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Era qui fino a poco fa. Anthony, 27, Rennes - Vuole chattare. Ricerca di un rapporto serio e famiglia. Gratis sito di incontri Friendship. But then again I can also make really childish puns, and I love the basics of language and words. And lots of word association, language games. The narratives I invent are situated within that conflict. No time and no infinity either. Your shared working methodology is also quite intriguing. Your films generate from a live and unique communal organism composed of yourself and of a series of close collaborators who really enter the work on many sides.
Can tell us something about your working process? David Birkin and I lived together in He invited me to be in my first band and later became the bass player in Stereolab. He is the best drummer I have ever seen and someone who completely lives music. Oh and also Alex Tucker! I actually am also really fascinated by the physically repulsive animatronic sculptures.
Why have you decided to work with the obsolete mechanism of kinetic art and who are the faces we are confronted by? There are two levels to that. The first is just that in when I was at the Rijksakademie van beeldende kunsten in Amsterdam there was a facility there for engineering and computer-controlled art which was not being used so much or not really in an interesting way. The work made tended to be quite labor intensive and spectacular, at best, but not so interesting as art.
Also I was confident in my own ability to write dialogue. So I had this idea that I would make talking animatronic sculpture and it could be funny and grotesque, and the talking would redeem the work. The second level is the question of obsolescence which is fascinating to me. I was attracted to kinetic art partly because, with it being at that time very unfashionable, I felt I could make some progress with it.
More and more frequently contemporary artists are blending the codes of the visual arts with those of the stage, in an exploration of an interspace of potential art forms. As a fundamentally multidisciplinary venture, La Ferme du Buisson has an obligation to welcome and assist practices that include performance as an active force in the transgression of conventional limitations. Performance Day is a new, annual event, with international artists and curators being invited to make use of our theatre space.
The aim is to work with other art bodies and festivals, with an emphasis on sharing insights and co producing hybrid works of art. For this first edition it seemed natural to invoke Alfred Jarry, that iconic scuttler of categories, as its tutelary figure.
Leonardo Bigazzi Leonardo Bigazzi is a curator based in Florence. Beside collaborating to the selection of films for the main program, in the past edition of the Festival he has been responsible for special projects with the artists Omer Fast, Melik Ohanian and Hiroshi Sugimoto. Since he works at the Gucci Museum in Florence as a consultant for the contemporary art exhibitions organized in collaboration with the François Pinault Collection.
She works with artists from different generations and develops exhibition projects and editions on a national and international scale. Her programme includes monographic exhibitions Guy de Cointet, Ann Veronica Janssens, Claude Closky, Carey Young, Adva Zakai, Fayçal Baghriche… and collective exhibitions, which focus on forms and languages, perception of images and the construction of identities.
From till , she worked in Air de Paris gallery and conducted a prospective programme titled La Planck. She held the position of president of the association C-E-A French association of curators from till , and is still involved as a board member. She aims to create a dialogue between contemporary art and other art forms with a particular emphasis on theatre and dance , as well as social science economics, philosophy, anthropology , focusing on the significance of processes and experimentation in the performative dimension of art.
Eva Wittocx Eva Wittocx is a curator and art critic based in Brussels. M presents both ancient and contemporary art through a varied exhibition program. The contemporary art program focuses on monographic exhibitions, both of emerging and established artists. Between and she was curator at the S. Eva Wittocx has contributed to several catalogues, publications and magazines.
She has given lectures and participated at many seminars. Here is the detail of the program. Les Chiens de Navarre Collective founded in Les Chiens de Navarre is a theatre collective created by Jean-Christophe Meurisse, who is also the director.
They create temporary oppositions, ephemeral crises, and idiotic games — with the audience or against them. Hence the importance of improvisation in their work; it attracts the highly exaggerated situations, sporadic outbursts, extreme fatigue and violent rifts that are all part of that hyper-present. Their preference is for a carnival aesthetic and automatic stage writing in the style of Artaud and the Surrealists.
This is their first choreographed show, a transgressive journey through the history of dance. A procession of old people start wandering around, dancing and feeling each other up, to the accompaniment of old pop songs. They are pathetic and filthy, strange and moving. In this chaotic, silent dance, the Chiens weave an astonishingly meaningful cloth out of the threads of their idiocy.
Led, off the leash, by Jean-Christophe Meurisse, these Dogs of Navarre, with their incisive fangs, are both provocative and charming. Hugues Decointet Born in Bienville, France.
Lives and works in Montreuil. In the work of Hugues Decointet, changes of scale, changes of status in props and objects, and changes from representation to presentation are stage effects and reversals of situation that disturb our perception of the real.
Every object is capable of being an image and every image is taken from a possible film. Decointet marks out spaces with stage techniques in which objects are both receivers and transmitters. A shared moment emerges; the mobile, photographic eye takes the body with it in a mobility that is itself a picture.
Dramavox, model for a theatre of voices II , — Sound installation activated by a performance, x cm, 40 min Intrigued by a Samuel Beckett text about the voice, Hugues Decointet created an index of descriptions of voices and interviews with actors on the subject of voices that they like. He subsequently turned this into a play combining texts and sculptures. By manipulating the wooden objects that make up the sound material, a vocal portrait emerges which gradually becomes architecture.
Its reduced format, nevertheless, means that it is more of a model; put simply, it is the utopian projection of a theatre. Kasia Fudakowski Born in London.
Lives and works in Berlin. What interests the artist is the philosophy of comedy rather than an urge to set people giggling. She works at deconstructing the rules of ordinary stand-up comedy and thinks about the affective nature of laughter and the act of smiling. Fudakowski probes that slightly uncomfortable feeling that can set in between a comedian and his or her public.
The ordinary public discussion between artist and curator that was announced in the programme begins to go awry as various interruptions, accidents and other bugs arise unexpectedly. Far from being a mere film of the performance, the film presented here is a careful montage of text and image, in which scenes are repeated in a stuttering kind of way and the surtitles oscillate between commentaries after the event and a pre-written script.
All of which sows doubt on what one is looking at. Production Museo Marino Marini. Dominique Gilliot Born in Gravelines, France.
Lives and works in Paris and Brussels. Her performed lectures involve the listener in a train of thought where the power of logic is traversed by the accidental and the fortuitous. The result is liable to be funny, totally unexpected, charmingly confused and yet, at the same time, strangely precise.
In her own inimitable way, she points an unshaking finger at all kinds of elements, be they poetic, evanescent, basic or vernacular. This is performance and a shared moment. Amongst other things, and at her own special request, she will take on the role of Mistress of Ceremonies throughout the day.
This will enable her to talk about the works, to direct operations a velvet hand in a steel glove , to maintain both atmosphere and open spaces, keep the audience on their toes and the words moving along, and maybe even to sing a few ditties. Petrit Halilaj learnt to draw as a teenager in a refugee camp during the war in Kosovo.
His memories of a childhood spent in the countryside and his personal experience of war, destruction and displacement are the basis of his reflections about life and the human condition. Although he draws on concrete and material biographical elements, his work avoids pathos and is rooted in research into trauma and the ways in which it can be represented in art. After creating For the Birds, an installation he realised with Alvaro Urbano, Halilaj asked friends to record sounds as if they wanted to and were able to communicate with birds.
These strange sounds can be heard in public places. Lives and works in France. Founder and artistic director of the theatre company Les Chiens de Navarre, Jean-Christophe Meurisse has directed their collective performances since He is also a film maker interested in the possibility of accidents and awkward moments, which — as happens during rehearsals for his dramatic productions — throw the actor into a real-life situation, unprepared, with no predetermined role and without preconceived ideas.
Il est des nôtres , — Video HD, colour, sound, 47 min France, Poland Thomas is thirty-five years old and has decided that he will never go outside again. He lives in a caravan in a shed in the middle of the city and invites his family and his friends and neighbours round. He organises parties — Dionysian feasts. Every day Thomas celebrates his rejection of society. Jean-Christophe Meurisse wanted to try out the use of improvisation, which is entirely how this was shot, in film.
Accordingly, the film starts with an idea and has no real script. Meurisse uses this medium-length film as a means of interrogating our ability to live outside civilisation — in order to get closer to the world. Lives and works in Milan and Porto Cesareo. The creative process behind each work does not follow a precise structure; it is progressively added to by research into a specific theme.
In all his works, the symbolic power of the image is very intense. He reinforces the visual world of the quattrocento and cinquecento, from which he draws his many references, with a popular iconography arising from collective and personal memory and related to more ancient traditions and beliefs. Il sogno della cascata di costantino , — Colour video, sound, 7 min With his enigmatic performances for solitary viewer, Luigi Presicce creates surrealist tableaux vivants with a wealth of esoteric symbols and references.
From this performance, the artist has made a thoughtful film in which an alternation of close-ups and long shots accentuates the tableau vivant dimension. It is accompanied by 1. Benjamin Seror Born in Lyon. Lives and works in Brussels. Combining the figures of poet, singer and storyteller, Benjamin Seror likes to feature himself in theatrical performances that have both theoretical and narrative power. He gives us the fruit of his thoughts about the way history is transmitted, by questioning the way our memory, which can be both real and invented, presents things.
His evocative titles give us ways of interpreting a complex piece full of exogenous knowledge, amusing digressions with varying degrees of logicality and highly appealing music. Marsyas has to confront a mysterious enemy by using his own thoughts, as he moves around between fiction and reality. The performance was conceived as a long documentary narrative during which elements of scenery make their appearance.
The performance evokes ghosts of film, art history, day-to-day adventures, and magic. But, as always with Seror, the real subjects are language and improvisation. He lives and works in Berlin. He lives and works in Budapest. They have worked as the artistic duo Tehnica Schweiz since She lives and works in Berlin. Sourcing their material from the history of avant-garde theatre, they have created collective performances by using codes from amateur and political theatre.
What particularly interests them is the satirical and political potential of these theatrical forms, and the fact that they allow several voices to coexist and to raise important questions in an amusing way. The workshop was designed as a way of coming to terms with various elements of history, stories and narratives. In that school, Alfred Jarry could almost have met Alfred Dreyfus. The gym of the school was used for the second trial of Alfred Dreyfus in , and it was the school where Alfred Jarry sat his baccalaureate exam and wrote Ubu Roi.
The artists based their project on the books that Dreyfus read during his imprisonment and the books that Jarry collected in the imaginary library of Dr Faustroll for the exploration of the fundamental themes that are still as essential today as they were at the end of the 19th century: Lives and works in London.
Cally Spooner is a writer and artist. Her texts combine a mixture of theory, philosophy, pop music, current affairs issues and entrepreneurial rhetoric. Spooner produces short stories with no plot, disjointed scenarios, monologues recorded on a loop, and musical arrangements as a means of staging the movement and functioning of speech.
The messages are comments posted on YouTube by discontented fans on videos in which the lies of celebrities are exposed: Sarah Vanhee Born in Belgium.
Often created in situ, her works are concerned with the interaction between the spectator and the surroundings that they put in place. They totally blur the boundaries between fiction and reality, in order to push out the limits of the imagination and to raise questions about society, conventions and artistic commonplaces. Vanhee takes issue with the dominant models that influence our ways of thinking, speaking, and moving, as well as our relationships with others and the world.
She combats existing paradigms with the weapons of absurdity, utopia and poetry…. Oblivion , Performance and installation, 2h30 Throughout one year, Sarah Vanhee collected rubbish, whether real or virtual.
For nearly three hours, the artist carefully unwraps cardboard boxes, accompanying her gestures with a discourse that plays on the deterioration of language. The installation and performance are presented as an ecological system rather than total chaos. Various kinds of o rganisation and gradations begin to emerge more or less clearly from this jungle of garbage, indicating something like a path through the journey.
Reading Jarry out loud Médiathèque de la Ferme du Buisson Librarians trained in the art of reading aloud read extracts from works by Alfred Jarry chosen by themselves.
In spite of the reputed difficulty of the writing, they bring out all its acoustic qualities: In partnership with the network of multimedia libraries in the Val Maubuée. Hugues Decointet, Dramavox, model for a theatre of voices II, Marne-la-Vallée, exit Noisiel-Torcy dir. Noisiel-Luzard times Saturday 13 February , 2: Cliquez ici pour voir le programme complet. Les Chiens de Navarre Collectif crée en Hugues Decointet Né en à Bienville, France. Vit et travaille à Montreuil.
Kasia Fudakowski Née en à Londres. Vit et travaille à Berlin. Dominique Gilliot Née en à Gravelines. Vit et travaille à Paris et Bruxelles. Le travail performatif de Dominique Gilliot prend des formes variables et suit des logiques qui lui sont propres, mêlant culture savante et populaire. Jean-Christophe Meurisse Né en à Lorient.
Thomas célèbre chaque jour son refus de la société. Vit et travaille à Milan et Porto Cesareo. Benjamin Seror Né en à Lyon. Vit et travaille à Bruxelles. Celui-ci devra affronter un ennemi mystérieux en utilisant ses propres pensées, naviguant entre fiction et réalité.
Il vit et travaille à Berlin. Il vit et travaille à Budapest. Ils forment le duo artistique Tehnica Schweiz depuis Elle vit et travaille à Berlin. Dans cette école, Alfred Jarry aurait presque pu croiser Alfred Dreyfus. Vit et travaille à Londres. Cally Spooner est écrivaine et artiste. Les messages sont des commentaires écrits sur YouTube par des fans mécontents liés à des vidéos dans lesquelles des célébrités révèlent leurs mensonges: Sarah Vanhee Née en en Belgique.
La pratique de Sarah Vanhee mêle performance, arts visuels et littérature. Elle confronte ainsi aux paradigmes existants absurdité, utopie et poésie. En partenariat avec le réseau des médiathèques du Val Maubuée. Marne-la-Vallée, sortie Noisiel-Torcy dir. Noisiel-Luzard horaires samedi 13 février , de 14h à minuit tarifs Pass Performance Day hors spectacle Chiens de Navarre: Lire Jarry à voix haute , , media library of la Ferme du Buisson Alfred Jarry Archipelago Space: CAC de la Ferme du Buisson.
The following text comes from a letter written for the Forum of Contemporary Art held at the Centro Pecci in Prato, where Antonio Grulli had been invited to coordinate a round-table debate on the theme of public institutions as places for discussion, debate and thought.
The public institutions devoted to contemporary art are living today a dynamic but at the same time very risky period. The art world in recent years has expanded enormously and this is definitely a positive factor. But right now, globally, we are in a situation where the art market has a strength and an economic power that the institutions cannot even come close to, and this imbalance stands out sharply.
The art institutions of the past could count on public funding, which allowed them to take the lead over a group of very few collectors, who were buying in a small number of galleries. By contrast, in recent years we have seen how even the most important museums in the world have been suffering from the influence of a trading system that has become bigger than them and against which they have no means to resist.
Issues such as the questioning of the concept of permanent collection are an example of this: And this is the best scenario. And what about the institutions, often with an important history behind them, which are not lucky enough to be in the big cities of the world and therefore cannot even be the subject of speculative interest in the art market? This is the case, for example, of Italy, a country of contemporary art museums that are structured neither from a financial point of view nor with regard to their collections, often poor or disorganized.
So why not try to react against the international trend of an art system that moves faster and faster and more and more superficially, where artists are valued not for their work but for the academy they attended, the person they have studied with or for their CV, in which there must be no stain or slowdown?
What we are witnessing every day is that there is no time to try to figure out what artists are really attempting to bring to the radical innovation in making art. As art curators we only have half an hour for each of these people, and they must be able to conquer us with a portfolio of very few pictures, a strong statement and their shrewdness.
And that goes for the institutions too, except in rare cases. Conformism and boredom reigns everywhere, and the names that we see going around the world are always the same, offered over and over again with no chance of a surprise.
Why do we study today exhibitions like the one Harald Szeemann set up to feature his grandfather, but it is very unlikely that something of that kind could happen in a museum in ? Why is it so hard to imagine for example an artist as the director of a museum or a public institution? Can the institution be a producer of sense, or should it limit itself only to be a re-producer of meanings already established elsewhere, already frozen and therefore already commonplace?
This is where in my opinion the concept of establishment as a production of thought and discussion comes into play. Because reflection can only come from an initial feeling of disorientation, of crisis, of craving to understand what is really new. The institution must not become a place of appeasement, only called to put its own stamp on things which have been already decided.
It must be a place capable of producing a surplus of meaning compared with normality, able also to give scandal, a place that is alive, that can accommodate the obscene or anything that is not already on the scene. This is why I speak of disquiet. I use this term because I like to imagine these buildings as if they were endowed with feelings and passions.
As if they were persons, capable of shaking with their fears, their flaws and their tendency to make mistakes. Do we want the institutions to be bureaucratic entities trapped between the two polarities of paternalistic education and entertainment, or do we want them to be real places of culture and reflection with all that this entails?
Why should we ask a museum to live a life that we would never want for ourselves? I would like the institution to be a place from which to ignite conflict, with the ability to become a place of resistance to the prevailing clichés.
It must be a restless, telluric, almost criminal place, where parents are afraid to allow their children to go, and not a place of deportation, concentration and detention of hordes of children with felt-tips in their hands.
Only then it will become a place of reflection, and not a place of reassurance of our most banal platitudes. Le istituzioni espositive del passato potevano contare su finanziamenti pubblici che permettevano di fare da guida rispetto a un collezionismo composto di pochissime persone, che compravano in un numero esiguo di gallerie. Aspetti come la messa in discussione del concetto di collezione permanente ne sono un esempio: E questo è lo scenario migliore. Perché allora non provare a reagire a quello che è il trend internazionale?
Lo vediamo ogni giorno: E questo vale anche per le istituzioni, salvo rari casi. Ovunque regna il conformismo e la noia, e i nomi che vediamo in giro per il mondo sono sempre i soliti, riproposti senza possibilità di sorpresa. Noi sappiamo benissimo quali sono gli artisti e gli intellettuali del passato e di oggi che dobbiamo avere come punto di riferimento.
Perché oggi studiamo una mostra come quella che Harald Szeemann fece sul proprio nonno, ma è difficile credere che qualcosa di quel tipo possa accadere in un museo nel ? Qui entra in gioco a mio parere il concetto di istituzione come luogo di produzione di pensiero e discussione. Per questo parlo di inquietudine. Utilizzo il termine perché mi piace immaginare questi edifici come se fossero dotati di sentimenti e passioni.
Come se fossero persone, capaci di tremare, con le loro paure, i loro difetti e le loro capacità di sbagliare. Perché dobbiamo chiedere a un museo di vivere una vita che noi non vorremo mai?
Deve essere un luogo inquieto, tellurico, quasi criminale, in cui i genitori abbiano paura che i propri figli vogliano andare, e non un luogo di deportazione, concentramento e detenzione di orde di bambini coi pennarelli in mano.
Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France? Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing. It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema.
This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines. So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres. It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction.
Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson? Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable.
In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life. Why did you want to participate and what programme are you proposing? In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important. In this sense, the cooperative projects developed by d.
Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research. This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. Vincent Honoré Pouvez-vous nous présenter les missions de la Ferme du Buisson, et ce qui en fait un lieu unique en France?
Dans nos manières de travailler, les sujets abordés ou nos actions en direction des publics, nous tentons de ne jamais dissocier la scène artistique des sphères sociale, politique et culturelle. Comment définir — au-delà de sa mission de production et de diffusion artistique — le rôle politique et citoyen joué par la Ferme du Buisson? Si notre rôle au sein de la cité peut parfois nous paraître dérisoire, le contexte actuel le rend absolument indispensable. Pour accompagner cela, la Ferme du Buisson développe une formidable action de médiation et de sensibilisation en direction des publics les plus divers.
Pourquoi avez-vous souhaité participer et quel programme proposez-vous? En ce sens, les projets de coopération développés par d. Trois expositions collectives se sont ainsi tenues au Quartier, à La Ferme du Buisson et au Museo Marino Marini, et un ensemble de performances dans le cadre du festival Playground à Louvain.
We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies! In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display.
Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media. How did you work all together? This was the occasion to approach and study the archive both individually and as a group.
Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project. Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists.
In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy. We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation.
What are the continuity and the main differences between Rome and Chatou exhibitions? It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next. This is of course true for any archive, the issues of access and display being at the center of its operations.
But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object. We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself.
With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field.
In other words, we wanted to share with these artists and their productions the processes of activating the archive. That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself.
Red Swan Hotel Space: Is it a character, a theological idea… What is it? Azul Jacinto Marino was conceived as an idea of a platform or a territory, an entity with fluctuant borders. We wanted to make a project that was quite extensive and required a vast operational surface. Somehow it comes out of a precedent project, Ediciones del Exotismo Ordinario Internacional Neotropical ,which is an ongoing series of self-published booklets, built around a specific type of house plants found all around the world, but whose origin is the Neotropical Region south of Chile to south of Mexico.
These booklets encompassed a large array of interests, binding them together. Since then it started its own existence, as a polysemic entity, a surface, a character. AJM traces points of visions, topographic pretexts, territories where misunderstandings can be formulated, erased, rewritten, retraced; where magic can interlace with anarchism, as a geo-botano-animo-logo-palimpsestic incident.
Exhibition view, Rometti Costales. So, Azul Jacinto Marino can become something different for each project? Kind of a shapeshifter? Yes, you can see it as a shapeshifter or a trickster. Something that can go somewhere and come back in a totally different form or to tell a different story. A loop with a lot of loopholes. But if there is one thing that really defines it, it is the ambiguity of being several different things at the same time.
Already the three words that compose the name say a lot: You are talking about Antonio García Barón, the anarchist we often refer to, who lived in the Bolivian Amazon, and created his micro anarchist state.
The life of a hands-on anarchist living in such a particular context is pretty appealing, because of the encounter between two political philosophies: Yes, Antonio García Barón really existed, as well as the jungle around him and his micro anarchic state with that forest as a background.
But it gives us a territory on which to operate, and Azul Jacinto Marino claims this territory, it is this territory. We made a flag, an anarcho-syndicalist pattern of a red and black diagonal recreated with Huayruro seeds. These seeds are used a lot in the Amazon, as protection, as an amulet, and in some cases as part of the mix used to prepare Ayahuasca, in order to potentiate it.
This is the flag of Magical Anarchism. What is the relationship between oral tradition and your work? We were very much interested on what defines the crafting process. The creation of a Beni Ourain rug is a very fascinating way to leave the final result to chance. The women who weave allow themselves to see less than the last half meter of the work done, the rest is rolled up, and will not be seen until they finish it.
And since they can leave the work without finishing for weeks, sometimes months, once they come back to work on the rug, they are obliged to make an effort of memory to be able to follow the precedent path. And it always takes them somewhere else. It is as if the chance and fragility of memory were constantly inscribed in the final result of this rug crafting.
Is a thought mapping of sorts. And we like to believe it is a quite conscious modus operandi. It is like if they were inscribing chance and contingency of everyday life into a surface, a protection device which is this rug, that can be used as a cover or a collective bed for a family.
It is a very beautiful way of claiming the necessity of chance and the aleatory. So yes, from this perspective it is familiar to the development of a discourse present in oral tradition, to its vulnerability, always in present tense, since one is always obliged to reactualize it because there is no archive, no registry to which to rely to.
And suddenly there is something that makes the glare of fascination around him shine with a certain intensity. And this something, which can be anything, a cup, a knife, a brunch of a tree or a coral fossil, whatever, makes you think: Millions of years, the substance of a succulent plant, its becoming a mineral, the relation between animal and man, plant and mineral, all this collapses into this one single arbitrary event, into this fiction. And you will never be able to not see this asterism again.
This is the great transformational power of cooperation between fiction and reality. In Vamoose all cacti jut torrid nites publication, Azul Jacinto Marino is assigned with the number 8 in the floor plan of the exhibition, right in the center of it, even if it is not corresponding to any work present inside the space. Your website is so cool. It reveals how nicely you perceive this subject.
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