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text / catalogue from ivan cheng's 'three gorges'. 21 june 2014-15 atelier neitzert heraud saint-chinian, france inc text by jack jeweller 'black rainbows'
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three gorges
gallery 1
gorges (I, II)2 x 30W, 240V insect killers dismantled of housing.mirror backed with cut-out particle board white 3 way adaptor, 120cm extension in broken wall socket (3 parts)turned on continuously since june 21, 2014
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GHX[�SODWHDX[��G�EXUHQ�room perimeter trace of topsoilÁRRU��LQF�VWHSV��ZDV�ODLG�ZLWK�WDUTXHW�GDQFHÁRRU�and covered with thin layer of topsoil + loamsteps were made into small, uneven slope paper pressings of 150 year old vines were laid outwatered until disintegrated (windows and doors left open) VRLO��GDQFHÁRRU��SDSHU�SUHVVLQJV�UHPRYHG�IURP�VSDFH�
three gorges
Ivan Cheng Atelier Neitzert Heraud Castelbouze, Saint-Chinian, France 21 June 2014 - 2015
6
literal fauvism I150 drilled plugholes in rendered wallLGHQWLÀHG�E\�DOXPLQLXP�WDSH�WULDQJOHVSOXJKROHV�RULJLQDOO\�IRU�VXVSHQGLQJ�PRXQWHG�WDSHVWU\�LQ�FHQWUH�RI�VSDFHE\����G\HG�\DUQ�WKUHDGHG�DQG�NQRWWHG�WKURXJK�UHJLRQDO�WDSHVWU\
literal fauvism IIVWHHO�UDLO�RQ�PRXQWHG�UHJLRQDO�WDSHVWU\��ZKLWH�EODFNRXW�FXUWDLQ��IRXU�SDUWV��ZLWK�EHQW�URGRYHU�WKUHH�VWDFNHG�VWHHO�DUFKLYH�FDELQHWVUHJLRQDO�WDSHVWU\�ZLWK�ODSLQ��FKLHQ��JUDSH�SLFNHU��
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childrens dining in the ss normandieSHUIRUDWLRQV�DW�FKLOG�KHLJKW��SDSHU�RQ�WKUHH�GRRUVWKUHDGSRLQW�HPEURLGHU\�ZLWK�WKUHDG�UHPRYHGouter panels: babar does yoga�GHVLJQV�E\�MHDQ�GH�EUXQKRIIFHQWUH�SDQHO��HORQJDWHG�SKRWRJUDSK�RI�UHJLRQDO�WDSHVWU\SDSHU�G\HG�ZLWK�FREDOW�SLJPHQW��ZDVKHG�DQG�VXQ�EOHDFKHG
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steel rod with arrow pointing north
FXUWDLQ��ZKLWH�EODFNRXW�FXUWDLQ��RQH�SDUW� steel rod with two round ends
gallery 2
gargoyles (here)XQLQVWDOOHG�KG�YLGHR���·��FKRUHRJUDSK\��SRVHV�WUDQVIHUUHG�DQG�FRQQHFWHGIURP�EDEDU·V�\RJD�IRU�HOHSKDQWV�DQG�ÀJXUHV�LQ�UHJLRQDO�WDSHVWU\QDUUDWHG�WH[W�E\�WKRPDV�EHUQKDUG��WUDQVODWHG�E\�U�DQG�F�ZLQVWRQ�
gorges (III)��[���:�����9�LQVHFW�NLOOHU�GLVPDQWOHG�RI�KRXVLQJ
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7
I wanted to get away from the mill and walked along
the river a bit, along the deafening stream of water that
rushed ruthlessly out of the gorge and toward the mill.
But then I told myself that my melancholy mood would
only worsen if I walked any deeper into the gorge, and
I turned back.
When I looked at the mill, I saw the funeral procession
that had passed by here six or seven years before, one
of the most pompous I had ever seen. If I had to stay in
this gorge I would suffocate in no time, I thought. And to
think that anyone here could hit on the idea of raising
exotic birds.
Approaching the mill, I mused that it was associated to
this day with counterfeiters and murderers, though all
that lay more than a century in the past. The most evil
deeds could be conceived and carried out easily in a
place of this sort, I thought; and all at once I felt how
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Turk. Why had these people brought this young Turk into
the gorge? What crime were they nurturing?
8
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across a pair of sawhorses a heap of dead birds. They were from the aviary, I
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slaughtered birds were in fact the most beautiful specimens from the cage, and I
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All three of them, he said, he himself, his brother, and the new young Turk who
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in the morning, even before sunrise (But a sunrise in this gorge is impossible! I
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started raising birds about twenty years ago and lived only for those birds. He
had died three weeks ago, and the birds had begun raising a terrible racket. It
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the death of their protector would let up after a while, or stop entirely, but they
had been mistaken. It had only grown more and more unbearable. “You have
to realize,” he said, “that that sort of noise sounds a hundred times louder in
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off the birds to shut them up. They had done a lot of thinking about the mode
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chickens, but doing it so there would be no sign of outward damage. That way
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them the way their uncle had been. They intended to stuff the birds themselves
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and twisting their necks, the shrieking had increased, of course, but then it had
gradually come to a stop. By the time they were done killing this batch, the rest
had fallen totally silent.
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But now, with their experience, they would be able to process the remainder
much faster and more easily that evening, and by tonight they would have perfect
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meanwhile they would probably have gone out of their minds. It was hard to get
to a taxidermist, too; that was why they wanted to stuff the birds themselves in
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but those birds. He had left a vast number of notes about his birds; undoubtedly
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man apparently knew a good deal about exotic birds, I thought. Possibly all the
inhabitants of the mill had concentrated on those birds. He was able to identify
them all correctly. Some, he said, came from Asiatic countries, others from the
9
Americas, and still others from Africa. Most of them, however, were Far
Eastern island birds, with not a single one from Europe, he said. His
uncle had often sat in the aviary for hours, but none of the birds had
ever attacked him. They all had names like Kalahari, Malemba, Mitwaba,
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so on. He said he knew the most remarkable facts about birds from the
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“When a funeral procession moves through the gorge,” my father said,
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two of them lay in their room almost all the time and occupied themselves
with their dog. The animal, because it never went out of the room, was
absolutely dangerous in its derangement. One of the two, the wife or the
husband, had to hold it whenever my father entered their room. Because
of the screeching of the birds in the last few weeks the dog had gone
racing back and forth between the two people “like mad.”
By disposing of the birds the people at the mill hoped above all to calm the
dog, and thus calm themselves. The miller had told my father that he had
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leash day and night. Since they had been condemned to their room for
months by their illnesses, they had gradually lost control over their sons.
The elder, whom the miller described as prone to violence—he had often
hit his mother and threatened to kill both of them—had once attacked his
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the dead birds in the outbuilding was a weakling, completely at the mercy
of his older brother. All the people in the Fochler mill were feeble-minded,
not insane, my father said.
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place situated where that mill was. And what people! The dead birds had
all exuded an alien odor of decay, I said. Some people, like those at the
mill, I said, were forced to live their lives in the kind of cruel solitude that
prevailed in the gorge. They had no choice; they were bound to their
house, to their meager source of income, to a river like the one we were
now following to its source. Others, I said, like the industrialist, of their
own free will deliberately entered such solitude as he and his sister had at
Hauenstein. But even as I said that, I thought that no one does anything
of his own free will, that it is clap-trap to say that men have free will.
Suddenly the world seemed to me completely eerie; never before had
I felt it to be so eerie as now, while we were still driving into the gorge.
Soon we could hardly see anything, but my father had known the road for
years. Where nature is purest and most untouched, as ere in the gorge,
it is at its eeriest.
10
11
three gorges
= == =
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Light seems to mark day, and the sunsets here are never dramatic. 7RGD\�LV�WKH�VXPPHU�VROVWLFH��VR�IURP�KHUH�LW·V�XQGHUVWRRG�WKDW�WKH�day will contract and expand until next year. In this valley, the air rushes down through the mountains, and those streams have names B and A could list, retired university lecturers who annually travel to the temperate south. They are on holiday, but not tourists. B puts his ÀQJHU�LQVLGH�WKH�PRXWK�DQG�UHPRYHV�LW�WR�FRPPHQW�RQ�WKH�ZLQG��+H�walks inside and it surprises me again that I am taller than him, and he tells me and my butter slicked brush that A has a story to tell, he VD\V��GRQ·W�ZRUU\��,·P�QRW�WHOOLQJ�LW��VR�,�ORRN�KLP�LQ�WKH�H\H�DQG�QRG��drying my hands on myself.
My shoes force me to clomp a little down the concrete slope. J has taken out small candles and conversation is peripatetic; I prompt the story twice, trying not to sound aggressive or passive about leaving the pan I was washing. A and B have been cooking most evenings, and I and J have been bringing desserts to the point where we are abstaining. Meat graces the table most nights, and in the daytime between, J tells me that he rarely eats so heavily because of the HIV medication he takes daily, and I am left to nod, though we both enthusiastically moue at the cuts of veal, pork, beef, pâté.
The conversation moves to India, a place upheld by J, before moving back to real estate in the region, as A and B continue their search. It serves to note that B left his wife of 23 years for A, and 23 years KDYH�SDVVHG�VLQFH� WKHQ�� ,�DP�����:KLOH� WKLV� LV�%·V�QHDW� LQFUHPHQW�IRU� FKDQJH�� LW·V� KDUG� WR� QDPH� LQFUHPHQWV� IRU� RWKHUV� EH\RQG� WKHLU�VFKHGXOHG�OLYHV��-�LV�FRQVLGHULQJ�VHOOLQJ�WKH�VXLWH�RI�SURSHUWLHV�ZH·UH�LQ� WKH� FRXUW\DUG� RI�� +H·V� OLYHG� LQ� GLIIHUHQW� SODFHV�� *HUPDQ\�� ,WDO\��state-side, France, but India – the orient – acts as a talisman for J to hold, an anchor of exoticism or integrity from which to talk about the future market and former properties, the past, present and future represented in francs and the euro.
J insists on his preference for ascetic life, and as artists, we constantly battle our desire to tastefully denounce capitalism. I fret about external romanticising of the profession, but I am still in a phase of being excited
12
to know how to label certain things. For instance, I have learnt that calling myself an advocate for feminist politics is wiser than advising people that this is what a feminist looks like. Speaking to I, J is XQÁLQFKLQJ�DERXW�KLV�IDPLO\�KLVWRU\��RI�ERPELQJV��.ULVWDOOQDFKW�DQG�the SS; because I am in France, I mention semiotext(e), Hatred of Capitalism, 6�/��EXW�WKLV�GRHVQ·W�FRPSXWH�LQ�DQ\RQH·V�PLQG��,�PRYH�on because it means nothing.
So I push A and B back to their story: un-retired, some university business with pleasure time on the end, a colleague has booked a FDELQ�LQ�WKH�%DONDQV�VR�WKH\�GULYH�WKHUH�EHIRUH�ÁHHLQJ�WKH�FOLIIV�DW�WKH�behest of A. B punctuates the story with the certainty that A cannot stomach any hills that are any higher than these in Saint-Chinian; he repeats himself. These former Yugoslavian craggy mountains which so steeply incline encourage vertigo, and as they recount I wonder if I can visualise these hills around us into mountains, stripped of trees, as panicky as I am when picking through the overgrown paths alone.
I imagine myself dying on these hilly tracks, attacked by snakes, tangled in webs, but B and A have driven down to Croatia where they are alone on the beach, a true privilege, incredible, nowadays Croatia is crawling with tourists, but this was when they were new to each other, and the restaurateurs were gagging for business, sometimes young men in uniform come into town, and blissful on an empty promenade A and B are reminded of the war that was on at the time. A and B say yes, it was an ethical problem, whether we should fuel the local economy and it was perfectly safe, but they end up leaving early anyway.
How can their story be told better? What is lost in the transmission of it?
-�WHOOV�$��%�DQG�,�DERXW�D�YLGHR�KH�RQFH�PDGH�LQ�'HORV�DW�WKH�VKULQH�RI�'LRQ\VXV��7UDYHOOLQJ�ZLWK�D�JLUOIULHQG��D�WRXULVW�JXLGH�IULHQG�LQYLWHV�KLP�WR�MRLQ�D�FUXLVH�IRU�JD\�$PHULFDQ�PHQ��-�LV�GHOLJKWHG�WR�WHOO�XV�that the footage is soundtracked by Mozart, and the men are shot by a handheld camera as they behold the stone phallus and pose IRU�VQDSVKRWV��,�LV�XSVHW�E\�WKLV�UHFRXQW��DV�KH�IHHOV�WKDW�WKH�VXEMHFW�of the footage is mistreated in this instance, an ethical problem, and -�LV�GHIHQVLYH��,�VSHDNV�MXGJHPHQWDOO\�DERXW�WKH�GLIIHUHQFH�EHWZHHQ�D�VXEMHFW�RI�FDPHUD�DQG�DQ�REMHFW�RQ�FDPHUD��PDWWHUV�RI�MXGJHPHQW�and ownership of image, and the reasons we might have for these MXGJHPHQWV��'HIHQVLYHO\��-�VSHDNV�DERXW�SKRWRJUDSKV�KH�KDV�VROG��SKRWRJUDSKV�WDNHQ�LQ�,QGLD��RI�GLIIHUHQW�VXEMHFWV�ZKR�KH�GLGQ·W�REWDLQ�permissions from. Questions are raised about our ethnic attractions,
13
our roles as tourists – what do I, B, and A fetishize and transform by wielding cameras or commenting on in this region?
A refers to J as le maître de maison, and the party disperses with dirty dishes before regrouping for dessert and another glass of wine. When ZDWFKLQJ� WKH�YLGHR�RI� WKH�'LRQ\VLDQ�VKULQH� ODWHU�� ,� LV�RYHUZKHOPHG��as the footage is brutally gonzo and the stone phallus is castrated, which the cruisers seems to gloss over for its remarkable size and KLVWRULFDO�VLJQLÀFDQFH��SRVLQJ� IRU�&KULVWPDV�FDUG�SKRWRV� WR� IULHQGV��,� UHFRJQLVHV� WKDW� WKH� YLGHR� LV� RYHUZKHOPLQJO\� D� FULWLTXH� RI� WRXULVP�rather than the gay community, but is still unsure about the content and permission, the Olympic torch of representation that J bears in LGHQWLI\LQJ� DV� ELVH[XDO�� EHJLQQLQJ� ZLWK� IRRWDJH� RI� D� VWULSHG� ÁDJ� LQ�PRQRFKURPDWLF�IRRWDJH�DQG�ÁLFNLQJ�WKH�FDPHUD·V�VZLWFK�WR�VKRZ�WKH�UDLQERZ�ÁDJ�
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The website I use is mildly political, – unleashing the free tv revolt – and asks me to spread the word – spread the revolution
before disclaiming their complicity in illegal internet conduct. The attractiveness of committing a minor crime, of overcoming the system of ownership, is less seductive than easy. I have been raised to feel entitled to free content, but am also saddled with chronic, criminal JXLOW��,�WKLQN�DERXW�DUWLVW�DXWKRU�0�)��ZKR�HVFDSHV�KLV�IDWKHU·V�OLWHUDU\�shadow with the pseudonym A/R. By publishing under an Arab name, the Norwegian M/F forces the reader to focus on the literary content, ZKLOH�DZDUH�RI�WKH�UHDGHU�ÁHVKLQJ�WKH�FKDUDFWHUV� LQWR�KXPDQ�VFDOH�dimensions.
A book is accessible in a different way than an exhibition. This is a chance as you create a conceptual framework while having some LGHDV�LQ�PLQG�RI�KRZ�LW·V�JRLQJ�WR�EH�UHDG�DQG�WKHQ�VHHLQJ�LW�EHLQJ�interpreted in so many different ways.
14
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One of the ideas I have been pursuing for quite some time now is what you are feeling for and about yourself and how productive WKDW� IHHOLQJ� LV�RU� FDQ�EH��7KHUH�DUH�REYLRXV� UHDVRQV� IRU� ÀOOLQJ�XS�\RXU�WLPH�DQG�VSDFH�ZLWK�ERRNV��ÀOPV�DQG�RWKHU�PHDQV�RI�GLYHUVLRQ�because maybe it is your own company that is unbearable. Whether this emptiness is to be taken as a trait of contemporary humanity LV�VRPHWKLQJ� ,� IHHO� ,�DP�QRW�DEOH� WR�DQVZHU�� ,�FHUWDLQO\�GRQ·W�KDYH�any romantic ideas of the past in this respect, of people sitting by themselves and being full of life and existence. I guess both painful solitude and misanthropist feelings have been around for quite a ORQJ� WLPH�� 3HUKDSV� LW·V� MXVW� PRUH� YLVLEOH� QRZDGD\V� EHFDXVH� \RX�KDYH� WKH�PHDQV� WR� ÀOO� WKH� YRLG� DQG� \RX� WKHQ� VXGGHQO\� VHH� RQO\�all these means and they become an image for the emptiness of existence as such.
,·YH�EHHQ�D�ELW�LQWR�WKDW�¶LPPDWHULDO·�DQG�¶XQVHOODEOH·�DUW��$�ORW�RI�P\�work is actually not that sellable, but that depends on the intention I am pursuing with a piece. I love the proto-conceptual work, from WKH�¶��V�DQG�¶��V��$QG�DYDQW�JDUGH�SUDFWLFHV��WKHLU�DWWHPSW�WR�EUHDN�RXW�RI�WKH�FXOWXUDO�VSKHUH��WR�PDNH�D�GLIIHUHQFH�DQG�WR�ÀQG�PHDQLQJ�within production. That has probably been the biggest inspiration for my own work during the last few years. Even though the desperation RI�WKH�'DGDLVWV�DQG�6LWXDWLRQLVWV� LV�D�ELW� WKURXJK�� LW·V�WKH�KLVWRULFDO�DYDQW�JDUGH·V� DWWHPSW� DQG� XQVXUSDVVDEOH� DPELWLRQ� WKDW� ODVWV� DQG�WKDW�,�ÀQG�UHDOO\�LQWHUHVWLQJ�LQ�DUW�
So what is your attempt?$V�DQ�DUWLVW�� \RX·UH� DXWRPDWLFDOO\� OLQNHG� WR� D� OHIWLVW� GLVFRXUVH�DQG�humanist ideals. Sometimes I think these ideas are too monolithic and I wanted to challenge that. Hence the whole issue of misanthropy. The fact that humanism incorporates any cultural output – however harsh or critical it might be, that it is always read as a comment or FULWLFLVP�²�LV�ZKDW�,�ZDQW�WR�FKDOOHQJH��,W·V�IXQQ\�WKDW�HYHQ�WKRXJK�P\�books take no position whatsoever they are read as criticism.
How do you handle the fact that everything that is produced in the art world, HYHQ�LI�LW�LV�D�FULWLTXH��RU�D�FULWLTXH�RI�D�FULWLTXH��LV�LPPHGLDWHO\�DEVRUEHG"
Well, it also happens to my products. My attempt is to make certain kinds of statements and to create an output that is not absorbed too HDVLO\��%XW�P\�ERRNV�FDQ�DOVR�EH�UHDG�DV�HQWHUWDLQPHQW��$QG�WKDW·V�also part of the plan: to disturb, and to bring these negativist ideas into entertainment. Entertainment is such an important issue these days and hard to get away from. With my books I also contribute WR� ÀHOGV� ZKLFK� DUH� QRW� UHDOO\� DUWLVWLF�� EXW� ZKLFK� FDUU\� RQ� WKHVH�ideas of how much dissent can be put into the mechanisms of the spectacular.
,Q�1RUZD\��,�GHOLYHUHG�VWXII�WR�UDGLR�SURJUDPV��DQG�,·YH�EHHQ�ZULWLQJ�O\ULFV� IRU� PXVLF� UHFHQWO\�� ,� DOVR� GR� VHPL�ÀFWLRQDO� WKLQJV� IRU� VRPH� 15
QHZVSDSHUV��EXW�QRERG\�NQRZV�WKDW� ,·P�WKH�RQH�GRLQJ�WKHP��6R�,�LQVHUW�PHVVDJHV�LQWR�JHQHUDO�FXOWXUH�ZLWKRXW�DQ\�VHQGHU��$QG�WKDW·V�part of my research or experimentation within the different modes of entertainment.
Your character R once thinks about doing something more evil than SDHGRSKLOLD�²�EXW�KH�FDQ·W�LPDJLQH�DQ\WKLQJ�ZRUVH��&DQ�\RX"
Writing a love story, maybe.
Time is edited in Friends as written characters are transformed into dimensional characters over ten seasons. They are the consistent over the duration, but their time is divided into episodes, and I can choose any of these predetermined paths into their lives to spend WLPH�ZLWK�WKHP��7KHUH·V�DQ�DPRXQW�RI�EDODQFH�LQ�WKH�HGLW��VRXQGWUDFN��historic idiosyncracies of New York in the 90s. Yes, the audience laughs regardless of the platform, hd-stage or otherwise, and as the slightly blurred episodes load, freeze and blur, I wonder how different LW·G�EH�WR�ZDWFK�WKHVH�HSLVRGHV�D�ZHHN�DW�D�WLPH�RQ�D�WHOHYLVLRQ��UH�UXQV��DW�GLIIHUHQW�SRLQWV�LQ�P\�OLIH��VQDSSLQJ�'9'V�RXW�RI� OHJDO�ER[�sets, re-watching and re-spending this time with Friends.
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16
-�VD\V�WKDW�KH�GRHVQ·W�PHDQ�WR�SD\�PH�FRPSOLPHQWV��DQG�KH�VSHDNV�about his dyslexia, the difference in his perception of depth and perspective. I reads out texts that he has written, compiled, published, wary of the difference between the speed of the printed page and his reading voice, trying to indicate punctuation. The deterioration of text when removed from its desired context is threatening. Perhaps the best way to preserve it is to keep it hermetically sealed, rather than expose it to the elements. Believing that curation and writing cannot be divorced, I expresses the uncertainty of purpose with which DFFXPXODWLRQ�RFFXUV��ZKHWKHU� LW� LV� LQ� WKH�ÀHOG�RI�SHUVRQDO� UHVHDUFK�or in material possessions. “Material possessions are indivisible from self esteem”, they rattle out, almost as a platitude.
J explains his attraction to geometric forms as a kind of invisibility as artist, but I points out that geometric substantiation carries as heavy a FURVV�DV�WKH�ORDWKVRPH�LGHQWLÀFDWLRQ�DV�SHUIRUPDQFH�DUWLVW��KLVWRULFDOO\��there are associations. There are forty-eight years between I and J, and there are differences beyond the fundamental linguistic divide.
I has trouble perceiving the effect of dyslexia. He thinks about the process of visualising; architectural structures from plans, theatre from PDTXHWWHV�DQG�VFULSWV��DQG�H[KLELWLRQV�IURP�FDWDORJXH�UHSURGXFWLRQV��
17
,QWHQW�RQ�UHVHDUFK�²�D�FRQVLGHUHG�FULWLTXH�²�KH�EHJLQV�WR�JR�WKURXJK�-·V�DUFKLYH��DZDUH�RI�-·V�NLQGQHVV�DQG�HQWKXVLDVP��7KHUH�LV�D�FOHDU�LGpH�À[H�²�0|ELXV�VWULSV��,W�DSSHDUV�LQ�GUDZLQJV��ZDWHUFRORXUV��GLJLWDO�collages, and there are videos where the strips have been fabricated. The strips are held by two people, or draped on two poles or a fence, RU�ODLG�ÁDW�RQ�WKH�JURXQG��-�WHOOV�PH�WKDW�WKH\�ÀW�LQWR�D�VXLWFDVH�ZKLOH�travelling, and I ask to see these strips, the big ones. He carries a suitcase down stairs, and there are twenty-eight of the ten metre 0|ELXV�VWULSV�LQ�KHUH�
They are made of indian silk, each one in two colours. They are folded neatly. The colours are very vibrant, and J has stitched them together. ,�ORRN�DW�WKHP�DQG�,�DP�VWUXFN�GHHSO\�E\�WKH�PDWHULDOLW\�RI�WKHP��ÁDFFLG�DQG�GHÁDWHG�RQ�WKH�JURXQG��,�EHJLQ�WR�XQIROG�WKHP�DQG�WKLQN�DERXW�WKH�stitching, how they have transferred from drawn mathematical form to SK\VLFDO�REMHFW��,�FDQ�VHH�WKH�VHDPV�WKDW�-�KDV�VWLWFKHG��7KH�VL]H�DQG�GLVWDQFH�IURP�WKH�KXPDQ�VFDOH�LV�D�VWUDQJH�IHHOLQJ��DQG�WKHVH�REMHFWV�have travelled and been handled by different places and people. This is literally fabrication of an idea, I smile to myself. In speaking back WR�-�DERXW�LW��,�FDQ·W�KHOS�EXW�UHDG�WKH�RHXYUH�IURP�WKH�SHUVSHFWLYH�RI�KRZ�WKLV�LGpH�À[H�SHUIRUPV�
7KLQNLQJ�RI�FRQWHPSRUDULHV��WKH�FRORXU�PDNHV�PH�WKLQN�RI�'�%��ZKLOH�WKH�SHUIRUPDWLYH�QDWXUH�RI�WKHVH�VWULSV�PDNHV�PH�WKLQN�RI�+�+·V�HDUO\�ZRUN��EHIRUH�KH�EHFDPH�V\QRQ\PRXV�ZLWK� LQVWLWXWLRQDO�FULWLTXH�� ,·P�DZDUH� WKDW� HYHU\� RWKHU� VKRZ� LQ� WKLV� VSDFH� KDV� LQFOXGHG� -·V� ZRUN�alongside that of international contemporaries, and wonder what my role is, making a solo show here in a space which so richly carries -·V� WUDFH��$ZDUH�RI� WKH�EXLOGLQJ�DV�YHVVHO��DZDUH�RI� WKH�XQPRYDEOH�DUFKLYH�DQG�VWRUDJH�LQ�WKH�IRUP�RI�D�ODUJH�VWHHO�FXEH�RI�ÀOLQJ�FDELQHWV��LW·V�LQVHSDUDEOH�IURP�UHJLRQDO�FXOWXUH�JHRJUDSK\�DQG�WKH�DXGLHQFH�RI�an institution.
,� WKLQNV�DERXW�)·V�$UW� DQG�2EMHFWKRRG��DQG�$�*·V� FULWLTXH�RI�%DEDU�as insidious imperialist, which is of course a demonstration of high Fauvism. I soon arrives at the subheading Literalist Fauvism, and early schematics indicate that the space will be blue – a Blue Period. The show is titled Three Gorges, because I is constantly aware of EHLQJ� RULHQWDO� �$XVWUDOLDQ� %RUQ�&KLQHVH���$� VHULHV� RI�PRGLÀFDWLRQV�and performances occur over a month as a yearlong show begins.
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As I left Hamilton Hall for the rally, I met a student of mine who had EHHQ�SDUWLFXODUO\�DFWLYH�RQ�FDPSXV�DQG�ZKR�DVVXUHG�PH�WKDW�*HQHW�ZDV�LQGHHG�JRLQJ�WR�VSHDN�DQG�WKDW�KH��WKH�VWXGHQW��ZRXOG�EH�*HQHW·V�simultaneous interpreter.
It was an unforgettable scene for two reasons. One was the deeply PRYLQJ� VLJKW� RI�*HQHW� KLPVHOI��ZKR� VWRRG�DW� WKH� FHQWHU� RI� D� ODUJH�crowd of Panthers and students—he was planted in the middle of the steps with his audience all around him rather than in front of him—GUHVVHG� LQ� KLV� EODFN� OHDWKHU� MDFNHW�� EOXH� VKLUW�� DQG�� ,� WKLQN�� VFUXII\�MHDQV��+H�VHHPHG�DEVROXWHO\�DW� UHVW�� UDWKHU� OLNH� WKH�SRUWUDLW�RI�KLP�E\� *LDFRPHWWL�� ZKR� FDWFKHV� WKH� PDQ·V� DVWRXQGLQJ� FRPELQDWLRQ� RI�storminess, relentless control, and almost religious stillness. What ,�KDYH�QHYHU�IRUJRWWHQ�ZDV�WKH�JD]H�RI�*HQHW·V�SLHUFLQJ�EOXH�H\HV��WKH\�VHHPHG� WR� UHDFK�RXW�DFURVV� WKH�GLVWDQFH�DQG�À[�\RX�ZLWK�DQ�enigmatic and curiously neutral look.
The other memorable aspect of that rally was the stark contrast EHWZHHQ� WKH� GHFODUDWLYH� VLPSOLFLW\� RI� *HQHW·V� )UHQFK� UHPDUNV� LQ�VXSSRUW�RI�WKH�3DQWKHUV��DQG�WKH�LPPHQVHO\�EDURTXH�HPEHOOLVKPHQW�RI�WKHP�E\�P\�HUVWZKLOH�VWXGHQW��*HQHW�ZRXOG�VD\��IRU�H[DPSOH��´7KH�EODFNV�DUH�WKH�PRVW�RSSUHVVHG�FODVV�LQ�WKH�8QLWHG�6WDWHV�µ�7KLV�ZRXOG�HPHUJH� LQ� WKH� WUDQVODWRU·V�FRORUIXO�RUQDPHQWDWLRQ�DV�VRPHWKLQJ� OLNH�“In this motherfucking son-of-a-bitch country, in which reactionary FDSLWDOLVP�RSSUHVVHV�DQG�IXFNV�RYHU�DOO�WKH�SHRSOH��QRW�MXVW�VRPH�RI�WKHP��HWF��HWF�µ�*HQHW�VWRRG� WKURXJK� WKLV�DSSDOOLQJ� WLUDGH�XQUXIÁHG��DQG� HYHQ� WKRXJK� WKH� WDEOHV�ZHUH� VXIÀFLHQWO\� WXUQHG� WKDW� WUDQVODWRU�and not speaker dominated the proceedings, the great writer never so much as blinked. This added to my respect and interest in the PDQ��ZKR�ZDV�VZHSW�DZD\�ZLWKRXW�D�ÁRXULVK�DW� WKH�HQG�RI�KLV�DOO�WRR�EULHI� FRPPHQWV�� +DYLQJ� NQRZQ� *HQHW·V� OLWHUDU\� DFKLHYHPHQWV�through teaching 1RWUH�'DPH�GHV�ÁHXUV and 7KH�7KLHI·V�-RXUQDO, I was surprised at what appeared from a distance to be his immaculate
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PRGHVW\�� TXLWH� GLIIHUHQW� IURP� WKH� YLROHQW� DQG� HFFHQWULF� VHQWLPHQWV�attributed to him by his translator, who allowed himself to ignore what *HQHW�VDLG�GXULQJ�WKH�UDOO\�LQ�SUHIHUHQFH�IRU�WKH�ERUGHOOR�DQG�SULVRQ�scatology of some of the plays and prose writings.
Notwithstanding his repeated betrayals and his claims to GLVSDVVLRQDWH�PHDQQHVV��*HQHW·V�ZULWLQJ�DOVR�UHFRUGV�WKH�HPHUJHQFH�of a recognizable and indeed strongly marked social being with real, albeit threatened, bonds connecting him to people and ideas. In part WKLV� LV� EHFDXVH�*HQHW�� WKH� FKDUDFWHU� ZKRVH� DGYHQWXUHV� DUH� EHLQJ�WROG��ZDQWV�KLV�UHDGHUV�WR�JHW�D�SUHWW\�ÀUP�JULS�RQ�ZKR�DQG�ZKDW�KH�LV��IRU�DOO�KLV�ZDQGHULQJ�GHOLQTXHQF\�DQG�VXUSULVLQJ�YDJDERQGDJH��+H�VWDQGV�IRU��DQG�LQ�IDFW�EHFRPHV��WKH�RXWFDVW�XQFRQÀQHG�E\�RUGLQDU\�VRFLDO�IRUPDOLW\�RU�́ KXPDQµ�QRUPV��%XW�LW�LV�DOVR�WUXH�WKDW�*HQHW·V�ZRUN�LV�XQGHQLDEO\�LQÁXHQFHG�E\�WKH�KLVWRU\�DQG�WKH�SROLWLFV�RI�KLV�WLPH��LQ�WKDW�VHWWLQJ�DQG�WKURXJKRXW� WKDW�ZRUOG�*HQHW·V�DGGLFWLRQ�WR�EHWUD\DO�is a clearly perceptible element. Far from occurring in the abstract, however, it is interpretable as part of his radical politics, which have allied him with Black Panthers, Algerians, and Palestinians. To betray them is not to abandon them exactly, but to retain for himself the right not to belong, not to be accountable, not to be tied down.
'RHV�KLV�ORYH�IRU�WKH�3DOHVWLQLDQV�QHYHUWKHOHVV�DPRXQW�WR�D�NLQG�of overturned or exploded Orientalism? Or is it a sort of reformulated FRORQLDOLVW�ORYH�RI�KDQGVRPHO\�GDUN�\RXQJ�PHQ"�*HQHW�GLG�DOORZ�KLV�love for Arabs to be his approach to them, but there is no indication that he aspired to a special position, like some benevolent White Father, when he was with them or wrote about them. On the other hand, he never tried to go native, be someone other than he was. There is no evidence at all that he relied on colonial knowledge or lore to guide him, and he did not resort in what he wrote or said to cliches about Arab customs, or mentality, or a tribal past, which he might have used to interpret what he saw or felt.
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repetition:
7KH�OLIHVW\OH�SHUSHWXDWHG�LQ�P\�ÀUVW�ZHHNV�KHUH�ZDV�LQ�WKH�LPDJLQDU\�VSLULW�RI�TXLQWHVVHQWLDO�IUDQFH��VLQFH�QRQH�RI�XV�DUH�ÁDPH�EHDUHUV��we walk the half marathon, where a supper transitions us from dim light to midnight. We start eating more pudding.
The air in here still smells like butter, so I has spoken about how friends have spoken about J/C cook books, the magnetism of butter, folding entire blocks between layers of pastry. J admits to being a FLQHSKLOH�VR�WKH�ORRN�ZH�H[FKDQJH�PXVW�EH�DERXW�%�%��ZLWK�0�%·V�use of butter as lubricant. A, B, I explain to J who N/L is, her recent struggles in the media. A and B are not fans, savaging her, so I feels like a sole defender. A and B criticise her sexualised antics for the camera, retching domestic goddess, and B attempts a poorly gauged imitation, breathy and all hands. I performs much more convincingly, much less fey, and the fracture of language allows the conversation to progress as J asks if her character would be WKH� DSW� XVH� RI� WKH� ZRUG� ¶VOLP\·�� ZKLFK� UROOV� *HUPDQLFDOO\� RII� KLV�tongue. Of course, we are speaking again about real estate, the mill around the hill belongs to the C family, and we nod approval for WKH�&�VKRS�OLNH�D�FRQIHVVLRQDO�WR�GHVLJQ�REMHFWV��%�WDONV�DERXW�0UV�&�&·V�/DQJXHGRF�5RXVVLOORQ�FRRNERRN��$OO� WKH�%ULWLVK�KDV�D�FRS\��and they are intractably driven to living in this region. They desire the gossip and trend, and B drips with disdain at the vogues that VKLIW�D�EXWFKHU·V�SULFHV�DQG�GLVSOD\V��
,� IHHOV� JODG� KH� LVQ·W� SDUWLFXODUO\� VTXHDPLVK� DERXW� QRVH�WR�WDLO�cooking, which is as recent a revelation in his life as a penchant for bio products and vegetarianisch foods. I is pretty lost, in a state of constant rearticulation about beliefs. He has reached an age where he is acting age appropriate, rather than older than he is. I is constantly touching against failure in language or its reproduction.
8SRQ�DUULYDO��-�KDG�UHOD\HG�WKDW�WKH�YDOOH\V�RI�YLQHV�DUH�QHZ��RQO\�RQH� KXQGUHG� DQG� ÀIW\� \HDUV� ROG�� DQG� ,� FDQ� XQGHUVWDQG� WKHP� DV�essential to the landscape much like the terraced rice paddies are in china. The steeper the hill that the grapes grow on, the better they DUH��DQG�,�DQG�-�DUH�GULYLQJ�LQWR�WKH�YDOOH\�ÁRRU�LQ�WKLV�ZLQH�ERZO�IRU�the middle class. Bordeaux is for the bourgeois and Languedoc-Roussillon, where we are, is good but not great. I watched Babar on the plane over and was so concerned with the embedded imperialism, and the humanistic tendencies of the animals.
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,�ÀQGV�D�VWRUH�IRU�OLWWOH�JROG�ULQJV�DQG�,�EX\V�RQH�IRU�HYHU\�WRH�KH�KDV��0RYLQJ�DFURVV�WKH�WDUNHWW�ÁRRU�,�KDV�ODLG�RXW�LQ�-·V�DWHOLHU��,·V�EDUH�IHHW�SXOO�DJDLQVW�WKH�HQGV�RI�WDSH�ZKLFK�FDUHOHVVO\�KROG�down the tarkett, tape stuck to the toe and the ring, but when it is not pulling away, I thinks of the ring as an additional nail, wrapping the circumference of the toe crevasse. I sits for a while ÁH[LQJ� DQG� UHWUDFWLQJ� KLV� WRHV�� VR� WKH� UK\WKP� RI� WKH� ULQJ� DQG�the nail striking the ground are not sympathetic – it becomes complex.
7KH� SRXUHG� FRQFUHWH� ÁRRU� XQGHU� WKH� WDUNHWW� LV� KDUG� DQG�HYHQWXDOO\� KXUWV� KLV� KLS� ²� LW� GRHVQ·W� EHQG�RU� IROG� DV� KH� ODQGV��DQG�KH�FDQ·W�VSULQJ�RII�LW�HLWKHU��7KHUH�LV�WKH�XSSHU�VHFWLRQ�DQG�WKH�ORZHU�VHFWLRQ��GLYLGHG�E\�VRPH�VWHSV��,�GRHVQ·W�XVH�WKH�EDFN�VHFWLRQ�DQG�,�GRHVQ·W�DVN�KLPVHOI�ZK\��:KDW�DP�,�PRYLQJ�DURXQG�for, I thought, thinking not only about the idea of choreography, but also why I had come to the south of France to do so. He OHDYHV� WKH� VWXGLR� DQG� EHJLQV� ZDONLQJ� LQ� WKH� ÀHOGV�� ZHDULQJ�gloves to touch the old grapevines. He walks up the hill towards 1RWUH�'DPH�GH�1D]DUHWK�DQG�SXOOV�RXW�D�ÀHOG�RI�����\HDU�ROG�JUDSHYLQHV��PDNLQJ�SDSHU�VTXHH]HV�²�PDVNV�²�RI� WKH�JQDUOHG�YLQHV� ZLWK� ZKLWH� FRWWRQ� SDSHU�� +H� ZDWHUV� WKHP� LQ� -·V� VWXGLR�until they disintegrate, at which point he pulls up the tarkett and disposes of it in the dumpster.
7KH�ÀUVW�QLJKW��,�WULHV�WR�H[SODLQ�KLV�ZRUN�DV�VFRUH�EDVHG��WR�GR�ZLWK�QRWDWLRQ��+H�WDONV�DERXW�WKH�GLVWDQFH�EHWZHHQ�SURMHFWLRQ�DQG�UHDOLW\��DQG�HFKRHV�ODQJXDJH��WKDW�KH·V�PDNLQJ�gesamtkunstwerk, EXW� WKLV� LV�D�FRPPRQO\�PLVLQWHUSUHWHG�SKUDVH�� ,Q�KLV�GHÀQLWLRQ��each total-art-work is supposed to exist as a complete in itself. J lifts the gingham tablecloth from under the pewter candleabras and notes that there is a steel topological form supporting the glass tabletop, J says that in a way this whole suite of buildings is his gesamtkunstwerk, this is his lifetime, and I thinks that the innate resistance to this idea comes from the absorption of historic architectural style necessary to do so. Nights later, A and B are speaking against the anachronism of besser blocks in the region, that the French allow property to deteriorate, the English have been hungry to buy holiday houses that are neglected, but WKH�*HUPDQ�DQG�'XWFK�DUH�H[WUHPHO\�WDVWHIXO�DQG�PHWLFXORXV�LQ�their renovations.
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7KHUH�DUH�FDYHV� WKDW�ZH�GRQ·W�YLVLW��EHFDXVH�ZH�ZRXOG� OLNH� WR�VWD\�FOHDQ��,W·V�QRW�VR�GLIIHUHQW�IURP�P\�H[SHULHQFH�DERYH�JURXQG��,�KDYH�QR�QHHG�WR�SXVK�P\�ERG\�LQWR�SODFHV�LW�GRHVQ·W�QHHG�WR�EH��
The caves we visit are lit in lush colours we look at from viewing SODWIRUPV�� ,PDJHV�� ÀJXUHV�DUH� LGHQWLÀHG� LQ�FROXPQV��FRORQQDGHV�RI�URFN�� OLNH� IRUPLQJ�PHDQLQJ� IURP�D� FDUWRRQ�DQLPDO·V� EHKDYLRXU� RU� D�rutting pantomime. But our guide P turns out the lights to remind XV�WKDW�ZH�DUH�XQGHUJURXQG��,W·V�D�EODFNRXW��,Q�D�WKHDWUH��D�EODFNRXW�occurs when the house lights are extinguished and the stage lights DUH�RXW��7KHQ�ÁXRUHVFHQW�OLJKWV�DW�WKH�IURQW�RI�WKH�VWDJH�FDQ�GLP�DQG�force the audience to believe in total darkness. Size and scale are GHOLYHUHG�E\�FRPSDULVRQV�WR�FDWKHGUDOV�,�GRQ·W�NQRZ��3HUKDSV�WKLV�LV�apt.
,W·V�HDV\�WR�IRUJHW�WKDW�WKH�ULYHU�UXQV�XQGHUJURXQG�DV�ZHOO�DV�DERYH��A gorge is eaten out, cut through by the river, and in caves the same has happened, but there is less light, I guess. Water transforms on a different timeline. The caves are lit in pinks and blues, and of course we think about how museums exhibit artefacts, how decay or growth EHFRPH�¶JODFLDO·�
From my belt I take a small sounding hammer, it can climb mountains ZLWK�PH��,�FKLVHO�FUDFNV�LQWR�WKH�ÁRRU��DOZD\V�IDFLQJ�1RUWK�
The yellow pillow has small pills of dark lint, and shoving it towards my feet, I pivot my body towards the screen, focusing on the dam. My belly was against the sheets and I pulled myself up into the cobra SRVH�²�EKXMDQJDVDQD��7KH�FREUD�SRVH�LV�QRW�SHUIHFW��P\�H\HV�GUHZ�down to the screen as I breathe and hold and I am not dressed. I tilt P\�SHOYLV�DJDLQVW�WKH�EHG�DQG�WKH�YRLFHRYHU�WHOOV�PH�WKDW�ZDWHU�LV�MDGH�green from submerged foliage or pollution.
7KH�WLOHG�ÁRRU�ZLOO�RIIHU�PRUH�UHVLVWDQFH�IRU�\RJD��,�MXVW�OLH�RQ�WKH�EHG�
7KLV�GRFXPHQWDU\�LV�YHU\�FULWLFDO�RI�WKH�&KLQHVH�JRYHUQPHQW�ÁRRGLQJ������\HDUV�RI�KLVWRU\��WKH�ZD\�LW�GLVSODFHV�DQG�ÁRRGV�D�PLOOLRQ�SHRSOH�and the archaeological sites of their home. Built on a fault line, WKH�GDP� LV�DOUHDG\�FUDFNLQJ�� ÀVVXUHV�YLVLEOH�RQ� WKH�VXUIDFH��2RSV��The hydro-electric generator is the future, but now they mention ODQGVOLGHV��XQLTXH�HFRV\VWHPV�GHVWUR\HG��,�ZRQGHU�ZKDW�WKLV�ZLOO�GR�to the property value.
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7KLV� \HDU�� WKH� VKLS� OLIW� LV� SURMHFWHG� WR� EH� FRPSOHWHG� DW� WKH� WKUHH�gorges dam. What is the difference between a gorge and a canyon? three canyons.
¶GUHDPOLNH�IDGLQJ�LQWR�WKH�PLVWGUDJRQJDWH�OHVVHU�JRUJH·
polemic, endemic loneliness. The ship lift is hydraulic too, the lock RXW�RI�ZDWHU�OLIWLQJ�OLIWV�RXW�WKH�VKLS�WR�WKH�XSSHU��DQG�WKHQ�WKHUH·V�WKH�lower. When the dam is closed, the ship is carried up or down the VLGH�DQG�DOORZHG� WR�FRQWLQXH��7KLV� LV�KRZ�\RX�À[�D�VKLS��À[LQJ� LWV�course or sinking it, a sinkhole in the crust which water shoots out of.
<HW�WKRVH�ZKR�ZRXOG�EXUQ�´%DEDUµ�PLVV�WKH�WUXH�VXEMHFW�RI�WKH� ERRNV��7KH�GH�%UXQKRIIV·� VDJD� LV� QRW� DQ�XQFRQVFLRXV�expression of the French colonial imagination; it is a self-conscious comedy about the French colonial imagination and its close relation to the French domestic imagination. The gist of the classic early books of the nineteen-thirties—“The Story of Babar” and “Babar the King,” particularly—is explicit and intelligent: the lure of the city, of civilization, of style and order and bourgeois living is real, for elephants as for humans. The costs of those things are real, too, in the perpetual care, the sobriety of effort, they demand. The happy effect that Babar has on us, and our imaginations, FRPHV�IURP�WKLV�NQRZOHGJH³IURP�WKH�FKLOG·V�VWURQJ�VHQVH�
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that, while it is a very good thing to be an elephant, still, the life of an elephant is dangerous, wild, and painful. It is therefore a safer thing to be an elephant in a house near a park.
%XW� WKH� HOHSKDQW�ZDV� RQ� WKH�ZDOO� RI� D� OX[XU\� VKLS��7KH� FKLOGUHQ·V�GLQLQJ�URRP�RI�WKH�66�1RUPDQGLH�ZDV�GHFRUDWHG�E\�GH�%UXQKRII��,W·V�GLVPDQWOHG�QRZ��DQG�LW·V�VXQN��%�VSHDNV�DERXW�SHGDJRJ\�LQ�PXVHXPV�transcending the patronisation of children with low hanging work, reductive phone apps. How should one interface with work? B recalls KDOF\RQ�GD\V�RI�GHYHORSLQJ� WKH�FKLOGUHQ·V�PXVHXP� LQ�$PVWHUGDP��inviting illiterate Moroccan migrants to recreate an authentic village inside the museum. This was then used to manufacture an authentic experience for visiting children, live music and activities, ending with a communal glass of mint tea. I raises the issue that by selling an authentic immersion, B risks turning Morocco into a theme park. Is it not better for opinions to grow from the authenticity of place, which resists transformation into a museum by the sheer volume of DUFKLYH"�%�FLWHV�WKH�GLIIHUHQFH�LQ�FODVV��VWUXFWXUH��D�VRUH�VXEMHFW�IURP�,·V�WLSV\�SURFODPDWLRQ�WKDW�\RXWK�KDYH�WRR�PDQ\�RSSRUWXQLWLHV��
´)DQV�RI�-HDQ�GH�%UXQKRII·V�%DEDU�WKH�(OHSKDQW�VWRULHV�DQG�\RJD�SUDFWLWLRQHUV� ZLOO� ÀQG� D� KDSS\� FRQÁXHQFH� LQ� %DEDU·V� <RJD� IRU�Elephants.” —Publishers Weekly
Perfect for everyone who loves yoga or elephants - a NEW Babar book
Well before yoga became fashionable via Sting and Madonna, our IULHQG�%DEDU�DQG�DOO�WKH�UHVLGHQWV�RI�&HOHVWHYLOOH�ZHUH�ÀQGLQJ�SHDFH�DQG�WUDQTXLOOLW\�WKURXJK�\RJD��$QG�QRZ�HOHSKDQWV�HYHU\ZKHUH�FDQ�MRLQ� WKHP�� 7KURXJK� HDV\�WR�IROORZ� LQVWUXFWLRQV� DQG� VWHS�E\�VWHS�illustrations, %DEDU·V� <RJD� IRU� (OHSKDQWV presents 15 positions and stretches as well as helpful breathing exercises. The book also provides useful advice on what to do with your trunk while in position, a dilemma that human yoga books often ignore. Written by Babar himself, the book explains how yoga was introduced to &HOHVWHYLOOH�DQG�KRZ�KH�DQG�&HOHVWH�NHHS�ÀW�GRLQJ�\RJD�RQ�WKHLU�many travels. %DEDU·V�<RJD�IRU�(OHSKDQWV is a classic for elephants as well as their human friends.
+RZ�ORQJ�KDYH�\RX�EHHQ�SUDFWLFLQJ�\RJD"�'R�RWKHU�PHPEHUV�RI�\RXU�family practice yoga too?
I started practicing yoga in Paris 25 years ago with the Indian master Sri Mahesh. Since 1985, when I came to live in the U.S., I have practiced by myself every morning. Only one other person in my family practices yoga: my niece, Isabelle. I introduced her to Mahesh and she is now a yoga instructor. Her book, for which ,�ZURWH�WKH�SUHIDFH��/LNH�D�)LVK�LQ�:DWHU��<RJD�IRU�&KLOGUHQ��ZDV�published in New Zealand in 1998 and in the U.S. in 1999. Isabelle ZURWH� KHU� ERRN� WR� KHOS� KHU� GDXJKWHU� SUDFWLFH� \RJD�� EXW� ,�ZDVQ·W�28
thinking about children when I wrote my book.
'LG�\RX�EDVH�WKH�FKDUDFWHU�RI�,VDEHOOH�LQ�\RXU�ERRNV�RQ�\RXU�QLHFH",W·V�WUXH�WKDW�%DEDU�DQG�&HOHVWH·V�OLWWOH�JLUO�LV�FDOOHG�,VDEHOOH�EHFDXVH�RI�P\�QLHFH��VKH�ÀUVW�DSSHDUV�� LQ������� LQ�%DEDU·V�/LWWOH�*LUO��EXW�her character is not based on my niece.
+RZ�GLG�%DEDU·V�<RJD�IRU�(OHSKDQWV�FRPH�DERXW"I was doing some little pencil sketches for my wife, Phyllis Rose, to help her get started with yoga (which she never did!) and she VDLG��´:K\�GRQ·W�\RX�GR�WKDW�ZLWK�HOHSKDQWV"µ�,�ZDV�VR�H[FLWHG�WKDW�I started immediately. Phyllis wrote the story--how the elephants started practicing yoga--while I was working on the elephant drawings.
'RHV�%DEDU�KDYH�D�IDYRULWH�\RJD�SRVLWLRQ"%DEDU�GRHVQ·W�KDYH�RQH�IDYRULWH�SRVLWLRQ��DQG�QHLWKHU�GR�,��,W·V�WKH�VXFFHVVLRQ�RI�WKH�GLIIHUHQW�SRVHV�WKDW·V�LPSRUWDQW�
:KDW�GR�\RX�KRSH�UHDGHUV�ZLOO�WDNH�DZD\�IURP�%DEDU·V�<RJD�IRU�(OHSKDQWV",� EHOLHYH� WKDW�� DOWKRXJK� ,� GLGQ·W� GR� WKH� ERRN� IRU� WKHP�HVSHFLDOO\��FKLOGUHQ�ZLOO�HQMR\�WU\LQJ�WR�FRS\�%DEDU��DV�KLV�RZQ�NLGV�GR��$GXOWV�ZKR�SUDFWLFH�\RJD�ZLOO�EH�DPXVHG��DQG�WKRVH�ZKR�GRQ·W�PD\�VD\��´,I�DQ�HOHSKDQW�FDQ�GR�LW��DQG�HQMR\�LW��ZK\�FDQ·W�,"µ
<RX�KDYH�ZULWWHQ�RYHU����%DEDU�ERRNV��'R�\RX�WKLQN�%DEDU�KDV�FKDQJHG"%DEDU�KDVQ·W�FKDQJHG�IURP�RQH�ERRN�WR�DQRWKHU��KH�LV�DOZD\V�WKH�VDPH��:K\�VKRXOG�KH�FKDQJH"�,�DP�KDSS\�ZLWK�KLP��,�GRQ·W�ZDQW�KLP�WR�FKDQJH��DQG�,�GRQ·W�WKLQN�WKH�UHDGHUV�ZRXOG�OLNH�LW�HLWKHU�
29
= == =
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the lights have shifted over the last seventy-one minutes from ÁXRUHVFHQW�WXEHV�WR�WXQJVWHQ�ODPSV�ZLWK�FROG�JHOV�RQ�WKHP��LW�LV�FROG�to a more focused cold. progressively, the audience changes colour; OLJKW�KDV�IDGHG�IURP�EDQN�WR�EDQN�� LW�GRHVQ·W�VKLQH�IURP�DERYH�EXW�ERXQFHV�RII�WKH�OLW��OXVK�SLQN�VWDJH�ÁRRU�VR�ZH�DUH�DUWLÀFLDOO\�ÁXVKHG��WKH�ÁRRU�LV�PDQ\�VKHHWV�RI�SDLQWHG�PGI�DQG�LYDQ�ORRNV�DW�WKH�EUXVK�strokes and worries about the life of these materials when the season ends, which is now. a slim man has been making the sound while on stage. we think he might be Japanese, and he is dressed in a slim-cut black t-shirt and tapered maroon trousers. he steps forward with the two dancers, and they bow, graciously accepting the applause, and, standing in the centre, he puts his two arms around the two women as their collaboration is applauded.
the two women are nude and smiling as the accept an ovation, and WKH\�EDUHO\�ERXQFH�DV�WKH\�MRJ�WR�WKHLU�GUHVVLQJ�URRP��WKH�DXGLHQFH�slowly attenuates and deb parses the program, until all that is left are our bodies in the front row and a group who are understood to be friends of the company. they are probably choreographers, ivan thinks, because they look like they want to control bodies in space.
DQ�HQHUJHWLF�ZRPDQ��GHE�KDV�H[SHULHQFH�LQ�PDQ\�ÀHOGV�EXW�ZRUNV�DV�D�OLEUDULDQ�IRU�DUWLVWLF�LQVSLUDWLRQ��ZKLFK�LV�D�ÀHOG�WKDW�VKH�FRQWLQXHV�WR�tease out while personally forming a way to archive her own history. for the moment, ivan forgets his suspicion of speaking his opinions,
30
ZKLFK� KH� KDV� EHHQ� TXDVKLQJ� EHFDXVH� KH�ZRQGHUV� ¶why i have a GHVLUH�WR�GHPRQVWUDWH�FULWLFDOLW\�ZKHQ�,�FDQ·W�\HW�GLYRUFH�LW�IURP�P\�ego·�
a large pink rat crawls out of the new york street gutter and greets the two of them. the rat has a few paws too many, but ivan and deb GRQ·W�UHDOO\�QRWLFH��WKH\�FKRRVH�QRW�WR�EH�GLVFULPLQDWH��DQG�DV�WKH�UDW�skitters around a lamp post, their eyes follow her. they walk a little closer, and are on either side of the lamp post with their rat friend pattering circles around their feet and they successively make eye contact with each other. their pink friend tells ivan that he should also be suspicious of the problems in the transmission of thoughts from the mind to spoken phrase, and the way images might be damaged in their transference from frame to frame. deb has already proclaimed her love of the movement language, and ivan accepts this because he know that deb loves the company in which the dancers met. he thinks the work was interesting because RI� WKH� DFNQRZOHGJHPHQW� RI� SRUQRJUDSK\� DV� ÀOPHG�� PLQLPDOLVW�choreography is relevant, especially in light of the way it is structured and soundtracked.
�WKHUH�DUH�PHPRUDEOH�LPDJHV�ZKLFK�DUH�DOZD\V�GLIÀFXOW�WR�GHVFULEH��the blasé glassiness with which one leans a slim torso back so that the thick sheet of cobalt sandpaper in the back pocket of overalls chafes against the cotton drill. the two performers are mostly nude before us, naked for most of the evening but for motorcycle boots, sometimes axes, wielding the blades to sluice logs or scrape at pubic hair. everyone-body here knows that they met dancing in dg, the Brussels company of a Berlin resident who left North America, and we nod to themselves that you can tell from the way the body is used DQG�LVRODWHG��,�WKLQN�TXLFNO\�DERXW�'�/��D�\RXQJ�$PHULFDQ�ZKR�,�VDZ�in residence at deSingel in Antwerp, and how the work I saw struck me as the most apt vessel for revealing those performers, three young women who took turns wearing glasses with a small camera on them, looking at each other, moving, a gaze is a gap is a ghost.)
%XW� VHHLQJ� WKHVH� ROGHU� ZRPHQ� FROODERUDWH�� EXLOGLQJ� WKHLU� ¶VKDUHG�NDOHLGRVFRSLF�ERG\·�,�WKLQN�DERXW�ZK\�WKLV�\RXQJ�PDQ�ZDV�DOORZHG�to invisibly construct meaning from them moving around the space.
LYDQ�VLOHQWO\�JLYHV�SHUPLVVLRQ�IRU�D�ORW�RI�WKLQJV�WR�KDSSHQ�WKDW�KH·V�not sure about, and regret the lack of grace with which I try to control this consent. The women performing bind themselves unnecessarily
31
with bits of rope and tether, grinding from there, and I think about the most ambivalent bondage I can think of, which is +�0� WLHG�XS�E\� WHHQDJHUV� LQ� WKH�ÀOP�Teaching Mrs Tingle. 7R� H[WUDFW� SORWSRLQWV� IURP� WKLV� ÀOP�� D� KLVWRU\� VWXGHQW� LV�unfairly graded due to linguistic semantics and melodrama LQ�KHU�PDMRU�SURMHFW��D�KDQGERXQG��KDQG�SHQQHG�GLDU\�RI�DQ�accused witch in Salem. Corrections in the character use of the word ironic recur in the dialogue.
M/F is asked:
,V� LURQ\�¶WKH�YRLFH�RI�WKH�WUDSSHG��ZKR�KDYH�FRPH�WR�HQMR\�WKHLU�FDJH"·
In this so-called post-ironical age you have to understand irony as a way of speaking that is impossible to neglect, because there simply are some phenomena you cannot possibly speak of without irony. Think of all the art institutions – is it really possible not to be ironic if you are participating and at the same time know how they DUH�ZRUNLQJ"�,URQ\�FRQWDLQV�ERWK��WKH�H[SODQDWLRQ�DQG�WKH�FULWLTXH�²�WZR�WRQHV�DW�WKH�VDPH�WLPH�²�DQG�WKDW·V�maybe the only way you can speak about certain issues. Some phenomena and some forms of existence require this ironical rhetoric, this double voice in order to cope ZLWK�FRPSOH[�VRFLDO�DQG�RUJDQLVDWLRQDO�VLWXDWLRQV�� ,W·V�QRW�QHFHVVDULO\�EDG�RU�LQVLQFHUH��LW·V�MXVW�DQ�LPPHGLDWH�ZD\�RI�VD\LQJ�WKDW�WKHUH�DUH�PRUH�VLGHV�WR�D�VWRU\��,W·V�very hard nowadays to take uncompromising stances because this is obviously not a solution.
= = = =
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mastering particular passiontrying to become a Bernhard character
There is no vernissage, the insect destructors UXQ�IURP�WKH�VROVWLFH�RQZDUG��7KH�ÁRRGHG�JRUJHV�drown history, the composite colours are faded into a memorial. It has become a hollow proxy, extinguishing possibility for other population – the OLW�SHUIRUPDQFH�ÀOOV�WKH�VSDFH�
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- -
LW·V�SRVW�SRUQ�ZH�DOO�PXWWHUHGWKH�KLOOV�MXVW�EORFN�RXW�WKH�VXQ�VR�it is suddenly darkit all means too much
41
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= =
I began moving my hands in circles, but GLGQ·W�NQRZ�ZK\�
it occurred to me that the gorge was empty.
I looked down and saw lines of trees and vines and smelled the cooking butter.
I forgot how to cook, or was it that I forgot how to cook like they do from the region? history and tradition has a strange place in travelling life, what can you do or think anymore?
she said to me, we are all animals there is no way you can eat yourselfbut then I is walking, a tourist on a path in the ÀHOGV�ZKLFK�DUH�HPSW\�EXW�IRU�HYHU\WKLQJ�WKDW�is there, and I thinks, A, how would you have dealt with this place if there were no trees, if somehow it was all burnt down.
the gorge has been washed out, it was blue and is now green
= =
in the theatre, the effect of a complete blackout LV�DFKLHYHG�E\�OHWWLQJ�WKH�DXGLHQFH·V�H\H�IRFXV�RQ�D�ÁXRUHVFHQW�WXEH�
I have chosen to spend two weeks in the ss normandie
44
45
<RX� SUHWHQG� \RX� GRQ·W� QRWLFH�� EXW� \RX� KDYH�� \RX·UH�
missing your fucking shadow, though there are plenty
of ways to explain it, the angle of the sun, the degree
of oblivion induced by the sun beating down on hatless
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of something like subterranean tanks of pain, the fear
of more contingent things, a disease that begins to
EHFRPH� DSSDUHQW�� ZRXQGHG� YDQLW\�� WKH� GHVLUH� MXVW� IRU�
once in your life to be on time. But the point is, your
shadow is lost and you, momentarily, forget it. And so
you arrive on a kind of stage, without your shadow, and
you start to translate reality or reinterpret it or sing it.
7KH� VWDJH� LV� UHDOO\� D� SURVFHQLXP�DQG� XSVWDJH� WKHUH·V�
an enormous tube, something like a mine shaft or the
JLJDQWLF� RSHQLQJ� RI� D�PLQH�� /HW·V� FDOO� LW� D� FDYH��%XW� D�
mine works, too. From the opening of the mine come
unintelligible noises. Onomatopoeic noises, syllables
of rage or of seduction or of seductive rage or maybe
MXVW� PXUPXUV� DQG� ZKLVSHUV� DQG� PRDQV�� 7KH� SRLQW�
is, no one sees, really sees, the mouth of the mine.
Stage machinery, the play of light and shadows, a trick
of time, hides the real shape of the opening from the
gaze of the audience. In fact, only the spectators who
are closest to the stage, right up against the orchestra
pit, can see the shape of something behind the dense
YHLO�RI�FDPRXÁDJH��QRW� WKH�UHDO�VKDSH��EXW�DW�DQ\�UDWH�
LW·V�WKH�VKDSH�RI�VRPHWKLQJ��7KH�RWKHU�VSHFWDWRUV�FDQ·W�
VHH�DQ\WKLQJ�EH\RQG�WKH�SURVFHQLXP��DQG�LW·V�IDLU�WR�VD\�
WKH\·G�UDWKHU�QRW�Meanwhile, the shadowless intellectuals are always
facing the audience, so unless they have eyes in the
EDFNV�RI�WKHLU�KHDGV��WKH\�FDQ·W�VHH�DQ\WKLQJ��7KH\�RQO\�
hear the sounds that come from deep in the mine. And
they translate or reinterpret or re-create them. Their
work, it goes without saying, is of a very low standard.
They employ rhetoric where they sense a hurricane,
WKH\�WU\�WR�EH�HORTXHQW�ZKHUH�WKH\�VHQVH�IXU\�XQOHDVKHG��
they strive to maintain the discipline of meter where
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FKHHS�FKHHS��ERZZRZ��PHRZ�PHRZ��EHFDXVH� WKH\·UH�
incapable of imagining an animal of colossal proportions,
or the absence of such an animal. Meanwhile, the stage
on which they work is very pretty, very well designed,
very charming, but it grows smaller and smaller with 46
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spoil it in any way. It simply gets smaller and smaller and
the hall gets smaller too, and naturally there are fewer
and fewer people watching. Next to this stage there are
others, of course. New stages that have sprung up over
WLPH��7KHUH·V�WKH�SDLQWLQJ�VWDJH��ZKLFK�LV�HQRUPRXV��DQG�
the audience is tiny, though all elegant, for lack of a better
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Here the capacity is huge, the hall is always full, and year
after year the proscenium grows by leaps and bounds.
Sometimes the performers from the stage where the
intellectuals give their talks are invited to perform on the
television stage. On this stage the opening of the mine
is the same, the perspective slightly altered, although
PD\EH� WKH� FDPRXÁDJH� LV� GHQVHU� DQG�� SDUDGR[LFDOO\��
bespeaks a mysterious sense of humor, but it still stinks.
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PDQ\� LQWHUSUHWDWLRQV�� ZKLFK� DUH� ÀQDOO\� UHGXFHG� WR� WZR�
IRU� WKH�SXEOLF·V� FRQYHQLHQFH�RU� IRU� WKH� FRQYHQLHQFH�RI�
WKH�SXEOLF·V�FROOHFWLYH�H\H��6RPHWLPHV�LQWHOOHFWXDOV�WDNH�
up permanent residence on the television proscenium.
The roars keep coming from the opening of the mine and
the intellectuals keep misinterpreting them. In fact, they,
LQ� WKHRU\� WKH�PDVWHUV�RI� ODQJXDJH��FDQ·W�HYHQ�HQULFK� LW�
themselves. Their best words are borrowings that they
hear spoken by the spectators in the front row. These
VSHFWDWRUV�DUH�FDOOHG�ÁDJHOODQWV��7KH\·UH�VLFN��DQG�IURP�
WLPH� WR� WLPH� WKH\� LQYHQW� KLGHRXV� ZRUGV� DQG� WKHUH·V� D�
spike in their mortality rate. When the workday ends the
theaters are closed and they cover the openings of the
mines with big sheets of steel. The intellectuals retire for
the night. The moon is fat and the night air is so pure it
seems edible. Songs can be heard in some bars, the
notes reaching the street. Sometimes an intellectual
wanders off course and goes into one of these places
and drinks mezcal. Then he thinks what would happen
LI� RQH� GD\� KH�� %XW� QR�� +H� GRHVQ·W� WKLQN� DQ\WKLQJ�� +H�
MXVW� GULQNV�DQG�VLQJV��6RPHWLPHV�KH� WKLQNV�KH� VHHV�D�
OHJHQGDU\�*HUPDQ�ZULWHU�� %XW� DOO� KH·V� UHDOO\� VHHQ� LV� D�
VKDGRZ�� VRPHWLPHV� DOO� KH·V� VHHQ� LV� KLV� RZQ� VKDGRZ��
which comes home every night so that the intellectual
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KH·V�VHHQ�D�*HUPDQ�ZULWHU�DQG�KLV�RZQ�KDSSLQHVV��KLV�
sense of order, his bustle, his spirit of revelry rest on
WKDW�FRQYLFWLRQ��7KH�QH[W�PRUQLQJ�LW·V�QLFH�RXW��7KH�VXQ�
VKRRWV�VSDUNV�EXW�GRHVQ·W�EXUQ��47
contents
p 2-3 install detail: childrens dining in the ss normandiep 5 install detail: gorges (I, II)p 6-7 room sheetp 8-10 excerpt: T Bernhard gargoyles tr. R & C Winston (1967/2006)p 11 install view: FXUWDLQ�������FKLOGUHQ·V�GLQLQJ��GDP�ZDOO�� literal fauvism Ip 12-14 A, B, I, JS������� +'�VWDJH��� 0RQRNXOWXU����0DWLDV�)DOGEDNNHQ p 16-17 install detail: FXUWDLQ�������FKLOGUHQ·V�GLQLQJ��GDP�ZDOO� literal fauvism IS������� ¶OLWHUDOLVW�IDXYLVP·p 19 install view: gorges (I, II), literal fauvism Ip 20-21 excerpt: E Said RQ�-HDQ�*HQHW·V�ODWH�ZRUNV� *UDQG�6WUHHW�,VVXH���p 22-23 install detail: gorges (II)p 24-25 install detail: deux plateaux (d.buren)S������� FDYLQJ��EDEDU��� $�*RSQLN�IUHHLQJ�WKH�HOHSKDQWV��ZKDW� Babar brought,
J de Brunhoff LQWHUYLHZ�ZLWK�QLFN�MUp 27 install detail: deux plateaux (d.buren), dam wall with 13 � � � HQJLQHHUHG�ÀVVXUHV��QRUWK�VRXWK�p 29 install detail: GDP�ZDOO�ZLWK����HQJLQHHUHG�ÀVVXUHV� (north-south)p 30-32 disguise, ny, ironyp 32-33 install detail: literal fauvism Ip 34-35 install view: curtain 1, dam wall, deux plateaux, gorges p 36-37 install view: literal fauvism II, curtain 4p 38-39 install view: OLWHUDO�IDXYLVP�,��FKLOGUHQ·V�GLQLQJ�p 40-41 install detail: FKLOGUHQ·V�GLQLQJ�RQ�WKH�VV�QRUPDQGLH
p 42-43 install view: gorges (I, II), dam wall with 13 engineered � � � ÀVVXUHV��QRUWK�VRXWK�p 44-45 install detail: gorges (I)p 46-47 excerpt: R Bolano �����tr. N Wimmer (2004, 2008)p 48-49 install detail: FKLOGUHQ·V�GLQLQJ�RQ�WKH�VV�QRUPDQGLHp 48 contentsp 49 acknowledgementsp 50-51 install detail: FKLOGUHQ·V�GLQLQJ�RQ�WKH�VV�QRUPDQGLH
+ insert text commissioned for three gorges Black Rainbows by Jack Jeweller
48
49
6LQFHUH�WKDQNV�WR�-|UJ�1HLW]HUW��-DFN�-HZHOOHU��'RULV�6FKOlSIHU��and Atelier Neitzert Heraud for their support and assistance
Established in 2000, Atelier Neitzert Heraud is dedicated to pro-moting contemporary art through its collection, organisation of exhibitions, and residencies. Within an exceptional framework for concentration and facilitating their research and creations; it be-FRPHV�D�KDYHQ� IRU�FRQWHPSRUDU\�DUWLVWV��ÀOPPDNHUV��ZULWHUV��FX-rators, and musicians of all nationalities, focusing culture in the region. By its activity and support for artists, Atelier Neitzert Heraud GHÀQHV�LWV�FRPPLWPHQW�WR�WKH�DUWV�DQG�WKHLU�LQYROYHPHQW�LQ�WKH�FXO-tural dynamisation of the Languedoc Roussillon region.
Artists previously exhibited include: Francis Alys, Lucio Fontana, Yotta .LSSH��$QGUHV�6HUUDQR��$QLVK�.DSRRU��$OH[�)OHPPLQJ��1DQ�*ROGLQ��)HOL[�*RQ]DOH]�7RUUHV�� 5R\� /LFKWHQVWHLQ�� 1REX\DVKL�$UDNL�� &DULWD� 6DYRODLQHQ��-HDQ�7LQJXHO\��%HUQDUG�6FKXOW]H��6DQWLDJR�6LHUUD��'DYLG�6KLUJOH\��2UODQ��$PDU�.DQYDU��'D\DQLWD�6LQJK��0DXULFLR�&DWWDODQ��'RXJODV�*RUGRQ��&DUVWHQ�Holler, Yousseff Nabil, Markus Schinwald, Sophie Calle, Homai Vyarawalla, Vivek Vilasini, Olafur Eliasson.
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Black Rainbows
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colour
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express t
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glessness o
f colo
ur,
it w
as used to
show
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makin
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ware
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n accessory
of sty
le w
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ts m
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ssness.
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like
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rther,
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colours
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in 3
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lacks
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ny colo
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en and w
omen.”
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ink I
get it.
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r.com
