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I wish to see this reason in the fact that it is altogether not permitted to describe the electromagnetic field in the interior of an electron as a continuous space function. The electrical field is defined as the force on a charged test particle, and if no smaller test particles exist than the electron vice versa the nucleus , the concept of electrical field at a certain point in the interior of the electron — with which all continuum theories are working — seems to be an empty fiction, because there are no arbitrarily small measures.
Einstein whether he approves of the opinion that a solution of the problem of matter may be expected only from a modification of our perception of space perhaps also of time and of electricity in the sense of atomism, or whether he thinks that the mentioned reservations are unconvincing and is of the opinion that the fundaments of continuum theory must be upheld.
If, in a certain stage of scientific investigation, it is seen that a concept can no longer be linked with a certain event, there is a choice to let the concept go, or to keep it; in the latter case, we are forced to replace the system of relations among concepts and events by a more complicated one. The same alternative obtains with respect to the concepts of timeand space-distances.
In my opinion, an answer can be given only under the aspect of feasibility; the outcome appears dubious to me. But a more precise reasoning shows that in this way no reasonable world function is obtained. It is to be noted that Weyl, at the end of , already had given up on a possible field theory of matter:. To me, field physics no longer appears as the key to reality; in contrary, the field, the ether, for me simply is the totally powerless transmitter of causations, yet matter is a reality beyond the field and causes its states.
Klein on 28 December , see [ ], p. Yet it retains part of its meaning also with regard to questions concerning the constitution of elementary particles. Because one may try to ascribe to these field concepts […] a physical meaning even if a description of the electrical elementary particles which constitute matter is to be made. Only success can decide whether such a procedure finds its justification […]. During the twenties Einstein changed his mind and looked for solutions of his field equations which were everywhere regular to represent matter particles:.
Let us move into the field chosen by him without too much surprise to see him apparently follow a road opposed to the one successfully walked by the contemporary physicists. After , Einstein first was busy with extracting mathematical and physical consequences from general relativity Hamiltonian, exact solutions, the energy conservation law, cosmology, gravitational waves.vielifsodaldesc.gq/wikileaks-la-era-de-los.php
Benutzer:Olaf2/Bibliothek – Wikipedia
Thus, while lengths of vectors at different points can be compared without a connection, directions cannot. This seemed too special an assumption to Weyl for a genuine infinitesimal geometry:. A metrical relationship from point to point will only then be infused into [the manifold] if a principle for carrying the unit of length from one point to its infinitesimal neighbours is given. In contrast to this, Riemann made the much stronger assumption that line elements may be compared not only at the same place but also at two arbitrary places at a finite distance.
At a point, Equation 98 induces a local recalibration of lengths l while preserving angles, i. If, as Weyl does, the connection is assumed to be symmetric i. With regard to the gauge transformations 98 , remains invariant. From the 1-form dQ , by exterior derivation a gauge-invariant 2-form with follows. Let us now look at what happens to parallel transport of a length, e. If X is taken to be tangent to C , i. The same holds for the angle between two tangent vectors in a point cf.
Yet, also today, the circumstances are such that our trees do not grow into the sky.
Due to the additional group of gauge transformations, it is useful to introduce the new concept of gauge-weight within tensor calculus as in Section 2. Weyl did calculate the curvature tensor formed from his connection but did not get the correct result ; it is given by Schouten [ ], p. His Lagrangian is given by , where the invariants are defined by. Weyl had arranged that the page proofs be sent to Einstein.
In communicating this on 1 March , he also stated that. In the most general case, the equations will be of 4th order, though. He then asked whether Einstein would be willing to communicate a paper on this new unified theory to the Berlin Academy [ ], Volume 8B , Document , pp. Einstein was impressed: In April , he wrote four letters and two postcards to Weyl on his new unified field theory — with a tone varying between praise and criticism.
His first response of 6 April on a postcard was enthusiastic:. It is a stroke of genious of first rank. Nevertheless, up to now I was not able to do away with my objection concerning the scale. However, as long as measurements are made with infinitesimally small rigid rulers and clocks, there is no indeterminacy in the metric as Weyl would have it : Proper time can be measured.
As a consequence follows: If in nature length and time would depend on the pre-history of the measuring instrument, then no uniquely defined frequencies of the spectral lines of a chemical element could exist, i. He concluded with the words. Only for a vanishing electromagnetic field does this objection not hold. Only in a static gravitational field, and in the absence of electromagnetic fields, does this hold:. Einstein saw the problem, then unsolved within his general relativity, that Weyl alluded to, i. Presumably, such a theory would have to include microphysics.
But I find: If the ds , as measured by a clock or a ruler , is something independent of pre-history, construction and the material, then this invariant as such must also play a fundamental role in theory. Yet, if the manner in which nature really behaves would be otherwise, then spectral lines and well-defined chemical elements would not exist. Another famous theoretician who could not side with Weyl was H. However, Weyl still believed in the physical value of his theory. There exists an intensive correspondence between Einstein and Weyl, now completely available in volume 8 of the Collected Papers of Einstein [ ].
We subsume some of the relevant discussions. Weyl did not give in:. Einstein then suggested the affine group as the more general setting for a generalisation of Riemannian geometry [ ], Vol. In particular, it is unimportant which value of the integral is assigned to their world line. Otherwise, sodium atoms and electrons of all sizes would exist. But if the relative size of rigid bodies does not depend on past history, then a measurable distance between two neighbouring world-points exists. As far as I can see, there is not a single physical reason for it being valid for the gravitational field.
The gravitational field equations will be of fourth order, against which speaks all experience until now […]. The quadratic form Rg ik dx i dx k is an absolute invariant, i. If this expression would be taken as the measurable distance in place of ds , then. A very small change of the measuring path would strongly influence the integral of the square root of this quantity. Einstein added:. The last remarks are interesting for the way in which Einstein imagined a successful unified field theory. In the same way in which Mie glued to his consequential electrodynamics a gravitation which was not organically linked to it, Einstein glued to his consequential gravitation an electrodynamics i.
You establish a real unity. Understandably, no comments about the physics are given [ ], pp. Of course, as he noted, no progress had been made with regard to the explanation of the constituents of matter; on the one hand because the differential equations were too complicated to be solved, on the other because the observed mass difference between the elementary particles with positive and negative electrical charge remained unexplained.
In his general remarks about this problem at the very end of his article, Pauli points to a link of the asymmetry with time-reflection symmetry see [ ], pp. Now as before I believe that one must look for such an overdetermination by differential equations that the solutions no longer have the character of a continuum.
But how? The idea of gauging lengths independently at different events was the central theme. This must also give rise to an identity; and it is found that the new identity expresses the law of conservation of electric charge. Section 4. As he had abandoned the idea of describing matter as a classical field theory since , the linking of the electromagnetic field via the gauge idea could only be done through the matter variables.
In October , in the preface for the first American printing of the English translation of the fourth edition of his book Space, Time, Matter from , Weyl clearly expressed that he had given up only the particular idea of a link between the electromagnetic field and the local calibration of length:. This attempt has failed. Weyl himself continued to develop the dynamics of his theory.
As an equivalent Lagrangian Weyl gave, up to a divergence. Due to his constraint, Weyl had navigated around another problem, i. In the paper in , he changed his Lagrangian slightly into. The changes, which Weyl had introduced in the 4th edition of his book [ ], and which, according to him, were of fundamental importance for the understanding of relativity theory, were discussed by him in a further paper [ ].
His colleague in Vienna, Wirtinger , had helped him in this. If J has gauge-weight -1, then Jg ik is such a metric. In order to reduce the new theory to general relativity, in addition only the differential equation. More important, however, for later work was the gauge invariant tensor calculus by a fellow of St. Newman [ ]. In this calculus, tensor equations preserve their form both under a change of coordinates and a change of gauge. Newman applied his scheme to a variational principle with Lagrangian K 2 and concluded:.
We shall discuss these topics in Part II of this article. What is now called Kaluza-Klein theory in the physics community is a mixture of quite different contributions by both scientists. But you understand that, in view of the existing factual concerns, I cannot take sides as planned originally. Kaluza did not normalize the Killing vector to a constant, i. Of the 15 components of , five had to get a new physical interpretation, i. The component g 55 turned out to be a scalar gravitational potential which, in the static case, satisfies the equation.
Kaluza also showed that the geodesics of the five-dimensional space reduce to the equations of motion for a charged point particle in space-time, if a weakness assumption is made for the components of the 5-velocity , u 4 1. The Lorentz force appears augmented by an additional term containing g 55 of the order which thus may be neglected. For him, any theory claiming universal validity was endangered by quantum theory, anyway. The remaining covariance group G 5 is given by. The objects transforming properly under are: the scalar , the vector-potential , and the projected metric.
Klein identified the group; however, he did not comment on the fact that now further invariants are available for a Lagrangian, but started right away from the Ricci scalar of M 5 [ ]. The group G 5 is isomorphic to the group H 5 of transformations for five homogeneous coordinates with homogeneous functions of degree 1. I value your approach more than the one followed by H. If you wish, I will present your paper to the Academy after all. The negative result of his own paper, i. His motivation went beyond the unification of gravitation and electromagnetism:.
Clearly, the non-Maxwellian binding forces which hold together an electron.
In the first, shorter, part of two, Eddington describes affine geometry; in the second he relates mathematical objects to physical variables. He starts by calculating both the curvature and Ricci tensors from the symmetric connection according to Equation By this, Eddington claims to guarantee charge conservation:.
However, for a tensor density, due to Equation 16 we obtain. Who shall say what is the ordinary gauge inside the electron? Only connections leading to a Lorentz metric can be used if a physical interpretation is wanted. Thus, in general, g kl is not metric-compatible; in order to make it such, we are led to the differential equations for , an equation not considered by Eddington.
This is due to the expression for the inverse of the metric, a function cubic in R kl. Note also that Eddington does not explicitly say how to obtain the contravariant form of the electromagnetic field F ij from F ij ; we must assume that he thought of raising indices with the complicated inverse metric tensor. Now, Eddington was able to identify the energy-momentum tensor T ik of the electromagnetic field by decomposing the Ricci tensor K ij formed from Equation 51 into a metric part R ik and the rest.
His aim was reached in the sense that all three quantities were fixed entirely by the connection; they could no longer be given from the outside. If so, then it must be a purely phenomenological one without any recourse to the nature of the charged elementary particles cf. At first, Einstein seems to have been reserved cf. To Bohr, Einstein wrote from Singapore on 11 January Eddington has come closer to the truth than Weyl. Like Eddington, Einstein used a symmetric connection and wrote down the equation. By this, the metric was defined as the symmetric part of the Ricci tensor.
Due to. Let us note, however, that while transforms inhomogeneously, its transformation law. For a Lagrangian, Einstein used ; he claims that for vanishing electromagnetic field the vacuum field equations of general relativity, with the cosmological term included, hold. If , then the electric current density j l is defined by. The field equations are obtained from the Lagrangian by variation with regard to the connection and are Einstein worked in space-time. From Equation the connection can be obtained. This equation is an identity if a solution of the field equations is inserted. From Equation ,.
In order that this makes sense, the identifications in Equation are always to be made after the variation of the Lagrangian is performed. For non-vanishing electromagnetic field, due to Equation the Equation now becomes. Einstein concluded:. Except for singular positions, the current density is practically vanishing. Up to the same order,. In general however,. Also, the geometrical theory presented here is energetically closed, i. His final conclusion was:. Until the end of May , two further publications followed in which Einstein elaborated on the theory. In the second paper, he exchanged the Lagrangian for a new one, i.
The resulting equations for the gravitational and electromagnetic fields are the symmetric and skew-symmetric part, respectively, of. Although the theory offered, for every solution with positive charge, also a solution with negative charge, the masses in the two cases were the same. However, the only known particle with positive charge at the time what is now called the proton had a mass greatly different from the particle with negative charge, the electron. Einstein noted:. The logic of the subsequent derivations in his paper is quite involved.
The first step consisted in the definition of tensor densities. By using both Equation and Equation , Einstein obtained the Einstein. After a field rescaling, he then took a third expression to become his Lagrangian. Nobody can determine empirically an affine connection for vectors at neighbouring points if he has not obtained the line element before. He criticised a theory that keeps only the connection as a fundamental building block for its lack of a guarantee that it would also house the conformal structure light cone structure. This is needed for special relativity to be incorporated in some sense, and thus must be an independent fundamental input [ ].
From a recent conversation with Einstein I learn that he is of much the same opinion. His outlook on the state of the theory now was rather bleak:. To me, the quantum-problem seems to require something like a special scalar, for the introduction of which I have found a plausible way. But I fail to succeed in giving my pet idea a tangible form: to understand the quantum-structure through an overdetermination by differential equations. The initial state of an electron moving around a hydrogen nucleus cannot be chosen freely; its choice must correspond to the quantum conditions.
In general: not only the evolution in time but also the initial state obey laws. He then ventured the hope that a system of overdetermined differential equations is able to determine. One of the crucial tests for an acceptable unified field theory for him now was:. In such a way, the un-ambiguity of the initial conditions ought to be understood without leaving field theory. In the introduction to his book, Struik distinguished three directions in the development of the theory of linear connections [ ]:.
In his assessment, Eisenhart [ ] adds to this all the geometries whose metric is. Developments of this theory have been made by Finsler, Berwald, Synge, and J. In this geometry the paths are the shortest lines, and in that sense are a generalisation of geodesics. Affine properties of these spaces are obtained from a natural generalisation of the definition of Levi-Civita for Riemannian spaces.
In fact, already in May Jan Arnoldus Schouten in Delft had submitted two papers classifying all possible connections [ , ]. In the first he wrote:. Weyl, Raum-Zeit-Materie , 2. Section, Leipzig 3. The most general connection is characterised by two fields of third degree, one tensor field of second degree, and a vector field […].
The fields referred to are the torsion tensor S ij k , the tensor of non-metricity Q ij k , the metric g ij , and the tensor C ij k which, in unified field theory, was rarely used. It arose because Schouten introduced different linear connections for tangent vectors and linear forms. He defined the covariant derivative of a 1-form not by the connection L ij k in Equation 13 , but by.
In fact. Furthermore, on p. For such an extension an invariant fixing of the connection is needed, because a physical phenomenon can correspond only to an invariant expression. According to Schouten. In the following pages will be shown that this difficulty disappears when the more general supposition is made that the original deplacement is not necessarily symmetrical.
He then restricted the generality of his approach; in modern parlance, he did allow for vector torsion only:. On the same topic, Schouten wrote a paper with Friedman in Leningrad [ ]. He relied on the curvature, torsion and homothetic curvature 2-forms [ 32 ], Section III; cf. The spreading of knowledge about properties of differential geometric objects like connection and curvature took time, however, even in Leningrad. After an uninterrupted search during the past two years I now believe to have found the true solution. After some manipulations, the variation with regard to the metric and to the connection led to the following equations:.
However, he cautioned:. The process of generalisation consists in abandoning assumptions of symmetry and in adopting a definition of covariant differentiation which is not the usual one, but which reduces to the usual one in case the connection is symmetric. The two covariant derivatives introduced by J. Thomas are and. Thomas then could reformulate Equation in the form. Toward the end of the paper Einstein discussed time-reversal; according to him, by it the sign of the magnetic field is changed, while the sign of the electric field vector is left unchanged.
As he wanted to obtain charge-symmetric solutions from his equations, Einstein now proposed to change the roles of the magnetic fields and the electric fields in the electromagnetic field tensor. He went on to say:. This is surely a magnificent possibility which likely corresponds to reality. The question now is whether this field theory is consistent with the existence of quanta and atoms.
In the macroscopic realm, I do not doubt its correctness. Yet, in the end, also this novel approach did not convince Einstein. Soon after the publication discussed, he found his argument concerning charge symmetric solutions not to be helpful. The link between the occurrence of solutions with both signs of the charge with time-symmetry of the field equations induced him to doubt, if only for a moment, whether the endeavour of unifying electricity and gravitation made sense at all:.
In this, electrodynamics is basically different from gravitation; therefore, the endeavour to melt electrodynamics with the law of gravitation into one unity, to me no longer seems to be justified. First , the attempts of all of us were directed to arrive, along the path taken by Weyl and Eddington or a similar one, at a theory melting into a formal unity the gravitational and electromagnetic fields; but by lasting failure I now have laboured to convince myself that truth cannot be approached along this path.
The new field equation was picked up by R. In the same spirit as the one of his paper, Einstein said good bye to his theory in a letter to Besso on Christmas in words similar to those in his letter in June:. Anyway, I now am convinced that, unfortunately, nothing can be made with the complex of ideas by Weyl-Eddington. The equations. I take as the best we have nowadays. But it appears doubtful whether there is room in them for the quanta. It does not allow for electrical masses free from singularities. Moreover, I cannot bring myself to gluing together two items as the l.
Research on affine geometry as a frame for unified field theory was also carried on by mathematicians of the Princeton school. Thus J. We met J. During the period considered here, a few physicists followed the path of Eddington and Einstein. He showed that, in first approximation, he got what is wanted, i. Three months later, Infeld published a note in Comptes Rendus of the Parisian Academy in which he now presented the exact connection as. Thus, he is back at vector torsion treated before by Schouten [ ].
The Japanese physicist Hattori embarked on a metric-affine geometry derived purely from an asymmetric metrical tensor. He defined an affine connection. The electromagnetic field was not identified with f ik by Hattori, but with the skew-symmetric part of the generalised Ricci tensor formed from. By introducing the tensor , he could write the generalised Ricci tensor as.
F ikl is formed from F ik as f ikl from f ik. The proper world geometry which ought to lead to a unified theory of gravitation and electricity can only be found by an investigation of its physical content. Infeld could as well have applied this admonishment to his own unified field theory discussed above. Thus, Straneo suggested a unified field theory with only vector torsion as Schouten had done 8 years earlier [ , ] without referring to him. The field equations Straneo wrote down, i. Straneo wrote further papers on the subject [ , ].
By this, he claimed to have made superfluous the five-vectors of Einstein and Mayer [ ]. This must be read in the sense that he could obtain the Einstein. Mayer equations from his formalism without introducing a connecting quantity leading from the space of 5-vectors to space-time [ ]. Einstein, in his papers, did not comment on the missing metric compatibility in his theory and its physical meaning. In this work a generalisation of the equation for metric compatibility, i. The continuation of this research line will be presented in Part II of this article.
Lorentz, 16 February On the next day 17 February , and ten days later Einstein was to give papers of his own in front of the Prussian Academy in which he pointed out the gauge-group, wrote down the geodesic equation, and derived exactly the Einstein. Maxwell equations — not just in first order as Kaluza had done [ 81 , 82 ]. He came too late: Klein had already shown the same before [ ]. Einstein himself acknowledged indirectly that his two notes in the report of the Berlin Academy did not contain any new material.
In his second communication, he added a postscript:. Mandel brings to my attention that the results reported by me here are not new. The entire content can be found in the paper by O. That Klein had published another important clarifying note in Nature , in which he closed the fifth dimension, seems to have escaped Einstein [ ]. Maxwell equations [ ], p.
Mandel of Leningrad was not given credit by Einstein although he also had rediscovered by a different method some of O. From the geodesics in M 5 he derived the equations of motion of a charged point particle. One of the two additional terms appearing besides the Lorentz force could be removed by a weakness assumption; as to the second, Mandel opinioned. Fock derived the general relativistic wave equation and the equations of motion of a charged point particle; the latter is identified with the null geodesics of M 5.
A main motivation for Klein was to relate the fifth dimension with quantum physics. From a postulated five-dimensional wave equation. By this, the reduction of five-dimensional equations as e. Klein had only the lowest term in the series. Beyond incredibly complicated field equations nothing much had been gained [ ]. Even L. Klein and Einstein. He then discussed conformally invariant field equations, and tried to relate them to equations of wave mechanics [ ].
In , N. Presently, the different contributions of Kaluza and O. An early criticism of this unhistorical attitude has been voiced in [ ]. Indices are raised and lowered with the metrics of V 5 or V 4 , respectively. A consequence then is. Both covariant derivatives are abbreviated by the same symbol A ; k. The covariant derivative of tensors with both indices referring to V 5 and those referring to V 4 , is formed correspondingly. The autoparallels of V 5 lead to the exact equations of motion of a charged particle, not the geodesics of V 4.
From them follows. They also noted that a symmetric tensor F kl could have been interpreted as the second fundamental form, and the formalism would then be the same as local isometric embedding of V 4 into V 5. It is related to the Riemannian curvature of V 4 by. From , by transvection with , the 5-curvature itself appears:. By contraction, and. Two new quantities are introduced:. It turns out that.
Also, in a lecture given on 14 October in the Physics Institute of the University of Wien, he still was proud of the 5-vector approach. However, following an idea half of which came from myself and half from my collaborator, Prof. Mayer, a startlingly simple construction became successful. In this way, we succeeded to recognise the gravitational and electromagnetic fields as a logical unity.
Electrical and mass-density are non-existent; here, splendour ends; perhaps this already belongs to the quantum problem, which up to now is unattainable from the point of view of field [theory] in the same way as relativity is from the point of view of quantum mechanics. The witty point is the introduction of 5-vectors in fourdimensional space, which are bound to space by a linear mechanism. Let a s be the 4-vector belonging to ; then such a relation obtains.
In the theory equations are meaningful which hold independently of the special relationship generated by. Infinitesimal transport of in fourdimensional space is defined, likewise the corresponding 5-curvature from which spring the field equations. In his report for the Macy-Foundation, which appeared in Science on the very same day in October , Einstein had to be more optimistic:. It furnishes, however, clues to a natural development, from which we may anticipate further developments in this direction.
In any event, the results thus far obtained represent a definite advance in knowledge of the structure of physical space. However, according to Pauli, Veblen and Hoffmann had spoiled the advantage of projective theory:. The five-dimensional space is just a mathematical device to represent the events points of space-time by these curves. Thus, Veblen and Hoffmann also gained the Klein. Gordon equation in curved space, i. Nevertheless, Hoffman remained optimistic:. In particular, we do not demand a relationship between electrical charge and a fifth coordinate; our theory is strictly four-dimensional.
Of the three basic assumptions of the previous paper, the second had to be given up. The expression in the middle of Equation is replaced by. The field equations were set up according to the method of the first paper; now the 5-curvature scalar was. It also turned out that with , i. In the last paragraph, the compatibility of the equations was proven, and at the end Cartan was acknowledged:. At about the same time as Einstein and Mayer wrote their second note, van Dantzig continued his work on projective geometry [ , , ]. Together with him, Schouten wrote a series of papers on projective geometry as the basis of a unified field theory [ , , , ] , which, according to Pauli, combine.
In this paper [ ], p. The formalism of Schouten and van Dantzig allows for taking the additional dimension to be timelike; in their physical applications the metric of spacetime is taken as a Lorentz metric; torsion is also included in their geometry. Pauli, with his student J. The authors pointed out that. In a sequel to this publication, Pauli and Solomon corrected an error:.
Then we discuss the form of the energy-momentum tensor and of the current vector in the theory of Einstein-Mayer. Michal and his co-author generalised the Einstein-Mayer 5-vector-formalism:. Robertson found a new way of applying distant parallelism: He studied groups of motion admitted by such spaces, e. Section 6. Cartan wrote a paper on the Einstein-Mayer theory as well [ 39 ], an article published only posthumously in which he showed that this could be interpreted as a five-dimensional flat geometry with torsion, in which space-time is embedded as a totally geodesic subspace.
The contributions from the Levi-Civita connection and from contorsion in the curvature tensor cancel. In place of the metric, tetrads are introduced as the basic variables. As in Euclidean space, in the new geometry these 4-beins can be parallely translated to retain the same fixed directions everywhere. In particular, the vanishing of the affine curvature tensor was given as a necessary and sufficient condition for the existence of D linearly independent fields of parallel vectors in a D -dimensional affine space [ ], p.
However, when Einstein published his contributions in June [ 84 , 83 ], Cartan had to remind him that a paper of his introducing the concept of torsion had. Einstein had believed to have found the idea of distant parallelism by himself. In this regard, Pais may be correct. Every researcher knows how an idea, heard or read someplace, can subconsciously work for years and then surface all of a sudden as his or her own new idea without the slightest remembrance as to where it came from.
It seems that this happened also to Einstein. It is quite understandable that he did not remember what had happened six years earlier; perhaps, he had not even fully followed then what Cartan wanted to explain to him. In an investigation concerning spaces with simply transitive continuous groups, Eisenhart already in had found the connection for a manifold with distant parallelism given 3 years later by Einstein [ ].
But: Dialogues or having a counterpart is very important in my working process. Since I am working at home, I am kind of isolated. The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business. Somehow this subverting procedure became a slogan of the trio. Their works often relate to art history and copying, interpreting and re-interpretation is an ever-recurring aspect of their work, which has continued to develop strongly over the years.
But what runs through the whole body of work created by Mickry 3 is a sense of humour and a critical but never moralistic attitude towards society. In the trio — who works exclusively in the collective — joined the Association of Swiss Sculptors AZB and moved to their conglomerate of workshops and exterior working spaces in the peripheral area of former gasworks in Schlieren. The association, founded in by a group of sculptors, among which artist Heinz Niederer, settled there in AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich.
This overall environment has influenced in many ways the artistic practice of Mickry 3. Not least because the area seems to be an ideal place not only to work — but to spend time. The exhibition inspired an entire generation of relational aesthetics, both curators and artists, from Nicolas Bourriaud to Jens Hoffmann, from Philippe Parreno to Pierre Huyghe, as well as the post-digital discourse and new media art context, with theoreticians and curators like Andreas Boeckmann and Yuk Hui.
You can download the text from here. If you are interested in joining our reading session, it is recommended that you to read it before. Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought about by digital technologies in the last 30 years.
This book is an attempt to translate new understandings of transcultural connections into a dialogue. Contributions and insights by important actors in the cultural field such as Eugene Tan, Rem Koolhaas, Benson Puah, June Yap, Gwee Li Sui, and Philip Ursprung, Michael Schindhelm and Damian Christinger frame research by students from the Zurich University of the Arts, and create a multi-voiced and multi-faceted approach to understanding the rapidly-changing cultural topographies of Singapore.
Happy Tropics I consists of two parts that run literally parallel throughout the book. As Singapore becomes a global leader in both the financial and knowledge-production sectors, increasing emphasis is being put on both the production and dissemination of culture in the island-state. The question as to whether arts and culture will follow suit is being closely followed by other nations worldwide who aspire to similar developmental goals.
Singapore can be thought of as a kind of laboratory for the enabling, production, education, and consumption of arts and culture. Understanding culture as a mirror of society, instrument of national identification, and site for dialogue and exchange with other cultures allows us to view it as a litmus test for the resilience of an unprecedented societal concept.
Within this framework, Happy Tropics I can be seen as a case study and a laboratory for different approaches to dealing with the challenges of globalization, as the cultural topographies of Singapore are not only changing, but also constituting themselves in our timeframe. Understanding the city as a responsive network that can be harnessed for research and education projects reflects this reality, and encouraged us to come with our students from the Zurich University of the Arts to Singapore, delving into its mesh and trying to learn that seeing eye to eye is so much more important then perceived hierarchies, a concept that is also reflected in the design and structure of this book.
If you are interested in our reading session please contact us! We will write you back with a copy of the book, and warmly recommend you to read it before the session. Contact: Miwa Negoro Corner College , miwa. Saturday, 21 January — Sunday, 19 February Opening: Saturday, 21 January at h Finissage: Sunday, 19 February at h Artist talks and other accompanying events to be announced.
The studio might be a space where a certain degree of autonomy can be detected. The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques. There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality.
It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc.
- Wake of the Wind Dancer.
- Pembroke: The Adventures of Arthur Bacterium and Patty Virus;
- Zur pädagogischen Relevanz des Computereinsatzes im Musikunterricht der Primarstufe (German Edition).
- Little New Jersey (Little State).
- Little Saint Nick?
Work is here used not necessarily to designate an art object. The working environment of the studio can be seen from many angles. At the same time, it remains a place where un productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity.
The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work. Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.
The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches. Theorem 4. All form is a combination of all forces, a mix of human and non-human in the process of individuation. This precarious man-form is the extra-human ethical being of politics. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does. Autonomy is distinct from knowledge.
As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy.
Aesthetic autonomy goes beyond the art context to embrace life as a whole. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too. HD video. Lisa Biedlingmaier, undefined. For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed.
The interior, whether a home office or a study room, provides clues to the personality living or working there. Series of 36 photographs. The L-Word - No mas metales HD video, 56 min. Photo: Maria Pomiansky. Courtesy the artist. What is the role of the painter's atelier in contemporary art practice? The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities.
It can be interpreted as a manifestation of humanity. I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles. Mapping Graphic Design History in Switzerland is not just another book that retells the success story of Swiss graphic design. It is a collection of eleven selected essays deriving from academic research that explores historical dimensions of graphic design in Switzerland — from producing it, to archiving and exhibiting it.
The book is also an endeavor to open up a space for graphic design history by providing new perspectives, ideas and tools that enable historical research in such a crucial field for Switzerland as graphic design and typography. On this occasion, the editors Davide Fornari and Robert Lzicar and publisher Triest invite you to celebrate the launch of the book.
The evening will end with a toast on the publication. Robert Lzicar is a designer, educator and researcher. In resonance with Cora Piantoni's exhibition Buon Lavoro! Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider. Prose of The Day — Poetic Resistance. Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft.
Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen. Sie studierte Philosophie an der Sorbonne. Eine Veranstaltungsreihe des Corner College. A series of events by Corner College. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed.
Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid. Born in Basel , lives and works in Zurich. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats.
In his talk he presents his new experiments and talks about his research and practice in general. Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms.
A series of web pages have been created to map out a selection of these encounters. Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment. Brimacombe, Getty Pictures Archive.
Aus Anlass des Ted Serios. Ted Serios starb am Dezember in Chicago. Zum Psychiater und Parapsychologen Jule Eisenbud geb. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Jule Eisenbud starb am Stipendiat u. Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt. November - Freitag, November , ab h.
The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work! As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers.
The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage.
The image is sober, without formalization. With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects.
In the history of moving images and cinema, there are two main streams, one in the line of D. The artist inevitably asks about the borders between art and daily life, work and labor. The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives. This latest work comes out of a residency in Genoa in , where the artist encountered a local story from the Italian antifascist resistance of the early s that became a motivation to further investigate and follow the characters involved.
It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.
Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving.
So how can we access and bring back assignments lost to the past? What are the means of historic reconstruction? And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time?
Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions. Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of assignments, edited by Nina Paim and coedited by Emilia Bergmark.
A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Nicolasa Navarrete Illustrating Das Kapital.
Volume one, 1 The end of truth Graphite on paper. The first chief function of money is to supply commodities with the material for the expression of their values, or to represent their values as magnitudes of the same denomination, qualitatively equal and quantitatively comparable. It thus serves as a universal measure of value. And only by virtue of this function does gold. The equivalent commodity par excellence, become money.
Cora Piantoni Songs of Work 2 channel video installation, sound, min, Cora Piantoni develops her films on the basis of interviews together with moving images and re-enactments of past events. Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? Besides the masons, Piantoni was interested in the background and culture of the students of the school which is now located in the building of the cooperative. She connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history.
The table game offers a situation for curious and open people to contact with each other in a playful setting. It allows to inform each other and share and connect information and knowledge. Curious to play with us? Please register here! And: bring some values with you.
We are expecting you with pleasure and curiosity! We are there on Sunday, 30 October, for two sessions of the game, hh, and hh. August im Corner College. Photo: code flow. Es war in Ordnung. Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig! Weil wir Freunde waren. In den Lebensmitteln drin geht es zu und her wie in einer Stadt Gedichte, Texte und Zeichnungen. Zine-Vernissage am Sonntag, Oktober um h. In den Lebensmitteln drin geht es zu und her wie in einer Stadt.
Der Text ist noch nicht abgeschlossen. In Fanzines, Ausstellungen, Radiosendungen. Zeichnungen an Performances, Gedichte als Teil von Texten. It understands itself as a node in a network of likeminded practitioners stemming from diverse disciplines and backgrounds. These relationships are lateral and projects emerge through ongoing conversations.
The results are collaborative experiments, rarely shown in white cube settings but rather tested in flexible approaches across multiple sites from street to studio to online. These incarnations are driven by a shared interest in tackling questions about the global urban condition. Re-readings and alternative knowledge is generated through a process of speculation. The politics intrinsic to the work and its creators do not only frame the content but, maybe more importantly, guide a practice of engagement.
Diagram by Lia Perjovschi, portraits by Nastasia Louveau. Opening: Saturday, 08 October , starting at h with a performance by Gregory Hari at h. It really seemed to write itself. Frank Baum, the author of The Wonderful Wizard of Oz With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance.
The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey.
The artist situates himself on a yellow strip around one meter wide, where his performance takes place. A journey like a blank page. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.
The grass is always greener on the other side of the fence. These are the yellows of hope. The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you. Yellow is a combination of red and green light. There are no yellow receptors in the eye. No colour is as territorial. It stakes a claim, is on the alert against the spectrum. Early s. I join the march. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope.
The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. The root of the red is life itself. I regularly lose a lot of hair. As hairs slide off, small rings form around my finger. I started collecting the rings. I decided to take this ritual into a public performance. Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of my physical transformation.
This public event follows three days of a durational performance with streaming. Durational performance on 27 - 28 - 29 September. One hair is trash. Million hairs is a woven record of my self. One Hair One Purpose is a 3-day long-durational performance taking this daily ritual into a conscious act of transformation.
One hair, the simple, single element that makes any transformation possible. It always starts with one thought, one action, the celebration of one disposable event. Where there are opinions, differences arise. The main topic of my videos could be defined as immigration, and following transformations of a personality. I think each immigration takes a minimum of 5 years of your life till you start to feel connected to a new place, understand the language, unspoken rules, and so on.
It became an important issue for me to learn a lot about the place where I live first Tel-Aviv, and now Zurich and try to build a dialog through my art practices video and painting. The longer I live in Western Europe, the more interesting it becomes to analyze certain things about Soviet life. Sometimes the Soviet, Eastern European utopia I grew up with becomes thus a distorted reality in the West. The earlier videos, filmed in Israel, were all based on one principle. I was filming people doing some similar action.
That trick is now widely used in cinema, advertisement and music clips. But at the end of the nineties, when I made those films, it looked quite fresh and original. I did quite many short videos with the same people, mostly Russian immigrants in their first years in Israel. They were artists, musicians, actors, fashion designers, etc. That created a special mood and atmosphere. Filming the raw material for my Trilogy documentary about the perception of beauty, fears and happiness, I had to travel to Tel Aviv and back to Zurich, and Moscow was initially in my mind as well which led me back to my roots.
Trying to answer a question, where do I belong, I realized that there is no answer and I just have to let myself flow with stream of life and not be obsessive about the past. Home of the Brave: Archeology of the Moving Image. Opening: Saturday, 20 August , starting at h with a performance by Discoteca Flaming Star at h.
Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten — Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus. The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms. It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit.
At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience. It does not require particular dance skills. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism.
The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor. It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i.
Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations. Affect is a body politics. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it. The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner.
Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation of historiography. The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions.
The artistic work is to be presented in the form of a video installation, a performance, and research material. The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies.
Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric. They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space.
The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words. Sometimes they are concepts, or poems. In the words of DFS , they are think-text-iles. For their live performance dance construction Love Any Out of 90 Seconds End , Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast. She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace. As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future.
Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life. Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics. These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body.
Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds. To love. A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization. Esther dances together with Cristina , and Wolfgang sings.
Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation. Their movements are at the limit of their bodies and at the limit of their language. Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage — a material production of desires. Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language.
Love makes the movements a dance of refusal. Love is not work! Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. I die. I leave. Dieser Raum, der immer auch ein politischer und sozialer Raum ist? With her recent work, Erica van Loon reflects on the physical interconnection between the human body and that of the earth, but also searches for ways to relate to their less tangible inner worlds, that we access almost exclusively by the mind; like processes inside our planet or the human sub conscious.
She often works with repetitive actions or visual and auditory rhythms, that she sees as an instrument for creating a state of mind that intensifies our sensory perception, and with that, our ability to connect with what is outside and inside of us. During night-time our attention turns inward and almost all input from the outside is paused. We temporarily shift to another state of mind. Most of the time, an encounter with an artwork is preceded by a multitude of sensory, emotional and intellectual interactions.
What happens if an exhibition is the first thing we are exposed to after waking up, when we have had little sensory activity and almost no interactions with our surroundings. By moving the usual timeframe in which we look at art, the viewer has a slightly altered state of consciousness. Does this result in a different susceptibility, a different reflection on the works? Does it affect how we perceive the succeeding reality of a day? As the exhibition was only open in the early morning, from sunrise around 5.
And indeed people took the effort to get up early; some of them even arrived earlier than the curator or was she a performing artist? Where she served breakfast, which stimulated visitors to reflect in dialogue. Dies erlaubt es, unterschiedliche Formen des Repertoires aber auch Improvisationen vorzubringen. This allows putting forward different forms of repertoire but also sound improvisation. Reading Why doesn't anybody notice that this chair is a nettle! Lady Mosh and Posh Mosh don't describe themselves as a diva-esque duo for nothing.
Its true that at the start of their stage show, one could mistake them for two, fine ladies who are about to go to a 'Gala' dinner. The truth of the matter is that there is little left of this impression after every Mosh Mosh live show. The divas become stage divers and are not scared of ecstatic and extravagant 'stage acrobatics'.
In brief: Mosh Mosh seem to be most at home when they are in tatters. And it is only thus that the codes of 'ladylike behaviour' can be redefined. Let's deconstruct and your body will follow! Finissage: Friday, 05 August , at h in the presence of the artists. Emporium of Benevolent Data. The curatorial research reflects the role of language in contemporary art, and artistic practices that form a critical fabulation and involve other experimental forms of artistic research that bring together aesthetic practices and knowledge production. The main objective of this research is to ask how art produces knowledge by other means and opens onto a new ethico-aesthetic paradigm.
The focus of my research is on artists whose practices and aesthetics embody a materialism of alterity and the translatability at the heart of the unpredictability of an event, testing the limits of how language can articulate the body and the space. The artistic positions are selected for their experimental approach to language and voice-based practices, the inventive and critical way they work with performative strategies, and how they deal with the system of circulation and collection of information, with knowledge production and the aesthetics of affect, and operate within expanded discursive fields.
I would not want to split a certain flux of practices and artists into generations. Because of this, the research is situated across what is defined as a generation. The artists and their practices are approached not as insulated cases in a monographic framework, which would have focused on individual art works or an artistic oeuvre. Rather, my aim is to give, through the research, a sense of a vibrant art scene of resonating practices and overlapping contexts.
For me, it is more important to map and reflect on how they are related and shared in certain approaches and trajectories in their work. I did a series of interviews, conversations face to face, and studio visits, and followed the artists in different public activities during the period of the research. The focal point of the curatorial selection in the process of mapping is a new generation of Swiss artists who work with language and the aesthetics of affect. Their practices can no longer be considered peripheral to the system of art, or alternative, on the edge of the art institutional context, as they form a new and fascinating direction in contemporary art.
At the same time, the research emphasizes the differences in practices amid the cluster of selected artists, and the shift in the means of production in contemporary art at large, and its context as it has expanded into sociality, politics and daily life. There is an upcoming modest publication, composed of an analytico-reflective text that sums up my curatorial reflections, insights, encounters. It will be accompanied by the collected documentation, and conversations and interviews with the selected artists recorded in the context of this research.
Text: Dimitrina Sevova, This project is supported by a curatorial research grant of Pro Helvetia. Collection Musei Capitolini, Rome. Jeder Streifen ist mit dem Namen eines Engels bestickt. Hier gibt es nur eine. Four hundred and ten samples of what things could be like — hue, texture, printed pattern or monochrome surface, opaque or transparent, smooth or striated. When a child is named, two lists are traditionally composed before the birth. Here there is only one. The complete intro including a list of contributions can be found on our materials website.
We have found ourselves in our localities sensing translocally. We want to move instead of being ordered into something. We want to do something in common, to come together, being many and so different, to make feminist media urgent and her voice heard. Johanna Bruckner, Scaffold , The Blackout Magazine invites artists, historians and theoreticians to reactivate editorial formats emerged around industrial utopias.
They focus on industrial and cultural labour, Olivetti, visual arts and post-industrial conditions. I am a Lahore based artist. I currently teach at the National College of Arts, Lahore and also contribute to various art publications. In , I engaged some young people to help me make work for a new exhibition. I felt that the safe social space that formed during that time was transformative and healing for everyone. This experience shifted my work from an object based practice to a participatory approach.
So, in my next art project I tried to recreate that safe social space. But I found galleries to be stressful spaces that put pressure on people to behave in a certain way. So I grew dissatisfied with the gallery system. When I arrived in Zurich in for a residency, I thought it would be better that, instead of working from this problematic position, I use the opportunity to find a solution. I conceived Zurich Konversationen as a collection of conversations with people who employ the arts as a tool in their own practices in an attempt to make the world a better place.
Through these conversations I am trying to better understand the role of art and artists in life and how the approaches discussed in the conversations can help me in my own practice. As I am nearing the end of the project it is becoming clear to me that I cannot call myself an artist anymore, nor can I make and exhibit art in galleries. So I have decided to call myself a facilitator and to independently hold one-on-one and group sessions to facilitate self-healing through the arts.
Having been through my own self-healing process and continuously working on my own awareness I understand the challenges that arise through such a process. As a facilitator I have two main roles: to ensure that a safe social space is created for the participant s ; and, to hold the psychological space for inner healing to take place.
The series of conversations I had with people concerning the same are archived as audio recordings. These can be accessed online at the website www. Dimitrina Sevova has kindly invited me use Corner College's space to present my final project.
On the History of Unified Field Theories
It will be structured like a panel discussion. She will mediate and there will be 2 or 3 other people on the panel. It will be a group discussion about the same questions that I have posed during the project and also a reflection on the project itself. It will be held on 16 December at PM.
Opening: Samstag, 9. Dezember , Johanna Bruckner, Total Algorithms of Partiality , Invasive plants in resin Milva Stutz, Natural modul , Charcoal on paper Katharina Swoboda, Penguin Pool , Dezember — 7. Nicole Bachmann, I say , Video still. But also think together and with the audience about artistic processes in this context, as well as reflect on the wider context of text-based, voice-based art works.
I say explores the relation between the liveliness of the sound and the activity of listening by intensifying the microprocess of forming words so as to enunciate them. It unfolds the micropolitics of language structures in close relation to body movements in the plural and singular, to ask how the speech affects the body, instituting corporeal vulnerability and body resistance. Do-Sa h - h oder nach Vereinbarung Vom Dezember geschlossen.
The research project Art Work ers began from a set of historical facts and some intuitions: the concurrent deskilling of art and industrial labour; the parallel emergence of applied research in the arts and in utopian industrial plans; the observation that art did not enter the factory only once production was over, as an alternative or a gentrification agent. Rather, artistic production had often overlapped, both aesthetically and politically, with industrial labour and materials.
Working in between the past and present of two factories Alusuisse, Chippis and Olivetti, Ivrea , the exhibition Blackout shares performances, discussions and printed matters from the archive of the Art Work ers research project. The piece deals with negotiations of speech within a group and the exploration of the singular as well as the communal voice. The materiality of gestures and the spoken word become an embodied vocabulary through which the performers navigate the construct of language and affirmation of their own expression.
Book as Performance in conversation with Georg Rutishauser. The Sympodium strives to generate an energetic open space for aesthetic experience and exchange of knowledge between the current active practitioners in the field of Performance Art s : artists, curators, performance study researchers, educators, and their publics. Those committed to Performance Art will share their practices, experience, reflections, thoughts, and research.
The Sympodium is a podium that encourages invited participants to give a very direct subjective response from the material objectives of the event itself. The Sympodium is quasi-academic and brings together practitioners inside and outside Academia to publicly present and discuss their practices and modes of articulation and action. The Sympodium operates within the local, interregional and international Performance Art scene. It strives for different perceptions and a new ontology of the relation between Performance and Art, and a pattern of branching that expands the field of live practices.
Das Sympodium operiert mit der lokalen, interregionalen und internationalen Performance Art-Szene. But we also ask if this these are states beyond criticality where historical reflections on gold refinements and colonial settings are muted. It enabled both early modern industrialization and the constitution of Switzerland as a financial center. It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy.
The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold. Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal. Calvinist gold is never shown. Saturday, 5 - Thursday, 31 August Installation and performative reading. Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten. To show what was seemingly obvious, in the negative. Took the measure of objects that contributed to defining this place.
Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire besides the preservation, fixing, capture of the excitation itself - is a poetic fact, object or event. Site-specific installation, video, archive materials, wallpapers. She then founded the journal La Fronde The Sling , a journal solely written and edited by women. Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign.
Although an animal lover, she founded the cemetery for purely hygienic reasons. It was the very same place where Durand died in of a heart attack. Practice as Research — Research as a practice Video Narratives Lecture-performance at the finissage on 31 August As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition.
My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall. In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events. This project was supported by Kulturamt der Stadt Graz. Kosta Tonev Wilfred Wyman The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the s.
Stuart Hall — war ein Kulturtheoretiker und marxistischer Intellektueller. Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts. Ein Teil daraus findet sich in dieser Publikation. Die Zeichnungen und Collagen sind aus der Zeit von ca. Ein Ausstellungsprojekt von Lucie Kolb Weitere Veranstaltungen siehe unten. Auf Twitter wird Lexas Tod unter dem Tag lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert.
Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. The notion of a rehearsal — being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory — there are these various modes of activity.
Installation view: Looking After Freedom. Michaelis Gallerie, Especially in the context of an arts space that is within the embattled terrain of the university, and still produce genuine platforms for reflection and imagination, contigent of the political and moral positions of any reflection.
Achille Mbembe in African Modes of Self Writing points out the sets of dogmas that seem to pass for African discourse in both its political and cultural dimensions, as lacking of historical criticism… and this lack reduces the discourse to three rituals: the first ritual contradicts and refutes Western definitions of Africa and Africans by pointing out the falsehoods and bad faith they presuppose. The second denounces what the West has done and continues to do to Africa in the name of these definitions.
These rituals of discourse according to Mbembe reduce an extraordinary history to three tragic acts: slavery, colonization, and apartheid - to which globalization as a form of neo-colonisation is being added. Through Decolonisation and the Scopic Regime the objective for me has been one of developing space that is relevant in this environment and brought together various people and their ideas that poses questions on aspects of the question at hand: the development of critical, self-reflexive, locally specific responses to knowledge production and dissemination in all its forms.
Rohit Jain. Who likes Chicken Curry? Who laughs about blackfacing and Mohamed caricature? Who defines arranged marriages? Who is scared of Indian IT-Workers? Who is involved in colonialism? Who survives? Who votes? Who really cares? In this talk anthropologist and sociologist Rohit Jain inquires into the making of postcolonial public spaces of Switzerland in the age of de-centralised capitalism.
On the hand, the resistance against postcolonial amnesia provokes melancholia, anxieties, or anger. On the other hand, to imagine alternative histories and stories allows to affect unruly archives and to unleash a performative power of assembly Judith Butler. Rohit Jain is, thus, interested in the conditions of possibilities as well as in the artistic, political and theoretical strategies to develop alternative publics of conviviality and new communities.
The presented work, therefore, opens up new avenue for understanding an unacknowledged Swiss history of violence and envisioning a future of reparative justice at the intersection of ethnography, artistic practices and activism. Rohit Jain is an anthropologist and anti-racism activist based at Zurich and Berne. His current work focuses on the connections between postcolonial archives, the politics of affects and the performative intervention into translocal publics.
Stand Up! Der Vortrag findet in englischer Sprache statt. The unique design of this poster by Lissitzky stands between avant garde montage and socialist realism with its inflated portraits and staged enthusiasm. These aesthetic attributes correlate with the shifting economic realities of the time with the move from the NEP to shockwork methods of the Soviet five year plan.
This poster comes from a specific moment in Soviet industrialization which was accompanied by a new subjectivity as well. That moment seems to inform our moment as well. Considering this poster opens up a discussion on contemporary forms of subjectivity under current modes of production and distribution of computerized networks. The talk will outline how the communist horizon and real existing socialism can inform our understanding of the current social and cultural, political, and economic realities as we are facing the implosion of the neoliberal order. Mai , h Finissage Samstag, Samstag, Mai - Samstag, Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln.
Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt. Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern. Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird.
It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another. Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. The exhibition design consists of a Here past and present are not clearly distinguishable — therefore causally related events are depicted in the same space, separated merely by elements of architecture.
RSI is an avant-garde radio station featuring sports and cultural content. Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon. In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters.
Photograph by Melanie Boehi, December This talk is concerned with histories of South African colonial formations featuring gardens and plants. It is grounded in empirical research of multispecies histories in the Kirstenbosch National Botanical Garden. Plants have featured prominently in imaginations and conceptualisations of South Africa throughout the colonial, apartheid and post-apartheid era. In the late 19th century, white settlers appropriated the indigenous flora as a marker of identity. The settler elite regarded the cultivation of scientific and aesthetic appreciation of the vegetation as a tool for promoting civilisation and patriotism.
This occurred within the larger discourse of nature conservation, which served as a legitimisation of white land appropriation, forced removals and prohibition of subsistence land use by Africans and slave-descendants. Subsequently, Kirstenbosch evolved as the centre of a network of regional botanical gardens spread throughout the country.
These activities expressed the aspirations of the Cape colonial elite and evolved in the context of both rising South African settler nationalism and British imperialism. In , the Nationalist Party came to power and apartheid became the official state policy. Standing in a genealogy of empire exhibitions and flower shows, plants from Kirstenbosch were displayed internationally. The state also invited international botanists to South Africa in an attempt to impose a positive image of South Africa to them. The apartheid state deployed flowers and gardens because they were widely regarded as beautiful and apolitical — an understanding that needed to be continuously reproduced and in the late s was challenged by activists and artists opposed to apartheid.
They have been reframed as tourism destinations and sites of post-apartheid nation building. Stoler, Duress , The talk is concerned with such histories of South African colonial formations. They are addressed from a multispecies perspective, which acknowledges not only humans but also other living beings, in particular plants, as historical actors and witnesses.
It does so by drawing on and combining a range of methods, including historiography, multispecies ethnography, critical plant studies, plant sciences, and floriography the reading and writing with flowers. The two exhibitions will resemble and question each other. There was a focus on a couple of polemic motifs such as construction, fabrication and abstraction by example of written, published and authored works. The first project was all about testing limits. The second one tries to draw the line.
Der Verdienst. He's a regular contributor to Spike and Mousse magazine and a columnist for Starship magazine. He graduated the Postgraduate Programme in Curating in As freelance curator he has mandates for various institutions in Europe and the US. He is an alumnus of the Postgraduate Programme in Curating.
The current manifestations of contemporary dance and its fringe areas build global bridges through the physical, aesthetic and idiosyncratic interpretation as well as the visualization of socially relevant topics. Contemporary dance inspires and is inspired and often calls for dialogue beyond the physical performance. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.
Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space. Geraniums are never Red revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. They are in fact pelargoniums. They were first brought to Europe — and misidentified — after , when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens.
These films have not been seen since and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.
Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests. Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity. A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated.
The series of posters Blacklisted Was wir durch die Blume sagen re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland. Veranstaltung im Corner College am 8. Die Einnahmen von der Bar gehen an die Druckkosten.
Schimpfen durchs Fenster hinaus, Lieder, Gedichte und furiose Reden, dringen zu den Nachbarinnen hoch. Zine-Vernissage und Auktion am 1. Mai im Corner College. The income from the bar will go towards the printing costs. DJ Sweatproducer: Street sounds, household noise, women trumpetists in the apartments. The thinking and feelings seem already now to buzz, as house walls and floors shake and crash.
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Bushes in the wind. Railing out the window, songs, poems and furious speeches reach the neighbors upstairs. Through air, so dominant, one can hear it, even the slightest sound! Zine release and auction on 1 May at Corner College. The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece.
Shortly thereafter a police team enter the gallery where it is on display, and repossess it. The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event. In the second, a group of actors impersonate the characters of her story. This event is part of the exhibition project Theorem 4.
Aesthetic Agency and the Practices of Autonomy. Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. They will then be transported to Corner College for a public mise a nu par un objet.
Vadim Levin in a dialogue with a dead artist. The name of the artist will be announced later. Vadim Levin, Spirits Call. Performance, Doors open h h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose , co-curator Miwa Negoro and the audience. Aya Momose Exchange Diary In collaboration with Im Heung-soon. Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images.
Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images. Invitiation card for the exhibition. Graphic design: code flow.
They will then be transported to Corner College for a public mis a nu par un objet. The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Written between and , it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K.
At the same time, it is haunted by a radical instability. Laws can change. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October and published , which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours.
Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.
There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it. In Deleuze, they are transformed into the positive affirmation of No! The immanence evokes the masks and hiding, crime, and the false the fancy, or funky. The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control.
There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics. Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth. We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters. Robert Estermann Out of the Fog I let the rider ride. Everywhere prism-like , are uncounted drum-like cylinders to use an image with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders.
There is no relationship between them — none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording. During the video, the fog on the glasses is slowly fading away.
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Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices. The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. This atmosphere is produced by the hallucinatory effect of the signifiers of the s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision. But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past?
As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse. And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse. One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: usually this is portrayed as a zone contrasting with the civilised space, which is why it is depicted alternately as an inaccessible desert far from city life, as in Brave New World, as a hidden, protected forest at the end of the last railway line as in Fahrenheit , or as a distant coastal zone as in Distant Riders.
This counter-world is rich in sensations and full of sensual freshness in Fahrenheit , this is represented by the constant light snowfall in the protected zone of the forest. This makes its psychological function all the more important: it allows the citizens to experience sensomotoric renewal or even awakening as opposed to social anaesthesia , psychical continuity as opposed to schizoid fragmentation , and develop ethical care as opposed to moral cynicism.
The Great Western Possible , ed. Jakob Jakobsen Antiknow Scene 2. The Body Event Plumbing. On improvisation, unlearning and antiknow Work-papers from the Antiknow Research Group and one speaker playing unskilled music. From Antiknow. A pedagogical theatre of unlearning and the limits of knowledge.
Directed by Jakob Jakobsen. The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general. It is doubtful whether this course ever took place.
During his six-month residency at Flat Time House, starting in April , visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy. This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance. Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing.
The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: The Mind, The Brain, The Body Event Plumbing , and the Hand.
In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama or anti-drama between sets of loudspeakers and synchronised lighting. The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings.
Lara Jaydha Broken and open Moving Image A series of digital collages work in progress We reach out for a real connection to stay afloat in a sea of submerged emotions. From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence.
There is an attempt to hold on to the present but everything keeps slipping away. Endings are often unresolved. This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it. I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes. Why is it looked at a sign of weakness? How can we change this notion? Can we look at it without judgment? Could it symbolize a source of inner strength? Two visits to the artist's storage, on 4 and 11 March Public mis a nu par un objet.