Questions' flow: 16.09

Questions' flow:

Magda asks Muslin Bros
and answers on behalf of Diego

L.P. asks Diego
and asnwers on behalf of Rui

Kasia asks L.P
and answers on behalf of Sina

Rui asks Deborah
and answers on behalf of L.P.

Diego asks Rui 
and answers on behalf of Kasia

Deborah asks Sina
and answers on behalf of Magda

Mus. Bro ask Magda
and answer on behalf of Deborah

Sina asks Kasia
and answers on behalf of Muslin. Bro.


  1. Collage/assemblage (also in the questions, assembling from different sources, taking pieces from other works, literature, cutting and pasting in)

  2. Geometrical abstraction of life (formality, geometrical simple forms: stripes, going backwards, frame inside a frame) backward walks, seeing something twice,

  3. cacophonic (in relation to asselblage and collage)

  4. enterting/pop (pleasure of consuming a content, even traces of a violent one)

  5. relation to interfaces being well planned (such as the layout of magazine, or chat room, computer word processor, etc.)

  6. sexual/erotic references (bestiality, teddy bear, masturbation, snap-chat, erotic scences from cinema)

  7. "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

  8. Adoption (taking things or elements from other's works embedding them in their owns)

  9. a bit of laziness (something static, "staying where you are",

  10. display (using projecting, monitors,

Rui asks Deborah / Muslin Bros answers

Dear Deborah,

In your presentation, you were hidden behind the table manipulating the computer. But every time I looked at you, you immediately looked back at me intensely. In the atmosphere you create and also thinking about your poem (“I don’t want that world made of thing! (…) The thing is alive like weeds (…) Both realms forever”), what’s the importance of your presence?

Magda asking Muslin Brothers / Sina answers

Fashion pictures covered with pink papers evoked in me an uncanny feeling. This intervention was simple but effective. The clothes become for independent sculptures. They resembled me of a body, but without seeing it I could not really imagine its look. It was for me obscure and beautiful at the same time.
In the text, what called my attention, was that descriptions of the qualities were referring mostly to the clothes, and lines addressing the body were referring to the meaning, statements and symbolic system.
How do you look at a body? How do you practice looking at the body?
Does the body surprise you? How? What politics govern your gaze directed to the body?
Are you open to looking at it, again and again, embracing its dynamic nature? What is the body beyond being a 'system of symbols'?
Can dressing undo the body?

Sina asks Kasia / Diego answers

In your presentation, the haunted image of mutilated and disregarded icon of intimacy and softness devalued into garbage, I went in with you in an ontological opening on the side of road. The abyss is pictorially rich, I am still in it, and your arrival fruitful. And you didn't choose it, it was the scene that picked you up. The image takes you. But, how does one comes out of it? Or, do you think is it necessary for one to stop looking at (some) images? Could speech (or writing) be a proper way of not looking at (some) images?

Diego asks Rui / Lucia and Piero answer

In your presentation I saw a secuence 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?

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

Deborah asks Sina, Kasia answers

Have you heard, my friends, of the vegetable lamb of Tartary?

It's how we get the cotton from the clothes we wear.

According to John Mandeville, and others,

this tree-wool grows on the fruiting bodies of the lamb-plant.

When they are hungrie, says Johnny M,

a fabler & word-spinner from the 14th C.,

the lamb-boll* can dip down and nibble some grass.

I tell my father, a cotton-grower, and he laughs, amazed.

Who are the freaks of nature?

And what are they?

Being miraculous, they exceed us, and in exceeding us,

they are excluded from the logic of our world.

Do we value the outsider

as long as the outsider

remains outside ?

Is this a question? Or another kind of statement.

Is fable? This kind of statement.

Visible question marks, and shadowy full stops.

Let's get prolific, Sina, let's go your way.

Kosmos, in the Ancient Greek, meant both order and ornament.

Order, the code of things, and ornament, its visible manifestation.

Glitches in the code—the freaks of nature as unstitched threads—

are the ornaments of a hidden order, the one that brightens our eyes,

and makes us marvel.

The hybrid forms, the miribilia, the freaks and wayward facts,

they are the chinks in the armour, the gaps in the walls,

of our world.

They are the sacred signs, pointing us to our own

incompleteness, to the prison of cause and effect.

They say, the logic of what you know makes you fall asleep,

the tram, elevator, and mobile phone, are science-fiction

for past epochs, and you are almost always bored, until

wonder wakes you up.

Re-enchantment. Re-enchanted. Re-enchanter.

The storyteller, the re-weaver of a hidden code into the one

we know, chooses to fix the wayward threads more or less in

faith—of the necessarily monstrous real, or of the real necessity

for the monstrous in the real, or something else altogether.

The wonder as fixed in the object, or the wonder in the subject,

or something in between.

Wayward threads pointing to a logic, but not spelling it out.

Not spelling it out?

The grammar of the statement in the fable is the question mark

that lies behind it. An existential one?

Penultimate fil rouge. Kathy Acker:

I hadn't decided to be a person. I was almost refusing to become a person, because the moment I was, I would have to be lonely. Conjunction with the entirety of the universe is one way to avoid suffering.

And what if, by some miracle, you are not allowed to become a person?

Does denial of humanity force another kind of conjunction with the universe?

Last thread: Trachi the centaur, alias Primo Levi.

He lived mostly in solitude, left to himself, which was the common destiny of those like him. [...] He learned Greek from the island’s shepherds, whose company he occasionally sought out, despite his shy and taciturn nature. From his own observations, he learned many subtle and intimate things about grasses, plants, forest animals, water, clouds, stars, and planets; I myself noticed that, even after his capture, and under a foreign sky, he could feel the approach of a gale or the imminence of a snowstorm many hours before it actually arrived. Though I couldn’t say how, nor could he himself, he also felt the grain growing in the fields, he felt the pulse of water in underground streams, and he sensed the erosion of flooded rivers. When De Simone’s cow gave birth two hundred metres away from us, he felt a reflex in his own gut; the same thing happened when the tenant farmer’s daughter gave birth. In fact, on a spring evening he informed me that a birth was taking place and, more precisely, in a particular corner of the hayloft; we went there and found that a bat had just brought into the world six blind little monsters, and was feeding them minuscule portions of her milk. All centaurs are made this way, he told me, feeling every germination, animal, human, or vegetable, as a wave of joy running through their veins. They also perceive, in the precordial region, and in the form of anxiety and tremulous tension, every desire and every sexual encounter that occurs in their vicinity; therefore, even though they are usually chaste, they enter into a state of vivid agitation during the season of love. [*boll: the seed capsule of plants like cotton and flax]



L.P ask diego/magda answers

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.