this life that we are still in
lecture performance
projector, stack of paper, chair, table
Nome d’Us, Shore Gallery, 2019

See full performance here.

General note on place, character, and historical mode: Place is created through acts of speech. Nothing in the first section is created without an act of speech (quotation). Environment is developed as a character in itself, rather than as a location where the development of character happens. This changes later in the second section. Second section problematizes the first section by the loss and extraction of character, as in the loss of burial records. The instinct to historicize changes character from the first to the second section. The extraction of character and speech in the second section is followed by a play.

Sacred and profane ritual of consumption - in relation to death and immortality, history and myth.

Still life functions as a frame. Life at still. Life at still is the passage from revolution to history, from profane to sacred, from time to rhythm. 

The equalizing effects of these paradigms (revolution to history, profane to sacred, time to rhythm) is sought after by social democracy and its cultural politics. Interfere with this by embodying or incarnating a myth as some kind of poetic event but also as an act of objectification (of history). So historical act. But what is history in this case? And its relationship to forms of creation? What is the instinct of archeology? Ancestry research, the individualized archeology - Hart Island. Bureaucracy of the archeology of the individual

Are we going to the museum or thinking a museum or living in a museum or dying in a museum?

The illusory immortality of the machine or technology. The machine is the instinct of the museum.

The painter changes the conditions of his death through creation, the navigation of archive
The painter and Hart Island actually have nothing to do with one another.

New York City’s machine maintenance of death and the process of life and death of the poor compared to culture and the museum

New granite slabs are being built to mark the trenches of Hart Island. The hypocrisy of memorializing a system that remains nevertheless uninterrupted and structurally unsolved

Included in Nome d'us, a group show curated by Sanna Helena Berger at Shore Gallery, Vienna. Participants included Anna Andersson, Stefania Batoeva, Sanna Helena Berger, Maria Gorodeckaya, Adrienne Herr, Vera Karlsson, Miranda Keyes, Atiéna Lansade, Cecilie Norgaard, Matilda Tjäder, and Julija Zaharijević.