{"id":37278,"date":"2015-07-06T12:49:43","date_gmt":"2015-07-06T11:49:43","guid":{"rendered":"http:\/\/monasandnomos.org\/?p=2079"},"modified":"2015-07-06T12:49:43","modified_gmt":"2015-07-06T11:49:43","slug":"harlequins-cornucopia","status":"publish","type":"post","link":"https:\/\/meta.copyriot.com\/2015\/07\/harlequins-cornucopia\/","title":{"rendered":"Harlequin\u2019s Cornucopia"},"content":{"rendered":"

* this is a draft version of a short text for an upcoming exhibition with the Swiss Performance artist Heinrich L\u00fcber (www.lueber.net<\/a>)<\/p>\n

\n

Harlequin\u2019s cornucopia<\/strong><\/p>\n

by Vera B\u00fchlmann<\/i><\/p>\n

0<\/p>\n

given be:<\/p>\n

the announcement of a statement by Heinrich L\u00fcber,
\nplaced within a curated series called \u201eThe Process of Performance\u201c,
\npromising the artists presence for two hours daily, somewhen
\nwithin a spectrum between a day\u2019s dawn and its fall into night
\nrepeatedly over several days
\nin a grey painted exhibition space.<\/p>\n

furthermore:<\/p>\n

a baroque horn, five meters in length
\nstaked vertically on a circling stage with a mirroring surface
\non which the artist escapes the position of the pivot
\nand runs ahead of the moment\u2019s location
\nstruggling to assume what is needed to instruct the way
\nto what comes out of the horn,
\na horn that sounds,
\nwhen it sounds,
\nin measured and articulate plenty.<\/p>\n

I<\/p>\n

ECCOMI !
\nAn exposure that takes place with a jump from somewhere else
\narriving as the instructed third
\nrather than existing as the excluded middle.<\/p>\n

The Harlequin is someone
\nwho genuinely originates in the masks
\nhe makes himself fit into,
\nclumsily but not without elegance.<\/p>\n

All humor and all curiosity, witty and quick
\ncompelled to learn the codes of social strata from which he,
\nthe newcomer to the Renaissance cities in Italy
\nfinds himself at once, welcome and excluded,
\nwith no prepared place
\nreserved for him to occupy and make his living
\nkind of like everyone else, there.<\/p>\n

ECCOMI !
\nAn exposure that takes place with a jump from somewhere else
\narriving as the instructed third \u2013
\nthis is the Harlequin\u2019s strategic stroke
\nto familiarize himself without resentment
\nwith those who desire to exclude
\neven the possibility of his humorous existence
\nfor the sake of an established order.<\/p>\n

II<\/p>\n

Humor, someone told me recently,
\nis such a notoriously imprecise word
\nthat we better let go of it altogether.
\nInstead we should reflect in terms of irony,
\nwit, satire, sarcasm, invective speech or cynicism,
\nsardonicism, why not,
\nwhat that ancient word for our bodily fluids,
\ndeterminative of our mindful states,
\nmight actually stake and expose.<\/p>\n

III<\/p>\n

The harlequin is not convinced.
\nTo him, this is the speech of a subject whose place is made,
\nwho speaks with the confidence of someone who knows and is granted
\nat least to a reliable degree
\nhis rights and duties that are protected by law.<\/p>\n

What backs up such confidence
\n\u2013 this is all the harlequin really trusts he knows
\ndepends upon the exclusion of his particular kind of existence,
\ndriven by the force of humors
\nthat are tempered, yet in confuse manner.<\/p>\n

IV<\/p>\n

Never assuming an unambiguous position,
\nthe harlequin is much too much impatient for desiring to rest
\nin a statue\u2019esque kind of equilibrium.
\nNor does he go into opposition. Withdrawal
\nto a second stability from which nothing can come
\nexcept the disturbance of the established, this is
\nentirely against his intellectual nature.<\/p>\n

His nature is exposure that arrives and takes place by jumps.
\nThe harlequin is born from masks, from placeholders that guard
\nthe well-being of what appears without pre-established measure
\ncorresponding to it.<\/p>\n

He is natural kin to the well from which time springs forth
\nand entirely foreign it is to him
\nthat one could desire to inhabit time.<\/p>\n

The harlequin owes everything
\nto a deviation that is relative only to the codes
\nenveloping the safekeeping of an origin that gives birth, always, to more
\nthan what can be reasoned with its formulation as a postulate.<\/p>\n

It is deviation that throws or launches position outside of itself
\nand thus keeps the domain of promise well,
\nthat harlequin pays service to when he breaks the clarity
\nof any established shunting into regular paths.<\/p>\n

V<\/p>\n

Harlequin knows how to have conversations
\nthat are dialectical, yes, but not entirely argumentative nevertheless.<\/p>\n

He has them, latently and readily available,
\nlike a servant who has service to offer.
\nHe is rich with a kind of incandescent charge that renders him
\ncapable to alloy contradictions in character
\n\u2013 yet always and only
\nwithout properly mastering the situation.<\/p>\n

The harlequin has much of this charge,
\nbut not as a property that were given to him
\nlike a fair appearance or good health
\n\u2013 he only has as much of it as it is granted interest
\nby others than himself.<\/p>\n

VI<\/p>\n

This incandescent charge is accumulated
\nin his knowing how to have in abundance
\nwhat he is, at the same time,
\ndeprived of
\nexcluded from
\nand hence never sufficiently familiar with:
\nconversations in which something is at stake
\na some thing that is existential, no doubt
\nand yet it must count,
\nto him in his humorous existence,
\nas mixed and unknown.<\/p>\n

VII<\/p>\n

Like the unknown values variables might assume in an equation
\nif linked up with givens,
\nthat something which is at stake in these conversations
\ndepends upon a code in order to figure in a determinable manner.<\/p>\n

If the harlequin knows how to address such indeterminate values
\nand how to push them to figure in new lights
\nit is because he insists that it is always plenty from which one draws
\nand that, in effect, one doesn\u2019t properly know what is at stake
\nin any of it.<\/p>\n

VIII<\/p>\n

The harlequin is a trickster who counts on playing jokers
\nliterally a \u201alittle devil\u2018, Greek for an angle that is not rooted
\nin a diagonal magnitude of which
\nit could be presumed that it is shared
\nin any other way than as charge that can be exchanged
\nwithin a milieu of plentiful saturation.<\/p>\n

Himself a diffracted angularity,
\nthe harlequin ceaselessly changes and avoids to stumble and fall
\nas he is comprehended in many declinations at once,
\ndeclinations without ductus,
\nimmoderate and non-tempered
\nstripped of overall guidance
\nimmersed in an original orientation that is not bare of direction
\nbut copiously full it.<\/p>\n

\"\"<\/a> \"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

* this is a draft version of a short text for an upcoming exhibition with the Swiss Performance artist Heinrich Lüber (www.lueber.net) Harlequin’s cornucopia by Vera Bühlmann 0 given be: the announcement of a statement by Heinrich Lüber, placed within a curated series called „The Process of Performance“, promising the artists presence for two hours … Continue reading →<\/span><\/a><\/span>\"\"<\/p>\n","protected":false},"author":883,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[1211,1506,1212,1149,1740,1507,1741,1742,1743,1744,1745,1746],"class_list":["post-37278","post","type-post","status-publish","format-standard","hentry","category-syndicated","tag-abstraction","tag-aesthetics","tag-algebra","tag-alphabets-of-coding","tag-architectonic-articulations","tag-articulation","tag-commedia-dellarte","tag-harlekin","tag-heinrich-lueber","tag-the-process-of-performance","tag-the-third-instructed","tag-the-troubadour-of-knowledge"],"_links":{"self":[{"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/posts\/37278","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/users\/883"}],"replies":[{"embeddable":true,"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/comments?post=37278"}],"version-history":[{"count":1,"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/posts\/37278\/revisions"}],"predecessor-version":[{"id":37279,"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/posts\/37278\/revisions\/37279"}],"wp:attachment":[{"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/media?parent=37278"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/categories?post=37278"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/meta.copyriot.com\/wp-json\/wp\/v2\/tags?post=37278"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}