Potential Estate

The Significance of the Frontier in American History

2010-09-01T21:49:51Z

(...)

What is the frontier? It is not the European frontier — a fortified boundary line running through dense populations. The most significant thing about it is that it lies at the hither edge of free land. In the census reports it is treated as the margin of that settlement which has a density of two or more to the square mile. The term is an elastic one, and for our purposes does not need sharp definition. We shall consider the whole frontier belt, including the Indian country and the outer margin of the "settled area" of the census reports. This paper will make no attempt to treat the subject exhaustively; its aim is simply to call attention to the frontier as a fertile field for investigation, and to suggest some of the problems which arise in connection with it.

(...)

Loria, the Italian economist, has urged the study of colonial life as an aid in understanding the stages of European development, affirming that colonial settlement is for economic science what the mountain is for geology, bringing to light primitive stratifications. "America," he says, "has the key to the historical enigma which Europe has sought for centuries in vain, and the land which has no history reveals luminously the course of universal history." He is right. The United States lies like a huge page in the history of society. Line by line as we read from west to east we find the record of social evolution.

It begins with the Indian and the hunter; it goes on to tell of the disintegration of savagery by the entrance of the trader, the pathfinder of civilization; we read the annals of the pastoral stage in ranch life; the exploitation of the soil by the raising of unrotated crops of corn and wheat in sparsely settled farming communities; the intensive culture of the denser farm settlement; and finally the manufacturing organization with city and factory system. This page is familiar to the student of census statistics, but how little of it has been used by our historians. Each of these areas has had an influence in our economic and political history; the evolution of each into a higher stage has worked political transformations. But what constitutional historian has made any adequate attempt to interpret political facts by the light of these social areas and changes?

(...)

Full text there

Jurino Rodeo

2009-09-10T08:21:00Z

JOAN JONAS
The Shape, the Scent, the Feel of Things
Film, 2005

K.M.S.K.A., Auditorium, free entrance — Sept 10, 2009 in loop from 6-9 PM — Leopold De Waeleplaats — 2000 Antwerp

On the occasion of the finissage of Cabinet Jurino, Potential Estate's activation of Joe Scanlan's pavilion Passing Through, Potential Estate is happy to present the single screen (unedited) version of The Shape, The Scent, The Feel of Things, by seminal video and performance artist...

Courtesy Joan Jonas and EAI (NYC)

⁂ Unique screening

European Première ⁂

Sept 10, 9 PM ✔ Parking Lot in-between MuHKA and KMSKA ✔ Free ✔ With guest drummer Louis Evrard. Info : 0496/27 41 47

Cabinet Jurino is open until sunday sept 13, 2009 in KMSKA

Cabinet Jurino / Museumnacht

Ronny Heiremans — 2009-08-07T08:20:57Z

Van 27.03.09 tot 10.09.09 installeert het MuHKA het paviljoen Passing Through van de Amerikaanse kunstenaar Joe Scanlan in het Koninklijk Museum voor Schone Kunsten te Antwerpen. In die periode activeert het kunstenaarscollectief Potential Estate het paviljoen als een site van waaruit zij een meerdelig verhaal ontwikkelen genaamd CABINET JURINO.

Cabinet Jurino is een mix van codes en verhalen. Centraal daarbij staat een gestileerde slangenvloer, die als een gigantische puzzel het midden houdt tussen een eindeloos constructiespel en een primitieve initiatierite. Deze kleurrijke vloer bestaat in zijn geheel uit 5000 kleine driehoekjes, allemaal gefineerd en/of beprint. Als een spel zonder regels markeert hij het verhaal van Potential Estate met referenties naar Aby Warburg's (de grondlegger van de moderne icongrafie) interpretatie van de slangendans van de Hopi-indianen, het gonzo magazine Scanlan's Monthly, Edinson's filmopnames van de Sioux Ghost Dance en de overname van Hard Rock Café door Seminole-indianen.

De slangenvloer en het paviljoen van Joe Scanlan zijn ondertussen verhuisd van zaal F naar de Jordaenszaal van het Museum voor Schone Kunsten waar beide in een nieuwe vorm werden opgesteld. In deze nieuwe constellatie focust het collectief vanaf de Museumnacht van 8 augustus op een bescheiden diplomatiek incident tussen de US en België dat plaatsvond in het kielzog van de Expo 58. Naast het officiële paviljoen had Amerika immers een tweede nationale vertegenwoordiging in België. Een rodeo uitgebaat door een Amerikaans privé-ondernemer had zijn tenten opgeslagen in het noordelijk deel van de stad. ‘Echte' cowboys en indianen werden overgevlogen van de States naar Brussel. De rodeo ging echter bankroet en enkele tientallen Indianen bleven haveloos achter in Brussel, zonder de nodige middelen om terug thuis te geraken. The New York Times schreef in 1958 uitgebreid over het incident, en over de schaduw die het failliet wierp op de officiële vertegenwoordiging van het land, en dat alles in het heetst van de Koude Oorlog.

In het verlengde van de verwarde gebeurtenissen rond de rodeo werd Texas City gesticht in Tremelo. Texas City was het eerste western dorp in België. Ter plaatse werden rodeo's georganiseerd die op termijn de terugkeer van de gestrande indianen mogelijk maakte. Een van hen, David Bald Eagle, een Navajo Indiaan die tijdens WOII zijn land diende als ‘codetalker', trouwde later met de dochter van de stichter van Texas City. Na 1958 zouden er meerdere Western dorpjes in België gebouwd worden. Samen met de uitzending van populaire western series via het nieuwe medium ‘televisie' zouden de wekelijkse rodeo's en geïmproviseesrde shoot-outs in deze dorpen het plaatselijke publiek opnieuw onderdompelen in het geromantiseerde beeld van het Amerikaanse ‘Wilde Westen'. Margot Johanns – haar bijnaam was ‘Ma Jones' – die tot het eind van haar dagen in Texas City leefde, heeft talloze portretten geschilderd van nationale en internationale leden van de 'western' reenactment subcultuur die erg populair was in jaren ‘60, en die tot vandaag nog actief blijft. De leden van deze gemeenschappen zijn geïnteresseerd in een ‘herleefd' onderzoek naar de gewoontes en denkwijzen van cowboys en indianen, iets wat zij vaak ervaren als een manier om zichzelf los te maken van de huidige dominante consumptiecultuur. Margot Johanns begon slechts enkele jaren voor zij stierf te schilderen, en dat zonder enige academische vorming. Al haar portretten zijn gemaakt vanaf fotografische snapshots. Ze beweerde dat het niet zij was die de schilderijtjes maakte, het was alsof een onzichtbare hand haar leidde terwijl ze schilderde. Soms was de drang zo intens dat ze ‘s nachts moest opstaan om te schilderen. Potential Estate is verheugd een selectie van het werk van Ma Jones te presenteren.

Potential Estate / Cabine Jurino Nog tot 10 september. Op donderdag 10 september tussen 18 en 21 uur sluit Potential Estate Cabinet Jurino af met een unieke presentatie van Joan Jonas's single channel versie van ‘The Shape, The Scent, The Feel of Things', een vijfdelige video-installatie die The Renaissance Society in 2004 produceerde, waarin Jonas ingaat op Aby Warburg's studie van de Hopi beeldentaal.

Vacature : a round table discussion

2009-07-19T19:59:56Z

The interview was set up as a round table discussion to which Potential Estate had also invited three external jury members. The discussion took place on Saturday March 1st 2008 from 3 to 6 p.m. in a gallery space in Antwerp, which Potential Estate had appropriated for Cabinet Hope (January-March 2008).

Participants were : Veronique Depiesse, Boris Dewolf (applicant), Ronny Heiremans, Pierre Huyghebaert, Loes Jacobs (applicant), Vincent Meessen, Kristin Rogghe (applicant), Irene Schaudies, Marco Stamenkovic, Veronique Vaes (applicant), Katleen Vermeir.

VM : The idea of landing PE in a commercial gallery only made sense if we were willing to address the economical aspects of the project. Otherwise there would be no reason for PE to be here.

KV : So that was the opening event “The Crying of Potential Estate”, for which we collaborated with a professional auctioneer. PE put up a story for sale. The narrative was cut up in 45 lots. Each lot was read out live from an audio booth in the basement, after which the bidding started. Much to our surprise we sold everything, and we generated enough money that night to finance the bigger part of the 6 weeks we spent here.

IS : It was not clear from the profile you wrote up, that you are looking for somebody to think with you, or, that you are merely looking for somebody who is going to work for you. Maybe Potential Estate (PE) is sidestepping the hierarchical question involved ?

RH : We do have a general idea about how an administrator could be involved in PE. But I agree it would be necessary to become more specific. That is the aim of today's discussion : to confront opinions, to ask ourselves what would serve PE's interest best. And you are probably right about the application, for us an artistic engagement is as important as any practical skill.

VD : Could the project survive without someone coming in ?

RH : It is not a question of survival. I think it is more about our ambitions in this project. Like we said before, ‘organization' is the practice, so this application process may define some directions PE could take. Having worked together for nearly two years now, it wouldn't feel right to simply invite another artist into the core group – we've developed a taste for working with invited guests. But the question how to continue or rather how to evolve remains, and in trying to answer it, we realize that we risk becoming something of a micro institute ourselves ? Which is not our intention…

BD : Did you specify a time limit for the project ? When I checked the website, it mentioned a deadline in 2009. Will it still continue after that ?

VM : The initial proposal had a limited duration.

RH : You might call it a projection. The proposal defined an open framework - going to Belgium, Wisconsin by 2009 to develop a project there. But in a way you could say this narrative generated a focus for ideas to confront each other rather than setting a target to be realized. Which doesn't mean there is no temporary issue at stake. We seem inclined to stress the temporality of the project, and its potentiality. Two issues that appear to be contradicting the job offer we've made.

VD : Do you want to go to Belgium, Wisconsin ? Do you want to be in two places ?

VM : For me it is much more a project that deals with the notion of collaboration. How can we produce something together, not only a narrative, a content, but also critical stuff about possible art practices. That is what we try to achieve, working on both levels, this narrative level and … (hesitates)

IS : But you could do that anywhere : in the Ardennes, in Germany… Why Belgium, Wisconsin ? Is it just a cute allusion to a name or is there a conceptual significance for your project ?

KV : I think it defines a lot of content for us. Our choice for Belgium, Wisconsin generates issues we want to work on. It is another Belgium, a replica, maybe even a kind of utopia…

MS : It is crucial ! All other things are rather like tools to get to this point, even hijacking a gallery or whatever. There is some essence or truth in choosing Belgium, though rather to the name than to the location I would say. I mention this because of the dissatisfaction some of you have expressed about your current working position, your status as citizens, your existence… I think PE felt lucky when they found a real place somewhere else, across the Atlantic. A place that could also be hijacked or used as an imaginary place that could generate better conditions and ‘coincidentally' bears the same name, Belgium. What PE is looking for is not the transatlantic journey in order to reach the physical essence of the place Belgium, but Belgium as a topos, as a space and time that they would like to reach through a collaborative way of thinking and working. At the same time it is problematic to me when people in the west start talking about collaboration. I don't think PE is about collaboration, I would rather use a very Balcan way of describing…

RH : That's why we asked you to be here !

MS : I know I am being appropriated… (laughs) I would even use a military term, to capture something of the necessity, so to mobilize people with whom you are not necessarily collaborating on a long or temporary basis, but to mobilize people who think alike and who are also longing for that ‘Belgium' somewhere across the imaginary Atlantic. And with this kind of mobilization you initiate an alternative to the present power systems and their rules of operating. Which again applies to you both as artists and as citizens…

MS : Instead of talking about the project and enhance the togetherness of the administrator and the artists, maybe we could ask ourselves : what is the battle we are fighting here ?

VM : There are a lot of layers in the project and as you said you have to choose your battle, but sometimes there are different fronts.

MS : There is always one enemy.

VM : That is really too easy, like east-west…

RH : I think choosing our battle in the end may well define PE as a project. Since we have no common ground from which to operate, this process of selecting our battle seems to me very constituent of what we call Potential Estate.

MS : We should talk about the film you will develop from your presence here (*). I'm wondering what it means in this context of production, in which it is usually the object of selling. Traditionally a gallery exhibition occasions the selling objects… Yet PE chose not to have an exhibition, but a series of events. Are the production of discourse and of values, and the production of marketable objects being offered a new way of dealing with the current political situation in Belgium ?

KV : The marketable object has at the same time changed as well. We are still discussing if we want to sell the film and what's more important in what way. One possibility is not selling it, but offering it for free through the sales of publicity space in the film.

MS : So it would generate money ?

KV : It is not just about making a product and then simply selling it.

MS : But that is part of the logic of this whole system that you live right now. And it is a necessity that you have to deal with. It is not just part of a project, it is part of the bigger picture in which we are all participating.

VD : Part of the believe…

PH : This speculative dimension was there from the start. Even the name Potential Estate… We even discussed buying real estate, actually buying Belgique, a ghost town along the Missouri river. I even talked to some lawyers calling themselves ‘architectes de patrimoine'. They deal with real estate stuff, they buy art, discuss speculation. When they bought a piece of Wim Delvoye they realized that his practice was actually not so very remote from theirs…

RH : It is like in the Wally Hope story we sold : there is no real opposition between culture and commerce, just a merger waiting to happen…

IS : That already happened several centuries ago.

VM : Interesting is the position of the artist and his cognitive capital. The artist is like the ‘poisson pilote', the initiator, an ideal for the business elite. You can see the whole business and neo-capitalist system looking at the artist no longer as an unproductive element, as a parasite of society, but rather as a projection of what might be creative capitalism. Much of the time I feel we are trapped in a contradiction…

VD : The issue is ‘value'.

MS : The number of battles you fight and your position as artists, is a matter of translation. The situation we have here with the administrator and the artistic collective on the one hand and on the other hand the use of another language that allows for an artist to be incorporated in an institution or in a bigger system of powers etc…. In answering the question where the administrator stands, you clarify your own position within the art system. To me it is like a Mobius strip, you cannot get out of it at all. Or like in Hitchcock's Rear Window, who is watching whom ? There are of course many battles, but if you want to position yourself, take a clear position with regard to what you want. Then there will be only one battle and one enemy.

VM : It is clear for me, since we are so different as artists, that there is a kind of balancing out when we work together. It's not about aesthetics. We can resolve conflicts that arise between us and in the end have focus.

MS : We are also more than artists I hope ? This is about qualities that do not apply to the artistic field alone. First of all you are a citizen, just like me. It is about citizenship and how citizens are administered and monitored into control, also beyond the level of the nation state. We have to avoid a kind of fetishism of the artistic status. It is important but you will accomplish nothing if you continue in that direction. Inequality exists on many different levels. People need to be brought in and the discourse needs to go beyond the artistic fields of interest.

KR : It is also a matter of choice. For me so far it is not clear if this project really wants to step out of the circle of the art world.

MS : The audience is participating in the process of making and deciding. There is no outside there is only the Mobius strip.

VD : The question of outside or inside is just a reinsuring representation, which is not real. It is a bit terrifying.

MS : Brutal but truthful.

VD : It is brutal because we are all becoming shareholders instead of citizens. The dynamic of the project suggests just this. If there is a crisis in the political representation, a crisis of the individual, the citizen, and the artist is one of the purest examples, if we are in a crisis of representation like this, then Belgium is no longer able to support identities.

VM : There is an obsession with identity. We all have mixed ancestors in this country. What is interesting about Belgium, Wisconsin as a trigger, is that it invites us to look at things from a different angle. Over there we too were once migrants, and yet what happened to all these utopian communities in the US. They produced a model. The great social utopias of 19th century found a destiny in the US. Together they became the American utopia. It is a weird duplication of Europe that could not exist elsewhere, as if they simply decided to remake the world. Our view on America is full of clichés. PE is playing with these notions, but at the same time we also take a closer look at them and the village of Belgium offers us just that : a case study, so we can see ourselves as migrants.

MS : When you were talking about the 19th century utopia in the States, to whom did you refer ?

VM : Fourier, the French utopist. They sent French families to create Icaria. For Wisconsin also the German Lutheran separatist George Rapp… The French revolution took place when they were there. Yet after it they did not return to Europe because they had created their new world across the Atlantic. Many of the early communities were created on this utopian basis. We need to look into this history more closely. Like we did with migrant figures for Cabinet Reclus and Jacotot. Both are connected with theories and utopias from the 19th Century.

MS : PE could touch upon a wider field of references, as I see things broader than the artistic field and the status of artists. I don't know if you want to follow this line, but for me it is the only utopian and at the same time realizable line… Starting from this PE could become a platform to question things, a space for discussion about artistic and political issues today that are relevant toward real conditions and contexts one wants to address. I can see the potential of these kinds of events. Then you could do something not in a gallery, but in a place that has to do with real decision- making processes…

The discussion ends with some concrete feedback on the four candidates that applied to become the administrator of Potential Estate.

(*) The Crying of Potential Estate (2008)

BIG MINUTES

David Evrard — 2009-06-21T13:31:32Z

A la fin du vernissage « répertoire pour une forme* », Isabelle Cornaro et moi, on discutait avec Damien Airault et ce soir là, il accumulait roulements d'yeux et bouches pendantes, c'était peut-être la bière juste, mais on sortait de cette expo, tirée au cordeau, qui donnait une impression de tenue stricte et on lui envoyait des trucs comme : « nous n'avons pas besoin de perspective ! » ou « ce qu'on veut c'est des gonzos, pas la garde de l'histoire ». Je ne peux pas m'empêcher de penser que l'apparence de « cadre » dans lequel on pouvait à l'aise, en catégories, faire glisser les œuvres sous des intitulés tels que documents, archives, notes, littérature d'artistes, oui c'est ça, -comme s'il s'agissait d'un genre qui pouvait dominer la lecture de l'exposition- était plein d'un à priori esthétique : si on échappe aux grosses icônes polies, luisantes, c'est qu'on est dans un truc mental d'universitaire casse-couille. Je découvrais Isabelle ce soir là et, dans cette discussion, pour être franc, je m'attendais plutôt a un « aah… ces Belges » qu'à un acquiescement de fond, sans doute moi-même pris par ce même à priori : le fait qu'une forme « à la fois objet document qui renseigne sur l'œuvre, porteur de l'histoire de sa fondation et œuvre en soi » (1) puisse être un genre clos. Et on finit par parler d'autonomie, d'anarchie, de nivellement des formes. Bien sûr, Damien a vite compris, et ça lui faisait plus plaisir qu'autre chose. Ce n'est pas une blague.

A l'origine de cet espèce de fossé d'un côté duquel il y aurait l'intelligence des formes, des gestes et des couleurs qui pètent et dont le sens réside justement dans le fait qu'elles procurent un genre de plaisir, évidemment, et de l'autre une grisaille froide et tactique d'œuvres à décrypter avec la patience d'un crotale jésuite chargé de la flamme, fossé entretenu sur une idée « chrono » de l'évolution des pratiques malgré quelques-uns s'essayant au grand écart, à fabriquer des œuvres aussi pensées et pleine d'échos qu'extraverties, ou à l'inverse, minutieuses, battant la campagne indéfiniment à la recherche d'on ne sait quoi pour tomber sur un jeu de mot débile. Dans la note, l'investigation plate, on a tôt fait de reconnaître le recyclage de l'histoire en références institutionnelles, où "une des visées (…) est de produire, dans le domaine de l'art, des modèles analytiques pour des fonctionnements dont l'action n'est pas d'emblée observable" (2). C'était il y a 20 ans. Le truc, c'est pas le grand écart, nonobstant la séduction que procure, en règle générale, le grand écart.

Le truc c'est la tête dans le sac. Le truc c'est qu'à un moment donné tout participe du truc. Le truc, c'est l'absence de choix, et l'absence de choix, c'est la nécessité. Le truc c'est quand on est tellement dedans qu'on s'éclaire de rapprochements obscurs dans un cours qui ne l'est pas moins, que chaque élément, chaque information, chaque indice est une expérience, bien plus que la manifestation d'un stratagème soluble dans l'air du temps, ou une tactique pour voir s'épanouir des formes bling.

On veut du « gonzo », oui, quand ça suinte, quand on ne distingue plus ce qu'on imagine de ce qu'on voit. GONZO ! GONZO ! blah blah blah… On veut du gonzo !

En 1972, dans le Scanlan's Monthly, c'est ainsi qu'Hunter S. Thompson qualifiait sa pratique de journaliste, hyper subjective, sans distance, mélangeant visions, impressions, extases et cueillette d'informations dans une écriture qui n'aura de cesse de travailler la faille qui sépare le journaliste du romancier : Gonzo, comme celui importé par les irlandais de Boston, le dernier qui reste debout dans un marathon d'alcool.

Précédent les installations « The Chicken Co-op » et « Dwarf Parade Table », Paul Thek réalise en 1969 « A Document » (3) avec Edwin Klein. Il dispose sur les journaux du jour un ensemble de photographies, notes et objets, sorte de documentation expérimentale qu'il met en scène, récupérant ce qui traine alentour, pour son catalogue, avec les éléments qui serviront l'exposition au Stedelijk. Un basement ou une « first life » qui ouvre la possibilité de pouvoir épuiser indéfiniment - c'est-à-dire de ne jamais pouvoir épuiser définitivement- un ensemble de choses, situations, formes, dont seuls l'artiste ou la mort cesseront le cours. Une ouverture.

En 2001, Allen Ruppersberg et en 1998 Jef Geys, sortaient respectivement « The new five foot shelf » (4) et « Al de Zwart Wit Foto's tot 1998 » (5). Le premier, sous la forme d'une publication de 50 livres reprenant à l'identique les formes de l'anthologie « Five Foot Shelf » de Charles W. Eliot, publié en 1910, d'un site et de 44 posters, reproduit son studio de Brodway, à l'échelle 1. Le second publie toute ses planches contacts noir et blanc dans un livre de 500 pages mêlant vie de famille, paysages, travaux, essais. Le premier, à l'américaine, monolithe indiscutable « a collection of texts which represent a part of the unseen interior and symbolic sense of the space » (6) travaille un espace introverti, avec vues sur les titres et les tranches, supposant du contenu accumulé, comme sous-titre, et le deuxième, sans introduction ni note ou indice qui renverrait à quelque temps, lieu, action ou personnage montre tout, donne un ensemble de ce qui sous-tend sa pratique, un enregistrement récurrent, plein de ratages, d'humour, de projets, de filles, de copains, ou la distinction entre vie et travail s'estompe. Ces deux travaux partent peut-être de postulats différents, mais suppose chacun une économie du travail qui ne distingue pas l'accumulation, les gestuelles périphériques et toutes substances marginales à l'oeuvre de l'œuvre elle même. Une poésie de l'exhaustif qui se présente comme l'affirmation sinon d'une forme, d'un geste. Un leg, presque.

L'histoire n'avance pas. L'histoire se fabrique. Entre l'artisanat du propre et du beau et le documentaire de luxe, les icônes du bien et du bon, toute cette logique de productivité saine, au sens capitaliste, et les objets scénarisés prenant appui sur l'histoire, qui la complète, de Tacita Dean, Felix Gmelin, Deimantas Narkevicius ou Joachim Koester, par ex.(7) ou travaillant le passé comme un territoire à arpenter (8), avec le modernisme en nœud de fond, il y a une forme de permanence où l'histoire est en restes, sans références et c'est un projet d'écriture : un paysage saturé d' influences où les restes sont à produire, pas comme témoignages, pas dans le cours d'un procès, mais comme les formes tacites d'une préhension du monde ou l'enregistrement, la collecte, la reconsommation, l'archéologie de surface au même titre que les sensations, le cool, les idées vagues, les torsions, ne servent pas une mise en abîme qui renverrait l'archive à son geste iconique - Alexandrie ouh ! ouh ! ouh ! ha ! - ou en substance à la collection, mais un travail de compulsion, hanté, frénétique, encombré.

Who's affraid of the neo avant-garde ? (9) not me, fuck you ! Le paysage appartient a celui qui le traverse. La terre appartient a celui qui la travaille. Là ou je pose mon chapeau, je suis chez moi. ‘n das ding ding…

Texte publié à l'origine dans Zéro Deux, printemps 2009.

(1) Mathilde Villeneuve, dossier de presse, exposition répertoire pour une forme*, Guillaume Constantin, Isabelle Cornaro, David Evrard, Charlotte Moth, Gilles Mahé, Gilbert & Georges et Guillaume Ségur, La Vitrine, Paris Cergy-Pontoise, 5 mars-25 avril 2009.

(2) Birgit PELZER, extrait de « Les fonctions de la référence » catalogue Michael Asher, Centre Georges Pompidou du 10 juillet au 15 septembre 1991.

(3) A document made by Paul Thek and Edwin Klein, artist's book, Stedelijk Museum Amsterdam et Moderna Museet, Stockholm, 1969.

(4) DiA

(5) Jef Geys, Provincial Centrum voor Beeldende Kunsten, Hasselt, 1998.

(6) Allen Ruppersberg, cité in : introduction, voir (4)

(7) … l'art à l'ère Bush, selon Dieter Roelstraete, e-flux journal : After the Historiographic Turn: Current Findings

(8) …comme en parle Nicolas Bourriaud, interviewé par Aude Launay in Zéro Deux, n°47, p. 42.

(9) Hal Foster, The return of the real, MIT press, 1996, titre du premier chapitre.

Merci à Fabienne Audéoud pour sa relecture et à Jean-Paul Jacquet, pour le final.

Message posted by バイク買取 following your article "Projet de construction d'un Globe Terrestre à l'échelle du Cent-millième".

Pierre Huyghebaert — 2009-03-29T11:32:41Z

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What about the museum?

2009-03-27T13:54:22Z

It seems that the Scanlan pavilion is intended to disappear gradually on its tour through different art institutions. At every halt fewer elements will be available to resurrect the pavilion Joe Scanlan had developed. It will never make it to the museum. At this moment Potential Estate is negotiating its aquisition for the mud museum. More later.

Muhka is not a mud museum.

Potential Estate reflects on why this is the case. In doing so the entire archive will be integrated in a game matrix, to be played on location. Potential Estate reflects on the use of the collection and on a possible alternative public mediation of it. Looking through the archive Potential Estate came across one artist whose contribution to Cabinet Jurino became invaluable : Jimmie Durham. A Cherokee political activist, Durham has developed an important body of work confronting western cultural models of cultural authentification and classification. Potential Estate will acknowledge the pre-modern component of Durham's work and its reflexivity.

Note also that the serpent is part of Jimmy Durham's formal vocabulary (see The Center of the World, part of Muhka Collection or the Paper Museum project in Italy).

Ghost Dance

2009-03-27T13:35:10Z

By the late 1880s, many Indian tribes, desperate and facing a dire existence of poverty, hunger and disease, sought a means of salvation to revitalize their traditional culture. The evolution of a new religion, the Ghost Dance, was a reaction to the Indians being forced to submit to government authority and reservation life.

Sioux ‘performers' working for Buffalo Bill's Wild West show were touring New Jersey and performed for Edison's operators. The Wild West shows introduced many western performers and personalities, at the same time diffusing a romanticized image of the American Wild West to a very wide audience. The same show would tour Europe extensively and put up its tents in Antwerp in 1891 and 1906.

Cabinet Jurino presents a Potential Estate version of Edison's Ghost Dance.

Reanimating the serpent

Pierre Huyghebaert — 2009-03-23T23:12:59Z

The Coral Snake from Arizona is known as one the most venimous snakes in the world. It has the exact same colours as the Belgian flag, symbol of our national identity. Other snakes have the same colours but in a different order. This inventive mimicry has given birth to some popular American proverbs that Potential Estate has translated into a floor design. For the occasion Potential Estate has translated the colors of the snake into a black & white version through the application of the official heraldic code.

The snake floor reminds us of a playground provoking an interaction between an open-ended construction game and native American initiation rites. This game with no rules sets the tone for all Potential Estate references and positions in Cabinet Jurino (Texas City and Aby Warburg, Scanlan's Monthly (a gonzo magazine) and the ghost dance, the mud museum and the coral snake, …) emptying themselves in a ruleless mix of different codes.

— If it's black over yellow, go and say him hello.

— If it's yellow over black, just step back.

What's in a name

2009-03-23T23:01:30Z

The priest gave him a cosmological drawing with a snake at its center. The Hopi, a native American tribe of Arizona, were famous for their ‘serpent ritual' and although April was too early in the year to see this ‘tourist' attraction, the time Warburg spent with the Hopi was a very important stage in his long journey through the South West of the United States. His visit to the Hopi created the basis on which he would develop his now famous lecture, which led him to establish iconography (literally ‘image writing') as an independent discipline of art history.

Aby Warburg became known as the ‘father of iconology' a.o. through his atlas of images, Mnemosyne. Twenty seven years after his visit to the land of the Hopi, he cured himself of his mental illness (extreme depression and schizophrenia) by performing an illustrated lecture on the Hopi Serpent Ritual. Warburg was the first to link art history and anthropology, paying much respect to animist practices. His anthropology of the image gave birth to the specific ways of classifying that revealed Modern man's failure to classify the world singularly through western parameters.

Warburg himself, recognizing the shortcomings of his lecture, never wanted it to be published. But his own plea turned out to be not dissimilar, both in its aim and in its unfortunate fate, from the much-infringed request of the Pueblos not to be photographed lest the soul be misrepresented, or even taken away. In fact Warburg himself was Modern man, making him one of history's many hybrid characters.