Processes/actions: weaving, mending, compressing, heating/cooling, burning, (ashes/soil), absorbing, containing
Relationality / connections: enable transformative encountersContainers (of people/events/connections) as opposed to form - containing social actions, containing processes (cooking), containing powders
Surfaces: for gathering/encounters, exploration- lying, stretching, touching - basic bodily actionsConnection Glue: material and social Alchemy: dirt - earth - growth, contamination/poison, nature/human
Jiddu Krishnamurti, Indian philosopher:Fear, Stresses
Artforum: Paul B.Preciado - Learning form the virus
E-flux Journal #50 - Boris Groys - Entering the Flow: Museum between Archive and Gesamtkunstwerk
[…] In his text, Malevich protested against this pro-museum policy by calling on the Soviet state to not intervene on behalf of the old art collections, because, he said, their destruction could open the path to true, living art. In particular, he wrote:
Life knows what it is doing, and if it is striving to destroy, one must not interfere, since by hindering we are blocking the path to a new conception of life that is born within us. In burning a corpse we obtain one gram of powder: accordingly thousands of graveyards could be accommodated on a single chemist’s shelf. We can make a concession to conservatives by offering that they burn all past epochs, since they are dead, and set up one pharmacy.
Later, Malevich gives a concrete example of what he means:
The aim [of this pharmacy] will be the same, even if people will examine the powder from Rubens and all his art—a mass of ideas will arise in people, and will be often more alive than actual representation (and take up less room).
It is obvious that what Malevich proposes here is not merely the destruction of museums but a radical curatorial project—to exhibit the ashes of artworks instead of their corpses. And in a truly Wagnerian manner, Malevich further says that everything that “we” (meaning he and his artistic contemporaries) do is also destined for the crematorium. Of course, contemporary curators do not reduce museum collections to ashes, as Malevich suggested. But there is a good reason for that. Since Malevich’s time, mankind has invented a way to place all artworks from the past on one chemist’s shelf without destroying them. And this shelf is called the internet.
E-flux Journal #56 - Running Along the Disaster: A Conversation with Franco “Bifo” Berardi
[…] Society has been crushed, precarized, impoverished. The only shelter that the social body can find against financial aggression is nationalist identification—just look at the proliferation of micronationalisms everywhere.
[…] The movement has also initiated a process of the reactivation of the physical body of the city, yet financial capitalism and resurgent nationalism have crushed this social movement.
Journal #94 - Julieta Aranda, Kaye Cain-Nielsen, Brian Kuan Wood, Anton Vidokle - Editorial[…] These days we may feel ourselves crushed, farmed, bogged, productive, or frozen. There will be death, sure. Rising temperatures, literal and otherwise, bear seismic pressure down onto artists and artworks too—tasked to mobilize, amass, comically relieve, boil it down, prod into action.