01/11/14 – 20/12/14 Dora García / Zhana Ivanova

Dora García – There is a hole in the real.

Opening: 1 November 2014, 5-7pm
Exhibition: 1 November – 20 December 2014

Dora García, The Sinthome Score (2013, fragment), thanks to KUB Bregenz. Photographer: Rudolf SagmeisterIt is difficult to read Lacan. It is even more difficult to understand it… so much so that when you quote Lacan you are dismissed as pretentious or pedantic. Last year Dora García’s film The Joycean Society (2013) was presented at Ellen de Bruijne PROJECTS. In this film, a group of elderly gentlemen, some women and two or three intimidated young people discuss endlessly about the endless possibilities of meaning of Finnegans Wake, a book they have been reading for 30 years, each “lap” of the book taking them 11 years. It is difficult to read Finnegans Wake, it is even more difficult to understand it, so much so that when you quote Finnegans Wake you are dismissed as pretentious or pedantic. And yet, perhaps understanding is not the right word to use when describing what the experience of reading Finnegans Wake, and Lacan, is like.

The present exhibition in Ellen de Bruijne PROJECTS responds to the extraordinary images created by Lacan’s discovery of Joyce. He dedicated a seminar to it, “Joyce and the Sinthome”. In it you can find sentences such as:
“Language moreover eats this Real. I mean that it only allows this Real to be tackled, this genetic Real, to speak like Chomsky, in terms of sign. Or, in other words, of message which starts from the molecular gene by reducing it to what brought fame to Crick and Watson.”
“Namely, the fact that language is not in itself a message, but that it is only sustained from the function of what I called the hole in the Real.”

In page 62 of Finnegans Wake we read:
“(Irish saliva, mawshe dho hole, but would a respectable prominently connected fellow of Iro-European ascendances with welldressed ideas who knew the correct thing such as Mr Shallwesigh or Mr Shallwelaugh expectorate after such a callous fashion, no thank yous! when he had his belcher spuckertuck in his pucket, pthuck?)”

What is that supposed to mean? What is that supposed to mean, other than we are entering a very thrilling and very primitive and very futuristic realm where language is not useful anymore to convey useful messages but rather to behave like the monster that eats the real? A realm where language determines reason (useful but fake) and madness (useless but true) and constructs subjectivity?

Two works are shown in the gallery:

1- The Sinthome Score (performance, performance publication, photographs, and installation): two people perform a duo, where one of them reads from a book looking like a music score called “The Sinthome Score”, and the second one executes a series of movements, following the same book, that change each time the reader begins a new chapter. The text of the book is ”Joyce and the Sinthome”; the movements are determined by exercise routine drawings in the book, a different set of movements for each chapter.
In the final chapter of the text, the performer reads:
“There is something which one is astonished to see is no longer of any use to the body- not a body, but the body as such: that is dance. This would allow me to write the term ‘condansation’ a little differently …”

2- Mad Marginal Charts: MMC are drawings on different media (at the gallery, graphite on wallpaper), coming from a pool now counting more than 300 drawings, representing cosmogonies developed from the writings of different authors: Artaud, Joyce, Robert Walser, Philip K Dick, Hannah Weiner, to name a few. These cosmogonies aim as well at making sense of the research initiated by Dora García in 2009 under the name “Mad Marginal”, researching the position of the outsider as artist and the artist as outsider.
Articles on The Sinthome Score:

Articles on Mad Marginal Charts:


Zhana Ivanova – Predictions

Zhana Ivanova AudiencePredictions

On September 14, 2014 by invitation of Land Art Live, Zhana Ivanova presented the specially commissioned performance Predictions. This large scale intervention took place on location at Robert Morris’ Observatory near Lelystad.
The function of a “cosmic compass” intended in Morris’ Observatory served as a starting point for Ivanova’s work. Her focus diverted however from the movements of the sun and the planets – instead she observed the site’s immediate environment. Each day a steady flow of trains, trucks, tractors, cars and bicycles passes by the Observatory’s perimeter – forming ever changing, and as far as we know incidental constellations. As patterns emerged and established, Ivanova predicted a scenario where daily chance and a perhaps grander scheme seemed to intersect. Viewers were invited to hear the predictions through individual headphones, and observe which of them would come true and which would not. A sound installation deducted from the event will be presented at the gallery

Zhana Ivanova’s practice centres on rearranging and reconfiguring daily patterns and systems to which we have grown accustomed. She often uses performance in order to artificially induce situations in which social and power relations fluctuate. Her constructions are initially formal and rule-governed; yet within them she insistently exposes the ambiguity of her own rules.

Zhana Ivanova (Bulgaria, 1977) lives and works in Amsterdam. She was educated at the Queen Mary University College, London and at DasArts, Amsterdam. In 2013 she completed a residency at the Rijksakademie van Beeldende Kunsten, Amsterdam. Her works have been realized in galleries and festivals internationally, most recently Fondation Galeries Lafayette Paris (2014), Stedelijk Museum Bureau Amsterdam (2013), Performatik – Brussels Performance Biennale (2013), Crikoteka Krakow (2012), Arsenic (Lausanne), W139 Amsterdam (2012), Frascati, Amsterdam (2012). In January 2015 Ivanova will have a solo presentation at Kunsthalle Basel (CH)

Zhana Ivanova- Predictions
Opening: 1 November 2014, 5 -7 pm
Exhibition: 1 November – 20 December 2014
Curated by Dorothé Orczyk
Voice: Michael Blass
Image: Geert van der Wijk

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