what do we want to care about?
“That Yasusadaâs “false” presentation proved to disturb and scandalize a small corner of our culture at centuryâs end is, it seems to me, perfectly appropriate and precisely to the point of the workâs force and meaning. After all, is the matter of nuclear omnicide and everything it implies in terms of our collective psyche a tamed and settled matter?”
a brilliant interview with Kent Johnson conducted by John Bradley
the background here
quote: “even, when there are signs in red-ink all over the window that say “what you see through this window is not real,” the viewer ignores the signs, and looks on uncritically, enthralled. So the question arises as to what it is the viewer is seduced by, drugged by, before coming to the looking-glass. Itâs a serious question when it comes to the whole troubled issue of “witness,” “
from the interview here
quote: “ imaginative treatments of Hiroshima or the Holocaust extend the work that only actual witnesses can begin. And it must be extended.”
And: “ if we circumscribe formal or presentational boundaries for its practice and expression, we effectively say that testimony and remembrance have a limit“
AND: “For Motokiyu, again, the strongest and most sincere “reality” he could attain was through the creation of the most real human character he was able to imagine– one with rough edges, bad language habits, quirky sexual predilections, deep longings for his loved ones, unresolved feelings of anger, strange flights of ironic humor, instincts of compassion and generosity, embarrassing spells of confusion, stumblings into pettiness and egocentricity, unusual tastes for the foreign, etc.”
finally – not finally, the Yasusada is beautiful – : “Our collective, pornographic preparation for mass death canât be explained without the undertow of Thanatos, always pulling at our toes and teasing, teasing us toward the ultimate snuff-flick our common body would star in, so to speak.”
textured passages features work by Jo Larkin, Simon Taylor, with the addition of Shima and the intrication of Minus Theatre. The passages are held together by a shared love of texture, the imbricated textures of individual lives, the texture of events in time, the texture of history and chance, of languages, bodies and of music, the texture of images, movements, pulses and of empty space.
Minus Theatre’s textured passages extemporises with music and text. The performers each found a text they felt a strong connection to: Chen Chen‘s piece, in Mandarin, poses a philosophical problem about transformation and identity; Jeffrey Gane‘s piece is a love poem in English; Lisa Greenfield‘s piece comes from a film quotation in English; Jaci Gwaliasi‘s piece takes the lyrics of an American song; Maria Kim‘s, in Korean, tells a story of captivity; Natalia Spreys‘s tells a witch’s tale in Russian; I chose an English epigram. These texts are performed, for the two shows, on Monday 8 Sept. at 6pm and on Friday 12 Sept. at 6pm, either for the words, if it is to them the performer feels the deeper connection, or for the sense, if to this the connection is deeper. These texts hang in the gallery in their languages of performance. We have treated music as another language, alongside the natural languages spoken and the ‘made-up’ language of theatre. Instruments used in performance, some of them purpose-built, are on exhibition. The soundtrack for the exhibition is by Shima (Michael Ferriss). Thank you for attending.
(Minus Theatre is on Facebook, pending an independent website.)
towards positive outcomes in the cultural sphere, in cultural and artistic institutions, including educational institutions where ‘art’ and cultural production are taught
Let’s be frank with each other, in the cultural food chain, “direct producers” have become completely irrelevant. What’s important is that cultural stuff happens, and that it is managed: Publishers are important, not writers; galleries and curators are important, not artists; literary festivals are important (events that prove something is happening), not the writers who participate [; academic conferences, symposia and colloquia are important, not the researchers, academics and critics who attend].
– Dubravka Ugresic, Europe in Sepia, op. cit., p. 224
the vacuous repetition
of an incomprehensible text
its magical power
and what your cellphone,
tablet, notebook, laptop,
desktop, TV – every screen
in itself a vacuous repetition – what
every screen repeats
(out of what used to be a
in its vacuity,
what every media device, recording apparatus
and what every video, moving image, clip, film and movie
in every medium, codec and code
on every media platform
is the mad spectacle,
the crazy mess,
only increases its
Wave your cellphone in the air! You’re a hero! You caught everything on camera! You got everything on tape!
but what does it mean?
and what does the meaning
here’s an article asking
and here’s a video