April 24, 2007

Plausible Artworlds

Plausible Artworlds is a multi-phase project initiated by the Philadelphia-based group Basekamp in collaboration with a self-organized network of international groups and individuals. This network will reach out to involve many others, through the project's 2-year-long collaborative process, in actively re-imagining the complex cultural systems (known as "artworlds") which are understood to define both the limits and potentials of current and future art practice...

Plausible artworlds posters. 
We are asking people to send one-page proposals about future artworld scenarios, to be presented alongside our collaborative series of events at the ICA in Philadelphia. Additionally, paper and different coloured pens will be made available to gallery visitors encouraging people to draw their own posters reflecting on the notion of plausible artworlds.
Poster contributers: A Constructed World, Acces Local, Aharon Amir, Alan Moore, Alexi Kukuljevic, American Mortals, An Architektur, Anabela Zigova, Apartment Project, Archplus, Art Sisters, Barbara Steveni, Basekamp, Border Blog, C.CRED, Center for Getting Ugly, change is good, Clinton Williams, Collective Foundation, Dan Schimmel, David Dempewolf, David Goldenberg, Deborah Kelly, Denise Stein, Detlev Fischer, DS Nicholas, Elizabeth Newman, Ely & Harris, Ernest Concepcion, Freee, GANG, Gavin Wade, Giancarlo Norese, Heather Johnson, Incident, Ipek Duben, Jacob Lunderby, Janet Kaplan, Jason Lujan, Jennifer Revit, John Freeborn, Jonathan VanDyke, Katalog 10, Kent Hansen, Khadija Carroll, Kirsten Forkert, Larry Fink, Learning Group, Lillie Farr (Diamant Art Corp.), Lorene Askew, Marisa Jahn, Mary Jo Walters, Mike Salmond, Mike Wolf, NSK, Orgacom, Per Hüttner, Peter DAugustino, Renée Ridgeway, Salem Collo-Julin, Soundforum, Think Tank, Trinity Session, Trish Milnamow, WHW.

“Team Players for Plausible Artworlds” event series arranged by Basekamp. Part of "Locally Localized Gravity", an ICA (Philadelphia) curated exhibition.

April 3, 2007

Silent Film (with no pictures)


03. Having read in the daily press
04. that the primary needs
05. of mankind are three:
06. eating,
07. sleeping,
08. making love,
09. and considering myself
10. a model of success
11. when succeeding in the quest
12. for a place to stay for the night,
13. and as chosen by fate
14. if somebody is feeding me
15. (for free),
16. and as the son of God
17. when I can make love
18. not by myself,
19. I affirm that what I’m doing
20.21 is exactly equivalent

22. to whatever people can do.

24. I’ve been around
25. visiting openings
26. and I was asked
27. what I think about that.
28. I didn’t think anything
29. because, really,
30. I don’t care about
31. the quality of Art.
32. I let myself be guided
33. by humans.
34. I wondered if the people I saw
35. were happy or not,
36. if they felt good with me,
38. if some pretty girls
39. were taken
40. and why, if so,
41. not by me.

42. I don’t know what it means
43. yet.
44. Sometimes I’m standing, delighted,
45. in front of works of art
46. when they appear
47.+ in such perfect resolution.
53. I’m waiting for this,
54. a formless-form-of-art.
55. I’m bothered by the idea
56. of facing interesting objects
57. produced by myself.

62. I’d like to make something invisible
63.64 for people to pass by and through.

65.+ I was told that
72. representation
73. is a form of power.
74. I was told that
75.+ it’s better to run alone.
77. I’m so free
78. I can even have an opinion
79+ which is different from my own.

83. As I said to Mario,
84. I was always abandoned by women.
85. But, since I never left any of them
86. we can affirm
86B I have plenty of girlfriends
87. (although I haven’t seen them for a long time).

88. Once I thought
89. I could make a work about this topic
90. for instance a questionnaire,
91. demographic research, looking backwards
92. to past affective linkages, liaisons, connections.
93. Why did they quit me?
94. Because of a new lover
95. Because of a disappointment about copulation practices
96. Because she moved to a new address
97. Because of the dog
98. Because of a mutation of gender preferences?

99. «Dear Madam,
100. did your relations with Mr. G.N. affect
101. your habits, manners, routines, or addictions
102. concerned with food, sex, and/or behavior?
103. Please mark all applicable occurrences.
104. «Do you still maintain a degree of hostility
105. towards the above-mentioned subject?
106. Please mark yes or no.

107. «Which of the following features
108. was most attractive in initiating
108A your past dealings / flirtations with him?
108B a) Comprehensibility
109. b) I.Q.
110. c) Economic potency
111. d) Prestige
112. c) Coercion
113. d) Rumors
114. e) Unconsciousness.
115. Please mark here, too.
116. «How long was your relationship?
117. (checks starting from 1 day to 3 months and more).

118. «This questionnaire may remain anonymous.
119. Thank you for your cooperation.»

120. My dear Laura,
121. I found an old box
122. full of love letters from you
123. so I decided to embark upon
124. an ultimate declaration.
125. I tried to get to forget you
126. and I forgot.
127. Fuck, I didn’t remember your name either.
129. One fine day I was so happy
130. and I called you at home.
131. You said «Go fuck yourself!»
131B just like the last time we talked
132. and it was so nice
133. as if time had never passed.
141. I assure you, I have no recriminations
142. and I remember you
142B (not so much)
143. as somebody who was direct and liberated.
144. I loved you once.
145. Maybe I didn’t fondle you enough.
146. All my best.

147. «Your works seem to be
148. the opposite of those of Mario Cattelan.»
149. (Tatiana)

150. A video by Giancarlo Norese

151. thanks to

Mario Gorni
Jenny Perlin
Chris Terzi