* performance and transmedia art projects

* projects and performances | writings | worked with | contact


*Performance | Lecture | Object
*Jack Hauser & Sabina Holzer

+Space and film: Jack Hauser
+ Text and sound: Sabina Holzer
+ Artistic friend: Philipp Gehmacher

+ Supported by: City of Vienna
+ Co-production: cattravelsnotalone and Tanzquartier Wien

+ ddd1 ddd2 ddd3
+ Photos: Jack Hauser

+ »Our existence in the world involves the need to find a logic that makes it possible for us
+ to deal with the fact that at the same time we are observing the world,
+ we are the subject and live in it, that is, that we are part of the world.«
+ (Felix Guattari)

....... + ddd4 . ddd5
.............+ Photo: Jack Hauser

+ DER DIE DAS @ Tanzquartier Wien
DER DIE DAS is an écriture as a space-time machine in which the materials become the speakers,
+ in which Holzer and Hauser question the dichotomies that plague Western thought patterns:
+ subject / object, observers / observed, nature / culture, male / female, materiality /
+ discourse, matter / meaning, past / future, space / time, something / nothing.

+ DER DIE DAS invites visitors into a room with a table and chair.
+ What else is necessary to liven up a place?
+ Noises, movements, pictures. Presences and absences.
+ Fantastic stories will arise out of them.
+ Sentences as we know them from philosophers and trashy novels catapult us
+ into what we are seeing with our own eyes but cannot quite grasp.
+ Don’t we rather orientate ourselves with our skin?
+ With what has got under our skin?
+ Bodies. Spirits. Connections. Languages. Knowledge. Desire. The other.
+ Textures. Oscillations. Perceptions that are marked by specific histories and images.
+ From childhood, for example.
+ And other patterns of dominance.
+ Materials that convey themselves and through other media, interlock, overlayer, disappear and develop
+ their own poetry.

+ Based on breaks in self definition, Holzer and Hauser want to move,
+ appeal for the cultivation of dissent
+ and find that they have to oppose something to the infantilising capitalist consensus.
+ How can they do that? And what role to they have in this process?

+ Materials: Simone Forti, Karen Barad, Felix Guattari, La Monte Young, Gilles Deleuze,
+ Dennis Hopper, Heinz von Foerster,
Jean Luc Godard

+ Everything is here and now.
+ I learned that from my Grandmother.
+ It was her magic spell. Everything. Here. Now.

+ So. The beginning of the universe, all historical problems, all wars, exploitations, revolutions, colonizations, +
revolutions, achievements, failures, solutions, agencies of civil courage are happening here and now.
+ Even my feelings about the war back then are happening here and now.
+ And also my feeling about the war now there are happening here and now.

+ It is a quite complex kind of mixture we share. Now, here. Together. With our bodies, thoughts, sensations, emotions.
+ Here and now. Sharing the space - with each other - with all these different things.
+ The walls, the bricks and the stones, the floor, the woods, the trees, the curtain, the cotton, the wool, the threads,
+ the textures. The light, the fires, the explosions. The air, the wind, the breaths, the dust, the death, the forgotten,
+ the remembered, the unknown future, the sounds, the whispers and mumbles, the creaks and the rifles. And the cracks.
+ Sharing the substance of our bones with the walls and the stones this space is made of. Structures, spaces, stones, bones.
+ Muscles made of fibers, like motors that make us move. Electronic impulses streaming through our nerve tracts.
+ Transferred by liquids and space. Bodies in motion.Things with strange notions.

+ The reason for my existence is a configuration of matter, a friend once said.

+ Similarities, differences, otherness, sameness. Deviations, mutations, transformations.
+ Continuously passing lines and thresholds.

+ 2
+ Every time we talk we construct. It depends on the person I talk to, how my construction will turn out.
+ Depending on situation, condition, environment. Interdependence.
+ Talking to oneself in silence is often referred to as thinking. How do you realize that you think?
+ Through words, images, sensations?
+ Silent rejections and affirmations. Reinforcements or rearrangements of patterns.

+ 3
+ I once was visiting a school for journalists. In the entrance hall there hung a sign saying: "Tell how it is."+
I thought - thinking of my grandmother - it is the way you describe it. Because you construct the „it".
+ No one knows what „it" is. If „it" happens, it is already past when we describe it.
+ We just can reconstruct it and there it is different for sure.
+ So if you make the „it" while describing it, you are part of it, you are responsible for it.
+ Responding, participating. Sharing. Daring.
+ I want to discover how to see things differently in order to be able to do things differently.

+ How do I see?

+ Because my surroundings are touched by light and reflect it and my eyes are touched by light,
+ light comes into existence and so does the world around me visually. An image is created through
+ touch and through a certain organization of patterns. Some of these images are created, because light
+ passes through the lens of my eye and touches the retina, where the impulses get translated by my
+ nerve system and connected to who we have grown to become, what we have learned and what we
+ will become. Desire.
+ Paths of plasticity. Deviations, mutations, transformations. Imaginations.
+ Every arrangement has a specific order of light, the way light enters, passes through, is swallowed or spread.
+ Through the distribution of the visible and the invisible, a body comes into existence which would not exist without this light.

+ Everything that materializes carries darkness within, is not see-through. Even in the confrontation of light,
+ it stays within a fluidity of darkness, engraved by darkness. Like our bodies which are dark inside.

+ Matter and Space. Darkness and light.
+ Light, particles and waves.

+ 4
+ To insist that light consists of particles means to insist that light consists of localizable objects,
+ which take up a given space at every possible moment.
+ To insist that light consists of waves, means to insist that it is made of objects with spatial dimensions
+ which are able to be in more than one given place at the same time. Like the waves of the sea,
+ which move along a shore, overlap, flow and are here and there at the same time.

+ 5
+ When I think about you - am I part of these thoughts, traveling, reaching out to you?
+ Maybe some of my connective tissue of the coral-like three-dimensional internal bone structure
+ is recognizing something is missing.
+ Your presence here is memory being conscious about itself now. Your memory. My memory.
+ Here, now. Consciousness. Light. Darkness. Matter. Space.

+ 6
+ So. Where are we here? Are we part of the object? Where does the object start?
+ That what is thrown towards us. That in which we are thrown? Do we stand, sit and walk right inside, right through it?
+ Outside, inside.
+ Lines, colors and sounds, postures, particles, places, spaces. Holes, abysses, darkness, unknown.
+ Here and now. Structures, bones, stones. Air. People and things fleeing, disappearing, appearing.
+ Light that goes. Light that returns. I watched the night create the day, while we seem unchanged.
+ I try to touch the light. The only thing I achieve is the shadow of my fingers. (Sabina Holzer)