In the context of time
Now you are all relieved
It should be remembered.
The future never really comes.
Maybe a way of telling the, the, the.
This shows maybe.
I think you know this moment.
Memory has energy.
Some people call it an N
Dear Archive, I keep thinking moments
He says shoes are a depository of your past
I liked the explanations he gave
The They gives this
It’s a mythical film,
this pair of shoes you see
on the bottom.
A love story in an urban story in a real kind of
Some are still
alive, some are not
‘Negritude ultimate philosophy
You are seeing hear
I don’t know how good
For me this is a real translation’
It starts old, used, not protected.
What I like about it, is that it is not
Specifically only that aspect of his work.
He is quite
This piece is obsessed with talking.
Living installations see the back there
With this sound this is
Why I am talking about him living
I don’t even know how you call it
Most people here know this place
A founding moment
She is here
After we stopped we started
again and this is how yesterday started
again after ending.
[I lost interest suddenly; coffee, people, faces]
It starts old, used, not protected.
follow the voice reading down the water meaning in the art world, how do you store?
(of the birdings, very good; also in contrast with half
THE FIGURE OF AN ANTHROPOLOGIST
EVERY UNTOUCHABLE WAS TOUCHED
SHE IS HALF
[another persons now]
what kind of spaces are being addressed, the main point iiiiiiiii would make… different approach, if she is gone, she is gone… yet another el
(a very good reader doing this makes this way more interesting)
wii wii do wi doo
I don’t feel I’m verty well known
(a lot of movement and noise, a break has been suggested, a kid is closer now, a very good B flat)
HUMANITY IS GETTING REALLY OLD
(a kiss on the cheek from somebody that just came in; shining moment)
[15 counted seconds of delay on this jesusfuckingchrist]
THEY NEVER THOUGHT IT COULD BE USED
a population of different reasons ethics difficult to find a language in a lack
(a kid in the back with a high pitch scream, perfect; most singers cannot)
we also recommended ecology without nature – do you want to maybe – we worked pretty hard communicating with the executives
an image is what is missing in this picture, traces in this sense
human cars trapped in lava and these were the machines
THE INNER ARCHIVE
IN THE GREEK TRANSLATION
(a window opens; silverware, murmur, a cough from the back)
HOW MUCH FREEDOM CAN BE COMMUNICATED
ADRESS YOUR OWN FORM
there is an economy of flirting
another member of the public asks: how do we move on?
Member of the public: Thank you… each of us had one project… Because Berlin is Berlin you have to find your money elsewhere
we need some fresh eh….
wi wi wi wi wi dooo.. wi DU
ta biiiiiiiiiii.. azzzzzzzzzsssummmmmin…de de de de… ekanomik…..
e is not an idea that you have and you should have a different format to communicate it
A cookbooks easy to sell; the easiest thing after the bible. O maybe you should give me some advice
A question from the public about “Writing as sculpture book”: thanks action.
A speaker has still not arrived
A baby with a mother: thirst
A light map that looks like the one used in construction work from here
A smoking Canadian curator smoking with arm twisted around the head
you can smell happiness in these pictures
That’s the time my generation were dying; because of AIDS. This archive should have only been up to the middle of his life.
In 1976 a group of friends, at the first meeting… Maybe I will stop my history lesson there.
In 1974 there were three places which opened more or less simultaneously
we made books, periodicals and just about anything else one can imagine
one “clong” from the soup pot; noisily the silverware
(hand into pants pocket putting back the telephone; slight rustle of long hair on a sweater as head moves to the right for this action:
tttuff tufff fasiliteit
(rumors on the back from one old; a masculine video installations, English maybe)
L’s outside world is a reflection of L’s inside world
aaaaaaam an aaartisssss t
(anther cough: very short, dry feminine: _´ )
(cough; pattern __´__ __ )
(sound of a yawn as the mouth opens)
hhhu, tsss dalai
fssss fsu, plzz
John Cage´s ears
whatever is form is emptiness, whatever is emptiness is form
L is so so let’s do L again
G says the only thing G has to go on is G’s intuition.
the way change takes places in science, we should give up the idea of a few people leading many people
Writing as sculpture. What I like most is that both of the books have golden covers
Her name is Rose, oh… she was beautiful
T do you have a library? O has a flowing library; should anybody not feel welcome to here, say it.
It’s not for sale, and one can’t get it, and it was expensive to make, and
we are about to do a cookbook in December
people find this on the beach, maybe that’s the case
this is on line
yes, i took them there, telling people what it is, the qualities of that animal, the rest of this animal is what I did to make it
[I press the blue bottom; there should be a red option for urgent messages]
they are having sex in the beach;
they die saving something so old
the way we think about
this is the something on some kind of creature so abstract we can’t understand it
one thing that really struck me there is the
what I’ve done there is to go there, explore the areas
think about the environment
this has been slowly disappearing specially due to the airport
When the other side of water is drinkable
the connection between non human animals
I still don’t think that is an archive
Sunspace for Swallows. Colours. Inspiritational journey. Yellow corridor.
Oh as we speak
[sound of silverware and plates being picked up; who will clean those leftover talks stuck on the dishes?]
or if you can make yourselves smaller
And back into 2013, Friday 22, V’s works station.
And then we go forward into the 1970s.
I give you one example.
That’s it basically.
The kind of language
we’re hoping to achieve.
It took a trip to know
that I didn’t know.
What matters is not what
language we speak.
We should work on this
basic essence first.
Who should be
and who need not?
It was very difficult for us
to analyze what we thought.
Lit by nine double lights.
Eighteen lines of light.
This is my little platform for you.
If it’s gone, it’s gone.
Sort of rounding off.
What use did it have?
I can’t answer that actually.
There was a failure.
So that’s one thing.
Who does it serve?
We don’t normally do that.
What kind of space are we addressing?
The islands of the image.
In a sense, an open gesture, very risky.
The main point I would make.
It was meant to propose.
It made me extremely modest
about what I could say.
I just would like to throw this
into the discussion.
I would like to introduce the violence of the image.
Taking what is said and turn it into the same thing.
The morning builds
very well on yesterday.
I am traveling.
Hang on a second –
A film of two minutes.
I would finish with this.
How could I say, we were all at eye level.
If I still have five minutes,
I want to talk about a different approach.
We are afraid that
if she is gone,
it is gone.
There is a journalist who is
a living monument.
In fact, we would suggest
How are we able to think on our feet?
I was the one who wasn’t sure.
I had arrived. I felt quite lost.
What I then thought, was that
my problem was white nostalgia.
This doesn’t include the
hesitation the performativity.
So, talking now, in a little bit.
The question of the driven.
There is something that haunts us.
And now you have to
make a big jump.
Please do this with me.
The category of sudden appearance.
War Plötzlich Da.
I talk back into the last two days.
During the presentation I will talk
about one or two things. Themes.
You will have to connect the dots.
The bread is already on the table. One will block you from lunch.
of the obelisk, the whole restitution process.
A series paintings, of tableaux, actually.
The only thing I want to say.
And then re-enacts the origin,
the reason why.
It traces the journey back.
The last work I want to show
is actually the opening work.
I think it was a central work,
reflecting on a relationship.
He did several of these.
The staging was disrupted.
Really, this picture’s taken
from a bench.
And here we go. I really wanted to show you this image.
He’s also a half
The labeling of the object was decontextualizing.
Two-minute-videos, sometimes a bit longer.
Let me get into the images cause I’ve been saying a lot.
The articulation was geographics.
Take out some of the key ideas. We understood it as an
Sorry, didn’t want to get into the details. Anyway.
She’s also half
This is a timeline mapping.
It was a crucial move to destabilize.
Across climactic borders.
What I’m saying is
this leads us to the archives
This created a sort of void.
What happened was
it was clear.
Putting a lot of elements out there,
hope it doesn’t get too blurry.
A sort of temporary space.
A key idea to keep in mind.
An empty box, basically.
Demonstrating superiority. Leopold II.
Just a little bit of framing,
as a background.
Building up throughout the morning: verbalization.
Let me just add.
I certainly don’t have the answer to that.
A degree of reality hard to find in museums.
Without this necessarily being an answer to your question…
A little bit of discourse fed into a discussion.
Along some lines, I can understand.
In our case, you end up confused.
How do you deal with that?
From my view, I would not deal with that.
On a scale of the colonial.
It’s even more colonial.
The first impression
is we’re dealing with the exact
What we now found is
everything untouchable was touched.
The frame is stable
for a moment only.
Everything had this
We’re continuing that discussion.
It has at least made clear
there’s a need. For change.
The material itself
was, you know,
presented in a way.
How you defeat them.
The images are hung
between everything else
in the room.
Is this a voice? Not clear.
A melodic pitch, soft spoken.
Publish unwritten languages in writing.
The images travel, travel back, are repatriated.
An image of those thirty thousand images archived.
Sorry, this is a description. I’m sure you know what I mean.
Thirty thousand images over three years. The figure of an anthropologist.
In and out and so on. This is the background, that again has to be framed in a number of frames.
Humanity is getting really old
to talk about.
We are very much talking about a constellation. Like a snowball system, talking about a mode.
The start of a continued conversation.
The final thing is a book.
What it means to do a book. Each space has its quality.
To make a test. How, what. A commercial algorithm. I want to
speak about what is happening now.
It works like this. Probably.
Immediately, I have two images of the same space.
Decide how to select.
A hole archive. You mentioned the narrative.
The formula that fits. Something monumental. One picture that stands for a whole archive.
How much freedom can be communicated.
Could you rephrase it? I was thinking about something else.
Would anyone like to start a question?
Information higher than privacy. Handclapping.
The imaginary of our relation with our body.
This is a project called History Now.
Choose the selections which had to be selected by a selection.
The idea would be to select images and produce. The idea could be very banal.
OK, here we’re back again. We wanted to try to illustrate, to lose control over it.
These are images from a project. Show the workers. Visualize. What you see is starting from a photograph.
A very catholic attitude. You pay and then it’s OK. What you did is not so bad.
These are images. This was a request. I refuse to make photographs myself.
This is a more classical installation. We try to, to, to. It was created with, with, with.
A strange line between religious and civil uses. Architecture to express self.
To have the Italian constitution photographed.
Every untouchable was touched.
The son of Fela Kuti. A lake that is shrinking. The construction of a wall.
A flower market in Amsterdam. How to clean a hotel room in Las Vegas.
Here we are in Sicily. How space is used by humans.
The quality of the internet. Debureaucratized.
The public was allowed to touch it.
Printed on paper, mountains on cardboard.
This is very similar to the one I did. Practices as ways to think.
We have just. As you might see. Not sort of. These will all be then. These will be. So please.
Our third day actually. Second to last day actually. A couple of times before. Two hundred image presentation.
they never thought it could be used
i see this as models that are totally connecting. f you are interested. stay. i assume this is Jamaican.
it’s worth mentioning again. Projects need funding.
“Any last remarks before i round this up?”
“Is a memorial a reality machine? Or is it a dream machine?”
getting back to the poetry we’re moving closer to the end.
hand how to make a memorial a detail a conversation. They came up with the diaries of soldiers
“That’s the amazing thing about poetry. Something you couldn’t say. You can say it in a poem. It has a lot of weight.”
“”The archives belong to the people!!”
the most important part of a society is the government. we’re looking at that rhythm. whether we like it or not.
it’s a model. a good thing. say hey. there is this. can we use it. encourage. a future.
institutions that are independent of. we are in dire need. so how do we imagine.
a radical statement of power. if you look at it it just comes out as something aesthetic.
“Art has always been a political statement of a mind.”
continuity. a drawing type. growing of. can i say something. yes, say your name.
“We did not just connect today. We made an effort. In that we made a sculpture. A touch.”
considering the lack of coherence. we made an effort. materialized. when someone like what’s his name comes to visit
they left their artistic identity outside. they came as citizens.
dealing with marginal issues. say your name before saying something.
maybe we have a migration state. a regime of migration. today it’s about thread/t.
it’s not appreciated. but what about the refugee camps. what’s normal in the nation state.
something to look at. more than just a clash. it’s messy. and that’s interesting.
why don’t you answer. if you want a choice you have to answer.
i love it. i also ask myself.
maybe that’s romantic. the fact that people have bodies. relate to ALL things living.
this whole talk is so end of the century. we really need to recontextualize.
a city constructed by sound. by movement. why do we all live in cities anyway.
the factual nature of someone’s phone experience a tunnel whole patterns of movement it’s (not) what the city looks like
this doesn’t work that way. take on this one. we should say, no, President Barroso, we don’t want to have it that way
“We should all be artists. We should all have a direct democracy. We should just change the system.”
what they see is a lot of indifference. silence you say. but it’s not not there.
silence it’s overwhelming it’s not enough unless you’re claiming the archive nothing’s going to happen the cities were demolished
it’s just a mistake to think that development is done by enrichment. we should think of the city as a living archive.
I also think that “city” is a metaphor for an archive. Progress is not done by transformation. It’s done by enrichment.
we were taken by surprise. and we don’t know what identity we will have.
the entire thing was being dug up. in my own neighborhood. right over night.
how this has transformed space. big screen. becoming something entirely different.
there’s a pretty rate of failing too. what kind of activity is this.
not only houses. workplaces. places for children. the state owns. the money governs. build on colonies.
it becomes completely exclusive. there is a machine of development that can’t even control itself.
progress. future. inhabitants. how to keep. all these values. it’s not necessary to memorize.
Talking about archiving… what is that obsession about authenticity? Maybe that could be a starting point for our discussion.
the fragility of the very act of archiving. and the speed of it.
what’s that obsession with authentic — something.
Chongqing behaves like a movie set. there’s no way of keeping up.
Chongqing. a city that is displacing itself and its citizens all the time.
this doesn’t hold. in an obscene way. and very very quickly.
the preexisting narratives. in the aftermath of the olympics.
living in space. in repetition. in loss of time. how we engender space with meaning. endanger
immobility. just through these structures being forced upon you. producing anger. oppression. repetitiveness.
to create a sense of self be means of the area of the five blocks where you come from.
it was through this collage that i came to think of my own position.
Space. Architecture. Gender. physical encounter in space. these are things that i am interested in.
documenting a city the ways it changes, i think that’s the beauty of an archive
we all are hearing the government we all are the government two sides of yellow buses recalling each other
after 1,5 years he had the city in his head ways of preserving
… we are using earphones for a more intimate listening…
lines of yellow buses conductors call out a marker for me of Lagos marking out the city with their voices
there’s always traffic, it’s easy to use it. you can buy food and cook it in your car before you go home (laughter)
something’s wrong, i’m a totally different person now because i work so hard with where the sound came from
“When I come to the city of Lagos I can never sleep. It’s never ever really quiet in this city. Even the birds are screaming.”
it never stops. this crazy intense space. how do people react to that. translated. into a northern environment
not just Nigerian but West African. a congregation. different languages. different influences. while walking.
residue. to a place. it takes you on a journey. these people are translated too. into soundscape
the city is changing. so basically i started walking.
you keep hearing the sounds of Lagos. connect us to the archive.
the fact that we dance is maybe just the effect of them being neighbors.
the area of sound is right next to the area where motion is.
you’re from the city of Lagos. it’s obviously not just sound.
you have to understand this for yourself. try.
this is the house disfunctional experience. we don’t really have a place.
my whole family house was drowned under. going back to. memory. you don’t only loose.
this idea of food. once you eat it. you have to relate to. re/appropriate. de/colonize. that’s where i come to the archive
that’s one part of. how you can realize. positions of privilege. taken back.
“My experience of colonialisation is very personal. I made up my own Brazilian identity.”
because of who you love. too much of any. of the body. you can be arrested.
identifying as. it. was decriminalized. this idea of. belonging. you don’t exactly know what. ‘s missing.
you face discrimination. growing up like this. that’s when i decided.
you might have seen the small break. we’ll just work over it.
playing around with the idea of jungle. religious bridges. luxury. it’s not only men.
“I will not let you read the text, although they’re really interesting, cause we are lacking time
the Chinese lion. not yet there. in a kind of Potemkin village. still a bit shy. what to think about.
uhh, what did i do. coming to Hong Kong. just filling up. and rising in hierarchies. edges of Lagos. logos.
“I zoom in as far as digital goes… oh! What have i done?” :)
we speak of terribly poisoning stuff.
it was not only a credit it was also a gift and it was cut in the center of the copper belt
it’s a long way back your own transport this kind of infrastructure it’s not that it’s not reflected in China
we have the nation state. which is very important. the hugest project yet.
what is Africa in China.
my fragment knowledge. Chinafrica. it’s the archive i have on my desktop.
“First of all: I will talk about Africa. And China. But I will break it down. To Chinafrica.”
thank you very much.
certain values. working under the radar.
It’s also a question of values…we want to change Addis Ababa. This country. How much ambition do we have?
so i ask again. what is development.
we want to change the country beyond recognition. how more ambitious can you be.
gradually you see the eradication. you see Chinese investors. the city is an invisible city
it’s not a conservative kind of archive. activism. influence. proposal.
it is as if. i don’t agree.
misleading. poor. living together. disturbing. commodities. the indigenous marketplace. the term modernization.
Lunch breaks the last good advice ;)
(PICTURE this: -“no pissing on the security camera Anne”)
indigenous people live beyond. that was the masterplan.
Addis Ababa. It was a collection of villages. The first picture we have of it is a copy of a copy of a copy of
this city didn’t start with a railway station. it’s an African settlement. this is important to remember
now why is Addis Ababa being transformed in such a speed. this is also a question for archiving
the flyovers the developers the city developing endlessly which is also typical
let’s start the second session. i will talk about what was important.
all this resistance. you have a weight in your back. when we spoke i was struck by your focus. do get it done.
make yourself comfortable. grab a coffee. if somebody leaves their seat it doesn’t mean they don’t like what’s being said.
open and occupied. if anyone wants to add a title. we later will give it to the moon.
the point of exhaustion. we haven’t reached that yet.
a few more people have arrived. as we speak. do you wanna come over here.
Moving through space. Trying to slow down. Or speed up. Just as you wish. Fragment your movement.
right. you might wanna take a chair. and slow motion walk it back here.
start back over the front. use your feet.
then we have the reverse time zone. when you enter you have to breathe backwards. we all start from here.
the moment you enter. you can even breathe slowly.
follow the voice. this is the stop motion zone. the moment we enter inside we have to stop.
Reading underwater Stretching out thin Leaving pages behind Call it: the ultimate meaning of things.
( PICTURE A WOMAN IN A POOL )
in/finite complexity. in/finite shape space. we could even re/use this. in class.
a challenge a practice a project into the street put your head there we won’t let you eat for too long
people get together. which was quite essential actually. in a form of hidden way.
look at the works on display. feel free. you’re welcome.
projecting stories. if you’re comfortable with that. ask someone that is much younger.
if someone comes up to you during breaks. have trust in asking.
archives exist. questions of power. in people’s heads, in people’s minds.
it’s their duty. that’s just a reminder.
it comes down to the projects. to stimulate economy. we went to get something. inspiration.
she has tried to introduce colonial studies. geographical focus. at the same time. Germany is concerned.
culture institutions. addressing this. you have even supported your own critique.
even in the artworld. especially in the artworld. actually. there’s one person here.
pushing back. my troubles. in the artwork. colonialism. are paid for. what happens. pull out. that money.
“How do you take an idea into a work of art? And how do you store it?”
think about it. otherwise. it crosses. each other. on the one hand. on the other.
from a perspective. from the outside. from economy. from the differences. the look of things. contradicting
how does the vibrant archive feel. the artwork. ages. ages.
you take that document for granted. but that’s a pretty damn complicated question.
… you obviously have to have some contract … the archive contracts too…
let’s suggest…within that relevance…let’s have some confidence…an artwork has a contract with reality…
“In what way are we able to archive? In what scale? So we can memorize the present? Within the future?”
we have all these archives. but we still don’t know how to use them. we cannot talk about a homogenous Africa.
in this respect. in this scale. we have failed terribly.
archives within our scale. of ever present problems. when and if. we do have a future.
“People just don’t give a shit about Africa if they are outside of it.”
in terms of scale. how do you collect what you collect. display what you display.
the least read category in the economist. we can only talk about Africa in terms of migration issues.
the richest African. buying whatever you can for the cheapest price you can. what’s this category: Africa.
the category of Africa. and how important that is. talking from a European perspective. questions of scale
“When you have money or power. Or the space. Then you can say whatever you want.”
think of what we had. take your exhaustion. feed on it.
people are really curious about billboards. introducing their names. it’s ridiculous.
it was just someone i picked from the village. when you have the space you can say whatever you want.
to use the space that is already given.
7min. That’s the long version. Watch this. “Clap your hands. Make trees shake. Transform/gress. Care, and engage.”
people have different ideas. i wanted to show my fear.
i had some beet juice it kind of froze on the top it was the coldest day in the history of
actually. dinner is here. are you to hungry to talk.
no Ethiopians were hurt during making this video.
the short version is just 4 min.
what i needed was images. colors. sequence is not the right offer. answer.
not to hold the present. not to hold the past. to hold the beacon.
the sounds of the city under construction. its physicality.
one of the houses that is destroyed is my house and this is the kind of thing these artists are talking about
what the city has become addisababaqatarchina this is the situation disintegration
She questions the future. She works with billboards. They’re built on water, so they stay fertile.
This is Addis Abeba.
the door gets painted and painted over. maybe a metaphor. disintegrate.
so she waters the billboards. she wonders what the future is. above the Sheraton. below the palace.
people don’t care about watering the plants. they care about billboards. how fertile the billboard business is.
this is what she does: at museum. she revertsin the past. ambiguous about
people just stood still for a long time. these are our roundabouts. discontentional irrational archives.
Typing. Birding. Identifying.
( THIS IS A PICTURE OF HANDS ON A TYPEWRITER )
This really caught my eyes.
just above the Sheraton. just below the palace.
this is the site they live in. these are the holes. eventually you’re shoved out this. this is the condition
they always have their uniform. giving them hope. just above the Sheraton.
high rises. there were prostitutes. right behind them. living side by side. serving powers
Look at this: Segregated areas. Shady architecture. Dismantled indigenous infrastructure.
Be more like this.
infested with crime the city has tried to dismantle indigenous structures to become modern the loved ones
images of poverty. they are going to be displaced soon. they don’t know where to go
the future memories. how can we talk about a future when we don’t have memories.
what the archive constitutes. what you where talking about earlier. the colonies.
being more and more fragile. being not an archive either.
abilities of. taking it. taking in. reflecting in. another. person. to leave. with a story.
( PICTURE STUFF IN A ROOM )
very much about the ability to take. i was the one who came and gave.
they were never expected to being used.
i don’t know if anyone is familiar with this story.
the strange noises of a camera in a museum room. what will he do with it. whom will he show it. the victims. his family.
First of all the statue of three mothers. Remember their lost children. I looked. I had a camera. I didn’t know what to do.
then a young man came in. he had a cell phone. what was he documenting.
The statue of 3 mothers. Remember their lost children. I looked. I had a camera. I didn’t know what to do.
what is recorded here. the responsibility of the government. just standing there. i couldn’t comprehend.
i had no idea what the photographs meant. the kids said why. then he said, well.
coffins that all kinds of. i didn’t know what to do. i was walking around. i had a camera.
three women. mothers. representing all the mothers who lost. i had a camera.
there where lots of photos. they had left out every other victim. how can they relate to each other now.
i was very happy with that notion. it was ten years.
victims. after the film was shown. an organizing tool. it wasn’t just the red terror.
i am satisfied thank you rewriting the words she used how different it comes across i lost consciousness i lost
Archiving slivers. Slivers of a sliver. This is where it started: there was this goat… and in the end the murder of a son.
the translation was really bad. the translators are tired. scared. they got a totally different version.
maybe something’s wrong. how do we really hear a story. how can we interpret her, right.
the police killed him. that’s how it started. the seventh mother didn’t agree.
how do people get to the truth. that’s an interesting story. what do we make of it.
memorizing. memorializing. that’s her story. she’s a fierce lady.
Archiving the ordinary. Archiving the postordinary. With words, senses. Pens. Whatever it needs.
( THIS IS A PICTURE OF A PEN ON A SCHEDULE OF THE DAYS EVENTS )
that’s what she captured. a tough place. what do you make of it.
she saw his shoes. that’s my brother. what did you do to my brother. that’s the story she tells. how she began
just put some simple points on the table. just for girls. on the streets alone. to start the discussion.
transform. the next step would be. talk about memory. digital currency. for Africa. Africa
( THIS IS A PICUTRE OF A BUTTON ON A SHIRT )
now all the young people go on line. what is their relationship with digital identity.
Scotsmen resist. think of it. China is coming. China is coming. this is a king. this is. where is Africa.
what is the archive, King John. i’ll give you an example. the memory of this particular state.
what is their relationship. what is their relationship.
this will produce more data than all of Africa. i really wonder.
the very young universe. memory and archives.
we’re talking. we look forward. that’s what’s going to happen. very very quickly.
does anybody know where this what taken. when. very very quickly.
quite evil. believe me.
building their memories on devices. this is what this means.
this is a picture i took. of presidents. residents. of Africa. just look at this picture. this is what it means.
terrifying reflections. shaking hands. on this point in history. purposes. i’m not telling. the memory of China.
archiving things that have never been archived before. like our brains.
(the moon. the moon. markings i left out. expect yourself.)
consequences of marks. can you make them. then have some.
lots of drawings. in which time is passing. in sharing cushions.
archives in the making. marks that did not fit our expectations.
W, we’re up time. you go on shopping! enjoy your dinner tonight!
divisions. being a body. it’s very difficult to answer.
capturing lines. to be connected. was swept back.
( PICTURE A CHINESE ARTIST )
reconsidering archiving. subjective orienting.
instruments of reality.
good morning, everybody!
L-A-N-G-U-A-G-I-N-G is an experiment using constraint based communication tools.
L-A-N-G-U-A-G-I-N-G takes place in the space of listening.
The Institut für Raumexperimente opened a twitter account for the sole purpose of conditioning the L-A-N-G-U-A-G-I-N-G experiment.
Four creative writers – RIKE SCHEFFLER, DANIELA SEEL, SIS MATTHĖ, ERNESTO ESTRELLA – were asked to tweet continuous streams of forced haiku like narratives informed from what they heard over 2 days (20 hours) of listening.
L-A-N-G-U-A-G-I-N-G takes place from November 21 and 22nd, 2013, within ARCHIVES WORKS, a marathon hosted in the Institut für Raumexperimente.
L-A-N-G-U-A-G-I-N-G is a collaboration between the Institute für Raumexperimente and TICK Journal.
ERNESTO ESTRELLA: the poem, reading, the voice, politically, interrupted by Thoreau, tip of the Mouthprose, out of Berlin-Granada-New York.
SIS MATTHĖ is a poet and musician from Antwerpen. Likes to stack. Is writing a novel about someone’s name reduced to a word.
RIKE SCHEFFLER, a Berlin born poet, loves to put what’s around through the rabbit hole of her eyes and onto blank page.
DANIELA SEEL is a Berlin based writer, reader, editor, translator, interpreter of poetry working on what do you know about the prairie actually.
L-A-N-G-U-A-G-I-N-G experiment designed and edited by: Eric Ellingsen (heartheart)
twitter site built with the help of Martin Enoch
The content of L-A-N-G-U-A-G-I-N-G, appearing in TICK Journal (issue 2/3), is arranged under the influence of Felix Meyer.
Special thanks to Olafur Eliasson and Christina Werner.
L-A-N-G-U-A-G-I-N-G took place in a space of speakers and participants in ARCHIVES WORKS: Contributors to L-A-N-G-U-A-G-I-N-G includes Aeaeaeae & Hans-Henning Korb & Robert Lippok & Raul Walch, Berhanu Ashagrie Deribew, Jochen Becker, Beatrice von Bismarck, AA Bronson, Olafur Eliasson, Eric Ellingsen, Fasil Giorghis, Elizabeth Giorgis, Tue Greenfort, Tainá Guedes, Asako Iwama, Clara Jo, Mihret Kebede, Koyo Kouoh, Cynthia Kros, Jonathan Ledgard, Armin Linke, Robert Lippok, Lauren Maurer, Bekele Mekonnen, Salem Mekuria, Felix Melia, Doreen Mende, Natasha Mendonca, Netsa Art Village, Emeka Ogboh, Elvira Dyangani Ose & Pere Ortín & Vic Pereiró, Lynn Peemoeller, Georges Pfruender, Olga Robayo, Aykan Safoǧlu, Bernd Scherer, Stefanie Schulte Strathaus, Daniela Seel & Rike Scheffler & Ernesto Estrella & Sis Matthé, Nicola Setari, Diana Sprenger, Kat Válastur, Ai Weiwei, Christina Werner, Louwrien Wijers, Euan Williams, , , , and