More Information here: schuldenberg-foundation.com

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Here's the data:

29th of March

8 pm

L I V E C I N E M A

Berlin

Cinema Babylon

Rosa Luxemburg Str 30

Entry is free

come by, bring all your friends!

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schuldenberg-foundation.com

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past event

Fabian Altenried

Questions from you -
Questions for you,
Questions for a Clown.

July 19th - August 2nd.
By appointment only

Performative opening: Wednesday July 18th, 19-23h

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Artist Statement
Fabian Altenried

Fragment 1
Doing The Doable.

Quote Beckett From …

The crucial challenge is to stay active in the ongoing actualization of a production-discourse circling around the trope doing the doable, which must be considered as the crystallization-knot of production & responsibility. This trope has "many floors"; it is of rhizomatic nature(1). Nevertheless the trope can and must be dissected into two main levels, the doing and the doable; of which the latter seems to be temporally previous. I understand the content of the doable to be of economical determination in a way in which any condition of the possible has its inevitable economic aspect. These requirements of the possible are organized within a power-network and are – at the same time – a result of it, are produced & determined by it: Having certain possibilities, being able to generate access to whatever facility (situation, space, (financial) means, social contacts & networks etc.) is the progressive force behind the path(2) from a situation towards the doable. (Every aspect of these structures is content and nothing else!) In a sense the economic presumptions, rooted in the texture of facts (reality) are not only the dynamics & characteristics of the doable but as well the substance of artistic production. It is of importance to recognize that the doable does not simply consist of facts but rather of possible linkages and connections within the texture of facts (the doable is not passive).
If one understands the doable as below the artistic production, as the linkage to raw material, the other level of the trope, the doing, does not fall together with the factual artistic production; it is positioned above the factual. If the doable finds itself in a deadlock with the texture of facts, the doing roots in what is seeable through the holes of this texture, it is linked to the impossible, it hovers above the groundlessness and provides contact to it by insisting on its presence. The doing is structurally a decision for the impossible, an insisting on the grounds beyond the possible (the facts along with the doable) and, at the same time, the doing is the mechanism which drives the doable into artistic production, it is the decision to produce with but more than or rather something else than just facts. The doing must be understood as the crucial decision which extracts the doable from the bare facts by linking it to the un-doable; meaning it has to create a condition in which the doable can no longer fall back into a simple reproduction – the doing must be the tool to break the doable-reality-deadlock. The doing is the knot in the rhizome of artistic production, which intertwines it with responsibility resulting in an un-reducible social & political dimension, as the doing must be understood as a self-reflective mode, which generates the new as a self-conscious installment of the now-doable, the synthesis of the doable & the un-doable.
The doable has to be generated within the texture of facts whereas the doing must be linked to the groundlessness beyond the texture of facts. I insist on the idiosyncratic value of the trope for any artistic-production as it generates the condition in which events(3) can occur – driven not by picking options but by making decisions. The trope must effectively function as a corrective within any artistic production.

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References:
(1) see Gilles Deleuze & Félix Guattari.
(2) see Matthew Barney.
(3) see Jacques Derrida.