ephemeropteræ 2013/08 – Boris Ondreička, Daniela Zyman
Encompassed by the discursive and programmatic title ART AND… ephemeropteræ curators Boris Ondreička and Daniela Zyman compiled a personal selection of texts, prose, theory and poetry. The lecture is accompanied by projections, which visualized the text passages.
– ART AND...
Extrapolated from Cerith Wyn Evans’s and Florian Hecker’s artistic practices, the texts selected by Daniela Zyman, who had recently curated the exhibition Cerith Wyn Evans – The What If Scenario?… (after LG) at TBA21–Augarten, revisited some of the fundamental writings nested in the exhibition. At the crossroads of sound, film, sculpture, and the literary, Cerith Wyn Evans’ works lean on and create forms of communications with texts of literature, poetry, and artists’ writings through processes of translation, quotation, adaptation, repetition, and erasure.
DEAD DOLL HUMILITY by American punk poet, novelist and sex positive feminist Kathy Acker amalgamates a variety of fields and subjects which, according to Ondreička, has essential relevance for the ephemeropteræ series: the poetic and prosaic, the artistic, the “other“ and gender, the self-emancipation etc. DEAD DOLL HUMILITY marks fundamental issues of the role, position, projection and self-projection, even the phantomlike image in contemporary art and culture by using “cut-up/cut-out” techniques, quotation, and appropriation. Acker claims that “[…] if the writer or critic (deconstructionist) didn’t work with the actual language of these texts, the writer or critic wouldn’t be able to uncover the political and social realities involved.” and further “[…] Deconstruction demands not so much plagiarism as breaking into the copyright law.”'
Ondreička´s reading is divided into singular blocks, which provides a particular rhythm interrupted by Zyman’s subjoined texts. Apparent by the title ART AND… the range of texts emerges from a singular nodal artistic notion which contextualizes, interacts and cannibalizes the fields of philosophy, poetry, science, and politics.
SELECTED TEXTS:
Kathy Acker, DEAD DOLL HUMILITY, 1990 (Postmodern Culture vol. 1)
Samuel Beckett, Proust (London: J. Calder, 1987)
Elizabeth Bishop, “Casabianca”, in: The Complete Poems 1927-1979 (London: Chatto & Windus, 2004) / Elizabeth Bishop: Poems, prose, and letters (New York: Library of America, 2008)
William Burroughs / Brion Gysin, The Third Mind (New York: The Viking Press, 1978)
Peter Gidal, Understanding Beckett. A Study of Monologue and Gesture in the Works of Samuel Beckett (The McMillan Press LTD, London, 1986)
Florian Hecker, Events, Stream, Object (Cologne: Walther König, 2010)
Stéphane Mallarmé, Un coup de dés n’abolira jamais le hasard (Tiber Press, 1956)
Siegfried Marx, Astrophotography Proceedings of the IAU Workshop, Jena, GDR, April 21–24 (London: Springer London, 1988)
James Merrill, The Changing Light at Sandover (New York: Atheneum Books, 1982) (Washington: Washington University Press, 2006)
Pier Paolo Pasolini, Petrolio (New York: Random House, 1997)
Carsten Höller, Old Seefarers (2013)
Liam Gillick, The What If Scenario (1996)
Jacques Rancière, Malarmé. Politik der Sirene (Zürich: Diaphanes, 2012)
Extrapolated from Cerith Wyn Evans’s and Florian Hecker’s artistic practices, the texts selected by Daniela Zyman, who had recently curated the exhibition Cerith Wyn Evans – The What If Scenario?… (after LG) at TBA21–Augarten, revisited some of the fundamental writings nested in the exhibition. At the crossroads of sound, film, sculpture, and the literary, Cerith Wyn Evans’ works lean on and create forms of communications with texts of literature, poetry, and artists’ writings through processes of translation, quotation, adaptation, repetition, and erasure.
DEAD DOLL HUMILITY by American punk poet, novelist and sex positive feminist Kathy Acker amalgamates a variety of fields and subjects which, according to Ondreička, has essential relevance for the ephemeropteræ series: the poetic and prosaic, the artistic, the “other“ and gender, the self-emancipation etc. DEAD DOLL HUMILITY marks fundamental issues of the role, position, projection and self-projection, even the phantomlike image in contemporary art and culture by using “cut-up/cut-out” techniques, quotation, and appropriation. Acker claims that “[…] if the writer or critic (deconstructionist) didn’t work with the actual language of these texts, the writer or critic wouldn’t be able to uncover the political and social realities involved.” and further “[…] Deconstruction demands not so much plagiarism as breaking into the copyright law.”'
Ondreička´s reading is divided into singular blocks, which provides a particular rhythm interrupted by Zyman’s subjoined texts. Apparent by the title ART AND… the range of texts emerges from a singular nodal artistic notion which contextualizes, interacts and cannibalizes the fields of philosophy, poetry, science, and politics.
SELECTED TEXTS:
Kathy Acker, DEAD DOLL HUMILITY, 1990 (Postmodern Culture vol. 1)
Samuel Beckett, Proust (London: J. Calder, 1987)
Elizabeth Bishop, “Casabianca”, in: The Complete Poems 1927-1979 (London: Chatto & Windus, 2004) / Elizabeth Bishop: Poems, prose, and letters (New York: Library of America, 2008)
William Burroughs / Brion Gysin, The Third Mind (New York: The Viking Press, 1978)
Peter Gidal, Understanding Beckett. A Study of Monologue and Gesture in the Works of Samuel Beckett (The McMillan Press LTD, London, 1986)
Florian Hecker, Events, Stream, Object (Cologne: Walther König, 2010)
Stéphane Mallarmé, Un coup de dés n’abolira jamais le hasard (Tiber Press, 1956)
Siegfried Marx, Astrophotography Proceedings of the IAU Workshop, Jena, GDR, April 21–24 (London: Springer London, 1988)
James Merrill, The Changing Light at Sandover (New York: Atheneum Books, 1982) (Washington: Washington University Press, 2006)
Pier Paolo Pasolini, Petrolio (New York: Random House, 1997)
Carsten Höller, Old Seefarers (2013)
Liam Gillick, The What If Scenario (1996)
Jacques Rancière, Malarmé. Politik der Sirene (Zürich: Diaphanes, 2012)