Georgia Sagri

7/09/2010

Note

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

7/04/2010

Note

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

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

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

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

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

6/10/2010

GOLD, 2010, Athens

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

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

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

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

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

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

1930
stock market crash
1973
Oil crisis
2007
'whatever' crisis

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

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

NEW TASTE
NEW FRESH
NEW WAYS

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

Voice
The voice

YES

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

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

Correspondences

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

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

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

The objects base
And the platform
The story is before

6/06/2010

SUKU LIVE 12/6/2010

PRESS RELEASE by SUKU

DON'T TAKE KINDNESS FOR WEAKNESS

INTO THE LIGHT
INTO THE FIRE

WELCOME YOU
TO THE CAMP

SUKU
ARE SU AND KU
BUT YOU ARE JUST YOU

6/04/2010

PianoWhale

5/15/2010

Note- Pier Paolo Pasolini

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