BERNHARD GARNICNIG
Transcription of a conversation about art and trade as a poetics of relation

A performance involving the technologies of language, emotions and digital input-output systems.
Top Club, Resilience Residence Serrinha do Alambari, 2017

this is a performance about translating the artworks produced during this residence and my thinking around them into speech and text. this results in a more or less cohesive text about my work and your impressions about it. this performance is limited to me and you. i kindly ask you to type what i’m saying as i introduce my works and answer your question, in turn i will also type what you’re saying. Also, this performance includes the possibility to taste Supergood Jucai, a tasty fruit product made here in Serrinha do Alambari.

B.
route to capelinha, the earth eroded, a hill. A gap. In the gap there was a fence hanging in the air. What a strange sight..site…sigh…
the consequence of the residence. Resilience…the quality to adapt. To bounce back. A great way of existing. The fence. Nature and tech at the same time.

video and audio, a recording of the Dawn chorus, before the sun rises all the animals are awake and they sing a special song. From quiet and dark to an emerging sound rising, the blue, the song coming out of nothing. In the daz there is already a sound. From the Dawn chorus, a new song emerges.#

A recording from the perspective of as tree. What would a tree with ears would hear…a conversation, a transcription, paper in the pool, documents in still photos. Is this the techosphere
Human activity as consequence of easth …the earth#
the separation between human made and nature
concrete-structures-pipes-roads- and the atmosphere above us.
Fortz interviews around the technosphere. In the atmosphere
Nature and humans is permanently negotiated in a community like this
Introducing the conversation of the technosphere into this collective conversation
What does transcription sound. how does it change the conversation if the text is transcribed bz other people
or if the transcription is listened
what text can look like outside printed and fixed form

G.
loves many parts - some more than others
loves the discussion around technoculture and technosphere. intrigued by how we discuss the “techno-“ and its various conversations. it seemed like a class or seminar. the sound of voice in a loop on repeat made me curious to see if the loop/repetition was the meaning of the conversation.
as i was listening to nature, the dawn chorus, at some moment a bird was singing, after 30 seconds i was thinking “is it repeating itself?” – is it the same thing with the conversation loop again? our technologies are similar. who is this made by, this repetition? it was the bird. (b explains reason for loop in transcription tech)

G.
when i was a teenager, without internet, i loved music and many albums didnt come with lyrics. on the turntable in her room, i learned english by transcribing queen, the who, the doors – their lyrics in a notebook, with a lot of misunderstandings… this is poetry though, not the literal translation of sound in transcription. sometimes there were blank spaces for words i couldn’t find in the dictionary. i had a cat called freddy mercury. i learned “tie a mother down” – all my friends called me the day he ceased. i had all their albums.

G.
“my alter ego is a diva”.

B.
a potential book title – people who know me know i have this alter ego.
Transcription of a conversation about art and trade as a poetics of relation

A performance involving the technologies of language, emotions and digital input-output systems.
Top Club, Resilience Residence Serrinha do Alambari, 2017

this is a performance about translating the artworks produced during this residence and my thinking around them into speech and text. this results in a more or less cohesive text about my work and your impressions about it. this performance is limited to me and you. i kindly ask you to type what i’m saying as i introduce my works and answer your question, in turn i will also type what you’re saying. Also, this performance includes the possibility to taste Supergood Jucai, a tasty fruit product made here in Serrinha do Alambari.

M.
dynamic barreirs. mobility. movement.
question is it the real sound?
B.
it was not connected
i made the connection between the sound and image
the rupture between the way we build narrative between image and sound

thinking of the meaning of presentness, the state of being. beautiful piece in the swimmingpool. we can think about the accesllarationism when i think about how is it possible to live better, build communities of care

how is it possible to go slowly, for me its an exercise of hearing. resilience is ot be open to share the senf of common. what united us. between this, what zou see and what ou listen, someitmes conneted action and reaction. exercises of hearing the first is the hearing oneself is the first in the exercise of resilience. if you dont have tha tfirst step of making onnection between things and pepople, its not possible to pay attention to the common. i was thining this morning about curatorial practice that is disconnected with the meaning of care, which is connected to listening, and how to produce subjectivity and afterwards expand subjectivity / your and mine, as an island, first , and then we meet, but the movement is only possible after we pay attention to each other. i believe in the scale of you and me. and exercise of attention. and exercise of being together.

when you put the cluods in thes cene it is for me connected on how to build language, because language is a kind of / we say in portugese> through the language we can offer shape to something
“formar and deformar”
the exercise of elasticity
cahterina malabou> plastic disruption

B.
the rupture you can make through language, the language of perception, editing make the text better but can kill the art of encounter.
Bernhard Garnicnig vive e trabalha em Viena, Áustria (1983). Co-fundador e curador da Bregenz Biennale, co-editor fundador do continentcontinent.cc e "very artistic director" do Palais des Beaux Arts Wien, Bernhard faz uso do institucional como prática artística, está interessado em estruturas de convivência e tenta sinceramente fazer coisas paradoxais funcionarem para ver o que acontece.
bernhard@continentcontinent.cc