A manifestation for the quasi-public situates the performance's estimation in an active process of degeneration while proposing to see ourselves in the perspectives of our lungs.
In recent past, I did performances with breathing.
The air that we are mutually breathing relates us to each other.
At the same time, going public with one’s own breath or voice, is always an act in which
utterance can be estranged from yourself.
I was thinking how I can deploy myself and formalize my breathing.
By doing a breathing performance, life itself becomes the object of added value.
Das Leben selbst wird zum Gegenstand der Wertschöpfung.
And if our very breathing is the object to evaluate, the object of added value, must my
breathing then become a virtuoso breathing?
Das Atmen wird Gegenstand der Wertschöpfung.
In contrast to the factory weaver, the weaving of the virtuoso is not exhausted by what she
produces, and does not take place in private, beyond the public, but rather in public and in front of, or together with, spectators.
The smoke of the cotton factory chimneys became literally the breath of patriarchy.
The phantasm of modernism, the brutality of supremacy.
Now, they manifest themselves.
In the air…
The air is wrong. The air is bad. The air is dead.
Dead air, hereish and nowish,
how does it belong to me?
Virtually you are attached to the endurance of the otherwise
The breathing in this breathing performance is the object of added value.
Dead air is the context.
the air will not accumulate, not reproduce itself, not be air-conditioned.
It will be scorching.
Text by Stefanie Knobel with excerpts in French and English language by Georgia Bataille, La Critique Sociale (1933/34).
Soundsources: a heavy, heavy duty(2016)
Moscow International Biennale for Young Art/The School of the End of
Time, Moscow (RU)
Room, Pro Helvetia at Art Basel, Basel (CH)
grammar is your(s)?, On Curating Project Space Zurich, (CH)
Fotos: Miwa Negoro & 6. Moscow Biennale for Young Art/The School of the Ende of Time