Franziska Glozer – Introduction: Lyotard and «Les immatériaux», Marc Matter – Voice that does not sing – Language that does not speak, Lucie Kolb – Drama as discourse, Romy Rüegger – Stereo un discours d’amour
arthur #22 was produced for the exhibition «nepotists, opportunists, friends, freaks and strangers intersecting in the grey zone», (07.02 – 02.05. 2010) an exhibition curated by bolwerK which takes place at Z33 in Hasselt, Belgium.
Franziska Glozer – Introduction: Lyotard and «Les immatériaux»
The French philosopher Jean-François Lyotard, one of the main postmodern thinkers, adapted French post-structuralist thinking to the exhibition space by relating theoretical texts and audio-recordings, technological inventions, literature, ethnological findings and artistic works in a rhizomatic structure.
«Retelling Lyotard is not about breaking stories or being lost in the inside of details, it’s a shift in thinking, a shift that sets your thinking in an outside, an outside as a working field of everyone’s being. Within his concepts, discourse appears as a playground, heavy in its meaning, as it is not only reflection, but a mode of reality that develops human reality first of all.»
This story is a collection of other stories and words, cited, newspoken, including lne Gevers, Rolf Gehlhaar, Bernard Blistene in conversation with J.-F. Lyotard («Kunst heute? Gespräch mit Bernard Blistene» in Jean-François Lyotard: «Immaterialität und Postmoderne», Berlin, 1985), David Dernie: «Exhibition design», London, 2006 and Jean-François Lyotard and Franziska Glozer.
www.inegevers.net
www.gehlhaar.org
Marc Matter – Voice that does not sing – Language that does not speak
Marc Matter, member of the artist group «Institut fuer Feinmotorik», produced a sound-collage entitled VOICEOVER, in which recordings of human voices and sounds taken from records containing sound-poetry and artistic voice-acrobatics are used. The source material consists of all kinds of sounds that the human voiceapparatus – mouth, lips, tongue, throat, teeth, nose etc. – is able to generate. Some of the original recordings have already been manipulated with sound-effects in their original versions: echo and delay, distortion, speed- and pitch-shifting, tapesplicing and cut-ups, even electronic or digital processing have been used in the original compositions. These voice-sounds are neither language nor singing, they do not contain semantic sense and meaning, and are not intended to be musical chants in a conventional way. It’s something different that emerges here, something abstract but purely vital, some kind of grey area of human communication. Breathing and guttering, humming and stuttering, smacking and harrumphs are the vocabulary with which an abstract radioplay has been put together.
Lucie Kolb – Drama as discourse
In «Drama as discourse», Lucie Kolb attempts to relate aesthetic methods developed by Bertolt Brecht in his theoretical text on theatre «Kleines Organon für das Theater» from 1949, together with Jean-François Lyotard’s concept of history and fable. Using an example from contemporary art (Goshka Macuga), aesthetic methods should be elaborated that parallel both Brecht and Lyotard.
Romy Rüegger – Stereo un discours d’amour
In the radioplay by Romy Rüegger, we hear an intimate conversation between Jean-François Lyotard and Bertolt Brecht. Romy Rüegger used two recordings, a lecture by Lyotard from 1994 and a radioshow by Bertolt Brecht from 1952, cut together in negative editing: This new conversation is based on those parts of spoken language which are commonly cut out in radioshows because they might disturb the listener’s comprehension and seem to have no informational content.