The long moment

Mittwoch, 02. September 2015 - 19:00 Uhr

Kunsthalle Exnergasse

The long moment
A transcontinental encounter of poetic research and theoretical investigation

Wednesday 2. September and Thursday 3. September 2015, 7 – 10 pm
Kunsthalle Exnergasse, 1090 Vienna, Austria

Contributions by Jeff Derksen, Mark Fisher, Christoph Keller, Suzana Milevska

Please join in for a two-evening event that brings together in the context of the arts
distinguished writers of poetry and theory who will read from and present their work
and discuss it. A poetry reading, two lectures and a video work will expand on the
possibilities of non-conformist production of knowledge and (Post)-conceptualism,
the competing interferences between sound and image, voice and writing and on
the connections between aesthetic poverty and the imperatives of communicative
capitalism as well as on emerging new visions of time.

Schedule (See abstracts and bios below)

Wednesday 2. September 2015, 7 pm
7.15 Introduction
7.30 Poetry reading by Jeff Derksen from his book 'The Vestiges'
Followed by a conversation between Jeff Derksen, Claudia Slanar and Lina Morawetz
Q&A session

Thursday 3. September 2015, 7 pm
7.15 Introduction
7.30 'The Butterfly Effect', lecture by Suzana Milevska
Q&A session
8.15 Introduction
8.20 'Some of us found another time', lecture by Mark Fisher
Q&A session

On display: 'Anarcheology', Christoph Keller, 2014 (Video, b/w, silent, 13 min)

Moderation: Claudia Slanar. Set: Josh Müller
Curated by Lina Morawetz


(Deutsche Version siehe unten)

'What is the process in which the cultural crisis is not resolved socially, but
transmuted into sublime fixation upon immobilized symbols and fetishes?'
Jeff Wall, Dan Graham's Kammerspiel, 1988

'We are adamantly synthetic, unsatisfied by analysis alone.'
Laboria Cuboniks, Xenofeminism: A Politics for Alienation, 2015

Poetic time is paradoxical, wrote Franz Werfel a hundred years ago; a continuous
tumult, proceeding without moving, running on the spot to its end. Arriving at both
the material and immaterial margins of language, touching on what touches back
and what is not yet and no longer audible, poetry embodies subsidiary products of
knowledge and own systems of sound and space in language. On the other hand,
language is always haunted by the potentials and risks of meaninglessness;
hierarchies of in- and exclusions, direct and indirect access and quantifiability.
Investigating the contemporary condition, poetry, audio-visual practice and philosophy
in various degrees employ the possibilities and insufficiencies of the margins of
language. Considering the dominance of the visual, this event asks which synthetic,
multiperspectival modes of investigation can be employed to address the writing
of space and tracing of time of a world in vertigo. With emphasis on complementarity
rather than antagonism, The long moment – a two-evening open forum, a poetry
reading, two lectures and a video work – aims at probing and disentangling the
horizons of our contemporary condition with its abstraction, sound, and complexity.

'The long moment' is a term borrowed from Jeff Derksen's 'Annihilated Time: Poetry and Other Politics' (2009)

Abstracts and bios

Jeff Derksen?s poetry books include 'The Vestiges', 'Transnational Muscle Cars',
'Dwell', 'Until', and 'Down Time' and his critical books are 'After Euphoria', 'Annihilated
Time: Poetry and other Politics' and 'How High Is the City, How Deep Is Our Love'.
He collaborates with artists Sabine Bitter and Helmut Weber in the research collective
Urban Subjects; with Camera Austria, they produced the forthcoming 'The Militant Image'
Reader. Derksen was a research fellow at CUNY's Center for Place, Culture, and Politics
and a founding collective member of the Kootenay School of Writing in Vancouver,
Canada. He works in the English Department of Simon Fraser University, Vancouver.

Mark Fisher
'Some of us found another time'
The 21st century has been characterised by a pervasive aesthetic poverty. This isn't
only to do with the disappearance of innovation and the new; it is also about the
increasingly fugitive and fragmentary sense of time which capitalist cyberspace has
naturalised. In fact, these two problems are closely connected. The very fact that we
are relentlessly subordinated to the urgencies and imperatives of communicative
capitalism means that it has been immensely difficult to find the time in which to produce
the new. This lecture will take Tao Lin's extraordinary novel 'Taipei' as an exemplary
immanent account of the purgatorial time of 21st century aesthetic poverty.
More importantly, it will also explore some lines of escapes from this hyperpostmodern
purgatory. In the work of Justin Barton, the Otolith Group, Gazelle Twin, John Foxx,
Laura Oldfield Ford and Jam City, a new dreamtime, a new pyschedelia, a new vision
of love and freedom is emerging. Against all odds, the future is returning ...

Mark Fisher is the author of 'Capitalist Realism' (2009), 'Ghosts Of My Life: Writings on
Depression, Hauntology and Lost Futures' (2014), and the blog k-punk (k-punk.org).
His writing has appeared in New Humanist, Frieze, Sight&Sound, and many other publications.
He is a lecturer in Visual Cultures at Goldsmiths, University of London. He is also the
co-producer, with Justin Barton, of two acclaimed audio-essays: 'londonunderlondon' (2005)
and 'On Vanishing Land' (2013).

Christoph Keller is a visual artist living and working in Berlin. 'Anarcheology', his most
recent video work, is a travelogue on the fringes of what can be said
or written ?? a text which deals with the spoken word and orality, in a film paradoxically
silent. Juxtaposing three different rhetorical regimes, the video stages a performative
contradiction between method and subject. The images suggest a voyage, departing from
a bridge near Manaus and entering into the depths of Amazonia, a land apparently devoid
of human traces. Black and white photographs alternate rhythmically with text inserts,
leaving behind an afterimage that draws the viewer into an intermittent story.

Suzana Milevska
'The Butterfly Effect'
There is a long tradition of competition between sound and image, voice and writing,
both in philosophy and art. It feels as if deconstruction anticipated that this competition
will last much longer and that the overrated significance of the voice from phenomenological
perspective will outlive its critics even in the field of visual arts, as more sensitive and
genuine than theimage that dominated and manipulated the visual field. My presentation
will focus on the unexpected interferences between voice and image in the realm of visual
arts and will try to reconcile the contradictions between the both exactly starting from the
attempt to circumvent the given privilege to the voice in phenomenological terms and by
challenging the assumed power of the images in order to point different misinterpretations.
I hold the analysis of representation in visual language and metaphors as particularly relevant
in terms of discussions of race and racialization because this analysis can reveal many
unexpected and concealed forms of stereotyping and overpowering, particularly in the art
world and activist realm. I borrowed the renowned poetic metaphor from chaos theory
of 'butterfly effect' for the importance of the given time to analyse, understand and anticipate
otherwise invisible and, at first sight, irrational effects of e.g. calls for resistance or boycotts
as speech acts. Time determines whether such acts will end futile or even with an opposite
effect exactly because of mixed linguistic and visual messages.

Suzana Milevska is a theorist and curator of visual art and culture from Macedonia. Her
theoretical and curatorial interests include postcolonial critique of hegemonic power
regimes of representation, feminist art and gender theory, participatory and collaborative
art practices. She holds a PhD in visual culture from Goldsmiths College London where
she taught from 2002-2004. In 2004 Milevska was a Fulbright Senior Research Scholar at
Library of Congress. In 2010 Milevska published the book 'Gender Difference in the Balkans'
and 'The Renaming Machine: The Book' that summarised her long-term cross-disciplinary
curatorial and research project. In 2011 she was a researcher for the project Call the Witness
– Roma Pavilion at the 54 International Art Exhibition – Venice Biennale-Collateral Event and
curated the exhibitions 'Call the Witness', BAK, Utrecht, and the 'Roma Protocol' at the
Austrian Parliament. In 2012 Milevska was awarded the ALICE Award for Political Curating
and the Igor Zabel Award for Culture and Theory. She was the first Endowed Professor for
Central and South European Art Histories at the Academy of Fine Arts Vienna (2013-2015).

Claudia Slanar is a an art historian, curator, writer and experimental scholar. She holds an MA
in Aesthetics and Politics and an MFA in Creative Writing from the California Institute of the Arts.
She lives in Vienna where she currently teaches at the University for Applied Arts (department
of landscape art) and curates videoart for the 21er Haus Museum of Contemporary Art.

Lina Morawetz currently studies Creative Writing at Deutsches Literaturinstitut Leipzig and
holds an MA in Aural&Visual Cultures (under Kodwo Eshun) from Goldsmiths, University of London.
Her writings have appeard in both art and literature contexts. She lives in Leipzig and Vienna.
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'Was ist das für eine Entwicklung, in der die Kulturkrise nicht gesellschaftlich behoben, sondern
in eine sublime Fixiertheit auf unbewegliche Symbole und Fetische verwandelt wird?'
Jeff Wall, Dan Grahams Kammerspiel, 1988

'Wir sind entschieden synthetisch, unbefriedigt von bloßer Analyse allein.'
Laboria Cuboniks, Xenofeminismus – Eine Politik für die Entfremdung, 2015

Die dichterische Zeit, schrieb Franz Werfel vor hundert Jahren, ist paradox: Sie ist eine
'tumultuare Dauer,' die abläuft, ohne sich von der Stelle zu rühren. Sie rennt, ohne vom
Fleck zu kommen, bis an ihr Ende. Sowohl die materiellen als auch immateriellen Welten
der Sprache als auch das noch nicht und nicht mehr Hörbare berührend, sind Gedichte
einerseits subsidiäre Wissensprodukte, eigene Raum- und Soundsysteme in Sprache.
Andererseits läuft Sprache selbst immer Gefahr, nichts aussagen zu können, Hierarchien
des Ein- und Ausschließens zu gehorchen sowie der direkten und indirekten Verwertbarkeit.
Audiovisuelle Praxis, Lyrik und Philosophie operieren an diesen Rändern der Möglichkeit
und Unmöglichkeit in verschiedenen Formen. Unter Berücksichtigung der Dominanz des
Visuellen fragt 'The long moment' nach synthetischen und multiperspektivischen Möglichkeiten
die Abstraktionen und Komplexitäten, die materiellen und immateriellen Horizonte einer
aus den Fugen geratene Zeit und Welt zu entwirren und zu verbinden.

Beiträge von Jeff Derksen, Mark Fisher, Christoph Keller, Suzana Milevska

Moderation Claudia Slanar. Set Josh Müller
Kuratiert von Lina Morawetz

Veranstaltung in englischer Sprache

Termin

Uhu Diskurs
Lesung, Vortrag
Mittwoch, 02.09.2015 19:00
bis Donnerstag, 03.09.2015
Kunsthalle Exnergasse
Währinger Straße 59
1090 Wien
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