Die Kaaba geschlossen – Christoph Schlingensiefs Blog

http://schlingenblog.posterous.com/die-kaaba-geschlossen-die-fata-morgana-der-ei

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Seminar Proposition

CATALOG OF SITUATIONS

A Seminar on aesthetics of reception and the topography of aesthetic encounters

Theme

Aesthetic experience is a characteristic way of experiencing situations as structured space and time. In an aesthetic situation, the subject separates a specific space and timespan from the continuum of experiences and distances himself from his surrounding. This situation does not necessarily contain the encounter with an artwork, it can take place in a natural surrounding as well as on a street or within a cultural institution. In other words: having an aesthetic experience means to take up a specific position within a situation. When and how this position is taken by a person is depending on personal sensibility as well as social conventions. We want to investigate these situations in their social dimensions and develop strategies to denote and discuss the net of relations between beholder and surrounding.

Background

Since 2008 Jan-Philipp Possmann and David Weber-Krebs have been engaged as artists and theoreticians in a research project on aesthetics of reception, entitled CATALOG OF SITUATIONS. We have been investigating and creating different aesthetic situations and we have been developing strategies to communicate our experiences in the format of lecture performances or installations. We also have been engaged in an intense correspondence in the form of our internet platform. Through these activities we aim to not only communicate experiences but to create new deep spaces of encounter and reflexivity.

Approach

In this seminar/workshop we intend to combine the theoretical and the practical elements of artistic research as we have been pursuing them in CATALOG OF SITUATIONS. We propose to engage the students in a critical analysis of aesthetic theory and art history writing as well as in a creative process of developing a language and a formal toolbox for communicating aesthetic experiences as situations. The seminar therefore requires the participants to equally concentrate on theory and analysis as well as in a creative process of producing new forms.
For this we propose three modules:

1) framework. We want to start by reading together some key texts on aesthetics of perception and some examples of personal accounts of aesthetic encounters. These texts will establish the theoretical framework of the seminar and the terminology (such as space, encounter, interaction, relation, experience).

2) analysis. In a second step we propose a close reading of a number of cultural artefacts – visual arts, performance art, film, literature, pop culture and commercial images – constituting our personal canon of aesthetic situations. We will cover a wide range of historical art forms and genres – from religious art from the pre-enlightenment period to contemporary works – as well as fields that go beyond the world of arts. These different fields will be approached from a perspective of theatre practice and performance theory. The analysis will include personal experiences as made by the students. We will analyse the social space of the situation as well as the poetics of the work. In this second module we plan to ask the students to bring their whole personal background as “aesthetes” and artists into the seminar. The students will be asked to document, share and discuss their personal experiences and emotions.

3) catalog. Thirdly we will present an approach to communicate and discuss aesthetic situations, mainly in the form of lecture performances, which in our view is a form that allows a continuous switch between fascination and distance. We will discuss this approach and develop concrete formats for a number of experiences, resulting in several short lecture performances. The students will be asked to work individually as well as in small groups. The results will form a small catalog that will be added on the web platform of CATALOG OF SITUATIONS.

Addressees and Duration

The seminar is best suited for a relatively small group of participants – maximum 15 people – since the close reading and the development of individual presentations will be very difficult to realise in a larger group. The participants can be either artists or theoreticians. They must be undergraduate students or have some working experience in the arts and theatre fields. A personal history of encounters with and an interest in art and art history is required.

The seminar can be realised either in two or three longer blocks or on a regular, monthly or bi-weekly cycle. Depending on the academic structure, we are able to shorten or enlarge the material and time needed. The two first blocks would take the form of analysis and discussion and the third block would be more directed towards praxis.

Equipment

We would need a seminar space equipped with a video beamer. For the third module it would be best to have three or four spaces available and some technical support – such as minimal light and audio and video technique.

Literature

Basic texts – to be read (in excerpts) and discussed with the seminar:

Umberto Eco: Opera Aperta (The open work, 1962)

Hartmut Böhme: Atmosphären. Essays zur neuen Ästhetik
(Atmospheres, Essays on the new aesthetics, 1995)

Georges Didi-Hubermann: Ce que nous voyons, ce qui nous regarde. (1992)

Brian O’Doherty: Inside the White Cube (1986)

John Dewey: Art as Experience (1934)

Walter Banjamin: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (The work of art in the age of mechanical reproduction, 1936)

Das Bild stellt nichts dar

Gegen die zeichentheoretische Vermutung, ein Bild stelle etwas – beispielsweise ein Ding – dar, hält König fest, dass es der Maler ist, der etwas darstellt, nicht aber das Bild. Und der Maler malt nicht ein Ding, sondern ein Bild des Dinges. Das Tun des Malers ist die Darstellung eines Dinges als Bild. Bildet man von hier aus eine strukturelle Analogie zur Rede von Spiegel, Spiegel-Bild und bespiegeltem Ding, so trifft man auf den merkwürdigen Sachverhalt, dass zwar einerseits gesagt werden muss, es sei das Tun des Spiegels, dessen Produkt das Spiegel-Bild ist – so wie das Produkt des Tuns des Malers das Bild ist. Andererseits aber kann genau nicht gesagt werden, dass das Produkt des Tuns des Spiegels – das Spiegel-Bild – ein Bild des bespiegelten Dinges sei, sondern das »Ding selber«. »Denn wir sehen im Spiegel nicht so etwas wie das Bild des Dinges, sondern in ihm das Ding selber.«

Josef König, Sein und Denken, Halle 1937. zitiert in : Siegfried Blasche, Mathias Gutmann, Michael Weingarten. Bilder und Spiegel-Bilder.

Roland Barthes – Mort de L’Auteur

Es gibt nur die Zeit der Äußerung, und jeder Text ist immer hier und jetzt geschrieben.

R. Barthes

The legend of Wu Dao Zi

There was once a painter who one day painted a landscape. [.] The artist was so delighted with his picture that he felt an irresistible urge to walk along the path winding away towards the distant mountains. He entered the picture and followed the path towards the mountains and was never seen again by any man.
– Béla Balázs, Theory of Film

Just as his contemporary the poet Li Bo [Li Bai] had drowned in a river trying to catch hold of the reflection of the moon, about whose beauty he had so often sung, legend recounts that Wu Daozi disappeared into the mist of a landscape he had just painted.
– cited and translated by François Cheng, Empty and Full: The Language of Chinese Painting, [Boston: Shambhala, 1994], pp. 28-29

“In the palace of Ming Huang, the walls were of great size and upon one of these the Emperor ordered Wu Dao Zi to paint a landscape. The Artist prepared his materials, and concealing the wall with curtains commenced his work. After a little while he drew aside the veil, and there lay a glorious scene, with mountains, forests, clouds, men, birds and all things as in Nature. While the Emperor gazed upon it with admiration, Wu Dao Zi pointing to a certain part of the picture, said: ‘Behold this temple grot at the foot of the mountain – within it dwells a spirit.’ Then clapping his hands, the gate of the cave suddenly opened. ‘ The Interior is beautiful beyond conception’, continued the artist. ‘permits me to show the way, that your Majesty may behold the marvels it contains.’ He passed within, turning round to the beckon his patron to follow, but in a moment the gateway closed, and before the amazing monarch could advance a step, the whole scene fade away, leaving the wall white as before the contact of the painters brush. And Wu Dao Zi was never seen again.”
– Andersons Catalogue of Chinese and Japanese Paintings

Borges über Metalepse (Mise en Abyme)

“Warum beunruhigt es uns so sehr, dass die Landkarte in der Landkarte beinhaltet ist und die 1001 Nächte im Buch Tausendundeine Nacht? Warum beunruhigt es uns, dass Don Quichotte Leser des Quichotte, Hamlet Zuschauer des Hamlet ist? Ich denke, die Ursache herausgefunden zu haben: solche Vertauschungen legen nahe, dass, wenn die Figuren einer Fiktion Leser oder Zuschauer sein können, [auch] wir, ihre Leser oder Zuschauer, fiktiv sein können”
(Jorge Luis Borges, Partielle Magie im Don Quichotte, in Obras Completas, Bd. 2, Buenos Aires: Emecé 1989, S. 47).

Herausforderung angesichts des Anderen

Was heißt das Andere im anderen Menschen? Dieses Andere heißt seine „Zukunft“. „Die Zukunft ist das andere. Das Verhältnis zur Zukunft, das ist das eigentliche Verhältnis zum anderen.“ Levinas spricht kurz zuvor vom „Nahen des Todes“, und eben das ist ja „Zukunft“ im genauen Sinne dieses Wortes. Was entscheidend ist im Nahen des Todes, ist dies, dass wir von einem bestimmten Moment an nicht mehr können können; genau darin verliert das Subjekt seine eigentliche Herrschaft als Subjekt. Dieses Ende der Herrschaft zeigt an, dass wir das Sein auf eine solche Weise übernommen haben, dass uns ein Ereignis zustoßen kann, dass wir nicht mehr übernehmen, … nicht einmal mehr durch das Sehen.“

(nach S. Rütter. Herausforderung angesichts des Anderen. 2000. 188. / M. Levinas. Die Zeit und der Andere. 1995. 47f.)