- powerless source of all power / difficulties to describe the truth / peer-to-peer protocol
- from the theological jokes / geographie des soziallen unbewussten
- to be framed
- biafra of spirit
- contingent propositions
- story of raped sentence in several pictures
- automated subject
- approximation of infinite sequences
- work of eye
- diderot’s dream
- dead reckoning
- map fire word end
- measures taken
- excercises 1-8
- microscope and telescope of time
- minus ten anarcho-communist minutes
- liberation, or alternatively
- preliminary report / case study
- why would you live if you knew what was going to happen tomorrow
- all for no reason I.,II.
- without any assumptions
- nervous system
- when in 1735, John Wyatt brought out his spinning machine, and began the industrial revolution of the 18th century, not a word did he say about an ass driving it instead of a man, and yet this part fell to the ass
- models of the universe
- letter from nowhere
- night of the world
- methodology for writing III.
- methodology for writing II.
- methodology for writing I.
- what i don’t see
- 40 000 000
- cognitive maps / assemblages against essences
- it always makes her sick whenever she thinks of the infinite
- monument to transformation
- atlas of transformation
- building archive / accidental archivist
- clipping as a practice of thinking
- atoms in motion
- theory of work / randez-vous nowhere
- table / willy najvar archive
- structures of influence / body and its parts
- glossary – diagram
- glossary / crunch time
- rewriting protest slogans
- five difficulties in writing the truth I.
- moment / instruments of uncertainty
- tent / pyramid / container
- 157,74m2, the optimal flat size in the KOLDOM / model of constructivist tower 1:50 / modern times
- act of repeating / 1,2,4,16, …
- working process
- ruins, archaeology and the gap between images
- texts 17/18
- observations / studies / sketches
notes on the exhibition of Vangelis Vlahos in alphabetical order, 2008
What is revealed about human thought by manners of excavation and uncovering? Are we trying to remember something? Or are we looking for something which we have never known? Are places and phenomena revealed on the socio-political level which may be applied to the current situation? Are we creating a conceptual construction of the past tied to current political discourse? Is the use of the document an instrument of objectification or rather an instrument of its ideological appropriation?
An invisible structure, a network of spatial relationships materialized into representations of power.
An archive is the territory of images. The expanse of such territory is demarcated by its ownership. The potential of every archive changes over the course of time. Appropriation and selection is an act of power.
Power and its influence spilling forth may be a weapon of aggression or simply waste.
Like every desperate act it embodies comic elements. In all tragedy is the allure of the unwanted. A small detail which overshadows its political efficacy.
Define two systems for constructing atlases
1. Placing individual atlas items on individual pages in series. Reading and browsing takes place over time.
2. Placing individual atlas items next to each other. Reading and browsing encompasses a single view. This changes the narrative architecture. A story or a map.
Who is an author?
Authority of an archive
The authority of an archive stems from its nature as a given. This notion is founded in the belief that it cannot be changed. And what we purportedly cannot manipulate appears to be more objective.
Looking through the construction gives the impression of a grid, of some kind of structure. We cannot see the true structure which holds the construction together, but merely the presumed one, which is our projection.
The goal of construction is not to find an ideal structure, but to create a representation for empty receptacles.
The intersection of the horizontal and vertical. Perfect integration. Commerce and ideology. The concept of Manhattan fused with the European concept of the ideal functional machine.
An embassy built in the international modernist style, menacingly amplified.
When we think about the past and its relationship to the present, we seek out points and lines for orientation in a given field. We cannot throw away what we ourselves represent. Our ideological framework is projected onto things which stand out from the past. Even if we try to get around it, we run into the same problem, the continued presence of our own construction. Where should we begin?
The cult of subjective experience
If we speak of the concept of contemporary discourse and attempt to describe it, then this is either as fragments or as a whole. In the first case this concerns the democratic rule of discourse, we seek out the proper discourse and none are predominant. In the second case we are dealing with the dominant paradigm, which we must attempt to break down.
In an ideological conflict there is nowhere to flee. The only option is to create a mixture of ideologies.
An event is that which can be depicted. In today’s world, event’s which do not have their own visual representation do not exist.
When we find something, were we searching for it before or did we suddenly find it?
Do we have to look for something to find it? Or is it enough to wait and let it find itself?
A mirror does not reflect us; it reflects an object and amplifies it, creating a monster, threatening in its power.
A model is and is not a simplification of a preliminary image or real object. It introduces complications. Paring down all elements into basic modules of depiction produces uncertainty. It forces us to provide our own content up to the limits of meaning and to decide what is most important. A model is an open structure intended to limit oversimplification.
The myth of objective truth
The past is a construct of the present. Its appearance maybe expanded, suppressed or changed. The past may be depicted in history. History is a positivist instrument for telling a story.
A fundamental characteristic of archives is the hidden potential for combining power and knowledge.
The concept of the radical diffuses with any gathering degree of danger. Provided there is no struggle over the conception of truth, the plurality of its truths should be protected against dangers from without. We no longer have the truth.
The only justifiable act is revolt. To change the existing state. Provided it cannot be sold.
Let us suppose that all texts, images and sounds which share in the explication of the world are ruins. This metaphor shows that the blending, use and parasitic relationships of individual items create new temporal wholes, which in turn also become ruins, the ruins of which will be used as well.
If we select from an archive which regularly appears to be a neutral catalog of things, we often fall under the impression that our selection is objective because we are not adding any additional interpretive layer. The truth however is that the archive itself is from the beginning built and influenced by both change and purpose. Those who select from the archive create an additional sieve of interpretation.
Above a simple bed in a very sparsely furnished room hangs a photograph of Red Square with a small Swiss Air logo.
A respectable man holds a knife above his head. No one is able to debone the system, it is enough to tighten down the screws on everyone and punish them all in the name of their protection.
Text is an image. Text is not read, but viewed.
The use of archives and documents without listing the source is considered impermissible manipulation. At the moment their source is acknowledged their interpretation become credible and objectifying.
Exposing the viewer to a heterogeneous set of texts and images makes him disoriented. The viewer eventually identifies with the technical apparatus, with the authoritative institution of the document.
Distance is required of the viewer. In no case may he identify with archive documents. Documents and their representation are always presented so as to foster abstraction in the perception of the viewer. This allows the esthetic contract between the viewer and author to be maintained. Conversely, viewer identification with the author’s interpretation can be expected to yield emotional or political participation.