Enduring Partnership (2008), by Gerald Grestenberger
endowment, imagery, internet, performance, single-serving-site, urlSunday, April 28th, 2013
When we claim to have been injured by language, what kind of claim do we make? We ascribe an agency to language, a power to injure, and position ourselves as the objects of its injurious trajectory. We claim that language acts, and acts against us, and the claim we make is a further instance of language, one which seeks to arrest the force of the prior instance. Thus, we exercise the force of language even as we seek to counter its force, caught up in a bind that no act of censorship can undo.
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Is it certain that to the word communication corresponds a concept that is unique, univocal, rigorously controllable, and transmittable: in a word, communicable? Thus, in accordance with a strange figure of discourse, one must first of all ask oneself whether or not the word or signifier “communication” communicates a determinate content, an identifiable meaning, or a describable value.
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I COULD HAVE pretended to begin with a “false” beginning, my penchant for falsity [pour le faux] no longer requiring special demonstration. I could have simulated what in French is called a “faux départ” (I ask that the translator retain the quotation marks, the parentheses, the italics, and the French).
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To write means, of course, to perform an action by which a material, (for instance chalk, or ink), is put on a surface, (for instance a blackboard or a leaf of paper), to form a specific pattern, (for instance letters). And the tools used during this action, (for instance brushed and typewriters), are instruments which add something to something.
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Es handelt sich darum, ein Material auf eine Oberfläche zu bringen (zum Beispiel Kreide auf eine schwarze Tafel), um Formen zu konstruieren (zum Beispiel Buchstaben). Also anscheinend um eine konstruktive Geste: Konstruktion = Verbindung unterschiedlicher Strukturen (zum Beispiel Kreide und Tafel), um eine neue Struktur zu formen (zum Beispiel Buchstaben).
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To write means, of course, to perform an action by which a material, (for instance chalk, or ink), is put on a surface, (for instance a blackboard or a leaf of paper), to form a specific pattern, (for instance letters). And the tools used during this action, (for instance brushes and typewriters), are instruments which add something to something. Thus one would suppose that the gesture of writing is a constructive action, if by “construction” we mean the bringing together of various objects to form a new structure (=”con-struction”).
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For Constant Dullaart digital media are not just means of transport for content and facts but first and foremost the subject of his media-analytical artistic strategy. In DVD Screensaver Performance, conceived as a series, one sees the artist in various places, such as in the Joshua Tree desert, in his living room or in the Museum of Applied Art in Vienna. He is holding a bunch of differently coloured oval signs with the DVD logo in his hand, which for several minutes he moves diagonally from one edge of the screen to the other. As soon as the logo touches the edge of the respective video display the artist changes the card and so changes the colour. If a playback machine does not contain a storage medium or is in stand-by mode, the movements right across the screen, which the DVD logo carries out in a standardised way, are imitated by Constant Dullaart and reconstructed using analogue means. DVD Screensaver Performance is about an attempt to push a technological procedure that is little noticed in everyday life into the field of view and to demonstrate both the performative potential of technological arrangements as well as their standard design.
On the screen, viewers see Constant Dullaart. The artist is lying on the floor: spread out in front of him are eight circular elements that he again has arranged into a larger circle and which are in the middle of the picture on the video. Dullaart pushes each of the individual elements a bit further in a clockwise direction and in this way sets the big circle in motion. YouTube on the Floor is about the symbol that shows YouTube users the waiting time until the video they have clicked is completely downloaded. With the analogue animation that reconstructs an object from the net in real space, the artist explores the performative potential of one of the most popular video platforms. Constant Dullaart researches the multifaceted language of contemporary images that are circulating on the Internet and their recontextualisation as “found footage” in their own medium. The artist examines their widespread and often unquestioned use as well as the internationally disseminated and standardised appearance of manipulated screen surfaces in order to research their influence on social behaviour.
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