gridiron kyjev session

End / ending: Hotel Kvjev

Bratislava (07.04.08 – 13.04.08) Rajská 2 international coffeeshop (ics), Lillian Fellmann

The request for continuity, apparent in the rotating shifts and the different intensities of

day and night-work. (End: if there is no next point, how can one even move at all?)

The GRIDIRON Hotel, Kvjev Session:

(dialogue with Inga Zimprich)

Initiated by Joel Verwimp

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 6:45

Tokio 1:45

Moscow 8:45

Tel Aviv 7:45

London 5:45

New York 12:45

Sydney 2:45

Report

It is uncomfortable now to blend into a new day’s reality. It is time to putthe beer bottle into the trash-bin as it might appear acquard to meet awoman in the lobby drinking beer in the morning.Your hare and tortoise are fine. Not even the cleaning ladies have movedthem.But first of all I will admit that there is not much formatting yet from myside. I will instead formalize in reports what I wrote down in mynotebook. I might have to add to that later, as much as you are verywelcome to do.

But let me start somewhere and let me be somewhere else later.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 6:52

Tokio 1:52

Moscow 8:52

Tel Aviv 7:52

London 5:52

New York 12:52

Sydney 2:52

Report

Wie ich dir schon gesagt habe, arbeite ich nicht oft mit Künstlern zusammen,oder nicht so, dass sie mir als Künstler auffallen. Deshalb bin ich dir sehrdankbar, dass du diese Tiere mit ins Spiel gebracht hast, also: das Spiel zumeinen und die Tiere zum anderen.Schau, dieser Film, wie dort die Sprache über die Tiere gelegt wird, ist dasnicht seltsam? Da wird also das beobachten, vielleicht auch das dressieren,das filmen, das einfangen zusammengezogen in einer Narration die demganzen Tun dieser Tiere eine menschliche Geschichte gibt, eine Stimmeverleiht.Der Sprecher nicht als Kommentator, sondern als Stimme der Tiere.Sehr erinnert mich das an das Aufschreiben hier, an das Zusammenziehentrotz allem von dem gesehenen aber auch dem das ungesehene zu beobachtenund in eine Narration zusammenzubringen.Ich will nicht sagen, dass damit etwas geklärt wird, vielleicht grade, wie vielerklären darin ausbleibt ist wichtig. Doch diese Anhäufung vonVerknüpfungen herzustellen, dieses Zusammenziehen gleicht dem voice-overdieses und eines jeden Films.Dieses Sprechen, das Schreiben hat jenen Bezug zur Macht, den desErzeugens, des Geschichte erzeugens, der Geschichtsschreibung. DieserBezug wird uns in diesem Gebäude oft begegnen und schon jetzt, hier ist erschon. Ganz zu Anfang. Zu Anfang?

Vielleicht kann dieser Report später eine Tonspur werden, die sich auf dieBilder legt, oder vielleicht kann ein Dokument im selben Raum wie dieBilder auch immer in sich eine Tonspur sein. Auf welche Bilder jedoch undwas es hier zu sehen gilt, was man also bespricht, auf und über was man wiespricht – und wie das zu ende führen?

In seinem dritten Vortrag über

das Wesen der Sprache

schreibt Heidegger: Die

Sterblichen sind jene, die den

Tod als Tod erfahren könen.

Das Tier vermag dies nicht. Das

Tier kann aber auch nicht

sprechen. Das

Wesensverhältnis zwischen

Tod und Sprache blitzt auf, ist

aber noch ungedacht. Es kann

uns jedoch einen Wink geben in

die Weise, wie das Wesen der

Sprache uns zu sich belangt

und so bei sich verhält, für den

Fall, dass der Tod mit dem

zusammenghört, was uns be-

langt.

(Agamben: Die Sprache und

der Tod, erste Worte der

Einleitung)

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 7:05

Tokio 2:05

Moscow 9:05

Tel Aviv 8:05

London 6:05

New York 1:05

Sydney 3:05

Report

I had been upstairs for a little moment before my shift began to justwash and brush my teeth and see whether I’d still need something. Fromthat moment on the room was inside, while here, the lobby had begun tobe outside. Merely the gesture of taking the decision to be at some placefor a period of time drew a defining line between the here and there.Then it was official that now I would stay here.To establish a realm.Is this the border of work?

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 9:16

Tokio 4:16

Moscow 11:16

Tel Aviv 10:16

London 8:16

New York 3:16

Sydney 5:16

Report

Dass das Aufschreiben hier natürlich auch mein Beobachten von mir ist,bringt mich zu der Frage, inwieweit dieses Gebäude aber vorschlägt,dieses ich nicht zu sein. Mich zu benutzen um in dieser Situation desReisens einen Ort aufzunehmen, während es für mich heißt, oder heißenmuss, immer mehr heißen muss, stillzustehen: Wie würde sich dies aufmich auswirken, wenn man nun einmal annehmen würde, einmodernistisches Gebäude hätte einmal verkörpern sollen, (und hätte insich selbst nicht zu ende gebracht) mit der Zeit zu enden? Mit derGeschichtsschreibung, einer Unterbrechung von Historizität alsräumliche Erfahrung zu erzeugen?Wäre – und einmal später will ich in diesen Notizen dann doch derFrage der Nostalgie und dem unbeendeten darin nachgehen – es alsomöglich, dass wenn ich mich als Instrument benutze, um zu beobachtenund ich ein Objekt beobachte, dass vorschlägt die Zeit zu beenden, dasses mich beenden könnte? Unter welchen Bedingungen wäre dasmöglich?Wie könnte man also sich einem spezifischen Ort widmen, wenn dieserOrt innehalten will, sich aufgeben will und seine Orthaftigkeitaufzugeben scheint?Ob er das nun konkret tut, vielleicht tut er das nun nicht mehr, unddeshalb die Nostalgie, und deshalb die vielen Uhren von anderen Orten,die sich vielleicht grade jetzt aufgeben. Vielleicht ist das die Hoffnungder Orte, von dieser Hoffnung der Orte wissen wir aber nichts.Und vielleicht sind ihre Uhren ihr geheimes Signal.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 9:21

Tokio 4:21

Moscow 11:21

Tel Aviv 10:21

London 8:21

New York 3:21

Sydney 5:21

Report

Und davon wollte ich noch eben sprechen: Die Bar die mich als settingfür unser Gespräch so gestört hat. Ich kann schon sehr räumlichfetischistisch sein und mein mich über Orte ärgern wird schon nochauftauchen, doch in diesem Haus, wo selbst mein Verharren so gutbehaust wird, wo ich Lust hab, die Seifen zu klauen, erschrickt michdiese Bar. Sagen wir, es ist tatsächlich so, wie es dort aussieht und imrunden Zentrum in der Mitte vor der spiegelbestreiften Wand tanztenalso Animierdamen, die ihre Brustwarzen mit Reflektoren bedeckthielten: Dann frage ich mich noch immer, ob es denn jemals einmodernistisches Bordell gegeben hat? Woher kommt jene Inkonsequenzfunktionale, offene Räume zu entwerfen und dann in dem was wohleinmal Vergnügen genannt wurde in lauschige Lauben, privateSitzecken abzurutschen und alle Wände mit rotem Teppich zuüberziehen?

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 9:36

Tokio 4:36

Moscow 11:36

Tel Aviv 10:36

London 8:36

New York 3:36

Sydney 5:36

Report

Mimicry

Anyways I should mention some thoughts I’ve had about that specificplace the lobby is and why we chose to work here.Have you been sleeping at train stations in your life? I feel reminded ofthat. Some moment the thought crosses my mind „whether she doesn’thave a room“ looking at myself surrounded by bags, books, bottles ofwater, coke and beer, cables, ashtrays sitting in the lobby at five in themorning.I can work and concentrate well in cafés, in the noise of the semi-public.And unlike the room where I brushed my teeth and thus it becameinside, being in the lobby, I mimic an outside.I imitate to be public, I remain public with all the means it takes, not tobe. To make a space a place, thus, arranging for being able to be here,immerse myself in my desinterest while still remaining here, where weinvented a function which is, does it mean to be public?

It might come down to that in provoking a situation of tiredness (thusthe slightest tension, let’s say a division with the simplest means), adivision between my sleeping-cabin and an assigned space, just beinghere and having announced I would, it might enter production. And Imight transgress that line where institutionalizing is.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Mönchengladbach10:02

Tokio 5:02

Moscow 12:02

Tel Aviv 11:02

London 9:02

New York 4:02

Sydney 6:02

Report

That postcard I brought will be for you: I mentioned I had been visitingmy hometown in March and went to the local museum. It had been thefirst Sunday of the month and the museum was busy with families andchildren on a free-entrance day.When we are here and words are dropped as „vision“ with regard tocultural policy (in the sense of the demand: You should have one) then wemust remember this institution, I must. Its workshop room where with theschool class I had to paint color-tables on a paper-top, to see that all basiccolors would turn white when you’d spin it (it never did, it always turnedout grey with me).Where next door hang works by Broothaers, Beuys, Le Witt, and angryparents warn their children to not step on the buttons which putTanguely’s work in motion.In my last report I told you something about the point ofinstitutionalizing, of seperating myself from my private, of performingproduction simply by assigning myself a place to remain at.This Free Entrance On The First Sunday Of The Month, is it theinstitution of that gesture? Is it an institutionalization of that gesture? Isthis what is refined and taught there in a different language?If so, what would it mean to be here?What vision could one be talking about that one might be supposed tohave?

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 10:25

Tokio 5:25

Moscow 12:25

Tel Aviv 11:25

London 9:25

New York 4:25

Sydney 6:25

Report

We have swapped shifts and I am working over hours now, typingthings down since the numbness of my mind seems to have loosened abit again.I met you at the Hotel bar, feeling truly like a turtle chewing grass. Yougotta explain me why the rabbit can not overtake the turtle, though atthe moment that makes perfect sense to me.I am far from wanting to divide those roles between us, I just want topay notice to the different spaces a different usage of time has broughtus to.When we signed the Übergabeprotokoll you spoke of involvement, ofnot wanting to end in solitude, of sharing the tasks (which?) with thepersonell.With the speed of a turtle I realize I will try to do less and less, limitingthe radius, the space a motion needs, bringing my participation closer toless. I mentioned shortly I would like to initiate an artist in residenceprogram at the United Nations Headquarters in New York. Not as aplace of engagement, but as a rapproachment of two different spheres ofspeech in which I believe one – the one I belong to could even come toan end.In that regard I come to a notion of ending, at the end of the night or thebeginning of your day. And, as I much as I long for the sleeping cabin, Ilook forward to take up the next shift.

Have my night for a day.

Hotel Kyjev Joel Verwimp Day Shift A dialogue with Inga Zimprich

Bratislava 6:45

Tokio 1:45 Moscow 8:45 Tel Aviv 7:45 London 5:45

New York 12:45 Sydney 2:45

Report

***************************************************************************************************************************************************************************************************************************************************************************************Thank you very much for the postcard and for taking care of the hare and the tortoise…..in return, I hope that they will continue to give you some backing in this heterotopic situation, similar to sleeping in train stations as defined by Michel Foucault in 1967. I want to report some more about the postcard in regard to tourism and other forms of institutionalisation but……


Bratislava 6:52



Report

I’m very Happy that you gave me some structure in the design and pace of this dialogue, it is especially your style of writing that is very appealing to me and although I want have the time and mental strength to equal your output - input of “Gegenstand” – caused by my preoccupation with our animal friends. Bratislava 10:52, Tokyo 5:52, Moscow 12:52, Tel Aviv 11:52, London 9:52, New York 4:52, Sydney 6:52 is what first struck me. Obviously it refers to the different watches, present in the hotel lobby but in trying to figure out its meaning for the report, I noticed that it symbolises the original title of our dialogue: The request for continuity, apparent in the rotating shifts and the different intensities of day and night-work. To me, it also stands for a metaphor for present day art production and process related activities. In that sense, it stands in contrast to the underlying theme of this report, the end / ending of / at the Kyjev hotel and its current socio-political discourse of which we are part of at this very moment. My thoughts are focussed on being present at this hotel lobby and today I feel very alive which might have something to do with the fact that I have absolute no other intension than just being here, present.


Bratislava 7:05



Report

I’m working slow, like the tortoise. While I’m trying to copy your design layout for the continuation of the report. The daytime doesn’t bring as much inspiration as the dark hours at night, or is that just another romantic notion of creativity? Spending my lunch break or more precisely, “Außentermin”, at a roundtable discussion with a Slovac philosopher, the other participants and the city’s main architect in that room that you mentioned and disliked so much, I noted again the undifferentiated use of words like place and space although they were actually talking about the citizens right for public space. People talked about the return the of public place after the end of communism. To my opinion, this just means that the people in Bratislava haven’t yet developed a sensitivity towards the propaganda of late capitalist society, but anyway (maybe more later) *********************The advantage of “Außentermin”, the daily process at room 1203 and the mentioned round table discussions at the Luna bar.


Bratislava 9:16

Tokio 4:16 Moscow 11:16 Tel Aviv 10:16

London 8:16 New York 3:16

Sydney 5:16

Report

As you might have noticed by now, I’ve made the report public although or perhaps because we didn’t talk about that before. Anyway I think the aspect of dissemination cannot be ignored in this report and so please accept this provocative gesture as a proposal, open for any ……. I also noticed a very positive attitude of the office manager towards our activity our rather our being present at the hotel lobby. She even agreed to print the report and will continue doing this. My impression of her positive stance towards us might have something to do with the way the hotel guests and employees are reacting towards our little friends, hare and tortoise, describing them as cute and……… ………….I Will have to get some wire in order to make them mobile, its rude to deprive them of mobility, it reminds me to much of the dark past of this hotel, where only the happy few could enjoy the pleasure of travelling. It might not be that different today in the age of late capitalism ….******************** Like tourism and migration. (We might touch upon far to many topics and far to complex themes for the limited space of a report but…)


Bratislava 9:21



Sydney 5:21

Report The encyclopaedic registration of existing knowledge, as seen in the hare & tortoise film from 1947, produced by the Encyclopaedia Britannica, might also stand in sharp contrast to our attempt, based on “Nachbereitung” ******************(if that is what I do at this very moment, writing the report, reacting to and progressing from your night shift into my day shift) as a well fit form of preparation to / for “ending”. And although I very much feel your presence here at the lobby and in my writing the report, I cannot escape the question of “sense” in doing a dialogue in “absence”. ******************* It is now 1.58 pm, and although it isn’t time yet to leave for my “Außentermin”, and my mental energy level is still in the green side of live, I will take a coffee break, check out the animals and cross the street in order to buy a “carnet administrative” (maintenant une redirection vers le présent modèle), get some fresh air and eat an apple.


Bratislava 9:36



Sydney 5:36

Report So, back in the lobby, I had a little conversation with a journalist from the local newspaper and realised that it is already past 4 pm and I still have to report about the documents which I found in the stationary shop across the street from the hotel. But first I want to continue about this “dialogue in absence” because I believe that the sense of doing this, might have something to do with your phantom or act of appearing in this report. The fact of sharing an actual place, albeit, with a time interval and the potential with every shift for a new beginning, however, remains important. In a performance at room 1203 earlier this evening, the conception of the phantom reappeared during a discussion about a prosthesis.*************In short, it is said that some people, after losing an arm or a leg, experience that the body piece is still there. (sorry for the poor explanation, have to ask Gabi for more info….phantom feeling) In that regard I come to a notion of ending, at the end of the day or the beginning of your night. And, as much as I long for the sleeping cabin, I look forward to take up the next shift. Have my day for a night.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 10:55

Tokio 5:55

Moscow 12:55

Tel Aviv 11:55

London 9:55

New York 4:55

Sydney 6:55

Report

I signed the Übergabeprotokoll and resume the nightshift.I would like to thank you first for the improvements in our situationhere. I discovered drawers in the little table with the white table-clothand yellow Überwurf. I feel pretty installed now, storing a fresh pack ofcigarettes, my notebook and books, your camera and our documentsthere.I turned the table around, facing the reception now.No extra lamp can be arranged. On my short walk to the supermarket Icould feel there had been a warm bright day today. The air was stillmild. I resume my place here with a slight sense of sadness that I will bein the dark and will continue to miss out the days.There might be a lot of inspiration around during night as you say, butat the same time standing in front of a little chapel close to the hotelmeans also to confirm again that I wont be in the city, that being at theentrance of this hotel means to withdraw from it, to miss out onsomething.The lobby is dark and it takes me a minute to understanding that it beingso is essentially part of the dialogue.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Bratislava 2:42

Tokio 9:42

Moscow 4:43

Tel Aviv 3:46

London 1:46

New York 8:47

Sydney 9:45

Report

Um meinen zweiten Report zu schreiben laufe ich also die Uhren ab,nur um festzustellen, dass New York sogar London vorgeht, gefolgt vonTel Aviv, wohingegen die Moscower Uhr den anderen am weitestennachgeht, doch selbst diese ist noch der meines Computers vorraus.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 2:42

Saitama 9:42

Chimki 4:43

Beilinson 3:46

Epping 1:46

Palisades Park 8:47

Birchgrove 9:45

Report

Eine weitere Veränderung an meiner Zeitzählung hier wollte ich nochvornehmen.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 2:42

Saitama 9:42

Chimki 4:43

Beilinson 3:46

Epping 1:46

Palisades Park 8:47

Birchgrove 9:45

Report

Jeder Ort verfügt über seine eigene Uhrzeit, dienach der Sonne synchronisiert wird. Wenn dieSonne ihren höchsten Punkt erreicht, ist es zwölfUhr mittags. Reist man in Richtung Osten, dannmuss man seine Uhr vorstellen; in Richtung Westenseine Uhr zurückstellen. Wenn dadurch Mitternachtüberschritten wird, muss man noch zusätzlich einKalenderblatt abreißen oder das alte abgerissenewieder einkleben.

Oder:Jeder Ort verfügt über seine eigene Uhrzeit. Diewird nach der Sonne synchronisiert: Wenn dieSonne ihren höchsten Punkt erreicht hat, reißt manein Kalenderblatt ab oder kann ein altes anderswoeinkleben.

Die Vielfalt der lokalen Zeitrechnungen, die

obendrein mit sehr unterschiedlicher

Genauigkeit erfolgte, bereitete schon lange

vor Aufkommen der Eisenbahnen Probleme,

die sich jedoch nur wenig im Alltagsleben

zeigten. So wurden auch die in der ersten

Hälfte des 19. Jahrhunderts entstehenden

Möglichkeiten der Telegrafie von Beginn an

zur Verteilung von Zeitsignalen genutzt. In

den 1840–1860er Jahren wurden in fast

allen europäischen Ländern landesweit

einheitliche Zeitzonen festgelegt. Diese

folgten jedoch keinem festen Raster, sondern

waren meist auf die Lokalzeit der jeweiligen

Hauptstadt bezogen.

Mit der Entstehung grenzüberschreitender

Bahnlinien wurde für die jeweilige Strecke

eine bestimmte Zeit verwendet, was dazu

führte, dass die Ortszeit von der Bahnzeit

abwich – beim Zusammentreffen mehrerer

Strecken entsprechend viele, teilweise nur

um Minuten verschiedene Zeiten. So wurde

die Gestaltung von Reiseplänen zu einer

komplizierten Fleißarbeit. Der Antrieb, die

Zeitzonen zu vereinheitlichen und zu

systematisieren, kam daher vor allem von

den Bahngesellschaften.

[http://de.wikipedia.org/wiki/Zeitzone]

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 2:42

Saitama 9:42

Chimki 4:43

Beilinson 3:46

Epping 1:46

Palisades Park 8:47

Birchgrove 9:45

Report

In einer Lobby wird die Zeitumstellung recht willkürlich gehandhabt und dieTage, an denen eine Umstellung erfolgt, den persönlichen Erfordernissenentsprechend festgelegt. In der Regel wird an einem Tag maximal eine Stundeumgestellt. Der Tag, an dem das geschieht, muss nicht zwingend mit demQueren der Grenze zwischen zwei Zeitzonen zusammenfallen. Die Stunde wirdin der Regel in drei 20-Minuten-Schritten während der Nacht gestellt: Die ersten20 Minuten während der 20–24-Uhr-Wache, die zweiten 20 Minuten währendder 0–4-Uhr-Wache und die letzten 20 Minuten während der 4–8-Uhr-Wache. Sowird gewährleistet, dass die durch die Umstellung bedingte Mehr- bzw.Minderarbeit auf alle drei Wachen gleichmäßig verteilt wird. BeiZweiwachenschiffen wird analog verfahren und zweimal um jeweils 30 Minutenverstellt.(http://de.wikipedia.org/wiki/Zeitzone)

Desweiteren:Weltkarte mit Tag-Nacht-Grenze: http://de.wikipedia.org/wiki/Bild:Daylight.pnghttp://de.wikipedia.org/wiki/Bild:Nightfall_europe-and-afrika_20050507-184500.jpg

Und im besonderenhttp://www.welt-zeit-uhr.de/worldtime.php

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 4:05

Saitama 11:05

Chimki 6:06

Beilinson 5:09

Epping 3:09

Palisades Park 10:10

Birchgrove 11:08

Report

A group of young drunk Irish boys took great interest in the turtle andthe hare. They suggested to take the hare to room 308. I thought itwould be better if the hare would stay here.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 4:35

Saitama 11:35

Chimki 6:36

Beilinson 5:39

Epping 3:39


Birchgrove 11:38

Report

You wrote:My thoughts are focussed on being present at this hotel lobby and

today I feel very alive which might have something to do with the

fact that I have absolute no other intension than just being here,

present.

I am unsatisfied with my work today, here. I thought I could get closerto an idea of ending, As I said I wont interrupt other things I do in orderto formalize that now, here I start to produce something within theproject Hotel Kyiv. Yesterday I went with myself towards such anexhaustion as I had so many things to do, that by the end of the shift Iwas in a rush to try to notice where I think I have been without goingsomewhere, that I started to suspect I could enter here, today, again.(As if my remaining would have made this that specific place.) Thus thehotel, the hotel lobby as a space which could allow me to leave a place.I have the feeling I focus too much, today. Yesterday with the charme ofsleeping at a train-station, my body being so tired I was more occupiedwith keeping myself together. Less installed yet and even though thespace here is beautiful my own tiredness made this space hostile andmade the obligation of remaining here a powerful limit to work in, towork against and to work from.Today, instead of the young hares at the reception of last night it’sturtles working: older men who are calm and comfortable. They waterthe plants in front of the hotel at 3 am in the night. They know how todo things unnoticed and I feel less forced to further incease myunoticeability (as while sleeping in train stations). I feel that the tableand chair – I got a lamp – makes my being here more natural, but at thesame time it reduces the tension with my environment.I guess something is going on here which secretly suggested me I mightbe able today to finish my writing from Birchgrove 11:38.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 5:05

Saitama 12:05

Chimki 7:06

Beilinson 6:09

Epping 4:09


Birchgrove 12:08

Report

I must admit that I am still fighting time. I go back to the Hotel and Imust admit I am worried about the day-shifts, as according to ourevolving agreement, we will gradually prolong our shifts until I’ll beworking days.

I will have to get some wire in order to make them mobile, it’s

rude to deprive them of mobility, you wrote, and I think that Isuspect my personal mobility within an immersion, as well as infinding the possibility not to move. We spoke about at breakfast howone can see the Hotel and this building as a symptom. And toapproach that symptom (from all I know about it, from all I think thatsymptom might be) I do approach it by not approaching it.

Neither you nor I came to protect the building. The more tired I amhere, the more I move within the thin limits of not enough time, thelonging for sleep, I make more precise that I came to ask myself andto visit myself in questions of my practice.Or, let me say: The same way you suggested I should apply with atelepathic newspaper to a fund, asking it for no money I would like towithin this project not divert my attention towards what I can do, buttowards what I actually do (whatever that might be at any given time)as I believe this corresponds to, has a relation to a symptom.Such, to practice myself here in dialogue with you within my owneconomy of art-production I halt with some economies by becomingimmobile, by reducing my movements to what I really do. Or, asyou wrote: To me, it also stands for a metaphor for present day

art production and process related activities. (...) (the) current

socio-political discourse of which we are part of at this very

moment.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 5:29

Saitama 12:29

Chimki 7:30

Beilinson 6:33

Epping 4:33


Birchgrove 12:32

Report

I will close my report for today, unlike yesterday even before you havegotten up and you are ready to take over. I will not abandon the table,the lights have been turned on now, the first guests are waking up.But I will close with a quote from the preparations of the Invitation ofthe Faculty, which I told you about. And that means that I find myselfhere now, where I can leave.

I should not forget to attach the shemes of the World Time Clock.As your relations with the office manager are so positive, would youmind to take care of the printing of the reports again?

What is this time, der augenblick, or the very moment

when the dream is being forgotten? A time that one

might expose oneself to, in the ecstasy of fatigue?

Chimki, 7:30 am

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 5:58

Saitama 12:58

Chimki 7:59

Beilinson 7:02

Epping 5:02


Birchgrove 1:01

Report

In einer Lobby wird die Zeitumstellung recht willkürlich gehandhabt und da dieZeitumstellung täglich erfolgt, den persönlichen Erfordernissen entsprechendausgeführt. In der Regel wird ein jeder Tag nur um maximal eine Stundeerweitert. Da es an jedem Tag geschieht, muss nicht zwingend von einemZusammenfallen verschiedener Zeitzonen ausgegangen werden. Die Stundenwerden in der Regel in drei 20-Minuten-Schritten während der Nachthinzugestellt: Die ersten 20 Minuten stehen somit während der 20–24-Uhr-Wache zur Verfügung, die zweiten 20 Minuten während der 0–4-Uhr-Wache unddie letzten 20 Minuten während der 4–8-Uhr-Wache. So wird gewährleistet, dassdie durch die Umstellung bedingte Mehr- bzw. Minderarbeit auf alle dreiWachen gleichmäßig verteilt wird. Bei Zweiwachenschiffen wird analogverfahren und zweimal um jeweils 30 Minuten verstellt. Eine zwingendeUnterscheidung zwischen Tag- und Nachtschichten muss nicht getroffen werden.Anhand verschiedener Ortszeiten kann der individuelle Übertritt vonSchichtenwechseln gekennzeichnet werden, so dies erforderlich scheint.


Bratislava 6:45



Report

Yes, finally a contract. Although I’m not going to do much today, at least not during this shift, the contract is something I do want to get done with in order to be able to change our work structure from a 2 shift-period into the more dynamic 3 shift period. In this way, we will slowly over win the end of time. After all, Shift work is an employment practice designed to make a productive use of the 24 hours of the clock. - den wir nutzen um einander von unseren verschiedenen Aufgaben zu entbinden oder einander wieder einzustellen. Our day will be divided into three shifts, each of eight hours. Normally, each of us will work just one of those shifts but because we are only 2, one of us will have to work double shift; they might for example be 00:00 to 08:00, 08:00 to 16:00, 16:00 to 24:00. Generally, "first shift" refers to the day shift, with "second shift" running from late afternoon to midnight or so, and "third shift" being the night shift or graveyard shift, meaning a shift of work running through the early hours of the morning, especially one from midnight until 08:00. (this will then be my next shift).


Bratislava 6:52



Report

And suddenly this man (Prof. Dr. Tomáš Štrauss, as I found out later) re-appeared at the hotel lobby**********************************************************************************, I talked briefly with him yesterday about our program because he wanted to join our debate but unfortunately arrived a bit late. Today, he came early and regretted that he didn’t have anything to read so I gave him your Agamben book to pass the time, waiting, zur Aufrechterhaltung der Ordnung in Krisensituationen.


Bratislava 7:05



Report

No ********************* advantage of “Außentermin” today, the daily process at room 1203 and the mentioned round table discussions at the Luna bar will not be part of my program caused by the change into the dynamic 3 shift period. In order to make up for missing out on the process at room 1203 und um die weitere Veränderung an unserer Zeitzählung hier abzusichern, zu „ver-sichern“, I will ask Beatrice and Nicolas to give me some backing in my understanding of **********************“Ortszeiten”.


Bratislava 9:16



Sydney 5:16

Report

I like the fact that our report, on public display now in the hotel lobby perfectly fuses into the overall atmosphere (and therefore resides unnoticed).


Bratislava 9:21



Sydney 5:21

Report ………………….Two steps back in order to get one step forward. (TIME) Also in an attempt to merge our working process into the overall project discourse, the phrase: “splendid isolation” (not having to occupy yourself with the present because still working on the past) used by Prof. Štrauss, who joined us during our conversation in the lobby might help us a bit further. The 45 minutes conversation with Nicolas about the institutionalised (disambiguation) Time zone system and our need for it to change it into our work contract didn’t really bring us much further, apart from understanding the need for a subjective (ambiguous, required artistic freedom) take on this “Zeitzählung”. ********************************den nutzen um einander von unseren verschiedenen Aufgaben zu entbinden oder einander wieder einzustellen kann bis auf weitere noch nicht eintreten, jammerschade.


Bratislava 9:36



Sydney 5:36

Report In der Regel wird ein jeder Tag nur um maximal eine Stunde erweitert. Does this mean that the problem with “unserer Zeitzählung“ can only be explained in regard to the „required artistic freedom“ - (also understood as the mathematical freedom, used by the Greek Philosopher Zeno to get to his „hare and tortoise paradox“) - which was also applied at the prosthesis dispute at room 1203. ************Getting back to the “phantom feeling”, while talking to Gabi, she told me about Oliver sacks, who made the comment about the fact that our brain cannot accept the missing body part and thus creates this phantom. (maybe Beatrice can help us out) ……………….we don’t need a phantom, what we need is a butterfly to remind the tortoise and the hare to the importance of a subjective (based on lust) understanding of time. Thus, not like the tortoise, going going going and going, slow but surely. Also not like the hare, going as fast as possible, but rather like the butterfly, going according to your lust.


Bratislava 9:36



Sydney 5:36

Report ***********************************It wasn’t such a good day but,……………. In that regard I come to a notion of ending, at the end of the midday or the beginning of your afternoon. And, as much as I long for the sleeping cabin, I look forward to take up the next shift. This time, I hope that you don’t have my morning for an afternoon.


Bratislava 6:45



Report

If it is true that you have arrived in the invitation card moment already, and the butterfly story from Beatrice influenced my comatose action of waking up, I believe that I should get up now. ( 8.20 pm).


Bratislava 6:52



Report

……………………….and although the butterfly has played an important role in the GRIDIRON process before, I must say that I don’t like animals no matter what. *************my neighbours have this cat and when they go on holiday, we take care of this cat and although it is a nice cat she still gives me an allergic reaction.

Hotel Kyjev

Inga Zimprich

Night Shift

A dialogue with

Joël Verwimp

Pezinok 2:38

Saitama 9:38

Chimki 4:39

Beilinson 3:42

Epping 1:42

Palisades Park 8:43

Birchgrove 9:31

Report

The many reports I had started today or had in mind to write did not fit

into the frame of my nightshift, believe it or not. I had told you I would

try to exit the shifts, thus turn the shifts/the lobby into a place I could

leave from while physically remaining here.

I did exit, but now, as I find myself very tired I don’t find the capacity

to return and report.

I just want to note that one of the most time-consuming endeavors

therein had been to try to become unavailable in the lobby.

What a weird ambition to have. Not that I succeeded.

Hotel Kyjev Joel Verwimp Night Shift A dialogue with Inga Zimprich

Bratislava 6:45



Report

Coming into Fiction: writing this report in a state of “nachbearbeitung”. Diese Analyse findet aber statt in einer Unterstellung, bei der ein nicht gegebener Tatbestand als real angenommen wird - eine vorläufige Bestätigung für eine Tatsache, über die noch nicht entschieden wurde. Im Stattfinden ist es nicht möglich offen zu legen was ich tue (Inga)

Hotel Kyjev Joel Verwimp Night Shift A dialogue with Inga Zimprich

Bratislava 6:52



Report

Finding ourselves working at the same time, working same shifts. ******************We are now together, synchronized. 2 Am, wir entscheiden einander aus die arbeit zu entlasten. The dialogue is over, united.

Bratislava, April 11th 2008

Dear Joël.

Last night we ended our shifts together and thus put down the notion

of work we had assumed with each other. As we sat back in our Hotel

room, unfortunate as someone had stolen the bottle of vodka from our

receptionist table, it seemed appropriate to discuss there, what had

happend downstairs in the lobby.

Again a day later I feel I should add some of my observations, but

unlike the formalized reports before I will write this letter to you.

I would like to clarify that I understood during my first shift which

allowed me to stay awake during nights, that this format would mean

that I would try to de-concentrate, so to say. Feeling reminded of

sleeping at trainstations I felt I was trying to become less noticeable,

while that also implied that I would try to follow less of the obvious

tracks one might feel tempted to follow such as the building, its

architectural form, its modernist vision, (and the dissonance today

with) the surrounding city.

Thereby it became clear that within the Hotel Kyjev project I started to

maintain and establish a rare position: Staying during long, shift-like

intervals in the lobby suggests availability, while at the same time I

tried to become un-available. Using my desire to sleep and my desire

to wake as very thin lines of me instituting myself at that place, I tried

to turn my being in the lobby into a space which would allow me to

leave, to not participate, to dis-engage.

This achieved extra dynamics by my waking-time being bond to your

sleeping time. Though sitting in a lobby sounds pretty comfortable, but

being tied to your schedule gave me the feeling of being hunted a bit,

even a sense of „not having enough time“. Sometimes it dissatisfied

me that I seemed to formalize my being there (also as a gesture to

communicate to you) instead to withstand the need to make visible, to

show, or to point at.

As gradually our position in the hotel became more established I

discovered the wish to not unfold or reveal what I was doing. Getting

more and more immersed in my doing, I was hoping I could execute my

presence there without suggesting it to have an immediate social

function (and you will understand that in the complication of

participating in a project on ending in a Hotel in Bratislava observing

and talking to the Hotel’s guests would not have merely been to

simple, but also simply pointless, as for me).

Eventually though, in my third shift I felt strained trying to maintain

this position, or rather to remain in a tension between waking and

sleeping, taking place, being present in public while aiming to become

unavailable.

Also here I detected a strong tension towards the project and its other

participants and I look forward to ask Lilly in our Hotel room talk,

whether she can do something with this working within the limits of her

project. Is there a notion traceable of ending a specific logic of

application as an artist in her project, or is all she senses a gesture of

boycott? Or was it just cute?

I personally cannot fall for the cute side of it, foremost because I

experienced the tension as quiet demanding and I feel righteously

withdrawing into my bed, now, back in room 1205.

Certainly this uncomfortable dimension of me trying to make myself

unavailable and thus during my shifts try to exit this space while being

physically there, culminated the moment you went out of schedule and

joined mine with your parallel shift.

Partly I read your gestures as the demand to actualize our dialogue as

a one to one communication, while I was concerned with dis-engaging

and assuming another communication (whose result I submit with my

reports).

When you admitted that you felt the destructive need to disturb me

and wanted to avoid me taking safety in formalizing my shifts in

reports (it is true, my reports at the end of my shifts paid tribute to

being in a project, while within I tried to exit it) I realized the

annoyance the non-presence of another might cause.

I proposed then as a reply to your insistence, to release each other

from our engagement to keep our sleeping and waking times tied to

each other.

On one hand, the expectation to become productive together is

something that is not only inherent to the invitation to participate in a

project on ending, it also works between us. On the other hand for

allowing this tension to emerge and for enduring the dependence which

naturally evolved in our format of instituting ourselves here, I would

like to thank you.

When we laid-off our work at 2am Friday night, I experienced the

hardest moment of my shifts. Having tried to exit and to enter a space

of thought which deals with the possibility of being out of time, I

stopped exhausted, surprised to notice my own laborious efforts.

Today, as our work has ended I finished the letter I attempted to write

last night.

Now, we will meet with Lilly, each lying in their own beds and eating

pralinés.

Thank you for this, Joël,

yours,

Inga

Dear Paul, dear Sönke.

I find myself ending to rotate my night-shifts

in dialogue with Joël Verwimp

with this letter to you.

Yours,

Inga

Bratislava, April 11th 2008

Dear Sönke, dear Paul.

It is difficult to pick up a language and it is delicate to do so, as it

seems to count specific modes of writing, which seems to suggest that

some were preparing the place of the Invitation more than others.

At the same time being where the invitation is, is to go unspoken.

That the idea to respond to you occurs again allows only for reading it

in view of it being a technique, or a re-assembly of techniques.

It goes without saying that where I coincidentally find myself, without

even thinking of the time of remaining, is a return, as in perhaps many

times, to a place which does not allow for getting any further.

With the mere means of my own exhaustion and fatigue excecuting a

place by remaining I tried to turn my being here into a place I could exit

from. Excercising a place as the mode of remaining between the desire

to sleep as well as to wake I return somewhere (without ever getting

any further) only in order to find that you have just left from here:

I come back from sitting on this chair, in the street, smoking. Not even

thinking of the time of remaining, to which I will return, perhaps many

times, without ever getting any further.

A time that one might expose oneself to, in the ecstasy of fatigue.

To appear in a place to write the Invitation from in order to distribute

this place through insistence, is the complication that we proposed

each other to comply with in The Invitation.

At the time of our writing of The Invitation as issued on December

10th 2007, we created a foreboding, which since then works on us.

It might be wrong to suspect that, the concept of participation

suspended, this would call us to assemble in a meeting from where we

could prepare the Invitation for its guests.

We employed the figure of the ghost not because we expected it to

perform this place as a figure, but because we were in need of pointing

at a place out of time. Driving the ghost out of the text has not been a

stylistic advice, but it actually realized that we suggested to institute a

place out of time by frequenting each other.

Just as the rush which has entered your texts drives you out of them,

leaving them retrospectively unprepared, it is in each others

abstention, our forgetfullness and clumsiness, that the Invitation

prepares itself as a place out of time.

If I were to tell you what I have been doing here I might answer: I have

been standing on a balcony smoking cigarettes the longest time ever,

as in

to establish a passage through which, what cannot achieve a

consistent form of identity might appear.

Yours,

Inga

Documents

gridiron kyjev session