Dearest Axelle!

Thank you for this email!
It is a great reward to open my email and find this welcome confessional of circumstances and time of yours!

I want to find a time in which I can re-read it and respond in full and I will! I take it too close to heart to be able to brush over it only lightly now and want to get into the small corners of it and respond accurately.
Soi leave it a little for now. But am very happy to have some idea of you now as I’ve been longing to know!

To be able to contribute in a way which makes sense to me I will create a kind of recipe for a matter which I can digest - a format - something which is set in motion.
I read your compilation of words carefully and they make me laugh somehow. I am also grateful because I have been a bit lost recently. A bit tired of being conceptual. HA.
I could put it in more elegant ways.. But I don’t..
It is such a laborious process to work at such depth and so recently I have found myself a little afloat in aesthetics and opulence of performance and production of matter rather than concepts and thought which are
migraine inducing and yet still intoxicating. But I have to say they have also led me a little astray somehow.. from what I do, from what I protest, from what I want to say, not just what I want to show..
I like the style and i like the tactility of matter but I also have so many thoughts which lay dormant because I wonder constantly who’m I would be speaking to.. It seems sometimes easier to make a mute point and
not spell anything out, maybe sing.. dance..

But of course then i loose myself because who am i if not this entirely far too complex machinery *not implying complex with hierarchy, certainly nto intellectual - but as a component, as a conductor of very small fragments which interlink to a complex idea and purpose.. Lately I have been thinking of making theatre, i guess that shows.. because art is somehow so sad at times.. such a flat thing… but then suddenly PANG i miss it..
and i don’t want to stray much further.. especially not when you say you’ve been watching videos and i think eeek what have i actually been making lately that is on show. its a kind of hate/love to move away from the narrow, from
the striving for the purity of intelligentsia and move into the circus.. I struggle with the flatness of the representative image and at the same time i love the ease of it..

ha, was going to keep it simple. you know my ramblings..

anyway why i get into this is because here - with this - what seems like simple - task at hand. I want to make what I consider A proportional gesture
but which probably seems like anything but..

I find this very inspirational -
and also a lot of other little nuggets of syntax in your email but will focus here.

For the money, it's a gesture of course that is proportional to the fundings I could raise for the project. We do it mostly for the legend and to grow some attention for what we do in the hope to communicate some ideas about art that is alive in the context of the sculpture garden biennale. You can imagine the contrast between monumental sculptures in the rich parcs of Geneva and a « Flying Leave » that is based on a totally different process of production and depends on a totally different vocabulary to exist.

a reference to monumentality
sculpture garden
totally different processes of production
dependency
different vocabulary

and

then i think of the complexities of vorstellen
a network
the linking / forking
connection and perpetual motion

and i think i will use this to make my selection but also to place the first stone in the building of a reference to this monumentality.

I will take the 200CHF and I will set it in motion.
I will buy with it materials which I will produce a sculpture for gardens with.
By means of ‘the totally different vocabulary I’ll fork my process of production to this ephemera amidst the pillars of monumental sculptures in the rich parks of Geneva.

I will use this as my basis for selection, looking for this kind of contribution, something which morphs a body, something which regurgitates, something which speaks of structure of architecture of process and getsure, this can of course be literal, it can be abstract, i have to go through the fragments and start gluing.. and then add my own contributions, a referential text from previous works, reflections on monumentalism, the sculpture and its gestural complexities and paradoxes perhaps.. just freestyling..

and then once the sculpture is made, see where i can house it, a domestic garden, a royal one.. a picture and a post on vorstellen forking it back to the flying leaf i put together..

Hope this is tickling you!

All my love,
Sanna

division of work

"Division of work is not the only aspect of specialization. Specialization means the loss of direct, actual experience beyond the field of specialty and there, substitutes information for experience. But information means intellectualization and intellectualization--one-sidedness, incompleteness. Alfred North Whitehead comes to my aid here when he says: 'Effective knowledge is professionalized knowledge, supported by a restricted acquaintance with useful subjects subservient to it.'"

Anni Albers

Körper Archiv // Body archive

„The repertoire […] enacts embodied memory: performances, gestures, orality, movement, dance, singing – in short, all those acts usually thought of as ephemeral, nonreproducible knowledge. […] The repertoire requires presence: people participate in the production and reproduction of knowledge by ,being there,‘ being a part of the transmission. As opposed to the supposedly stable objects in the archive, the actions that are the repertoire do not remain the same.“
[](*

Diana Taylor in "The Archive and the Repertoire"*)
For more, click here

interior objects

I am an object in an interior.

I just moved to my new apartment. It's almost November. I feel as if in a dark temple. I ask myself every day: Why am I here. What I will do. And will the unknown have mercy on me. I think about the amount of bowls and clothes I have at my disposal here. How can I compose the inside in a way that may protect me from the chaos outside. How can I compose the inside also in order to protect me from the chaos inside.

Here an annotated excerpt from Gertrude Stein's Tender Buttons (Objects)

I might work on this translation more later.

"What is the use of a violent kind of delightfulness if there is no pleasure in not getting tired of it.

^{[Why should we indulge if we are afraid of losing interest in whatever we are indulging.]}

The question does not come before there is a quotation.

^{[The desire to indulge is not problematized before there is a prohibition or a bad conscience.]}

In any kind of place there is a top to covering

^{[Wherever we go, the action of covering (covering up?) (suppressing?) (hiding?) always includes an object that covers, like a blanket, a lid, a sheet, a wall, a curtain]}

and it is a pleasure at any rate there is some venturing in refusing to believe nonsense.

^{[it is brave to formulate one's own opinions and beliefs, and define one's own moral.]}

It shows what use there is in a whole piece if one uses it and it is extreme and very likely the little things could be dearer

^{[Forming one's own beliefs and opinions is an indulgence, rules and orders coming from the outside are easily accepted, and the one that follows them does not appear as monstrous as the one that indulges.]}

but in any case there is a bargain and if there is the best thing to do is to take it away and wear it and then be reckless be reckless and resolved on returning gratitude."

^{[If one indulges in the iteration of one's own beliefs, one is likely going to be rewarded with great happiness, which naturally ends up in the desire to make others happy, too.}