Greetings from the welfare state of exception

Posted in Uncategorized on junio 18, 2011 by welfarexception

Etcetera… on Research (Loreto Garin Guzman and Federico Zukerfeld) .

Welcome to the “welfare state of exception” an immobile object theater piece. This interactive installation is a permanent work in process. A pretext for another poetic infiltration in the communication and some politically incorrect way to discover together the stories hidden inside this doll, which is moving the puppets, as an imperceptible thread, so, we can believe that those movements are real.  The scenery gives us the welcome or just say goodbye: Greetings from the Welfare state of exception!

http://www.kunsthalcharlottenborg.dk/exhibition/press/76

https://i1.wp.com/farm6.static.flickr.com/5302/5848348665_e1792178b4_m.jpg

We really don’t know if we are in the beginning or the end of the act.

A chorus of punk music with the dramatic sounds of a symphony orchestra is playing in silence. Into the painting on the back wall, the blur break down: the absent parent, a family of factory workers in some empty industry, which still resists its own symbolism. In the new era of “post-Fordist cognitariat” and the new wave of institutional critique the struggle continue.

The script’s of this first act, which is on this page, is being represented at the time that you, dear audience, enter the room. This is just the first draft of the word-world, which continues into the act.  Here are the characters that make up this great little story:

https://i0.wp.com/farm4.static.flickr.com/3274/5848356905_0a79d05c81_m.jpgThe puppet puppeteer, Mr. Welfare, is operated by wires and pulling the strings of the system. On his desk he plays, as if he is playing with their toys of financial capital and imperial black magic. Mr. Welfare is an amateur practitioner of Masonry and with partners of a crime lodge who is seeking to dominate the entire world.  But thanks to his sympathy, can reach us laughing and even get him soften.

In a corner near the entrance, up in height, almost floating, is the second character in this play: The Ghost, the shadow of absent bodies has been sentenced to disappear, subjected to torture practices of the older contemporary obscurantism. Do you remember that shadow? His silhouette is a postcard sent by I-phone from Iraq to the secret bureau of media somewhere in United States.

Wefare State of Exception

But we are in Copenhagen right now, in the north of Europe, so let back here and present the last protagonist of this spectacle:  the Ballerina of chaos.

She’s dancing at risk of life because she’s in love with the existential doubt. One of the feet is going forward, irrational, in the game of broken hearts. The other, rests on the walls trembling, waiting to jump up from the statistics. There is a Euro symbol on her shoe and the tutu flames. She has lost her head, but not her mind.

She is the hope in the era of the “crisis of representation”, and now she invites us to share the dance, and dance with her. Let forget the symbols of money together, and then, within the sensual and rebel dance, enter in the limbo of the emancipation, where the notion of representation is again completely loose. She comes to bring us to the stage.

Act 1:  Stop Sulten !

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Before entering to the museum, as an introduction to our history, we find a stranded boat on the southern side of Nyhavn that pretends to be loaded with immigrants, but… no!. They seem like mannequins dressed like African immigrants, fleeing dummies in exceptional condition of commodities. Maybe they coming from a factory from who know where (creative industry?), so, at the end, they are really migrant objects, and there are around one hundreds tourist attracted and taking photos of the “representation” of that human drama, so… what would happen if these objects could be suddenly alive? (No photos.)

IMG_2399flygtningeskibetinyhavn110511suz640x427

You could see this surrealistic recreation, they are receiving the Scandinavian sun, and at a time, the passivity receives them as a souvenir of the unknown’s misery, well done, from a great factory till working, the symbolic industries of representation.  But let back to the boat and the port: surely this is not Lampedusa, that Italian Mediterranean island, which arrive daily rafts of survivors and refugees. But, the silence and the absent body appear again and again (is the Ghost, our other character on scene?) is the infinite repetition of the same image.

Is the time when the representation doesn’t have any ethical value? On both sides of this boat, like a balance some children’s sunbathing and enjoying the sunset hours drinking a cold martini and throwing the olive to the water.  The Boat still there and the banner say: Stop Sulten! (Stop Hunger!).

Wefare State of Exception

The fat Mr. Welfare being seated on the speculative orgy with a great friend: Dominique Strauss-Kahn former director of the IMF (International Monetary Fund), and we still waiting for some other especial guests coming from Honk Kong,  not so far away.

– It’s the economy, stupid!”  we hear from the other corner of the room. 

(We enter to the Castle and the act two starts.)

TO BE CONTINUE (?)

Recycling societies: the future world.

Wefare State of Exception

In the second act of the “welfare state of exception”, an immobile object theatre piece, we discover the new rules of the state of exception and how its influence our life’s.The script of this second act, which is on this page, happens in the streets. But, immediately we entered in the museum again, maybe, just to use the toilet, or maybe to pull the strings once again.

Anyway this second part is about the love and the chain of production.

How much love in seeking out the everyday food! As birds that fly over the lake, ghosts of a thousand colours walking the streets, and almost imperceptibly pick up from the ground a magical transparent bottle. Again the action became representation and comes into this social play.

Wefare State of Exception

Ghost: – The shadow of our absent bodies has been sentenced to disappear, subjected to some old and contemporary practice, the negation of negation. But unfortunately I have to inform you that we are here.  Nobody recognize our subjectivity, we became a mass of silence. I smile, when I find some divine treasure, I can also laugh sometimes, but in silence. Today I will not tell you about all the adventures of my life of social Ghost, I don’t want to bore you, and there is another ghost better than me, who is poet and write fantastic tales, but unfortunately nobody knows about him. I just wanted to say hello from the ceiling of this room. Oh, and this is not an irony! Because even in my disappearance I could capture your attention and just say one thing:

“- We are the result of what someone’s call “immaterial production”. The disappearance of our stories, identity, bodies, memories, become our disappearance also as a class, and its perhaps the most dramatic tragedy since the days of slavery. Explain to me one thing, if anyone can do it. This is my place in the chain of production? Invisible factory is open 24 hours, and during the time of this conversation surely someone will be throwing a can or bottle, or some other precious rest from consumerism.”

Wefare State of Exception

Ballerina of Chaos: -Bravo! Bravo!  It’s fantastic!

Ghost: -We do not have times of entry or exit, no contracts. We are freelance, precarious? Or we are dependent from the church of consumption society? Behind this covered shadow is a human being invisibilized, and then the society thanks us for caring the ecosystem.  Your throw it and I pick it.And we are here and nowhere, and we are around this world with the desire to recover our social bodies, our labour dignity, and our identity. And at the end we are recycling feelings, sensations, and memories to recreate a new social form of representation.

Ballerina of Chaos: -Yes! Such Dilemma!

The Ballerina of chaos appears as intellectual spaghetti dancing on the ether, she has lost her head where she has deposited all the ideologies, and there is the wellspring of their insurgent acts. She dances between the strings of Mr. Welfare being in the game of economies and the love. She decided to assume the risk and she start to talk with The Ghost.

Ballerina of Chaos: -His words awakened me awareness, I am submissive and insurgent as well as I know my way of life is not complete… Mr. Ghost, can you take me on your lap when I arrived tired of dancing frantically on the corners of the Scandinavian map? Let me dance with you those uncertain rhythms from the Africa deserts to the borders from Greenland, let me dance with my soul to help you to recover your body. I will join you on this struggle.

Wefare State of Exception

The Ghost: – But I didn’t propose anything yet… anyway thanks, first for recognise me and second for your words. I will try to recycle it into another possible emotion.

Ballerina of Chaos: -I have to confess you Ghost that I feel something special about you, and about your absence. And today, I decided to invite you, my Ghost, to an ideal world. There, where ethics and aesthetics suppose to be the same word, and where the whole city is a temporary zone of production of subjectivity, you will see, it’s like a paradise for your “job”. I want to play with you on the field of representation, and go together recycling life and symbols, as you do always. You understand? I need you! Your absent is the content to my form!

Mr. Welfare looks a little bit jealous, maybe because the Ballerina put a lot of attention on this Ghost. He tries to convince her to change the opinion and enjoy the state of exception.  

Wefare State of Exception

Mr. Welfare: -Don’t hurry up my sweet Ballerina, just try to dance here around my table! On this welfare which can produce too much satisfaction. So, then you can even forget if you feel really satisfied.  Imagine a world where everything must be recycled, where we assume no social security and natural resources are exhausted. Do you like that place? There is where your Ghost coming from.

Ballerina of Chaos: Wee, thinking again about me, I think I never been there… or… yes?

Mr. Welfare: -Look, there is not discomfort on my smile, so, is when we begin to like the limits of differences and then you start to put on the table everything that you can conceive as your own, and for sure keeping the private propriety.

Ballerina of Chaos: -But… I like him, he looks so real.

Mr. Welfare: -Take care about Ghosts.  Now, I have to look up and down all the time, close my eyes-buttons and try to don’t see them, Ghost´s here and there, everywhere. Now you get a panoramic vision of the world in these pages that I brought to you. Let’s read together the newspapers from the desk. There is many other Ghost that you could fall in love, Ballerina. But, please do not leave the homeland. This is your world.

Wefare State of Exception

Ghost: -Enough! Listen Ballerina, come together with me to jump into life. Let escape from this welfare state of exception and go behind the house. There is an infinite trampoline to get out from the secret camp of nonexistence. Sometimes, love fits in a bottle, is a recycled love, a refugee love.

TO BE CONTINUE

http://www.flickr.com/photos/64283709@N08/with/5848912390/

Thanks to all the staff from Kusnthall Charlottenborg:
Kirstine Schiess Højmose, Gunnvá Nolsøe Nielsen, Jakob Agger,
and specially to Rhea Dall and Mark Sladen.
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