QUESTIONS FOR US
17/9 - Session I
Rui asking Lucia and Piero; Kasia answering on behalf of Lucia and Piero.
In the video, there are treetops framing the sky with clouds and the birds’ flight (frame inside the frame). There are dialogues between 2 non-visible characters (A and B) written on the surface of the image (these characters are around, in a place out of the frame but close to the borders, or not)? There are sounds of things out of the frame, but these things belong to that environment (a sound of something out of the frame could be from what is around or not). Is this set of things made for us to see the birds and the sky in a proper way or to see something else? The strength of your frame is centripetal (to the documented objects, even if it is multicenter) or centrifugal (there is an idea of whole, “from here_to_there”)? Is the documentation about something in the frame… or something around… or something else?
8/10 - Session IV
Quinsy asking Lucia and Piero; Muslin brothers aswering on behalf of Lucia and Piero.
I start thinking with the ears. In the video, there are conversations framing the voice. Colourful leggings move. Calves rub against each other. A faint sound. The whispering of cloth. Home is where sound is untranslated. Where language is. Shoes on cobblestones. A market. A woman. A recollection of hearing through sight. A site of collections. The house. The Purple Cloud. A fantasy dreading the end of North-Western European heterosexual dominance. A West-African warrior sculpture for sale at a European flea market. Science fictions centuries ago. When is it all real? Can we really enter the reality we hear? That is not the question I pose to you. It is a question in passing. Barely audible people of African descent appear one after the other. A hug. A gaze. A wander. The voice continues. Slowly. Deliberately. Focused. Poetry. Fragments of untranslated conversations interject. Intentional disruptions of the whisper. Sounds overlap and envelop one another. Is this the moment that the mirror listens instead of watches?
15/10 - Session V
Adriano asking Lucia and Piero; Deborah answering on behalf of Lucia and Piero.
Dear presentation of Lucia & Piero, A promise of observation. Observation from you - of what concerns most of us. You were sitting next to eachother. Soft, patient, listening. An analogue complicity situated between one big and two smaller screens. Descriptions turn "poetic" "I'M FLOATING, THE HEAD IN THE AIR." "I REMEMBER STANDING FOR SOMETHING. CAN I STAND FOR SOMETHING NOW? NOW SITTING?" "HOW MANY METERS OF AIR OVER MY HEAD?". Not much is written, is this writing an excuse for sharing time/presence? For sitting next to eachother and in front of us, while the laptops offer a small protection from full exposure and/or transparency. If that is so, what is the minimum of text and screen needed to give a cover for presence?
29/10 - Session VI
Kasia asking Lucia and Piero; Deborah answering on behalf of Lucia and Piero.
DEAR LUCIA AND PIERO [DEBORAH ANSWERS] Last Tuesday I witnessed a speech given by a half of your duo - Piero, on Ludwig Wittgenstein. We were there. We, your friends, colleagues, fellow a.pass students, a random gathering of people looking at you and your audiovisual after-image, on the wall, when the time was over. Piero, your speech was recorded and broadcasted, but I wasn’t sure to whom. To those who were there or who weren't? Was it because of the absence of Lucia? You announced it, in a way. But I’m still wondering, Lucia, whether you were too busy and committed to acting in Rui’s movie, as if the collage he composed was really demanding and required a special attention, and just couldn't / didn't want to join? It felt like (more than on any other day of scoring) that you couldn’t be fully present in both entities but also that the content of Piero’s story about Wittgenstein excluded that possibility. That it would be just too much. Is it true? Or is it enough that for me it worked like this? One of the most famous notion by Wittgenstein philosophy is this quote: “The limits of my language means the limits of my world.” I assume Piero that you knew that we are aware of this, that we can't not to know the sentence. And then, for me, it belongs to the landscape of your 5 minutes. Your time was filled with words, a description, a story of Wittgenstein. But it felt like you deliberately stayed on the surface (of the content and of the image you proposed - an image of multiplied you). What is behind the limits of this bit of world you shared? What in un-known, un-explored, beyond this very horizon? Can you bring it to us next time? Greetings, Kasia
QUESTIONS WE ANSWERED
17/9 - Session I
Chloe asking Kasia; Lucia and Piero answering on behalf of Kasia.
Dear Kasia's Presentation September 17th 2019
I start thinking with the eyes: the gaze that pours out of one curious enough to see, and the movement of that gaze as the curious one wanders. Wandering, a kind of movement that holds no ambition for coming to know that which it moves through, but rather coming to experience something. I think about the figure of the flaneur, the one who gets to observe, who thinks they can see in passing and who does this seeing for pleasure. I thought to write my question through a kind of thinking that feels like wandering, slow, patient, maybe something of interest will pass and maybe it will not, this is the risk the flaneur takes.) I am reminded of the surface you filmed, the glass building, I wonder what kind of wandering would have been possible if your view point was a little higher, and it was not clouds but you in the reflection. Could you gaze at yourself like you do at the clouds, at the workers, at the architecture of a rebuilt city. Would you permit yourself the space of not knowing in order to see differently, that is, would you engage in temporary alienation? ( ... that is not the question I pose to you, it is a question in passing, enroute to another question... it might take me a moment... ) The movement of the gaze, the movement of the gaze, the movement of the gaze, something I wrote a few lines ago, and now I wrote it three times again. There seems to be a prologation of perception (I would not say a suspension) but a slowing of habituated perception in order for something else to slide between what you see and what you know. What we know is important, I think it is, what we see is also important, and it is maybe more important to understand the spaces in which they do not coincide. Where am I going, ah yes, wandering. —deep wandering... forgeting that I am wandering at all, just understanding myself as moving, then realising if I am moving I must be moving somewhere, but there seems to be a lack of orientating devices, even those for desire, it could be any w here, then I remember this is something, it is wandering, and I surface from the breath steamed room, to a space no more defined, but a little less humid.— The gaze, transformation, the observer. A composite of agencies. What is possible with my gaze, when I see you seeing differently? Is empathetic transformation possible?
8/10 - Session IV
Anapaula asking Muslin; Lucia and Piero answering in behalf of Muslin.
Muslin: Each time I see an exercise from you I have the feeling of being part of a spontaneous choreography that you are setting up in order to explore a specific idea. In your last experiment, I found very interesting this non-linear script that went through our hands weaving a situation. The little booklet brought me memories, some of them mine others don’t, some of them very distant in time, others the opposite. The exercise conect me with the idea of mirroring beetwen us. In this sense, I wonder how the relationship with this kind of text that work as a scrip for us (both performers and public at the same time) can be more powerful? Do you think that there must be some memories, actions, words that interpellate us more than others? ap
15/10 - Session V
Rui asking Sina; Lucia and Piero answering on behalf of Sina.
Dear Sina, I was thinking of some questions about your presentation, but I noticed that most of the answers are in the concepts you quote. So I was wondering... Is there space for contradictory theories in your research or is there a definite line that guides the work?
29/10 - Session VI
Diego asking Rui; Lucia and Piero answering on behalf of Rui.
In your presentation I saw a sequence of interruptions and contaminations in a sense of "intrusions". An operation created to keep in the same track giving it tridimesionality and depth by repeating a gesture in different ways. Connecting these fragments from other films that work as references but also as a thematic formalization to sustain its unity though it breaks the time line. Finally, the repetition of the footage pops to close the piece. Themes go from one fragment to the other, jumping, going back back and forth. The use of the music, is shared on different scenes sometimes bringing a new information/perception about it that was not there, sometimes ilustrating, sometimes promising something that won't be fulfilled. At this point the fragments start a dialogue between them. This made me think about the cronology and time in general terms. The idea of a present that is still contaminated with elements from the past and pregnant with the future yet to come. Is the interruption a strategy of continuation? And is the literal repetition of the footage in the end, as an interruption of the operation, an end/beginning/continuation?
QUESTIONS WE MADE
17/09 - Session I
Lucia and Piero asking to Deborah; Magda answering on behalf of Deborah.
In your presentation we perceived two contrasting vectors: on the one hand a tendency towards making the presents feel welcome and comfortable; on the other hand a strong distancing between the public and you (physical and vocal presence, display of knowledge, dynamic of the space....). Is this a precise decision on how you want your research to encounter us? What are the desires you want to nourish in us by meeting your research?
8/10 - Session IV
Lucia and Piero asking Magda; Lilia answering on behalf of Magda.
Dear Magda,
looking at your presentation we were considering the idea of breaking a body in pieces in order to be able from these pieces to build another body. It seems legitimate to ask ourselves what body do we choose for a materialization and what follows from this choice. What is the body you choose? What are its properties? What do these properties do in relation with the context?
15/10 - Session V
Lucia and Piero asking Rui; Anapaula answering on behalf of Rui.
Dear Rui, During the screening of your presentation, we recognized how giving specific - and often loosely related - tasks to the actors, instead of lines or roles related to a predetermined narration, would produced new and unexpected narrations and moreover would question the possibility to apply the concept of "characters" to figures involved . It seems that until now what in the research has been mostly explixcited is the work with the actors - both as tools to direct the actors and as acting technique for the actors themselves. We were wondering if similar tools could be adopted by the other figures involved in the making of the video, like the cameraman, the editor, the sound technicians...etc. and what would that do. best, Lucia and Piero
29/10 - Session VI
Lucia and Piero asking Diego; Magda answering of behalf of Diego.
Dear Diego,
Watching at your video, we found ourselves wondering about situation presented, where the artist is the only one that seems to walk forward where all of the others walk backwards. The situation is complicated by the fact that it is recognizable that in order to achieve that effect, which is only partially disguised, you were the one that had to walk differently from all of the others. Since you research has a strong vector towards the creation of a participative inclusion of the inhabitants of the neighborhood, we were wondering how do you feel about the position of the artist from which he/she suggests a different reading of the environment in which they all live.
KEYWORDS
17/09 - Session I
mimetic curiosity (state of allertness? ) shifting,or in repetition with difference) naiveity (related to freshness, something expereiced anew, to revisist the 'same') fresheness versus history / knowledge (not project on it > to make the stone stony, historical knowledge as obtacle. gaze --> Viktor Shklovsky - Art as Technique (to make the stone stony) Bruce Nauman (...) Future anthropology / Progressive phenomenology (speculation, imaginary worlds, fictions) fiction-ing (imaginarry architectures, places, the projected difference, the somewhere else thing, ) projection for the viewer dialogues with non-human entities (angels, mice, walls, birds, atmospheres, etc. scars) proximities (bringing things closer and further away, new proximities, from wall to vast spaces to sky and to an open arm) Frames (in the video, on the floor, etc. concentric fixed frame mode of problem-making, there is a clear in/out focus on spot.) pattern (going out of pattern, something more complicated [than frame], patterns of movement, of observation, patterns can be "re-patterned", frame can be "broken") here-there choreograhpy (not neutral, distance not to be objective - keep subjectivity ) un-repulssive drive (negative of connective tissue or attracting...) facilitation (small gesture of bringing in) subtraction of perceptioal range (just touch, listening in dark, etc.) intensity (...) density perspective and vertcality of imagination (fictions)
8/10 - Session IV
k-words: playgrounds > intimacy and shared space > game > metaphorical environment - Chance- accident allows the appearance of the borders creating the conditions for the accident to emerge- provisional institutions to fast annunciation multi-dimensionality > time and space associations belonging - identity - memory (being) and having the right to (property - artistic practice , appropriation) > reconfiguration appropriation = power > artistic power and state power - reflection on the usage - how do the appropriated materials speak back? Atonement -make up for bad things one has done espiazione > artistic labour and asking for forgivness > look back at oneself = mirror(ing) (self mirroing) > things holding for what they have been > study case Can we atone something else then guilt? Personal reflection - memory - embeded in community Questioning ethics - Life into art Home - how memories build the present and are a reference to act when do things start to speak back? what are the conditions for things to speak back? Things have to reflect things. How then are they a mirror? When they do mirror something?
15/10 - Session V
K-WORDS I AM HERE. ARE THOSE VOICES, THAT I AM HEARING? I AM READING. I ENTERED BY THE ENTRANCE DOOR, AND NOW I'M IN. SITTING. I REMEMBER STANDING FOR SOMETHING. CAN I STAND FOR SOMETHING NOW? NOW SITTING? I CAN FEEL YOU AT MY SIDE I CAN SEE YOU. HOW MANY METERS OF AIR OVER MY HEAD? I'M FLOATING, THE HEAD IN THE AIR. I'M MOVING MY HANDS. I BREATH. THE HEART IS BEATING. ONCE I SAW MY HEART IN THE ECOGRAPHY SCREEN. BEATING. OPENING AND CLOSING. LIFE IS STRANGE THROUGH A SCREEN. I'M WRITING. MY GAZE WANDERS ACROSS THE DETAILS IS IT GOING TO END SOON? SHOULD I BE WRITING SOMETHING NOW? IT IS PRETTY DARK IN HERE THIS IS THIS. IS THIS THIS? THIS IS NOT THIS. THIS IS VIOLENT IS THIS VIOLENT? THIS IS NOT VIOLENT. FRAME. MOVEMENT INSIDE A FRAME. MOVEMENT OUT OF A FRAME. REPETITION. RHYTHM. AS BONES AS STONES. AS MAGNESIUM. AS STONES. Archeology. Of stones, of bones, of scars. Dissection. words moving gaze moving words moving gaze moving words moving... -relationhship between 'gaze' and 'word' non-sense waiting to make sense (feeling of being lost, the try to find something, ) randomness (non-tracability of some sort of origin of action/movement, the contingency of the score looks like "randomness", the difference between the score and what is performed,) scores (...) and specificity nature [or materials sticking to the human] (the idea of outdoor that is engaged, animal, scar, stone, aura, etc.) Benjamin : the trace makes something that is far look very close while the aura makes something that is very far look very close. the wound as aura the scar as trace (bringing something from the past) Take the time it takes, calm, space in time and time in space Human non-human interactions: object, interspecies and geological something toward a re-embodiment- not disembodiment but something else. flavio body for observation, deb flesh-time stone-time etc, anna paula: body navigating cardboard, understanding a relation, a responsiveness? adriano: re-embodiment as outsourcing inner life? or projection becoming intention. sina: the uncanny interspecies relation, which undo a certain order of human animal relation. re-embodiment encountering something without losing yourself "dancing a portrait of someone as a bird, based on thier haircut" Beauty (in a good way) spatious and calm (sense of a composition that is ...) Presence in time. multidimensional materials. bestiario. different beasts. hommes et betes. being in time (layerings happened on the spot and in time without knowing how that combination would be,) multi-dimensoinal perception (and material) crossing (of narratives, of music and text, of aura and bodies, the video and saying, etc.) crafting connections - and the affects these connections are capable of producing rich presense (not simply being there)
29/10 - Session VI
- Collage/assemblage (also in the questions, assembling from different sources, taking pieces from other works, literature, cutting and pasting in)
- Geometrical abstraction of life (formality, geometrical simple forms: stripes, going backwards, frame inside a frame) backward walks, seeing something twice,
- cacophonic (in relation to assemblage and collage)
- entertaining/pop (pleasure of consuming a content, even traces of a violent one)
- relation to interfaces being well planned (such as the layout of magazine, or chat room, computer word processor, etc.)
- sexual/erotic references (bestiality, teddy bear, masturbation, snap-chat, erotic scenes from cinema)
- "i'm not sure I'm answering the question" (a new relation to the question) due to daylight saving time creating an off-rhythm + HWD
- Adoption (taking things or elements from other's works embedding them in their owns)
- a bit of laziness (something static, "staying where you are",
- display (using projecting, monitors,