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Diese Videoaufzeichnung stellt nur eine Möglichkeit der Inszenierung dar, da sie während nur einer Aufführung aufgenommen wurde und könnte an einem anderen Tag möglicherweise unterschiedlich wirken.

MARTINA RUHSAM, PETER STAMER
Über die Bedeutung des Insignifikanten / Draußen bleiben

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Datum der Aufzeichnung: 12.04.2013

Ort: TQW / Studios

Im Rahmen von: The resistance to theory (Concept & Curating: Krassimira Kruschkova)

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MARTINA RUHSAM (A)

Über die Bedeutung des Insignifikanten

 

The body cannot be reduced to a producer of semiotic connections. The event of its communication eludes confinement into terms. Nevertheless, we cannot stop operating and playing with terminologies, bending and modelling them in order to approach what is linguistic and in the course of this approach to transform it – intentionally or unintentionally. In theory it will always have to be a case of touching the edges of one’s own constructs. But how can we think what is beyond thought? This lecture on Friedrich Nietzsche’s 31st aphorism in Human, All-Too Human (»The illogical necessary«) consciously goes into detours and sidetracks, because philosophy is plagued by the nameless, by a zone of total ambiguity that is emptied of all references and knows no differentiation into subject and object, a zone in which nothing crystallises into definitive forms and figures.

Martina Ruhsam is a performer, choreographer and author.

 

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PETER STAMER (D)

Draußen bleiben

 

The resistance against theory is (also) a resistance against a language that talks about language. A self-resistance, because what language seeks to say in each sentence it does not say in this one. To paraphrase Deleuze, the meaning of every sentence is only said in the next one, in a continuous postponement of meaning, a shifting onto a next one, which in the moment of speaking does not yet develop meaning. This suspension distances language from itself, because it distances itself from the meaning it promises to speak. In this double figure of a failure of a promise of meaning, which equally as a promise of failure fuels the negativity aesthetic of the art discourse, lies the chance for language to make statements about art. Because it is not art, in its enigmatic silence, that creates a discursive riddle, it is language, which in its attempts to translate art into discourse ends up speaking to itself.

Peter Stamer works as an director, dramaturge and mentor in the field of contemporary dance and performance.

 

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