{"id":617,"date":"2017-07-27T08:04:08","date_gmt":"2017-07-27T06:04:08","guid":{"rendered":"http:\/\/www.quasikunst.at\/?page_id=617"},"modified":"2019-03-16T19:15:15","modified_gmt":"2019-03-16T18:15:15","slug":"textkreisel-nichtstun-en","status":"publish","type":"page","link":"https:\/\/www.quasikunst.at\/index.php\/en\/textkreisel-nichtstun-en\/","title":{"rendered":"Textkreisel Nichtstun (en.)"},"content":{"rendered":"

Textkreisel Nichtstun,<\/b><\/span><\/span> sculptural idleness, <\/span><\/span>performative literature, 2014.<\/b><\/span><\/span> The self-contained „Textkreisel Nichtstun“ (Text Gyroscope Idleness) evolved as an autonomous work alongside the project StadtkomplizInnen realised with theaternyx at Kunstmuseum Lentos. In its intended indefinedness <\/span><\/span>this non-economical text<\/b><\/span><\/span> debates idiosyncratic structures, anti-ideology, theory beyond common modes of application of texts and a playful gestus of the poem: The <\/span><\/span>extended territory of text<\/b><\/span><\/span> reaches from <\/span><\/span>Menschengedichte<\/b><\/span><\/span> to variations of the <\/span><\/span>haiku<\/b><\/span><\/span> to a <\/span><\/span>quasi-theoretical concealment in a weekly structure and word cascades. <\/b><\/span><\/span>The text has <\/span><\/span>not been edited and therefore swings<\/b><\/span><\/span> between form and function, <\/span><\/span>between theory and poetry<\/b><\/span><\/span>. <\/span><\/span><\/span><\/p>\n

\"\"

Textkreisel Nichtstun, TanjaB<\/p><\/div>\n

\"\"

Textkreisel Nichtstun, TanjaB<\/p><\/div>\n

Nichtstun_Week 2_Lentos Kunstmuseum<\/b><\/span><\/span>
\n<\/span><\/span><\/span><\/p>\n

Preperatory Poem<\/b><\/span><\/span><\/p>\n

Idleness<\/span><\/span><\/p>\n

Aesthetics<\/span><\/span><\/p>\n

Performance<\/span><\/span><\/p>\n

The feeling: I think I\u00b4m spinning the wheel<\/span><\/span><\/p>\n

Super-activism<\/span><\/span><\/p>\n

Playing in an institution <\/span><\/span><\/p>\n

Suddenly a zone of idleness<\/span><\/span><\/p>\n

Idea for mise-en-sc\u00e8ne<\/span><\/span><\/p>\n

Isle for Writing<\/span><\/span><\/p>\n

(with a view at the Danube)<\/span><\/span><\/p>\n

As a connection to the harbour<\/span><\/span><\/p>\n

As a river course and stream<\/span><\/span><\/p>\n

Traffic stream<\/span><\/span><\/p>\n

The view outside<\/span><\/span><\/p>\n

Panorama window<\/span><\/span><\/p>\n

Proposal for distraction<\/span><\/span><\/p>\n

Essential question<\/span><\/span><\/p>\n

Can we also meet<\/span><\/span><\/p>\n

In order to do nothing<\/span><\/span><\/p>\n

An honest idleness<\/span><\/span><\/p>\n

Says Claudia<\/span><\/span><\/p>\n

C \u2026 and what it takes to be honest<\/span><\/span><\/p>\n

Contrary to anything else<\/span><\/span><\/p>\n

To busyness<\/span><\/span><\/p>\n

To meditation<\/span><\/span><\/p>\n

To ideology<\/span><\/span><\/p>\n

 <\/p>\n

Day 1, Friday \/ Lentos, Week 2 \/ <\/b><\/span><\/span><\/p>\n

\/ Menschengedicht<\/b><\/span><\/span><\/p>\n

Verena Henetmayr<\/span><\/span><\/p>\n

Gerlinde Roidinger<\/span><\/span><\/p>\n

Susanne Maier<\/span><\/span><\/p>\n

Birgit Schwamberger<\/span><\/span><\/p>\n

Marion Klimmer<\/span><\/span><\/p>\n

Luis Wohlmuther<\/span><\/span><\/p>\n

That\u00b4s us!<\/span><\/span><\/p>\n

 <\/p>\n

\/ Tracking<\/b><\/span><\/span><\/p>\n

The house chitters, heavy eyes, exhale noisily<\/span><\/span><\/p>\n

Whistling in the ear<\/span><\/span><\/p>\n

Am I the one that whistles or is it the house<\/span><\/span><\/p>\n

Who\u00b4s got the tinnitus<\/span><\/span><\/p>\n

Due to stress<\/span><\/span><\/p>\n

Now the house is humming<\/span><\/span><\/p>\n

I gain weight<\/span><\/span><\/p>\n

Can you also do nothing while standing<\/span><\/span><\/p>\n

Or only when you have the feet up<\/span><\/span><\/p>\n

?<\/span><\/span><\/p>\n

Sleeping at the Lentos<\/span><\/span><\/p>\n

Good<\/span><\/span><\/p>\n

Art becalms<\/span><\/span><\/p>\n

Usually it keeps you busy<\/span><\/span><\/p>\n

I rest in an unsupervised corner<\/span><\/span><\/p>\n

in idleness<\/span><\/span><\/p>\n

And notice<\/span><\/span><\/p>\n

THAT THE HOUSE IS WORKING<\/span><\/span><\/p>\n

I meet my sister\u00b4s ex<\/span><\/span><\/p>\n

Occasionally he works over here, helps with the buildup<\/span><\/span><\/p>\n

I have to laugh, that coincidence<\/span><\/span><\/p>\n

As I realise<\/span><\/span><\/p>\n

That my own ex uses to work here as well<\/span><\/span><\/p>\n

on a permanent basis<\/span><\/span><\/p>\n

EXES WORK, TOO<\/span><\/span><\/p>\n

Not only houses<\/span><\/span><\/p>\n

I look down, through the cracks<\/span><\/span><\/p>\n

Clean house, but down there it isn\u00b4t<\/span><\/span><\/p>\n

House clean, ex sober<\/span><\/span><\/p>\n

I take notes, so that I can discharge them, from my brain<\/span><\/span><\/p>\n

Just like at home, where I raise from the couch, to take notes, that it does not exercise a burden on me and on the couch. Luis is asleep. Four-days-of-writing-on-the-book before. Exhaustion. Sleeping camp. Gerlinde has moved and now sits somewhere else. Bring newspapers with me tomorrow? At half past noon some action starts. Heavy eyes. Exhale. Not forget to insert the dots: Else it says: Eyes exhale. Cross out, gonna do that at home, destroy the notes.<\/span><\/span><\/p>\n

A silent movie, that\u00b4s what it\u00b4s like. Write with the left hand. Memory about primary school. Yesterday. And about Grandma, who only attended primary school, before her escape. <\/i><\/span><\/span>(This part has been written with the left hand)<\/span><\/span><\/span><\/p>\n

When we hang around it looks all so beautiful<\/span><\/span><\/p>\n

From above<\/span><\/span><\/p>\n

House is working<\/i><\/span><\/span><\/p>\n

Looking outside the house<\/i><\/span><\/span><\/p>\n

Casually left again.<\/span><\/span><\/p>\n

A raindrop geometry on the panorama window.<\/span><\/span><\/p>\n

A curtain of drops. Dry spots beneath the tables.<\/span><\/span><\/p>\n

Le pleurre? (How do you write it?) blare. It blares. My Grandpa. Rings. Signs. Cross it out. Look into it. Texts. Suddenly being an object or so. No idea whether it is us or them who observe. In any case, I write it. Down. <\/span><\/span><\/p>\n

It is difficult to rise<\/span><\/span><\/p>\n

A black sky<\/span><\/span><\/p>\n

Behind the church tower<\/span><\/span><\/p>\n

We look<\/span><\/span><\/p>\n

On behalf of the others<\/span><\/span><\/p>\n

Suddenly the un-social visages<\/span><\/span><\/p>\n

Looking around everywhere<\/span><\/span><\/p>\n

Like observing.<\/span><\/span><\/p>\n

Though we are the ones observed<\/span><\/span><\/p>\n

By humans and by a camera.<\/span><\/span><\/p>\n

But the funny thing is: Even the video tapes<\/span><\/span><\/p>\n

Descend into the void after three weeks.<\/span><\/span><\/p>\n

\/ Reflex<\/b><\/span><\/span><\/p>\n

Let\u00b4s start into idleness, into actively doing nothing<\/span><\/span><\/p>\n

Let\u00b4s do nothing \u2013 Come on!<\/span><\/span><\/p>\n

Start into levelling down, debating about it later<\/span><\/span><\/p>\n

Pleasant experience, sharpen the perception, but no imperative<\/span><\/span><\/p>\n

Calm and conformist \u2013 that\u00b4s what there is also, not only excitement<\/span><\/span><\/p>\n

Conversation about shoes at the elevator as intermezzo, Birgit, casual epistemology:<\/span><\/span><\/p>\n

Ruminating about whether form is a necessity, or nothingness is sufficient, at least for something<\/span><\/span><\/p>\n

Collective idleness is a necessity<\/span><\/span><\/p>\n

Apart from that: The houses are still there, as noticed by Markus, I mean, the yearning is huge.<\/span><\/span><\/p>\n

 <\/p>\n

Day 2, Saturday \/ Lentos, Week 2<\/b><\/span><\/span><\/p>\n

 <\/p>\n

\/ Menschengedicht<\/b><\/span><\/span><\/p>\n

Susanne Maier<\/span><\/span><\/p>\n

Dorit Ehlers<\/span><\/span><\/p>\n

Reinhard Winkler<\/span><\/span><\/p>\n

Gabi Hiti<\/span><\/span><\/p>\n

Ursula Witzany<\/span><\/span><\/p>\n

Elfi Ruprecht Porod<\/span><\/span><\/p>\n

Karin Hofer<\/span><\/span><\/p>\n

That\u00b4s us<\/span><\/span><\/p>\n

\/ Tracking<\/b><\/span><\/span><\/p>\n

I rested well at first, then again tired behind the eyes. Heavy, so heavy. And There Is A Space Behind Your Eyes. There Is The Sound. Again those heavy eyes, and hungry. Conversation with Pichler, as I leave the room. Getting nervous. In the basement I see a poster with the Last Days of Mankind, an installation with rats, I read about it. That rat stuff annoys me, no wonder. Remember, how it works with attracting attention. A classic, animals, sadism \u2013 voila. Art. The contrary to what I am able to do and what I want to do. I am in the last room today. I notice the sculptural element of the idleness group (strength). A couple of people join us, visitors of the museum. They stay for twenty minutes, they become a part, a part of the sculpture. A pink interconnection, strong: little dots on the floor, two sweaters, Manner bag. Things to take from yesterday: Wired to Timing, \u201estress\u201c at the beginning. The question is like observing. But the big thing of today is: Again, the sculputural element. No words. Sometimes, when looking at single persons: It is like going by train without going by train. Is but a short glimpse \u2013 since: The group is the thing. Larger. The group carries. I think of myself inside this whole, as a quasi-object that thinks in all directions: What a messdance out of things we did and we did not do, that we imagined and did not imagine, what a relationship to the others, what a quasi-art object. <\/span><\/span><\/p>\n

\/ Reflex<\/b><\/span><\/span><\/p>\n

Sculptural day \u2013 my so-called QuasiKunstobjekt. Eclectic between activity and idleness. Literarian interjections. Looking at each other. Or outside the window. Then, silence again. Then, some words again. I think about this construction as a quasi-art object, as a collective made of things and objects, from references, ideas. I think about this construction as a collective made of persons and thoughts, rats, the rat populations in my head, a spider in its net outside the window. I think about this collective of things, but also take projects and things undone into it. Also those things undone, or not present, or not visible affects the hybridity of people and objects, is maybe even its primary expression. The formation of hybridity in this room, of people, things, things done and undone, ideas and intellectual constructs means hidden complicity with idleness. With an open solution. <\/span><\/span><\/p>\n

Day 3, Sunday \/ Lentos, Week 2 \/ <\/b><\/span><\/span><\/p>\n

\/ Menschengedicht<\/b><\/span><\/span><\/p>\n

Miriam Bajtala<\/span><\/span><\/p>\n

Christoph Wiesmayr<\/span><\/span><\/p>\n

Susanne Blaimschein<\/span><\/span><\/p>\n

Sabine Funk<\/span><\/span><\/p>\n

Ines H\u00e4ufler<\/span><\/span><\/p>\n

That\u00b4s us<\/span><\/span><\/p>\n

\/ Tracking<\/b><\/span><\/span><\/p>\n

Morphogenetic Fields. An experiment about rat behaviour. As soon as a single rat knows something, all rats in the world do. What do rats know about art? If there is something as communication of unarticulated experience (Objection: The private face is serious, or: the social face is jovial, smiling? The rat face is like? Who knows? \u2026 they probably hate humans, and I would understand it, how does it actually work, in the human realm again, that this accumulated criminal mess, that has been accumulated by man, does not have more severe consequences), then complicity in idleness means: That it is about a hidden relationship work. It is nothing. It is anti-ideological. It is peaceful. Complicity without end and purpose. Not even representation of interests or lobbying, in a classical sense. Idleness vs. Lobbying. A different kind of lobbying. Refusal. At least temporarily. To do something is always ideological. We don\u00b4t do ideology, that\u00b4s the point. We deny the ideology of activity and that other stuff, the ideology of relaxation as well \u2013 of the permanent half-activism alongside the flows of work\/life balance. We do not want to proclaim something, no salvation of any kind, we aren\u00b4t the project board that wanders like talking clouds. As for the practical part: Great disquiet in idleness at the beginning. Only a few visitors. I sense that individuals may be wrestled down into idleness \u2013 or wrestle themselves down. And, apart from any thoughts: I\u00b4m feeling really bored today. I suddenly understand that idleness exists \u2013 even if I announce a thousand times that I breathe nevertheless or that my heart goes on. Of course, nothing else is dead. But there is idleness, I have learned it today, regardless of being active or doing work: It works \u2013 to do nothing. There is something painful to it, an insecurity. Waiting. For something. Insight: Idleness is not being on a mission, no matter whether it is a mission set up by other or by oneself. I even refuse my own mission? And in the end it is the fallow that nevertheless has to be tilled. That\u00b4s ok. And in between I think: avoid the mistake of going into inner emigration too soon. <\/span><\/span><\/p>\n

What does the room carry<\/i><\/span><\/span><\/p>\n

Audience<\/span><\/span><\/p>\n

Panorama<\/span><\/span><\/p>\n

To act with it<\/span><\/span><\/p>\n

Participation<\/span><\/span><\/p>\n

It becomes an installation<\/span><\/span><\/p>\n

Occasionally<\/span><\/span><\/p>\n

Mutual observation<\/span><\/span><\/p>\n

And surveillance<\/span><\/span><\/p>\n

Low-Threshold<\/i><\/span><\/span><\/p>\n

That it is low-threshold<\/span><\/span><\/p>\n

Is a fact<\/span><\/span><\/p>\n

And a parody upon a fact<\/span><\/span><\/p>\n

If low-threshold is doing nothing<\/span><\/span><\/p>\n

Then low-threshold ceases to mean anything<\/span><\/span><\/p>\n

Super demanding it is on the other hand<\/span><\/span><\/p>\n

And even more than that<\/span><\/span><\/p>\n

\/ Reflex<\/b><\/span><\/span><\/p>\n

Inhabitating Animals<\/i><\/span><\/span><\/p>\n

Running<\/span><\/span><\/p>\n

Resting<\/span><\/span><\/p>\n

Finished<\/span><\/span><\/p>\n

Sleeping<\/span><\/span><\/p>\n

Chatterboxes<\/span><\/span><\/p>\n

Bears Monkeys<\/span><\/span><\/p>\n

Feelings of happiness<\/span><\/span><\/p>\n

Seeing spiders<\/span><\/span><\/p>\n

Not being afraid<\/span><\/span><\/p>\n

But laughing<\/span><\/span><\/p>\n

Inhabitating Animals<\/span><\/span><\/p>\n

Fallow<\/i><\/span><\/span><\/p>\n

Idleness is not being on a mission<\/span><\/span><\/p>\n

In the fallow land of activity<\/span><\/span><\/p>\n

The question that haunts us<\/span><\/span><\/p>\n

becomes marginal<\/span><\/span><\/p>\n

not even becomes an issue<\/span><\/span><\/p>\n

becomes buried at best<\/span><\/span><\/p>\n

maybe it sprouts somewhere in time<\/span><\/span><\/p>\n

 <\/p>\n

Break<\/i><\/span><\/span><\/p>\n

Smoking as taking a break<\/span><\/span><\/p>\n

Forget about the break<\/span><\/span><\/p>\n

when not smoking<\/span><\/span><\/p>\n

Hence smoking excessively<\/span><\/span><\/p>\n

 <\/p>\n

Day 4, Tuesday \/ Lentos, Week 2 \/ <\/b><\/span><\/span><\/p>\n

\/ Menschengedicht<\/b><\/span><\/span><\/p>\n

G\u00fcnter Mayer<\/span><\/span><\/p>\n

Peter Hanusch<\/span><\/span><\/p>\n

Boris Schuldt<\/span><\/span><\/p>\n

Martha Kniewasser<\/span><\/span><\/p>\n

Claudia Dworschak<\/span><\/span><\/p>\n

Viktoria Schl\u00f6gl<\/span><\/span><\/p>\n

Marion Hackl (?)<\/span><\/span><\/p>\n

Claudia Mader (?)<\/span><\/span><\/p>\n

Times up<\/span><\/span><\/p>\n

Foamies<\/span><\/span><\/p>\n

That\u00b4s us<\/span><\/span><\/p>\n

\/ Tracking<\/b><\/span><\/span><\/p>\n

In the morning being overrun by a car (nearly)<\/span><\/span><\/p>\n

Then two more troubles with cars<\/span><\/span><\/p>\n

Think about the trilogy of quasi-art objects<\/span><\/span><\/p>\n

And the thing with memory with idleness<\/span><\/span><\/p>\n

That I can\u00b4t remember it right now<\/span><\/span><\/p>\n

The stress, that all needs to be at hand<\/span><\/span><\/p>\n

Instead of cultivating a come and go inside the mind<\/span><\/span><\/p>\n

This haiku-thing, now I got it<\/span><\/span><\/p>\n

Three times multi-layered haikus<\/span><\/span><\/p>\n

Cluttered haikus<\/span><\/span><\/p>\n

Like repainted by Rainer<\/span><\/span><\/p>\n

For instance an overworked Jesus<\/span><\/span><\/p>\n

Perfidious job-enrichment<\/span><\/span><\/p>\n

Against monotony at the assembly line in former times<\/span><\/span><\/p>\n

Now a part self-exploitation<\/span><\/span><\/p>\n

Only for the best of all, for all<\/span><\/span><\/p>\n

By golly!<\/span><\/span><\/p>\n

17 prime number, level 8, multiplied with factor 3<\/span><\/span><\/p>\n

Now I know where the haikus derive from gazing into the void. \/ <\/span><\/span><\/p>\n

Art and (the) art of production need to remain foreign to us!<\/span><\/span><\/p>\n

That supports me in (inner) distance and demanding the basic income.\/<\/span><\/span><\/p>\n

I\u00b4m fed up with<\/span><\/span><\/p>\n

Done with<\/span><\/span><\/p>\n

Idleness-Breathing. Exit. <\/span><\/span><\/p>\n

A low-threshold extreme experience<\/span><\/span><\/p>\n

how eternal, fantastic, uplifting.<\/span><\/span><\/p>\n

Idleness: Anti-ideological<\/span><\/span><\/p>\n

Collective idleness: Extreme experience, isn\u00b4t it?<\/span><\/span><\/p>\n

Idleness is like walking on tracks or going by train without a train.<\/span><\/span><\/p>\n

I understand the slow ganzing into the void. It is it is it.<\/span><\/span><\/p>\n

The long gaze isn\u00b4t ideological. It is a paradox. <\/span><\/span><\/p>\n

It is about an object of art, that feeds off many things.<\/span><\/span><\/p>\n

That simultaneously says yes and no<\/span><\/span><\/p>\n

(and in my head it whispers: Don\u00b4t be afraid of a new manifesto)<\/span><\/span><\/p>\n

An art object, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

An object, that<\/span><\/span><\/p>\n

Simultaneously says yed and no<\/span><\/span><\/p>\n

A narration, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

A performance, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

Something like self-experience, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

A production, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

Distinct protest, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

Resistance, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

A psychological state, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

Complexity, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

An art object, that<\/span><\/span><\/p>\n

Piles up the binominal principle of our yes-no combinatorics of decision into 0 and 1<\/span><\/span><\/p>\n

Multilayered decisions of yes and no, of 0 and 1, that\u00b4s how we live<\/span><\/span><\/p>\n

Towers<\/span><\/span><\/p>\n

Plains<\/span><\/span><\/p>\n

Traps<\/span><\/span><\/p>\n

Fallows<\/span><\/span><\/p>\n

Then the project of idleness emerges<\/span><\/span><\/p>\n

That says no to ideology (that says yes and no to it)<\/span><\/span><\/p>\n

or:<\/span><\/span><\/p>\n

An art object, that<\/span><\/span><\/p>\n

Simultaneously says yes and no<\/span><\/span><\/p>\n

An art object, that says yes to art and no<\/span><\/span><\/p>\n

That says yes and no to narration<\/span><\/span><\/p>\n

That says yes and no to performance<\/span><\/span><\/p>\n

 <\/p>\n

Not a haiku 1 <\/i><\/span><\/span><\/p>\n

Double fields<\/span><\/span><\/p>\n

Woven accomplices<\/span><\/span><\/p>\n

Inarticulated<\/span><\/span><\/p>\n

In between us a web<\/span><\/span><\/p>\n

Of interwoven nothingness<\/span><\/span><\/p>\n

The spider\u00b4s in there as an observer<\/span><\/span><\/p>\n

(like the ocular of a camera)<\/span><\/span><\/p>\n

It also<\/span><\/span><\/p>\n

Hidden relationship work<\/span><\/span><\/p>\n

Prison. Muscle exercises after it. Waiting for the outside. Go!<\/span><\/span><\/p>\n

I look outside the window and there are two people painting \/ the boat. Nearly need to cry. How moving their meaningful intention.<\/span><\/span><\/p>\n

 <\/p>\n

 <\/p>\n

Not a haiku 2<\/i><\/span><\/span><\/p>\n

Suffering is enormous<\/span><\/span><\/p>\n

Like out from that that is<\/span><\/span><\/p>\n

Duration is important<\/span><\/span><\/p>\n

two hours good<\/span><\/span><\/p>\n

And what is all that<\/span><\/span><\/p>\n

A deployment<\/span><\/span><\/p>\n

Positioning<\/span><\/span><\/p>\n

Is it sufficient that the individual is carried by the group<\/span><\/span><\/p>\n

Or the question: <\/span><\/span><\/p>\n

Can we meet, in order to do nothing?<\/span><\/span><\/p>\n

 <\/p>\n

\/ Reflex<\/b><\/span><\/span><\/p>\n

Hardly any motion<\/span><\/span><\/p>\n

Not even moving<\/span><\/span><\/p>\n

First place last place<\/span><\/span><\/p>\n

Almost<\/span><\/span><\/p>\n

Concentration<\/span><\/span><\/p>\n

Contemplation<\/span><\/span><\/p>\n

Diversion<\/span><\/span><\/p>\n

Sleep (an escape)<\/span><\/span><\/p>\n

A happy ending<\/span><\/span><\/p>\n

Two intensive phases<\/span><\/span><\/p>\n

In the meantime for instance<\/span><\/span><\/p>\n

Memorations of a long journey<\/span><\/span><\/p>\n

Many guests<\/span><\/span><\/p>\n

Intense density<\/span><\/span><\/p>\n

Been very productive myself<\/span><\/span><\/p>\n

Great understanding of myself <\/span><\/span><\/p>\n

Hardly any post-ist<\/span><\/span><\/p>\n

Nothing needs to be said<\/span><\/span><\/p>\n

how fine and how parallel<\/span><\/span><\/p>\n

to the art of Tino Segal<\/span><\/span><\/p>\n

Magnus is finished<\/span><\/span><\/p>\n

Not without purpose gazing at animals<\/span><\/span><\/p>\n

Markus would prefer trees<\/span><\/span><\/p>\n

Somehing I understand<\/span><\/span><\/p>\n

They\u00b4re hanging trunks over there<\/span><\/span><\/p>\n

Idleness<\/span><\/span><\/p>\n

Quasi-object<\/span><\/span><\/p>\n

Haikus<\/span><\/span><\/p>\n

Panorama<\/span><\/span><\/p>\n

On the final day<\/span><\/span><\/p>\n

Like going to work<\/span><\/span><\/p>\n

Yet a talking cloud<\/span><\/span><\/p>\n

I am my material<\/span><\/span><\/p>\n

Widely ramified<\/span><\/span><\/p>\n

Passage<\/span><\/span><\/p>\n

Something has risen<\/span><\/span><\/p>\n

And any other theory of creativity<\/span><\/span><\/p>\n

And the art context<\/span><\/span><\/p>\n

A o of deconstruction<\/span><\/span><\/p>\n

Can be hooked in there<\/span><\/span><\/p>\n

We do not perform<\/span><\/span><\/p>\n

Distance and design<\/span><\/span><\/p>\n

Oh my god, ist nothing!<\/span><\/span><\/p>\n

World distance and world design<\/span><\/span><\/p>\n

Longing for oh my!<\/span><\/span><\/p>\n

Inbetween nothing<\/span><\/span><\/p>\n

I is irrelevant<\/span><\/span><\/p>\n

In secession<\/span><\/span><\/p>\n

Speaks:<\/span><\/span><\/p>\n

I am in my third person<\/span><\/span><\/p>\n

In dissolution of self I have already been<\/span><\/span><\/p>\n

Afterpoem to anti-ideology:<\/span><\/span><\/p>\n

The entrepreneurial selfs<\/span><\/span><\/p>\n

With their immanent double narrative<\/span><\/span><\/p>\n

from total self-actualisation<\/span><\/span><\/p>\n

and a narrative of suffering<\/span><\/span><\/p>\n

systematic<\/span><\/span><\/p>\n

hyperreal<\/span><\/span><\/p>\n

sit at the bargaining table \u2013 in silence<\/span><\/span><\/p>\n

It is about breaking through a style of communication<\/span><\/span><\/p>\n

That consists of a deep entanglement of economy and emotion<\/span><\/span><\/p>\n

 <\/p>\n

Oh my God \u2013 ist nothing!<\/span><\/span><\/p>\n

More about Quasikunst on this Intro-Page<\/a> and in Stadtwerkstatt-Context<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Textkreisel Nichtstun, sculptural idleness, performative literature, 2014. The self-contained „Textkreisel Nichtstun“ (Text Gyroscope Idleness) evolved as an autonomous work alongside the project StadtkomplizInnen realised with theaternyx at Kunstmuseum Lentos. In its intended indefinedness this non-economical text debates idiosyncratic structures, anti-ideology, theory beyond common modes of application of texts and a playful gestus of the poem: The extended territory of text reaches from Menschengedichte to variations of the haiku to a<\/p>\n

Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-617","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/pages\/617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/comments?post=617"}],"version-history":[{"count":7,"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/pages\/617\/revisions"}],"predecessor-version":[{"id":812,"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/pages\/617\/revisions\/812"}],"wp:attachment":[{"href":"https:\/\/www.quasikunst.at\/index.php\/wp-json\/wp\/v2\/media?parent=617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}