ELLIPSIS


I’ll heat the seat

8:06 AM Number 18. Kiss

“I’ll heat the seat” was the last sentence she said before he closed the door and she walked down the stairs, took the bike through the hipster area, along the lakes, along the lines, crossed the immigrant area, reached the posher one where she found the queue. On the way she had counted 2 persons with slightly darker skin. Here there was a queue of 17. The bell rang, it was 8 o’clock and a woman opened the door, gave them a number and a the COPENHAGEN post. They all sat down, facing the desks and the aquarium. And the sign with numbers. It was not lit yet, but next to it was another sign: EXPECTED WAITING TIME IN MINUTES. While writing this sentence it moved from 009 to 011. And the office was not open yet. Only slowly getting full. One kid, having a soft drink. Others sitting in silence apart from the neighbouring guy talking on the phone. The only other blond in the room. Legs moving, up and down. Impatience.

8:07 AM :)2 kisses.

”Lad os ligeledes på dette sted fremhæve, at der under hans fobi er en umiskendelige fortrængning at [sic] disse to hos ham veludviklede komponenter af seksualaktiviteter. Han skammer sig over at urinere i andres påsyn, anklager sig selv for at røre ved tissemanden, anstrenger sig også for at opgive onanien og væmmes ved ‘pølse’, ‘tis’ og alt, hvad der minder derom. I fantasien om barneplejen tilbagekalder han denne sidste fortrængning.”[i]

8:40 AM The residency permit sales has begun :-B

“Good morning and welcome to the Danish Immigration service…In the Information Desk you can get information about passport and resident permit cards…On the digital newspaper you can get information about how to behave in the immigration centre…We give service to all applicants in order of numbers”

Why is it that even in an immigration office the voice over mimics a flight attendant explaining the safety instructions? “There are four exit doors, two on each side of the airplane equipped with slide rafts that automatically inflate. There are also four window exits over the wings equipped with evacuation slides. Each exit is marked with a sign overhead…To ensure your safety, your seatbelt should be fastened at all times when you’re seated…”[ii]

8:40 AM Buy 2 please.

“Wireless Network. While you are waiting you can use our wireless network – please contact Information for password and logon.”

She goes to the Information Desk, there is no information about internet and the queue is long. EXPECTED WAITING TIME IN MINUTES  043. Thursday seems to be a decent day. EXPECTED WAITING TIME IN MINUTES 044. “Syrian refugees receive Danish support” says the COPENHAGEN post on the neighbouring table. The telephone guy is gone and now there is an almost blond guy with glasses, short hair a brown sweater, jeans and brown leather shoes. He could look like a classical musician.

8:51 AM Now number 18. Waiting for you and number 35 @-}–

Well, they all seem friendly, the people behind the desk. Another kid. Sweet curls. Big eyes. Panorama. Up and down. Oh, a cup of black tea. EXPECTED WAITING TIME IN MINUTES 051. Yesterday, they paid 6.270 DKK for the green card residency permit application. It seems like…a lot.

8:56 AM phone call. “Am in front of the ice cream place, just to check so I don’t do it wrong. Should I go left towards where we lived before or right toward the centre? The ice cream place on the square? Go left, it will be on your left hand side. Before Føtex. OK. It went fast, no, from you came till number 18. Yes. Now it’s number 25 and we are number 35. OK. A kiss. And see you soon.”

Trying to sit straight. The pain in the shoulder and arm is climbing up on her from the right side. “Jamen, det står her. Det kan godt forlænges.” Sentences sneak out from the desk area.

They also have to fill out the form. It’s not there, in the folders on the wall, she can’t do it before him, before his arrival.

Today her ears are not scratching. Only the neck. Hair is down, even though it creates heat and increases the scratching underneath. “Questions can be answered at the Information Desk” EXPECTED WAITING TIME IN MINUTES 050. Now it’s number 31. 32. EXPECTED WAITING TIME IN MINUTES 047. Number 33.

“Learn Danish! Ballerup Sprogcenter.” And a smiling row of teeth. the COPENHAGEN post. “Refugees aided, rebels frustrated”. A hooded guy in a corner with a kalashnikof. the COPENHAGEN post. Now also teens are queueing for the Information Desk. Lip balm. Dry air. “Har du en kuglepen?” “Ja” “Må jeg låne een?” “Ja. Sort er nok bedst, ikke” How does the woman know she’s not Russian, like all the French and Chilean guys thought? “Foto og lydoptagelser forbudt” Number 35. “Tak ska du ha’” “Tak ska du ha’”. “Tryk! Udad, udad” Two happy faces leave the office. Number 36. No scandal. “Så du skal betale gebyrer?”

EXPECTED WAITING TIME IN MINUTES 054. “Så når du er i Danmark…”

A nice cup of tea. Maybe even a chai tea. With whipped cream. Cinnamon. Floffy milk. Oh. “PAS” “INFORMATION” “UDGANG/EXIT”

“…middelalderlige lærde brugte tegnet til at markere, hvor man skulle trække vejret i forbindelse med recitation.”[iii] Breath, breath, breath, breath, breath, breath, breath, breath, breath.

“Andersens Wank er en konceptuel bog, hvor skriften forholder sig mere til et koncept end til slutproduktet – altså hvor produktionsmåden er vigtigere end hvad der produceres.”[iv] It makes her wondering whether this text she is now writing is rather a sort of process writing, where the process is more important than the outcome. At least this is how she feels. To get something out of this time. Of this seat-heating, extended time. EXPECTED WAITING TIME IN MINUTES 063. Waiting for the call that says, hi, I’m on my way. Of getting the documents handed over and the temporary application-processing residency permit confirmed. Number 41. Third number passed, now jumping to 48, 56, 70, 82, 92. EXPECTED WAITING TIME IN MINUTES 065. There is a smell of ashtray, that smell that sometimes infiltrates the clothes of heavy smokers.

The neighbour with the brown sweater and the brown shoes leaves the office. Slight smile, slight relief? Slight disappointment? And a baby, coming out of the toilet. Hanging on her mother’s arm. Doors opening and closing with an empty metal sound. The sound of the next number in the queue, up-down, bim-bim.

These fish in the aquarium. Yellow, blue, black and grey. Counting. Stops, 50? 40? Too little space, too little water? Rocks and sound, air bubbles into the water, dividing the waiting area from the desk area. Breast feeding and a woman with weak legs. “Hvis du lige flytter den stol, der.” … “Det ser ikke så slemt ud.” … “Alt efter hva…….” … “Det er nummer 71…” EXPECTED WAITING TIME IN MINUTES 071. EXPECTED WAITING TIME IN MINUTES 072.

9:52 AM All fine? :-*

EXPECTED WAITING TIME IN MINUTES 074

.

.

9:55 AM Yes now leaving the copy place. Kiss.

Number 48…………….

.

.

“Last week, figures from Infomedia revealed that in 2006, at the peak of the Mohammed cartoon crisis, the national newspapers wrote an average of 14 articles a day on Islam and integration. Five years on and those figures have halved.” the COPENHAGEN post. EXPECTED WAITING TIME IN MINUTES 069

Her neighbours on the left side. “Jeg tror det er den her form vi skal udfylde. Jeg går lige op og spø’r. Du er asylansøger, ik’? Og dit pas udløber i juni. Ja, så er det godt at du får et nyt. Men jeg forstår ikke for her står der det udløb i 2004?”

“Nej, den er for børn, du skal tage den der nede.”

“Hvem ringer, Skat? It’s Nim. Hvem er Nim? I Don’t know.”

10:06 AM Ok. Now on my way to you. 3 kisses.

10:07 AM 3 kisses for the bike ride

.

.

Hot chocolate from the automate. Identical with the one they had at the folk school where she grew up. 4 years old. Playing in the hallways. Ping pong. Whirling around until getting dizzy. Falling. Automate hot chocolate. The best part was the foam. On top.

.

Tasteless.

.

.

EXPECTED WAITING TIME IN MINUTES 078

EXPECTED WAITING TIME IN MINUTES 079

.

.


[i] Freud, Sigmund &Place, Vanessa. ”Little Hans” in Andersens Wank. Århus: Edition After Hand, 2012, p. 90

[ii] http://airforces.fr/2010/12/02/flight-attendants-safety-instructions-with-script/

[iii] Place, Vanessa. Andersens Wank. Copenhagen: AfterHand, 2012, p. 97 (footnote)

[iv] Ibid. p. 94

Thanks to applicants and staff in The Danish Immigration Service, Thursday March 15.




stillnes/movement

Q: You are thinking about the relation between stillness and movement these days, what is your concern, what makes you think about these matters.

A: My concern is how to be still, whether to move to be still or be still to be still.

Q: Explain to us, why move to be still?

A: It is all related to a bodily experience. Being still, the body can feel still moving: on the verge of changing position, it is in a state of pre-position, it never rests in itself, it never stops thinking about the next move.

Q: If the body is always already moving, why not move with it then, take action and stop striving for the ideal position and physical state in which the body rests in itself?

A: The aim is to be still, relaxed and calm and that aim comes from a need, from a body that is tired and wants to cut the strings that keep it up, tight.

Q: What if that aim is best reached by moving?

A: Then it is an unhappy situation to be stuck in a still position that does not give comfort. It is related to pain. A pain that arouse from being frozen in a situation where everything else is moving. Something stiff in turbulence does not resonate with its surroundings. The pain is less present when the body is doing regular, moderate physical activity and spending time horizontally. It is the sensation that liquids have to flow and they do so either stretching, yoga, or being horizontal, a good nights sleep.

Q: It sounds ascetic, how does that integrate into everyday life?

A: It does only sometimes, it is a constant balance that has to be kept with awareness. When not obeyed this awareness turns into restless stillness. Things are still being done in order to concentrate on something and feel a sense of progression, even though one is not coming closer to a relaxed stillness, but is in fact even more stuck and frozen. That type of progression is not an action that cut the strings, on the contrary.

Q: How does it feel, now, in this moment?

A: Pain in both shoulders that expands into the right arm and splashes into the hand just before the thumb and continues all the way out into the little finger. The neck is stiff, like thick rubber. Teeth are tense, jaws aching. Lower spine is sour and thighs are full of a sparkling feeling just under the skin on the front. The thighs want to move, the upper torso to forget about moving. There is a conflict there. Some parts want to run, others to bury themselves.
Stuck here it there is no other way than to rely on structures of everyday life and perform them. One has to be ready whenever there is a situation where the window is open to face the conflict. That is not right now.

Q: Then, what can be done?

A: The continuous performance of everyday keeps the body within a framework in which the reasonable is easy to understand and obey. That is one way of making the body move at certain points. For example, the doorbell rings and one has to go and answer it. Or, one gets hungry and has to move to get some food. Outer and inner needs in all their diversity demand movement.
It is constant, somehow, and much more about movement than stillness as the body is always in circulation, blood circulating and the body circulating with the universe. It is difficult to stop, when it can go on and on and on.



Pining for
August 13, 2011, 2:06 pm
Filed under: Beirut, In the mood for, notes on cph, Santiago stories

Once upon a time

Once upon a time, my dear, there was
a beautiful lady

a blond girl married too young
that waited for her husband day and night

and one Saturday night or it was Sunday
she begged from the sun and from the moon

“Sun, light his way, moon
go and talk to him for me

He sails around on the seas
He fights the pirates and beats them

Under the sun, under the moon, under the rain
and he leaves me all alone and lonely”

“Galley bore to windward, despite the strong wind
It started a bloody fight

with a pirate ship
I saw fire and murders…”



Museum of Non-Repression
August 7, 2011, 9:16 am
Filed under: Santiago stories

The past months Chilean university students have been striking, protesting and manifesting their discontent with the quality of the liberal education system in Chile. Lots of students are heavily indebted by university fees and there is little chance that they will get a job that can both pay back their debt and pay their living. Despite the negative scenario students have taken rather humorous, yet provoking and impressive approaches to protesting. Some examples are presented here – with the organization and imagination noticeable one is wondering if they need private education at all? This is in fact a great DIY U:

§ Flashmob for education with thousands dancing Thriller in front of the government building – “don’t treat us like zombies and kill us with debts!”

Thriller por la educación, handheld:

Thriller por la educación, official:

Official youtube tutorial:

Collective dancing classes in the occupied Universidad de Chile:

§ Homepage where students upload a photo of themselves and a digit telling the size of their debt:
Yo debo

§ Imitation of a coca-cola commercial: there are reasons for free education

Hay razones para crear una educación gratuita:

§ Mass kiss for education in Plaza de Armas, the main square of the city

Besatón:

§ Exhibition of objects of violence used by the police in demonstrations, especially details from teargas bombs that the police used generously:
Museo de la repressión

§ Romantic revolution using Summer Nights from Grease 

Aperra por la educación: Grease de la toma:

§ Some photos from a recent demonstration showing the violent side of protesting:
Terremoto social en Chile



Mit Chile: En fuldfed ode til transvestitten, folkene i bussen, naboen og Jodorowsky-aficionadoer
March 27, 2011, 11:13 am
Filed under: Santiago stories

I starten var de flere. Især den lille tynde med den korte stramme nederdel og toppen skræppede op. De stod i en gruppe af fire eller fem stykker under vores soveværelsesvindue, en 5 etager nede. En livlig flok, altid i bevægelse, søgende ud mod forbigående eller tøvende biler. Det var den sommer, sensommeren, hvor ankomsten og de store møl, en blærebetændelse og et ukendt socialt liv langsomt spiste den opsparede energi og stolthed og satte identiteten til salg. I vinteren forsvandt de, både møllene og transvestitterne, og næste sommer kom de kun sporadisk tilbage. Den lille tynde hørte vi ikke meget til og gruppen, der ellers havde hilst min far og jeg velkommen efter en ørkenvandring efteråret forinden, blev aldrig den samme. Man kunne sove om natten uden at blive vækket af superbt kokette udbrud, men man kom umodtaget hjem om aftenen. Hvornår hun dukkede op, Suzana, vides ikke præcist. I starten stod hun under vinduet og overraskede en aften med sin stærkt nedringede bluse, der blottede et par karakteristiske fladt fyldige bryster. Læberne var stærkt optegnede, øjnene åbne i et evigt spørgende udbrud. Hun aldrig sagde noget, havde en blikkets flirten, der blev udvist overfor ikke genkendelige forbipasserende. José blev ikke mere tiltalt, rendt efter eller fløjtet af, hun havde en jordnær stil, der med nedadstræbende kraft og opadstræbende bryster satte mændene og munden i bevægelse, gerne i naboopgangens lille indhak nede ad gaden eller i et af områdets små moteller. Da restauranten på hjørnet overfor lukkede, rykkede hun derover og stod under det afrundede halvtag. Næste sommer var hun den eneste på skansen. Hun havde fået retten til sit hjørne, blot to blokke fra gadepolitiets bås i San Camilo, og der stod hun med en rolig energi, der lidt efter lidt kunne listes et genkendelighedens smil ud af. En slags galionsfigur på vores gadehjørne, Violliers forfinede blomst, der i sin overdrevent sminkede skønhed mindede om den lokale mandschauvinismes underbevidste seksualitet og eksplicit racistiske begær.

Sommer nummer to rykkede gadens liv sig rundt, de placerede busstoppestedet for 405 og 210 i midten af gaden, mindskede fortovet og fældede de beroligende træer. Der blev konstrueret fra morgen til aften i en hede, der åbnede hudens porre og lejlighedens vinduer og lod varme og larm strømme ind i en overdøvende, afvæbnende gestus. I denne gennemtrængende tilstand blev ph.d.-ansøgningen skrevet godt hjulpet af nettets Borgeske pdf-arkiver og skype-medierede samtaler med Damer i Periferien. Der blev stadig gået til spansk, men bussen blev ikke for alvor taget førend efter jordskælvet, hvor cyklen fandtes for usikker og blev stående i det gamle tjenestepigeværelse bag køkkenet. Busstoppestedet var et andet og ukonstrueret, det stoppede foran arbejdernes hospital, én parallelgade henne og tæt ved metro Bustamante. Det var en af de lokale, gule D-busser, nummer D18, der stadig kørte larmende ræs og vidnede om en tid før det regulerende Transantiago, der gjorde en ende på den vilde vestens frie konkurrence blandt busserne på gaden. Det var byens cowboychauffører, der tog de fine damer med rundt i Providencia og Nuñoa, de lidt rigere middelklassekvarterer, der startede på den anden side af vejen. I bussen kiggede de nok, men faktisk ikke meget, langt mere var man i fred for mandlig råben, fløjten, sagten af lastbilens fart, blik og anden træls opførelse end på sin cykel. Selv når man en sjælden gang krydsede floden med bus 201 fra Cal y Canto og indtog de traditionelt set kødelige områder Recoletta og Independencia, var man én blandt de andre. Universitet, der var målet, var omringet af gadesælgere og her kunne man finde de fineste plastikhårsmykker og andet gejl. Der var en næsten tykkere varme i de busser og gader, selv i vinteren, hvor vi frøs i kunstens navn blandt døde kroppe i universitetskælderens anatomilaboratorium under indtagelse af varme drikke og indhyldet i røgen fra selvdyrket, hallucinerende tobak.
Senere kom bus 501 til yoga, der glimrede ved altid at have sælgere eller performere med. Der blev tilbudt strømper om vinteren, julekort til jul, helbredende magnetarmbånd om efteråret, is og kolde vand i tapesammenstykkede flamingofrysebokse om sommeren og hjemmelavede papirsblomster om foråret. Et særligt tilbud var der tit, hvis man købte mere end en og i det hele taget kunne alt fås til spotpris. Efter jordskælvet skulle vi støtte opbygningen af lokalsamfund, der faldt uden for mediernes og pengepungenes opmærksomhed, efter regeringsskiftet skulle vi støtte de blinde, der var blevet smidt på gaden, da deres offentligt støttede arbejdssted lukkede i centrum, efter mineulykken i San José skulle vi støtte minearbejdere fra andre pludseligt lukkede miner og altid skulle vi støtte Gud og alle hans gerninger, også gerne med en skilling. Vi lyttede til Rock’n Roll, chilenske arbejdersange fra halvfjerdserne, hundrede år gamle romantiske serenader, landlivets cueca, nordchiles indianerinspirerede toner spillet på halve dyrekroppe med strenge og så var der, dog i nummer 405, pigen fra Peñaloen, der rappede sig igennem turen og livet i forstaden i overalls og halvt bar mave. Det skete på vej hjem fra akupunktur med et selvmedlident hold i nakken, der dér blev rappet af banen.

I månederne efter jordskælvet, hvor vi holdt os mere hjemme, foldede bygningens beboere sig ud. Den altid velklædte herre fra syvende sal, der aldrig klagede over elevatorens evindeligt forsinkede reparation, fandt vi pludselig hos damen på fjerde, da vi løb ned på gaden efter efterskælvet den ellevte marts. Det skete, mens fjernsynet kørte og vi så Bachelet på bilen, hvor hun vinkede til folkene i Valparaíso. Vi hørte Piñeras pinlige uvidenhed om de udenlandske statsoverhoveder, der var kommet til ceremonien, men som alle løb skrækslagne ud ved efterskælvets eget efterskælv. Nede på gaden købte vi en chokolade til damen på fjerde, der var ude af sig selv ved endnu en gang at skulle rystes. Da vi kom tilbage fra butikken, var hun kommet ned med den velklædte herre og snakkede med bygningens vicevært, der boede i kælderen med sin kone. Alle havde de boet der i mange år og kunne huske både 1960 og 1985, de to forrige gange Chile blev ramt af den 25-årige cyklus jordens tektoniske plader genkomponerer landet i. Huset var stærkt, kunne de med erfaringens klogskab bevise, men fortovet på den anden side af gaden skulle vi holde os fra, muren var begyndt at hælde og kunne falde når det skulle være. Senere kom den gamle dame op og bankede på. Det var på dagen, hvor den pauvre statspension blev udbetalt og i en pose havde hun en nøglering med en lille gul fisk, der svømmede rundt i noget rødt vand. Det var en tak for vores omsorg og chokoladen, sagde hun meget rørt og vendte rundt med tårer i øjnene.
Også vores nærmeste nabo havde boet der siden fra før 1960 i et værelse på femten kvadratmeter inklusiv bad, vaskemaskine, toilet og køkken. Vores udendørs tørrearrangement vendte ud mod hinanden og her så vi ind i hendes liv via det eneste vindue hun havde. Hun var altid stramt klædt på og havde af og til en herre på besøg om søndagen, som hun hentede completos til, en lokal variant af hotdog med det hele. I starten mærkede man irritation over mærkerne vores cykler lavede i elevatoren, men da skælvet og en stjålet cykel stoppede dét, blev hun venligt stemt. Et par korte samtaler havde vi da på gangen samt lune smil kastet henslængt til os på trappen. Den anden nabo tiltalte os via håndlavede tegninger med livskloge citater på hoveddøren. Livet er en drøm, en gave, fuld af overraskelser og det er om at gribe det, være søde mod hinanden og smile. Om aftenen eller ved lidt yngre herrebesøg lukkede hun sin kat ud på gangen og der gik den rundt og miavede sig ind i vores maver.

I de år var der megen kommen og gåen og turen til lufthavnen var efterhånden blevet en vanesag. En dag sad jeg i skramlebussen på vej hjem efter at have kørt min far til flyveren og faldt i snak med brasilianeren ved siden af. Hun var kommet til Chile for at se en kabaret og følge en workshop med det nu gamle orakel af en psykomagisk kunstner og tarotkortlæser, Alejandro Jodorowsky. Dét rigere af min fars efterladte pesos, inspireret af tilfældet og nysgerrig efter gentagende samtaler med nærmeste venner, hvori Jodorowsky blev omtalt i en særlig tone, besluttede jeg at tage med til hans workshop den følgende lørdag. Egentlig mest for at vide mere om tarot. Da dagen var omme havde jeg været død, var blevet renset, havde ligget omfavnet med mit øre på en middelaldrende herres bryst og lyttet til hans hjerte, var blevet genfødt, havde fortalt mine forældre sandheden gennem en ung kvinde, var blevet skældt sønder og sammen i rollen som en ældre kvindes far, havde råbt af de mandschauvinistiske kvinder med andre frustrerede, var blevet klædt imaginært dronninge-agtigt, måske gudinde-agtigt ud af en uruguayer, havde mediteret mig ud i universet og lyttet til psykomagikerens råd givet til folk med brændende spørgsmål affødt af livets påtrængende krydsveje. Alt sammen på et livserfaringens spansk. Dagen havde været genialt gak gak i omgang med 300 chilenere og regionens tilrejste tilhængere, der alle sad som børnehavebørn om historiefortælleren med en iver for at få sine tarotkort læst og spørgsmål besvaret. En mærkeligt nok stille overvældende oplevelse, hvor jeg efter næsten to år i et land mødte mine medmennesker i en ligefrem udveksling. Status var skubbet i baggrunden og man kunne, hvis man skulle kollapse, blive holdt oppe af kollektivets synergi. Da jeg gik derfra, var det med en fornemmelse af endelig at have stået ansigt til ansigt med “chileneren”, den abstrakte betegnelse med hvem jeg havde omgivet mig længe, men aldrig rigtigt havde set i øjnene. Samme aften var der endnu et socialt arrangement hos nogle i omgangskredsen. De havde netop taget naboens udstødte killing til sig, en lille hvid beskidt sag, der skræmt sneg sig rundt i haven. La Reina, eller Dronningen, som de kaldte hende, endte spindende i mit skød.



VADEMÉCUM
October 8, 2010, 9:10 pm
Filed under: Santiago stories, texts

Authors/Autoras: Florencia Grisanti, Aymara Zegers y Sidsel Nelund

Limited and stamped edition of 70. Written in Chile and Denmark between the 2nd and 21st of August 2010. Printed on Cromolux 250 grs silver and white at DigitalGravura, Santiago de Chile. Box made of zincalum sheets hand folded in the iron workshop in Avenida Pedro de Valdivia, Santiago de Chile. Surgical tissue used in the Laboratory of Normal Anatomy, Medicine School, University of Chile.

Size / 27,5 cm x 23,5cm x 5 cm
Material / Zincalum box, surgical tissue, sheets printed on Cromolux 250 grs silver and white.
Sheet / 27
Edition of 70

--

Edición enumerada y timbrada de 70 ejemplares. Se escribió en Chile y
Dinamarca entre el 2 y 21 de Agosto del 2010. Las láminas han sido
impresas sobre Cromolux 250 grs plata y blanco en los talleres
DigitalGravura, Santiago-Chile. Las cajas fueron confeccionadas en
planchas de zincalum plisadas a mano en la hojalatería Pedro de
Valdivia y la funda es tela quirúrgica utilizada en el Taller de
Anatomia Normal de la Escuela de Medicina.

Tamaño / 27,5 cm x 23,5cm x 5 cm
Material / Caja de zincalum, tela quirurgica, laminas impresas en
Cromolux 250 grs plata y blanco.
Cuantas laminas / 27
Ejemplares / 70



Being Extra – to be continued 2
October 8, 2010, 8:27 pm
Filed under: Being Extra, Santiago stories, texts

So, we went to a book launch by the artist Yael Rosenblut and a woman wanted to take a photo of me to put it on a fashion blog. “Your style is so unusual and you look so different.” Not exactly what you want to hear as a foreigner who thinks she blends in. However, good research for my in-its-coming-writing-project being extra.

Judge for yourself: vistelacalle.com



ENSAYO BÍFIDO
October 8, 2010, 8:11 pm
Filed under: Kunst / Art, Santiago stories, texts

Back in December last year Florencia Grisanti, Aymara Zegers and I started working on the exhibition Ensayo Bífido. The exhibition itself took place in August 2010 in a gallery in Santiago, but consisted of 3 stages of documentation of a performative act made elsewhere by Florencia and Aymara in an laboratory of anatomy in the University of Chile.

Step one consisted of two opposite video projections showing closeups and in real time with clean sound the hands of Florencia and Aymara working in the laboratory of anatomy. For a week we recorded one session a day that was showed the subsequent day in the gallery. During this stage of the exhibit I was mainly working in the laboratory documenting the performative act in the form of written documents.

Step two was marked by the ending of the recordings in the laboratory and the exhibition of the objects Florencia and Aymara had made during the previous week. The objects were exhibited in two glass cabinets from the laboratory and the video recordings were now projected unto the table they worked at in the laboratory. During this stage I unfortunately had to go to Denmark from where I reflected upon the experience and wrote an epilogue.

Step three consists of a publication with the Spanish title Vademécum, which is a handbook used by doctors. Vade mecum is latin and means “go with me”. The format of the vade mecum had been chosen for a while and the reason why I created written documents of the performative act was to mime the documents of a scientific vade mecum.
Finally, the Vademécum took the form of 26 photographs consisting of 2 stills from each video and close up photographs of the glass cabinets. On the back side of the photographs you find the written documents as an interweaving narrative that, however, does not always correspond with the photographs, thus creating an extra layer of imagination about the actions, objects, and atmospheres of the room in which the performative act took place.



my way to the moment of simultaneous crossings across oceans

It has begun. It already had begun when it started. We were talking about an exhibition project on skype when we started discussing how to proceed. Actually, he said, it works well for me just to talk from time to time. About this and that. So we did that for a while, gossiped about the New York artsy fartsy scene and its academic stars. Who were flirtatious and who were not, what did they want, these Marxists, and what could they use from a critical Danish context and art history?

Then came the earthquake. We also talked soon after, before I realised the personal consequences of the shock. I was still in it, shock. That day I also got the scholarship I had applied for, but not thought I would get, really. I received the email, went to the living room where J was working with T. University was closed as a consequence of the earthquake. Also, they just wanted to keep moving, keep working. Having told the news I sat on the floor, it was almost too much. What to do with a three years scholarship in the midst of a chaos we only then saw the beginning of? J planned to celebrate, but the champagne stayed in the fridge for many days. Nausea, stomachache and general paralysis did not really call for a sparkling champagne. Then we drank it, J and I, all of it. Next day I canceled my Spanish lesson. I couldn’t really see how I should or could go there.

I still don’t ride my bike. I could do it, though, now I have regained my trust in myself, my ability to navigate and orientate myself. I have also regained my trust in the streets, the others, the concrete, asphalt, soil, the earth. It’s only shaking a little bit, now. Only a little, and life still moves on, more beautiful, more praised than before. In a calm light of gratefulness. We are still here. And for that we should be thankful.

Ten days after the earthquake we went to an opening. Here I saw him again, the artist whom I had asked for an interview with, but who’s number I had lost when J’s phone got broken. I went to him and said that I would still like to interview him. He’s old, but famous because he made the ”first” (how can you make the first of something that already exists?) installation in Chile. It was a long paper and plastic sausage that crawled its way through Museo Nacional de Bellas Artes. It came out of the window next to the main entrance and embraced a palm tree. It is here the iconic photo is taken, JPL in front of Bellas Artes next to the monster. Supposedly, the installation was soon removed because they were going to have an opening of another exhibition and the then mayor of Santiago did not want people to step over such an odd piece of art. It was tossed away in a storeroom among paintings and sculptures from the collection. Here, they also took a photo. All in all, this first and historical installation remained only in the archive, in the photographs, and not in the imagination of people created from a bodily experience of having seen it, felt it, touched it. Maybe that was why the curator of Bellas Artes, RC, wanted to re-enact the work, show it again. There was a jubilee, it was 40 years since this first installation inhabited Chile. So they remade it, the tender body of plastic and paper, and took a photo. Actually, he was a bit disappointed, JPL, they just put the thing, once again, remade it and then what? It somehow related to earlier investigations I have done in Copenhagen and London. I wanted to talk to him.

I came to his house with a recorder and a camera. And a notebook full of questions. His home was simple, not like a grandfathers house like it could have been. We sat down and started talking. I took notes, the recorder was full, I suddenly didn’t know exactly why I was there. He told me many things, took out his archive of notebooks, like working diaries or more condensed registers of each project he had done or thought about. It was a big box and each book were big. You needed a big table to handle them.

JPL was sweet, not flirtatious as one person had said he was. Just sweet and seemed more honest than most people I had met, here. Now he was thinking of just burning all his artworks. I could not record and was happy about it. I couldn’t photograph either, I felt like an intrusion and I felt suddenly uncomfortable with this desire for registering everything. For not being present, there, in the moment, but always thinking in what way the moment could be useful for the future. So we just talked. And talked a bit more. At some point he said, you didn’t record anything. And I said no, I didn’t feel like it, for the sake of the conversation and its free flow. He agreed, words come easier without a recording device within reach. Then he gave me a book, you can read everything that is important about my work in this book. There is a very good interview and an article by this woman. And then I left, full of books and new images for my memory.

There was another concern. We were about to go to a meeting for cultural practices in the region around Libanon and a friend and I had for a while been talking about something to do alongside this meeting. One day the idea of making informal conversations came to our minds: to create a space for discussion outside of the public Q&A’s that can easily seem exclusive to less theoretical and powerful, yet interested and interesting people. We did some research and decided to call it conversation pieces for its references to art history and discussion devices. But the blog domain was taken and we settled with konversationpieces, a sort of Germanic linguistic touch that is not really intended, nevertheless there. And this was how we created something that was not really intended, nevertheless there. A sphere of non-utilitarian purposes, a circle to do things that we anyhow do believe are useful. Now. In these contexts.



Re-Exportation – Cazuela Cultural to and fro
May 7, 2010, 11:06 pm
Filed under: Beirut, Kunst / Art, Santiago stories




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