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.
1930
stock market crash
1973
Oil crisis
2007
'whatever' crisis
Minute
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
NEW TASTE
NEW FRESH
NEW WAYS
Can I tell
Can I be with you, a minute
Can I talk a language when comes to
Action?
Instant action
The Hysteric
Voice
The voice
YES
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.
Correspondences
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
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