Some side-information about
a project by Nicolas Y Galeazzi at PSi #15 Conference 2009 in Zagreb
arch station
26.06.09 14:00
t
shor
SHIFT: PSi#15 Side Effecting LAB: nicolas y galeazzi invited a group of seven international artists aiming to investigate and provoke side effects of the psi#15 conference. Based on the different regional backgrounds, artistic practices, and approaches to academia
we were searching for: acts
of observation / performance as a tool to research rather to as a tool to represent / that means performative research instruments / side effects as close reading of procedures / collaboration as mutual beholding / beholding as performance.
what 1. Every thing can be seen as a Side Effect of something else. Side Effects are side effecting mutually and circular. 2. Expecting Side Effects or focusing on their potential can put you in a paranoid state. The field of the unknown is huge and scary. 3. But producing Side Effects explicitly - to react in an unplanned way - can reveal the surplus of surprise. 4. Looking at the Side Effects of any kind of social procedure whether political, artistic or daily - is at the end a subversive and critical practice and undermine the structure of any normative power. 5. As artists we aim to provoke as many Side Effects as possible. By challenging the unravelled, unknown and undefined we avoid to fall in the trap of our power of representation.
Side Effecting Manifesto
artists
22.06.09 10:30
jĂśrn j. burmester, theron schidt, nicolas y galeazzi, vahida
who
ramujkic, laura kalauz, joĂŤl verwimp, pictured by pilvi porkola
Front Imagine yourself as a bacterium in a Petri dish and the conference as a new kind of biologically manipulated penicillin with unknown effects.
how
Petri Dish model slide rule for per formative setups as a research environment
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:::::::::::::::::::::::::::::::::::::::::::::::::::: slide rule for per formative :::::::::::::::::::: :::::::::::::::::::::::::::::: setups as a research environment ::::::::::::::::::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::::::::::::::::: :::::::::::::::::::::::::::::::::::::::::::::: :::::::::::::::::::::::::::::::::::::::::::: :::::::::::::::::::::::::::::::::::::::::: ::::::::::::::::::::: ::::::::::::::::::: ::::::::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::::: ::::::::::::::::::::::::::::::: :::::::::::::::::::::::::::::: :::::::::::::::::::::::::::: ?
Imagine the conference participants as bacteria in a Petri dish and yourself as a new kind of biologically manipulated penicillin with
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This slide rule shall help you to muddle up your common terminology for performance and for research: lets take a Petri dish, put some Agar-agar as nutrition ground for bacteria and let them grow then take any serum and see what happens with the bacteria. This procedure can be modified for any artistic context. Just replace ‘Petri dish’, Agar-agar, bacteria, serum with relevant elements for your work and go with your artistic means through the appearing model. Imagine yourself and am member of the audience e.g. as a bacterium the Petri dish as the event your joining and the artist as a new kind of biologically manipulated serum with unknown effects. What would you need as nutri-
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This slide rule shall help you to muddle up your common terminology for performance and for research: lets take a Petri dish, put some Agar-agar as nutrition ground for bacteria and let them grow then take any serum and see what happens with the bacteria. This procedure can be modified for any artistic context. Just replace ‘Petri dish’, Agaragar, bacteria, serum with relevant elements for your work and go with your artistic means through the appearing model. Imagine yourself and am member of the audience e.g. as a bacterium the Petri dish as the event your joining and the artist as a new kind of biologically manipulated serum with unknown effects. What would you need as nutrition ground on which the effects could unfold the best.
about PSi
e
u
wher
about PSi#15 v
about PSi#15 SHIFT w
more at psi-web.org u more at www.psi15.org v more at http://psi15.com/?content=19 w
Our SHIFT should raise questions concerning the rela-
Collaboration
tion of intention and interpretation in any (artistic) act. We assert that both intention and interpretation consciously or unconsciously follow certain politics. ‘Unfortunately’ most of the time these two politics do not accord with each other. Often a massive dispositive of power is needed to bring them on the same line. Party apparatus, advertising, manuals, theatre rehearsals for months, product design studies, marketing investigations, restrictions for the use of public space or any other police provisions are examples for efforts to be understood
of intention ≠of interpretation
in the intended way. But this gap between intention and interpretation remains the reason for manifold, and often creative, misunderstandings. This opens the possibility to transform established ways of seeing the world and is the place where side effects arise. 21.06.09 17:00
22.06.09 15:30
Instrument The material are lying in the centre. Scattered on the ground like a crashed aeroplane. Our thoughts, approaches, backgrounds, found and brought objects, contexts and texts; all are fragments to be recombined to new instrument of research.
Everyone picks elements and start
to assemble the golem of the mobile research station; a silent collaboration without plan, using no words - after some preparation days with heated discussions. The result: a shaky, fragile shelter on two scrap bicycles. During the conference we filled the station with all what we found. The research station as evidence bag; results of our curiosity; side effects of our focus. At the end we unfold the collected and materialised insight back to the state of another crashed aeroplane. Each of us developed his/her own research instruments. Forensic bananas, credit search chemistry, entomological photography, reenactments as secret service, sleeping methodologies, note-scout, note-steeling, catapultings, physical theories, situation and situationist mappings, potato stamping and a walk to the mountain. The collaboration became visible in waving these instruments in each other, by not separating, not personalising them, by translating and swopping the approaches. In the research station they became texture; a temporary archive built through a non-systematical morphological analyse by using performance as a research instrument.
public SHIFT 1: 25.6.09 17:12 Presenting the nonrepresentative is a paradox. Consequently to this statement, our aim to presentation of our research strategies at the beginning of the first public SHIFT, was constantly interrupted, requisitioned, and sidetracked for by the search for a not beginning of the beginning. We had to fight with our own constant mistaking of ourselves. What is our position, who are the participants and who are the people who always disturb the shift by searching for the clown workshop in the space next to ours. One lady, who joined the SHIFT, hit the point by speaking out a confusion we all had. She asked, if she is for a specific task object or subject or research. She was both, of course. How should we separate an objective position by being the subjective researcher, how to separate ourselves from other objects of our research, if we are interested in the relations and constellations of effects and side effects among us. Every proposed ‘test’, every performative ‘intervention’, every research ‘instrument’ is pointed at the same time to the object and the subject of research. We left the space after an hour and went to reveal our open air research station in order to do some practical lab-work with the audience. The question of positioning ourselves dissolved as soon as we started to collaborate. Everyone, ‘presenters’ and ‘audience’ clothe their mind in a white lab-coat and became lab-rat at the same time. As subjective object of our own research we had no other chance then to propose test arrangements, which we just could follow with complete openness about the outcome. We could not show something about our research and we could not perform an act with an open end. We had to research, to develop, do find out.
Research / politics of interpretation The Conference Cat came from the flea market directly to the conference. It was a plastic Puss in Boots, holding its index finder to the open mouth and was looking astonished and surprised into the world. As ‘Conference Cat’ it appeared all over the place and had talks and interactions with many conference participants. The Cat embodied our researching desire: to stand there by doing nothing and to transform the world by just starring at it. Starring as performance -activating le object petite a1 - the audience is looking back. Mutual mirrors of the imaginary. “Glotzt nicht so romantisch”2 or we imagine you on stage; the stages of your contexts, which we are reflecting in our eyes, through our eyes, looking deep - next to your eyes. Asking as performance - what is this under your boot, cat?! - A process! it answered. Thus: we are standing here and seeing the world, having a look at it, a questioning look, and always surprised. Questions keep the settled work in process. The collected gaze we feed in our plastic bellies were they get processed to new starring. The cat is now employee at the Theatre academy Helsinki. 1 For Jacques Lacan the le object petite a stands for the unattainable object of desire; the object which looks at us by mirroring our gaze. 2 ”Don’t stare such romantic” B. Brecht wrote this sentence over the scene of ‘Mother Courage’.
Language The problem of language. Academic languages are meeting at the conference the artistic ones. At meetings one tries to be polite, one strives to neglect the differences, construct bridges and towers of unity. The ignored misunderstandings and humbled trouble spots are floating happily between the participants and everyone demonstrates happiness about the artistic decoration of the academic rationalisation endeavour and the inspiring theoryfications which delivers us secure reasons for why we are doing art. Translations are being constructed to cover not integrable diversity, differences which would make us fight for our perspectives, but the languages are brought together and even not seen as worthy to be translated - we are in the same boat, are we? - becoming symbiotically dependent. Everyone translates by herself, understands her own language the best and all she hears is heard through the filter of this language. An alien appears already at the beginning of the conference.
26.06.09 14:49
15 years old, she says, she is. Standing up in the audience of the national theatre; on stage the crème de la crème of performance and theatre theory, and she asks: “would it be possible for you to talk in a way that people like me would understand it as well?” She was alone, not because everyone else understood the language, but because of her courage. The moderator of the panel on stage had to manoeuvre her answer between many dangerous traps. On sentence became interpret in many different ways. Laura printed it on little pieces of paper and continued to the debate around it in the conference environment where the story already became kind of an urban legend. But one of the biggest misinterpretations, which produced the core of the debate, was, that the girl wasn’t Croatian at all. She was American and her English was very elaborated. The girl and the moderator meet on the picture beside.
Finances - The theme of the year.
24.06.09 18:30
I just wanted to picture what I have in my pockets. But I pictured my purse. For a snippet of a minute I thought, that’s what you have to do: tracking the content of your pockets. But the purse brought me on other thoughts, and the thought on my purse covered the other things in the pocket. The theme was present since the beginning of my side effect research a year a go - since I cooked a dinner in gallery in Frankfurt for some bankers, asking them to explain my ‘money’ with the provided cutlery, plates, and food. But I often couldn’t follow their explanations, and the crisis stayed. At least since I started to realise what that sentence in the call for proposals of the PSi#15 meant, I started to understand the crisis: “Curators are encouraged to secure their own financial and organisational backing. We understand that this may not always be possible and will try to provide financial support for those shifts that cannot secure sufficient funding.” This is clear, but I had a very different understanding of what “will try to provide financial support” contains. Flying seven artists to Zagreb from six different countries is a difficult task. Finding money for accommodation and to construct the research station as planned even more. For the conference it was clear that artists who show a piece there should pay for their participation. For most of us, as professional artists who have to make a living from their work, it was clear that we get paid when we show our work. One can say the context of the conference is of interest for any artist and will help his career. But any other festival has this potential as well. The difference between a festival and the conference is a cultural one. The academic structure claims for conferences as career building showcase which is important for the reputation of the university. The structure or professional art production delivers showcases for an economy of entertainment. Artistic research is situated between these two economies and in this field it seems to be still a big question from where to where money should be transferred.
The Air - Documentation Wondering how many events, moments, things I forget already during the conference! Looking through the notes, pictures and props tells me stories about moment I never perceived or could track in my memory. I discover lost tracks and threads which would have been worthy to be followed. A digital world piles the hard facts bit by bit to a monument against forgetting the already lost. It produces an archive of side effects with the latent potentiality to understand somewhere in future the main effect of pictured moment. Most of the tracks which could have been acted out remain somewhere on the side of the way and produces the feeling unknown and waste land. Remembering and excavate the lost tracks is again a research on the side effects of our project. It could complete the landscape to something coherent and finished, and filled with solved cause and effect relationships. Each lost element produces a feeling of failure, each failure tries to be compensated by the taken way. But the ending of the not followed tracks remains unknown. The landscape can only be represented in a map, but never perambulated. The unknown is black, the black will be everywhere and will grow as more you try to cross the rememberings. This black is the main side effect of focusing on any event.
28.06.09 11:23
28.06.09 10:18
Nicolas Y Galeazzi; Artist; University College Falmouth, MA Contemporary Arts Practice and Dissemination; Germany, Spain, UK; leads the SIDE EFFECTING ACTIVITIES RESEARCH PROGRAM about his own and other’s performance. Organizes cross-disciplinary, discursive and relational events as “Mise-en-Discourse”. Theron Schmidt PhD. Student; Queen Mary, University of London; UK; writer, performer in solo and collaborative works, doctoral research into relational aesthetics and theatricality, critical writing in AN Magazine, Dance Theatre Journal, The Live Art Almanac, RealTime, and Total Theatre. Pilvi Porkola; doctoral student; Theatre Academy Helsinki; Finland; performance artist and a writer, works about politics, documenting and personal in performance within the Reality Research Centre, writes for several magazines, chief editor of “Esitys”. Vahida Ramujkic; artist; independent; Barcelona / Belgrade; researching transformation processes occurring in environment and society through physical and psychical recycling; Strategies for individuals to take control over their transformation. Laura Kalauz Dancer, Choreographer; independent; Switzerland / Argentina; How to let audience see rather than show them. How to propose a mode of perception to audience. Jorn J. Burmester; Artist, self employed, Germany. I understand performance art as a tool for social research and political debate. Creating “Thinking Spaces” I aim to embody thought and theory as freely available artistic materials into my performance practice. Joel Verwimp Artist and initiator of the GRIDIRON hotel, working on reformative scenarios and organizational Quality. Tutor at FLUTGRABEN, modular matter for artistic research in Berlin, experimenting with non-consensual modes of collaborative ventures.
produced and designed by nicolas y galeazzi, all rights reserved © / for questions: ngaleazzi@gmx.ch with the kind support of Pro Helvetia Schweizerische Kulturstiftung
28.06.09 11:15