tag:blogger.com,1999:blog-33890676401562186272024-03-13T14:58:41.325-07:00Georgia SagriNoteUnknownnoreply@blogger.comBlogger121125tag:blogger.com,1999:blog-3389067640156218627.post-81548188085655331352018-02-03T09:04:00.001-08:002018-02-03T09:04:35.314-08:00Documentary of Behavioural Currencies, 2016, Manifesta 11 "What People Do For Money" <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #191919; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Georgia Sagri, Documentary of Behavioural Currencies,
installation view, Manifesta 11, Bank Julius Baer, 2016; photo: Flavio Karrer</span></span><br />
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<span lang="EN-US" style="color: #191919;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Georgia Sagri, Documentary of
Behavioural Currencies, installation view, Manifesta 11, Luma Foundation, 2016;
photo: Flavio Karrer<o:p></o:p></span></span></div>
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<span style="color: #191919; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Georgia Sagri, Documentary of
Behavioural Currencies, installation view, Upstate, 2016; photo: Flavio Karrer</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">24 - 10 - 2016<br />Parrhesiastic Acts</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Georgia Sagri in conversation about her participation in Manifesta 11 with Sofia Bempeza.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="http://brand-new-life.org/b-n-l/parrhesiastic-acts/">http://brand-new-life.org/b-n-l/parrhesiastic-acts/</a></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-37876182746620377352018-02-03T08:38:00.002-08:002018-02-03T08:38:35.758-08:00my first science fiction book, Religion, 2015, KW Berlin & Public Affairs Festival and Istanbul Biennial, Istanbul <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US">Georgia Sagri, </span><span lang="EN-US" style="text-align: justify;">my first science fiction book, Religion, 2015, </span><span lang="EN-US" style="text-align: justify;">3D video (47‘12‘‘) 3D glasses, sound, clay, sand, gypsum, print on
fabric, linoleum, LED lights, vinyls (“SPYRAL”, </span><span style="text-align: justify;">“RING”, “ARROW” and
“FLASH & HYMN”)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US">Georgia Sagri, </span>my first science fiction book, Religion, 2015, music composition, website & livestream, installation, 8h
performance with Julie Besandilov (kubut), Evren Can </span><span lang="EN-US" style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;">Kamam (ud/oud), Annie Garlid (vokal ve viola / vocal and viola), Matan
Gurevitz (kontrbas/contrabass), Rebecca Lane (vokal ve flüt </span><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;">/ vocal and flute), Önder Kiran (kanun/qanun), Cecília Kleine (vocal ve
darbuka/vocal and darbouka) Adi Levi (kajon/cajón), Manolis </span><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;">Maroudis (vokal/vocal), Debjit Pahari (tabla), Babua Pahari (bansuri/Indian
flute), Jan Sameh Regelin (flüt/flute), Kennmichael Stafford </span><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;">(vokal/vocal), Sophia
Zeyse (vokal/vocal), Katharina Zeyse (vokal/vocal)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“Mono no aware, literally "the pathos of things", and also translated as "an</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">empathy toward things", or "a sensitivity to ephemera", is a Japanese term for</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">the awareness of impermanence or transience of things, and both a transient</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">gentle sadness (or wistfulness) at their passing as well as a longer, deeper</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">gentle sadness about this state being the reality of life. The phrase is derived</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">from the Japanese word mono, which means "thing", and aware, which was a</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Heian period expression of measured surprise, translating roughly as</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"pathos", "poignancy", "deep feeling", "sensitivity", or "awareness". Thus,</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">mono no aware has frequently been translated as "the 'ahh-ness' of things",</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">life, and love. The awareness of the transience of all things heightens</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">appreciation of their beauty, and evokes a gentle sadness at their passing. Its</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">scope was not only limited to Japanese literature, but rather became</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">associated with Japanese cultural tradition in general.</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Her artistic practice encompasses installations, videos and self-enacted</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">performances that evolve into a communal shared experience. In Istanbul,</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">she presents my first science fiction book, Religion, a multifarious installation</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">combining different media that suggests a new egalitarian way to exist in the</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">world. In particular, Sagri questions our understanding of religion as</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">institutional protocol - including our recent faith in the potentialities of the</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">cyberspace. In order to imagine how religion can be liberated from its</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">etiquettes and totalities of representation, she brings people from all religions</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">together and they sing in unison. Together, their voices merge and became</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">sounds one never heard, sacred and yet otherworldly – almost a music from</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">the stars. The science fiction book consists of the comments of the viewers</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">watching the performance online; the film is made in 3D; and the sculptures</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">are fragments of movements. Is it possible to go up against the protocols and</span></div>
<div style="text-align: justify;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">to reveal the call for absolute love from all of the religions?”</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carolyn Christov-Bakargiev</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-88262298124540383252015-05-27T06:22:00.000-07:002015-05-27T06:43:14.131-07:00exhibita.ch/EAT THE TOOL, 2015, Forde, Geneva<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: large;">exhibita.ch/EAT THE TOOL</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"><span class="text_exposed_show">April 19 – Mai 17, 2015</span></span><br />
<br />
<span style="font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span></span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">There is an old story that gets told in North America about an Eskimo
who has thirty-six different words for snow. It probably isn’t true.
But I am more interested in what the story is about than whether or not
it is true. What are people trying to communicate when they tell this
story? What do we talk about when we talk about Eskimo snow argot? What
are we saying about language and about how it relates to every day
behaviors? The simple response would be, presumably, that Eskimos have a
great deal more experience of snow than non-Eskimos do, and so they
have developed a highly sensitive faculty of taste in the matter of
snow; they can distinguish between different kinds of snow with a
specificity that boggles our own less-experienced minds. Because we lack
this language to describe winter precipitation, each of our experiences
of snow are, pardon me, rolled up into one word: snow. Even as we
understand that there is a big difference between a few, small, gently
sifting flakes and driving streams of sleet and large casual floaters
that vanish before the dawn.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">We understand these differences, but when we try to remember them, we
find that we don’t have the tools. Or we have to supplement endlessly
the one tool we have; “It was snowing, and the snow was x, y & z.”
This, rather than saying simply “It was x-ing;” where ‘x’ is one of
these other, more specific terms for snow, the way that ‘broil’ is more
specific than ‘cook.’ As a result, our vision of the past doesn’t
account for a great deal of our experience and much of our
life-with-snow goes unrecognized and unrecorded, which is almost the
same thing.</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"> I’ve been thinking about this lately because I’ve been losing my
languages. I wake up and go down to the workshop and reach for my oldest
words, my tools, and they are not there. The equipment with which I
have hitherto constructed my habitat is vanishing, has vanished. It
would be easy enough to leave the matter there: I’m losing my language!
Sighs! Signs! Moody Possibility!</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">But that wouldn’t help me much, and moreover, it would risk making a
metaphysics of language such that in mourning my language, I would also,
in some sense, be mourning metaphysics. This was the sort of thing
people did a lot when I was growing up: mourning metaphysics in the
guise of investigating language. Very intense, very precious; often very
remarkable. Sometimes I like to think my generation is more practical.
We’ve had to be, I think, because it turns out there is such a thing as
objective conditions after all.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">What words exist in Greek that don’t exist in English? Once I have
those, I will make up words in English that correspond to the missing
Greek words. Part of me feels that this trans-linguistic exchange might
be the only way to defeat nationalism once and for all. Just, you know,
get it over with and make whatever language we are living in as big and
as beautiful as possible. Consolidate all the inventories, and give
similar terms more specific meanings, until we can all remember
everything forever and by its own name.</span><br />
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Stephen Squibb as Georgia Sagri</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"> </span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Georgia Sagri would like to thank: Sacha Béraud (website programming
assistance), Maria Trofimova (photographs, documentation) and Serafin
Brandenberger (exhibition assistance)</span><br />
<span style="font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span></span><span style="font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span><br />
<div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span></span><span style="font-size: x-large;"><a href="http://exhibita.ch/"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">exhibita.ch</span></a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-8565846635142471652015-05-11T10:51:00.001-07:002015-05-11T10:51:21.776-07:00Elusive Earths I, II, III, 2014 <iframe width="410" height="231" src="https://www.youtube.com/embed/3DqteZUql5w?rel=0&showinfo=0" frameborder="0" allowfullscreen></iframe>
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The videos Elusive Earths I, II, III each are short advertisements promoting the production, benefits, and character of particular proto-pharmacological earth pills. Sharing their title with the group exhibition Elusive Earths curated by Jennifer Teets, each advertisement’s text, design, graphics and editing not only serve as publicity materials for the exhibition, but also promote the exhibition’s unique “products”—the earth pills themselves.<br />
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ELUSIVE EARTHS I (00:45)<br />
ELUSIVE EARTHS II (01:05)<br />
ELUSIVE EARTHS III (00:44)
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-391557290810914152015-05-11T03:54:00.000-07:002015-05-11T04:21:50.257-07:00Long Live the Wolves, 2014, The Kitchen, NY<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-small;">Part of the group show </span><span style="font-size: x-small;">"The Rehearsal", curated by Mathew Lyons I presented a remake of my 2008 cement sculpture <i>Square</i>, as well as <i>Athens
Toy</i>, a PowerPoint slideshow featuring some photographs from Athens and my texts. On July 17 and 31 at 7pm, I presented </span><span style="font-size: x-small;"><span style="font-size: x-small;">"Long Live the <del>Lions</del>
Wolves,"</span> a performance that relocates the political
climate of contemporary Greece to that of 1973 through voice and sound. </span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3389067640156218627.post-11186096533632291782015-05-11T02:00:00.000-07:002015-05-20T03:28:34.249-07:00Square, 2008<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">installation view: Columbia University, School of the Arts MFA Program, 2008 </span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-44084072011201153372015-05-10T16:03:00.003-07:002015-05-19T01:36:54.612-07:00Mona Lisa Effect, Kunsthalle Basel, 2014 <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: large;"><a href="http://www.contemporaryartdaily.com/2014/05/georgia-sagri-at-kunsthalle-basel/" target="_blank">http://www.contemporaryartdaily.com/2014/05/georgia-sagri-at-kunsthalle-basel/ </a></span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">The “Mona Lisa effect” is a term describing an optical and
psychological effect produced by the famous painting by Leonardo da
Vinci, now in the collection of the Louvre. Testifying to Leonardo’s
mastery, the smiling Mona Lisa seems to follow us with her gaze as we
move about the gallery – if we can move at all. For the painting itself,
protected by bulletproof glass, two barriers and museum attendants,
seems to have the power to transfix visitors in whatever spot they
manage to find among the crowd, where their movements are limited to
raising their arms and taking pictures.</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Under the title “Mona Lisa Effect”, Georgia Sagri’s exhibition
addresses the physical and political phenomenon of movement both inside
and outside the gallery space, through a series of performative,
rhetorical and technological devices that organize the exhibition space.
This “movement” can further be understood as our natural human
disposition (and right) to move, to gather and disperse, to convene and
reconvene. In Sagri’s reading of the Mona Lisa effect, the gaze
emanating from the masterpiece thus becomes a metaphor of the
ever-surveying, ever-inspecting gaze of authority – the diffused
political power that permeates human lives in contemporary society. This
“soft” omnipresence of power has long since become an integral
dimension of our lives as citizens: being a citizen today equals being
subject to biopolitics, the form of power that impacts all aspects of
human life, as the private and public sphere meld into an inseparable
whole.</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">At the top of the stairs leading up to the Oberlichtsaal, a video
playing on a flat screen serves as introduction, tutorial and manual to
the exhibition. It has been produced as a sort of trailer, suggesting a
range of possible actions that visitors will be able to perform or see
once they enter the show.</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">A large wall divides the main gallery into two halves, with a gap at
the right-hand end to allow visitors to proceed through the exhibition.
The wall facing the arriving visitor is covered with wallpaper bearing a
brickwork pattern. This fake brick wall evokes an outdoor space: a wall
separates a building from the outside, thus establishing a boundary
between the contained interior and the nominally public exterior. The
red brick connotes factories of the early industrial era, as well as the
simplest weapon used in city riots – the brick – or a place to post and
spray-paint political messages. Looming over the pristine neoclassical
gallery, the wall also alludes to the crudest forms of oppression, such
as imprisonment and execution. Sagri has left the narrow end of her wall
open, exposing its inner construction and hence the artificiality of
the structure. The rear of the wall is plastered and remains white, thus
creating a regular gallery space on this side of the wall.</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">During the exhibition, Sagri – wearing a specially created one-piece
costume printed with a picture of her own body dressed in casual
clothing – will perform specific movements in front of the wall and
around its free corner. These will be divided into four sequences and
performed at variable intervals in changing durations. The movement of
the performer is organized from left to right along the wall,
underlining the sequential, linear, proto-cinematic character of the
performance: a build-up of suspense, action, culmination, and finally
the repetition of the sequence.</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">White wall labels sparsely distributed in the galleries are placed at
the height normally reserved for labels in a museum and imitate their
design. We might imagine strolling through the gallery, looking at
paintings or drawings, and then checking the title and date of the work,
and the name of the artist. Here, however, the labels refer to things
far away from the gallery space. Each label carries a name (of a person
or collective body), date and a QR code – a type of barcode that can be
read by software available as a free download for most mobile phones. By
scanning the code, visitors instantly reach the content stored on the
corresponding website. The show thus extends into several other settings
and narrations. These range from video works commissioned by Sagri from
fellow artists to pieces of music, essays and the websites of specific
organizations (such as the artists’ collective CAGE and Embros, the
occupied theatre in Athens that has played an important role as a venue
for self-organized political and artistic activities in Athens during
the recent economic crisis).</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">In the second gallery, a custom-made machine displays a panorama of a
large photograph printed on PVC, continuously scrolling in one
direction. The picture was taken in Exarcheia, a district of Athens
considered an anarchist home base, on the site where a policeman shot
15-year-old student Alexis Grigoropoulos on the night of December 6,
2008. The riots that followed turned into a general protest against the
systemic failure of the state, with its endemic social injustice and
escalating poverty. It was the beginning of a confrontation between the
government and the people that is still on-going today, and which
addresses various concerns, takes different forms and involves a growing
number of strategies of self-organization. Sagri’s panorama shows a
wall covered with graffiti slogans that can be ascribed to several
politically active dissident groups, along with two memorial plaques –
one presented by the State and a smaller one installed by
Grigoropoulos’s family and friends.</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"> </span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">In the third gallery, a small Plexiglas box features a single coin –
an American quarter that was placed on a train track and flattened to a
thin, oval shape, similar to a guitar pick, with the face of George
Washington strangely disfigured, and the words “liberty” and “in God we
trust” barely legible. This violent transformation – from money to
matter – seems to point to the possibility of larger-scale change and
raises the hope that the current order of things is perhaps not as
immutable as it appears.</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Outside the Kunsthalle, at various locations in Basel, a series of
posters presents photographs of the artist physically approaching
paintings made in her studio. These photos are annotated with texts that
obliquely refer to events that happened in the past, are happening now
or will happen in the future. </span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"></span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Adam Szymczyk</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"> </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Works:</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Fia Backström<br />
Judith Butler<br />
Alaina Claire Feldman<br />
Alex Fleming<br />
Melanie Gilligan<br />
Park MacArthur<br />
Eleni Tzirtzilaki<br />
Stephanie Wakefield</span><br />
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Coin:<br />
Harrie Photoharrie & Tassos Lockbird</span><br />
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Texts:<br />
Adam Szymczyk (1/4)<br />
Thanos Stathopoulos (2/4)<br />
Helena Papadopoulos (3/4)<br />
Monika Szczukowska (4/4)</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Video in collaboration with:<br />
Ilya Lipkin</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Fashion designer:<br />
Eleftheria Arapoglou aka Digitaria</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Engineer:<br />
Phoebus Bartzokas</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Photographer:<br />
Stathis Mamalakis</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Graphic designer:<br />
Theodoros Koveos</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Video sound assistance:<br />
Chris Handberg</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Project assistance:<br />
Pegy Zali</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">
</span>
<br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">With a very special thank you to Adam Szymczyk, Fabian Schöneich and
everyone at the Kunsthalle Basel as well as to Anthony Reynolds, Helena
Papadopoulos, Andreas Melas, Lars Friedrich, and Contemporary Art Daily.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-9729629914235750672014-08-27T01:54:00.000-07:002015-05-19T02:09:22.823-07:00Sick Building, 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">Sick Building, 2014 </span></span></div>
<div style="text-align: center;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">Laser print, fluorescent paint on wood </span></span></div>
<div style="text-align: center;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">installation view: Delay Dust, Kunsthalle Bern, 2014</span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-65690095611504587902014-03-03T14:07:00.001-08:002014-03-03T14:07:31.995-08:00Antigone Model, KW Berlin, 4 July 2013 (installation and performance) <div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-11824439545864849952014-03-03T13:06:00.002-08:002014-03-03T13:10:36.051-08:00SALOON: THERE IS NO COUNTRY IN OUR HEARTS, Museum of Modern Art in Warsaw, 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #f1c232; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-align: left;">SALOON: THERE IS NO COUNTRY IN OUR HEARTS</span></div>
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<span style="background-color: #f1c232; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><br /></span></div>
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<span style="background-color: #f1c232;"><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">"There is no country in our hearts" I told her and she looked at me with surprise. I couldn't suggest a drink after that look of hers. With that gaze of hers, its discomfort that made me think of </span><span class="text_exposed_show" style="display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">my knees and how I need to open my bag without reason, just checking things in my bag I walked and walked for hours. I started recording my voice saying how I hate being asked from which country I am, those shitty boarders, nationalities, national expectations for what, for whom exactly are those expectations for, for which reason to talk my mother tongue like there is something that belongs to me when I speak it? I want my steps to be steps of pleasure for the things I do that I don't need to name, - I recorded that- the smells, sounds, textures, clothing and behaviors of a different world. </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">G.S. 2013</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsPbBe6SxzEbjC9aPGZeUI8D9AvOCTDw4ywYRPKSFujUEHj_4nzSpLB9TxjNeUj_IKSAtRn26ZwAfhRf4FA4Cmm9rxd6NYnVG8Wo2JZk07IfZ8lmsIBaxT2u5zjNtbbEr0SSKdnzrx_U/s1600/Saloon(GetaB:AsliC).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsPbBe6SxzEbjC9aPGZeUI8D9AvOCTDw4ywYRPKSFujUEHj_4nzSpLB9TxjNeUj_IKSAtRn26ZwAfhRf4FA4Cmm9rxd6NYnVG8Wo2JZk07IfZ8lmsIBaxT2u5zjNtbbEr0SSKdnzrx_U/s1600/Saloon(GetaB:AsliC).jpg" height="476" width="640" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-27113909086954052682014-02-13T01:20:00.000-08:002015-05-19T02:10:17.179-07:00Ha!, 2008-2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1-EbuvHUm-o8CM4amiyE1z74ECdvjU4Rte1vRHOVZUfgn9fiAP-f8tGKmLmvJjby96ICJXrSrjTiFqbdClawJqv5feUU3FBjgqzgjMjQopTWUN26IcCyhBcqVPCECab6qhgwAYtdg0qE/s1600/PNI.GSA003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1-EbuvHUm-o8CM4amiyE1z74ECdvjU4Rte1vRHOVZUfgn9fiAP-f8tGKmLmvJjby96ICJXrSrjTiFqbdClawJqv5feUU3FBjgqzgjMjQopTWUN26IcCyhBcqVPCECab6qhgwAYtdg0qE/s400/PNI.GSA003.jpg" width="400" /></a></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;"><i>Ha!, </i>2008 - 2014<br />
15 laughing cuts on colour fluorescent plastic sheets, magnets, screws</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">240 x 410 cm </span></span></div>
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<span style="font-size: 10.0pt;"><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">installation view: I love you Me either, Project Native Informant, 2014</span></span> </span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-51004759989439951452013-05-11T05:09:00.000-07:002015-05-20T03:19:11.344-07:00Williamsburg, 2013, MoMa PS1, NY <div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-42443912879792480352013-05-02T01:33:00.000-07:002015-05-19T02:08:35.781-07:00Video Bags, 2007 ongoing <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7O_cAh_Xmc_Snb7RRw7IEIFrtWlHGvfRmOaanHJGoORPZInmWYRrdDlWj1TDWTms-4ly0KR9f64nIU8thalrm3OvQ2tZdbiU8GfCPnWsVWLovPi5l6DIeyrpKJ0GUIGegrVMj6tafghw/s1600/Sagri-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7O_cAh_Xmc_Snb7RRw7IEIFrtWlHGvfRmOaanHJGoORPZInmWYRrdDlWj1TDWTms-4ly0KR9f64nIU8thalrm3OvQ2tZdbiU8GfCPnWsVWLovPi5l6DIeyrpKJ0GUIGegrVMj6tafghw/s400/Sagri-11.jpg" width="400" /></a></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">Video Bag / The New School for Social Research
, 2013
Portable DVD player, DVD (The New School, 2013, 18 min, 22 sec), headphones, Urban Outfitters bag on steel grab bar
58 x 39 x 8 in / 147 x 99 x 20 cm</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;"> </span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq3VhbAKOKeMNCrrYqBncCmVJBrEdBGizx3In7I32z8Uhvpo-_t4RDaIBMp4Q7e2b0JyQ8UMxsTU3KNN2G4fu619BHSKzWbfvBlEz_8wfh3djABAmCA2QpQ3z7vS3aa7R801RLxPtCg1g/s1600/Sagri-21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq3VhbAKOKeMNCrrYqBncCmVJBrEdBGizx3In7I32z8Uhvpo-_t4RDaIBMp4Q7e2b0JyQ8UMxsTU3KNN2G4fu619BHSKzWbfvBlEz_8wfh3djABAmCA2QpQ3z7vS3aa7R801RLxPtCg1g/s400/Sagri-21.jpg" width="400" /></a></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">Video Bag / David Hammons Toy with Egypt and Libya
, 2011
Portable DVD player, DVD (David Hammons Toy, 2010, 2 min, 49 sec), headphones, leather bag on driftwood with ceramic dolphin
33 x 17 x 12 in / 83 x 43 x 30 cm</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;"> </span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLOzanCjALQxne04I4rglxhJW-IZzyzf6qepHuyFVQQODIuuWfmlraseNmyCliuyz9GXrCDiibfMdIXBBhNdCK2745M8U-xOInGvDsTjCh3xO6h3eHz3Z_2MeS9ceZLjsjAuwzYjfiHAY/s1600/Sagri-31.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLOzanCjALQxne04I4rglxhJW-IZzyzf6qepHuyFVQQODIuuWfmlraseNmyCliuyz9GXrCDiibfMdIXBBhNdCK2745M8U-xOInGvDsTjCh3xO6h3eHz3Z_2MeS9ceZLjsjAuwzYjfiHAY/s400/Sagri-31.jpg" width="400" /></a></div>
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Video Bag / TROMI (horrors)
, 2013
Portable DVD player, DVD (TROMI, 2012, 8 min, 56 sec), headphones, two bags on doorknob
23 x 15 x 10 in / 58 x 38 x 25 cm</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;"> </span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHz3-d6hYNlrmUuumOyI8FRAqNLImgt28v_CnTnZpKTo1nklnni6wzpxve5tPL8UF2StMGKpNMGkgvBCUtd0mpZlLOHxgqmKdFqOn4SG23hQqh7_6q_vnTBxF9GeApbTjzwX3QpGdmP5s/s1600/Sagri-41.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHz3-d6hYNlrmUuumOyI8FRAqNLImgt28v_CnTnZpKTo1nklnni6wzpxve5tPL8UF2StMGKpNMGkgvBCUtd0mpZlLOHxgqmKdFqOn4SG23hQqh7_6q_vnTBxF9GeApbTjzwX3QpGdmP5s/s400/Sagri-41.jpg" width="400" /></a></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;">Video Bag / Do you think I am human?, 2013
Portable DVD player, DVD (Do You Think I Am Human, 2013, 33 sec), backpack, paint
14 x 15 x 11 in / 35 x 38 x 27 cm</span></span>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: x-small;"> all images installation view: Screens, Murray Guy, 2013 </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-59271421991072573762013-04-17T11:19:00.001-07:002013-05-27T09:56:46.615-07:00At Le Potage De Madame Zazouf (Space Is Not Territory) <div dir="ltr" style="text-align: left;" trbidi="on">
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Space Is Not Territory </div>
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Now that some have found a way to territorialize their concept of <i>'fight'</i> with the hectic maneuvering of a closed group, and call <i>social space</i> the property of a door that allows them to determine who is in and who is out. Now that the only concern remains the never-ending search for new issues and new topics of investigation creating an eternal state of non-action; the question is if there comes a time when territories are created only to be immediately deterritorialized and reterritorialized, and if there will be moments where space expands beyond the determination of a life-style. </div>
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As if we talk too much but we don't do much. </div>
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We talk about life, our own life, and how to organize with others, and the talking somehow always starts with the question of the value of our own life but not with the question of how the decision to live our life can change others’ way of living. </div>
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Can life be livable? </div>
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One’s decision to live is not at issue here or even the starting point of this text. I would rather bring attention to the ambitious drive of <span style="font-family: Helvetica;">inhabiting a space for it to become livable</span>, through unpredictable ways of being, using, resourcing, and varieties of gatherings, all hubs without having to incorporate the Cartesian duality of an inside and outside.</div>
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Can we get unconcerned with the out or in? </div>
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Walking on the same street with others next to us doesn't make us listen to them. To find a place to gather doesn't mean we found each other. It is as if our relationship we foster with history is merely accumulative, and that this suffices in a city that legitimizes any action, but if legitimization is actually chained to specific action, then all we have is absence. A formulaic distancing is occurring that is nothing else but a mere coincidence. Very selectively we have studied the struggles of others, and we seek to find refuge in the generic specificity of a history of images, opinions and comments by ignoring to consider the significance of experiences, our own experiences and how to talk about them. Isn't it the discourse with others that creates language? How can we create language when we communicate our thoughts only based on what is already written and what we have already seen? Why do we always assume that every time we talk we communicate language or make something visible? The denial of the vulnerability of speech is the very process to pacification. The continuation of conferences, events, and screenings within the institutional frameworks and under the conditions we are opposed to but insist not to speak out against is part of a process of social mutation. To be the constant spectators of the history we create is the most painful of all. Is this a form of self-policing? </div>
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Is form self-policing?</div>
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To walk and be conscious of others walking with you and to do moments of living is resistance. Action is when bodies self-govern to be present and to communicate, sliding beyond the urgencies to either create or to be allowed to use fixated territories in totalitarian capitalism. When we act in disregard of any feeling of professional responsibility or entitlement, ignoring the predetermined sense of knowing the one and only truth, then we meet, and then we talk, and then we have space. </div>
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Georgia Sagri </div>
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New York, Spring, 2013 </div>
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For Cara Benedetto, Diego Singh, Whitney Claflin and</div>
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Pati Hertling at "Le Potage de Madame Zazouf". </div>
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<img align="left" alt="" class="mcnImage" height="320" src="https://d2q0qd5iz04n9u.cloudfront.net/_ssl/proxy.php/http/gallery.mailchimp.com/fdc7de5f31ca2efc2c968d0ac/images/MadameZazouf_1__sm.jpg" style="border: 0px; display: inline !important; height: auto; line-height: 100%; max-width: 1728px; outline: none; padding-bottom: 0px; vertical-align: bottom;" width="320" /></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-72517728698338548482013-02-21T16:10:00.000-08:002013-02-21T16:11:47.688-08:00Greetings From the Mouth, CIRCUS, Berlin <div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-62741908235382735992013-01-28T15:26:00.002-08:002013-01-28T16:11:54.729-08:00OWEN at the Arnolfini Bristol on the 17th and the 20th of January 2013.<div dir="ltr" style="text-align: left;" trbidi="on">
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</style><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: black;"><i>OWEN</i> is a<i><span style="font-size: small;"> </span></i><span style="font-size: small;">sniper<span style="font-size: small;">'s text</span></span><span style="font-size: small;"> who fought in Iraq,<span style="font-size: small;"> </span></span>wish to become an invitation to<span style="font-size: small;"> b<span style="font-size: small;">e</span> listened</span> in
public, <span style="font-size: small;">spoken </span>in the space by mouths, heard in time by ears. <i>OWEN</i> is the
detailed elements of a p<span style="font-size: small;">resentation<span style="font-size: small;">, the</span></span><span style="font-size: small;"> performance's steps <span style="font-size: small;">come</span></span> from
Beckett’s play <i>Footfalls</i>,<span style="font-size: small;"> offering</span> a rhythmical, more of a metronomic
aspect to the duration of the piece. <span style="font-size: small;">The <span style="font-size: small;">performe<span style="font-size: small;">r</span> learn<span style="font-size: small;">s</span><span style="font-size: small;"><span style="font-size: small;"> </span></span>the text by he<span style="font-size: small;">art<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="color: black;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="color: black;"><span style="font-size: small;"><span style="font-size: small;">through the help of the<span style="font-size: small;"> pass<span style="font-size: small;">ers<span style="font-size: small;">.</span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span>When the text is learned and spoken <span style="font-size: small;">a few time<span style="font-size: small;">s<span style="font-size: small;"> <span style="font-size: small;">by only</span></span> <span style="font-size: small;">the performer<span style="font-size: small;"><span style="font-size: small;">,</span> without the adding of words <span style="font-size: small;">or possible</span> corrections of linguistic err<span style="font-size: small;">or<span style="font-size: small;">s from the <span style="font-size: small;">passers</span></span> <span style="font-size: small;">that moment marks </span>the end of the perform</span><span style="font-size: small;"><span style="font-size: small;">ance. </span></span></span></span></span></span>The repetitive reciting of each word, sentence and paragraph<span style="font-size: small;"> which is spo<span style="font-size: small;">ken by the passers <span style="font-size: small;">who s<span style="font-size: small;">it on the benches and read again and again to the performer</span> <span style="font-size: small;">creates a mo<span style="font-size: small;">dule<span style="font-size: small;"> where</span></span></span> the<span style="font-size: small;"> text <span style="font-size: small;">is</span></span></span> </span>heard many times in<span style="font-size: small;"> various w<span style="font-size: small;">ays</span> by many different people. The people</span></span> engage to the words than what is the performer's representational accomplishment to the role of the sniper. Instead we look each others position in speaking and listening the sniper's words. The passers read and speak the words, look how and in which way the words that the performer speaks are correct and even allowing some errors to exist. This whole process produces, how I call it an oral-monument. <span style="font-size: small;">When I hear the word <span style="font-size: small;">m</span>onum<span style="font-size: small;">ent it comes to mind<span style="font-size: small;"> a stable, fixed<span style="font-size: small;"> representation<span style="font-size: small;">, a </span></span>re<span style="font-size: small;">s</span>olved<span style="font-size: small;"> event of the past<span style="font-size: small;">. T</span>hrough this piece I'm trying to<span style="font-size: small;"> make a monument <span style="font-size: small;">that creates</span> history<span style="font-size: small;">,</span> through <span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">a</span> text <span style="font-size: small;">from</span> the past. History can't be only representa<span style="font-size: small;">ti</span>ons from the past which we suppos<span style="font-size: small;">e to mimic, <span style="font-size: small;">but words, actions which we learn to share<span style="font-size: small;"> and</span> translate to each other <span style="font-size: small;"><span style="font-size: small;">we perhaps</span> <span style="font-size: small;">allow history to be</span></span> create<span style="font-size: small;">d, a </span>history of o<span style="font-size: small;">u</span>r own <span style="font-size: small;">in</span> <span style="font-size: small;">the presen<span style="font-size: small;">t moment</span></span>. </span></span></span></span></span></span></span></span>W</span>hen the piece is taking place the performer is one of the
elements, she/he is amongst the participants to the piece and not the only one to be exposed or to present something. The performer is not
the virtuoso but creates one variation of the piece. <i>OWEN</i>
is<span style="font-size: small;"> a<span style="font-size: small;">n object standing on <span style="font-size: small;">a shelf,</span></span></span> a record that includes the script, the plan that is the formation
of the benches in which the performance is taking place and the contract that
describes it and enables everyone to do it<span style="font-size: small;"><span style="font-size: small;">-</span> to learn the text by heart with the help of others<span style="font-size: small;">. </span></span>Th<span style="font-size: small;">e</span> record <span style="font-size: small;">was</span> made through the
expertise of typographers and bookbinders from Athens. Without their work the
record wouldn’t be made. <i>OWEN</i> then is a chain of relationships;
exchanges of thoughts, ideas, associations and those are not limited only to
the moment of the performance. <span style="font-size: small;">P</span>revious relationships constituted the piece
and the ones to come is the reason to do <span style="font-size: small;">it<span style="font-size: small;">, to do the performance, </span></span>nothing else. </span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-35227654997147965962013-01-06T17:49:00.004-08:002013-01-28T14:46:09.934-08:00Diana Very Dog <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: 18px;"><span style="font-size: 20px;"><span style="font-size: 26px;"> Diana Very Dog</span></span></span></span><span style="font-size: small;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 24px;"> </span> </span><span style="font-family: 'times new roman', times, freeserif, serif;"> </span></span><br />
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<span style="font-size: 13px; font-style: normal;"><span style="font-size: 10pt;"><b><span style="font-family: Arial, Helvetica, sans-serif; font-size: 18px;">November 29th, 2012-February 20, 2013 / Opening reception Thursday 29th, 2012. From 12-9 pm.</span></b></span></span><span style="font-size: 18px;"><b><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.centralfine.com/" target="_blank">CENTRAL FINE</a> presents its inaugural exhibition program with</span></b></span><span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="font-size: 18px;"><b> Diana Very Dog</b></span></i><span style="font-size: 18px;"><b>, a solo project by Georgia Sagri.</b></span></span></div>
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<span style="font-size: 13px; font-style: normal;"><span style="font-size: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;">Diana
belonging to the Roman Pantheon of deities poses a question here. One
cannot help to wander why Sagri invokes her name rather than the Greek
goddess Artemis. May be that Diana, belonged to a model, such as the
Roman one? And maybe Sagri, an Athenian, is purposefully advocating for a
repulse of her national deities, by choosing a 'newer' and more
'arrow-minded' version of Artemis? Is Sagri observing the mandate of not
using Artemis name in vain? Or is it that Sagri is interested in the
meteoric trajectory of Diana's arrow and that her name starts with a D,
such as Dog or Diogenes' School of Cynics?</span></span></span><br />
<span style="font-size: 13px; font-style: normal;"><span style="font-size: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"> </span></span></span><br />
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<span style="font-size: 9pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 18px;">Diana
has the capacity to speak to animals and she is also an accomplished
hunter, qualities that Sagri is after, as seen in her video piece where
dogs bark, her wall text or her photos as a </span><i><span style="font-size: 18px;">naked</span></i><span style="font-size: 18px;"> nymph
with a Rimbaudian haircut; Sagri speaks a speech that seems delivered
by a person with a triple Id: Action & Action & Action. Such a
triple Id subject is, surprisingly, in total consciousness and control
over the notion of own-her-ship. And let's be clear here, rather than
being spoken, Sagri speaks to It, first and foremost to herself, and
later to us with a present and yet ancient own-her-ship.</span></span></span></div>
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<div style="font-size: 13px; margin: 0px !important; padding: 0px !important; text-align: justify;">
<span style="font-size: 13px; font-style: normal;"><span style="font-size: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;">She
navigates the streets/ while delivering a voice/ that tongue/ that form
of speech outside the limitations of the History of Speech/ that shadow
of mystery daily embodied and experienced by herself.</span></span></span></div>
<span style="font-size: 13px; font-style: normal;">
</span><span style="font-size: 13px; font-style: normal;"><span style="font-size: 18px;"><span style="font-family: Arial, Helvetica, sans-serif;"> </span></span></span><br />
<div style="text-align: justify;">
<br />
<span style="font-size: 9pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 18px;">Sometimes
one thinks that she is made or built by phrases that carry within
themselves the problem of force. In that unstable ground, Sagri as a </span><i><span style="font-size: 18px;">topos</span></i><span style="font-size: 18px;"> where
one can load content hunts for titles, for sounds, for forms that
direct her trajectory-the structure of action. On ACTION-PLACE-SPEECH we
observe an interest in links and hyper abstraction while participating.
A Chorus in the broadcasting of the destabilizing omnipresence: SAGRI
HERE, SAGRI WHERE, VERY SAGRI, DIANA VERY DOG.</span></span></span></div>
<span style="font-size: 13px; font-style: normal;">
</span>
<br />
<div style="font-size: 13px; margin: 0px !important; padding: 0px !important; text-align: justify;">
<span style="font-size: 13px; font-style: normal;"><br /></span></div>
<span style="font-size: 13px; font-style: normal;">
</span>
<br />
<div style="font-size: 13px; margin: 0px !important; padding: 0px !important; text-align: justify;">
<span style="font-size: 13px; font-style: normal;"><span style="font-size: 9pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 18px;"><br /></span></span></span></span></div>
<span style="font-size: 13px; font-style: normal;">
</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-62544485897610298282013-01-06T17:19:00.003-08:002014-03-03T13:46:43.590-08:00EMBROS OCCUPATION in Athens<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="" id="result_box" lang="en"><span title="Με την δυναμική δράση ομάδων και ατόμων το ΕΜΠΡΟΣ άνοιξε πρίν από έναν χρόνο και συνεχίζει να λειτουργεί μέχρι σήμερα παρά τις πιέσεις και τα εμπόδια των δήθεν προστάτων του κρατικού πλούτου και του πολιτισμού.">With
the dynamic action of groups and individuals the EMBROS opened a year ago and
still operates as an occupation until today despite the pressures and obstacles of the so called
protectors of the state wealth and culture. </span></span><span class="" id="result_box" lang="en"><span title="Εμείς ξέρουμε τι είναι πολιτισμός και αυτό το δείχνουν οι πράξεις μας.">We at EMBROS want to learn what is culture through every day actions. </span><span title="Ο πολιτισμος είναι κοινό αγαθό.">Culture is a common. </span><span title="Η τέχνη δεν είναι προιόν και δεν μπορεί να ανήκει μόνο στους λίγους.">Art is not a product and cannot belong only to the few. </span><span title="Η δημιουργία και το καλλιτεχνικό έργο εν γένει δεν εντάσσεται στην λογική ενος ολιγαρχικού συστήματος αξιών, που θεωρεί οτι το άτομο απλά παράγει, καταναλώνει και το βουλώνει.">The
creative and artistic work in extend cannot be part of the ideals of an
oligarchic system of values in which the person suppose to simply produce,
consume and shut up. </span><span title="Το ΕΜΠΡΟΣ είναι ένας ανοιχτός, αυτοοργανωμένος, πολιτιστικός, πολιτικός και κοινωνικός χώρος.">EMBROS is an open, self-organized, cultural, political and social space. </span></span><span class="" id="result_box" lang="en"><span title="Αποτελεί πρωτοβουλία ατομικοτήτων και συλλογικοτήτων απο τους χώρους της τέχνης, της θεωρίας και των επιστημών.">It is the initiative of individuals and collectives from the arts, theory, and the sciences. </span></span><span class="" id="result_box" lang="en"><span title="Ο χώρος που συνδιαμορφώνεται μέσα από τις σχέσεις, την πρωτοβουλία, την αλληλεγγύη και την ανοιχτότητα του, καλεί όλους και όλες να συμμετέχουν, να δημιουργήσουν, να οργανώσουν, να οργανωθούν και να εμβαπτίσουν την πραγματικότητα στο όνειρο.">The
space which is shaped through relationships, solidarity and
openness, asks everyone to participate, to create, organize and dip reality to the dream. </span></span><span class="" id="result_box" lang="en"><span title="Με την συνεχή δράση μας προτείνουμε τρόπους ζωής και δημιουργίας με στόχο την κοινωνική έμπνευση, μεταμόρφωση, ενδυνάμωση, με ξεκάθαρο επαναστατικό όραμα: μία κοινωνία χωρίς παθητικούς θεατές αλλά ενεργούς, ελεύθερους οργανισμούς.">By our continues effort we suggest ways of life and creation for social
inspiration, transformation and empowerment, with a clear revolutionary
vision: a society without passive viewers but active free
organisms. </span><span title="Καλούμε καλλιτέχνες, οραματιστές, εκπαιδευτικούς, θεωρητικούς, ταξιδευτές, ομάδες και ατομικότητες χωρίς ανάγκη προσδιορισμού ταυτότητας, χωρίς αισθητικό ή οποιοδήποτε κριτήριο διαφοράς να υπάρξουν στο ΕΜΠΡΟΣ."> </span></span><br />
<span class="" id="result_box" lang="en"><span title="Καλούμε καλλιτέχνες, οραματιστές, εκπαιδευτικούς, θεωρητικούς, ταξιδευτές, ομάδες και ατομικότητες χωρίς ανάγκη προσδιορισμού ταυτότητας, χωρίς αισθητικό ή οποιοδήποτε κριτήριο διαφοράς να υπάρξουν στο ΕΜΠΡΟΣ.">We
invite artists, visionaries, educators, theorists, travelers, groups
and individuals without the need of identification, without any perceptible or aesthetic criteria of difference to be in EMBROS.</span></span><br />
<br />
FOR MORE INFO SEND EMAIL TO:<br />
<span class="" id="result_box" lang="en"><span title="Καλούμε καλλιτέχνες, οραματιστές, εκπαιδευτικούς, θεωρητικούς, ταξιδευτές, ομάδες και ατομικότητες χωρίς ανάγκη προσδιορισμού ταυτότητας, χωρίς αισθητικό ή οποιοδήποτε κριτήριο διαφοράς να υπάρξουν στο ΕΜΠΡΟΣ.">embrostheater0@gmail.com </span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-88917446203004526642012-10-14T11:45:00.002-07:002012-10-16T06:07:20.806-07:00The Desiring Subject <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">“In the
very moment when he digests the object, the artist is digested by the society
that has already found a title and a bureaucratic occupation for him: he will
be the future engineer of entertainment, an activity that has no effect
whatsoever on the equilibrium of social structures. The only way for the artist
to escape co-optation is to succeed in unleashing a general creativity, without
any psychological or social limits. This creativity will be expressed in lived
experience.” Lygia Clark </span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">How is to unleash a general creativity, forces which they could by definition, by character, by semotics slip beyond the capitalist paradigm? It is hard for us to sense that a lived experience it is the presence of bodies who touch, listen, hear and feel one another. The effort of a revolutionary today shouldn't be the production/consumption of the object, the text, the term, the idea that will only criticize the existing system, but the realization of the paradigm's shift, its possible existence in the present moment in her life. It is by the micro-revolutions: at her working place, with her family, her friends, at her neighborhood, by manifesting her need to speak, to listen, </span><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">to create relationships, links, to refuse the bureaucratic scheme of a certain form and to be </span></span><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">vulnerable. Always starting </span>at the present moment beyond psychological and social limits: the shift then comes unexpectedly and it is not from the perspective of the <i>what was and</i> <i>what it will be</i> but the <i>how it is now</i>. It is more of a time declaration than a spacial one. <i>[ </i>When a child plays, when a lover courts, when an artist creates, they
are not transmitting information but creating “a richly expressive
situation in which a whole series of semiotic components are involved”*,
temporarily freeing themselves from systems of expression that are
founded upon the principle of individuation. Capitalism
refuses to acknowledge the existence of these semiotic components,
refuses to accept a mode of communication whose essence is desire.
Instead, it wants, it requires people to express themselves in
ways that are in accordance with the division of labor and only
tolerates expressions of desire that the system can recuperate;
capitalism demands that desire be “linearized, quantified in systems of
production” and this is because “the best way for capitalism to insure
semiotic subjugation is to encode desire in a linear way” In any given workplace, for example, workers are forced to abandon “the
totality of what they are”, they must leave their desires and problems
at the door. One’s desires and emotional life are completely ignored;
workers are asked to work, not to be a desiring subject.
Capitalism forces us all to suppress what we feel, and it refuses to
acknowledge our “entire perceptive semiotics” in the name of
productivity and profit. Capitalism forces us to take up a kind of identity which propagates the stultifying
forms of social stratification that keep the bureaucratic-institutional
machine in operation.<i>]</i> Revolutionaries today are those who create and who confront the institutional machine because they still claim the existence of communications whose essence is desire, ever thinking in terms of reaction but those of action. </span><br />
<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">[..] : segment from 'this is not a blog', microfascism, semiotic subjugation and collective arrangements of enunciation, posted on December 6, 2010</span></span><span style="font-family: "Trebuchet MS",sans-serif; font-size: x-small;"> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif; font-size: x-small;">*quotes are from the 'A Thousand Plateaus, Capitalism and Schizophrenia, Gilles Deleuze and Felix Guattari </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-80277200748963432042012-10-05T07:45:00.004-07:002012-10-05T07:47:15.221-07:00A cat only with a head<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">We embody the cliches of our societies. The point is how to break the clishes by realizing how we are being our own cliches and that won't
happen if we are always adding the critique to the discussion but by
accepting the fact of not being in the position of the Other not because
we don't accept the Other but because we won't ever be the Other. <br /><br />And when I say ourselves I mean our bodies, our desires,
attractions, tensions, fears, celebrations, intentions and those are not a
social construction and contract but an emotional force that I find
stronger and more relevant to work upon. All the forms, texts, lines, tactics of acceptance and embrace of the Other by and through the
critique, through the creation of terms like homophobia, racism and
feminism is for vomit the same as how easy the Other can get exorcised
by laws, behaviors, salaries that have no terms, language and 'proofs'
to define them. </span>
<span style="font-size: small;"><br /><br />I see that we can only be reactionaries just because it is easier
and it doesn't take us anywhere. I mean it doesn't make us to confront
our own selves and our own limitations. </span>
<span style="font-size: small;"><br /><br />Can we start making and doing what we want and not what we are, what we are named of by the Other or for the Other? <br /><br />It is like we are a cat chasing our tail but the only thing we have is a head. </span></span>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-2532975275143640272012-10-03T16:54:00.001-07:002012-10-05T07:38:28.780-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<h2 class="separator" style="clear: both; text-align: center;">
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<i> All Kinds of Mountains Inside a Bowl</i></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-12577392183868599622012-07-26T09:55:00.000-07:002012-07-26T09:55:11.284-07:00SALOON IN THE CLOSET with Fia Backstrom and Kostas Saxpazis, SAT 7/28/12, 8pm<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">The world's most famous equation</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">C-M-C : M-C-M</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">The closest i can come to 'doing nothing'</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">building piles of dirt in the woods before heavy rain.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">Set the alarm</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">Etcetera</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">Someone ought to tell them there's no where to go.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">-----------------------------------------------------------------</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">food for delivery </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-17071617430934196112012-06-03T22:30:00.000-07:002014-04-18T12:37:58.189-07:00Mona Lisa Effect / Fia Backstrom, I am so US, 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<span style="font-family: Arial, Helvetica, sans-serif;">What you are reading
now have been written in notebook on iPhone iOS7 and iPad iOS7.1, and Macintosh
Powerbook 2.2 GHz Intel Core, OS 10.7.3 in text edit and Microsoft® word 14.0.0
(or micro sugar word as spell corrected). Notes were taken on unlined ReWrite
brown carpet cartage cartilage cardboard cover notebooks using Pentel p209 0.9
mm graphite pencil. They have been printed on an Epson Stylus NX415 using Epson
color cartridges series #69.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">14.0.0., 7.1, 2.2, 7.0
NX415, 69, p209, 0.9, 2.2, 7.1, 10.7.3, 14.0.0<br />
Version num<br />
Number<br />
Key word<br />
Bit Size<br />
Quanta<br />
Remake/remodel</span><br />
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMwsFYMLigHE4hdHeKPdZT6AOvYvBADKU64TbS-oXZDYaehLH6NVtbJClWqrhKU6-8lovRe3Na2kr-cI3qvN1-YrLgV9icjSkSt10Ij1hF8y0U732zusoU2-2hIIkCXMiXEGHVNT7bFRI/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMwsFYMLigHE4hdHeKPdZT6AOvYvBADKU64TbS-oXZDYaehLH6NVtbJClWqrhKU6-8lovRe3Na2kr-cI3qvN1-YrLgV9icjSkSt10Ij1hF8y0U732zusoU2-2hIIkCXMiXEGHVNT7bFRI/s1600/1.jpg" height="200" width="149" /></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">In 1991, I was writing
on a word processor IBM ps2 - Personal system vs. Impersonal system</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">
I have not written on a typewriter since 1989 - I abhor the linearity that
the typewriter forcer thinking into<br />
I abhor<br />
You abhor<br />
He abhors<br />
She abhors<br />
It abhors<br />
We abhor<br />
You abhor<br />
They abhor<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Grammatical linearity
of Inclusion and exclusion</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">
From one to many through the We/Them logic<br />
a linear logic of the iphone<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">linearity as in: 1 2 3
456789101112131415232425 36374245556768808182 5 7 89 90<br />
Writing non-linearly, shifting the order of the lines for natural development
to increase empathic identification or reading backwards as in socially
awkwards <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Diagnostic criteria:<br />
1. Deficits in social-emotional reciprocity, ranging from abnormal social
approach and failure of normal back-and-forth conversation; to reduced sharing
of interests, emotions, or affect; to failure to initiate or respond to social
interaction. <br />
3. Deficits in developing, maintaining, and understanding relationships,
ranging form difficulties adjusting behavior to suit various social contexts.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Our autistic culture –
our lives in number<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><u>correlation</u> is any statistical relationship
between two random variables or two sets of data and refers to a broad class of
relationships involving dependence.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><u>associativity</u> is a binary operation in
propositional logic as a valid rule of replacement for expressions in logical
proofs<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">an <u>asymptote</u> of
a curve is a line such that the distance between the curve and the line
approaches zero as they tend to infinity.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"># <u>the</u> pound
sign, <u>a</u> sign for quantity, becoming or has become a data set, <u>the/a</u>
hashtag - a mobile signifier<br />
delineating a new kind of space, drawing geometrical/statistical vectors,
operating both spatially & alpha-numerically<br />
creating a cool kind of contact, to connect:<br />
content with content<br />
context with context<br />
correlation with correlation<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">but not:<br />
association with associativity<br />
and not assimilation to assymptote<br />
nor ass to an ace<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><u>our lives in numbers</u> - our numerical universe<br />
scales and its abstraction<br />
materiality and presence = specificity<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">linearity as in: A b c
d e f g is a non-infinite universe Acqd<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">A as in asymptote - a
distance tending to infinity as it approaches 0 <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">B as in bureaucratic
language or bucolic bullshit<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Cc: me<br />
Critical capital<br />
Cultural capital<br />
Creative capital<br />
Credit capital<br />
Credit card<br />
C c c c c me – making value together<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Quantifiable<br />
Quanta<br />
Data – she<o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZS91rDvF1AgtE5-btflEKR2e_97JCdRprJfNcIGbJGI-TtLnjrVL34lG7oaqYKiNqBOIH80nxoeeWz_atkW0xKDpozu5hI9FrYMWbXYZYP-C8cAOXC72mPnV12yNRiWZR_t7oVOWGzs/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZS91rDvF1AgtE5-btflEKR2e_97JCdRprJfNcIGbJGI-TtLnjrVL34lG7oaqYKiNqBOIH80nxoeeWz_atkW0xKDpozu5hI9FrYMWbXYZYP-C8cAOXC72mPnV12yNRiWZR_t7oVOWGzs/s1600/2.jpg" height="200" width="149" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Go glee a word
generating intelligence - so much language, who takes responsibility as in a
call for ethics<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">I quantify my life<br />
I have problems expressing empathy<br />
Autistic social disconnection<br />
We quantify everything<br />
We as a culture and a society<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The extreme
generalization of the word society<br />
The violent generalization of the word culture<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">We use data<br />
We us data<br />
We US data<br />
NSA<br />
ATT<br />
FRA <br />
forsvarets riks anstalt – the national defence department <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Ataka<br />
British National party<br />
Danish People's Party <br />
Flemish Block <br />
Freedom party <br />
Freedom party <br />
German People's Union <br />
Golden Dawn<br />
Hellenic Front<br />
Hungarian Guard<br />
Livable Netherlands<br />
National Alliance<br />
National Democratic party<br />
National Front<br />
Northern League<br />
National resistance<br />
People's Party <br />
Popular Party<br />
Progress party <br />
Swedish Democracy<br />
Swiss People's Party<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">BNP<br />
DPP<br />
DVU<br />
FN<br />
FPO<br />
LPF<br />
NPD<br />
PVV <br />
REP<br />
VB<br />
VMRO<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">I am so US...<br />
I am so U.S.<br />
You Swedish<br />
Me U.S.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Swedish people are
blonde<br />
Blonde people are dumb<br />
All swedes are dumb<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">All dumb people are
racists<br />
A liar’s paradox or political rhetoric<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The danger of
generalizations<br />
We is a generalization<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">You and I and fascism<br />
We and fascism<br />
Our fascism<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">We are implicated<br />
Are we implicated<br />
Implicated we are <br />
Implicated are we?<br />
Affirmative questioning <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">You can always tell a
person who does not have Swedish as a primary language from the inversions, the
melody and the use of the articles (en och ett)<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">In Sweden white
suprematist violence has increased with 500% over the last ten years<br />
500 10 10 500<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Our lives in numbers –
our quantifiable universe<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Race recognition - by
humans<br />
Face recognition - by machines<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Translation: text into
numbers into images into code into text<br />
The verifiability of everything<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">face recognition and
racial
biology
<br />
micro data and macro data<br />
small data and fast data<br />
miniscule data and excessive data<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The minute movements of
a face through degrees of deviation<br />
The social production of a face – language as empirically and socially acquired
- face to face, body to body.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">It's a question of
scale</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Of the continuity of
intrinsic qualities of feeling we can now form but a feeble conception. The
development of the human mind has practically extinguished all feelings, except
a few sporadic kinds, sounds, colors, smells, warmth, etc., which now appear to
be disconnected and disparate. In the case of colors, there is a tridimensional
spread of feelings. Originally all feelings may have been connected in the same
way, and the presumption is that the number of dimensions was endless. For
development essentially involves a limitation of possibilities. But given a
number of dimensions of feeling, all possible varieties are obtainable by
varying the intensities of the different elements. It follows from the
definition of continuity, that when any particular kind of feeling is present,
an infinitesimal continuum of all feelings differing infinitesimally from that
is present.</span><br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwyMiSpw2kN7a9u4P_5MTL-1wGUN1gpQzKjqZcUMpFkpMGMl08OALElqnizyy-a-M1s3G6zs-ieBX2ES-6_qkQJnLZwGjTM7b2malNc4joaVM40Kl68LnKHcwXjJX56DtsKZ8jx9edfZM/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwyMiSpw2kN7a9u4P_5MTL-1wGUN1gpQzKjqZcUMpFkpMGMl08OALElqnizyy-a-M1s3G6zs-ieBX2ES-6_qkQJnLZwGjTM7b2malNc4joaVM40Kl68LnKHcwXjJX56DtsKZ8jx9edfZM/s1600/3.jpg" height="200" width="149" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Face recognition
software is now used to analyze and humanize the emotions expressed in the
faces of animals – disregarding other registers of exchange</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">This is the Autistic
quality of civilization, we need face recur ruin recognition to verifying
trithineds truthiness for data analysis of facial movements<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Emoticons as visual
substitute for emotive text, a metacommunicative pictorial representation of a
facial expression <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The state department
for race biology research was founded in 1922 and continued until 1975. Much of
its early research on Ural-Altaic Languages was colored by attempts at
justifying that European peoples east of Sweden were Asian and thus of inferior
race, justifying settlements and racial hygiene. Swedish research was an
important ideological precursor to the later Nazism. </span><span style="font-family: Arial, Helvetica, sans-serif;">semi circle</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">
semi semi<br />
semi colon and anti semite<br />
same = laponian –> the Nordic Native, indigenous peoples of the north <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">"You don't sound
like that at all" cab driver reminded me: “The way you speak, I thought
you had been here for 2 yrs most. How have you been able to be here for so long
a still talk like that?"<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">I am reminded I am just
a visitor in this language – remember me on this computer<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">bar bar bar – blah blah
blah – blabber blabber blabber<br />
Barbarization of language - the word is Roman for the North African Berbers<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The Old English
personal pronouns were replaced by the Scandinavian forms They Their Them dom
during the Anglo-Saxon age<br />
Exporting otherness - A racial pollution of language - they - them<br />
a migration going both ways. <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">How can we/they/one
utter xenophobic rhetorics believably with so many linguistic bastards and impurities.
How can we speak without pushing those immigrant words through our vocal cords
past our white teeth?<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Transference is about
pronouns. Transversality is a we/here M-dash they/there <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Give and take are also
Scandinavian immigrants. The word Data means given in Latin. It is possible
that Data dates back to Old Persian Dadatuy: let him give or from Sanskrit
Dadati: offering gift<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">articulation – to say
it out loud - from the tongue, through the lips, in one breath<br />
inhaling something that is not mine<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">ultra subjective
utterance <br />
subjective/objective speech <br />
machinic/objective muttering<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">To speak as an I and
engage as a
we
<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">articulation &
accent<br />
speech language pathologies<br />
language screening assessment<br />
slipping between languages<br />
meaning in translation, cadence, and rhythm<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">syncopation - a
discovery of the mouth<br />
rhythm - not melody<br />
rhythm - not velocity<br />
there is a difference between melodic and percussionist<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">tongue twister<br />
ready in rhythm<br />
foreign syntax<br />
erotic syntax <br />
unconscious syntax<br />
exotic syntax<br />
contemporary syntax<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Globish & Fascism -
everything starts to mean anything else<br />
I have no verbal responsibility I am a foreigner<br />
immigrant syntax - Globish for everyone - We are all barbarians<br />
Barbarian English vs Queen’s Accent<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">My dear barbarian, you
seem confused spraying swastikas on mosques <br />
there is a pill for this - there is no cure for that<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">personality disorders
should not be confused with (but may be the result of) problems accounting with
acculturation following immigration.<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">In the bit/In ha bit
this place/inhabit this language <br />
let it live through you<br />
I feel my language moving through you/your body<br />
I feel your language moving through me/my body<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Rhymes as
transformational gradients, allowing for motion of meaning in and out of word
units. Sliding from one morpheme into another, searching, while misplacing
manifest meaning, the rhyme is an emotive movement, morphing into the other,
passing as in becoming somebody or something else, noun into verb. <o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppTen0Oxj-qlEMd4o8dr9EKfi577si6xVIoFA0yKJdEIKsPtWxx5ZGBT5xQKPhZb-8gC_4a6gxd6_jNEO-XYZpJDXc8crFe5hRcx6bMCnmhej1m8X1qMMEgZIqk2suEYhj-oKRvIu4c8/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhppTen0Oxj-qlEMd4o8dr9EKfi577si6xVIoFA0yKJdEIKsPtWxx5ZGBT5xQKPhZb-8gC_4a6gxd6_jNEO-XYZpJDXc8crFe5hRcx6bMCnmhej1m8X1qMMEgZIqk2suEYhj-oKRvIu4c8/s1600/4.jpg" height="200" width="149" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Morphology is a branch
of biology dealing with the study of the form and structure of organisms and
their specific structural features.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Suppose a surface is
part red and part blue; so that every point on it is either red or blue, and,
of course, no part can be both red and blue. What, then, is the color of the
boundary line between the red and the blue? The answer is that the color of the
surface is the color of the surface in the immediate neighborhood of the point.
I purposely use a vague form of expression, it follows that the boundary is
half red and half blue. <o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">BORDERLINE personality
disorder<br />
- vague circumstantial, metaphorical, over elaborate, <u>or</u> stereotypical
thinking<br />
- restricted interpersonal contact<br />
- the border where I end and you begin is unclear and flexible<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">language is the bridge
between us all<br />
connection <br />
corerction<br />
co-ercion<br />
co-erection<br />
contemporary euphemism <br />
contemporary erection<br />
to be in your emotion - commotion<br />
to be in your language - collective<br />
to be in your body - collateral<br />
the border between body/language/emotion<br />
spoken language supports us towards others<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">curiosity and security<br />
certainty and security<br />
somatic symptoms<o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRz3vVqPkLoY4RBPhRXrxI3xNKSYaWJUYqSeJlrr1NuhUUTF52fGTt2RHpcy1R-ahT2c3G6Zb2fLnYOzGnNVw9pf2PqpAI_PbO9dvQGwlnT6qoDbAuEDHUnYMcHOZO1OCZ-rrOj8ZAuJw/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRz3vVqPkLoY4RBPhRXrxI3xNKSYaWJUYqSeJlrr1NuhUUTF52fGTt2RHpcy1R-ahT2c3G6Zb2fLnYOzGnNVw9pf2PqpAI_PbO9dvQGwlnT6qoDbAuEDHUnYMcHOZO1OCZ-rrOj8ZAuJw/s1600/5.jpg" height="200" width="149" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Association –
dissociation and feelings of emptiness</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">inhibition in
interpersonal relations<br />
inadequacy and social ineptitude <o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM2vDHJ88YIFiPXUnlgb8z6e-jSAyMRiry-gyk7qv5tPnvrjDvfDfpHnMpPnfOtuV4beLt9A0gAaiE9z4EFbKsMpTSvFb5BFmfQj92704Dee1XN1MZO6CpBvYEYw7a2rEjjhewtUw1BFw/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM2vDHJ88YIFiPXUnlgb8z6e-jSAyMRiry-gyk7qv5tPnvrjDvfDfpHnMpPnfOtuV4beLt9A0gAaiE9z4EFbKsMpTSvFb5BFmfQj92704Dee1XN1MZO6CpBvYEYw7a2rEjjhewtUw1BFw/s1600/6.jpg" height="200" width="149" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Place your welfare in
the hands of others<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">(excerpt from
performance: Aphasia as a Visual Shape of Speaking - on A-production and other
language syndromes.)</span><span style="font-family: Helvetica; font-size: 11pt;"><o:p></o:p></span><br />
<!--EndFragment--></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3389067640156218627.post-71477988838407500462012-05-17T21:59:00.003-07:002012-05-17T22:07:04.501-07:00woman-woman<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
Do you have any money? </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
Can you leave me here? </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
Car is passing </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
Dog is laughing </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
Cat is mumbling cat’s alphabet </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
She is out of the bed she walks at the kitchen naked.</div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
She puts water in a glass </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
Her nakedness is thin. Contrast light blocked on white cotton
curtains.</div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
She leans on the table to write a note. </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
“I woke up early </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
and here is your credit card “</div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
the credit card is on the table </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
There are oranges in the fridge, half bottle of milk, two slices of bread and a cereal bar.
Eat something you look weak and desperate and the color of your lips is grey
even when you’re sleeping </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br />
I made coffee, have some </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
Can you hold on? </div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
<br /></div>
<div class="MsoNormal" style="font-family: "Trebuchet MS",sans-serif;">
I am begging for a powerful golden force when you are asking
me to still love you. Death is
around the corner. Every time I pass this damn bridge I check if there is light
in your apartment. I can even see the mirror hanging on the wall at the
corridor’s side.<br />
<br />
<span style="font-size: small;">Georgia Sagri, Tuesday, January 4, 2011 11:09 AM </span></div>
</div>Unknownnoreply@blogger.com0