tag:blogger.com,1999:blog-26029916208646970662024-03-05T03:25:33.875-08:00Vision Forum - La duréeVision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-2602991620864697066.post-88749810401152727202014-03-17T15:32:00.001-07:002014-03-17T15:33:13.818-07:00La Durée workshop at the Nobel Museum<div dir="ltr" style="text-align: left;" trbidi="on">
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On March 17, Per Hüttner and Fatos Üstek held a talk and a workshop with the staff and educators at the Nobel Museum in Stockholm to prepare for the project they will present in 2014. In the internal memo to the museum they write<br />
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"The project that we bring to the Nobel museum is an attempt to relate slightly differently to the institution. We investigate where it is possible to slightly shift how people think about the museum and how the audiences interact with what is on display. We do so with the hope of making the daily working process a little bit more interesting for you, the audience and us. We try to bring out the innate curiosity that lives in all of us and at the same time re-activate the knowledge produced by eight laureates. In order to do this we are dependent on a series of dialogues and exchanges: <br />
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We are relatively ignorant about your audience therefore dependent on your expertise as educators and also to tap into your experiences and knowledge in mediating what you know about the museum and the laureates. The workshop will be an opportunity both talk about these questions and also to discuss the 7 briefcases that will play the central role in the project – so that we together can agree on how to create the briefcases in the best of ways."<br />
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-54056737048007568542013-09-05T01:23:00.001-07:002014-03-17T15:25:25.234-07:00Something there<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Spiral, Wacoal Art Centre, June 25, 2013 – Fatos Ustek and Per Huttner<br />The performance was a part of Godzilla and the Phoenix, the 11th OuUnPo session in Tokyo and Yokohama.</i><br />
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Taking the starting point in Nobel Laureate, Samuel Beckett’s 1974 poem entitled "Something There", Ustek and Huttner together with 13 members of the Japanese audience carried out a sonar/mathematical investigation. Together they explored the potentiality of the poem by an activating it in space and time. The performance took place in the service staircase of the art centre where an Araki piece formed an important backdrop for the performance. The photographic installation in itself is a reflection on experience versus image (inside outside) and his relation to the other (subject/object), offered a perfect setting for the experiment.<br />
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The Journey started at the entrance of Spiral and together with the audience the group moved into the staircase.<br />
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The performance was carried out in three parts.<br />
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1. Each performer wore a t-shirt with the word/text from the poem written on it in the two languages <br />
2. The performance started at the top of the stairs. The group then read the whole poem as they descended in a collaborative effort where each performer read their individual 28th of the poem first in English. <br />
3. The group then moved up the stairs repeating their given phrases in an exact sequence - however this time in Japanese.<br />
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The sound and still images of the performance will be transformed into a video.<br />
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-37469360685604269462013-05-27T10:20:00.003-07:002014-02-03T13:31:23.011-08:00Getting Ready for Japan - Something there<div dir="ltr" style="text-align: left;" trbidi="on">
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<i> -We are currently preparing two performances in Japan.</i><br />
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<b>Project for OuUnPo Japan, Yokohama, 4-5pm, June 23, 2013 – Fatos Ustek and Per Huttner.</b><br />
Background<br />
Taking the starting point in Nobel Laureate, Samuel Beckett’s 1974 poem with the same title, Ustek and Huttner will be investigating how a poem is the opposite of stability and stasis and how it is informed by the outside world. The poem will be recreated in three dimensions and focus on the senses beyond vision.<br />
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The performance is public and will be performed in the public space of Yokohama harbour. The poem will be divided into 28 different parts. Some of these will be presented in words, others by objects, smells, tastes and sounds.<br />
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In order to experience the poem, individual members of the audience will be blindfolded and lead around the circular structure. The 16 OuUnPo members will read the Japanese translation of the poem (word for word – not a poetic translation). Since some of the words appear more than one time – the same OuUnPonian will have to move around the circular structure and repeat the word/action.<br />
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Each OuUnPonian will wear a t-shirt with the word/text written on it in the two languages. The words will equally be written in chalk around the circular structure enabling the OuUnPonians to keep track of when they need to perform.<br />
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<b>Project for OuUnPo Japan, Spiral 10.30- 12.00am, June 25, 2013 – Fatos Ustek and Per Huttner.</b><br />
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Background<br />
Taking the starting point in Nobel Laureate, Samuel Beckett’s 1974 poem with the same title, Ustek and Huttner will together with the other 13 other OuUnPonians and a select number of members of the Japanese audience carry out a sonar/mathematical investigation. Together they will explore the potentiality of the poem - along with how an activation in space and time can stimulate reflection on this. The Araki piece, which in itself is a reflection on experience versus image (inside outside) and his relation to the other (subject/object), offers a perfect backdrop for the experiment.<br />
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The Journey will start at the entrance of Spiral and into the staircase and the Araki piece. Ideally we would like to round of the performance with a discussion with Araki about how he interacts with the people in his photographs and how he sees the relationship between interior and exterior worlds of the human mind.<br />
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The research will be carried out in two parts.<br />
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Part 1. The Performance<br />
1. Each OuUnPonian will wear a t-shirt with the word/text written on it in the two languages (the same as in Yokohama – see above.). <br />
2. The performance will start at the bottom of the stairs. The group will read the whole poem in a collaborative effort (where each OuUnPonian will read their individual 28th of the poem. <br />
3. The group will then start moving up the stairs repeating their given phrases. They will try to memorise their movements and then repeat the motion in reverse as the descend the stairs.<br />
4. The session will end with the poem being read backwards.<br />
5. The whole sound of the whole session will be recorded.<br />
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Part 2. The Photography session<br />
1. All the performers will be photographed wearing the T-shirt with their word/phrase written on it. The images will be taken in front of the Araki piece in the staircase.<br />
2. In this way the poem can be recreated as a photo series.<br />
3. Huttner and Ustek will create a video using the sound from the performance and the photographic material.<br />
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-21570612837739084002013-05-08T11:15:00.000-07:002013-05-09T00:24:33.855-07:00La Durée Wins Grant to Develop Project in Stockholm<div dir="ltr" style="text-align: left;" trbidi="on">
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Vision Forum is proud to announce that Per Hüttner has won a grant from Längmanska kulturfonden to develop his collaboration with Fatos Üstek en Onur Gün in Stockholm. The project is planned to be shown to the public in summer 2014. Please follow it on this blog.</div>
Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-19056912348727208732013-01-14T16:00:00.000-08:002014-03-16T23:58:14.310-07:00Preperatory Meetings in Berlin and Stockholm<div dir="ltr" style="text-align: left;" trbidi="on">
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In January 2013, the La Durée group are preparing for the upcoming project about the Nobel Prize in Mathematics. We met with <a href="http://www.wias-berlin.de/~guen/?lang=1">Onur Gun</a>, who is researching <a href="http://www.wias-berlin.de/research/rgs/fg5/">Interacting Random Systems</a> at <a href="http://www.wias-berlin.de/">Weierstrass Institute</a> in Berlin and came up with lots of exciting and interesting ideas. We will also meet our future partners in Stockholm at the end of the month. So, keep your eyes on this site - we will shortly post more and exciting news.</div>
Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-46978194341558264812012-04-21T06:13:00.001-07:002014-03-16T23:57:48.739-07:00Time Machine at La Meridienne, the Observatory, Besançon, April 19, 2012<div dir="ltr" style="text-align: left;" trbidi="on">
For the performance at the Observatory in Besançon groups of 12 people were guided on a journey from the present to the 19th century via a set of different trips that provoked reflection on time and temporality. <br />
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1. The journey started at the contemporary part of the observatory. Here the audience met the institute’s director François Vernotte who introduced the atomic clocks that allow them to measure time in the most precise way currently available.<br />
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2. The audience then moved into the garden where Per briefly introduced the project. After that we together walked to the ancient director’s villa, which is a beautiful 19th century building that has been disused for a long time. The was informed that the would embark on a journey to the 19th century. At that time, like today, Besançon was world-leading in time measuring. But at that time it was the stars that allowed them to measure time with the greatest of exactitude. In order to use the old time keeping machine it was very important to be able to count the passing seconds with great exactitude.<br />
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The audience was blindfolded and they were asked to count the passing time. They were then administered different tastes and if they liked the flavour they were asked to divide the time counted by two and if they disliked it, they should multiply the time passed by two. Three different flavours were administered. At the end of the tasting session each member of the audience had arrived at a number that they were asked to keep in mind like a mantra.<br />
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3. A guide took each blindfolded member and led them through the foliage, across a small road unto the time machine. Here they were asked to follow a 60m long rope that lead them through the garden and into the past. Some unexpected objects and substances were attached to the rope <br />
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4. On the other side, another guide led them into a building where they were told that they were standing in front of a large and beautiful state of the arts time keeping machine and the solitary man, who just like them, kept living in the dark. They were asked to imagine what the machine and building look like while they were bombarded with different smells that activated their olfactory senses. Finally they were asked to imagine when 20 women are making calculations while strange noise impressions appeared around them made by their invisible ghost guides.<br />
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5. The performance ended when the ghost guides left the room and the blindfolds were removed so that the audience could see the beautiful machine.<br />
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<span style="font-size: x-small;"><br />The following artists participated in the performance: Camille Millian, Laura Phillipe, Johanne Grandjean, Fabien Guillermont, Natalia Kamia, Cecilia Ahlqvist, Julie Tavarmin, Katharina, Vincent.</span></div>
Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-9121200418716298932012-04-20T15:04:00.001-07:002014-02-03T13:30:12.782-08:00Her Sad Pardone - Miramar, Porto<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Her Sad Pardone was performed by Per Hüttner and Fatos Üstek at Senhor
da Pedra , chapel of the lord of stone at Miramar outside of Porto April
8, 2012.</i></div>
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1. The two performers met the audience in front of the chapel on the beach.
The audience was given a short introduction about contemplation by Per who also asked them: what does it mean to contemplate the horizon, the size of the ocean and
what is the difference between thinking and contemplating?<br />
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2. The two
performers gave each member of the audience a piece of paper and a pen and
asked them to describe the ideal space for contemplation by writing it
on the piece of paper. What it looks like, what it smells like, what you
can hear in it and what it contains. When they were finished they were
asked to fold the paper in a special way and then give it to a selected
member of the audience.<br />
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3. The selected person proceeded to hide the texts around the chapel.<br />
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4. The whole group then was asked to follow Fatos. She proceeded to walk around the temple using her pendulum to locate hidden texts.<br />
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5.
What the audience did not know, was that the two performers had already
hidden texts of their own choice (on the same kind of paper and folded
the same way). Per and Fatos then took turn reading beautiful texts describing places
for contemplation. The texts included "Cities and the Sky 5" from Italo
Calvino's "Invisible Cities," the end of Stanislaw Lem's "Solaris" and a
passage about Japanese sweets from Jun’ichirō Tanizaki's "In Praise of
Shadows."<br />
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-65802142491749539122011-10-16T10:36:00.000-07:002014-02-03T13:32:12.668-08:00The distance to the Past<div dir="ltr" style="text-align: left;" trbidi="on">
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An early evening in Eleusina, at a site that has been used for rituals for thousands of years, by the sea, in front of an ethnographic museum, Per Huttner and Fatos Ustek conducted a survey how to measure the distance to the past. They both wore lab coats and started the short action by facing each other.<br />
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When Fatos stepped forwards and backwards, she pushed and pulled Per in the same direction. He read a quote about science's preference for treating time as something separate from the physical world. He read the short quote in the same direction as his body moved. If his body moved backwards he read backwards and if his body moved forwards he read the text in a normal way.<br />
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Each time Fatos stopped moving her male collaborator, they made a mark on the ground and measured the length of the line. After an unknown calculation, they declared the distance to the past. After that they served wine in a test tube to a member of the audience. The age of the wine corresponded to the time announced. The performance ended when the test tube accidentally broke.<br />
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Fatos Ustekhttp://www.blogger.com/profile/01528965271539215674noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-41443306834710593392011-09-13T10:46:00.000-07:002011-09-13T10:51:25.974-07:00Nobelelmuseet in preparation<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0pvcqjKXXE8OAPGL6wnW8F2clkBvR3dDO7cls_wV1vmW0PEz-QzXpxDmsKT_b3PJYz6TWAhfMtAVF-Z04FtMkifo7uj02Lfbvknuf0z5ftOmk5qtKj79n_PbBmVi-uRiRNvmto-igKAo/s1600/DSC05227.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0pvcqjKXXE8OAPGL6wnW8F2clkBvR3dDO7cls_wV1vmW0PEz-QzXpxDmsKT_b3PJYz6TWAhfMtAVF-Z04FtMkifo7uj02Lfbvknuf0z5ftOmk5qtKj79n_PbBmVi-uRiRNvmto-igKAo/s320/DSC05227.JPG" alt="" id="BLOGGER_PHOTO_ID_5651902867826268658" border="0" /></a><br />We have started preparing the first steps towards a presentation at <a href="http://nobelelmuseet.se">Nobelelmuseet </a>in Stockholm and hope to be able to do something in winter 2012.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPNBHE5v3fMXlt0GcVncXrVyPyrRhIABs_mqD2l41QagBOEKahyphenhyphenPv1QaHtu4F7ycoUwzzLJmyBO6Km30jafP-BxVNQ5o8PA61KRY3F94GPiYEHhhlqSKRxG2Mv5WunUeJIS6oMAYidGLU/s1600/DSC05213.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPNBHE5v3fMXlt0GcVncXrVyPyrRhIABs_mqD2l41QagBOEKahyphenhyphenPv1QaHtu4F7ycoUwzzLJmyBO6Km30jafP-BxVNQ5o8PA61KRY3F94GPiYEHhhlqSKRxG2Mv5WunUeJIS6oMAYidGLU/s320/DSC05213.JPG" alt="" id="BLOGGER_PHOTO_ID_5651902709400133762" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqS1rYOwzNKPTxPdYkwJ6NafwQ-JsiyBddKfwC_zlCWAE13exxxyIyvkI8oXLsP8_Pq0GzZzRkCknoGLz4BUBKWt7lH5faeudsb6VPcA1Rs3NGdaBPmqlq-eX0r0BwEX4DKx4P1CJVCyI/s1600/DSC05240.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqS1rYOwzNKPTxPdYkwJ6NafwQ-JsiyBddKfwC_zlCWAE13exxxyIyvkI8oXLsP8_Pq0GzZzRkCknoGLz4BUBKWt7lH5faeudsb6VPcA1Rs3NGdaBPmqlq-eX0r0BwEX4DKx4P1CJVCyI/s320/DSC05240.JPG" alt="" id="BLOGGER_PHOTO_ID_5651902497070682978" border="0" /></a>Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-65536617985017760192011-07-20T07:49:00.000-07:002013-04-12T07:05:52.369-07:00A Clock That Runs on Mud<div dir="ltr" style="text-align: left;" trbidi="on">
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Follow Fatos Ustek and <a href="http://www.facebook.com/profile.php?id=692011195"><span style="text-decoration: none; text-underline: nonecolor:windowtext;">Per Hüttner</span></a> on A Clock That Runs on Mud - for the next five weeks!<br />curated by <a href="http://www.facebook.com/profile.php?id=657283225"><span style="text-decoration: none; text-underline: nonecolor:windowtext;">Jennifer Teets</span></a><br /><br /><a href="http://www.neromagazine.it/a_clock_that_runs_on_mud/-/?tag=fatos-ustek-per-huttner">click here</a></div>
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-46184903068275591722011-05-26T05:13:00.001-07:002014-02-03T13:43:04.970-08:00Everything Changes, Everywhere and All the Time (it always has and always will)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCKGs97nFfcYpYJt5mGkoCKL2uzmfIk9MvyHDOm40pkU2avqAoGohAQ2eQ4XJMdxQ3eXQLzfJB-Ev57zX8UY8f-ez0HhHCXXjioPtNf1lI28C-w6aWcD9YxiIEY4eNJ8RJ1M2LZLX6gpo/s1600/chillytoys.for.tate.low.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhombxgT48UGc2Ti8AiABWOODnv667a31KC0zTWT9T10F2kn1c_7bv9x2jlZaszTCrTozzF16SZYWN3rPmvXmeyR6GzW0FHmXchxRet7mPDh2-6niJGwjcHM4MYLFXoqASG0tHf4BzrwRs/s1600/London_67.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhombxgT48UGc2Ti8AiABWOODnv667a31KC0zTWT9T10F2kn1c_7bv9x2jlZaszTCrTozzF16SZYWN3rPmvXmeyR6GzW0FHmXchxRet7mPDh2-6niJGwjcHM4MYLFXoqASG0tHf4BzrwRs/s320/London_67.jpg" id="BLOGGER_PHOTO_ID_5618733929821594690" style="display: block; height: 238px; margin: 0px auto 10px; text-align: center; width: 158px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVpzZ4rCL5YyCF8SlIMLmftGodD1LaZci8PpZJgni9PWKrXNC9JIXQ37SVvfKFKrx2rJcdNDuD1mO-iCx2fZrWnXMNs0GhNDKOSca0lvprZ8ccJeRPI1Kq2r33yiLPdrwjqcwYa5uMC1g/s1600/chillytoys.for.tate.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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<span style="font-style: italic;">Space Matters, curated by Jean Matthee</span><br />
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<span style="font-size: 85%;"><span style="font-style: italic;">April 2011 Tate Modern</span>.</span><br />
Per Hüttner and Fatos Üstek have been collaborating on a series of interventions at museums across Europe exploring notions of change, and temporality and how smell, taste, touch and sounds can play a more active role in the museum.<br />
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Posing questions by constructing situations Hüttner and Üstek trigger expansion of how we encounter reality. They interrogate outdated ideas about knowledge that are encapsulated in places of exhibiting significance and value, but also introduce a playful entry to moments of engagement that question basic Cartesian concepts. Our conception of familiar spaces will therefor change through minute changes in the conditions for something as mundane as a gallery tour. Hüttner and Üstek will guide a group of students around the museum and revisit a series of artworks. The premise of the visit is to try and ‘refresh’ the work and to see how the artwork allowed their original audiences’ to see their reality differently. Hüttner will use smell, touch, hearing and taste to re-introduce seminal work to the group. Üstek will re-contextualize the work on display by look at the temporality of the work.<br />
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-31381276531363968792011-05-26T05:07:00.000-07:002011-07-03T03:07:08.493-07:00Tesla Museum<div class="moz-text-html" lang="tr"><h2>Situation/Intervention</h2> <div class="entry-content"><p><em>Realised at Nikola Tesla Museum, Belgrade</em></p><p>26 March, 2011</p><p>Per Hüttner and Fatos Üstek realizes a situation specific to Ouunpo group and the unexpected passer-bys at Tesla Museum, investigating beyond the visual, other sensory receptions and speculating on Nikola Tesla’s intriguing scientific and personal endeavours.</p><p>(Photos by Elena Nemkova)</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTn_RIcwyAMzm4nvnmnfCNKMRM8FLGjGaw9IKzOkP7x70mVgupgCYVyugpbTxmCHWBDjwF6kbssR2Wccg_P48ZFft539dRwfUgWrk9Esjn_wl91gvVuyDi92sZEwRC01-Z0BpLBgMdfo0/s1600/P260311_10.59_%255B01%255D.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTn_RIcwyAMzm4nvnmnfCNKMRM8FLGjGaw9IKzOkP7x70mVgupgCYVyugpbTxmCHWBDjwF6kbssR2Wccg_P48ZFft539dRwfUgWrk9Esjn_wl91gvVuyDi92sZEwRC01-Z0BpLBgMdfo0/s320/P260311_10.59_%255B01%255D.jpg" alt="" id="BLOGGER_PHOTO_ID_5610996436575827186" border="0" /></a></p></div></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfblytTSAkOofnwjD_yYi2MVnxZT8kSbpsjAzs01qGofgxZK0EzGlFKAEl3gqT1ywxHjd0Tsc0g6PWNo67jYJedOhXMIuw3H_JBLQpSWjupys4rV74loi7vw9W78d28o2PWk-2bdYfB-8/s1600/P260311_10.58_%255B01%255D.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfblytTSAkOofnwjD_yYi2MVnxZT8kSbpsjAzs01qGofgxZK0EzGlFKAEl3gqT1ywxHjd0Tsc0g6PWNo67jYJedOhXMIuw3H_JBLQpSWjupys4rV74loi7vw9W78d28o2PWk-2bdYfB-8/s320/P260311_10.58_%255B01%255D.jpg" alt="" id="BLOGGER_PHOTO_ID_5610996568863029842" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiROoPijj-5bNxObytOOOcQJj_5tOXOKa4wFJQNS8KItxl_OZTQtAJBVZ1dWRwcZCXEEQCRztGMurmgq_fYrvk1sfrrll3lyXOAjGae66-WYL6_fmqT5Ri4iG-1KlhJW1a9qXaGmfqCMqk/s1600/P260311_10.58.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiROoPijj-5bNxObytOOOcQJj_5tOXOKa4wFJQNS8KItxl_OZTQtAJBVZ1dWRwcZCXEEQCRztGMurmgq_fYrvk1sfrrll3lyXOAjGae66-WYL6_fmqT5Ri4iG-1KlhJW1a9qXaGmfqCMqk/s320/P260311_10.58.jpg" alt="" id="BLOGGER_PHOTO_ID_5610996676006837106" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTn_RIcwyAMzm4nvnmnfCNKMRM8FLGjGaw9IKzOkP7x70mVgupgCYVyugpbTxmCHWBDjwF6kbssR2Wccg_P48ZFft539dRwfUgWrk9Esjn_wl91gvVuyDi92sZEwRC01-Z0BpLBgMdfo0/s1600/P260311_10.59_%255B01%255D.jpg"><br /></a><br /><br /><div class="moz-text-html" lang="tr"><br /></div>Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-90718533821074725242010-10-23T07:17:00.000-07:002014-02-03T13:46:37.549-08:00Blago Bung - New York City 2010<div dir="ltr" style="text-align: left;" trbidi="on">
Per Hüttner and Fatos Üstek performed at <a href="http://visionforum-laduree.blogspot.fr/2010/10/blago-bung-new-york-city-2010.html">Blago Bung 5</a>, Emily Harvey Foundation, New York City, October 23, 2010.<br />
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0tag:blogger.com,1999:blog-2602991620864697066.post-81817195055186344532010-08-18T18:27:00.000-07:002014-02-03T13:44:22.581-08:000K – A Play in Five Acts<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-style: italic;"><span style="font-size: 85%;">This text was the first of three connected texts published in Nowiswere 7, 8 and 9. You can download your own copy <a href="http://www.nowiswere.com/issues">here</a>.</span></span><br />
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<span style="font-style: italic;"><span style="font-size: 85%;"> </span><br /><br />On Sunday May 16, 2010, artist Per Huttner and critic and curator Fatos Ustek presented a project that oscillated between a traditional talk and a performance at the Flat Time House, Peckham, London. The location is the former residence of conceptual artist John Latham, who has devised the idea of flat-time based on the theoretical physics of Event Structure. The house functions as an archive and research centre and hosts exhibitions and events.</span><br />
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<span style="font-style: italic;">Ustek and Huttner have been investigating the conditions of knowledge in non-ordinary realities, taking ab- solute boundaries of time, space and temperature into account. The play merged into investigations of notions such as travel, movement, time, volume while imagining zero Kelvin (absolute zero) as a point of reference and referring it back to their respective creative practices. This text, carrying the same title as the event, is an out- come of the discussions the two have undertaken over a year on theorems of abstract mathematics, quantum mechanics, subjectivity, temporality, timelessness and knowledge.</span><br />
<span style="font-style: italic;">This piece is the first of a three-part contribution, and is composed at 122K. In October Huttner and Üstek will take a trip to Minnesota, U.S., to visit Robert Ettinger, the father of cryogenics and founder of Cryogenics Institute, Michigan. This trip will form the core of the two following ‘cold’ texts.</span><br />
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Act 1 -At the Flat-Time House 2<br />
The door everyone has been staring at with anticipation opens and a small hurricane of cold air hits the audience. Two figures in space suits covered by layers of strange ice crystals enter. The high-tech space suits emit strange white smoke and as the two figures move, tiny chips of ice come off their suits and burn small holes in the carpet with a low ‘pffissching’ noise. Everyone in the audience is so still that you can reach out and poke at the silence. The strange astronauts take off their helmets revealing the head of a man and a woman. They both look tired. But more than anything, they smile with great satisfaction and joy. The room is filled with applause and they hug.<br />
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But their ultra-cold space suits stick to each other. They are asked to put their helmets back on and the suits are sprayed with a special liquid that make them return to room temperature. The two become unstuck. As soon as they get out of their suits they are given warm blankets to wrap their bodies in. People from the press ask questions and cameras flash.<br />
“What do you have to say to the young students at home in Turkey?” a man with a big moustache asks.<br />
“Well, they have to find their own way, keep reflecting on the present and continue to learn from art as well as from science,” she says.<br />
“We from Berlin,” another moustache-clad man says, “would like to extend a special thank to you both.” The two heroes bow their heads stiffly as if the man was Japanese rather than German.<br />
“What does Berlin have to do with anything?” a fat middle-aged woman in the audience hollers, waving her cigarette.<br />
“They both lived in Berlin, everyone knows that,” the German moustache says.<br />
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Act 2 – At His Flat Paris/Stockholm<br />
“How was your trip?”<br />
“Terrible, the train caught on fire,” she says. “Look, now the whole station’s on fire!”<br />
They both look out the window and plumes of greyish red smoke come out of Gare du Nord and a lot of Charles Ray fire trucks stop in front of the station. An army of toy fire fighters get out their Lego hoses.<br />
“This is horrible, let’s go to Stockholm,” he says as the smell of burning plastic enters the room. They grab her luggage and go into the bathroom. They both exit from the bathroom in Stockholm.<br />
“I seem to have a lotus flower growing in my right lung. Can you help me to pull it out?” she asks.<br />
“Sure.”<br />
She unbuttons her shirt. The plant is protruding from her chest right under her right collarbone. The root is sticking out five inches and is covered in smelly mud. He pushes her against the wall, grabs the plant with both hands. He puts his right foot on her belly and pulls violently. She breathes loudly and pants like a dog and after a few minutes’ struggle, the flower comes out of her lung with a loud popping sound. He falls backwards and hits his back on the corner of the stove. He gets back up again and complains loudly.<br />
“Are you OK, dear?” she says.<br />
“Sure, are you?”<br />
“Never been better, I will get a 0K bag for you.” She grabs a fist-sized white sack from the freezer and hits it hard against the dinner table. It makes a fizzing sound and she holds it against his aching back. “Do you think that the way that thought travels is similar to travelling at the speed of light?” she sits down at the table.<br />
“I guess so. That is why the mind can be free,” he says as the pain subsides. He turns around to serve her salad.<br />
“But are we free when we travel?” she asks.<br />
“It is up to you decide if you are free or not.I do not think there is such thing as objective freedom. That is an invention of desperate politicians and their ad executives.”<br />
“What do you mean by freedom being an invention?”<br />
“It is all about how you see yourself. Thinking that you can conquer the world, is the first step achieving some- thing,” he says.<br />
“Wow, how does that affect our idea about democracy?”<br />
“Don’t even get me started. It suffices to say that most of us think that we are free on a conscious level, but unconsciously we create unsurpassable thresholds for ourselves. This is what elite schools do, they grind down these thresholds to create successful and visionary people.”<br />
“Yes, I am with you,” she says dipping a piece of carrot in the humus. “What if you fall into a black hole when you are on your travels? Maybe we can call that a freedom since you can have no dependants of your movement? It is all a continuous oscillation that resonates as high as your initial speed of entry,” she smiles.<br />
“Associating movement with thinking, the physical becoming the mental?” he asks, not knowing where the words come from.<br />
“You could say that and you cannot at the same time,” she looks at him. “One does not compensate one another or replace differences, nor can they claim independence.”<br />
“I am not sure I understand, but I know the place to go to find out.” He leads her back into the bathroom.<br />
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Act 3 – All Over the African Continent<br />
We see the man and the woman next to a sand desert bathroom. She is about 11 years old and goes over to him. He is old and immobile as if he were some age-old mummy. She gets up on the toilet seat and puts her hand in his mouth. He remains immobile while her hand and arm is in his mouth and she is searching for something in his guts. She pulls out a little lizard and throws it up in the air.<br />
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It dashes behind a rock. The scenery has changed. They are in green jungle. He comes alive and smiles. He becomes a teenager and she old and bent over a Zimmer frame. He makes her fall by placing his foot in front of her. She looks shocked and surprised (did she break her hip bone?). He leans down and looks into her open mouth. The lizard he pulls out of her is slightly bigger and louder. It hides behind the same rock. The two sit down next to a campfire each rolling a cigarette. Everything is calm and they both look young and healthy. The rocks around the fire appear to be cheap props made of painted Styrofoam, but the jungle in the background is all the more real. As they smoke, enjoying the open sky, the two lizards have merged into one. That lizard peers out from behind that same rock.<br />
“I’m Raimundas, but you can call me The Wonderful Lizard of Oz”.<br />
“Wow,” the two say at the same time.<br />
“What did you put in this!”<br />
“No way, I see it too” she says stubbing out the cigarette butt.<br />
“Look,” the lizard says, “The agency sent me. I am here to set up a séance with you.”<br />
“A séance?” she snaps. (As the words are uttered they find themselves in a market place full of crocodile and panther skins, selling water.)<br />
“Yeah,” He becomes 68-years-old with long curly hair wearing bottle-bottom glasses. “That is ridiculous,” he adds. They are both now playing with toy cars and glass balls in a street in Izmir among other kids.<br />
“Irratio-,” as she speaks out, is interrupted by Raimundas.<br />
“If you just acknowledge that both you and your surroundings change without interruption, you would be less inclined to speak about stupidity and irrationality. I am on tough schedule,” the lizard adds with evident boredom. “So we need to get the séance going. You have ordered a session with Mae Junod Ettinger.”<br />
“Who? And whom do you say ordered the séance?” she asks.<br />
“Mae Junod Ettinger,” the lizard looks annoyed.<br />
“Strangely enough it does ring a bell. I see an image of Lake Michigan in the snow.”<br />
“Yes it is a future memory,” the lizard says. “Or it could be a memory transmitted by Mae. You need to be silent,” Raimundas says looking at him.<br />
“I am communicating with Mae.”<br />
“Huh, that cold bites with an attitude,” the voice of Mae rings out with an icy reverberation. “But it is better to be here than on the other side,” Mae goes on with her antiquated American accent. “How’s Robert? I miss him.” Raimundas looks at the two of them and nods.<br />
“He says that he misses you too,” he says. “Liar,” Mae snaps. “He never said that to you.” “Sorry,” he sulks.<br />
“But it is true that he misses me a lot,” her voice is warm and motherly. “Don’t take my remark personally.”<br />
“OK,”<br />
“I wish that it could be colder here. The closer I get to 0K, the calmer I feel,” Mae says.<br />
“So you go back to the origin of the universe?” Raimundas says.<br />
“You really are stuck in the stupid idea that you call science,” Mae replies with contempt.<br />
“And what would you suggest takes its place?” the lizard asks.<br />
“That is for you to figure out,” Mae replies frostily.<br />
“Well,” says the lizard, “we are working on a premise where 0K, travelling at the speed of light is a source for counter-intuitive thinking that will help us to get unstuck in the intellectual void that we are in.”<br />
“That is beautiful!” she says.<br />
“It should be, you came up with it,” Mae says.<br />
“I did?” she asks in awe.<br />
“You are ruining everything Mae,” the lizard says. “How do you want to continue this?”<br />
“Time to get some flavours,” Mae says. Africa and the Bromley foothills are sucked into a black hole and Istanbul takes its place. You can smell diesel in the air and a muezzin calls a prayer.<br />
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Act 4 - At Her House London/Istanbul.<br />
“I have brought you a present,” he says and smiles.<br />
“Thanks,” she takes the prettily wrapped box. She removes the red ribbon and opens the golden cube. She thinks about Swiss chocolate. He looks at her in anticipation.<br />
“It is incomplete,” she looks inside the books with disappointment.<br />
“That is the whole point,” he replies.<br />
“Why would you like to give me such a present?” she looks at him with contempt.<br />
“It is the only present that we can share,” he smiles sadistically at her. “So, you create your own presents and your life is an infinite set of indistinguishable moments or presents.”<br />
“That can only be defined in retrospect,” she retorts dryly.<br />
“Sure, but they still remain impossible to grasp. They are incoplete by default.”<br />
“Why do you say ‘Incoplete’, you mean ‘Incomplete’ right?”<br />
“No, I mean ‘incoplete’ because when it lacks the ‘m’ it proves its own ‘incompleteness’. The moment ‘incoplete’ without the ‘m’ becomes socially acceptable, written in all dictionaries it loses its functionality,” he says with great pride.<br />
“Though incomplete is not a condition of lacking, it is a condition of the without, without knowing what is what you are with or without!” she argues passionately.<br />
“So, as long an art expression remains ‘incomplete’ it is alive?” she is full of doubt.<br />
“Yes and it vibrates in its incompleteness in the present – that is why I gave you the present.” “Thank you, this is very kind. However, I would argue differently. I would say that its incompleteness allows itself to resonate differently. If I was to example art as incomplete. And your present eludes my reception of the present(s)”.<br />
“Maybe?” he has no idea what she says.<br />
“So what would presence at 0K, travelling at the speed of light or in black matter be?” she asks. “They are all beautiful fantasies, since all of these states are impossible for the human body to survive in. But on a theoretical level, it would be possible for us to actually live the present in any of these states,” he says (or was that her?). “And I suspect that that moment would last an eternity,”<br />
“So, inside the box I can find a ticket to visit 0K?” she asks.<br />
“You might and you might well not.”<br />
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Act 5 - At the Flat House # 1<br />
“Let’s just calm down” he says<br />
“It doesn’t matter that you left your plug somewhere, we can still show the film on your computer.”<br />
“Yeah, sure” she replies nervously.<br />
“This is not how I imagined it to be.”<br />
“It is good to be here before travelling to 0K, and I am expecting some friends to show up. Anyway, do not worry, this is a potentiality of the present, something you could not prove it to be there, but now it is here.”<br />
“Yes to achieve ‘incopleteness’ in real time,” she adds sarcastically (or was it him?).<br />
“Wow!”<br />
“What happened?”<br />
“I received the images of our space suits, they look great and puffy.”<br />
“You were expecting this, weren’t you?”<br />
“Yes, but chances are that it will be gone when you step out of your space suit,” she sounds disappointed.<br />
“I can live with that,” he smiles.<br />
“Now, we have to dance.”<br />
“OK!”<br />
He puts on the music and they dance their way into their respective space suits. An army of people from NASA appear all around them. Peckham looks like Houston and Cape Canaveral rolled into one glorious wet dream of technology and the New Cross Mountains have never looked more majestic. “Let’s take a picture,” she says.<br />
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Vision Forumhttp://www.blogger.com/profile/06031287871423684528noreply@blogger.com0