terça-feira, março 08, 2011

the rest is silence

"The Rest is Silence" Installation - Emanuel Almborg

from one word to one word
a possible void

Rasmus Albertsen, Emanuel Almborg, Olof Broström, Aleksander Komarov, Elisabeth Penker

indirectly-curated by Adam Budak

10 March–22 April 2011@ Bäckerstrasse4 – Plattform für junge Kunst
Bäckerstrasse 4 | 1010 Vienna, Austria

Beckettian sense of failure ("fail, fail again, fail better"), so typical for Albertsen and Broström, receives a further elaboration in the cinematic field-work of Emanuel Almborg (born 1981 in Stockholm, lives and works in Stockholm) which deals with performativity's main tool: the speech, or, to be more precise, the absence or cancellation of thereof. The point of departure for the artist's two-part project, spread between Shakespeare's "The Rest Is Silence" (the first chapter appropriating the concluding sentence of "Hamlet" as its title) and Beckett's "Nothing Is Left to Tell" (the sequel's title borrowing the last sentence of a playlet "Ohio Impromptu") is the nature and the history of an experimental and mysterious building project in Hackney, East London, conducted in the late 1970s by a group of borough's residents, according to three rules: no plan nor a blueprint of a construction, a complete silence on the building site, no intention to complete the building, nor to take it in a new direction. Intrigued by "the mystery that always cloaked the structure: its stillness and its silence" and interested in exploring the more generic nature of human communication, the artist decided to reenact the similar experiment on a small island outside Gotland, Sweden in the Summer of 2010. Utopian at its core, Almborg's social psychodrama, "Nothing Is Left to Tell" captures a life in an alarming state of exception while challenging the communal routine under a pressure of unusual (de-subjectifying) obstructions. "If language is central to the human community what happens if we suspend it? How do we relate to each other and how does it affect our social relations and collaboration? Do we find new ways of communicating or do we accept the silence?"—these are only a few of many questions generated by this uncanny project which echoes both the 60s and 70s experiments of "alternative societies" as well as a more contemporary, media-related, spectacle of "reality show".

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