Questions from you -
Questions for you,
Questions for a Clown.
July 19th - August 2nd.
By appointment only
Performative opening: Wednesday July 18th, 19-23h
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
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.
(1) see Gilles Deleuze & Félix Guattari.
(2) see Matthew Barney.
(3) see Jacques Derrida.