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September 25, 2006

Body without Organs (BwO)

Of my performance work it always returns to the same question directed at me. "Why do it and does it hurt?". And it is one question rather than two for which there are indirect responses and obvious responses. Responding indirectly is a text excerpted from the masterwork of Gilles Deleuze and Felix Guttari, A Thousand Plateaus: November 28, 1947: How Do You Make Yourself a Body without Organs?

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 On November 28, 1947 Artaud declares war on the organs: To be done with the judgement of God, "for you can tie me up if  you wish, but there is nothing more useless than an organ."1 Experimentation: not only radiophonic, but also biological and political, incurring censorship and repression. Corpus and Socius, politics and experimentation. They will not let you experiment in peace.


The BwO: is already underway the moment the body has had enough of organs and wants to slough them off, or loses them. A long procession. The hypochondriac body: the organs are destroyed, the damage has already been done, nothing happens anymore. "Miss X claims that she no longer has a brain or nerves or chest or stomach or guts. All she has left is the skin and bones of a disorganized body. These are her own words."2 The paranoid body: the organs are continuously under attack by outside forces, but are also restored by outside energies. ("He lived for a long time without a stomach, without intestines, almost without lungs, with a torn esophagus, without a bladder, and with shattered ribs, he used sometimes to swallow part of his own larynx with his food, etc. But divine miracles ('rays') always restored what had been destroyed."3 The schizo body, waging its own active internal struggle against the organs, at the price of catatonia. Then the drugged body, the experimental schizo: "The human body is scandalously inefficient. Instead of a mouth and an anus to get out of order why not have one all-purpose hole to eat and eliminate? We could seal up the nose and mouth, fill the stomach, make an air hole direct into the lungs where it should have been in the first place."4 The masochist body: it is poorly understood in terms of pain; it is fundamentally a question of the BwO. It has its sadist or whore sew it up; the eyes, anus, urethra, breasts, and nose are sewn shut. It has itself strung up to stop the organs from working; flayed, as if the organs clung to the skin: sodomized, smothered, to make sure everything is sealed tight.

Why such a dreary parade of sucked-dry, catatonicized, vitrified, sewn-up bodies, when the BwO is also full of gaiety, ecstacy, and dance? So why these examples, why must we start there? Emptied bodies instead of full ones. What happened? Where you cautious enough? Not wisdom, cuation. Many have been defeated in this battle. Is it really so sad and dangerous to be fed up with seeing with your eyes, breathing with your mouth, talking with your tongue, thinking with your brain, having an anus and larynx, head and legs? Why not walk with your head, sing with your sinuses, see through your skin, breathe with your belly: The simple Thing...

Where psychoanalysis says, "Stop, find your self again," we should say instead, "Let's go further still, we haven't found our BwO yet, we haven't sufficiently dismantled our self." Substitute forgetting for anamnesis, experimentation without interpretation. Find your body without organs. Find out how to make it. It's a question of life and death, youth and old age, sadness and joy. It is where everything is played out.


Source
Gilles Deleuze and Felix Guttari. A Thousand Plateaus. London: Continuum Books, 1987.

 1 [Trans: Antonin Artaud, "To Have Done With the Judgement of God," Selected Writings, ed. Susan Sontag (New York: Farrar, Straus and Giroux, 1976), p. 571.]

 2 [Trans:Jules Cotard, Etard sur les maladies cérébrales et mentales (Paris: Braillière, 1891).]

 3 [Trans:  Dr. Schreber's Memoirs, quoted by Sigmund Freud, Notes on a Case of Paranoia, vol. 12, Standard Edition, trans. James Strachey (London: Hogarth Press, 1957), p. 17.]

 4 William Burroughs, Naked Lunch (New York: Grove Press, 1966), p.131. 

 

September 7, 2006

Mogas Station debuts A.Art Magazine at the Singapore Biennale 2006

Mogas Station installation at the Singapore Art Museum

It's been a labor of love nearly one year in the making. Mogas Station has finally realized the successful publishing of A.ART magazine. The publishing AS art project received contributions worldwide including Thailand, Myanmar, France, United Kingdom, Germany, and Japan. Over the past year, there were many times when we thought it would never happen. Which is also how we connect to the Singapore Biennale's themes of Belief. We never quit believing.

The AART MAGAZINE blog is now online:
http://www.aartmag.net 

September 5, 2006

A.ART Magazine

AART Magazine Cover

From the Singapore Biennale Exhibition Short Guide:

Art magazines serve many functions within the art world, publicising and exposing artists and exhibitions, lubricating market conditions and providing critical perspectives on issues. The Mogas Station project is a group of artists and cultural workers all based in Vietnam who have come together to create that country's first ever artist-published bilingual Vietnamese-English contemporary art magazine. It would be informative to quote at some length the context within which Mogas emerged:

"The momentum to develop a magazine accelerated after a visit to Ho Chi Minh City by the Asia Pacific researcher for Documenta, who concluded that the existing cultural publications were neither critically rigorous nor socially effective enough to meet the criteria for inclusion in the next exhibition in Kassel. While this was true, we knew that many artists and people working in the creative sectors of our city were having critical and insightful discussions. Artists were reading about the world and talking about the world despite the absence of a printed record. We decided to begin to create a magazine, which has since taken many directions from a small self-published endeavor, to the formation of a business model for publishing as a company. As we enlisted assistance and advice from a number of local experts, we discovered that both conventional approaches were unrealistic. Small distribution would not do well to contribute to our hopes for a fresh and new national dialogue on arts while the formation of a company presented formidable administration, financial and bureaucratic challenges." - Mogas Station

The group's proposal for the Biennale is the initiation of a long-term project. Because of limited financial support and cultural controls for publications in Vietnam, and the lack of international exposure, the group intends to publish a series of art magazines as art projects within the framework of international exhibitions - a growing feature of the art world today. The Biennale will provide the platform for their inaugural issue. The magazine will be written and designed by Mogas and published and sold by the Biennale. In addition to the magazine, Mogas have planned a number of 'parachute drop' installations. These comprise of empty wooden pallets and crates attached to parachutes, appearing as if they have been air-dropped onto Singapore - reminiscent of supply drops in military campaigns as well as humanitarian relief drops, these 'parachutes' serve as reminders of the mobile yet often invasive nature of the global media today.

- Roger McDonald, Curator, SB2006

For more information

+ Singapore Biennale 2006