Paris

 

  A need to trust the temporary community of people we sleep with, a need to accompany each other through the distance. The global of the collective unconscious, of the globalized vulnerability, and the local of the flesh, of the ghosts present in this city and not others. A vigil state where we can be together in dissension, with our different languages and dreams, in a state between alertness and sleep. The night offers us some hours to linger and listen.  useless land is the reading of a compilation of fictional and theoretical texts about a pre-industrial-revolution world. These texts draw a cognitive map of possibilities with regard to our relationship with and perspective on the environment, animals, ghosts, plants, and more. - The reading / performance will start at 23h and finish with the rising of the sun, we will accompany one another during those 8 hours. - You may sleep or wake while you listen, your sleep will probably not be the same than a full night s...

 

 

Se cree, erróneamente, que el sonambulismo es la conversión, en el estado de  vigilia , de los movimientos físicos que efectúa el individuo en las escenas que está realizando durante su sueño . Pero la realidad es que el sonambulismo se presenta en las fases de sueño profundo (No-REM), en las que no hay presencia de ensoñaciones; por ello, los episodios de sonambulismo se parecen más a un estado alterado de consciencia en el que se tiene una visión distorsionada del entorno real con el que están interactuando, y su imaginación se mezcla con lo que hay realmente a su alrededor. En 1846, Albert Tirrell fue encontrado inocente de asesinato e incendio, argumentando que al hacerlo estaba sonámbulo. Esta es la primera absolución por sonambulismo en la historia de la defensa jurídica que se conoce.

 

 

 

 

 

 governance by debt Two structures of law were being set in place... Funding, in this case, plays a major role in establishing the grey zone outside of the legal framework. documenta 15... After that, German civil society capitulated. Civil society, it turns out, has no backbone, because it has no ability to resist state oppression weaponising the cultural funding it monopolises. But when these cases of censorship are taken to the courts to fight the state’s repression, these cases usually win. (*la ley sigue en pie como herramienta) As Palestinians, we have been living under these kind of acrobatic languages for decades. whoever controls the platform controls the meaning. In opposing this system, we lack platform power It’s possible to say the most wrong things in the most elaborate ways now. We’ve lost the basis of truth and facts.  collectivising debt based on trust can create meaningful social relations In many ways, re-establishing trust – in everyday life, in institution...

But exhaustion here isn’t new. It’s the slow peeling away of possibility. building roads, homes, restaurants, restoring farmlands, and digging water wells—which Israeli colonial structures block from becoming stable systems of everyday life, what Frantz Fanon once termed the pathology of colonization, where exhaustion becomes not just physical fatigue but a structural condition of oppression. Lacking legal expertise, financial resources, and institutional support, Palestinian landowners were effectively unable to sustain legal resistance. This illustrates the phenomenon of legal fatigue—a form of structural exhaustion caused by prolonged and asymmetrical judicial processes. In  Trait d’union , Frantz Fanon wrote about weariness as something deeper than physical fatigue. It’s the moment you realize the system is designed to break you.  This tension produces a paradoxical form of spatial practice: to (re)build becomes both a practice of autonomy and a source of psychic and physi...

The scenes themselves come from different sources: many of them are adaptations of transcriptions of the exercises and improvisations that we did during the devising workshop with the original family. Other scenes have their origin in the research and documentation phase I always do when preparing to write a script. I collect lots of materials from very different sources: talking to people, reading, watching documentaries, music, etc. The most difficult part of the process to me is collecting interesting scenes that go beyond plot points. I dislike plot points, I try instead to collect moments that reveal something about the people and the subjects I’m dealing with. Writing the dialogue to me then comes in a very - 2 - straight forward way, the characters and the situation speak by themselves. It’s almost like doing an improvisation but playing all the roles yourself. As I grow older, I feel I trust less and less the notion of reality as something objective. However, cinema is the one...

  I've never been into baths, more the opposite really, but I was casting around for an image that would fit the movie i felt I was in, There was almost nothing I wanted more than to be chosen.  As long as I'd been paid, I hadn't been humiliated. But what if I lost my fee? It would force me to see what I'd agreed to. and yet I will always be a little lonely because a word never quite means the same thing to everyone  i once said in front of a large audience that i wished i'd never been born i said so and afterwards i was afraid that god had heard me not even him would i abolish only his power Do you feel disgusting too? Do you also beg for love from those who wish to dominate you? Do they also beg for love, but then will you dominate them? Even the devil can be pitiful. Even the devil can peer into the glass box where you write up your reports and dream of a hand stroking its back. there are two outcomes: submit or remain a monster. Because he despised us, because h...

 There is a moment; there is a time, when a third hand is doing it.  The whole work is one painting, but you decide when to pause; when the painting opens a new question that you can continue elsewhere. When it's a good one, it's like it can't be any other way; if you move something one inch it wouldn't work. With age you have a broader range, you exclude less things A veces está pintando una parte del cuadro mientras mira otra. Subject matter gets in the way, it's reductive (doesn't open.) Benjamin: content is the "corrective to art", undermining a false sense of unity A masterwork must be flawed. It allows for continuity, to keep painting. Potential to lead to more stabs at it

  The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything_and then going into my studio to adjust a red to a blue?

Blanca Varela “la mía no cabeza” Olvido García Valdés: “uno de los móviles de la poesía arraiga en lo amoroso, pero otro tiene raíz en la violencia. Ambas raíces alimentan lo político. Dos temporalidades: Sobre la violencia y sobre lo amoroso. Está lo insoportable de los sucesos, y lidiar con ello es necesario, pero no puedes olvidar el deseo, lo amoroso, que es un deseo de futuro El monumento para lidiar con lo insoportable, vaciarlo  

  Chaos was sacred, a notion to be respected and nourished, one of the principles, at least to my imagination, of the production that unfolded – full of life, risk and trust, at the mercy of the weather...  There was, from Athina and producer Rebecca O’Brien, an extraordinary dedication to the experience of the film, not only the film itself...  Barley, rye and flax were planted to be harvested on film; local farmers taught actors to reap and plough; crafts people shared their understanding of spinning and weaving. *** Jim Crace’s use of language is at the same time surgical and intangible – I felt like I was not going to do it justice unless I comprehended the exact use and layering of each word. His world has no specific place, no specific time, the language itself is trance-inducing. If you start asking too specific questions, the text resists. understanding the central character, Walt, who is a weak man. How do you spend an entire film disliking the protagonist, yet s...

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  Os mutantes