geographic
locations.
Nevertheless please forgive the mix -up of names in my note.
To all of you, the empyre list members who are protesting now in New York City
and elsewhere - please stay safe and thank you,
Monika
On Dec 5, 2014, at 7:27 PM, Monika Weiss gnie...@monika-weiss.com wrote:
Dear
--empyre- soft-skinned space--Dear Johannes,
It feels like it’s raining around the world recently, not only in New York
City. The holiday music so disturbing anyway becomes almost apocalyptic when
faced with beautiful austerity of hand written protest signs. ’I can’t
--empyre- soft-skinned space--Ana,
When I was preparing the project in Santiago, Chile, one of the women who
worked at the Museo told me she was very happy on that one particular day,
because they found, she told me, a little finger bone that belonged to her
Kristeva calls the
“thing”. The shortcut, the residue, voice, voice over, voicing, speaking up,
voice as presence.
——
Monika Weiss
On Nov 20, 2014, at 3:57 PM, Johannes Birringer
johannes.birrin...@brunel.ac.uk wrote:
--empyre- soft-skinned space--
dear all
So
spinning of an unfilmable scenario (This is Not a Film) in his
film: I play [italics my own] at Riches — to appease/ The Clamoring for Gold
— Emily Dickinson.
Ciao,
Murat
On Tue, Nov 18, 2014 at 9:12 AM, Monika Weiss gnie...@monika-weiss.com
wrote:
--empyre- soft-skinned
--empyre- soft-skinned space--Dear Reinhold and all,
'To bear witness, it is therefore not enough to bring language to its own
non-sense, to the pure undesirability of letters… It is necessary that this
senseless sound be, in turn, the voice of something or someone
--empyre- soft-skinned space--Healing, placing shrouds over the wounded body of the world… In my native
language “shroud’ relates etymologically to a ‘kiss’ as much as it also is
about burial. Washing (lava me). Covering, lying down (keimai), enshrouding,
touching,
, but not fully mourning. What voice do they
have, she asked me. Where does it live, the voice…
http://www.artisttalk.eu/monika-weiss-us/ When we met for the second time, I
gave her “Frames of War”, the importance of asking over and over, after J.
Butler, the question ‘who is worthy of mourning’. I
hope to gradually move this week into a
new chapter of our discussion .
Monika Weiss
___
empyre forum
empyre@lists.cofa.unsw.edu.au
http://empyre.library.cornell.edu
of Contemporary Canadian Art, Toronto from few years back.]
--
So, there are just my few thoughts before I dig deeper into the past posts in
this conversation---
regards,
Monika Weiss
On Jan 20, 2013, at 12:18 AM, Johannes Birringer wrote:
dear all
the small post I sent a few days ago was meant
Thank you Johannes for these - I have been hurried in work and meanwhile the
world is falling apart, once again. Will especially look at the Turkish article
with Zygmunt Bauman references, although the New York Times and LeMonde
articles are by themselves alerting enough.
Monika
Sent from my
!
Monika Weiss
On Oct 8, 2012, at 7:07 PM, Charles Baldwin wrote:
The second week of October's -empyre- discussion will start tomorrow,
continuing with the topic of Pain, Suffering, and Death in the Virtual. The
guests will be Yael Gilks aka Fau Ferdinand and Jon Marshall. Their
biographical
that it no longer is capable to comprehend itself.
Could you expand on the pain's relationship to the body as cosmology to the
universe
Monika Weiss
On Oct 6, 2012, at 11:12 PM, Charles Baldwin wrote:
Here's the final part of the dialog (in fact, the notes below are largely by
Alan). Again
and the response-ability, from merely
institutional, towards public and dispersed among many.
Monika Weiss
On Oct 6, 2012, at 12:16 PM, Ana Valdés wrote:
I am friend to Alfredo Jaar, the Chilean born artist living in New
York since many years. I love his work, the Rwanda Project. 1994-2000
He
respond. If you don't know one of his most recent
works - a monument at Nantes, France, that celebrates the abolition of slavery,
please see it here:
http://www.gsd.harvard.edu/#/news/memorial-by-krzysztof-wodiczko-and-julian-bonder-mdess-96-to.html
Monika Weiss
Begin forwarded message:
From
the day and the time of the attack. Nothing more.
Ana
On Fri, Oct 5, 2012 at 1:24 AM, Monika Weiss gnie...@monika-weiss.com wrote:
From a text I wrote about my current ongoing this year project Shrouds.
Do cities remember? Maps of cities are flat, yet their histories contain
vertical strata
? It was a planted tree and a post
telling the day and the time of the attack. Nothing more.
Ana
On Fri, Oct 5, 2012 at 1:24 AM, Monika Weiss gnie...@monika-weiss.com
wrote:
From a text I wrote about my current ongoing this year project Shrouds.
Do cities remember? Maps of cities are flat
I wish I was there to witness it...
I think collective catharsis could be the very foundation of the political
community of citizens.
On Oct 4, 2012, at 1:51 PM, Ana Valdés wrote:
For me the lament is a kind of collective catharsis, as the mourning
itself. I has been in Palestine several
While aware of some of the lamentations explored by artists such as Martha
Graham (who is not my favorite although I have a great respect for her) -- what
I am working towards is a connection with the older, before now, before any
specific time, lamentation. My dancer actually took me to
going, Monika, a sense of grief over ones own possible
complicity, real or imagined... remorse.
On 10/4/12 5:55 PM, Monika Weiss wrote:
While aware of some of the lamentations explored by artists such as Martha
Graham (who is not my favorite although I have a great respect for her) --
what I
From a text I wrote about my current ongoing this year project Shrouds.
Do cities remember? Maps of cities are flat, yet their histories contain
vertical strata of events. Where in the topography and consciousness of a city
can we locate its memory? Maps of the Polish city Zielona Góra depict
://www.streamingmuseum.org/content/monika-weiss/
http://www.museodelamemoria.cl/expos/monika-weiss-sustenazo-lament-ii/
http://www.lehman.edu/vpadvance/artgallery/gallery/WeissbyGuyBrett.HTM
http://www.artslant.com/global/artists/show/163868-monika-weiss?tab=ARTWORKS
http://www.quasha.com/writing-2/on-art
Hi,
After posting some visual materials I think my initial introduction to the
work is done. I am happy to take it on from there and to form a dialogue
Interesting question below from Alan about the nature of video as a catalyst
for memory, pain and lament and later I would like to
http://www.artslant.com/global/artists/show/163868-monika-weiss
http://www.streamingmuseum.org/content/monika-weiss/
http://www.lehman.edu/vpadvance/artgallery/gallery/WeissbyGuyBrett.HTM
http://artnews.org/artist.php?i=5752
http://www.youtube.com/watch?v=I7GB_n-rzhA
http
(the slides, and the films or film excerpts you
include on
http://www.streamingmuseum.org/content/monika-weiss/
I am listening to the sound now, of two of your videos. I was struck,
entering the site, to also find your reference to Cage's silence.
on first viewing/listening, your visual-sonic work has
and political act in
public domain
-- this is richly evocative and will have to go back to your writing after
looking at some of your work (the slides, and the films or film excerpts you
include on
http://www.streamingmuseum.org/content/monika-weiss/
I am listening to the sound now, of two
In Bauman's writing the weeds are what Agamben, and to some extend Zizek,
call Homo Sacer (such as G. Agamben Remnats of Holocaust and Zizek's
Violence). The idea of silencing is very important to me, which is also
related to disappearing, to making disappear. Lament, which otherwise we could
his own array of tools to do that.
For me is writing for others is painting, for others dancing, etc.
Ana
On Wed, Oct 3, 2012 at 8:17 PM, Monika Weiss gnie...@monika-weiss.com wrote:
Hi Ana,
I had the same feeling and wrote about it to Alan
By the way, can't wait to hear more from you
n t i n u e d l a t e r t o n i g h t . . .
Monika Weiss
[i] Judith Butler, Precarious Life: The Powers of Mourning and Violence
(London/New York: Verso, 2004), p. 22.___
empyre forum
empyre@lists.cofa.unsw.edu.au
http://www.subtle.net/empyre
Monika Weiss--Sustenazo: Part II
Antiphonal Structures
Language is a sovereign system that signifies and coincides with denotation. It
maintains itself in relation to what it describes but at the same time
withdraws from it into “pure” language. In my work lament questions language
p.s.
The posted tonight reflections are fragments from my recent writings and
interviews, but also function here to hopefully instigate a conversation...
Perhaps this is enough reading for one evening. Tomorrow I will begin with the
City and its memory as well as its amnesia, and with very
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