Note- Yesterday and Today

Yesterday a new labor law passed urgently from the Greek parliament. It annules several fundamental labor rights as we knew them in Greece for decades.
For example:
- Each business can make a special contract-agreement with it's own workers, paying them less that it is required by the contract-agreement between businessmen and trade unions of workers of a whole sector. Practically the agreements between businessmen and trade unions of each sector are annuled. Practically there will be unions only (apart from the general confederation, of course) at a level of each single enterprise (where the workers are fewer and less powerful, than the total of workers in a whole sector of economy). This will have an immediate effect at wages in the private sector.
- The provisional period of work is raised from 2 months to 12 months, 1 year. That means that a boss can fire a worker after 1 year without giving him any redundancy pay.
And several other harsh neoliberal changes both at the private and the public sector.

So after London and Rome, today, in Athens, Greece, at the General Strike, we had wild clashes between protesters and police.

They are maybe the wildest clashes since the "troika" lenders (IMF, European Commission, European Central Bank) took over the control of the economy of the country, this spring, because of the debt crisis. Although the participants in the demonstration were probably less, the clashes were harsher than those at the 5th of May demonstration (when 3 employees of a bank were accidentally killed by rioters).

Molotov bombs were thrown to the anti-riot policemen guarding expensive hotels, close to the parliament. Similar attacks occurred in many places in the center of Athens. 2 police motorbikes were destroyed. An ex-minister (of the opposition right-wing party that ruled from 2004-2009 and destroyed the economy, while changing the statistics to deceive the people and the E.U.) was beaten (video) (photo) by people who saw him in a street in the center of Athens. Workers and anarchists, returning from the demonstration, tried to occupy the offices of the General Confederation of Workers (which is controlled by well paid professional "tradeunionists" affiliated to the ruling "socialist", but extremely neoliberal party), but were prevented by the anti-riot policemen.

The police made extensive use of chemical gases. (bought by Israel). Lots of people have been beaten.

Till now we don't know the exact number of people arrested and injured.

You can see some images and videos here:


These were the second clashes of this week. Residents of Keratea, an area outside Athens, are clashing with anti-riot policemen for 4 consecutive days, protesting against a new waste dump in the area. Not only molotov bombs but also gunfire (at the air) was reportedly used by the local residents. The Greek Police for the first time made use of a water-cannon vehicle.
Some photos ot these clashes here:

Meanwhile scores of prisoners are on hunger strike in Greek jails because of the conditions there.


One @ http://www.sotoso.org/a/a/imgboard.htm

I was not offended when you looked at me and I realized that there was no one in my place to look at you back. I comprehend. Seriously, I have strange feelings about the different wars that are going on in the universe and I am ready to take some action, very serious action. No jokes. This is not some kind of whatever mechanism that you find in a shopping mall or you fish from the pockets of extremely annoying weirdos while they’re sleeping. Flowers in the middle of the unspeakable, caramelized news behind curtains in front of other curtains and all of them become layers and some kind of onions that all my friends talk about; it’s over for my cup of tea. It is empty talk. We got used to talking with our fingers or pretending that if I wink, you will get what I mean, but I want you to get something and if you think this is a problem then you have an issue, which a dentist can take care of. First of all it is about the dogs. Something went wrong with the dogs in the mastermind cities and all of them have their own leashes. The parks are brighter, too many lights to keep any secrets, the smoking is not permitted and all of us we have one particular something to take care and especially ourselves. Then, I missed all my friends in a well-established university. I’m bored and I don’t know why. I never have enough money to go up and down anywhere. The issue here is that no one, I’m telling you no one, is going to take care of you. Just think about it when you look at me;

Georgia Sagri


Opening and Performance Dec 11th 2010 8-10pm @ SOTOSO, Brussels http://www.sotoso.org/a/a/imgboard.htm



Violence is not taken, is acted up at the moment of the oppression. In order to take it back you need to be a part of violence at the moment of the oppression. If you are not a part of it you are in a life in which you don't have any desire to take anything back.

Community in a state of civil war is a false community. What that means? It means that a subject in a state of civil war can’t be part of a community. A subject in a state of civil war will always be in a state of emergency. The community in a state of emergency is always formulated within the community for reasons of survival. There is a distinction then between the subject of survival and that of life. The subject inside the community for reasons of life is to create the conditions of forms of life and not the conditions of survival. Life forms are not waiting from someone to name them as such. So, in a way life forms only exist in the presence of non-identity. How we can talk about a political subject without identity? How we can name a party when there is no one to identify it as such? A community for reasons of life owns such complex regions that it will be hard for someone to give them a distinctive name. What would be then interesting here is not to focus on the question of name but how that community can maintain its complexity so no one will be able to name it. Complexity here is not a construction or a refusal of construction of an identity but the creation of life forms that can maintain their particularity. On the first book of Plato's Republic, Socrates says that injustice causes civil war and by a civil war even a single individual is incapable of achieving anything, because he is in a state of civil war and not of one mind; second it makes him his own enemy, as well as the enemy of just people. How then we expect the creation of community in the state of civil war? What kind of community that would be? Are we interested to examine, to follow strategies and to create community in a state of civil war when we know that even as singularities we are enemies of ourselves, even when we know that our communities will fall into patterns of survival by creating them in a state of civil war? Are we interested to imagine forms of life outside the environment that creates them? Is it useful to think of that ? why ?

civil war

humanity against economy
economy against technology
technology against nature
nature against the earth
earth against the galaxy.

The governmental politics is a construction. Construction is representation. In order to have something out of the state which is a stage of the image then we need to realize that the subject is part of that stage as well. The subject although in display must be able to create life forms. What is that outside the image? Is it creative to think outside of the image? What about virtual reality and telepresence ? It is interesting to consider cross-sensory explorations between stereo visual imaging and auditory dimension. After images. Thresholds. Physiological resonances. Acoustic spaces of felt sound phenomena, experienced eithersubliminally, or making recognizably direct physical resonances to the body. Composite mental images of immersion in space, as in stereo vision; direct physiological experience of an acoustic space, as distinguished from the perception of an acoustic space, aurally, as "image."

Those thresholds inside the image are images. The thing that makes them different is that they don't exist topologically and they are constantly changing dimensions and users. There is no separation between who is producing and who is consuming. Composition (production-consumption) throws a party every night and there will be soon no institution to prevent where, when and by whom this may happen.

Time issues might sound banal for some.

Real and symbolic become the same in this variety of praxis. Ideas become commons and exist in multiple spaces. Can still mathematics count the flow of those different spheres? Free mathematics, counting systems and pressure measures will be the next important concern.



For rhythms
If you don't know the way
you can clap your hands and
figure it out.
Then maybe you can set
a song
Make a beat
loop it for millions of times
and sing words
Things you see around
Two snickers
A hug
The appliance electronic giants
and a backpack
You let the sound be
and you can just leave.


Note- I thank the city who

My friend Stefanos died and I thank the city that remains the same. I can walk on that corner we talked this dream and argument and I can stay there for a while and it won't be so hard to say bye.


why are some people hot in clothes? - for Stefanos only-


animal nudity are not going to address this issue, instead they are
going to celebrate the once (scantily) dressed kelly lebrock this
saturday at cakeshop. a FREE concert for ALL ages with 25 bands being
all geeky and amazing. at the strike of midnight get ready to
experience "weird science" as you've never seen it before with sounds
provided by hells hills.
the international KELLY LEBROCK'S bday invitational w/ 25 bands, each
playing 10mins.

animal nudity coming on stage at 10.50pm.
see full lineup at

animal nudity currently consist of stefanos tsigrimanis (guitar) and
performance artist par excellence georgia sagri (cello). the two of
them have never played together before and have vowed to destroy any
evidence of their upcoming performance so that they can claim the same
thing for future events. they are both theoretically entrenched in the
concepts of amnesia and improvisation. expect nothing less.

152 ludlow st.
kelly lebrock bday celebration, sat 3/24, 8pm - midnight


set yr alarm clocks, mark yr calendars, tattoo yr forehead if you will: animal nudity at club midway, next thursday, 4/26 at 9pm.
ear-splintering moments of ritualistic silence and sprawling improvisatory excess for guitar/cello/voice.
animal nudity are stefanos tsigrimanis (guitar) and georgia sagri (cello, vox). they promote forgetfullness and they advocate the institutionalization of sesquipedalian verbiage as the next step towards amnesia. they like reading and being read. expect nothing less.
a video of their last performance can be found at: www.myspace.com/animanudity
club midway, thursday 4/26
25 avenue b, btw 2nd and 3rd
sean mccaul, 10pm
animal nudity, 9pm
top down, 8pm

animal nudity's final appearance for this year at one of nyc's most celebrated dens of iniquity: siberia.
a video of a recent performance of theirs can be found at www.myspace.com/animanudty.
animal nudity, 10pm
356, w40th st,, btw 8th and 9th
$8, 21+ w/ID

Exodos- 13/9/2010

The demand is made by the movement of the mirror reflecting the parliament, the city, the passers by and the faces, the buildings' details and the streets.


Note -exit, virtuosity and revolution: the political theory of exodus, Paolo Virno

"Nothing is less passive than flight. The "exit" modifies the conditions within which the conflict takes place, rather than presupposes it as an irremovable horizon; it changes the context within which a problem arises, rather than deals with the problem by choosing one or another of the alternative solutions already on offer. In short, the "exit" can be seen as a free-thinking inventiveness that changes the rules of the game and disorients the enemy. One has only to think of the mass flight from the factory regime set in motion by the workers of North America halfway through the nineteenth century as they headed off to the "frontier" in order to colonize low-cost land. They were seizing the truly extraordinary opportunity of making their own conditions of departure reversible."

ok, but is it possible to act as if you are outside the action? how can you construct action already being outside of it? To depart from, means that you are already part of something or you are somewhere that you depart from. The possibility of the action of exit cannot create space which you can depart from. The question is who makes the space that you depart from. Is it the same one who makes the space and he/she departs from it? Is it a different kind of departure when it is a space of your creation or someone else's ? When is the right time of departure when the space you have made it's already made as a space of exit?



we want to be part of a conversation. i don't want to be part of any conversation. it is not about i tell you something and then you buy it or sell it at the end. it is about you tell me something and then i sell it at the end. it is not about closed dialogues. it is only about closed dialogues. as artists we can't still think we are out there just to sell our stuff. as artists we are out there to sell our stuff. collaboration is just simple as that. collaboration is complicated and tiring and by the way i hate this word. collaboration is beyond ego, creativity is owned by everybody and not only from creative people. collaboration is only about ego and creativity well we are going too far. you have to get over yourself and stop assuming you are some genius and that everybody is an idiot and you have to collaborate with everybody, with peers, with people you have no common language, with groups coming from different cultures and fields. i don't want to collaborate with anyone and you are an idiot. art can't be outside of the conversation and artists can't still think of themselves as special people. i am more special than you think i am, do you want a kiss? reality runs faster than any artist's idea. reality doesn't exist anyway, do you want a kiss? i can't waste more time to think of another art-project, i prefer to participate in terms of reality not art. Buy all my wasted time and i will not care if you participate or not.



Landscape with Diogenes, Nicolas Poussin, c. 1647, Oil on canvas, 160 cm x 221 cm, Musée du Louvre, Paris

"According to one story, Diogenes went to the Oracle of Delphi to ask for its advice, and was told that he should deface the currency, and Diogenes, realizing that the oracle meant that he should deface the political currency rather than actual coins, traveled to Athens and made it his life's goal to deface established customs and values." The difficulty of the prophesy to Diogenes lies in the fact that the alter of the currency, refers to the change of the political currency and state currency but also to the actual face of the coin. With the current socioeconomic chaos seems that the prophecy is solved because the currency has no face anymore. Economy acts out through fiat money, let it be done money. Money counts time and only, time of exchange, time of investment. The central image on the coin doesn't exist, the superior face is gone and we don't believe in it; and if we have any memories or symptoms of belief they count nothing. We are sure now, more than any other time that capital exists in its own world, in its own time, acting out capital. Diogenes was a living example of another possible political currency but he didn't amend the face of the actual coin, the currency itself. I wonder at the current political and economic situation without thinking the "coin's" altered symbolic, material and representational state we will end up talking and acting politically although there is something more drastic to be done. In order to alter the political currency we need to think of it in connection to the changed currency. We cannot distinguish those two. If the face is already destroyed then our work is to make time, separate of the entropy of capital and political examples.

Note - The Open, Man and the Animal by G.Agamben

"..Every environment is a closed unity in itself, which results from the selective sampling of a series of elements or "marks" in the umgebung*, which, in turn, is nothing other than man's environment. The first task of the researcher observing an animal is to recognize the carriers of significance which constitute its environment. These are not, however, objectively and factically isolated, but rather constitute a close functional- or as Uexkull prefers to say, musical- unity with the animal's receptive organs that are assigned to perceive the mark (Merkorgan) and to react to it (Wirkorgan). Everything happens as if the external carrier of significance and its receiver in the animal's body constituted two elements in a single musical score, almost like two notes of the "keyboard in which nature performs the supratemporal and extraspatial sympony of signification", though it is impossible to say how two such heterogenous elements could ever have been so intimately connected.."

*the environment-world that is constituted by a more or less broad series in which we see a living being moving


GOLD, 2010, Athens

Gold hath these Natures: Greatnesse of Weight; Closeness of Parts; Fixation; Pliantnesse, or softnesse; Immunitie from Rust; Colour or Tincture of Yellow. Therefore the Sure Way, (though most about,) to make Gold, is to know the Causes of the Severall Natures before rehearsed, and the Axiomes concerning the same. For if a man can make a Metall, that hath all these Properties, Let men dispute, whether it be Gold, or no?

Note of 2007 / HYMBRO, 2007, performance, installation, video, sound, Fisher Landau, NY

HYMBRO / Featuring: Eric Angles, Ronnie Bass, Kerstin Bratsch, Mira Dancy, Debo Eilers, Allison Katz, Adele Roder, Davis Rhodes, Sara Stracey, Nic Xedro

The installation stimulates a company’s booth. The performance tendency is to use and connect two notions, which underline the big crash of the 30’s and the oil crisis at the end of the 70’s in order to come up with a new character that corresponds to those two but at the same time formulates it’s individual need at the present moment. The installation consists of a small concrete stoop that is two steps high, an 8’ vertical wooden panel, a table and a chair. The panel, table and chair are painted light green. This installation is intended to provide the space for several actions and characters to exist. The main character first presented the fictitious company HYMBRO during the opening of the 2nd year MFA show at the Fisher Landau center for the Arts. This character was a sales person who was 'as if' hired by the company HYMBRO to expand and sale time. The following is the sells person’s script: We expand the time There is no visual there is only time And we expand it for you, with you We know it We all know it That there is no visual There is only time And we expand it For you With you I know it You know it We all know it That there is no visual There is only time Who expands the night Expands the time And we do it For you With you We expand the time Inspired by musical cinema of the 30s, punk attitudes of the late 70s, and selling gestures of Wall Street, I composed a series of movements that were mostly focused on the hands. The sales person’s slow clapping could signify the expansion of time. A fast repetitive movement of one finger could signify a sale. During the performance the action was split into two parts. The first was of the character producing music and recording the predominant lines of the script. The second aspect consisted of the composed song looping as the character moved about the installation with gestures and rhetoric of sales. As the performance progressed, the monologue became more assertive of the company’s aim and philosophy. Some aspects of the speech began to loop in the recording as well. During the performance the character would reposition a video camera, recording details of the set and cropped images of the particular repetitive actions and hand signals. This documentation was edited with textual graphics and was later used as a promotional video for HYMBRO. It was projected on to the standing wall of the HYMBRO installation and played throughout the duration of the exhibition and consequently during the other performances.

First is the idea of exchange and how this idea can take various forms starting from a symbolic exchange, to a wishful function of commodity, to the absolute abstraction. Marx noted that money, liberated from the metal in the form of paper currency becomes a pure sign. “Scientific reflection” gave rise to an information technology that enabled the abstraction of the money sign even beyond paper; in becoming software that can be sold over and over again, the concept itself becomes currency.
Second is making up a word, which will signify, a company without character, and that will be the fiction of this project as I ( hired by the company) will be responsible to find its character.
Third will be to create a set or a meeting point where those activities of investigation will take place.
Fourth will be to make notes and come up with a final element or conclusion of this research, which it may happen during the process of the whole event.

The third section, which is the visual aspect of this project, is an installation that includes stairs made out of concrete, a panel that it will function as a place of display/projection and a table where several operations of recording, reading and making of music for the actions will be produced.

stock market crash
Oil crisis
'whatever' crisis

Story telling
The steps
Why asking to receive a tiny object, tiny friend’s object
Make up a story for them
It’s almost impossible to ask
Possessed by the gesture and the object itself
Making of a story
What is reminding me
Wim Wenders
When the world looses its storytellers
It looses its childhood
A child’s play
The moment that something is signified as such then it becomes this, and it’s real.
IS This work about reality, realities?

Probably is a stupid idea, when you follow a specific strategy over another form, the possibility of coming up with something that stands for its own is almost impossible.
Through constant observation and then reconsideration
there are more than one plans in any structure
In order to come up with something that will effect those different plans and reformulate the structures, understand them, read them
What kind of stories/objects you can bring to the world?
Unmonumental, at the New Museum, a show of the pedestal. Again a reminding of an ended history. Being at the archeological museum Props of the no-revolution Hugging from the ceiling To paint is to touch the touch. How much effort your gesture has?
How much do you want to make a move? Probably there is not only showing up of technique (what performative is) of the constant tourism, the consumer of 9,99 cent shops
Material has lost its effect.
And really doesn’t matter
Are there any Politics of action?
Arendt’s point, crucial to understand how human freedom is experienced and can be preserved is that there are two fundamental types of thinking about politics, of defining politics. On the one hand, you can think of politics as government, domination of some people (one or a few or many) over other people, requiring the threat or use of violence. On the other hand you can think of politics, as the organization or constitution of the power of people have when they come together as talking and acting beings. Here her emphasis is on preserving the peoples’ power in a constituted government: potestas in populo
For the concrete steps
The between space of building’s front steps
Not yet public
Not yet private
I would think that as a mode
The front steps is a meeting place where any kind of situations exist between public and private is the opportunity to wait to watch to hear
To imagine Imagination is possibilities Hope is a word that I like to think of
No more comments


Can I tell
Can I be with you, a minute
Can I talk a language when comes to
Instant action
The Hysteric

The voice


The objects I received for the making of the performance are not for display.
They function as propositions. The making of a company. HYMBRO, no meaning word, as all companies it will underline what kind of gestures the subject, the character has this ready made subject, at the steps, will have.
Artaud’s idea of language on the stage:
The code language and the musical notations in order to compose symbols that will be precise and immediately legible. The idea of attitude, the gestures can be found in those objects.
A piece of paper with lines, forms and colors can inscribe a way of moving fingers or saying a word a tone higher or lower.

Similarity, the ten thousand and one facial expressions captured in the form of a mask.


Different extensions
The painting, the miniature, the gesture, the action, the singing, the lights
We are not free and the first thing that theater can teach us is first of all, that.

I asked for contribution.
I don’t want any other text than the text that has already given to me.
Those miniatures are texts.
The instant translations are also part of the text.
They are made for this translation and it was about time.

I will agree at this point with Kaja Silverman's statement on analogies. An analogy that is not logical but ontological relationship. Its not a correspondence from 1 to 2 but a correspondence to one thing with another thing. It can involve two things together in an ontological kinship, or overwhelmed similarities.

The objects base
And the platform
The story is before


SUKU LIVE 12/6/2010







Note- Pier Paolo Pasolini

No desert will ever be more deserted than a house, a square, a street where people live one thousand nine hundred and seventy years after Christ. Here is solitude. Side by side with your neighbor, dressed by the same department stores, clients of the same shops, readers of the same newspapers, viewers of the same TV shows, it is silence. There is no other metaphor, for the desert than everyday life: and its silences are internal. It is one blessing of peace. But peace is not always better than war. In a peace dominated by power, one can protest by refusing to exist(...) (p. 35-36)



I hate vampires
Lately there have been bunch of them around
I don't mean to be aggressive but
Sometimes it just happens
I don't believe in the spirituality 
Of anyBody
I am not vegetarian either
I was once 
and it felt I was thinking too much
The body
is movement-image
Four dimensional
So, it is not flat
It is changeable 
It travels
And it
So, I don't need to exercise a lot
Writing again
From what it was written
Speaking again
From what it was said
And later finding something
to work with
With the facebook friends
Invisible qua visible in the moment
Surviving and vulnerable
As it can be
What its skin is able to sensor?
Urban environments 
Network communities
From what the body is made of?
Abstract signs
Upon translations
Speakers or microphones

made by 


Marina Abramovic Toy, 2010

Note to NY

Hello NY,

You look very very pretty today
I like the way you smell, some kind of a perversive sticky little thing in the air
and the trees are greener and the chicken ready to go
I like it here on the bench when i lean on the side and i catch a side of yours
returning home, one or the other, closer is a dog, further away a black bird
one's plastics left over, nails holding dirt

If you promise me you'll stay pretty i'll stay more



When I use the I in my notes it doesn't mean that my notes are personal or refer to me.
Also, that I doesn't mean one I, my I and only. The notes are texts that carry a certain function because they depend on another text in order to appear. In comparison to any other form of written text the note can be found stuck on a fridge, it can sometimes be a doodle, one sentence, fragment of thought written parallel to a printed text inside a book, in a magazine, on a receipt, on a staple. Notes are peripheral texts that add, erase, make comments and file. The underlined text in a book is also a note. When you read and you exclude a passage from the whole by underlining it, most times you are using a pencil or a pen or these fluo markers which I remember liking when I was little, but at that time I was underlining everything. Anyways, similarly when I have a fragment written here, it is an underlined text taken from a book or a magazine or it is a text I found somewhere, maybe I can call it underline instead of note. Well, hm, I'll keep it with this name for now. The note name.


Note/ Guy Debord/ Howls for Sade (fragment)

Voice 2: We were ready to blow up all the bridges, but the bridges let us down.

Voice 1: Twelve-and -a-half-year-old Madeleine Reineri, who under the stage name "Pirouette" starred in the Alpes-Grenoble radio program Happy Thursdays, threw herself into the Isere River.

Voice 2: Mademoiselle Reineri of the Europe Quarter, you still have your wonderstuck face and that body, the best of promised lands. Like neon lights, the dialogues repeat their definitive truths.

Voice 1: I love you.

Voice 4: It must be terrible to die.

Voice 1: See you later.

Voice 4: You drink far too much.

Voice 1: What are childhood loves?

Voice 1: I knew it. And there was a time that I regretted it very much.

Voice 4: Whould you like an orange?

Voice 1: The beautiful breakups of volcanic islands.

Voice 1: In the past.

Voice 4: I have nothing more to say to you.

Voice 2: Once again, after all the untimely answers and the aging of youth, night falls from on high.

Voice 2: Like lost children we live our finished adventures.


Note/ if i was to make movements for this text i would love to be the door

1. Configuration of the Room Entrance

1.1 Entrance to the room is made more difficult by the need to negotiate six steps.

1.1.1 The steps lead 'upwards', to a 'higher' plane.

1.2 The door is located on the stairs (second step) This poses a further, but not the final, difficulty.

1.3 Blocked by the risers, the door only opens outwards, away from the stairway, much like those pivoting barriers, at certain border crossings that are set up against concrete blocks, so they can only open opposite the direction of travel.

1.3.1Opening the door forces one to take a step backwards, down on the first step


The Poetics of a Wall Projection
Jan Turnovsky



When you are back lingering me from the point of question to the question mark I am out. Your ceiling demonstrates suffering and I can't stand watching it. I closed the door behind, it is the same morning. You are asleep and I am counting stars. Animals in diagrams, thinking ways of shrinking. Hold my throat/stab my back/squeeze my nipple/scratch my ear/bite my fingers/ lick my head/stand on your feet/fall down/ all/ tender kiss me/glue me on your chest and try elsewhere. This is how the night unfolds and now I only see the question marks.

There is no certainty, we are words; the closer i look at you, the further away you move, the closer you look at me the further away I move



There is a particular thing I enjoy using only my portable computer or any random computer to make something. First of all I don't need to set up again and again a kind of a personal environment in order to focus. When I switch on my computer my environment is in front of me and it is waiting for me. When I use a random computer I can very easily set up an environment by uploading files from my hard drive, from dvds and documents out of my email account. On the screen I have folders, shapes and ideas. I don't need to go to any store, wonder around, searching for what I need and what it would be useful for me to use. Archives, articles, folders, staff in general are such a complicated thing. You need at least a permanent address to own shelves and a room to have pencils, folders with images and heavy duty books. But if you don't have specific address, if you don't find it appealing to work full time jobs to pay the rent and if work is not one of your favorites, maybe you just end up hung out here and there. The other day I went to the Pearl, the art store on Canal street, and I felt so confused. All this brushes and paints and things I didn't know why I had to get even one of them to use. There was this red pastel and it was another red beside it and then another and another. They looked so much the same the one beside the other and it didn't make to me any difference if they differ even a tiny bit as they were on the same shelf with the similar uniformed labeled template, it made me nervous even to watch them. Then, I thought well, in order to spend time with them and figure out their differences and how to use them, I had to either buy them or steal them; and then on top of that I needed paper and bla bla bla and I forgot why I needed to put those reds on a paper in the first place. I will do the test on a blank document see the differences and figure out how it does it and if it does something I will save it and keep it on one of my folders. Maybe, not necessarily soon, perhaps at a particular moment, it will become something.
Possible a copy, there won't be any bricks if you wonder what is behind the curtain, it might become three or four dimensional. It could be made out of a material which possesses fast appearances and disappearances. What kind of material would that be? Digitized signals, waves, electric colorful pigments of movement; and meanwhile, until my file will shift dimensions, I can choose to do nothing.


Note (Aristotle from Poetics) and questions

Story Line

A perfect tragedy should be arranged not on the simple but on the complex plan. It should moreover imitate the actions which excite pity and fear, this being the distinctive mark of tragic imitation. It follows plainly, in the first place, that the change of fortune presented must not be the spectacle of the virtuous man brought from prosperity to adversity: for this moves neither pity nor fear, it merely shocks us. Nor, again, that of a bad man passing from adversity to prosperity: for nothing can be more alien to the spirit of tragedy; it possesses no single tragic quality- it neither satisfies the moral sense nor calls forth pity or fear. Nor, again, should be downfall of the utter villain be exhibited. A plot of this kind would doubtless satisfy the moral sense, but it would inspire neither pity nor fear; for pity is aroused by unmerited misfortune, fear by the misfortune of a man like ourselves. Such an event, therefore, will be neither pitiful nor terrible. There remains, then, the character between these two extremes- that of a man who is not eminently good and just, yet whose misfortune is brought about not by vice or depravity but by some error or frailty. He must be one who is highly renowned and prosperous.
A well constructed plot should therefore be single in its issue, rather than double as some maintain. The change of fortune should be not from bad to good, but, reversely, from good to bad. It should come about as the result not of vice but of some great error or frailty, in a character either such as we have described, or better rather than worse. The practice of the stage bears out our view. At first the poets recounted any legend that came in their way. Now, the best tragedies are founded on the story of a few houses - on the fortunes of Alcmaeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, and those others who have done or suffered something terrible. A tragedy, then, to be perfect according to the rules of art, should be of this construction.


What is the role of the chorus in the drama? How does the chorus follow the character?
For performance art, the drama is already staged and the performer returns the role of the audience to the audience, by embodying different states of spectatorship.
The performer is a spectator, meaning she is already part of an ongoing spectacle that she responds to. She is a part of the spectacle, she is not outside nor inside, she is already a part of it.  Does then a performance piece need a plot? No, and that's what makes performance art different to theater or any other performance (music, dance, cinema) because it mostly demands the performer's actuality and truthful response to the ongoing, present drama, life as it is.  It is the way chorus responds to Oedipus or speaks the secrets of Antigone. If life as it is, it is already a spectacle, her response to the main characters turns flat. The chorus is the agora already on stage. This is how it is and it is part of the performance to show that there is a way that this body, our bodies on stage, can take responsibility for the acts of the main characters, the rulers of the drama. If there is something to focus upon now it is the making of that body, how to awaken it, how to create the language and the movements that speaks, and how they can be activated.
Is it possible to understand that there is no separation between drama and real life?
If everything is spectacle including our own bodies what she wants to show is that she still can receive as if for the first time and the gestures will be of that exact moment. The gestures cannot be fully prepared yet cannot exist without ground, without memory, a memory of reality. They can't be from something personal, as they will limit her focus, but they can't be without her heart because that will limit her expressions. The choric body, khoriko soma, which occupies but doesn't territorialise, which speaks out truth, undefined but specific in movement.
Some performances want just to add another layer of spectacle on the existing one by using the same  violent, grotesque tricks. Others assume that violating the body will give examples of how spectacle can be harmed but in the end they only achieve alienation. Some want just to comfort themselves and all of those around them, to make them forget, to make them sleep a deeper sleep than they are already in.
As, I understand it, there is not an either or not, there is neither against or acceptance, but response. Response maybe replaced with the word come back or feedback but maybe it is not the right word. I am using this word without the reactionary root which it carries, but well, this come back, this response, the feedback, has nothing to do with tricks and examples. It is immediate and it is actual and it is disturbing how more actual it can be.

So when the performance starts?
Does it end?
Does it need to be good?

For the witch, ruptures come in time and out of smell.



Hi flower
under the shadow
there is a flower


Mona Lisa Effect / EMΠΡΟΣ, 2011 ongoing

Note (from Cocteau to somewhere of less loneliness)

From Cocteau

Free to choose the faces, the shapes, the gestures, the tones, the acts, the places that please him, he composes with them a realistic documentary of unreal events. The musician will underline the noises and silences.

to somewhere of less loneliness

Free to choose the faces,  the shapes, the gestures, the acts, the places that please us, we compose a realistic documentary of unreal events. We are actors and at the same time composers and we will do music which will underline our noisy and silent acts.

Note (Cixous)

She must write herself because this is the invention of a new insurgent writing which, when the moment of he liberation has come will allow her to carry out the indispensable ruptures and transformations in her history, first at two levels that cannot be separated.
a) Individually. By writing her self, woman will return to the body which has been more that confiscated from her, which has been turned into the uncanny stranger on display- the ailing or dead figure, which so often turns out to be the nasty companion, the cause and location of inhibitions. Censor the body and you censor breath and speech at the same time. Write your self. Your body must be heard. Only then will the immense resources of the unconscious spring forth. Our naphtha will spread, throughout the world, without dollars-black or gold-nonassessed values that will change the rules of the old game. To write.
An act which will not only "realize" the decensored relation of woman to her sexuality, to her womanly being, giving her access to her native strength;



By this drop of your blood, I can see through your dynamic impulse. All the murdered lips mark hollow stars. With sparked arch and sparked ankle. This is this. If you like it. Dig me with no end, more inside. continue repeat. The thick painted red, which was always sweating by our enormous humidity, needs no detailed explanation. Zoom in. She and He speak in reverse.


Excuse me..
blue background
hands and feet in opposite directions

She is strange, with short hands
different when standing on her toes
the triumph of youth

Reject habits

run with me
faster than beauty



Constant rejection of preservation,
without others there is no survival-the ecstatic is not immanent
Not out of dialectics, out of absolutes
Letting go
To detach
the time is the concept of itself
Dialectic without completion, a shape outside the seen, the form can only be presence
The face cannot be plastic
The otherness of other cannot be form
Strategy and hiding
At once two and in a distance

to arrive at a scene
to assume shape
shape is not matter
it derives within itself
time again that defines any given shape

Try alternatives alter alternatives


This is a party, Athens/NY, 2007

Where are we my friends?
We are nowhere
And we are here again and again
I feel how real you are
Open mouth
No teeth
This is a house
No, but maybe yes
It could be a dog
A very happy dog
This is nothing
I’m here for no reason
This is nothing
And I’m nothing at all
If the party stops  
It’s only depressive normality, extreme separations.
Depressive normality, lonely crowds, impossible utopias, society of society for society 

This is a party
A collection of places, infrastructures, dreams, nightmares, bodies, thoughts and desires
Desires that circulate among us among the places we move and meet 
What about, the formation of sensibility as a force
The sensual of the sensitive
Of the sensitive sensuality
The relationship as no way meeting from the accident to the no resisting full ending
Or starting again and again 
Sadness comes when I can’t touch your face. When you think that relations are only for you and me and not for him, who I desired just for ones, in a bar
You hate my character
I hate your flat imagination 
This is our party
Me, and my friends have a party 
We have been raised as survivors
We have been raised with concepts and projects
An assumption that everything must be tolerated, that everything can be thought so long as it is recognized as being without direct repercussions on the structure of society, of its institutions and of state of power
Any idea can be admitted; its expression should even be favored, so long as the social and the state rules are accepted
The freedom of thought must be total, as well as the freedom of expression in principle, but we must not want the consequences of our thoughts as far as the collective life is concerned
No, this is not a house
This is not a temple
But who owns the keys? 
We want the keys and no one knows where we can find them
You should have the keys
Don’t you?
We don’t have any keys and we walk on the desert
We don’t care how many days or nights
We don’t need the keys
We shall see
Two or three comments for the design, please
It really has two plans 

with Allison Katz, 2008

A.K What is your understanding of the difference between Desire and Pleasure?

G.S Desire is an unspeakable essence that exists outside of me and needs me to complete its purpose. Desire exists for me without me. Navigates my steps and I am the where and how that doesn’t exist yet with me. Desire is not an object, it’s the impulse to make, an impulse to do something in relation to someone who you desire in order the desire to exist.

Pleasure is complete
No thinking about pleasure
Pleasure exists in the mind of heart

A.K Where is the body?

Body is earth
Earth doesn’t have any purpose to stop it’s rhythm
Archaic evidences
The skin
Digging inside the earth
More layers
Stretched evidences
Naming again

A.K What time is it?

G.S Sun on the leaves of orchids

A.K How did you know?

G.S I knew by love

A.K Do you agree with Kristeva, "Psychoanalysis tells us there is no dialogue, just desires clashing, forces colliding"?

I knew by love
Was no dialogue

A.K Do you agree with Joan Didion, working through the question "of whether or not you could go home again," writing in 1967, that "Sometimes I think that those of us who are now in our thirties were born into the last generation to carry the burden of 'home,' to find family life the source of all tension and drama."

Home is blue details
on the corners of each door
I am with
Touching the walls
Smelling your effort to protect us
My mother
In the family
On the table
That we eat our bread every day
That’s how
I learned

I don’t know anything about Didion

A.K What comes to mind when I write the name A N N A  A H K M A T OVA?

G.S A long narration/ Something with a tragic beginning and a tragic end

A.K A poem of yours, please:



A tiger mouse

A.K And in the year 2012?

Only weather reports for an entire year
Heavy rains like in the tropical forests

A.K The compliment of color is _light again_________. Bonus: 
One of Gaugin's most beloved paintings is titled, "Where Do We Come From? What Are We? Where Are We Going?" 
Romance or Anarchy? 

Anarchic Romance
New Seductions