GOU #1 «Method»

119 under ‘ideal’ conditions any more, nor do I need or want to. And I embrace this, because it allows for a constant reflective strain of thought. Difference is constantly there, and there is no hierarchy of how, where, or when work is made or thought out. Every realization of an object or a timed image in the world is then a nexus, a place of interconnected virtualities (in a Deleuzian sense), which necessarily interact with – but independently from – one another.

A constant desiring-production, combining drives and labour.

Do I have a systematic way of working; do I follow a plan; is there any orderly thought, action or technique?

To enter a stage and disappear again, rehearsing the act, documenting the rehearsal, discussion, then start all over again.

Have the conditions of production changed? Not only that in relatively ‘normal’ jobs, workers need to be creative, spontaneous and inventive – as claimed for example in neo-Marxist discourse – but it is also the case that in creative work the model of the individual genius has been replaced by collaborative processes, often using a complex communication machine. On top of this, art is a luxury; basically it’s a superfluous accessory in many cases, at least according to the logic of the market. Who needs art? And can that which is superfluous be made attractive enough to be marketed as such, and does this mean that paradoxical feelings and obsessions that don’t immediately belong to the market economy become objects in the logic of supply and demand?

Or is it possible to provide a terrain for what is superfluous, according to the market, where it can unfold a useful or even purposefully nonsensical existence?

Perhaps there are parallels to be drawn when looking at the example of love. The following paragraph is borrowed in parts from an essay by Carl Hegemann. In order to understand what happens to us when we make art, it may be worthwhile to compare with the situation of love. I have used this text as part of a script for a recent video work. (Szuper Gallery, I will survive, 2007)