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Teksty krytyczne i utwory literackie 2009, część 3/ Critical and Creative Writings 2009, part 3

Zbliżając się do wystawy w poznańskiej galerii Arsenał chcielibyśmy przypomnieć o powstałych w ramach projektu W Poszukiwaniu Szczęścia tekstach. W każdy kolejny piątek bedziemy zamieszczać na blogu jeden z tekstów, który był opublikowany w publikacji w The Pursuit of Happiness w październiku 2009.

W tym tygodniu publikujemy tekst
Adama Goodwina.

Przepraszamy, tekst na chwilę obecną dostępny tylko w wersji angielskojęzycznej.

As we are getting closer to the exhibition at the Arsenał Gallery in Poznań, we would like to look back into The Pursuit of Happiness Project's past. Every Friday starting from today we are going to publish on the blog one of the texts that were included in The Pursuit of Happiness publication in October 2009.

This week - a text on happiness by Adam Goodwin.


You can very rarely go beyond the beyond in life. Of course people may be inclined to try and this is reflected most in our childhood and teenage years where dreams of flight and other such impossible, yet fanciful thoughts, can be found dominating a young mind. As age takes its inevitable hold these dreams are transported into the more normal modes of life that most people recognise as everyday; New Years resolutions that never last longer than two weeks or radical career changes that one imagines will bring fortitude to an otherwise shaky existence. Perhaps the most unlikely culprit of all this, the motivation that we are told to embrace, is happiness. Happiness is the ultimate in frustrating objectives, it’s supposed transcendental properties only serve to confuse and obscure that which it is trying to rise above. Happiness is the beyond, it is the eternal earthbound goal of humankind and it scares us. Throughout life happiness clings to, and dominates, the mind. It is the foundation from which our dreams are built and it is the graveyard in which we hope our dreams will lie. Yet although it seems like such an innocent and altruistic ambition, something that we should all try and achieve, it leads to confusion and chaos. Constructing a happy life is impossible when the definition of the word is wrought in such futility.

Daily life is wrapped up in and completely engulfed by happiness. This sole objective courses through the veins of nearly every living human being in the developed world and seeks solace in the everyday activities of these people who try and maintain regular normality with society in the hope that others will perceive them as being happy. The day has been complicated by the petty achievements of man, we are far too concerned with how well we are doing and how far we have come, to see that thought cannot truly exist until you remove all of the trappings of a society filled with people who are devoid of the ability to better themselves from within. They assume that happiness should be their ultimate goal; you will not be able to convince them that in many ways it is evil and it is poisoning our society. For most people happiness is measured by what others think, they have become too attached with professing a sense of achievement through comparison with those around them. One can compliment another, and in this way make the person happy. It is a sort of self-convincing technique that we are all guilty of because when someone is perceived to be happy, they feel happiness themselves and this being the ‘ultimate’ goal of our society they stop striving for anything more. Their head becomes filled with the links between them and those around them, their brain can no longer comprehend a host of more important questions and actions because they have stepped into a quagmire created by man to keep man on the straight and narrow. Happiness is measured through the interaction with others rather than themselves. It drives people in completely the wrong direction; they forget their own thoughts in place of thoughts for others. They fight to maintain equilibrium in society by filling their heads with the immediate desire to be happy. They forget themselves entirely and base their lives on what others have built before them.

In a complete paradox the night provides a calming bastion of progressive thought. The association of the night with evil serves to transcend the pursuit of happiness and instead forces people to search for reason and truth. However far from being evil and neglectful it allows for thought to flow freely without interruption from all the mental and physical demands that the day brings. The night enables one to unfold their brain into the world without risking the danger of polluting their thoughts with those of the people around them. The world is at peace in the hours of darkness that serve to shroud man’s achievements in a calming veil. Whilst cities lay sleeping one can appreciate the true beauty of human kind through inflection of thought. These hours are no longer a motivation for development and success but for clear and rational thought that has the ability to destroy perception and strip back all the insecurities that define our society and the way we live our lives. The darkness, the inactivity, the quiet, the barren; all these things catalyse lucid thought and enable a different state of mind where one can forget about their fellow Man and instead concentrate on themselves. One can almost gain a kind of power of perceptive vision that enables them to see through the shroud and appreciate life in an entirely different state of mind. A state of mind that doesn’t require the compliments of others to achieve greatness or solidarity within themselves. A state of mind that doesn’t strive for happiness as people perceive it today, but instead strives for the ability to build a strong foundation from within, a foundation that cannot be rocked or shattered by the useless comments of those who fight so vainly to maintain their reputation amongst others.

Happiness is not some unachievable magical aspiration however it is so amazing and impossibly fantastic that the brain can’t entirely comprehend it. It shouldn’t necessarily be ingrained in us that happiness is this all-encompassing necessity of life. Perhaps a better solution would be to remove the importance of it so that it is merely an unexpected by-product of our actions, serving to reward our good decisions rather than frighten our fragile thoughts.

O autorze:/
About the author:

Adam Goodwin (ur. w 1985) studiował historię ze specjalizacją w historii społecznej. W Manchesterze był organizatorem licznych eventów łączących muzykę i sztukę. Obecnie mieszka w Londynie i zajmuje się pisaniem tekstów krytycznych. Adam pracuje również nad książką dotyczącą debaty społecznej, która będzie zbiorem krótkich historii.

Adam Goodwin (b.1985) graduated from university in History, specialising in social history. After organising a number of events combining music and art in Manchester he moved to London to pursue a career in the creative arts whilst focusing on critical writing. He is currently writing a book on social discourse and compiling a publication of short stories.

Teksty krytyczne i utwory literackie 2009, część 2/ Critical and Creative Writings 2009, part 2

Zbliżając się do wystawy w poznańskim Arsenale chcielibyśmy przypomnieć o powstałych w ramach projektu W Poszukiwaniu Szczęścia tekstach. W każdy kolejny piątek bedziemy zamieszczać na blogu jeden z tekstów, który był opublikowany w książce w The Pursuit of Happiness w październiku 2009.

W tym tygodniu publikujemy tekst Mariilaury Ghidini Never When It Happens. Only Afterwards.

Przepraszamy, tekst na chwilę obecną dostępny tylko w wersji angielskojęzycznej.

As we are getting closer to the exhibition at the Arsenał Gallery in Poznań, we would like to look back into The Pursuit of Happiness Project's past. Every Friday starting from today we are going to publish on the blog one of the texts that were included in The Pursuit of Happiness book in October 2009.

This week - Marialaura Ghidini Never When It Happens. Only Afterwards.


Never when it happens. Only afterwards.

The task of writing a text about videos and happiness requires finding an angle from which to explore their relationship; a common element that will enable me to discuss a selection of videos responding to ideas related to the pursuit of happiness.

What comes first to my mind is the difference between the two; video is a physical, and mechanical, mode of reproducing the surroundings, while happiness is a very abstract and intangible feeling brought forth by the experience of something. The former is a tool for rendering reality and the latter an index of our satisfaction with reality.

But what could the connection of the two be? Their both being tied to reality, their subjective nature or something else?

In the concept of time, I suppose; in the idea of the afterwards.

“When were you happiest?

A few times when I looked forward to a happy moment or remembered it - never when it was happening.”

The above excerpt from Slavoj Žižek's interview published in The Guardian[1] suggests that happiness is not felt at the same moment an event occurs. Despite being tied to a specific circumstance, happiness is a feeling experienced either at an earlier or later moment than that of the event itself; that is the time of expectation or post-reflection. Because I conceive expectation as an equivalent to excitement or longing, which to me differ from happiness, I will concentrate on the idea of the afterwards, of the later on.

Happiness is often not in the present. It is probably because happiness is different than pleasure, satisfaction or contentness. Unlike these feelings, happiness steps out of the moment and becomes manifest at a later stage, when things are looked from a certain distance. Perhaps, the central point is that happiness is at a degree of removal from the moment to which it directly refers; it seems to be detached from the concept of the in real time.

Even historically, the pursuit of happiness has been related to the concept of the afterwards. An example could be that of some socialist ideals that proposed regulated ways of living one's life in order to achieve the ultimate happiness.

As for this, the instance of Modernist architecture is emblematic, since it was more concerned with the future than with the present or past. Its aim was to improve the living environment by building housing estates, creating alternative urban conglomerations as well as experimenting with new possibilities of interior design. It did so in order to lay down the basis for the regeneration of society; better still, to initiate the process of creating a better society for future generations. These attempts exemplify to what extent Modernist architecture was related to projections and also, I would add, to the erasure of an unwanted past (by being inefficient to its cause). But I will expand on the latter point apropos the videos I selected for this text.

Going back to the video, I think that some of the properties I attributed to happiness can apply to its nature.

Video is not in the present time either. As happiness, video steps out of the moment; it is in a past than can only be experienced afterwards. Its content is always a re-working of an event in real time; if not, when the video is scripted, it is still something far away from the idea of spontaneous creation. And its content is always deciphered in the future.

Video entails a certain degree of removal too. Literally there is a lens that separates the surroundings and the filmmaker; there is a distance between what is shot and the person who shoots, and this distance is due to the decisions made at the time of filming. Yet, there is a gap between the content and the original material in that the editing process, no matter how much it is elaborated, produces changes and alterations. Even in the instance of a video shot in only one long take, some choices are made; choices that eliminate the possibilities of existence of other ways of rendering the original event.

Pasolini elaborates on the relationship between time and video in his essay “Observations on the long take[2]”:

But as soon as montage intervenes, when we pass from cinema to film (they are very different, just as langue is different from parole), the present becomes past: a past that, for cinematographic and not aesthetic reasons, is always in the present mode (that is, it is an historic present).

Pasolini introduces the idea of an historic present, a present that refers to a past or, even better, the historical present of the cinema, which looks at a present that has become past at the moment of filming and its experienced later on.

In Faded Reminders by Siobhan Wanklyn (2007), the pursuit of happiness is related to the exploration of three German Modernist locations. The focus is on the relationship between the video format and architecture, which is rendered through a dance between the camera and the urban landscape. The opening track shot examines a Modernist city that is depicted in negative, in the mode of an X-ray scan. This choice seems to hint at the dramatic reversal of meaning that Modernist ideals have undergone over history. To strengthen this shift, the artist animates the hyper-geometrical features of the buildings by playing with the camera movement, which, similarly to a fly, peruses the surroundings.

The video becomes a means for actualising a past that is lost; a past of which only a monument bears evidence of its existence.

Wanklyn's work searches for something that is not there (a past existing before the Modernist regeneration as well as a present that still awaits a better future to come); an attempt that has some similarities with the video of Fani Zguro, Nox (2004-2007).

Nox is a collage of film footage taken by the artist in 2004, which was then edited in 2007. It is a series of jump cuts proposing what, at a first sight, seems to be a random order of various nocturnal urban views. Images of buildings are proposed along with those of inhabited alleys and indiscernible people that are filmed while doing something or walking down the streets, leaving us to wonder about the eventual scope of their activities. The soundtrack heightens the fragmentation of the material offered to the viewer by sharply moving in between silent periods and moments filled with the noise of alarms and drills at work.

The video proposes a past that has been revitalised by putting pieces of a city nightlife into a sequence that acquires its raison d'être only when looked at from a certain distance; a distance produced by both Zguro's choice to shoot the footage in the night time and edit it three years later.

In the spaces of the two videos chronological time is put on hold, and yet, what resonates in the idle periods of Faded Reminders and Nox is the future. This future is exactly that stepping out of the moment I introduced before, which gives a new function, as well as an additional meaning, to the material used by the artists. The past is incorporated into a present that becomes a future in relation to the position of the viewer.

The afterwards of which I have been writing about is the resonance of something that has already happened, likewise the feeling of happiness and the recording of a camera, which are the reverberations of a moment that has already been experienced by the person that feels and by the one who shoots.



[1] Rosanna Greenstreet , The Q&A, in the Life&Style series, Weekeend Guardian; The Guardian, 9 August 2008, pg. 9, London or http://www.guardian.co.uk/lifeandstyle/2008/aug/09/slavoj.zizek

[2] Pier Paolo Pasolini, Observations on the Long Take, 1967, translated by N. MacAfee and C. Owens in October, issue n. 13, 1980; Rober Smithson, A cinematic Atopia, 1971, in Robert Smithson: The Collected Writings, edit by Jack Flam, University of California Press, 1996, Los Angeles


O autorce:/ About the Author:

Marialaura Ghidini (urodzona w 1980 we Włoszech) jest niezależną kuratorką mieszkającą w Londynie. W 2008 uzyskała tytuł magistra w dziedzinie krytyki sztuki i kuratorstwa na Chelsea College of Art and Design. Wraz z Gaią Tedone jest współzałożycielką 'Ping Pong'-a, projektu kuratorskiego, w ramach którego organizują pokazy wideo artu i filmów artystycznych. Ich dotychczasowe inicjatywy to "Back and Forth. And all over again" ("W tam i spowrotem. I jeszcze raz od nowa") oraz "Screen-play" w londyńskiej James Taylor Gallery. Marialaura pracuje również nad internetową witryną or-bits.com oraz współpracuje z internetowym magazynem "domusweb". Pozostałe projekty kuratorki to między innymi pokaz wideo artu 'Brilliant Noise' w Tate Britain, Londyn (2008) oraz wydarzenie 'Cocktail' w galerii w Wimbledon, London (2008).

Marialaura Ghidini (b. 1980, Italy) is an independent curator based in London. She obtained her MA in Critical Writing and Curatorial Practice at Chelsea College of Art and Design in 2008. Recently she co-funded with Gaia Tedone 'Ping Pong', a curatorial double act that organizes video and film programmes, such as 'Back and Forth. And all over again' and 'Screen-play' at the James Taylor Gallery (London, 2009). She writes for the online magazine domusweb and is currently working on developing the web project or-bits.com. Past projects are the group exhibitions 'shot-countershot' and 'in and out of synch' at Chelsea College of Art and Design (London, 2008), the co-curated video screening 'Brilliant Noise' at Tate Britain, (2008) and the art event 'Cocktail' at the gallery at Wimbledon, London (2008).

Teksty krytyczne i utwory literackie 2009, część 1/ Critical and Creative Writings 2009, part 1

Zbliżając się do wystawy w poznańskim Arsenale chcielibyśmy przypomnieć o powstałych w ramach projektu W Poszukiwaniu Szczęścia tekstach. W każdy kolejny piątek bedziemy zamieszczać na blogu jeden z tekstów, który był opublikowany w książce w The Pursuit of Happiness w październiku 2009.

Jako pierwszy zamieszczamy Happiness is closer than you think autorstwa Wood'a Roberdeau. Za tydzień Marialaura Ghidini Never When It Happens. Only Afterwards

Przepraszamy, tekst na chwilę obecną dostępny tylko w wersji angielskojęzycznej.

As we are getting closer to the exhibition at the Arsenał Gallery in Poznań, we would like to look back into The Pursuit of Happiness Project's past. Every Friday starting from today we are going to publish on the blog one of the texts that were included in The Pursuit of Happiness book in October 2009. 

The first writing is Happiness is closer than you think by Wood Roberdeau. Coming next week - Marialaura Ghidini Never When It Happens. Only Afterwards

HAPPINESS IS CLOSER THAN YOU THINK

Living in the Moment

‘[...] intellectuals and aesthetes began to discover […] that they could be thirsty, that they could be hungry, that they could feel desire.  This discovery was greeted with demonstrations of joyful and emotional surprise: poetic hymns to thirst, to hunger, to desire, to fountains, to taverns, to fruits of the earth […].’[1] 

 

For Henri Lefebvre, the early modern world was one of hedonism, with a positivistic view of wealth and abundance, a joie de vivre which revealed itself in the prolific production of literary and artistic works.  In such an atmosphere, it could be said that happiness could be had only behind gilded doors that were closed to the possibility of the banal-as-redemptive.  In essence, Lefebvre called for the death of the resilient 19th century fantasy that alienated one person from another and high culture from everyday experience; only then could progress begin to dust itself off and get to work.  Just as it had at the turn of the century, it had become the common practice within early capitalism to disguise reality or ‘real unhappiness’ with what he called ‘fictions of happiness’; these might include suggestive messages from advertising and leisure activities or the concept of time off from work.[2]  It is this dialectic that examines how modernity has created the need to define the parameters of free time and how labour justifies them.  Leisure, in its broader sense, is formulated in such a way as to invite passivity; in the same way, it serves as an escape or relief from everyday life.  Significantly, early modern life categorised the experience of artworks and their production into the realm of leisure; art as utilitarian or ritualistic was no longer of the everyday, it had come to indicate amusement rather than instruction and thereby reduced the potential for effective living and, indeed, happiness distinct from escapism.  It is not that art failed to reflect life, but that art, by its very nature, removed itself from life.  By removing itself from life yet at the same time reflecting it, art translated what Lefebvre felt should be transformed instead.  Hence, the contemplation of artworks --- even if their subject matter involved everyday life --- denied those artworks any real effectiveness within everyday life.  Our assumption that the everyday is ignoble, common, boring, and devoid of complexity has caused us to misguidedly invent, project, and daydream and has rendered us incapable of comprehending that a better understanding of the human condition, as ultimate and bitter-sweet, can be obtained from the real or quotidian that exists beneath the clouds.  That is to say, at first, happiness appears to be an elusive utopian endpoint, but it is within the dystopian encounters of everyday life that it can infinitely manifest, as a pulse. 

 

Handling Equipment

Martin Heidegger was interested in flushing out the inherent qualities of an authentic moment, that instance when one simultaneously recognises and comprehends the whole as a sum of its parts; this focus on the essence of being infuses the hermeneutic tradition  he supported when considering ‘the Thing’ or das Ding in experiential terms.  The question of origin or essence is quite important when pondering the feasibility of an art of everyday life as something concrete and physical, something that can be visited, viewed, and experienced.  Why do mundane materials become the subject matter of some artworks and what power do they carry when they do?  Instead of representing the everyday through distant observation, what if artists began to hand-pick the things of popular culture, infiltrating and re-contextualising their works through a hybridisation of materials, thereby bringing about a shift in values between the marvellous and the banal, combining them to produce something one might call poetic?  Since our world consists of plural subjectivities, it is accepted that a palatable theory of everyday life and the many forms of happiness within it can never be closed or wholly definitive.  It is interesting to note then that Heidegger chooses to focus on the everyday object as a potential socio-political unifier.  He introduces the term ‘equipment’ to indicate that set of objects that become ‘things’ when used --- when their function is identified and indulged.  Though Heidegger’s artistic frame of reference is primarily limited to early modernist and classical works and hence lengthens the distance between things and works, it is still apparent that these ‘use-objects’ are undoubtedly what we as disseminated individuals with unquantifiable experiences have in common.  In this sense, for Heidegger, their relationship to the autonomy of artworks --- those objects without an everyday function or use, per se --- is integral.  Any preconceived notions of purpose, function, or other defining qualities of the thing occlude its ‘thingliness’, as it were, and render it mere equipment.  Rather than assign meanings or identifying objects in such a fashion and leading the practice of thought towards an overly scientific world-view, Heidegger suggests that ‘[w]e ought to turn toward the being, think about it in regard to its being, but by means of this thinking at the same time let it rest upon itself in its very own being.’[3]  This approach might then tease out from objects something more profound, something inherent and unthinkable, in the sense that it would not be bound by the limitations of language, for ‘equipment, having come into being through human making, is particularly familiar to human thinking.’[4]  Consequently, and to the impediment of any comprehension of the thingly, ‘[i]t is in this process of the use of equipment that we must actually encounter the character of equipment.’[5]  Within the gesture of the artist we recognise our own --- the being of things and our comprehension of variations of utility reflects the happiness of being-in-the-world.

 

Causing Effects

The theme of the everyman was taken up by political theorist and phenomenologist Hannah Arendt in her seminal work of 1958, The Human Condition.  Denouncing existentialism in favour of a concept of plurality, she cites the ‘human condition’ as the historical development of humanity from ancient Greece to modern Europe, and establishes a model for thinking in terms of everyday life by invoking the vita activa, which she compares to the vita contemplativa as a state not only of thought but also of action.  Arendt suggests three categories for this active life: labour, work, and action.  Labour refers to the physicality of being (i.e. the human condition as one of living and dying); the category of work corresponds to the artificiality of things, their production and consumption; the category of action, therefore, becomes an achievable goal thanks to the eradication of all worldliness from one’s notion of the self.  For Arendt, the mode of action represents that state in which subjectivities are reminded of their plurality; they are reminded that the world is shared.  Such action is the state in which the fundamental notion regarding the unpredictability of politics is enabled, and the tool for thinking in terms of commonality.  She writes:

The presence of others who see what we see and hear what we hear assures us of the reality of the world and ourselves, and while the intimacy of a fully developed private life, such as had never been known before the rise of the modern age and the concomitant decline of the public realm, will always greatly intensify and enrich the whole scale of subjective emotions and private feelings, this intensification will always come to pass at the expense of the assurance of the reality of the world and men.[6]

 

If modernity as we have come to understand and experience it encourages insularity and alienation, then it detracts from a comprehension of the real and inhibits participation which, ironically, engenders such a comprehension and begins to hint at notions of happiness.  Importantly, Arendt argues, it is the artist who has traditionally transposed disjointed and individualised experiences which, if overlooked, encourage an illusion of privacy that contributes to the inactivity of solely contemplative living.  Happiness, like the world, exists only when it is shared.

 



[1] Henri Lefebvre, Critique of Everyday Life, vol. 1, John Moore, trans., (London: Verso, 1991), p. 104.

[2] Ibid., p. 35.

[3] Martin Heidegger, Poetry, Language, Thought, Albert Hofstadter, trans., (New York: Harper Collins Publishers Inc., 2001), p. 31.

[4] Ibid.

[5] Ibid., p. 32.

[6] Hannah Arendt, The Human Condition, (Chicago: University of Chicago Press, 1958), p. 50.

O autorze/ About the Author

Wood Roberdeau (urodzony w 1977 w Dallas w Stanach Zjednoczonych) jest pisarzem i pracownikiem akademickim. Ukończył studia magisterskie w dziedzinie sztuki współczesnej w Sotheby's Institute of Art oraz uzyskał doktorat z kultury wizualnej na Goldsmiths College, University of London, gzie obecnie pracuje jako wykładowca historii sztuki. W swojej pracy naukowej Wood zajmuje się sztuką współczesną i teorią sztuki z naciskiem na odnawianie się neo-awangardy, idee socjologiczne codzienności, relację pomiędzy estetyką i polityką oraz wzorce poetyczności.

Wood Roberdeau (b. 1977 Dallas, Texas, USA) is a writer and scholar based in London. He holds an MA in Contemporary Art from Sotheby's Institute of Art and a PhD in Visual Cultures from Goldsmiths College, University of London, where he currently teaches on the undergraduate Art History programme.His research interests include contemporary art and theory with particular emphasis on the remobilisation of the neo-avant-garde, sociological concepts of the quotidian, aesthetics/politics, and models of the poetic.