quarta-feira, 30 de dezembro de 2009

Übersetzung

Estou a traduzir, porque me apetece (é tão bom ter tempo...):

Michael Hirsch
Subversão e Resistência
Dez teses sobre arte e política
(artigo publicado no nº 1 da revista Inaesthetic que a Patrícia trouxe de Frankfurt)

Pretendo abordar neste artigo a questão das diferentes interpretações de arte contemporânea dentro de um contexto político e teórico mais alargado ou, mais precisamente, no contexto da evolução da teoria política e dos sistemas políticos no ocidente. Irei concentrar-me na relação entre fenómenos políticos e fenómenos culturais: o modo como a descrição que fazemos de nós próprios é formatado por discursos culturais e políticos. Como se define a arte contemporânea a si própria? Como se contextualiza? Temos para isso de analisar sobretudo a politização da arte e dos discursos culturais em conjunto, a fim de reconhecermos a forma graças à qual estes discursos se tornaram (ou foram tornados) políticos. Sem este reconhecimento as nossas tentativas de desenvolver teorias e práticas críticas ou subversivas não terão uma base intelectual satisfatória.
Protesto, resistência, recusa e subversão são nomes utilizados para descrever um instinto comum de oposição e crítica. Trata-se de um instinto com um certo poder unificador. Muitos de nós concordam instintivamente com a necessidade, bem como a beleza, de gestos negativos em reacção a ordens sociais vigentes. O que fazemos com esse instinto e como trabalhamos com ele? Como ligamos esta posição simbólica às estruturas vigentes da realidade social? Podemos desenvolver modelos para a descrição de posturas críticas e culturalmente subversivas (o que significa também éticas) no contexto social que simbolicamente contradizem? Será que modelos culturalmente subversivos podem reflectir a sua própria realidade e função tanto dentro como fora do campo em que agem? Ou será que acabam por cair num voluntarismo político que é, neste momento, e do meu ponto de vista, o modelo dominante de uma auto-descrição social “crítica” presente no discurso cultural e político contemporâneo?
(...)

terça-feira, 29 de dezembro de 2009

Friends will be friends



Thomas Hirschhorn & Marcus Steinweg
THE MAP OF FRIENDSHIP BETWEEN PHILOSOPHY AND ART
2007

Steinweg em Amesterdão



The subject is that which is capable of inventing a sense within the desert of non-sense that is the space of its freedom and impotence. The experience of freedom cannot be separated from the experience of impotence. Because the subject's freedom is absolute, its impotence is total. The absolutism of freedom has already connected with total impotence. Impotent freedom moves the subject toward an absolute limit. As the subject of a borderline experience, it realizes its freedom by affirming its impotence as the condition of its freedom. Instead of competing with documentation and historical labour, art is an opening toward the future. It is always a matter of tailoring names for the future, of giving form today — here and now — to the anonymity of tomorrow. The task of art includes the courage to give answers to questions posed by the future, to questions that do not pre-exist. There is no art beyond such an answer. There is no art beyond the wager of creation, of bringing forth something new. No matter how much what is new has to rely on what already exists, no matter how much it remains embedded within a material texture (as demanded by the Aristotelean perspective), the new nevertheless thoroughly redefines this texture; it thoroughly defines it anew until it appears within it incognito, anónymos.

sexta-feira, 25 de dezembro de 2009

2009 A-listers!!!!! you D-listers can die now... the year isn't ovah!

LIVRO

CH-CH-CH-CHANGES: Artists Talk About Teaching
Entrevistas de John Reardon aos artistas Michael Craig-Martin, Tobias Rehberger, Christoph Schlingensief, Erwin Wurm e.o.


CINEMA

2012 de Roland Emmerich
A mulher sem cabeça de Lucrecia Martel 

e também
Up de Pete Docter
A troca, de Clint Eastwood  
Happy go lucky, de Mike Leigh


TEATRO / DANÇA

Cappuccetto Rosso de René Pollesch, Volksbuehne

e também
Playing Ensemble Again and Again de Ivana Müller, Hebbel am Ufer (HAU)


MÚSICA

Album:

Gentlemania, Kevin Blechdom
2.0, The XX

e também
Temporary pleasure, Simian Mobile Disco
Femina, The Legendary Tiger Man
It's not me it's you, Lily Allen
Beauty killer, Jeffree Star

Canção:
I am not a robot, Marina and The Diamonds

e também
Two weeks, Grizzly Bear
Monster, Kevin Blechdom
Audacity of huge, Simian Mobile Disco
Bad blood, Simian Mobile Disco
Crystalised, The XX
Shelter, The XX
When I'm with you, Best Coast
Not fair, Lily Allen
Bad romance, Lady Gaga


ARTES PLÁSTICAS

A moment of citizenship, Irina Botea
curadoria: Maria Ines Rodriguez 

National Museum of Contemporary Art, Bucharest

quarta-feira, 23 de dezembro de 2009

Le Roi Soleil


Le Soleil considère notre spectacle Padam Padam un des meilleurs de l'anée.
Il faut respecter Le Soleil, après tout, il est le Roi de l'Univers!
well... sort of...

quarta-feira, 16 de dezembro de 2009

"I had a girl. Donna was her name" or "Oil Ain't (Definitely!) All JR!!!!!!!"

JR Ackerley quirky masterpiece, My Dog Tulip about a relationship between the writer and his "Alsatian" bitch in the 1940's and 1950's gives me a way to think through my dissent [unconditional love]. Tulip was the great love of JR Ackerley's life. Ackerley honored that love from the start by recognizing his impossible task - to wit, first, somehow to learn what this dog needed and desired and, second to move heaven and earth to make sure she got it.
In Tulip, rescued from her first home, [JR] Ackerly hardly had his ideal love object. He also suspected he was not her ideal of loved one. The saga that followed was not about unconditional love, but about seeking to inhabit an inter-subjective world that is about meeting the other in all the fleshly detail of a mortal relationship. Barbara Smuts, the behavioral bianthropologist who writes courageously about intersubjectivity and friendship with and among animals, would approve. No behavioral biologist, but attuned to the sexology of his culture, [JR] Ackerly comically and movingly sets out to find and adequate sexual partner for Tulip in her periodic heats.
(...) Tulip mattered and that changed them both. He also mattered to her, in ways that could only be read with the tripping proper to any semiotic practice, linguistic or not.
The misrecognitions were as important as the fleeting moments of getting things right. [JR] Ackerley's story was full of the fleshy, meaning making details of wordly, face-to-face love. Receiving unconditional love from another is a rarely excusable neurotic fantasy; striving to fulfill the messy conditions of being in love is quite another matter. The permanent search for knowledge of the intimate other, and the inevitable comic and tragic mistakes in that quest, commands my respect, whether the other is animal or human, or indeed inanimate, Ackerly's relationship with Tulip earned the name of love.

in THE COMPANION SPECIES MANIFESTO by Donna Haraway (courtesy of JMVM)