5th- 9th DEXEMBRE 2013
PERMANENT SET CALA’Я’TS

the event tries to define what an exhibition is/ or how an exhibition is interesting. the parameters here are: how can different works be presented, be consumed or be useful to one another, can communicate with their space and context of presentation
works that copy themselves
works that get re-enacted
works that become props

a painting in a filmset is always a prop: or other: every object on a stage is already a prop: might potentially be used as a prop.
(in a gallery space the same differentiation that the viewer does: what here is art and what here is installation space: what here is a filmic device a potential macguffin and what is just a prop. in animation films: the watercolor background against objects with a border that will definatly be animated. an exhibition in a filmset: what is part of the set and what here is an installed piece)

a lamp in a filmset should never be just a lamp but always a practical(a visible light source). the naturalists ideology is to expose the structure of film tricks: its not about reducing the magic or exposing the mechanism of the trick, its suggesting that the trick is situated fundamentally elsewhere: its invisible and possibly in a room with me.

I am interested in the intersection of three spaces within the permanent set: art school, filmset and living space.

What have these spaces to do with our education: why did calarts implement such a studio into the school? For industrial reasons? doesnt the space anticipate a certain type of narration, something that is inherent in its interior design? a tv-series? it seems to suggest a continuational work of a school show: very much inline with calarts original conception of an artesano theme park for visitors to watch artists work or the calarts tv-station of the 90s: channel 8.

1 FILMSET

i am fascinated with the idea of watching a filmcrew: watching filmmaking labour: chris markers films about directors: kurosawa, tarkovsky, medvedkin. an over-the-shoulder shot of a director. watching the voyeurs.
i was watching a filmset from the perspective of an extra: always as actor: but an actor that is invisible: once as an orthodox jew for a tv-production about the november progroms another time as a russian oligarch in a sci-fi film about a terrorist cell in a near future germany, ridden by classstruggle and at the brink of revolution: the coming days.

its a socialists construction to understand the world in the face of of labour (and maybe that got translated into the idea of practice in art terms): peter weiss is talking in the aesthetic of resistance about a political conception of the world that we can only achieve through working, as intellectuals employed in jobs of the working class. if we execute a certain work procedure, if we watch labour from inside: we will be able to analyze it and make statements about the constellation of the particular work to the market, of the workers inside the workflow and their hierarchies, the ethical implications of the particular job.

this is underlied by the opinion that everybody could perform every job. correspondingly universial demands on wages, insurence and challenged abilities.

Suggestion for an acting exercise: present your jobs to another person verbally. the other actor is executing the working procedures as you describe them, correct only with words.

ouroborus: my job is to be an actor: to become somebody else, change my language, change my behavior, my appearance. the exercise concernes your entire life and extends over several weeks. it is a total exercise.

Suggestion for an acting exercise for artists: present your practice to somebody verbally: like a tutorial: be as precise as possible, you are not allowed to show any products, no recitation, no reference on sources or influences on your practice. the other person has to take up your practice and make work in that mode over the course of 1 month: after present your practices together and talk about it.

to copy each others works, to relate to each others works: the idea of creating intimacy: rather then looking for works in history or the internet, or reading texts from outside - a group of people only reflects their own works for a set amount of time: create a system of dependency of signs among the works. critique it only in the group and only for the context of the community.

2 FILMSET

maybe this is no exhibition, lets not call this an exhibition. its a filmshooting and the film that gets shot is called theexhibition. and what the film shows is congruent to what the filmcrew does: it shows the labour of the industry. the spectators that are coming into the set can watch the set as extras. Watch an industrial procedure filming. What are they filming? Artistic industry: the labour of the artist: which is social labour, networking, conceptualizing, brainstorming, bureaucratic skills, fiscal planning, teaching, shipping, installing politics, grand proposals. it deals with the reality of being an artist, with the business of it.
the same pleasure of watching labour: since le nouvel esprit du capitalisme the artist and the google employee is the same persona: with the same cv, the same skills, because the artist is the model for the project oriented freelancer.

martin kippenberger in his office answered when asked about his business environment “what does this have to do with art?” - “Art? i wouldnt know about that.”

3 POWER HOUSE

the institution of art school is the next best power house: it is difficult for me to imagine the works i see in art school to be read in a context outside of art school, its is the context they were made in and where they are exhibited in: in gallery simulations. i am sensitive to the context of production, i think if you are at art school, there is a possibility to look at this context and declare: the work i do at art school is connected and speaking about art school more then it speaks about me, the art world, art history or something else. it speaks about a social circle, it speaks about living in santa clarita (or living at the art school) it speaks about certain teachers, about driving your car there, drinking consumer coffee, sitting in rooms without windows, dreaming of bunkers, talking about a certain canon of artists and theoreticians (arendt, deleuze, affect, phenomenology) thinking about the school history...

assuming that we might not always going to be artists or connected to art institutions, i think there is a fundamental structure to be learned beyond: about what does an education institution provide in our times, in as how much it is connected to an industry. in fact we possibly learn more about the education system then we learn about art. lucky lady lucky man that we dont have to learn how to get the gallerist dinner straight and arent blow job ready but then again nobody is giving us a real update here: we know the structure outside (not that it is trying to hide from us) and they dont teach it at art school, but they dont teach an alternative structure either: ergo what do they teach? Art school.

4 LIVING ROOM

how could we function as a collective to form an exhibition: this should not be a group exhibition (one work by one person, rationalising of space and a short oevre) but an exhibition out of a collective thinking: how is communication in a collective exhibition possible?

a list of collaborative practices: searching for a way to classify collaborative practices and look for a mode of style or repetition amongst one collective: a theater troup, a lanparty, a suicide cult, a resistance movement, an orchestra, a board, a ministry, passengers collectively held hostage in a bus, a group of extras, standing in line for salvation army food... different acting exercises for a day of collective production.

5 APPARTMENT

1) an entrance area outside the apartment ( with a brick wall, plastic hedge, entrance door a window)

2) the living room, with its lobby (flower ornament tiles) a library cupport, a fireplace, an oriel, a door to the garden/terrace

3) the yard: plastic jungle, light panel, fake sky backdrop, more brickwall, round way to the kitchen

4) the kitchen: grey and yellow cupports, matt colored sink, retro fridge and oven, a round table, 3 doors, secret hole in the cupport

there is something fundamental about the living space: rooms of artist friends in berlin are part of their work, its a cross over of life style and art practice: installation art often simulate living spaces: schneider, kienholz, kabakov, nelson... at the same time lifestyles, youthcultures install themselves in living spaces: and then art practices again update lifestyles of a youth culture: david lynch is one long update of his youth: twin peaks so 50s!

relational aesthetics: the idea that the social could be the art, that living and life style could be subjects that are not marketable (again) and resist predication: could be formed into practices: withstand trends, fashion that withstands fashion.

you have to go visit a lot of living rooms to decide what is a style (and why it is a style?). looking at peoples fashion and asking why is that a fashion trend: what does it speak to, or where do these clothes come from/furniture/fittings/art:

thrift culture: a culture of re-enactment: the post-modern offer: all signs became modular at our disposal to roleplay history: that also means that everything is a sign! there is no fashion that doesnt mean something. the grayest and most inconspicuous hoodie holds the same amount of meaning as a thong or a kimono. you will never be able to be inconspicuous/ the agent of voyeurism is noticed in a room within seconds: the trench coat is loaded with signs of hidden filmcameras and exhibitionism. (combine it with pink jeans and a sombrero to be discreet?)

acting exercise: go to a gathering of people: be as inconspicuous as possible: avoid eye contact, slip away if people start talking to you: give an exact description of the event

art exhibitions that take place in living spaces: russian conceptualism and east block underground / neukoelln and wedding project spaces in storefronts or first floor: the business space infiltrates living space, my home is my office: people that live in paint, centuries and centuries: gericault, nick jeffrey. writers aswell, today designers, webpractices: hard to imagine which work couldn not be performed at home.

networking and the social labour as part of your practice: lee lozano memorial house parties: everybody is on some sort of psychological project. does the dinner with the gallerist happen at her/his house? there finally they present their lifestyle, artworks hanging on the wall: where they at last became a prop again: unusable yes but still performing a simulation of a catalog: better living catalog: how to furnish your house as a gallerist catalog.

Did your family apartment or house as a child had prints or paintings on the wall? Which ones and why? Any connection to your art practice?

somebody shows me his dvd collection and there is the farocki film that i have just seen in the gallery. we watch it again on a large backlit flatscreen, the analysis still crystal sharp: at least i dont have to watch it all on my own in an air conditioned concrete cube in an industrial area, and can polish my nails, practice judo or smoke opium while watching it.

salons of conspiracy: generations of friends met in living rooms to discuss artworks and terrorism and social relationships at the same time. (maybe is that a german presumption) in the uk rather meeting in pubs? in spain meeting outside? in japan? i was conspiring in mexico and canada in living rooms.

tiravanija dinners: of course not the eating and not the cooking is where the formulated intention is located but the presentation of a dialog in a dinner environment: its kind of a thing: that people make theme parties or theme dinners: that have the notion of an experimental social gathering: but these dinners and parties resemble in their dullness any other party/dinner: couldnt we have a party where it is pre-defined that the social will be differently perceived and executed. (again lozano) not ethics! narrative re-enactment dinners: ketamin dinners, nude restaurant, blind restaurant, 120 days of sodom... the dinner is a prop for the performance.

6 FILMSET

the kitchen sink is painted with matt paint so that it doesnt reflect light, a 50s fridge and oven: who lives here? the flat seems victorian: according to the fridge either people live here that spend money on retro kitchen furnishings (hillybilly, 50s fanatics?, hollywood fanatics) or the flat could stand for a historic flat/ for a classical american flat / for an american glorified tv-time living.

the filmset work is congruent to the representation of video work: in that it forms loops. loops of performance vs. loops of presentation: video works are continuous, they might be hiding the cut: the sealing of the cut...

the actor on a filmset has to repeat his performance over and over again: the noise inhibiting her/him from an exact repetition is called range and is considered as sign of a good performance: the dialog is repeated, director makes slight changes until he is satisfied with the work of the actor, from then on she/he loops the acting procedure.

the loop is the essential structure of the computer as well as of applications, of programming languages, that are sequential and looping.

applications: develop scenes that loop: that hide the cut > that can go on in circles: each actor is caught in the limbo of an application: the meta structure around it is an operating system. the power house.

7 ARTSCHOOL

art school just a youth culture phenomenon? that is pushed at the end of youth, or maybe is the last vessel to extend youth culture...

i have deep mistrust for youth culture: as it reflects lifestyle and its parameters and suggests its members how to dress, speak, live, treat their bodies...also suggests sexuality? I am interested in lifestyle as a practice that can be treated experimentally. a total practice, like film was conceived as gesamtkunstwerk: in the same way lifestyle can be understood: living rooms, diet, sexuality, clothing, body-relationships, social lingo, all parameters that can form a practice: at this very point the actor and the artist become one person: the persona: the life milieu in which the persona lives is the actual piece. Against this opportunity youth culture appears as a uniformed normative. But then hyper-individualism: danger danger///

art school is its own youth movement, where young people gather at an institution (or arent they rather driven into it? by youth culture...) and have a certain style and understanding of their own cultural rituals that is congruent with their future money house rituals: going to art openings, lectures, dinners, collaborations...no law student goes and hangs out at spontaneously setup trials of his friends. (what about ethnology students? Computer science? Comparable extended youth cultures into working cultures: sport culture: the artist as the athlete - has a certain life span) playing industry: art school is this lab of experimentation for advertisement and capitalism, it is this promotional space for kids working for the extension of youth culture and the apparatus that sells the youth culture to the youth: how many art school kids work for vice? How many for galleries? how have you heard of the ghost of art school?

art school always already simulates an art market, students playing the bureaucrats, the artists, the curators and the teachers. some occasionally play the art collector. the institution is playing the institution.

8 POWER HOUSE

the art world might be the most visible structure for us to understand global capitalism: and if it is nothing else then a marker: all players have names and places and the constellations in which they stand are visible and can be talked about: if a terror network that takes part in the gallery system would mark all artworks that they produce and sell with little df transmitters they could follow the route of their pieces through collections, and could locate rich peoples houses. (would the forger also copy the df transmitter?)

what should be discussed at art school: coming out of the institution with a plan, collectives organized and positive suggestions for the “other” art world, the good one where it rains grants and residencies and we dance around the maypole of the new artist run center? or opening a gallery in the global gentrification area mexico or berlin? (these cities, not stronger then the market, we all pull together to drain the water out of the towel: desertification of kool, atlantropa backflash. Are we like israelian backpacker teenagers fleeing the country from military service and meet each other in residency enclaves in goa and novosibirsk?)

9 IDEAS FOR SCENES

telling my marxist parents about my first solo exhibition

cunnilingus for a critic

having the gallerist over for dinner

the studio visit

setting up a contract for an art piece

the practice calculation: measuring the canvas: how can i work less and earn more

considerations for a collective

(DOLPHIN QUESTION)

looking at tyler jamisons dolphin painting: painted by a dolphin for 200 dollars in a familiy holliday .... a collective would make more money if they decide to sell themselves as one name instead of a collective of names. although the collective is making the work: one artist is making more money having assistants then each assistant or the artist making by themselves: simple added value calculations. the dolphin handler: paying dolphins is cheaper then assistants, although its the actual assistant that is the star here, the chief artists name is unknown. chimpanzies, parrots, elephants: canvas prices by squarefoot, a painting by a killerwhale, the more dangerous the more expensive a painting.

all these scenes are educative scenes: harun farocki: how to live in the german federal republic. Everything is a roleplay, and a self help workshop: and every participent is an actor: if we train how to treat these moments of our professional future as games and roleplay situations: pitches will steam up in tear gas, collectors hypnotized, paradigm shift in the sexuality of the artforum critic. Social terrorism can only come from inside: training for faked accidents in the gallerists home and how to get through the trial with millions.

for educative purposes: we invite real gallerists, real collectors to play the part. they come to dinner to the power house, we act our professional part, they have a really good time. then scare them away. make them mistrust the institution.