three gorges Ivan Cheng Atelier Neitzert Heraud Castelbouze, Saint-Chinian, France 21 June 2014 - 2015
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
13 aluminium tape frame markers
room perimeter trace of topsoil and covered with thin layer of topsoil + loam steps were made into small, uneven slope paper pressings of 150 year old vines were laid out watered until disintegrated (windows and doors left open)
literal fauvism I 150 drilled plugholes in rendered wall
literal fauvism II
childrens dining in the ss normandie
outer panels: babar does yoga
steel rod with arrow pointing north
steel rod with two round ends gallery 2 gargoyles (here)
steel rod with two round ends
walked along m the mill and fro ay aw t ge am of water that I wanted to e deafening stre th g on mill. al t, bi a the river and toward the out of the gorge uld ly ss wo le d th oo ru m y ed ol rush my melanch at th f el d ys an m ld e, to the gorg But then I to d any deeper in lke wa I if en rs only wo I turned back. ral procession ill, I saw the fune m e th at one ed ok When I lo n years before, here six or seve in by ay ed st ss to pa d d ha ha that seen. If I to pous I had ever d m An po t. t gh os m ou e th I th of te in no time, ca ffo su ng d ul isi ra wo I of the idea this gorge here could hit on think that anyone exotic birds. to was associated I mused that it ill, l m al e th gh g ou in th , ch Approa urderers terfeiters and m il un ev t co os th m wi e y Th da . this the past an a century in y in a that lay more th carried out easil d an d ve ei nc co be lt how d fe ul I deeds co all at once I thought; and rt, so is th of e plac young Turk into ople brought this pe e es th d ha Turk. Why nurturing? t crime were they the gorge? Wha 8
re from the aviary, I dead birds. They we of ap he a es ors wh across a pair of sa the cage, and I tiful specimens from au be st mo the t fac re in slaughtered birds we g Turk who r, and the new youn he himself, his brothe id, sa he m, the of All three I gorge is impossible! (But a sunrise in this se nri su e for be en ev in the morning,
those birds. He ago and lived only for ars ye ty en tw ket. It t ou ab raising a terrible rac started raising birds the birds had begun d an o, ag s ek we had died three entirely, but they after a while, or stop up let uld wo have tor tec re unbearable. â€œYou the death of their pro grown more and mo ly r in on de d ha lou It es n. tim ke had been mista unds a hundred that sort of noise so at â€œth id, sa he ,â€? to realize mode of thinking about the They had done a lot . up m the ut sh to off the birds damage. That way be no sign of outward uld wo re the so it chickens, but doing the birds themselves ey intended to stuff Th . en be d ha cle un them the way their
n it had sed, of course, but the shrieking had increa the the rest , s, ck tch ne ba ir s thi the ing and twisting y were done kill the e tim the By p. sto gradually come to a nt. had fallen totally sile r process the remainde y would be able to the ct e, nc rfe rie pe pe ve ex ha ir But now, with the d by tonight they would easily that evening, an much faster and more to get ir minds. It was hard have gone out of the bly es in ba elv pro ms uld the wo ds y stuff the bir meanwhile the s why they wanted to wa t tha ; too , ist rm to a taxide ly his birds; undoubted mber of notes about nu st va a t lef d ha He but those birds. all the , I thought. Possibly al about exotic birds de ntify od ide go a to le ew ab kn s tly wa man apparen those birds. He on ted tra en nc co m d ll ha s, others fro the inhabitants of the mi from Asiatic countrie me ca id, sa he , me them all correctly. So
ver, were Far t of them, howe os M a. ric Af m , he said. His still others fro one from Europe e gl Americas, and sin had a t no ne of the birds birds, with Eastern island for hours, but no a, ry ab ia itw av M e , th ba in sat hari, Malem uncle had often names like Kala d ha l al ey Th . m ever attacked hi e out birds from th arkable facts ab m re t os m e th he knew so on. He said , ” my father said rough the gorge, th es ov m n sio l proces “When a funera s cupied themselve the time and oc l al s t os wa , m al om ro om in their ro out of the two of them lay e it never went e us th ca or be fe , wi al e im th an e ne of the two, O t. en with their dog. Th e em us ng ra ca r room. Be erous in its de ther entered thei fa absolutely dang y m ne er go ev d en ha e dog hold it wh st few weeks th husband, had to e birds in the la th .” of ad ng m hi ke ec “li re le of the sc e two peop forth between th racing back and e ove all to calm th the mill hoped ab at d le ha op he pe at e th th s er the bird ld my fath By disposing of The miller had to s. lve se em th lm dog, and thus ca room for emned to their had been cond ey th eir sons. e th nc er Si ov t. l gh lost contro lly ua ad leash day and ni gr d ha e—he had often illnesses, they prone to violenc as months by their ed rib ed his sc de r the mille had once attack The elder, whom l both of them— kil to ed en at re d th hit his mother an cy etely at the mer weakling, compl a s d, wa de g in in -m ld le ui the outb were feeb the dead birds in the Fochler mill in le op pe e th l her. Al of his older brot father said. y m , ne sa in not had ! The dead birds And what people the s. at wa e ill os m th at e th lik e , er . Some people id place situated wh sa I at y, th ca de de cruel solitu ien odor of es in the kind of all exuded an al liv r r ei ei th th e to liv d to un forced ey were bo mill, I said, were re d no choice; th we ha we ey e Th on e. e rg th go er like prevailed in the income, to a riv their eager source of m e industrialist, of r th ei th e lik to , e, id us sa I ho s, er d at th ha O r . te ce its sour and his sis now following to ch solitude as he ng su hi d yt re an te en es y do el e liberat t that no on gh ou th I own free will de , ll. at wi th e have fre t even as I said to say that men p Hauenstein. Bu tra d pha cla re is fo it ; never be will, that completely eerie of his own free e e. m rg to go e ed th em to in rld se iving we were still dr Suddenly the wo for rie as now, while ee d known the road so ha er be th to fa it y lt m t I fe bu , e, ng rg hi go yt e an as ere in th hardly see ost untouched, Soon we could m d an st re pu ture is years. Where na . st rie ee its it is at
three gorges == ==
Light seems to mark day, and the sunsets here are never dramatic. 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 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 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
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
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 the SS; because I am in France, I mention semiotext(e), Hatred of Capitalism, 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 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?
that the footage is soundtracked by Mozart, and the men are shot by a handheld camera as they behold the stone phallus and pose of the footage is mistreated in this instance, an ethical problem, and
and ownership of image, and the reasons we might have for these
permissions from. Questions are raised about our ethnic attractions,
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 as the footage is brutally gonzo and the stone phallus is castrated, which the cruisers seems to gloss over for its remarkable size and
rather than the gay community, but is still unsure about the content and permission, the Olympic torch of representation that J bears in
=== === Friends internet browser which addresses me in block letters:
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 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, 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 interpreted in so many different ways. 14
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
because maybe it is your own company that is unbearable. Whether this emptiness is to be taken as a trait of contemporary humanity 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
all these means and they become an image for the emptiness of existence as such.
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
within production. That has probably been the biggest inspiration for my own work during the last few years. Even though the desperation
So what is your attempt? 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 â€“ however harsh or critical it might be, that it is always read as a comment or 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, 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 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 ideas of how much dissent can be put into the mechanisms of the spectacular.
part of my research or experimentation within the different modes of entertainment. Your character R once thinks about doing something more evil than 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 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
sets, re-watching and re-spending this time with Friends. ==
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 or in material possessions. â€œMaterial possessions are indivisible from self esteemâ€?, 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 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
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, 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
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.
stitching, how they have transferred from drawn mathematical form to
have travelled and been handled by different places and people. This is literally fabrication of an idea, I smile to myself. In speaking back
alongside that of international contemporaries, and wonder what my role is, making a solo show here in a space which so richly carries
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 â€“ a Blue Period. The show is titled Three Gorges, because I is constantly aware of and performances occur over a month as a yearlong show begins. == ==
As I left Hamilton Hall for the rally, I met a student of mine who had
simultaneous interpreter. It was an unforgettable scene for two reasons. One was the deeply 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—
storminess, relentless control, and almost religious stillness. What
enigmatic and curiously neutral look. The other memorable aspect of that rally was the stark contrast
“In this motherfucking son-of-a-bitch country, in which reactionary
and not speaker dominated the proceedings, the great writer never so much as blinked. This added to my respect and interest in the
through teaching and ,I was surprised at what appeared from a distance to be his immaculate
attributed to him by his translator, who allowed himself to ignore what scatology of some of the plays and prose writings. Notwithstanding his repeated betrayals and his claims to of a recognizable and indeed strongly marked social being with real, albeit threatened, bonds connecting him to people and ideas. In part
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. of overturned or exploded Orientalism? Or is it a sort of reformulated 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.
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 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 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
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
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.
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 the middle class. Bordeaux is for the bourgeois and LanguedocRoussillon, 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. 24
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 the nail striking the ground are not sympathetic â€“ it becomes complex.
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 gloves to touch the old grapevines. He walks up the hill towards
until they disintegrate, at which point he pulls up the tarkett and disposes of it in the dumpster.
gesamtkunstwerk, 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 their renovations.
The caves we visit are lit in lush colours we look at from viewing
rutting pantomime. But our guide P turns out the lights to remind occurs when the house lights are extinguished and the stage lights force the audience to believe in total darkness. Size and scale are apt.
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
From my belt I take a small sounding hammer, it can climb mountains
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 down to the screen as I breathe and hold and I am not dressed. I tilt green from submerged foliage or pollution.
and the archaeological sites of their home. Built on a fault line, The hydro-electric generator is the future, but now they mention to the property value. 26
gorges dam. What is the difference between a gorge and a canyon? three canyons.
polemic, endemic loneliness. The ship lift is hydraulic too, the lock lower. When the dam is closed, the ship is carried up or down the course or sinking it, a sinkhole in the crust which water shoots out of.
expression of the French colonial imagination; it is a selfconscious 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, 27
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.
transcending the patronisation of children with low hanging work, reductive phone apps. How should one interface with work? B recalls 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
Elephants.â€? â€”Publishers Weekly Perfect for everyone who loves yoga or elephants - a NEW Babar book
Well before yoga became fashionable via Sting and Madonna, our
illustrations, 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 many travels. as well as their human friends.
is a classic for elephants
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 published in New Zealand in 1998 and in the U.S. in 1999. Isabelle 28
thinking about children when I wrote my book.
her character is not based on my niece.
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 I started immediately. Phyllis wrote the story--how the elephants started practicing yoga--while I was working on the elephant drawings.
the lights have shifted over the last seventy-one minutes from to a more focused cold. progressively, the audience changes colour;
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 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.
tease out while personally forming a way to archive her own history. for the moment, ivan forgets his suspicion of speaking his opinions,
why i have a 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 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 choreography is relevant, especially in light of the way it is structured and soundtracked.
the blasĂŠ 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 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.)
to invisibly construct meaning from them moving around the space.
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 Teaching Mrs Tingle. unfairly graded due to linguistic semantics and melodrama accused witch in Salem. Corrections in the character use of the word ironic recur in the dialogue. M/F is asked:
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 â€“ is it really possible not to be ironic if you are participating and at the same time know how they
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
very hard nowadays to take uncompromising stances because this is obviously not a solution.
mastering particular passion trying to become a Bernhard character
There is no vernissage, the insect destructors drown history, the composite colours are faded into a memorial. It has become a hollow proxy, extinguishing possibility for other population â€“ the
it is suddenly dark it all means too much
== I began moving my hands in circles, but
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 yourself but then I is walking, a tourist on a path in the 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
I have chosen to spend two weeks in the ss normandie 44
missing your fu ckin of ways to expla g shadow, th ough th in it, the of obliv ere are ion indu angle o ced by ple f the su the sun n, the d nty beating e gree of some down o th n hatles of more ing like subter s ra conting ent thin nean tanks of pain, th gs, a d e fear isease once in that be your life gins to shadow to be o n time. is But the you arriv lost and you, p momen e on a k tarily, fo oint is, your ind of s you sta rget it. tage, w rt to tra And so ithout y nslate r our sha eality o dow, an r reinte an enor d rpret it mous tu or sing be, som it. ething li ke a m mine w ine sha ork ft or the unintellig s, too. From th ible no e open ing of th ise of rage e mine or of se s. Onomatop oeic no c duction ises, sy ome or of se llables ductive is, no o rage or ne see maybe s, really Stage m sees, th achiner y, the p e mouth of time, lay of the m h gaze of ides the real s of light and sh ine. adows, hape o the aud f the op a trick ience. In are clos ening fr es fact, on om the ly pit, can t to the stage, see the right up the spectators shape o a w f someth gainst the orch ho estra ing beh ind the dense
Meanw hile facing th , the shadow le e audie nce, so ss intellectuals unless are alw they ha hear the ays ve eyes sounds in the they tra that com nslate or reinte e from deep in work, it rpret or th goes w ith re-create e mine. And They e mploy r out saying, is them. T of a ver hetoric heir y low s where tandard th ey sens they str . e a hu ive to m rricane, aintain the disc ipline o f meter where incapab le of ima gining a or the a n anima bs l of on whic ence of such a n anima colossal propo h they r work is l. Mean very ch while, th tions, ver arming, e stage but it g y pretty, very well de rows sm sig aller an d small ned, er with
spoil it in a the hall ny way. It simp ly gets sm aller too gets smaller a and few nd sma , and n er peop ller atu le others, of cours watching. Nex rally there are and t to this e. New fewer stages s that hav tage there are the aud e sprun ience is g up ov tiny, tho er ugh all e legant, Here th for lack e capac of a bett ity after ye er ar the p is huge, the ha ll is alwa rosceniu Sometim y m s e full, and grows b intellectu s the perform year ers from y leaps and b als give ounds. televisio their talk the sta ge whe n s are in re vit is the s stage. On this ame, th stage th ed to perform o the e persp e openin n the ective s lightly a g of the mine bespea ltered, ks a my althoug sterious h sense o f humor, but it sti ll stinks . up perm anent r esidenc The roa e rs keep coming on the televisio the inte from the n prosc llectuals enium. opening keep m of the m isinterp r in e ti ea ng them themse lves. Th . In fact, nd e ir they, hear sp oken by best words ar e borro the spe wings th ctators at they in the fr ont row . These spike in th theaters eir mortality ra te. Whe a n the w mines w re closed and orkday they co ith big s ends th ver the heets o the nigh e o f pe ste t. The m oon is fa el. The intelle nings of the seems ctuals r ed ta etire for notes r ible. Songs ca nd the night a eaching ir n be he ard in s is so pure it the stre wander ome ba so et. Som rs, the etimes and drin ff course and an inte goes in ks mez llectual to one cal. The o n he th inks wh f these places at would happen which c omes h ome ev ery nigh t so tha t the in tellectua sense o l f order, his bus tle, his spirit of revelry rest on 47
p 2-3 p5 p 6-7 p 8-10
install detail: install detail: room sheet excerpt:
childrens dining in the ss normandie gorges (I, II) T Bernhard gargoyles tr. R & C Winston (1967/2006) literal fauvism I
p 12-14 A, B, I, J p 16-17 install detail: literal fauvism I p 19 install view: p 20-21 excerpt:
gorges (I, II), literal fauvism I E Said
p 22-23 install detail: p 24-25 install detail:
gorges (II) deux plateaux (d.buren)
Babar brought, J de Brunhoff deux plateaux (d.buren), dam wall with 13
p 30-32 p 32-33 p 34-35 p 36-37 p 38-39 p 40-41
(north-south) disguise, ny, irony install detail: literal fauvism I install view: curtain 1, dam wall, deux plateaux, gorges install view: literal fauvism II, curtain 4 install view: install detail:
p 42-43 install view: p 44-45 p 46-47 p 48-49 p 48 p 49 p 50-51
gorges (I, II), dam wall with 13 engineered
install detail: gorges (I) excerpt: R Bolano install detail: contents acknowledgements install detail:
tr. N Wimmer (2004, 2008)
+ insert text commissioned for three gorges Black Rainbows by Jack Jeweller
and Atelier Neitzert Heraud for their support and assistance Established in 2000, Atelier Neitzert Heraud is dedicated to promoting contemporary art through its collection, organisation of exhibitions, and residencies. Within an exceptional framework for concentration and facilitating their research and creations; it berators, and musicians of all nationalities, focusing culture in the region. By its activity and support for artists, Atelier Neitzert Heraud tural dynamisation of the Languedoc Roussillon region. Artists previously exhibited include: Francis Alys, Lucio Fontana, Yotta
Holler, Yousseff Nabil, Markus Schinwald, Sophie Calle, Homai Vyarawalla, Vivek Vilasini, Olafur Eliasson.
of e u e id res to th a n d ea is se t m i o p I ll ca s op ity. o l t a a n nt xu wa inatio i-se tly B g tan ou s a y f n o er co t im s tev rmis esire i a t wh nfo tha l d co ca e i t c a e en tith ist e. an ex us a c ian the tar i t y n tra de be ti-i o n t a ht rig e th es v r e res : –2 n. o An 1: . – n o An
: –1 . n
: –2 . n
: –1 . n
an me to u r yo at colou our, h w ol ds used of c tself, n e i s ep ts by es is, t d uvis sn our d I s n l : e a ry l a o 1 F so . ing at c on, – s . l n e . u s th ea si cc on urf es An colo he m show xpres an a ssn es t e is o gle tak f by ress dt o of t it anin to e a p s o e th res nt . i m ex as u m t e e a m e its ar em m t h g th it w orna s aw it for i Ya a h j n u ee Yoh ays t f usi an ing s s e k s o se u ma tyle w like , he utes e s r ck e th s in on urthe ep s bla ur of m c e 3 f m lo ex e hi co So little ithin ts, s y s n i w an se uv it a urs of Fa this han o l d e t n n h i I co t r k ike lou ur. ke t”, “I l ” li colo t co an , y n so g a a o t ou - me k no arr ght s ing ab d i do faith c e an al m f in bla mor a u d st, to r y n e se o ex ” a a d u s s s o i . m up if I ga a B men th gro atin ke n o y i o a b a L y e w . re an t “its the w and t it fc Im e o . in ha g e n rs I c ke me nt e i ip i e n l e k h g a th n in m rs nd th ist , a e sa try be e da I th bo es y I r m : a t h h t w is ha me ids t –2 dt me ean nts n. o e a e t o v s s m a es An re the inks gg ep u n r i p s t i ty up pir hose ali o s r u t x g red oth y. se al all nd xu Bib i r e k e s lit se Sen al ing s t i h t p ny ca na a d me de 1: o l .– xp n e no an of nd A ali rt r a t o s us ria ts He lge ffec nA . a A r e in sa us he r is r. tity iciou e ot lle ca n e to m h e w n ura r.co nc Je l Id per ng th c e a r e k i l c nd wel er its lF izi Ja ra ria mp rted rotic e I t e kje i r p e ed bve ac w j t Im . y r w po e su n. B ww ex h o i h t o c i s ina wh oing ag m d i in the the on h t bo ay r t em be h t o t ith ht sw rig ys y a wa l w l the a a ng tim as w rvi vic e y s e h t re th pa ith ll p w ym sti s thy his pa e m s y ur ts co ha t is ing y sa h. ug tho ow inb a r o2: om .h n o e An of th t ou
text / catalogue from ivan cheng's 'three gorges'. 21 june 2014-15 atelier neitzert heraud saint-chinian, france inc text by jack jeweller...
Published on Jun 24, 2014
text / catalogue from ivan cheng's 'three gorges'. 21 june 2014-15 atelier neitzert heraud saint-chinian, france inc text by jack jeweller...