{"id":5901,"date":"2020-08-17T14:39:21","date_gmt":"2020-08-17T11:39:21","guid":{"rendered":"http:\/\/kim.lv\/?p=5901"},"modified":"2020-08-18T12:40:20","modified_gmt":"2020-08-18T09:40:20","slug":"toin-spurl-plinuckment-john-baldessari-elise-florenty-marcel-turkowsky-charlotte-pryce","status":"publish","type":"post","link":"https:\/\/kim.lv\/en\/toin-spurl-plinuckment-john-baldessari-elise-florenty-marcel-turkowsky-charlotte-pryce\/","title":{"rendered":"TOIN OR SPURL OR PLINUCKMENT: John Baldessari, Elise Florenty & Marcel T\u00fcrkowsky, and Charlotte Pryce."},"content":{"rendered":" <\/p>\n

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Dates: 18.08 – 23.08.<\/p>\n

Venue: Kim? Contemporary Art Centre (onsite and online)<\/p>\n

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Presented in the context of \u2018All Flesh is Grass\u2019 at Kim? Contemporary Art Centre, the screening \u2018Toin or Spurl or Plinuckment\u2019 features work by: John Baldessari (onsite), Elise Florenty & Marcel T\u00fcrkowsky (online), and Charlotte Pryce (online).<\/p>\n

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In the short story \u2018The Sound Machine\u2019 by Roald Dahl, Mr. Klausner tinkers with his invention, a black box \u2018designed to pick up sound vibrations that are too high-pitched for reception by the human ear, and to convert them to a scale of audible tones.\u2019 Standing in the garden with this black box he hears \u2018a frightful piercing shriek\u2019 when his neighbor Mrs. Saunders cuts a yellow rose and places it in her basket. Overcoming his initial shock, Mr. Klausner revels in the possibilities of this discovery. Through further \u2018testing\u2019 he questions if these severed flowers really \u2018expressed pain\u2019 and hypothesizes that they \u2018didn\u2019t really express any of the feelings or emotions known to a human being.\u2019 He continues: \u2018a flower probably didn\u2019t feel pain. It felt something else which we didn\u2019t know about \u2013 something called toin or spurl or plinuckment, or anything you like.\u2019<\/p>\n

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It\u2019s difficult not to read Mr. Klausner\u2019s statements as anthropocentric hubris. He obfuscates his hand\u2019s action and his responsibility in causing the shrieks in his experiments by making the shaky claim that the flowers \u2018probably\u2019 didn\u2019t feel pain. His actions seeking data beyond human sense, and his technological apparatus feeding him results, create a feedback loop. It seems as though his experiments reveal more about his desires and impositions. However, there are gaps in the feedback loop where more-than-human data does come through, even if it can\u2019t be analyzed or deciphered. The shrieks still resonate. Through Dahl\u2019s use of \u2018non-sense\u2019 language for the un-named feeling of the flowers he creates a placeholder. \u2018Toin or spurl or plinuckment\u2019 become variables open to being renamed and filled with meaning by the flowers, or just plainly ignored. Either way, the agency and voice of the flowers has its own rhythm and logic despite any human claims.<\/p>\n

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Available to view onsite at Kim? (August 18 – 23):<\/p>\n

Teaching a Plant the Alphabet<\/i><\/strong>, John Baldessari, 1972, 18:08 (courtesy of VDB)<\/p>\n

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Teaching a Plant the Alphabet, John Baldessari, 1972 (courtesy of VDB)<\/p>\n

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\u2018[A] rather perverse exercise in futility,\u2019 this tape documents Baldessari\u2019s response to Joseph Beuys\u2019s influential performance,\u00a0How to Explain Pictures to a Dead Hare.\u00a0Baldessari\u2019s approach here is characteristically subtle and ironic, involving ordinary objects and a seemingly banal task. The philosophical underpinnings of Baldessari\u2019s exercise are structuralist theories about the opaque and artificial nature of language as a system of signs. Using a common houseplant to represent nature and instructional flashcards to represent the alphabet, Baldessari ironically illustrates this theorem. That language is the structuring element of the tape\u2014the length of the tape was determined by the number of letters in the alphabet\u2014enforces the connection between language and art, a recurrent theme in Baldessari\u2019s work. (vdb.org)<\/p>\n

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Available to view online at kim.lv (August 18 – 24):<\/p>\n

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Conversation with a Cactus<\/i><\/strong>, Elise Florenty & Marcel T\u00fcrkowsky, 2017, 45:00<\/p>\n

To access, press here.<\/a> <\/strong><\/p>\n

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Conversation with a Cactus, Elise Florenty & Marcel T\u00fcrkowsky, 2017 (courtesy of the artists)<\/p>\n

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Mei, a 30-year-old woman from Tokyo, sends a message to her friend Toshi in Hamburg, telling him about haiku, strange recollections from their youth, and the last muggy summer night. Shocked by the death of the journalist Iwaji Masaki known for working on the Fukushima disaster, she falls into a dream-like hallucination bringing back various testimonies of the legendary 1970s Hashimoto experiment. The attempt was to manifest plant consciousness and to use cacti as potential witnesses in the investigation of future crimes. Part media history, part ghost story, the film interweaves science and mythology to lead us into an animist space beyond language and reason. (EF & MT)<\/p>\n

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PWDRE SER: the rot of stars<\/i><\/strong>, Charlotte Pryce, 2018, 6:44<\/p>\n

To access, press here.<\/a><\/strong><\/p>\n

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PWDRE SER: the rot of stars, Charlotte Pryce, 2018 (courtesy of the artist)<\/p>\n

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The film depicts an encounter with a mysterious, luminous, electrical substance.\u00a0Inspired equally by medieval accounts of visionary experiences and by 19th\u00a0century photography of the invisible,\u00a0Pwdre Ser\u00a0<\/i>joins Kirlian photography with hand-processed images. Pwdre Ser is the Welsh name for a mythical substance that has been observed by many since the 1400’s. (CP)<\/p>\n

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*Thanks to the artists presented, and to Tamara Becerra Valdez at Video Data Bank (vdb.org).<\/p>\n

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Biographies:<\/p>\n

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Throughout his career, John Baldessari <\/b>(USA, 1931\u20132020) has defied formalist categories by working in a variety of media\u2014creating films, videotapes, prints, photographs, texts, drawings, and multiple combinations of these. In his use of media imagery, Baldessari is a pioneer \u2018image appropriator,\u2019 and as such has had a profound impact on post-modern art production. Baldessari initially studied to be an art critic at the University of California, Berkeley during the mid 1950s, but growing dissatisfied with his studies, he turned to painting. Inspired by Dada and Surrealist literary and visual ideas, he began incorporating photographs, notes, texts, and fragments of conversation into his paintings. Baldessari remains fundamentally interested in de-mystifying artistic processes, and uses video to record his performances, which function as \u2018deconstruction experiments.\u2019 These illustrative exercises target prevailing assumptions about art and artists, focusing on the perception, language, and interpretation of artistic images. These demonstrations provide an introduction to the major preoccupations.<\/p>\n

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Elise Florenty & Marcel T\u00fcrkowsky <\/b>(FR\/DE) are an artist\/film director duo based in Berlin and Paris. They\u2019ve directed together several short and mid-length films exploring specific social-political situations through the prism of altered states of consciousness, delirium and ecstasy. Combining their interests in cinema and sonic anthropology, their films investigate the multiplicity of the self through a spiral of metamorphoses that interrogate our power relation\u2014always shifting\u2014to the \u2018Other\u2019 (\u2018the enemy, the plant, the animal, the spirit, the dead\u2019). Their works have been presented at numerous international film festivals and art institutions such as International Film Festival Rotterdam, FID Marseille, International Film Festival Torino, DocLisboa, Ann Arbor, CCCB Barcelona, MAMCO Geneva, MAF Tokyo, Centre Pompidou Paris and HdKW Berlin. Recipients of various recent research grants in Japan, Greece and Mexico, they did residencies such as Capacete (Rio de Janeiro), Guemcheon (Seoul), Hors Les Murs (Mississippi), Izolyatsia (formerly in Donetsk, Ukraine) and have received the European Media Art Festival award for their film work. The Sun Experiment (Ether Echoes) (2014) and Conversation with a Cactus (2017). Bom Dia Books recently published their first monograph One Head Too Many.<\/p>\n

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Charlotte Pryce<\/b> (UK\/USA) has been making films and optical objects since 1986 and her works have screened throughout the world. She has taught experimental film at the School of the Art Institute of Chicago, the San Francisco Art Institute, the Academy of Art (San Francisco), Kent Institute of Design (Canterbury, England), and is currently a faculty member at the California Institute of the Arts (Los Angeles). She is a graduate of the Slade School of Art, University College London (BFA) and the School of the Art Institute of Chicago (MFA). In 2013 the Los Angeles Film Critics Association honored her with the Douglass Edwards Award for best experimental cinema achievement. In 2019, she was honored with career retrospectives at the Rotterdam International Film Festival, Bozar (Brussels), Centre Pompidou (Paris) and the [S8] Mostra de Cinema Perifericos.<\/p>\n

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