kammerspiel_project space is (not) an in situ experiment on visual and auditory forms expanding the limits of the human sensory apparatus.
in 3acts pre-post/meta
is (not) / An attempt to define the question of space as a structure, as aesthetics, as a process [and to be defined by it], is confronted with the endogenous duality of its [at least original] meaning. On the one hand, the desire to follow the autonomy and uniqueness of a self-contained work [as a living installation]. On the other, to constantly redefine it by the different subjectivities that “inhabit” it, that disconnect it, that re-enact it; by activating the meta prefix mechanism always intensifying the confusion of its self-referential context when the prefix is interpreted as the dialectical juxtaposition of the transitions of states and works taking place. Continuing the act of deconstruction, and without questioning its core function as a project space, I move on to the context of the post prefix (the order does not matter) establishing several refusals and some conclusions. The characters, the automata, the forms, the backlinks, the timelines, the sequels, the causes, the results, the ruptures, the gaps, the historicity, the discontinuity, the outbursts, the denials, the regularity or not, the language, the meta-language, the symbols, the narratives, the meta-narratives, the ephemeral, the subject, the subject who does not know what is, the object, the phenomenal, the conceptions, the metonymies, the metathesis, the transformation, the fragmentation, the fractionation, the A other than B, the reversal, the experience, the psychological, the schizo-analysis, the existing, the teleology, the addition or reduction, the meaning, the non-meaning, the memory, the becoming, the chaos, the rationality, the linearity or not. From these personalized conceptions, I create custom images that I gradually display-disappear-invert in a present, or recorded play-delay mode. I penetrate the pre, into the core of creation, into the conscious, into the IS which is what it IS, constituted, or hetero-constituted by aims, by desires, by the gaze of the other or the self, which dramaturgically emerges from the method of distancing/of wandering/of inverting, including distance and perspective of things and relations. I release impressions or announce new ones, playing with the reflexes, with the prefixes, with repetition, with the visual – satisfying the vision or not – for a delusional assemblage of images and sounds cut off from their conscientious context. According to this representation model that the viewer or creator recognizes, or wants to share in common, I define kammerspiel in its present fluidity as a mode of address and circumscription of subjectivity into a space emerging from subjectivity, rather than one that is merely the producer of subjectivity. In this sense, it is an approach to existence as a transcendent being, aiming beyond what it is, seeking to become what it is not yet.
Déjà vu. This is a memory of theory, or the contemporary signification of everything, or a ritual transition from one moment to another, from one situation to another, from one activity to another, from one to another, or the difficulty to interpret the symptoms and join the signs, or a way of looking at the exposed subject with the eye of perception that is identical to that of the camera. Kammerspiel (Kammer: intimate/ chamber, spiel: play/drama) was a German film movement of the 1920s silent film period that was developed around the same time as the more commonly known German Expressionism film movement. Kammerspiel was known as the Chamber Drama film for its obvious influence from chamber play theater and is categorized by its focus on character psychology, lack of intricate set design and its frequent depiction of the working class. Also unlike Expressionist films, films of the Kammerspiel very seldom used intertitles to create spoken dialogue or narrate the story.