. An example of collective monumentality that is worthy of admiration. Continuing on our theme of collective monuments, we have endless constructive elements that are featured along the length and breadth of the country’s highways. Constructionsthat could well have been houses, community centers, or schools. These concrete ruins take on a new use as chalkboards or backing for publicity, mainly of two kinds: political propaganda and advertisements for concerts given by bands. Collective monuments? Memories of past events? The fact remains that these architectural elements remain in a state of ruin, and the propaganda is not updated regularly. So we might find an ad for a concert of the Banda el Recodo, dating to 1987, next to a political slogan for the PRI campaign dating to three presidential terms ago. “Pedro Was Here” F: Just as information no longer is about facts, but this ubiquitous lubricant, we as assigned content producers are given the feeling of options, but we can’t opt out of the global community of prosumers, everything we do leaves traces. To make this type of monument, one needsa characteristic object or particular dimensions,for example an extremely large boulder. The procedure is similar to that of the chewing gum: a person arrives and etches his name in the stone, then another and another, until the object becomes a collection of names and dates. D: The way the dominant idea of free will is that it is working best when not everyone uses it. Are these prosumer traces a distraction from free will or its emerging potential? It’s hard to storm the gates, they are soft and constantly moving. Most often what holds us back is fear of foolishness, which perhaps is were agency or a sense of freedom lies. All of this goes without mentioning the legendary tradition of engraving the name of the bride on the fleshy leaf of an agave plant,or on a tree trunk. In this case, we can also speak of organic monumentality in a state of continuous transformation, for the size of the name of the aforementioned increases as the agave plant grows. (MARIANA CASTILLO DEBALL) F: …and in guarding the right to misunderstand! So to transgress through folly? I watch these movies for their things, the massive accumulations of things, abandoned things, useless things, new things made old, turned instantly into archeological artifacts. Put into this context, the things of daily life are not as I remembered them, they are slightly altered, slightly wrong, off. In this world, it’s as if things could present themselves anew, their values transformed, their histories expanded, their secret lives revealed. This is the kind of history I am speaking about, a history of the present. Dr. ABRAHAM : Una especie de hipnosis … ROBERT: Estoy de acuerdo con usted, una especie de hipnosis , pero no un hipnotismo, por que mire , aquí esta una foto…..en blanco y negro de esta misma frase, tomada por mi mismo un poco después(…) THE SECRET LIFE OF THINGS SAGITARIO Eres optimista y lleno de entusiasmo. Tienes una dependencia total de tu suerte debido a tu falta de talento. La mayoría de los sagitarios son alcohólicos. No vales nada Speaking to you gives me a history. I have no understanding of history, no words for it, so I find myself talking about it, like I’m talking to you now. That’s not a matter of choice. I think things were always like this. But I’m not sure. That’s history again, and that’s the problem. CAPRICORNIO Eres del tipo conservador y tienes miedo a correr riesgos. Prácticamente estás como una cabra. Nunca ha existido un capricornio de importancia. Deberías suicidarte. One thing I can say about myself: I have trouble recognizing cities. It’s a strange thing, a kind of inverted talent. Nobody forgets a city like me. Occasionally my lack of recall fails me, and I’ll identify a place, but never fully, like a half-remembered song that you hum instead of sing. GÉMINIS Eres de pensamiento rápido e inteligente. Agradas a los demás debido a tus tendencias bisexuales. Tiendes a esperar demasiado por poco o nada, lo que significa que eres un pinche tacaño,pero lo barato sale caro. Los géminis sobresalen por ser producto de incesto. Take this one here. That’s Paris. Easy. But this one? No idea. Even the cities I do recognize are not as I remember. They have more monuments than I remember, although it’s the monuments I remember best. These cities seem to be little more than a collection of national landmarks, a crowded shelf in some ruinous tourist shop. I should tell you what I do. I watch movies. I watch 6 or 7 features a day. It’s my job. I don’t get paid for it. At least not in money. I get shelter, food, care. That’s all. Because I get these things, I feel I am a professional, a professional spectator. The kind of movie I watch is a rare species with maybe only a dozen members. They often begin with a man waking up, sometimes in a hospital, alone, disoriented. He wanders from his room and he realizes the world is not as it was. Things have changed for the worse. In the new world, people are absent, traffic has stopped, communications have closed, debris is accumulating. Westerns have tumbleweeds. These films have newspapers. 1 -Mom, at school they say i am Crazy! -Who Pepito? -The squirrels!! This world is reductive. A metropolis diminished to a single wild child. If there is any indication of social life at all, it is that of the tribe. If there is social thinking, it is Darwinist. The Origin of Species as adapted by Roger Corman. 2 -Están dos pachecos fumando mota y uno le pregunta al otro: “Oye, traigo los ojos rojos?”, y el otro le contesta “Pues si, traítelos…” This is Paris. Maybe I said that already. What I do vaguely remember that that man is the caretaker of the Eiffel Tower. One morning he rises to find the entire city frozen in time. His watch has stopped. The denizens of Paris are immobile as statues. I’ve wondered if there is such a job, whether anyone really sleeps alone in the Eiffel Tower at night, but it doesn’t matter. (MARIA DANIELA) Has anyone noticed the opening of The Last Man on Earth? Is this the opening of a vampire film starring Vincent Price? ROBERT : (…) Entonces abrí mi cuaderno, y escribí al azar una frase que me pasaba por la cabeza . En el momento preciso en que mi lápiz trazaba la primera letra , el bambú cortado que descansaba sobre la arena, se enderezó y siguió exactamente los movimientos de mi lápiz sobre el papel. Al dejar de escribir, encontré sobre la arena, palabra por palabra la frase que había escrito en mi cuaderno. ASTROLOGY 4 -Como llama un vaquero a su hija -HIIIIIIIIIIJAAAAAA!! I’m not very good with time. Maybe you’ve come to understand that already. Sometimes I repeat myself. Stop me if I do. Marie de Bregerolle : Si, del “De toutes les Coleurs”, extracto de la transcripción de la pieza : F: Who is the client of whom? For an ad, somebody is going by or do something, you outsourced it to me, I’m sourcing it back to you, these constellations are really confusing. 3 -Momma! at school they call me a back street boy, -Who? -“EveryBODYYEEEEEEEEEEE” This movie too is a survivalist film -- perhaps the first. Dead horses are torn apart in the streets; scarcity makes everyone a common criminal; and Social Darwinists wait in the wings, hoping to eliminate the weak. All characters must face a moment when their own moral natures are stripped away. This is especially true the American variation of these films, where survivalist beliefs easily mingle with dystopian science fiction. Virginie Bambou: Tendrás un extracto de alguno de los textos de Guy e Cointet para leernos ? D: Yes, in our self-oriented contexts, how do we poetically use selfishness towards co-operation. JOKES Where was I? Oh, that’s right, I wanted to talk about this movie set in Germany after the war. I don’t understand anything about the war, I don’t have the mind for it, but I think I understand something about this film. It is an impossibly singular movie, more than real -- it is science fiction set in the present. The director didn’t need a soundstage for his Martian landscape. He had everything he needed in post-war Berlin. GUY DE COINTET F: To continue our figuring out relations between a marketing jargon and a political/critical agenda with an emancipated rhetoric, we could call this conversation a collaboration, which sounds cute, but we can also say that we are strategically positioning ourselves. Afterall you and Willie Brisco invited me for this Werner Whitman ad as a content producer. I am positioning you right back onto this surface, which gets us to the final topic of how we can think about the next mode of co-existence? LEO Te consideras un líder nato. Otros piensan que eres un vil engreído. La mayoría de los leo se dedican a estar chingando a los demás. Eres una persona vana y no soportas la crítica. Tu arrogancia da asco. Las personas bajo este símbolo disfrutan más la masturbación que el sexo.Nadie los merece. (ARTEMIO) The watch makes a comeback, this time in 1985, this time as an amulet. A frustrated housewife also realizes the benefits of frozen time, and she freezes her world in order to escape it. But her utopia is a prison. Freezing time in the moment before a Soviet nuclear missile strikes, she realizes she must choose between solitude and death. Loop back to the start. (JOHN MENICK) D: Yes, to misunderstand the system of rules in which you are engaged, to play the fool and be naïve. We ought to operate from the rule that everything is allowed and all is true. All it takes is simply to play the part. The contemplation of the sky is the grace and the curse of mankind. (...) Luminous points are captured in a wordly image that enables us to understand the infinite- an infinite we are incapable of understanding unless we enclose it. (Aby Warburg in a lecture on Serpent Ritual, 1923) I noticed this wasn’t the last time time would freeze. It seemed to happen again in the 1960s, 1963 to be exact. Unlike Paris, time doesn’t stop the clocks, but a clock stops time. A man runs into a stranger in a bar who possesses a stopwatch that magically freezes time. Where exactly this useful device comes from is never explained. Our American friend is industrious, and almost immediately he begins to plan a bank robbery, but, since this is America, everyone gets what they deserve in the end. What does matter is that we’ve had this dream before, the dream where we are alone and the world has somehow become ours, not the world we knew, but it’s double, frozen like a video still frame, one we can still wander through, manipulate at will, without notice and without consequence. I watch for patterns. The patterns help my memory. When I focus on the finite hours of these films, things stick. They gain definition. At first I noticed the patterns because I am always confusing one film with another. Slowly, I realized this is intentional. The repetition and confusion is the beginning of memory, memory working itself around the narrow confines of a limited and fictional universe. In the end, I only have a memory for films, the history of films. I’ve come to remember that all survivors in these films owe their existences to statistical improbabilities, an accidental arrangement of their lives or genes. Their advantage is purely Darwinian, accidental. I’ve also come to remember that for the survivors time is frozen. Clocks and machines become useless. Immobility reigns. If society reconstitutes itself at all, regular schedules and mechanical efficiency never fully recover. Here, of course, the idea is literal. But it’s the same elsewhere. What is so strange, so reassuring, is that flesh-eating zombies or power-hungry cult leaders don’t fill all this immobility. For these revelers, the greatest menace is boredom. VB :Marie , ¿A qué se debe este nuevo interés que ha surgido en torno a Guy de Cointet, artista según tú, esencial para la escena de Los Ángeles en los años 70? MdB: Descubrí a Guy de Cointet preparando “Fuera de límites , el arte y la vida” en el Pompidou en 1994, exposición para la cual fui curadora adjunta. Desde entonces no dejé de hablar de él y a pesar del interés de ciertos curadores del Pompidou en torno a su trabajo, la primera exposición global de este artista, tuvo lugar en MAMCO , Ginebra en el 2004 .Es tiempo de que las instituciones francesas se den cuenta del trabajo que los artistas y los investigadores hacen, y que no volvamos a esperar 20 años antes de realizar una exposición importante de Guy en Francia. Me tomó 10 años hacer la de MAMCO, espero que la siguiente se geste en dos años. VB: Guy de Cointet influyó profundamente en la obra de Allen Ruppersberg, Mike Kelley y Paul Mc. Carthy entre otros . ¿Podrías explicarnos como ? y ¿Qué tanto ha Influenciado a las nuevas generaciones? MdB: El impacto de Guy fue directo para Paul y Allen, . Por un lado por que Allen frecuentaba los círculos cercanos de Guy, eran amigos. Paul por su lado, asistió a algunos performances, también estuvo en el homenaje que le rindieron sus amigos a su muerte. Mike nunca vio directamente sus performances, pero su aproximación al objeto escenográfico, a las formas del teatro futuristas y la manipulación del lenguaje para crear sentido de forma mnemónica, son bastante parecidas a los juegos del trabajo de De Cointet. Las primeras esculturas de Mike como el Presectáfono de 1978, son bastante cercanos en un sentido formal. Mike llega a California en 1976 y comparte junto a Guy una relación cercana con Raymond Roussel. Al igual que él, van a adentrarse en el lenguaje hablado. Es debido a su acercamiento no lineal a aquellos autores que jugaban con las palabras como Roussel, o Borges para Guy, que la obra de estos artistas tienen elementos en común. Con Guy de Cointet hay una verdadera materialidad de las palabras, el impacto de lo popular o de la publicidad son algunas de las particularidades que se pueden encontrar en su teatro. Su influencia en la obra de Paul Mc Carthy y Mike Kelley es lo que denomino como “objeto escénico” y como éste pasa de status de accesorio a personaje. “Los mismos objetos podrían perfectamente representar diferentes cosas o conceptos según las frases del performance: el mar del lenguaje transformaba la naturaleza de su realidad” , decía Mike en una entrevista que tuvimos acerca de Guy y creo que entre otras cosas comparten precisamente esto. V.B.: ¿Que te impulsó a hacer resurgir esta obra hoy en día, aparte de la injusticia que representa su invisibilidad actual ? MdB: Desde que vi una pequeña imagen de un performance de Guy , “Que No Misxdodm” que tuvo lugar en 1973 en la Cirrus Gallery con el actor Billy Barty, me quedé impresionada e intrigada, la imagen estaba en un libro de entrevistas entre Mike Kelly y John Miller. Había en esa pequeña imagen un concentrado de todo lo que me interesa: los juegos de palabras, una puesta en escena familiar y a la vez absurda, la creación de personaje , la cuestión del paso de persona a “persona” y humor. Y todo esto me parecía que estaba fuera de esta historia de “la salida del cuadro” y del performance que intentaba luego comprender. Después el hecho de que tan pocas cosas existen me motivó también, fue entonces que me pregunté :¿Quién es Guy de Cointet?, fue de esa pregunta de donde sacamos el nombre de la exposición de MAMCO “Who is that Guy”. Después tuve la suerte de conocer a su sobrino quien tenía los derechos de su obra, me abrieron todos sus archivos y me dieron la exclusividad para trabajar sobre Guy. Así fue como pude reunir un gran cuerpo de obras. VB: Como historiadora de arte que eres , ¿Cómo fue que aprehendiste el trabajo de De Cointet para mostrarlo de nuevo ?. M de B: Hubo principalmente un largo período de investigación , de buscar contactos, entrevistas con sus círculos cercanos, sus coleccionistas , sus amigos. Se necesitó convencer a todo el mundo de su importancia, pese a su fragilidad, logré reunir sus objetos, diseños y dibujos, todo lo que la gente a su alrededor conservó. En varias visitas a Los Ángeles y Nueva York, me permitieron organizar gran parte de sus cosas . Es por eso que deseo también que salga a la luz una publicación, es esencial para conocer y comprender su obra. Invité a varios autores y especialistas a contribuir y ahora sólo estamos a la espera de un editor, Por otra parte me encuentro dirigiendo la realización de su catálogo razonado. Guy de Cointet es importante no sólo como eslabón perdido de la historia del performance y como elemento transitivo del surrealismo, sino también en su acercamiento a los objetos y al lenguaje , es completamente contemporáneo. Vincent Pecoil : ¿Qué otros proyectos tienes alrededor de su trabajo? M de B: “La escenografía de Etiopía”, una pieza del 76, acaba de ser reconstruida. El Museé de l’a la compró para su colección. Lo que sigue es mostrar su teatro pero de una forma viva. Estoy en contacto con Valere Novarina con el fin de poder establecer algún diálogo . También una exposición que muestre su trabajo en París y los Estados Unidos, asociándolo con artistas vivos . Paul Mc Carthy me ayudó a hacerle un pequeño homenaje en Magazin. Quiero que artistas como Mike Kelly y Catherine Sullivan puedan igualmente contribuir . De hecho ya platiqué de esto con Catherine cuando nos encontramos en el 2002. Me gustaría también que se pudieran mostrar sus dibujos tanto en París como en Nueva York. Todo ese cuerpo es importante y representa una parte esencial de su obra. Son dibujos de tinta sobre papel , siempre de textos encriptados en los que el código se descubre en la frase. ‘Palabras dichas en imágenes’ entre visibilidad y legibilidad . Por otro lado por su sentido del color y de línea son también muy bellas …. V.P. : Fue asistente de Larry Bell por un período corto, ¿No es así ? ¿Acaso su predilección por los objetos escénicos del tipo de “Primary Structures”, tiene algo que ver con un juego alrededor de esta famosa noción de la teatralidad que fue central en las discusiones sobre el minimalismo ? M de B.: Sí, es uno de los ejes esenciales en los cuales se mueve su trabajo, a partir de la autonomía del objeto que postula la escultura post minimalista el hecho de que una cosa exista por nuestra mera presencia , ¿Cómo podemos ver entonces la humanización de los objetos ? Estas eran las discusiones que tenían Mc Carthy y Kelley , muñecos o peluches por ejemplo. Después vemos un pasaje del objeto accesorio a una concertación nueva del tipo “persona”. Esas son las preguntas contemporáneas que hacia Guy de Cointet. Por otra parte ,el uso del lenguaje como un “sistema de creencia” es totalmente actual. Igualmente su utilización de la luz como en la pieza “Five Sisters”, donde la escenografía es creada básicamente por los efectos luminosos del escultor Eric Orr, revela preguntas cuyos inicios se gestan con Larry Bell, pero que se harán desde un acercamiento al que llamo la “mirada periférica “ que influencia directamente a Dan Graham. El efecto mnemónico y su investigación acerca de la manipulación de las masas, son muy cercanas a las virtualidades de un “Johnny Menmonique ”sin ser el alpha y el omega de todo el arte actual, creo sinceramente que De Cointet merece el apodo de “ El Duchamp de LA”. V.P: De Cointet puso en escena a Roussel, quien era parte del panteón surrealista. ¿Crees que su trabajo jugó un rol estructuralmente comparable con algunos de los artistas americanos de los años setentas, que Roussel con relación a los artistas parisinos de principio de siglo XX? M de B: El otro día releía el excelente libro de Marc Decimo, acerca de Duchamp. En él hablaba de la “impresión simulante” de “Impresiones de África” que Duchamp vio en París en 1912. El hecho de ver esos objetos animados , lo insólito del ensamblaje heteróclito lo marcó fuertemente y será muy importante para la genealogía del ready-made. De igual manera Duchamp lee , “Cómo escribí en algunos de mis libros”, obra póstuma de Roussel que explica su proceso casi analógico del cut – up. Creo que el trabajo de Guy era conocido por todos los actores de la escena californiana de los setentas. Tras haber interrogado desde Baldessaria, Ruppersberg, o Mat Mullican, Mc. Carthy , Mike Kelley , Morgan Fisher o Jeff Perkins (quien trabajaba con Yoko Ono en Nueva York como parte de Fluxus ), y después de recolectar testimonios que no fueron del todo admirables, puedo constatar formalmente que aquello que encontré en común era el hecho de un impacto real, sino es que directo, por el rumor. De hecho en la obra de De Cointet existe un arte del lenguaje y una distancia vía la desestructuración de códigos, vía el objeto, algo que oscila entre la abstracción y la representación que encuentro en artistas como Jack Goldstein, quien dice a propósito de sus películas : “La pared se convierte en objeto por contener imágenes(….) Las imágenes de las películas se convierten en objetos en la sala que ocupa el rectángulo blanco”(entrevista con Morgan Fisher publicada en el catalogo de Magazín 2002) . También muy cercano otros dos artistas igualmente desaparecidos, Bas Jan Ader y Wolfgang Stoerchle. Diría que el impacto de Guy se sitúa más del lado de la puesta en escena que de los objetos. He citado a Haim Steinbach ,sin embargo pienso que una relectura acerca de la cuestión de la teatralidad, después de la apropiación, será uno de los ejes fundamentales de este principio del siglo. Un pensamiento de objetos desmitificados que utilizan y reemplean los códigos prefabricados del cine y de la historia del arte. Es lo que encuentro en el trabajo de Catherine Sullivan entre otros. Creo que el eco de la obra de Guy sólo tendrá sentido en generaciones venideras y lo que la exposición de MAMCO mostró, son obras atemporales. Muchos artistas jóvenes de Estados Unidos y Francia esperan ansiosos poder ver la obra de De Cointet y tener un acceso directo a ella, espero que esto suceda pronto. QUERIDO A. Me he prometido muchas veces de empezar este ejercicio y cada vez algo me ha interrumpido. Sin embargo lo que me interrumpe está en el origen mismo de la necesidad de este ejercicio. Por lo tanto me perdonarás por el texto lleno de fracturas, lleno de de tropiezos, pobre en solucciones. Otra vez estoy parada, esta vez intelectualmente, frente al mismo obstaculo que nos detiene en la acción: necesitaríamos de estructuras para atraer y no disolver nuestras fuerzas, aunque para construirlas habría que tener las energias que las luchas cotidianas desorganizadas nos despojan. Necesitamos urgentemente algo de afuera aunque sea mínimo para apoyar las manos mientras intentamos levantarnos, juntos y cada quien por su lado. Este algo de afuera lo llamamos, lo evocamos. Como en una invocación a los muertos estudiamos los levantamientos del pasado para acercarlos a nuestro vocabulario y a nuestros cuerpos, aunque se queden lejos de los ojos y del corazón. Para escribir este texto que habla de las relacciones entre el arte y la lucha necesitaría de un idioma extranjero en el idioma, de un idioma de saltabanco que materialize materialice la posibilidad de danzar sobre la cuerda tensa y de combatir. Mientras tanto solo tengo pedazos de palabras desgastadas que tengo que cocer alrededor de los problemas. Como por ejemplo el problema de no poder ni siquiera pensar en atravesar el puente que junta el arte con la vida, siempre que uno haya existido alguna vez, sin caer entre las manos de la ley. Y de no poder admitir este estado de las cosas sin resbalar en la cobardía o en la depressión. Cuando se acostumbraba nombrar al enemigo (capitalismo, impe- rialismo, patriarcado, globalización) se inventaba una alteridad binaria y tranquilizadora. Nosotros participábamos para no tomar parte ( A las luchas y no al trabajo, a las dinámicas militantes y no a la sociedad de clase.) Querríamos ser otro para lo que odiábamos se convirtiera en algo distinto de nosotros. La desuu-bjetivación era un proceso de distanciamiento lógico y performativo. Si no podíamos cambiar los aspectos de la realidad que más nos herían, nos transformábamos en algo inasimilable, sobrepasando las moralejas y revelando el aspecto político de la ilegalidad. Nos convertíamos en proscritos, drogadictos, prostitutas, pervertidos, violentos – e inevitablemente ladrones porqué la propriedad privada y los afectos las personas queridas que la conservan son justificación a todas las otras opresiones. La cárcel era una etapa necesaria porqué inflingida desde siempre, y porqué de cierta forma, ella misma parte de una separación del mundo de empleados y del mundo mediocre del “bienestar” del Siglo XXI. La manera en la que los otros-escluidos excluidos se mezclaban con nosotros, aquellos que no habían elegido politicamente su exclusión, pero la sufrían -porqué habían sido escluídos excluídos hasta de la elección inicial de tomar una posición- Este modo dejaba mucho que desear. En realidad, no es que dejara algo que desear, era verdadermente inaguantable, para nosotros como para ellos. Totalmente insuficiente. Porqué los otros-escluidos excluidos continuaban a sentirse otros de alguien, y aunque con el derecho de hacernoslo pesar, siempre con el deber de llevar el peso de lo que nos separaba, que en lugar de ser motor de la revuelta, se convertía en un factor de detención cinética. Quien sufre es menos productivo, hasta de subversión social, así decían los movimientos, así decían la psiquiatria psiquiatría y los maestros. Amen. Allá tocábamos el límite de nuestras capacidades, de nuestra libre voluntad nutrida de dogmas, secretamente democráticos en el fondo, la que era el límite de no poder cambiarnos a nosotros mismos en ausencia de un desbaratamiento social que eliminara ese veneno del juicio y de la medida, ese morbo de la comparación idiota y brutal, esa policía de las conductas. PERROS Rechazar la participación en los procesos revolucionarios como obligación algo que debía ser era una adquisición de los años ‘70s. No obstante eso, el diferimiento permanente de la satisfacción en un mundo que ya ofrecía pocas oportunidades de provocar placer, había transformado los “militantes” en figuras ascéticas e incapaces de contaminar. La elección del Margen como lugar para difundir el empeño terminaba por convertirse en un deber ser simétrico del que rechazábamos y quizás más insidioso. A veces la única reacción a nuestros gestos que certificara su carácter político era la repressión. La sociedad se había como plastificado, y no solo era no-impregnable, si no que cambiaba más de lo que nosotros pudiéeramos cambiarla. Quien rechaza la lucha armada empieza ya acostado en el brazo de hierro militar contra la sociedad. Quien acepta la lucha armada acepta estar solo en su combate, porqué sabe que sus compañeros no solamente no aman a los brazos armados si no que sienten horror de ellos. Y nosotros, una vez fuera del rio en crecida ¿?”desbordamiento” “fiume in piena” de los movimientos, éramos de las presencias aisladas, prisoneras de sus identidades de naufragos, éramos un episodio que se olvida. Si no había placer en el estar en el espacio que habíamos elegido era culpa de los unos y de los otros, nunca del enemigo que nos cazaba en túneles sociales sin oxigeno y nos condenaba a la endogamia. Sobrevivientes de un accidente no registrado, veteranos de un Vietnam imaginario, llenos de histoórias que no le interesan a nadie y oprimidos por la necesidad de acomodarse con el presente para destruirlo mejor, en coexistencia forzada. THE BEST OF (Y LO PEOR) Editado por Perros Negros en México D.F. en abril del 2010 Printed by REDCAT Contributing editor: John Menick Designed by Lara e Snowden (Perdoname por todas estas metáforas, y por las que tampoco luego podré limitarme en hacer: se que hacer metáforas es exponer la insuficiencia de la lengua recontruiendo histórias donde hay necesidad de lógicas. Hacer metáforas es estar corto de ejemplos concretos e incómodo con la história. O también es nada más un pudor burgues de decir las cosas como son, no siempre literarias, no siempre linguisticas.) La conclusión a la que éramos forzados a llegar es que los privilegios no se anulan renunciando a ellos. La separación se queda y permanece ligada a la elección misma de esa renuncia, una elección noble que a pocos se da y que en virtud de su nobleza es reversible. Los privilegiados que se exponen al peligro de oponerse a la sociedad, al vivir en sus hoyos, capitalizan durante esta experiencia de extrañamiento y a menudo, más fuertes y más capaces, pueden regresar al lugar social de donde empezaron. Este punto, en lugar de fortalecer el credo del determinismo de clase (es.: un burgues nunca podrá luchar tan sinceramente como un proletario) lo hace vacilar peligrosamente. Porqué si es verdad que al desu-objetivarse en el Margen de absencia de procesos revolucionarios no se logra cambiar ni a si mismo ni a la sociedad, también es verdad que la alegría y los privilegios de los que se puede gozar en un mundo que queda siendo capitalista son placeres basados en la submisión y en el saqueo de los otros, placeres insociables y separadores. Placeres bestiales en última analisis, por cuanto puedan pretenderse refinados. El Margen de las luchas, con todos sus defectos, es un espacio mejor, una fuente de creatividad, una forma de lujo, un Eldorado perdido a posteriori para quien ha regresado a casa pero no puede volver a recorrer el camino hacia atrás sin hacerse rechazar. Sin embargo el problema es que si el fin es deshacerse del burgues que está en nosotros, o del pequeño-burgues para ser más precisos, esto no se hace mimando su contrario y gesticulando el autolesionismo social. No se puede hacer pensando en la pequeña burguesía como platea de espectadores distraídos que hay convertir o escandalizar. En el ‘68 se ha cerrado un ciclo de luchas, junto a un abanico de sujetivaciones posibles, que no solamente se han convertido en temas de venta para perfumes, ropa y otro, si no que nos han dejado, desde el punto de vista del deber ser humano y no solo social, en una situación similar a la que vió emerger la abstración en el paisaje en la história del arte. El caracter prescriptivo de cada teoria revolucionaria– y nota que hago economia de cualquier citación para ponerme en sintonía con la pobreza que describo– suena a esta altura patético e irrealizable porque siempre [[esta ]] en retraso respecto a las multitudes de otras prescripciones inmediatamente efectivas, impuestas a la sujetividad por las sugerencias comerciales. Las “corporations” son productoras primero de mundos ya posibles y segundo de las instituciones para su agradable uso. La idea de una política de los medios sin fin que podría tener el fin de reabilitar a los humanos y de descalificar a las maquinas políticas que digieren la vida se ha quedado en el albor. Quizás porqué una política que para levantarse propone el terreno de la inmanencia pura, [[para desresponsabilizarse]] esconde el hecho que este terreno esté colonizado por una mercancía cada vez nueva, que ocupa todo el lugar para posar las manos, quita continuamente la base sobre la que hacer fuerza, dejandola aspera [[o accidentada]]aspera por por fetiches y abarrotada por deseos equivocados. El inconveniente económico y social ya viene de afuera, ya no es, de momento, una zona energética que pueda generar luchas para cambiar a los habitantes del planeta y hacer que el planeta sea modificado. Saberlo nos provoca dolor, no fuerza. Y ni el agobio ni el dolor crean más mundo. En las democrácias liberales, como ya había sido en los régimenes totalitarios, hemos salidos del registro lírico y también trágico, hemos salido del expresionismo, estamos en la abstracción económica. Cada imágen de exterminio es para el poder, y pronto será para nosotros, figurativa tanto como monocromaun monocromoatica (I mean a monochrome painting). El realismo siempre ha sido una cuestión de traducción, una construcción hecha de códigos, pero ahora para creer en la realidad nececitamos quizás de imágenes y palabras más libres del presente, porqué el presente está constituido por las mercancías y los sentimientos que estas provocan. Otros problemas me bloquean y me paralizan y estos son aún más peligrosos porqué habitan la relacción entre la subversión y el saber. Si es sencillo criticar el concepto de cultura acumulada y nemotécnica que informaba la buena vieja burguesía y las escuelas, es en realidad dificil intender porqué los movimientos politicos radicales no puedan pescar serenamente en el banco de datos fragmentado y valioso de las vanguardias. (Continúa...) NEGROS ART CRITICISM There’s an photo of a young man jerking off in a room in front of a mirror. Soft focus: the young man is half-dressed, the colors are muted. It’s a very contemporary image. The room is neutral enough. It reeks of nothing but boredom. He’s jerking off pretty hard, his face blurred on the dull edge of orgasm. I make up a story about his life outside of the room. Nothing is always a smokescreen. There’s always something inside the box. The boy’s name is Derek. Eight months before taking this photo, Derek was traveling. He grew up in a backwater place (Perth, Australia) and travel was something he always expected to do because most of the people he knew had done it before him. He ends up in Mexico because it’s a cheap third-world place and it’s close to America. He’s 23, and in a “relationship” with his ex-art school professor and this has fucked with his head, and also his plans for the summer. She, Derek’s girlfriend, (her name is Trina), is on some kind art fellowship junket in Europe and she was supposed to send him a ticket for the end of the summer when she got settled but so far she hasn’t. He doesn’t know what he thinks about this, about Trina, except it’s making him crazy not knowing what’s happening, and also it would be so nice to be in Berlin, in Trina’s hotel room after living out of a bag and crashing with people for weeks. But the friends-of-friends (actually, friends of Trina’s) that he’s staying with in LA seem to be pushing him out the door, talking about how great it would be to travel alone, how good for his work, etcetera. They introduce him to some 40 year old rich guy, a painter, Derek’s never heard of his work, who goes on and on about his Travels in Mexico a decade ago, the missions, the ruins, keeping a sketch-book. When Trina’s Los Angeles friends can’t stand Derek hanging around anymore, they drop him downtown at the bus terminal with a Rough Guide to Mexico. Derek catches a Greyhound from LA to the Mexican border. He has No idea where he’s going, where he’ll sleep, how he’ll find a place to sleep, when the bus stops in TJ. The change rate from his country sucks and he resents this. It’s not as if he can wire his parents for money and he’s heard nothing from Trina. Also, he doesn’t speak Spanish. Skipping Baja, he catches a bus to Hermosillo, finds a motel for $20 a night, and then starts catching small local busses from town to town, the kind that used to be school busses. Passing through one generic Mexican village after another (goats, dust, diesel and chickens) Derek considers his future. The thing with Trina seems to be over. It’s not the first time he’s been used by a girl. Will it hurt his career? Who has she talked to about him? Probably everyone back in Melbourne already knows Trina has dumped him so he can’t change his ticket and just go home early. As he moves farther south, he starts finding youth hostels, not that he meets anyone interesting but at least they’re cheap and they give him some destination. But then his money gets stolen and he calls up his friend Gilbert in Melbourne practically weeping and Gilbert wires him $400. Somehow this calms him down, and he decides to spend the rest of his time at the beach in southern Oaxaca. One of Trina’s friends gave him a book about Puerto Angel about two guys who went down there to stay in the early ‘60s and ended up taking hallucinogens with an evil police commander. In Puerto Angel, he finds a cheap guest house and there are other foreigners here, other travelers. He settles into a pleasant routine of swimming and sunbathing during the day, and moving between four or five local bars in the evening. On his fifth day he’s lying out at Panteon Playa. The beach is pretty empty at midafternoon. There’s just one other guy snorkeling out by the rock jetty. The locals are ok about sunbathing nude on this beach, and Derek sits up on his towel watching the waves. While he’s sitting, the snorkeler starts moving around fast in the water, not snorkeling at all, but swimming against a rip-tide that’s trying to pull him out of the bay. The guy’s ripped off his mask and Derek runs out on the jetty. The guy is flapping around by this point. Derek’s still naked from sunbathing and he crouches at the end of the rocks and he doesn’t know what to do, he’s not much of a swimmer, and the guy is looking directly at him. For the first time all summer Derek has no thoughts at all. Finally, the guy’s head disappears under water. Holy shit. Derek walks back to the beach and puts on his cut-offs. There’s no way he can go back to sunbathing, the drowning has ruined the afternoon’s drowsy calm. Derek tells no one what happened. He goes back to his room and packs up his things. The next morning he catches a bus to Mexico City and changes his ticket to go back to Australia. The drowning is Derek’s secret. It becomes more than a secret, it is The Secret, the most powerful law, we create our lives with every thought every minute of the day. He came that close to death but he just walked away. Whatever he is must be art because he lives in the present. He is the subject. (CHRIS KRAUS) DREAMS Beach performance. I dig three deep holes in the sand with a thick yellow tube. A wave rolls in, recedes, and I proceed to unearth treasures from within the holes : three knives in amber and leather casing, a gold lion-headed beret, silver pliers in a plastic snap sack, two perfectly intact white turn-of-the-century woman’s frocks (one with lace, one without), among other things. Towards the end, I declare that I will move to Australia. (EMILY MAST) ...FONTAINE. CONTINUACION DE LA PAGINA ANTERIOR...Las vanguardias (requiescant in Una parte de su carrera depende de la clarificación y aplicación de ideas del filósofo francés Gilles Deleuze. A pesar, pues, de ser filósofo —inventor de explicaciones— se subordina a otro. pace) con su cortejo actual de “museificación” y campanas de vidrio, son desde hace cuarenta años (y quizás más) solamente sinónimo de plusvalia sofisticada. Me acuerdo ya la gran desconfianza con la que los autónomos miraban a los post-punk en los años noventa, “todos hijos de burgueses” se decía, como si la insurrección desfuncionalizada, emancipada por el activismo y clavada en el espacio existencial fuera un lujo inaceptable. Como si el rechazo del trabajo tuviera siempre que convertirse en formas de lucha productivas de subversión y socializantes, como si trabajar para crear las condiciones de la revolución fuera una actividad lineal y progresiva tanto cuanto el trabajo salarial, solo despliegada en dirección contraria… Sin embargo, a pesar de ser mexicano, crea énfasis o giros propios, como su insistencia en lo “no-lineal” y la idea de que existe un umbral en que la realidad material se auto-organiza (desde el clima hasta internet). De hecho la letra de la vanguardia queda letra muerta, queda un lujo no deseable porqué su valor de uso es desconocido. Como decir que el único paradigma de transmisión del conocimiento que sea familiar para nosotros es el de la universidad, con su sistema cerrado de poder y arreglos, pero sobre todo con su acuerdo tácito de no hacer nunca un uso efectivo de los conocimientos transmitidos, creados y acumulados. De Landa es el primer filósofo post-mexicano. Su caso es apasionante porque señala, precisamente, el límite en que un filósofo nacido en México decide salir de la esfera patria y, empero, preservar una marca de la tradición intelectual del país en que nació. De Landa cambió a México por Deleuze. Grandes barreras posicionadas entre el arte y la vida, entre el saber y el vivir, catedrales eregidas a la gloria de la masturbación mental, las universidades todavía desconectadas del mercado que tenía que ofrecer asilo al infierno de la mercancía, por lo menos durante unos años, a unos jóvenes en busca de búsqueda, ya no hospedaban ningun conflicto entre sus muros productivos y golpeaban con porra la juventud que hacía demasiadas preguntas. Las universidades después del ’68 se han monstrado por lo que son: vectores de humillación y reproducción social, barracones de policia para deseos del compromiso político, tumbas de los intelectuales militantes. La transmisión, la discusión y el estudio han así dejado, empezando de cierto punto en adelante, de poder ser momvimientos socializantes, reforzantes y no comerciales. Si en las facultades han sobrevivido, han conservado ahí un pobre valor de intercambio y han perdido cada valor de uso. El saber existe, muerto entumecido entre las páginas, pero no hay nadie para a admirarlonimarlo, permitirle alcanzar y transformar los cuerpos. Se dice que caemos otra vez en el cubo de las escaleras de la história para regresar al punto de partida. Desde este punto te escribo o intento escribirte. Me acuerdo que en un cierto momento, entre los años setenta y ochenta, se perdió la noción de cultura. No que se haya perdido el sentido, pero se han perdido las instrucciones de uso. Se ha olvidado que la cultura no se produce ni se asimila encerrados cada uno en su propria fortaleza contemplativa, si no que solamente interactuando en relaciones sociales compatibles con las verdades políticas que la animan. Las culturas existen solamente a plural y se activan no tanto estudiando sino teniendo hijos, enlazando amistades, cultivando amores que nos hacen capaces de entender y de actuar. Son nuestras acciones cotidianas reciprocas las que ya no nos permiten pasar una tarde leyendo Lenin o Foucault y hacer de eso algo de realmente e inmediatamente subversivo. La cultura es la crítica permanente del concepto de “patrimonio”, entonces porqué regresan la pertenecia, el Estado, la imposición cada vez que se habla de esto? Más que un revolver, esta vez es un arsenal nuclear lo que nos enfrenta. laboratory coffee, too much time spent in too far away places such as Ft. Sumner, New Mexico. It involves big trucks, DeWalt drills, bad burritos, worse margaritas and just so so milkshakes. It involves weather updates and wind vectors. It involves time, lots of time, and in fact, when one comes right down to it, it involves, quite literally, quite matter-of-factly, just about all of the time in the universe—and it is because of this that its story also involves art. (JONATHAN T.D. NEIL FOR NATHAN CARTER) ¡Él mismo es un ejemplo de la morfología no-lineal! Visto desde la historia del pensamiento mexicano, De Landa se formó desprendiéndose y fugándose de su “tradición” nativa; se desmexicanizó migrando a otro contexto de discusión y otra lengua, abandonando el viejo sistema para auto-organizarse habiendo cruzado cierto nivel de complejidad de referencias, información y problemas. 2. Deal thoroughly with your P.H. 3. When that ineffable compound of depression, sadness (these two are not the same), anxiety, self-hatred, sense of failure and fear for the future begins to steal over you, start telling yourself that what you have is a hangover. You are not sickening for anything, you have not suffered a minor brain lesion, you are not all that bad at your job, your family and friends are not leagued in a conspiracy of barely maintained silence about what a shit you are, you have not come at last to see life as it really is, and there is no use crying over spilt milk. If this works, if you can convince yourself, you need to do no more, as provided in the markedly philosophical. He who truly believes he has a hangover has no hangover. 4. If necessary, then, embark on your course of hangover listening or reading or both in succession. Going off and gazing at some painting, building, or bit of statuary might do you good too, but most people, I think, will find such things unimmediate for this-perhaps any-purpose. The structure of both courses, HANGOVER READING AND HANGOVER LISTENING, rests on the principle that you must feel worse emotionally before you start to feel better. A good cry is the initial aim. (KINGSLEY AMIS) MOLECULAR RECOGNITION OR THE SOCIAL ENDEAVOURS OF MOLECULES Although a single completely accurate definition of Sup ramolecular Chemistry is not available, most chemists dwelling in such areas of scientific research would agree that it is the field of chemistry that focuses its attention on the intermolecular forces in order to develop highly complex chemical systems from simpler components. This is achieved by manipulating such non-covalent intermolecular interactions. The overall motivation behind the techniques employed regularly within supramolecular research is to acquire the delicate selectivity and mimic the highly developed chemistry observed in biological systems, such as in enzyme-substrate complexes, antibody recognition, or in the receptors for hormones and neurotransmitters. Intrinsically coupled to the emergence of nanotechnology, it is not surprising that over the last couple of decades, “supramolecular science and technology has become a broad multidisciplinary and interdisciplinary domain providing a highly fertile ground for the creativity of scientists from all origins.”1 At present, research in supramolecular chemistry is carried out regularly in many labs where synthetic chemistry, catalysis, materials engineering, crystal engineering, molecular and nano-device fabrication, and applications in biosciences are of importance. The potential applications of supramolecularly engineered systems range from molecular sensing and recognition to information storage at a molecular level and even working molecular machines.2 Self-organisation, or more specifically self-assembly, is a concept that lies in the core of supramolecular chemistry. It is employed to describe natural occurring processes involving the approaching and non-covalent binding of at least two molecular species, into aggregates of higher complexity or supermolecules. Basically all the variety in shapes and forms in Nature proceeds from self-assembling processes, even the formation of a cellular membrane is an example of selfassembly. A logical requirement for two species to self-assemble is the complementarity of size and shape between them. Self-organisation is employed as a wider term encompassing the behaviour of systems that tend to organise spontaneously into more complex structures, without being directed by an external stimuli. Self-organisation processes are not uncommon in thermodynamics, economics, social behaviour, bacterial growth, population distribution and dynamics, and information networks. Un amigo mio decía: el problema no es nunca la represión, el problema es el miedo. El problema no es recibir el golpe, porqué cuando has recibido el golpe eres bastante fuerte para aguantarlo, el problema es vivir toda la vida evitando el golpe, intentando escapar de él, sin embargo recibiendolo a menudo de todas maneras, y perdiendo no solo la salud sino también la dignidad. The unifying element between all these different phenomena is the quite recent understanding that they can be roughly described with the same models, for example in maths, the cellular automata is an old example of self-organising algorithm. The key element behind self-organisation is the concept of information; it is when in-built information expresses that self-organisation happens. In supramolecular chemistry, the information is stored in the building blocks (molecules) by means of design, pre-organisation and topological arrangement of the molecule itself and the binding sites through which the interactions will be established. This information is then processed (and expressed) when the blocks interact between themselves. This can be considered as an algorithm that is based upon specific patterns of interactions amongst a specific set of blocks. This algorithm is known as molecular recognition, and in the simplest case it means the selective association of a molecule (receptor) with a specific target (guest). X Claire Fontaine EL FILÓSOFO MEXICANO VIVO MÁS IMPORTANTE No hay duda de que los filósofos mexicanos muertos más relevantes son Samuel Ramos y José Vasconcelos. ¿Pero quién es el filósofo mexicano vivo más notorio? La filosofía en México no ha tenido fortuna. Ni el pensamiento indígena ni el colonial preponderaron la innovación conceptual, dilucidar la diferencia específica entre un concepto y otro, tarea propia del filósofo. El marxismo aquí tuvo buena recepción no sólo por la desigualdad social sino, sobre todo, por lo que tiene de acusador, resentido, dogmático, evangélico y doctrinario. El marxismo mexicano es cripto-catolicismo. El intelectual nacional raramente conceptualiza. Y las instituciones filosóficas no han perdido su Sumo Respeto al Libro y al Apellido, ¡parafrasear el concepto heredado! Filosofar es transgredir la Idea previa. Uno se hace filósofo para expatriarse. Vuelvo: ¿quién es el filósofo mexicano vivo más importante? Manuel de Landa, nacido en 1952 y en 1975 ya arraigado en Nueva York. Es significativo que su currículum omita su pasado mexicano y, en su lugar, hable —mitificándolo— de su origen en el cine experimental (fuera de circulación). Su obra la escribe en inglés. Sus dos libros más reconocidos son War in the age of intelligent machines (1991) y A thousand years of nonlinear history (1997), que lo ubicaron en el panorama filosófico global sin que México se enterara. Dos obras recientes son Intensive science and virtual philosophy (2002) y A new philosophy of society: assemblage theory and social complexity (2006). ¿Por qué digo que De Landa es mexicano? Porque es deleuziano. OUTERSPACE INTRO OUTRO Cosmologists are after beginnings. Not beginnings such as “Where do we come from?” or “How did we get here?” but beginnings on the order of “How is there anything at all?” and “How did what there is, itself, begin?” In this, cosmologists are the physical sciences’ metaphysicists. The are trying to get at the answer to what all is out there, in and beyond the world, by getting at how it all began. What they understand thus far is that, in the beginning, whatever there was “out there” was very hot and very dense, so hot and dense that matter and radiation were not yet separate things; there was only a dense plasma of electrons, photons and baryons, but not for very long. At a specific moment in the very early moments of our universe, conditions cooled down enough for the electrons to combine with the baryons (to make hydrogen and helium atoms – a.k.a. matter) and this left the photons free to scatter on their own (a.k.a. radiation). The result of this “last scattering” is what has come to be know as the Cosmic Microwave Background. Put plainly (but somewhat misleadingly), it’s the oldest “light” in our universe. Ebex, the “E and B Experiment,” is a telescope that has been engineered to measure two different components of the polarization of this light (called “E-mode” and “B-mode”—hence the “E” and “B” of Ebex). In other words, its purpose is to get a better look at the Cosmic Microwave Background, and thus a better look at the those early moments of our universe and how it has evolved to the state it is in today. To do this, it will be taken aloft into the stratosphere above the south pole by a high-altitude balloon (the earth’s atmosphere makes it difficult to measure these polarizations from the ground) where it will float for two three weeks, collecting the necessary data. How it gets to that point, circumnavigating the southern pole, high above the surface of the earth, is an entirely different story. It’s one that involves gondola and sensor designs, cryostats, star cameras, compression vessels, submillimeter filters and Fourier Transform Spectrometers; it involves only somewhat more mundane things, such as exploding bolts, foam insulation, reflective blankets and foil sheeting—staple entries in the galactic logs of space trash. It involves too many hours in front of computer screens, too many cups of : noun RM: It was an antic social club, with contributions from around 20 artists. Each night there was a set of behavioral rules, a conversation piece or object of conversation, a series of performances, and a soundtrack, everything meant to serve as prompts for inventive interaction between the guests. For example, one night Ian Monk, a member of Oulipo, made a set of cards containing 50 or so conversational directives, like, “When speaking, always try and start by using the last three words of what the last person just said, “ or, “Tell someone about a surfing holiday you had last winter in Scotland and the good side of global warming.” And the same night, we had a Relational Psychoanalyst, that’s an actual school, by the way, demonstrate the best technique for shutting up crying babies - to cry exactly like them! And then Aki Sasamoto did a dance about donuts and string theory while Momus gave her performance modifications from Berlin over the PA. Crypto-museologists2 lurk in the shadows cast by the museological drive towards illumination, promoting speculation and absence, multiplicity and potential. While “museology” traditionally refers to the science, practice, or study of museums, the prefix “crypto” comes from the Greek word “kruptos,” which translates to “hidden.” There are countless fields and ideologies using the prefix—from cryptoJudaism to crypto-sporidium—yet crypto-museology is perhaps most closely related to crypto-zoology. After all, the crypto-zoologist searches for and studies marginal creatures—such as the Loch Ness Monster, Bigfoot, Unicorns, and Jackalopes—whose existence or survival remains unsubstantiated or disputed. In fact, supramolecular chemistry has catalysed the evolution of chemistry into an “information science through the implementation of the concept of molecular information3 with the aim of gaining progressive control over the spatial (structural) and temporal (dynamic) features of matter and over its complexification through self-organization, the drive to life.”3 Me puedes contestar que vivimos en un momento violento. Y que la violencia baja el nivel de discusiones porqué usurpa el lugar de la palabra, relata los cuerpos en primer plano, con su fragilidad e insuficiencia, nos recuerda cuanto y como estamos gobernados. Pero nos recuerda también que la abstracción no debería disfrazar ni la urgencia de las necesidades ni las protestas del razismo, del machismo, de la ofensa continua que cada día se perpetúa contra la infancia y contra todos nosotros todos nosotros. La abstracción nos debería permitir ver más lejos llevando con nosotros todo el peso de nuestra insuficiencias pero sin ninguna verguenza, debería luchar contra la fuerza de gravedad y no hacernos resbalar. Esto quizás se juega – como los malabaristas sin experiencias lanzaban antorchas, según una lógica se sobrevivencia pero sin rigor coreográfico-en el arte contemporaneo, esto intentamos hacer, sin quemarnos. Pero el arte no es refugio, no es una posición, no es una actitud, es solamente un oficio. Esto hay que acordarlo y cuando se dice “los artistas”, se deberia de pronunciar así como se pronuncia “doctores” o “obreros”. MP: I’m gonna tell you but I’m gonna put it again where your words go. (here i’m alluding, in an ambiguous way, to the fact that i’m going to answer rai’s question, but that i’m going to put my words under his name (i.e. the next entry), as if he said them. we don’t want to make this very clear, though.) DERIVATIVES crypto-museological |-zēläjikl| adjective crypto-museologist |-jist| noun La filosofía mexicana del siglo XXI ya es deleuziana. (HERIBERTO YEPEZ) 1. Keep the radio off, you don’t want it buzzing with world events. Cryp•to•mu•se•ol•o•gy |Kriptō-myoōzēäləjē| The science, practice, or study of unverifiable and unsubstantiated cultural and museological practices.1 De Landa es simultáneamente un filósofo (un innovador) y un mexicano (un seguidor). THE METAPHYSICAL HANGOVER RM: I did not get to walk your wife home. What happened in The Prompt, the five night program you curated with Sarina Basta for Performa 09 in NYC? The typical interactions that act as the driving force behind selfassembling processes are those that molecules establish commonly with their surroundings: electrostatic interactions between charged or polar molecules, hydrogen bonding, p-p stacking, etc. The most widely used strategy when designing molecules with structural information (receptors) is to provide them with donors and acceptors of hydrogen bonds, as they are very strong (comparatively with other supramolecular interactions) and intrinsically directional. In this way the structural information contained in the design molecule is focused through space beyond the molecule. In reality, most of the receptors reported in the literature make use of several forces aimed at different binding sites in the molecules in a cooperative fashion, and this versatility nurtures the ever-increasing selectivity and complexity of the receptors being synthesised. A striking yet well-known example of what the cooperative effect of a great number of hydrogen bonding interactions can accomplish is the supermolecule of DNA: the two independent nucleotide chains are held together by hydrogen bonding interactions between their complementary bases. These interactions determine not only the morphology of DNA but also the energy, and thus selectivity, to split the chains and access the information contained in them. Research groups all around the world are making use of this type of example as a motivation to fabricate and study increasingly complex systems where information can be manipulated at a molecular level for different purposes. In the future, molecular devices synthesised in a lab will be able not only to selectively self-organise in diverse manners (depending of the stimuli we give them), but will also be able to adapt and to absorb that information of diversity through time. Those are the conditions for chemical evolution to take place, and we are about to enter. (JORDI TOVILLA) 1. J.M. Lehn, PNAS, 2002, 99 (8), 4763-4768. 2 Further references in: J. Tovilla, PhD Thesis, ICL, University of London, 2006, p 14. 3 Molecular information refers both to the structural information (size and shape of the molecule and the flexibility to bend, twist, etc), and to the electronic information (origin of the chemical and physical properties) contained in the molecule. All that information can be expressed and intensified by using the design molecule as a building block of a more complex architecture. By engaging with entities and bodies of knowledge that deny normative ordering mechanisms, crypto-epistemological methodologies refute the guarantee of an objective and decipherable world. A museological display is generally considered to be complete3, with each observable situated in perfect communication with another to generate a perceived whole—a narrative gestalt. However, the crypto-museologist looks past what is on display and through its concrete justification, to regard the display itself as a series of mysterious traces charting hidden, missing, remote, latent, or implied procedures that are navigable, fluid, and virally exponential. French theorist Jean Baudrillard is widely considered to have inadvertently written the most appropriate manifesto for aspiring crypto-museologists4: “Cipher, do not decipher. Work over the illusion. Create illusion to create an event. Make enigmatic what is clear, render unintelligible what is only too intelligible, make the event itself unreadable. Accentuate the false transparency of the world to spread a terroristic confusion about it, or the germs or viruses of a radical illusion—in other words, a radical disillusioning of the real.”5 The word “cipher” has its origins in the numeral 0, which was once so abstract a concept that it drifted to become synonymous with willful obfuscation.6 Partly a response to the pervasiveness of information, the crypto-museologist’s attraction to encryption is also motivated by critical skepticism towards the notion of any fixed decodable meaning. Relishing in uncertainty, this definition is inherently contradictory. However, in self-defense, crypto-museology eats itself by repeatedly rewriting its own fragmented and mistranslated definition. In parallax, any comprehensive understanding of the field is dispersed and disassembled beyond recognition. Of course, disappearance is merely another form of appearance, but until everything is subsumed in 0, the immaterial corporalities that remain form crypto-museological dimensions to be mined. (POST BROTHERS/CHRIS FITZPATRICK) 1. For example: galleries representing non-existent artists; impostors performing artists’ lectures; institutional memos written in urine, lemon juice, or other acidic fluids; pseudonyms that are really anagrams formed from the hijacked names of other artists; the circulation of press releases to exhibitions that will never open; paranormal galleries; shipping companies secretly hired to deliver works as stolen; demonstrations that telepathically implant immaterial objects into the minds of audience members; Balzac’s missing masterpiece; the oration of para-exhibitions located in museum storage facilities; and other gaps and collusions. 2. After coining the term “crypto-museology”, Raimundas Malasauskas commissioned this definition as part of Paper Exhibition at Artists Space, New York, 2009. However, each time it is published, the definition necessarily changes. 3. It should be noted that, as Susan Stewart writes in On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, a collection can never be complete and that its content is defined by what it lacks. 4. Baudrillard’s directives are also pertinent to the field of curatorial malpractice, which denotes curatorial initiatives and operations that attempt to feed off of and counter historical models of curatorial practice, while contemporaneously intervening in the development of curatorial practice as a discreet discipline. 5. Baudrillard, Jean. The Perfect Crime (New York: Verso, 1996) p.105 6. For the crypto-museologist, any uncertainty about the authenticity of this fact is far more interesting than the sense of finality certainty would bring. RAIMUNDAS MALAŠAUSKAS e MICHAEL PORTNOY RM: Michael, what are you going to do tonight? MP: I’m going to film the ordeal of my right index finger as it cuts Montmartre to reach the ice rubber ins of a hold-light. (With “ice rubber ins” the meaning is “icy rubber interior”, although it’s expressed a bit ambiguously because of the improper grammar. Would be good to find short words for “ice” and “ins” creating a similar flow to the phrase, and preserving some of its strangeness.) RM: Is your finger going to be separated from the rest of your body? MP: The finger will deal the body. The body am be (“am be” is of course, very bad English. It sounds like ghetto talk (“How you be? I be good.”) but is a little more like if an alien tried to speak ghetto slang. The meaning is “The body is a slave to the finger” Ideally the translation would have 2 one syllable words for the “am be” from 2 different and incorrect tenses of the verb “to be”, but perhaps you have a catchy alternative) a slave to finger as ma’am trek scribe space (so the meaning is “as (the finger) travels, inscribing space” i’m calling the finger “ma’am” a colloquial US southern abbreviation for madam, as in “yes ma’am”. Trek, like a mountain trek, “scribe” an incorrect abbreviation of inscribe. i like to use short words with sharp sounds -”k”, “t”, “p”.) in a bone drama, bib-to-bib (by “bone drama”, i’m implying a kind of drama that reaches to the core of man. best probably to translate it literally or with a slang term for bone. “bib-to-bib” is really just nice sounding nonsense, following through with the “b” of “bone”. but the word “bib” means the thing babies wear to catch food that falls out of their mouths. i suppose it’s a distant play on the expression “cradle to grave” but here it’s a progression from one type of infancy to another. the connotation is also, perhaps, “primal”.) foreplay to light (here correct grammar would have been to use the definite article “the” light, but i left it out). And if finger prods light (again i left out the definite article), will struct the light’s uppance to see-seem or make-seem. (by “struct” (not a word), i’m implying both instruct and obstruct, “uppance” refers to “comeuppance”: a deserved punishment, but here it implies RM (himself): Please stop it, I didn’t say that. MP: Ok, sorry, I’ll talk now. I was the host, and walked around facilitating interactions, making false introductions, and punching out holes on people’s behavioral scorecards like a train conductor slash drill sargeant. And tried to be a fucking curator. KINGSLEY AMIS KEITH ARTNATT ARTEMIO FIA BACKSTRÖM POST BROTHERS & CHRIS FITZPATRICK NATHAN CARTER & JONATHAN T.D. NEIL MARIANA CASTILLO DEBALL GUY DE COINTET GINTARAS DIDZIAPETRIS CLAIRE FONTAINE CHRIS KRAUS SARAH LEHRER-GRAIWER RAIMUNDAS MALASAUSKAS & MARIA DANIELA MICHAEL PORTNOY EMILY MAST JOHN MENICK JORDI TOVILLA DANNA VAJDA HERIBERTO YEPEZ PAZMAKER 9 RM: But this being the fucking curator’ is just a character too. How do you conceive your characters? MP: They start talking. Like Kiffy. RM: Kiffy? MP: Yeah, he’s a professor of comedy, he presents experimental jokes that he’s dug up or that colleagues have sent him, gives them long set-ups or play-by-plays and (a “set-up” is comedy talk for the beginning of a joke, or the premise of a joke, which sets you up for the punchline. a play-by-play is baseball or sports talk for when the announcer narrates step by step each move the player makes, “he kicks it to the left, he’s running, he’s scores!”) the jokes ain’t jokes but got the things jokes have in the wrong way-place. Smacks your goose on the chase, not the end. (“smacks your goose” refers to the expression “a wild goose chase”, i.e. a long chase with no goose (reward) at the end of it i.e. a long-winded joke with no punchline. so i’m saying in the kind;s of jokes he tells, there are all sorts of surprises along the way, not just one big surprise at the punchline, but that still the joke really has no point.) RM: What is your biggest goof? MP: It was the Super Bowl, like a hundred million people watching on TV, the Patriots versus the Panthers a few years back in Texas. I don’t follow sports at all, but a friend from the network was able to get me some special package, this crazy thing where you got to go in the locker room and talk to all the players before the game, so I dressed up like a real American and went in and chatted them up, joked around, and we locked the linebacker in a storage room... RM: Linebacker? a kind of eagerness of the light, to see or appear to see, or to make something seen or appear.) a battle, so it’s a battle between two awe-inspired killer, phonetic geniuses.) RM: What drives the finger? RM: What was your genesis? MP: Willy! The step-to-step willy-ways, (here “willy” refers to “will” but turns it into a little boy’s name) complicates (meaning “complications”, but in improper grammar) and obstaccatos (a combination between “obstacle” and “staccato”) it or the mind counters. You can not imagine how hard it is to point things out these days, or even to know what to point to. As long as the indexical function is held in an increasing state of tension, the seeing apparatus is suspended and glows, fed by its own knows (obviously here, “knows” is a grammatically incorrect abbreviation of “knowledge”, chosen to rhyme with “glows”) and intake folds. (“folds” is again chosen to continue the rhyme with “glows” and knows”. “intake folds” suggests the complex interior of a thing. The term is something an engineer or airconditioner repairman might use.”) Or as they say in your country, “The louder you shout, the better the theater.” This relates to done work I did on stretch him out, simple process-cesses, (this means: “This relates to work I did in the past on stretching out simple processes”. (identifying the processes as a “him”. By adding the “done” i am overstating, with bad grammar, the fact that the work was done in the past, like how an uneducated person might answer to the question “did you do it?” -- “i done did it.”, a combination of “i have done it” and “i did it”. ) came brought by Wise Men of Schilda who, to seem naff to on-tossers (naff and tossers are two borrowed British words signifying stupidity. “on-tossers” connotes “stuipid on-lookers”), did the simplest things in the most labor-ly illogical ways. MP: First it was whip words and sound, the whole mouth. (by “whip words” i mean words that have the power of whips. You could just translate this literally, or you could choose another punchy word for “whip” with similar connotation, and/or which has the same first letter as the italian word for “word”) Then it was nailing whip words and sound in drama tents, and but no room in tents. Naw. Had too many arms - arm roots come veins, come veins! Needed to move! So pure need is move! All the body in one body’s move. That’s so fucking contemporary thunder so fucking thunder! (In these last sentences it’s important to preserve the messed up grammar, shortness of words and abbreviated form of the sentences) But also while I was doing dance, I was doing stand-up for chicken tit, combed comic tit, (what i mean here is that i was doing stand-up comedy to make enough money to buy chicken breasts (“tit”) for dinner - so a dirty word for “breast” should be used, in the singular form. “combed comic tit” suggests that i combed through the tits of comedy, i.e. that i dug through the dirty guts of the art form) and then dropped me off right around the corner from Laurie, Maury, and Shlomo Gagosian. Art curls if you make felt steel and hunt it. (“felt” here refers both to “felt” the material and “steel that can be felt” Curls can also be substituted for a punchy “k” word that implies “bends” or “submits”.) Those kind of things. It’s all really about throwing people over a rug. Shit, no, throwing rugs over, past and over a people. Or like the rugs run past and back past their heads it’s been pulled so many times. I really really like being an artist and am so so happy for all the relations it brings and all those amazing, super amazing processes and most of my work is really really like that (<-- the beginning of this sentence should sound like an exaggeratedly stupid teenage girl) and putting lips on people and engendering things, totally total things, and making them play with that, and the frame! Fuck! I am the frame! And now I put you (“put” has the connotations here of “put you in your place”, “order you”, “put energy in you”, “sexually possess you” ) and put you on you in everything you do! Put this! Most overtly with the abstract gambling works. RM: To not approach the idea? MP: The idea is to approach a full, top connect from motion of finger (again, i’m leaving out the definite article “the”, for “finger” and wrongly abbreviating “connect” from “connection”, speaking like a Russian might), voice and the bones of drama. Willy! I’m gonna sing the balls, the moment to moment balls and steam of the finger, the diffi-cuts (here, an invented word combining “difficulties” with the finger’s act of cutting through space.) Like Milky Mouse (here Mickey Mouse is deliberately mispelled) singing his own cartoon. RM: As long as I remember, there is always this singing moment where it is not clear anymore what language you sing. MP: It’s gut. RM: You have a method? MP: I do! Grotowski, Bad Brains, Butoh and Golem. Ha! You wish! Like to list your muscles? Naw, (“naw” is the way some backwoods southerner might say “no”) not this ship. Naw, I’ve spread in people for dance molds (implying “i’ve spread my teaching over people in dance contexts”) and in a structor (again, an incorrect abbreviation of “instructional” combined with “structure” - the implication is “an instructional structure”) Fia [Backström] and I put on exchange systems. Specifics: relation between stock market and kill-and-carry barter systems (kill-and-carry is a made up expression referring to the expression “cash-and-carry” (i.e. be able to pay cash for something and then carry it away quickly), but here the implication is of killing animals and carrying the meat in a primitive hunter-gatherer culture, and the words chosen for their “k” sounds. so “kill and carry barter systems” would refer to primitive tribal exchange systems) and and tribal puts. (i like to use the “put”, because it is sharp and short and because it sounds like my greek friend maria when i ask her “can i try on this hat?” and she says, “yes, you put.” Here, i’m using “puts” to refer to things that tribal people put, or tribal customs. see also my last note on this page in reference to “put”.) Part put a full body phoneme rush between two awe owls, a kind of metal terror take on Waldorf eurythmy, scored to ticker signs of daily high performers. (i liked the way “awe” and “owls” sounded together. by “rush” i imply MP: Yeah, I forget what they do, but we’d made this souped-up Malcolm McLaren 1946 – 2010 R.I.P. RM: No. MP: They don’t? Oh, then I shouldn’t say what happened. CROSSWORLD ACROSS 4 A mixture of Berber, Arabic, and Northern African rhythms and religious songs that combine prayer, acrobatics, and Sufi trance music. 6 Originating from the Dominican Republic, this overly romantic music features arpeggiated guitar chords. 7 Sexually liberated hyper disco popular in UK pop, 80s Mexico City clubs, and San Francisco gay bathhouses. 10 Ballad music from Northern Mexico that often consists of 1) a salutation from the singer and prologue to the story; 2) the story itself; 3) a moral and farewell from the singer. 11 A sub genre or description of polyrhythmic and syncopated electronic music that crosses the threshold of the human drummer by fracturing the flow of time, altering the perception of the percussive act. 13 Syncopated ballroom dance music originating among Europeans in Argentina and Uruguay. It takes two. 14 This politically and culturally influential 70s rebuttal to soft/anthem rock refers to “fungus that grows on rotten wood, a term used more frequently in the United States than in Great Britain” or “a young male hustler, a gangster, a hoodlum, or a ruffian.” It has died many times. 16 Nigerian genre fusing Juju and were which sounds like a photograph of a Japanese mountain. 18 In the mountains of Norway, where the weather is cold, there’s nothing to do, except kill each other, and play guitars in the snow. excluding the scary paper make-up that they wear, they resemble ink and dagger, if ink and dagger had long hair. 20 This comedic yet abrasive hardcore scene often has the infamous “microsong,” with tracks that are only seconds in length. 21 Originally a term to refer to sensitive hardcore influenced rock, the term now is a broad description of whiny self-indulgence in youth culture. 22 “Soul calypso” known for its frenetic rhythm and sexy carnival aesthetics. 23 X-rated sub genre of dirty electo funk hip hop dance music originally associated with Miami that emphasizes the positive aspects of the posterior pelvic region. 24 Early 20th century Afro-Caribbean creole folk music originating in Trinidad and Tobago that employs complex troubadour storytelling and jazz. DOWN 1 African and Caribbean influenced British 2-step house music named for the smell its parties produce. “god made me….and I’m glad he made me that way.” 2 Both a place one puts their car and a subgenre of electronic music first associated with American paradise and then developed in the UK in the 1990s as a distinctive syncopated shuffling percussive rhythm and chopped up and time-shifted vocal samples. 3 This absurd form of Dutch hard house music is named for the slang word for “buddy” and known for its speed, up to 220 bpm. 5 A genre of hardcore punk music dealing with Islam and its culture. 8 Straight forward description for boring and groovy lounge music affected by the pull of gravity. 9 Either a favorite kids’ candy or a South African dance-pop genre known for its synth lines and its call and response vocals. 11 Jazz movement in late 50s Brazil influenced by Samba and European love songs known for its cool leisurely delivery. 12 Thomas Mapfumo made this politically and socially charged Shona mbira music famous. 15 90s disco influenced pop music from Poland that borrows from Russian folk songs. 17 Debussy played this ornamental and orientalist piano music. 19 An American music popularized in Cuban and Puerto Rican communities in NY that is a fusion of popular African American R&B and soul with mambo and son montuno. 1 2 3 5 4 6 8 7 9 10 11 12 RM: How do you think the type of gambling you introduce impacts the growth of character or a personality in general? MP: It forces character, Willy. My grandfather said there are two types of character: one’s the type that crawls up the back of your throat and reaches out the holes of your nose like some kind of lost bungler, mad as thumbs, and the other’s just a bucket of mold, skipping down the street. If it ain’t overgrown, don’t grow it. replica of his outfit and I got on stage, and they scream at you a bunch of commands and I was just trying to act like I knew what they meant, you know, 5 steps this way, hop to the left, and then I laid down on the stage, I’m sorry, on the field, and I started biting out chunks of the turf and then when the guys ran towards me I pulled this lever on the outfit and these super-sharp metal spikes rise out from underneath, like a huge porcupine! Like so even if they’d wanted to remove me from the stage, they couldn’t physically touch me, without a fucking magnetic crane. But then I blacked out! And if you look at the footage, I don’t know, do children read this magazine? 13 14 15 17 16 RM: Did your grandmother agree? MP: Excuse me? RM: The last time we saw you, in Amsterdam, it was in this workshop of porno script writing called the Human Intwist Group that you set up in the meeting room of a five-star hotel. You played this kind of jackass, hip advertising guy and as the participants walked in, all wearing nametags, as “Bill”, “Bob”, “Barb” or “Bell”, you greeted us as members of your firm. You served us Armagnac and said we should have a nice time, but that we just got a big new client, an airline, who wants us to come up with a series of porn films that would be set and shot completely inside their airplanes. You set us up in groups of two and we devised porn films in specific genres like mistake porn, ambiguous or “fog” porn, pedagogical porn, minimalist porn, dry porn, waste porn, creole porn and crypto-absurdist porn, the genre of our film determined by the combination of our new names on a grid. After 20 minutes we all stood and presented our concepts and the one voted the best got to take home your wife, or rather, walk her home. MP: Your point? 18 19 20 21 22 23 24 (POST BROTHERS)