unFramed 25° : grieving and mourning as an art practice

Juerg Luedi Master of Art in Fine Arts Major Art in Public Spheres MAPS juerg.luedi@hslu.ch / juerg.luedi@poolart.ch mobile: +41 (0)79 217 10 65 postal adress: Humboldtstr. 49, CH‐3013 Bern unFramed 25° : grieving and mourning as an art practice a project between research, performance, intervention and installation (proposal for a Ph.D in Practice by Juerg Luedi) „unFramed 25°“observes the rituals, the gestures and the spaces in the context of funerals, abdictions and cemeteries. Rituals, gestures and spaces reveal to me individual and collective strategies of deviation or appropriation for consolation, grief, pain and memory. I focus on grieving as a socially determined and mourning as a more individual and personal coping strategy1. I’m interested in their implications for the artistic process and for the performance as an art practice. I look at the practical and theoretical arguments as to how the subjects of death, funerals and abdiction may provide an insight into various social practices and artistic positions. My artwork deals with specific public spheres and with regard to a variety of media, e.g. performance, (land art) intervention, installation, audio, video, but also drawing, painting and sculpture. How to transform rituals and gestures into a performative space? „myFunerals no 1 - no 3“2 were a kind of three-part mapping of the Sarnen (CH) funeral context. I interviewed local funeral experts such as, e.g. morticians. I drew the cemetery landscape and I inventoried each grave by name and date, the recorded mobile objects of mourning and the architectural concept of the whole space. I transformed the researched material into public interventions as follows: The performance „myFunerals no 1 purification“ (2013) in the abdiction hall of Sarnen transcribed my intimate nail-cutting session into a ritual of ablution and purification of the dead body. The boiling of water initiates the process. I undress and I put on a shroud. Sitting on a chair I cut all my finger and toenails in a preconceived order. After each nail is cut alternately the right and the left foot is dipped in the basin of hot water placed in front of me. I leave the performance space after collecting and putting the 20 cut nails 1 Sörries distinguishs two forms: grief is socially determined, e.g. ones wear black clothes; mourning, is emotionally stronger and more individual, it expresses a personal deprivation and often combined with a negative feeling. In: Sörries, Reiner: Herzliches Beileid. Eine Kulturgeschichte der Trauer, WBG Primus Verlag 2012. p.10 2 Luedi, Juerg: myFunerals - Rituale und Gesten im Bestattungs- und Abdankungskontext von Sarnen ((Rituals and Gestures in the Context of Funerals and Abdictions in Sarnen. transl. Author), HSLU 2013. academia.edu: https://hslu.academia.edu/luedijuerg (online 3.2.14) Juerg Luedi MA in Fine Arts Major Art in Public Spheres distinguishly laid out on the cube beside into my wallet. The participants in the performance „myFunerals no 2 cortege“(2013) displace their personal objects of grief and mourning from the Sarnen cemetery to the Motorcycle Hall. I haul the personal objects parked on a stake-body truck to the (con-) temporary art space. On arrival in front of the hall, each participant bear his object to his tomb, as marked on the cemetery map. „myFunerals no 3 grieving“ (2013) was a mapping of the local community cemetery. I transferred the plans on the floor with chalk drawings in different colors. All the names, dates and objects of memory have been transcribed from the gravestones to the sortingdepot. A soundscape sampled with fragments of the interviews with the experts enriches the space of deviated devotion in a loop. The performances pursue the following rituals of the string: ablution and purification, the procession and the recollection. The nail cutting session as a private and intimate act of appropriation of dead matter reveals the transformation of the ritual into an economic service in western consumer societies. Western practice has alienated this act of purification from the traditional use of rituals of funerals and abdiction, not only for reasons of hygiene. Analog to this approach I want to elaborate the other parts of the ritual string to find further gestures. Another aspect introduced by the collective commemorative action is the participation of the public, because rituals generally require participation and compassion. The performance can emphasise the transcending of the object of grief into an artefact in a participative way. I want to explore further limits or aspects like time and duration, shame and disgust, aggression and threat and to develop a frame open to the public to get involved in. The mapping observes the spaces and sites3 of abdiction and funeral in Sarnen. It is a play 3 Fischer, Norbert: Inszenierte Gedächtnislandschaften: Perspektiven neuer Bestattungs- und Erinnerungskultur im 21. Jahrhundert, Studie im Auftrag von Aeternitas e. V. (2011). http://www.aeternitas.de/inhalt/downloads/studie_bestattungskultur.pdf (online 20.2.14) unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 2 Juerg Luedi MA in Fine Arts Major Art in Public Spheres between site and non-site, indoor and outdoor, social and private memory. My PhD proposal would like to examine other spaces and practices in different social and cultural contexts, like the touristic site of La Gomera or the commuter’s spheres in Wuhan, to create a place and space for the public to get involved, wich grows and changes with time and duration. How has the funeral and abdiction context shifted? Before I get closer to the practical approach I like to make some notes about the theoretical, artistic and historical4 references. The death of a group member was strongly connected to the lost of his specific competences for the community. Therefore the ritual was originally conceived to compensate for this loss, and to help the living to bridge the gap. Cremation was considered ‘common sense’ in the Ancient World, became taboo in early Christianity but has become the dominant practice in Europe today. Funeral services in Ancient Rome were organised on a private level and became municipalised by the Christian church and by the emerging civil society at the beginning of the 19th century. The space of the catholic churchyard was a public place of commerce and trade activities in the Middle Ages. The Protestant church turned the site into a planified, designed and fostered park, which has been affected by decline since the 90s. The tomb for the affluent classes’ representation in its early stages, became democratised, aesthetically standardised and industrialised in the Modern Age. The neoliberal society in the 21st century partially opened the doors to new and enriching possibilities for the funeral services, in a way that the grave and the cemetery move beyond their traditional borders in which they were the last and only places of rest in western consumer societies. The tendencies of privatisation and individualisation still follow the conventions based on the central cemetery of the 18th/19th century. Is performance art an adequate practice to negotiate the death? There were always practices in art, which envision the ‘own death’, such as sleeping in the tomb, or dealing with burial ceremonies like the funeral cortege, the funerary portraits and others. These types refer to the archetypes of the Ancient World and the Renaissance, and they have a lasting impact on the language of images and forms - even on the digital world of today. „myFunerals“, which scrutinised the cemetery’s crisis in Western European 4 Sörries, Reiner: Herzliches Beileid. Eine Kulturgeschichte der Trauer, WBG Primus Verlag 2012. Ruhe sanft. Kulturgeschichte des Friedhofs, Butzon & Bercker Verlag, Kevelaer 2009 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 3 Juerg Luedi MA in Fine Arts Major Art in Public Spheres societies and the experience of the social death5, discovers the Performance Art as an adequate method to make the sequential and ritual acts perceptible. The Performance Art is just as rituals a tool to build up collective cultural memory6, to evaluate and to scrutinise. The artist’s performative practices have developped new approaches, positions and possibilities. I discovered artists reflecting death, pain, mourning and valediction, revealing that performative practices can deal with the anxiety-laden repression of death like Kazuo Shiraga’s „Doro ni idomu (Challenging Mud)“ (1955), Valie Export’s „...remote...remote“ (1973), Gianni Motti’s „entierro no 1“ (1989, Vigo), Gillian Wearing’s „Signs that say what you want them to say and not Signs that say what someone else wants you to say (I’m Desperate)“ (1992-93) and „Self Portrait at 17 Years Old“ (2003) 7, Zhang Huan’s „To Raise the Water Level in a Fishpond“(1997, Beijing), Yang Zhichao’s „planting gras“ (2000, Shanghai), Zhu Yu’s „eating people“ (2000, Beijing), Nezaket Ekici’s „I had a dream..." (2002, Mannheim), Nao Bustamante’s „Spectacles of religiosities“ (alternative Title: „Sans gravity“)(2003, New York), Bill Viola’s “Ablutions” (2005) and Omer Fast’s video work „Looking Pretty for God (After G.W.)“ (2008). Their disputes on alienation, shift and densification attract me. I am impressed how they succeeded to translate in a unique way Merleau Ponty’s conclusion “to be corporal means to be visible”8. A process wich also Fischer-Lichte identifies as a performative production of identity – a process of embodiment9. If death, pain, mourning and valediction are comprehended as a transformation process, performance can handle this process on broad approach. The Performance Art covers the aspects of site, ritual and gesture. It integrates time and duration, involves the public and disputes memory. 5 „Unter sozialem Tod verstehen wir, dass jemand völlig vereinsamt, sich so zurückzieht, dass er praktisch keine Beziehungen zu seiner Umwelt, zu Nachbarn, Arbeitskollegen und u.a. unterhält“. In germanistikkommprojekt.uni-oldenburg.de: www.germanistik-kommprojekt.uni-oldenburg.de/sites/1/1_05_d.htm (online 15.5.13) 6 Assmann: ,1997, p. 85. Br ske: , 2001 7 artobserved: http://artobserved.com/2013/01/dusseldorf-gillian-wearing-at-kunstsammlung-nordrheinwestfalen-through-january-6th-2013/#sthash.y3nUVx87.dpuf1 (online 3.3.14) 8 „Leiblich-sein heisst Sichtbar-sein“ in Merleau-Ponty, Maurice: Phänomenologie der Wahrnehmung, Berlin 1974 S 291. In Meyer, Helge : Schmerz als Bild. p.68-72 9 Fischer-Lichte, Erika: Ästhetik des Performativen. Frankfurt/M. 2004, p. 38 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 4 Juerg Luedi MA in Fine Arts Major Art in Public Spheres How will proceed my Ph.D in practice „unFramed 25° : grieving and mourning as an art practice“ to take evidence? Jan Platvoet10 defines the ritual as a special happening, at a specific site and/or at a particular time, for a special occasion and gives common space significance through the use of adapted, culturally specific, corresponding constellations of core symbols. „unFramed 25°” interprets these angles as follows: the performance, the intervention and the icon. How can performance art appropriate a ritual? „myFunerals“ focussed on the practices in a local catholic society in Central Switzerland. In a subsequent step my proposal will investigate other geographical and cultural references regarding the daily practices and acts. The first field of interest is the ritual chain of the funeral and abdiction context for the process of mourning and grieving, assembled by the following elements: proclamation, ablution and purification, make up for the laying out and the presentation of the death body, the abdiction and credit / benediction by the relatives, the procession to the tomb/grave, the funeral and the valediction / farewell / memory to the deceased. The second and parallel field of reseach are the everyday ritual(isation)s according to Erving Goffman (2002) with a strong connection to Catherine Bell’s process based notion. In accordance to Baudrillard’s „Symbolic Exchange and Death“ (1976) and De Certeau’s „The Practice of Everyday Life“ (1980)11, the inconstancies and irregularities, the unpunctual, the indifferences in the overspill, in the traction and the accumulation, all practices of the „underdeveloped“12 are in my spot. I will look for hidden or forgotten ritual fragments, which disappeared from the traditional string. I will look for indivdual and private ritualisations that jumped out of the ritual chain of grief. It is in my interest to find such transitional rituals to wich Lüddeckens (2004) attributes a contemporary mentality, that anyone can proposes sequences of action, forms of expression and symbols. These individual practices are signs of creativity and de-institutionalisation according to Stausberg (2004). Grimes and Post (2004) scrutinise this practices as ‘ritual substitutes’ and surrogates. Grimes states that a lot Platvoe, Jan: Das Ritual in pluralistiscen Gesellschaften. In: Belliger, Andrea und Krieger, David: Ritualtheorie. Ein einführendes Handbuch, Wiesbaden 2008 (4.Auflg.). p.32 11 De Certeau, Michel: Kunst des Handelns, (L’invention du quotidien. 1 Arts de faire, Paris 1980), Merve Verlag Berlin 1988. 12 Baudrillard, Jean: Der symbolische Tausch und der Tod (L’échange symbolique et la mort, 1976), Matthes&Seitz Berlin, Neuauflage 2011, p. 57 10 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 5 Juerg Luedi MA in Fine Arts Major Art in Public Spheres of christian rituals got lost the connection between the public sphere and the private area, between individuals and community. Grimes highlights also the precarious aspects of rituals, which have been instrumentalised in a political and religious context to indoctrinate, to discipline and to manipulate, etc. In a subsequent step the secenarios characterised by Wulf (2005) and Zirfas (2004) with an impact of ritualisation will serve for the elaboration of the performances. Out of the art process Lukken (2005) denotes these ritualisations as a form of „Musealisierung“(becoming museum). Analog to Goethals, Matussek and Turner13 I distinguish three phases14 relevant to a performance: the separation, the transgression of thresholds (liminal phase) and the affilination to return. On the other hand, I will examine what kind of ritual level and form is appropriated to the performances, according to Grimes’s six types of rituals15:1. The ritualisation is corporal, e.g. symptom, affectation, gesture. 2. The rules of propriety are interpersonal and formal, e.g. reception, parting, drinking tea. 3. The ceremonie acts between groups and is political, e.g. enthronement, convention, enactment. 4. The magic is technological, causal, and means to an end, e.g. healing, proliferation, prophecy. 5. The liturgy is religious and sacral, e.g. meditation, (divine) service. 6. The celebration is ludic, theatrical and aesthetical, e.g. carnival, party, celebration. Rosalee Goldberg declared the „Wiener Aktionismus“ as a „ritual performance“ in which „ancient...rites were re-enacted in a modern context“16. Like other key actors in ritual based Performance Art like Gina Pane, Valie Export and Stuart Brisley, my performative practice looks for a kind of re-enactment of daily ritualisations to “pierce the horizon of the possible through the dimension of the impossible with the intention to corrupt the ordre of facts”17. 13 Goethals, Gregor T.: Ritual und die Repräsentation von Macht in Kunst und Massenkultur, in Belliger: Ritualtheorien, 1998, p. 302 Matussek, Peter: Der Performative Turn: Wissen als Schauspiel. 2004 14 Victor W. Turner: Liminalität und Communitas. In Belliger: Ritualtheorien. p. 249. As well in: Meyer, Helge : Schmerz als Bild, p.105-110 15 Grimes, Roland: Typen ritueller Erfahrungen, in Belliger, Andrea und Krieger, David: Ritualtheorie, 1998. p. 117133 16 Goldberg, Rosalee: Performance Art: From Futurism to the Present, 2011. p. 163 17 Steinweg, Marcus: Catalogue VideoRhizome II, p. 7 PDF: http://www.caosmos.org/uploads/box/steinweg_marcus_deutsch_ii.pdf (online 4.2.14) unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 6 Juerg Luedi MA in Fine Arts Major Art in Public Spheres The aim is to construct a „visiblity of the inexistence“18 gleaming through the fracture in the subject19 and to create further strange slide overs. If the (performing) artist affects the death on the corporal level without dying himself, he can sharpen the seeing by abandoning standardized paths, he regards well-known things from a different angle and the potential to anticipate a change. „unFramed 25°“ asserts that the situation of social death is in accordance with the artist’s conditions, and that the art process coincides with grieving and mourning. For example when I collect for 20 years my cutted nail and I displace and assemble them in a space in a predicted order and embedded in a performance, I enveil the handicraft and the disguises. In a laboratory setting I will develop further performances in the field of ritual activity of everyday life. „unFramed 25°“ has the ambition to gather a performative language and vocabulary of mourning and grieving in the context of funerals and abdiction spaces and rituals. Luedi, Juerg: cuttings, laying out, sketch (2013) What is the relevance of space / site? According to Lefebvre’s „trinity of space“20 my interventions in public spheres reflect the “forgotten narratives of everyday and opaque gestures”21. Concerning the memorial aspect of the site and spaces, the project will make some how a counter check to the concept of „contact zones“ as social spaces, in which diverse social and cultural positions come into Badiou, Alain: Dritter Entwurf eines Manifests für den Affirmationismus, Berlin 2007, p. 35. In Steinweg, Marcus: Catalogue VideoRhizome II, p.7 19 Badiou, Alain: Logiques des mondes. L’être et l’événement, 2, Paris 2006, p. 570f., such as in: Petit panthéon portatif, Paris 2008, p. 117–133. In: Steinweg, Marcus: Catalogue VideoRhizome II, p.7 20 Lefebvre, Henri: Die Produktion des Raums. In: Dünne/Günzel 2006, p. 330-340 21 F. Ponge: Einführung in den Kieselstein und andere Texte, Ffm 1986, p.129 / De Certeau: Kunst des Handelns. (The Practice of Everyday Life) Merve 1998, p.24 18 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 7 Juerg Luedi MA in Fine Arts Major Art in Public Spheres contact and have to coexist22. According to Sheikh „unFramed 25°“ understands the everyday life and the public sphere as an attempt „to deal with living conditions within the knowledge economy of the post-fordist world, a tactic of double movement, both contestation and withdrawal“, more to assemble than to perform23. The artistic strategy requires a site (Ort), which can be described as something own (Eigenes) and therefore serves as a basis for organising relations to an exteriority (Exteriorität). These can be directions of impact or threats (e.g. clients or concurrents, enemies, the suburban, 24 research objectives and –objects / artefacts, etc.) . The site for funerals and abdictions attached to the conventions of the 19th century25 is the romantic park landscape. Since the 90s this formula started to fail the needs and practices of Western societies. In a first step I want to search and to map variations26 and possible transformations in the public spheres like the funeral in the woods or the memorial at the street border. Especially transitory spaces like tourists or commuters’ places will be in my interest. Actually there are two fields of interventions in discussion: an “art cemetery” on the La Gomera island and a “recollection” in a tube station in Wuhan/China. One option for a spatial contextualisation of the performance experiments could be a land art intervention. Rothko’s concern of the intense viewer-image-relation27 aimed at the pure colors’ impact, and James Turell’s conversion of Rothko’s luminosity28 to the 3-dimensional space should be taken into consideration. Both of them have realised such spaces like the 22 Clifford, James: Routes, Travel and Translation in the Late Twentieth Century, Cambridge 1997, p. 204. Pratt, Mary Louise: Arts of the Contact Zone, Profession 91 (1991) p. 33-40. Web: 23 Sheikh, Simon: Representation, Contestation and Power: The Artist as Public Intellectual, 2004. Web: http://eipcp.net/transversal/1204/sheikh/en (online 7.3.14) 24 De Certeau, Michel: Kunst des Handelns, (L’invention du quotidien. 1 Arts de faire, Paris 1980), Merve Verlag Berlin 1988. p.87 25 E.g.: McKendry, Jennifer: INTO THE SILENT LAND. Historic Cemeteries & Graveyards in Ontario, PhD 2003. In: http://www.mckendry.net/BOOKS/cemeteries.html (online 20.8.13) - Lemay, Kate: Project: The American Cemeteries from World War II in France and the Evolution of Postwar Memory. Ph.D., Art History Dept., Indiana University, M.A.: Indiana University Dates: September 1, 2011 to August 30, 2012 In: http://www.okeeffemuseum.org/scholars.html (online 20.8.13)- Green-Wood Cemetery, 500 25th Street, Brooklyn (NY 11232). In: http://green-wood.com (online 20.8.13) - Ramsland, Katherine: Celebrate a Cemetery! Milestones offer opportunities to see reminders of the human spirit. Published in Psychology Today on May 26, 2013 in Shadow Boxing. In: http://www.psychologytoday.com/blog/shadow-boxing/201305/celebrate-cemetery (online 20.8.13) 26 E.g.: Lynch, Mark Barry: The Namoratunga Cemetery and Rock Art Sites of Northwest Kenya. Ph.D. Dissertation, Michigan State University , East Lansing, Michigan, 1978 - Ross, J.: Rock Art, Ritual and Relationships: An Archaeological Analysis of Rock Art from the Central Australian Arid Zone. Phd. Dissertation, University of New England , Armidale, Australia, 2003. Beide auf: http://www.arara.org/Dissertations.html (online 20.8.13) 27 „Ein Bild lebt in Gemeinschaft, indem es sich in den Augen des einfühlsamen Betrachters entfaltet und dadurch in ihm auflebt. Es stirbt, wenn diese Gemeinschaft fehlt. Deshalb ist es ein gewagtes und gefühlloses Unterfangen, ein Bild in die Welt zu entsenden.“ “ (Mark Rothko, 1947) In Mark Rothko. von Dora Imhof, Susanne Kudielka, Bettina Mette, Tanja Narr , Hatje Cantz Verlag 2001. 28 In Mark Rothko - Biography, paintings, quotes: http://www.markrothko.org (online 24.8.13) unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 8 Juerg Luedi MA in Fine Arts Major Art in Public Spheres Rothko Chapel or the Roden Crater29. The procession to the tomb/grave, the funeral and the farewell to the deceased as part of the ritual chain would be the key elements. Due to the cemetery’s crisis, valediction practices out of the traditional site enclosed by walls are of interest. „unFramed 25°“ would examine what kind of farewell practices tourists use and ask what connections do they have to the procession to the cemetery and the non-religious farewell practices. In urban context there are spontaneous actions like e.g. the flowers and candles on the street border or at the location of the accident. La Gomera30 would offer a frame for an art space to embed these kind of ritualisations. The public is invited to involve itself, e.g. by acquiring 1m2 per person and to dedicate the parcel to a deceased person. The impact of the site in practice due to the concept of a botanical garden with a view to the endless hazy horizon over the ocean creates a non-religious space reminding a Rothko painting. A spacious ground shall be colored by flowering local shrubs in the colors of the rainbow on a parcel of around 2ha of terraced land. Luedi, Juerg: unFramed 25° La Gomera, sketch (2013) Another possible intervention space could be the metro line project in WUHAN. The Lucerne University Design&Art called for projects to collaborate with the Hubei Art Institute in Wuhan (China). The proposal „stages of life“ by Juerg Luedi and Chris Aschwanden broaches the same issue of rituals, gestures and spaces. On one side the commuters daily farewell rituals are in the spot. On the other side what are the todays practices to proclaim the death of a loved one? What does it mean to go underground for transportation? Moderne metro lines has become cathedral-like architectural spaces to make the commuters processions comfortable and efficient, and maybe to make forget the resemblance to the columbarium. Further artistic references: Dan Flavin, Walter De Maria, Ólafur Elíasson, Larry Bell and Robert Smithson. El Cabrito on La Gomera was the last project of the “Wiener Aktionisten”’s commune. Web: http://www.elcabrito.es/hotel-el-cabrito/ueber-uns/unsere-geschichte.html (online 14.3.14) 29 30 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 9 Juerg Luedi MA in Fine Arts Major Art in Public Spheres “unFramed 20°” consists of projecting a digital portrait of the local deceased people on a waterfall as reference to the practice of publishing obituary notices. A database where the public can upload their own pictures is the source for the projection system. Luedi, Juerg: unFramed 25° WUHAN metro, sketch (2014) Why are the gestures of importance? I consider the gesture as an iconographic form of the between ritual and space, but also as political statement. Grimes mentioned the danger of the ritual implying on the individual level the aspect of neurosis and on the social level the threat of manipulation and indoctrination. Therefore the impact of play, participation and irony will be crucial. I want to search for possible icons and images, wich are able to perform the ritual in this way. It is essential to interogate possible spaces of interventions to lay up the frames for the transgression of the performer and the public. The last and most difficult step in the artistic process will be the condensation of the work to extract these gestures. Understanding the gesture as an iconographic process, it will be intriguing to see when and how it happens in the process. Only due to the experiments and the documentation the images will reveal their potential and quality of becoming iconographic, and finally to be opposed as similar games to the simulacra of the third kind as Jean Baudrillard postulates in „Symbolic Exchange and Death“31. Conclusion If succeed, I will be able to moot a rethoric of these performances. I will have a scenario to reveal the relation between grieving and mourning and the artistic process. A vocabulary of images and icons for my art practice will visualise the rituals, gestures and spaces in the 1. imitation, 2. production, 3. simulation. In: Baudrillard, Jean: Der symbolische Tausch und der Tod (L’échange symbolique et la mort), Matthes&Seitz Berlin, 1. Auflage 2011, p. 12 31 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 10 Juerg Luedi MA in Fine Arts Major Art in Public Spheres funeral and abdiction context open to a non-religious and intercultural practice. unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 11 Juerg Luedi MA in Fine Arts Major Art in Public Spheres unFramed 25° : resource persons Prof. Dr. Sabine Gebahrdt-Fink Head of the Master in Fine Arts and Dr. Rachel Mader Head of Research & Development of the Design&Art Department of the Lucerne University of Applied Sciences and Arts HSLU supports the project in practice and theory. A group of associates will assists me: Maria Lichtsteiner (MA in Sculpture, landscape architect and professor at the HSLU), Caecilia Anderhub (art historian and professor at the HSLU), Hannes Hummel (sociologist and reseacher), Kate Burgener (MA Art in Media and Gender Studies, artist and lecturer at the University of Teacher Education, Bern), Franziska Soerensen (translator and head of the German Group of the Language Service of the Ministery of Foreign Affairs of Switzerland) and Nathalia Schmuki (lawyer and solicitor), Eric Müller (performer and instructor), Tinu Hettich (performer and web developper), Corinne Künzli (MA cinema studies, filmmaker). unFramed 25° : bibliography Arendt, Hannah: The Human Condition, Piper 1989 (6. Aufl.) Blank, Richard: Film&Licht. Die Geschichte des Filmlichts in der Geschichte des Films, Berlin 2009 Barthes, Roland: Das Rauschen der Sprache, Frankfurt a. M. 2006 Baudrillard, Jean: Der symbolische Tausch und der Tod (L’échange sysmbolique et la mort), Matthes&Seitz Berlin, 1. Auflage 2011 Bell, Catherine: Ritual. Perspectives and Dimensions. New York – Oxford 1997 Binotto, Johannes: TAT/ORT. Das Unheimliche und sein Raum in der Kultur, diaphanes Zürich-Berlin 2013 (1. Aufl.) Bishop, Claire: Living as form. Participation and Spectacle: where are we now? (18th May 2011), Originally titled: RECONSIDERING USEFUL ART, redirected to discuss participation and spectacle in response to steering framework for this talk: WHERE ARE WE AT NOW WITH SOCIAL PRACTICE? (from Nato Thompson). Useful Art Event / Immigrant Movement International, (Tania Bruguera, Mel Chin, Beka Economopoulos/Not An Alternative, Rick Lowe, Jorge Munguia, /Pase Usted, Patrick Bernier/Olive Martin Blümle, Claudia und Heiden, Anne von der (Hrsg): Blickzähmung und Augentäuschung. Zu Jacques Lacans Bildtheorie, Zürich, Berlin 2005 Burgin, Victor: In/Different Spaces. Places and Memory in Visual Culture, Berkley 1996 Butler, Judith: Gender Trouble. Feminism and the Subversion of Identity, New York 1999 De Certeau, Michel: Kunst des Handelns, (L’invention du quotidien. 1 Arts de faire, Paris 1980), Merve Verlag Berlin 1988 Dolar, Mladen: His Master’s Voice. Eine Theorie der Stimme, Frankfurt a. M. 2007 Deleuze, Gilles: Lust und Begehren. Merve Verlag, Berlin 1996 (mit Guattari, Félix) Anti-Ödipus. Kapitalismus und Schizophrenie I. Suhrkamp, Frankfurt 1974 (orig. 1972) (mit Guattari, Félix): Tausend Plateaus. Kapitalismus und Schizophrenie II. Merve Verlag, Berlin 1992 (orig. 1980) ( mit Guattari, Félix) Rhizom. Berlin: Merve 1977 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 12 Juerg Luedi MA in Fine Arts Major Art in Public Spheres Deleuze, Gilles: Kritik und Klinik, Frankfurt a. M. 2000. > Schwellen als Übergang von Leben und Tod. Übergangsphänomene Eliasson, Olafur and Ørskou, Gitte: Olafur Eliasson: Minding the World, ARoS Aarhus Kunstmuseum, 2004. Felman, Soshana: Jacques Lacan and the Adventure of Insight: Psychoanalysis in Contemporary Culture, 1987 Fischer-Lichte, Erika: Ästhetik des Performativen. Frankfurt/M. 2004 Freud, Sigmund: Das Unheimliche(1919), in: Gesammelte Werke. Bd 14, London 1947 > das Unheimliche als Raum, in dem Orientierung und Differenzierung (innen/aussen, fremd/vertraut) verunmöglicht wird. (Binotto S. 200) Foucault, Michel: Andere Räume (1967), in: Architekturtheorie im 20. Jahrhundert: Eine kritische Anthologie. Akos Moravánszky, K.M. Gyöngy, Springer 2003, S. 549-556 PDF: http://www.uni-weimar.de/cms/uploads/media/Michel_Foucault_-_Andere_Raeume.pdf (online 25.4.13) Überwachen und Strafen. Die Geburt des Gefängnisses, Frankfurt a. M. 1976 Die Strafgesellschaft, in: Schriften. Dits et Ecrits. Bd 2 1970-75, Frankfurt a. M. 202 Goffman, Erving: Interaktionsrituale. 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Die Objektbeziehung, Das Seminar, Buch IV, Wien 2003, S. 23. Das Seminar. Buch X: Die Angst, Wien 2010 Le séminaire. Livre XXIII: Le sinthome, Paris 2005 > Borromäischer Knoten / zu schön um wahr zu sein (> L’immoraliste no 2, siehe auch Binotto S. 141) Das Seminar. Buch XI: Die vier Grundbegriffe der Psychoanalyse, Olten 1978 Lehmann, Christian: Bild und Betrachter - Ereignisbildkonzepte bei Manet und mögliche Konsequenzen in den interaktiven Medien, München, GRIN Verlag GmbH, 2011 unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 13 Juerg Luedi MA in Fine Arts Major Art in Public Spheres http://www.grin.com/de/e-book/188046/bild-und-betrachter-ereignisbildkonzepte-bei-manet-und-moeglichekonsequenzen Lefebvre, Henri: The Production of Space. Malden: Blackwell Publishing, 1991 Löw, Martina: The Constitution of Space – The Double Existence of Space as structural Ordering and Performative Act, Lecture at Paris I/Sorbonne, 2005 http://raumsoz.ifs.tu-darmstadt.de/pdf-dokumente/loew-constitution-of-space.pdf L ddeckens, Dorothea: Neue Rituale für alle Lebenslagen. Beobachtungen zur Popularisierung des Ritualdiskurses, in: ZRGG (2004) 56, 37-53. Newman, Barnett : The Sublime is Now, 1948 May, Susan: Olafur Eliasson: The Weather Project, London: Tate Publishing, 2003. Meyer, Helge: Performance Art und Körperbild - Eine Studie zur Avantgarde-Kunst der Gegenwart, Diplomarbeit 1999. Web: http://www.performance-art-research.de/texts_en.html (online 14.3.14) Mouffe, Chantal: Über das Politische. Wider die kosmopolitische Illusion, Frankfurt am Main 2007 Post, Paul: Überfluss und Unvermögen. Ritualkompetenz oder Kompetenzverlust: rituellliturgische Erkundungen im Lichte der Ritual Studies, in: Wiederkehr der Rituale. Zum Beispiel die Taufe. Hg. v. Benedikt Kranemann u.a. Stuttgart 2004, 47-71. Platvoet, Jan :Das Ritual in pluralistischen Gesellschaften, in: Ritualtheorien. Ein einführendes Handbuch. Hg. von Andréa Belliger B David J. Krieger. Opladen B Wiesbaden (1998), 173-190 Rancière, Jacques: Das ästhetische Unbewusste, Zürich, Berlin 2006. Das Unbehagen in der Ästhetik, Wien: Passagen Verlag 2008 Raap, Jürgen : Siglinde Kallnbach. Tempelopfer und Feuerrituale', in: KUNSTFORUM International Vol. 130, 1995, p. 320. Ritualforschung im Internet, in: Heidelberger e-Journal fü r Ritualwissenschaft 2001/2002 (http://www.ritualdynamik.uni-hd.de/e-journal/berichte/internetrecherche.pdf) [Stand: 30.3.2007] Runte, Annette: Dinge sehen dich an, in: Blümle, Claudia und Heiden, Anne von der (Hrsg): Blickzähmung und Augentäuschung. Zu Jacques Lacans Bildtheorie, Zürich, Berlin 2005 Sartre, Jean-Paul: Das Sein und das Nichts, GW: Philosophische Schriften I, Reinbek bei Hamburg 1994. Schechner!, !Richard: !Performance Studies!: !An Introduction, Routledge!, 2013. Theater-Anthropologie. Spiel und Ritual im Kulturvergleich, Reinbeck bei Hamburg 1990 Scollon, Ron / Wong, Suzanne: Discourses in Place, London 2003 > Signaletik Sheikh, Simon (Ed.): In the Place of the Public Sphere?, oe / b_books: Berlin, 2004 10 2004 Representation, Contestation and Power: The Artist as Public Intellectual, 2004. Web: http://eipcp.net/transversal/1204/sheikh/en (online 7.3.14) Shen, Sigmund: Monster of Mourning, Ritual of Remembering: Ishirô Honda’s Gojira. In Reconstruction Vol. 13, No. 3/4: http://reconstruction.eserver.org/133/133_Shen.shtml (online 5.2.14) Smith, Paul: Dread, Route and Time: An Autobiographical Walking of Everything Else. In Reconstruction Vol. 13, No. 3/4: http://reconstruction.eserver.org/031/smith.htm (online 5.2.14) Soeffner, Hans-Georg: Überlegungen zur Soziologie des Symbols und des Rituals, in: Die Kultur des Rituals. Inszenierungen. Praktiken. Symbole. München 2004, 149-176. unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 14 Juerg Luedi MA in Fine Arts Major Art in Public Spheres Stausberg, Michael: Reflexive Ritualisationen, in: Zeitschrift fü r Religions- und Geistesgeschichte 56/2004, 54-61. Sternfeld, Nora: Memorial Sites as Contact Zones. Cultures of Memory in a Shared/Divided Present (translated by Aileen Derieg), 2011. Web: http://eipcp.net/policies/sternfeld/en Tkatch, Daniel: Das ästhetisch Erhabene bei Jacques Rancière. Seine Kritik der Rezeption des Kantschen Erhabenen durch Lyotard, Masterarbeit Thun-Hohenstein, Felicitas: Performanz und ihre räumlichen Bedingungen: Perspektiven einer Kunstgeschichte, Wien: Böhlau Verlag 2012 Traverso, Enzo: Gebrauchsanleitungen für die Vergangenheit. Geschichte, Erinnerung, Politik, Münster 2007 Traverso, Enzo “Vom kritischen Gebrauch der Erinnerung”, Thomas Flierl, Elfriede Müller (Ed.): Vom kritischen Gebrauch der Erinnerung, Berlin 2009 Turner, Victor: Das Ritual. Struktur und Anti-Struktur. Aus dem Englischen und mit einem Nachwort von Sylvia M. Schomburg-Scherff. Frankfurt/M. 2000/1969– New York (Originalausgabe: The Ritual Process. Structur and AntiStructure. New York). Wulf, Christoph (Hg.) Zirfas, Jörg: Die Kultur des Rituals. Inszenierungen. Praktiken. Symbole, M nchen 2004. Das Soziale als Ritual. Zur performativen Bildung von Gemeinschaften. Opladen 2001 Yishu – Journal of Contemporary Chinese Art http://yishu-online.com/back-issues/view/?62&issue=current Article: Land Art Mongolia, LAM 360° Volume 12, Number 3, May/June 2013 by Marc Schmitz Zizek, Slavoj: Die Tücke des Subjekts, Frankfurt a. 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New York 1973 Flavin, Dan: Dan Flavin Art Institute, Bridgehampton, NY http://www.diaart.org/sites/main/danflavinartinstitute (online 27.1.14) Gormley, Antony : Horizont Fields (2010-12) Kunsthaus Bregenz: http://www.kunsthaus-bregenz.at/horizonfield/ehtml/projekt_antony_gormley.htm (online 27.1.14) unFramed 25° : grieving and mourning as an art practice (proposal for a Ph.D in Practice by Juerg Luedi, 6.3.2014) 15 Juerg Luedi MA in Fine Arts Major Art in Public Spheres > grösstes Land Art Projekt Österreichs Huan, Zhang: http://www.zhanghuan.com (online 4.3.14) Jonas, Joan: Video Data Bank VDB /SAIC http://www.vdb.org/artists/joan-jonas (online 14.3.14) Kallnbach, Siglinde: http://www.siglinde.kallnbach.de (online 6.2.14) Lacy, Suzanne: Beneath Land and Water A Project for Elkhorn City (2000): http://www.suzannelacy.com/2000selkhorn.htm (online 27.1.14) In Mourning and In Rage performance Lovecraft, Howard Phillips: At the Mountains of Madness, in: Berge des Wahnsinns. 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