How can we think about the relation between dance and politics today without repeating neo-liberal demands and constraints?
I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the black persons that I met were gardeners or maids. I felt – I am sure I am not lying – even at that very young age, not a sense of injustice, but a sort of guilt.
Guilt for what? My parents were nice people, they treated everyone well. My father was avidly learning languages, he spoke many African languages and also Pidgin English very well and he used to speak it...
East Broadway 311
10002 New York, NY
Carolin Meister (ed.), Dorothea von Hantelmann (ed.)
Beate Fricke (ed.), Urte Krass (ed.)
The Public in the Picture / Das Publikum im Bild
Claudia Blümle (ed.), Anne von der Heiden (ed.)
Blickzähmung und Augentäuschung
Werner Busch (ed.), Carolin Meister (ed.)
Political action is always a matter of knowing who is qualified to say what a particular place is and what is done in it.
J.R.: Democracy is first and foremost neither a form of power nor a form of the emptiness of power, that is, a form of symbolising political power. For me, democracy isn’t a form of power but the very existence of the political (in so far as politics is distinct from knowing who has the right to occupy power or how power should be occupied), precisely because it defines a paradoxical power – one that doesn’t allow anyone legitimately to claim a place on the basis of his or her competences. Democracy is, first of all, a practice, which means that the very same institutions of power may or may not be accompanied by a democratic life. The same forms of parliamentary powers, the same institutional frameworks can either give rise to a democratic life, that is, a subjectivation of the gap between two ways of counting or accounting for the...
Feelings are operative at every scale of process from the most minimal (atomic processes) to the most maximal (geophysical change).
In contemporary developments in biomedia and digital computing, technicity opens the domain of the superempirical to experimentation and in this respect can be seen to contribute directly to the genesis of affectivity well beyond the affect-body-emotion complex. In the age of biotechnical convergence, the key issue is not “what bodies can be made to do,” as Clough puts it, but rather what matter is. Here we come upon the true significance of Clough’s insistence on the technicity of affect and its centrality for extending affect to the “dynamism of matter generally”: far from being a merely instrumental mediation that operates to produce affect or to give access to affect produced in something else, technicity operates within material fluxes themselves. It is an internal element in material processes that are themselves affective. What is needed then, to expand affectivity beyond bodily matter and bodily agency, is an account of technicity that...
Too much consciousness kills art and too much consciousness canalizes all the vital energy, stopping revolt from existing.
During my »Très grand Buffet« show in Fribourg, someone noticed that the works from the »Virus«, »Merci, Danke, Thank You« and »Les larmes« series were done in ball-point pens. And this person asked if I drew with »Bic« ball-point pens and said that the company »Bic« is a financing supporter of Le Pen. An information in an official journal on the financing of political parties announced this fact. It’s shit to support Le Pen. But it’s also shit to have to think about these questions.