first and foremost: the risk of ‘integrity.’ I presented my collected works in advance: “moma. the museum of the mechanical age. 119 problems”, a plain collection of marginal experiences; a summary of decisive events which caused fundamental changes. there will be no more! note the double move: the singularity of the experiences includes but cannot escape their shared goal: the “collected works” (oeuvre) will definitively be the sum of a life spent. (this kind of limitation of possible experiences should not deny its consequences. more than ever I insist on the openness of the conditions of life. still I feel as though I were in the middle of a fantastic, endless digression. This trajectory implies the perpetual menace of again reaching the point of exhaustion, which would demand the mentioned closure as completion. (119)) there will be no more! the most privileged position is to act posthumously. I reinterpret the possible totality of a life from a standpoint that will finally become my own. that’s a necessary and simple conclusion which follows my initial premise: that my work was always inspired by the fascination with the actual material extension of ourselves; that is not just in space but in time: the simple truth, for example that every word spoken affects language, imagined as a whole; including all of tomorrow’s discussions, all of tomorrow’s diatribes. note the almost unendurable answerability and outrageous interference; returning into the museum of the 119 to reveal the most paradoxical figure: that the limitations of the museum of the 119 at the same time allow an intensification and expansion of experiences: to make them anew. (8 / 04 / 2004)
The book on the one hand should have been an inventory and has turned idiosyncratically into a kind of plan / program. 119 drawings translated into words, finally photos, documenting initiated „worldly“ experiences: The museum of the mechanical age is the current state of formulating the entire activity. This is a BOOK as a program that is kept moving. In the present case, the pictures produce texts. Their inadequacy, which is also inappropriate here, follows the commitment to the methodology, which remains most fertile in the most indigestible places – with regard to the drafting of forthcoming work.