2008 © Catherine Yass
Catherine Yass speaks about the dream of walking in the air and about falling.
– See also Catherine Yass, HASENHERZ.
– See also Descent and High Wire.
Sluice chamber or a “space in between” (where things become compossible and ambiguous). It’s an “interzone”.
The theory of the compossible space is set into action in the artistic practice ‘HASENHERZ or the Pleasures of the Moving Image and Word’. ‘HASENHERZ’ is both a work of art and an instrument for examining artworks.
At this stage of the “just before”, of the potential, the ambiguous, the non-separation – the work of art avoids to come about, to take place because if it takes place, it is only this and not as well that anymore, it becomes exclusive. The great oeuvre keeps itself at work, because it keeps itself at this stage of the “just before”, “upstream” of a definitive actualisation, which would follow its definition.
The workshop will shed new light on disorientation and on how film artists throughout history use (optical) disorientation and confusion as a paradigm in their work. What can be gained by losing one’s grip, by simply letting go? What pictures arise with dizziness?
This working symposium aims to discuss ways of localizing, recognizing, approaching, and countering dizziness on different scales and disciplines – from the somatic to the built environment to interspecies and post-colonial contexts.
The end of the extent of our knowledge defines the borders of our world as we know it. Since the concept of the world as a plate, right up to the discovery of the existence of dark matter, this has not changed.
