THE ANXIOUS PROP CASE 3 - THE BLACK SWAN

Fakten

4.10.2010, 19:00 Uhr - 23:30 Uhr

Ort

Salon Populaire
Bülowstr. 90, Berlin

Veranstalter

Salon Populaire


urbikon verantwortlich
Kai Dolata, Jan Bovelet,

mit

Luis Berríos-Negrón, Elin Hansdóttir, Mendel Heit, Fotini Lazaridou-Hatzigoga, The Product with Jens Wunderling

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

 

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

 Foto: Fiona Geuß (Salon Populaire) and Luis Berríos-Negrón

 

 

 

The Black Swan Issue at Salon Populaire, October 4, 2010

In an effort to review the dialectic of the natural and the political on the one hand, and of the esoteric and scientific on the other, we resort to an intuition about collectivity. We set forth with early Soviet theater, more specifically revisiting Vsevolod Meyerhold's biometrics and Lyubov Popova's scenography for The Magnanimous Cuckold.
In revisiting both this political period and theater work we remain steady in wanting to nurture our curiosity to work with local, collective practices. In considering the Black Swan we focus on the inverse: low impact, high probability events. But in order to do so, we opted to engage a method to create an initial discourse within the collective, and later with the audience. Paul Ryan, a seminal video artist, developed a technique he terms "Threeing," a model for resolving confrontations in human relationships based on the interaction of three elements. For the past month the main players of Case 3-myself, Elín Hansdóttir, Mendel Heit, and Fotini Lazaridou-Hatzigoga-have been in a continuous dialogue using this technique, a process we intend to project onto the space and audience.

Using Ryan's assimilations between catastrophe and chaos, we take this feuilleton as the site of intervention. We use it as a vehicle to challenge the Marxist concept of Tätigkeit, where we not only transform the art salon into an industrial space, but we open ourselves and the public to a relationship with the assembly line, to stage our potential as micro-practitioners. The feuilleton becomes the conduit for unassuming improbability, perhaps yielding a personal unknown.


Luis Berríos-Negrón

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