the accession to thought, and the impulse to create removes us from the flow of present be-ing. outside the Nieuwmarkt is noisy with tourists wandering in search of meaning, the people in the market stalls, selling, café sitters. with beer, coffee, lunch. enjoying a bit of early springtime afternoon sun. inside the tipping flat, where front wall is leaning drunkenly forward over the café tables set up on the brick sidewalk four floors below, inside, there is the atmosphere of closeted dis-knowing. but a dis-knowing in need of gradual release into a form.
no network. so discommunicator. decide to go to Montevideo to see David Garcia’s show of video works, Faith in Exposure — a project in which artists ‘talk back’ to the news media.
The exhibition addresses the central narrative of western democracy, our ‘faith in exposure,’ the unquestioning belief that the circulation of knowledge through the news media (and other means) constrains the powerful and guarantees democracy. In a world where we may know but are still compelled to obey, Faith in Exposure is a platform for artists and researchers to ask whether it is still tenable to believe the central myth of the information age: that knowing the truth shall make us free.
technical difficulties with a couple works. intriguing, some arrive at the tableau of just-more-media — in the process of projection in white cubes. how to disassemble the house of the master with the tools of the master. and find truth…
finally meet Sher. network crossings. dinner (red beet pasta with smoked mozzarella, mmmm! at Mappa), then on to an electric dance performance Anatomica#3 at the Korzo Theater by expatriate Canadian choreographer André Gringas. what to say. networks are alive because of the real energy going into them.
somehow I am surprised that Sher is American! all this time I was thinking that she was Dutch or something. another cultural refugee — thriving in Europe.