In the context of one of those Biennalen I am afraid it was due to obvious unpreparedness, that bitter polemics lead to more than subversion: at best aggressive self-sabotage?

WHERE OUR LANGUAGE MAKES US GUESSING SOMEBODY SITTING ON A BENCH IN THE RAIN, AND WHERE THERE IS NO SITTING ON A BENCH IN THE RAIN, THERE,WE WANT TO SAY, BE A GHOST.

So the most urgent thing is the awakening of this fundamental disagreement, to make the body construct feel like a place of struggle, as a compromise as well as a work.

EFFECT / CARE / GENERATION / CONFIDENCE / LIGHTNESS / HOPE / EQUIVALENCE / COMPASSION / FEAR / CRISIS / DROP / WORK / MÜHSAM / MEUTEREI / HUMAN / RETIREMENT / BREAKTHROUGH.

The weakness of our Instruction: it (she) seems to remain a (just) project but let her: come to an end by being completed. Call it a site. Complete site: elaboration of a practice, an exercise.

Besser auf ein Loch zu spekulieren, als in es zu fallen! Ich setze auf die Konzentration unserer Praxis auf die Stelle der Begegnung unter einer möglichst diversen Zahl von Anderen. Ich sehe keine Alternative zum elaborierten Versuch eines (andauernden aber nicht allzu geduldigen) Weckrufs, zum intensivierten Befragen unserer Begriffe und Verständnisse vom WERT. Was immer…

In the beginning there was confusion there was a continuous present and later there was romanticism which was not a confusion but an extrication and now there is either succeeding or failing there must be distribution and equilibration there must be time that is distributed and equilibrated.

It was important to me that these texts are always related to reality: not just that they relate to it, but that they work in it; that they are a piece in the dramaturgy of the real, that they constitute the instrument…

The place of exile, which is language that is scripture, will probably also derive from the material in which every symbolic formulation manifests itself. Or.: A poem! In the style of an ancestor. Reading Aimè Cèsaire’s “Back to the Land of Birth” should be the starting point for an installation appropriate to the occasion and…

In the face of this “eternal writing and ignorance of how to assess, place, or even use this writing,” he addressed the author and lyric poet Michael Hammerschmid with the question, “How do I recognize a poem?”