text below has been composed anonymously both by artist
and visitors online during two [ ] exhibitions
Episode I ()︎ on 01.09 and level 2 () on 18.09.2016
TEXT IS NO LONGER EDITABLE
THANK YOU ALL FOR YOUR CONTRIBUTION

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every story has a beginning, a middle and an end
// but not necessarily in that order
brodsky - burton - godard :)

☞ the relation between [Murphy] and [Endon] could not
have been better summed up than by the former's sorrow at
seing himself in the latter's immunity from seing anything
but himself.
I was running in pine forest and it suddenly started to snow.
Large snowflakes kept falling, the most whitest, softest,
biggest snowlakes I had ever seen. I listened to music,
the lyrics went like "wild hoorseeees, come and take me away,
wild horseees." I ran faster and faster, almost felt my feet
rising from the ground, was I flying? maybe.
then suddenly the music stopped, I was out of battery...
Is it recording what I am writing ? -yes please keep 🏃
✍ do your comments about the third way in which we can
understand artist's run space relate to the inner space?
- i think the inner space is the shared space
Running instead of levitating? - nice point ✌︎ - transition
from [1] to [2] as levitation to running
As small children start exploring the world through running.
- after crawling?...
artist run space in the God-run world or the people's world
... things just happened, remember? before time was born...
gods came too late, God – even later...

I'd like to run with you. +1 +1

♔♚
http://www.chess.com/blog/thompunton/chess-in-literature-murphy-vs-mr-endon-in-murphy-by-samuel-beckett

▶︎⎟just realized that by coming here i pause the game...
so text is one of the very few ways i can control it)
- also the cube turns away from your cursor as you move it

a while back, a passer-by came in, frozen stiff. Chilled,
iced, stiff, immobile, exhausted - it is the SNAKE
stretched out on the snow one winter's day. It asked for
nothing; it was hibernating perhaps. A villager walking by
on his own land (note that well), gathers up the snake,
brings it inside, stretches it out by the fire,where it
immediately begins to awaken. From the outside to the
inside, from numbness to life, from sleep to anger,
from indifference to hatred: FROM COLD TO HOT.
✍️ overwritting the white-cube wall, anonymously, synchronously
parasite invites anonymous guests to share the edi<ta>ble body
of the host, to untuck the resealable package around the
vaporous meal, pH-neutral :-) - whitewashed

And BUM that's it, you are in! "how to occupy and abstraction?"

the institutions that you are dissecting are both quite
peripheral, though i don't know if any less or more than other
"fullsized" institutions.
- not only peripheral but "runnable" it seems?
- i think the word minor, as in Minor Politics or Minor
Literature, is more proper here than peripheral. I think the
space is pretty much the same, hierarchies are not establishing
the center ⦿ and periphery ◎ as much as they operate
in their own bubble 3rd dimension, pseudo-verticality.
- i Figured out that both spaces he dissects have some sort
of a glitch with the size... For example with Kunsthalle as
someone writes below this microwave-sized cube gets a name of
a missing art hall (am i right that there is no "real"
kunsthalle in Linz, just Lentos? - True!) so that sort of
scale-name-based glitch is maybe the way that he taps to it
and transforms it into something even more absurd but also more
obviously feeding on its openness to the world – this diy
cardboard box museum...
then the konstanet can actually fit a person in a way a tent does,
also it is c(k)onstantly connected -> constantly open...
dunno these are the entrances i see kinda exploited here
- I'd say that regardless of the background or size of
the institutions they are similar in principle. even the small
peripheral ones, though kind of critizising or adapting the
traditional institutions' methods for their own purpose, still
in the end do kind of the same thing. i wouldn't say that
taking artistic control of (kunsthalle) Linz or konstanet
differs from doing it with another institution besides the
different amounts of visibility. if you are critically
engaging with the institutional aspect of art than what's the
difference whether you play with the "real thing" or with the
thing playing the real thing?
- well parasite is usually "calibrated" to a particular type
of hosts, the ones he knows the key to, or rather can dig it
out and then begin to work-out a symbiosis like in the ending
dialogue of the video?

‘We very soon got to six yards to the mile. Then we tried a
hundred yards to the mile. And then came the grandest idea of all!
We actually made a map of the country, on the scale of a mile to the mile!
(...) It has never been spread out, yet(...) the farmers objected:
they said it would cover the whole country, and shut out the sunlight!
So now we use the country itself, as its own map,
and I assure you it does nearly as well.’ – Carroll

unwrap me like a chocolate bar 🍫

- for me both spaces have more transformative power than
"full-size" institutions as you call them, precisely because
they are peripheral, operate outside of dense field of
expectations... - good point!

📖 found the book quoted in the blog, it is Michel Serres
"Parasite", gave me some idea and sort of linked with this
mystical episode about superconductors and low temperature so
i copy it here

"For this couple (he talks about noise/signal) to appear and
for the message to be brutally undervalued, all that is
necessary is to leave the system (SIC!). One can leave the
system in several ways: by one's own difference or by the
gesture of exclusion that I have just called repression.
It is not so simple. If systems were univocal or if they had
one norm, this description would be enough. But systems
function with several norms at a time, the proof of which is
that ONE OFTEN ARRIVES AT THE CENTER BY PLAYING THE PERIPHERY
In other words, the game of exclusion can be played without
ever leaving the system (SIC!), and, on the contrary, getting
more and more into the system. The best way to succeed in it
is to misconstrue it. The counter­ norm is never a noise of
the norm but the same norm reversed, that is to say, its twin
If you make a motor tum in reverse, you do not break it:
YOU BUILD A REFRIGERATOR. - or quantum levitator?!
- yep btw u can grab the book from
http://xenopraxis.net/readings/serres_parasite.pdf
Thanks!!! +100

the particularities of these spaces - the whitewash, the
white walls, the white... are simulating the objects
independence
or maybe event estrangement from the particularies of place -
the dissolving (or as above vaporous meal) space stands for
placelessness. when these spaces are even scaled down the
effect i suppose is amplifed in the sense that the objects
become strangers to the measure of "reality" itself. there is
a sort of loosing relation (as well as relevance) implied, here
thou i feel it is all about the very relation in the absence
of objects.. ---- reality oustide the tent! - isn't the point
that there is no outside? that the tent is open or is it just
me that sees no zipper on it? -- True! there is no closing door
as far as i see: http://www.instagram.com/p/BFTZiTHKd5u/
it follows exactly the plan of the gallery.. like in the video
there is a pair of stills one from the gallery made out of some
panels and then the tent.. there is small closing door thou
anyway it is a tent in which u
can hardly say to be ouside of something yet it gives you some
sense of protection? could we compare it to this limbo zone in
CS game? - agree, a very proper-to-institution zone of
simultaneous danger and protection, cause institutions give
protection only along with fueling a threat

wow never thought of how modern Dialoghi con Leucò that i read
ages ago actually are... also like the way you sortof double
translate them with those chat bubbles!

heh skinned GoogleDocs in place of a solid statement? are you
afraid to make a statement?-Me? no!-Who? I think there is no
need for a statement. I think there is, video is funny but what
is it about? Maybe it is about the other side of Counter-Strike
game, the limbo zone accessible through the wall glitch, zone
where nobody can shoot you but you can shoot anyone up to the
point that it becomes boring since you sort of went outside the
space but did not get outside of the game? That's at least how
i see it...

our notion of critique, rather than indulging in battles of
Don Quixote has to live up to this containment has to adapt
to work from inside.
something like what McKenzie Wark talks in the beginning

i am not alone?! not anymore ! okey!
no!
crazy clouds!
farocki has this contrast of real cloud and a one from
computer game – the world where the there is no wind in the
trees as Griffith would say. so i am trying to understand your
parallel if there is any between this time when not only, as
in farocki, the cloud becomes computable, but also the "real"
cloud behaves like a glitchy digital one and the white-cube/
art institution thingy?

a sequence of unordered events.
parasite’s <ana>esthetic prosthesis occupies the host.
a mild allergic bump – extrusion of intrusion – temporarily
alters the transparency of border-skin as if increasing the
opacity of the layer tossed between the transparencies.
therefrom no outside; we are in-stituted; we wear checkerboard
robes. - transparency prison uniform, should promote it somehow

ok! I'll start by using the line-break that you left, assuming
here is some you... wierd! with the same assumption though:
why is this white-cube here called Kunsthalle Linz?
– this episode, a video and a parasitic installation you are
now in, takes the elements of exhibition [ ]- that's the title
of the show?-yes and looks at the relations between them in a
sequence of speculative jumps from particular to general.
Kunsthalle Linz and Konstanet are the two art-instutions that
were involved and reimagined in [ ]. The relations are cascades
of hospitality, something like [ ], [ [ ] ], [ [ [ ] ] ]...
Konstanet hosts Kunsthalle Linz, is hosted by the artist in his
studio/home, at the same time artist is hosted by the
institution that invites him, so the cascade loops ...
the artist is the guest of himself?-aha!
but then the name of Kunsthalle Linz ironically suggests that
this should be the institution whose hospitality is the most
"signiFicant" due to its imaginary scale, sort of a big big
host which in reality is comparable to the size of a microwave
oven.

i like this image when you (?) take this kunsthalle linz
plate in your hands... like literally artist running (bringing
t out to "space") with an institution in his hands

very strong image almost like the near-touching hands of God and Adam by Michelangelo
http://commons.wikimedia.org/wiki/File:The_Creation_Michelangelo.jpg


---- reality oustide the tent! -is there any?
for me it is exactly about there being no outside

shifting grounds/shifting backgrounds, some groundlessness -
levitating cube
priest and god... artist and institution? hm- i think the
publi is also at some opposite pole, this Teresia's "nostalgia"
seems similar to me to Debord's dream of when art would be
unnecessary...
"if i wouldn't know at least this i would not be a priest" - to
me that on a very basic level translates to something like
"artist must be aware of the boundaries, rules etc. of the
institution", maybe something like that?

host’s intercepted self-image freeze-frame gets unfrozen;
pattern-recognised; looped; and projected back onto host’s
anti-reflective surface – a little tingle and a little wiggle,
crew checking cabin pressure – within <para>normality,
levitation continues.

a process. noise overtakes the signal. [ [ ] ].
- in the noise, with the noise PARASITE REINVENTS THE HOST,
becomes a limb or rather a tongue, tongue that redirects
the host's communication.

san pellegrino as part of the space (has made its presence know
). - yep! i watched it two
times and then understood these are two different talks at the
beginning and end, but san pellegrino, i bet intentionally,
puts them together. -sure. I also see water and san bringing it
together.

hello . is there anybody in there? just nod if you can hear me
( ͡°͜ ͡°)(/◕ヮ◕) Vis-à-vis
hello, great adventure levitating with your cloud!
#you_are_not_alone
hey i am also having fun here great stuff!
yo
(mesmerized by the cloud dripping into my room though the
screen)

http://soundcloud.com/muhaimin-pulok-741463518/john-cage-mushroom-haiku-excerpt-from-silence-197269

I was just thinking, what is a good sound/music for this space


hei i just fgured out that after video loops it starts to spit
out some "paratext>" thingy which has links to youtube videos -
looking into that quantum levitation thing atm awesome stuff
but there is this line superconductivity occurs only below a
certain critical temperature - how did he do it??? he froze the
whole whitecube????

> how do you actually return to the video from here?
-brackets, click on them
-you dont. life will neverrrrrrrrrrrrrrrrrrrr be the same

got it

: ) i am looking at you ( :

i am looking at the blog or whatever it is this
kunsthallelinz.konstanet.me lol the address kinda explains the
relation?! it has references to all those tiny fragments that
are put together in the video.... but that does not mean i can
understand it still :))))


HI IS IT SOME ZUCCOTTI PARK HERE? ;) - yes wanna call the cops?
--- > a movement aims for some internal consistency within itself
but uses space just as a place to park its ranks.
an occupation has no internal consistency …
but chooses meaningful spaces that have significant resonance
into the abstract terrain of symbolic geography

zuccotti park? http://en.wikipedia.org/wiki/Zuccotti_Park
most probably we are near St.Paul's cathedral . Indeed
http://www.instagram.com/p/BBxMQuiKd26/
SOME St.Paul´s cathedral

WOW! what a place... really feels like a camp
cloudwatching camp mb

i am actually feeling quite differently... it is a bit like
getting into artist's studio, but a very strange one
these chat bubbles saying that it feels strange trying to
translate communication based on presence into one based on
absence which is writing... we are writing here in maybe
even stranger situation where i feel artist is present here
in his studio which is his living place 24h, yet write him
in his absence and no one knows for sure if and where he
comes through these writings. i keep thinking of this work by
Jasper Jones for example
https://www.nga.gov/exhibitions/2007/johns/images/215-035.jpg


0 . 0
^

This selecting all already feels like atom war - - true
- and BUM and you are in?!
having no contact with the ground white cloud was not struck
by the lightning

i feel tempted to whitewash this wall
why? or why not?

327
00:20:41,400 --> 00:20:45,313
Which meaning
do you say about
the clouds in the sky?

what?

you heard me, i know that you did!

the weather, i was talking about the weather.

oh.

so what's your response?

response to what?

about what i said regarding the weather!! you don't listen!
there is going to be a nor'easter this weekend. don't you think
we could bring in the cats?

328
00:20:45,840 --> 00:20:48,877
A presence within
the void...


uncanny
it was written above about protection
for me the central figure of levitation in this video is also a
simultaneity of both danger and protection, hovering at a safe
altitude & fear of fall
- virno writes about the duo: the ambivalence of critical
situations, in which only loss offers a chance of deliverance,
and there is NO SHELTER SAVE FOR WHICH DANGER ITSELF DELINEATES
and it is the oscillation between something familiar which
becomes disturbing and something disturbing which once again
emits familiarity. /the wiggling clouds, uncanny clouds

the gesture of putting one institution inside the other inside
the other... sort of infinite regress. i saw the physical
exhibition that blinks in this work and cannot but recall a
very strong feeling of disorientation... optical and bodily and
mental. i was puzzled that it had psychological effect on me.
the curtain with white an grey checkerboard patter both was
there (irritating the retina in cool blue light) and was not –
was ephemeral transparency wrapping into itself everything
including me. i am not sure i saw it, the psychological thing
was that at certain point there happened a loss of sensory
stimulus that i felt as disorientation. this video holds the
same effect on me but there is also an excess of drives, of
possibilities (maybe that fuels such a surprisingly ample
discussion here), a not finalizable excess.
- so u draw some meeting point for potential/possible
(as manifest in your impression, anxiety? of video) and
negative (can I call it so - the state you were at the physical
show, btw when was it? - 29.02.2016)?

WHY OBEY? WHY OBEY? WHY OBEY? - to be protected?

But you can not be protected from yourself.
Our EGO is the most challenging "enemy" whom we are
encountering every minute of our life.

in this work i see no dismissal of institution, nothing of
that kind, rather the opposite – a call for institution to
not suppress their negation, to understand that there is,
there will, there must be an artist-as-parasite that maybe
would not excercise politeness in asking for hospitality
but would take it and in this taking openness and change
would come to being unasked for as they only truly can come
to being... i am not sure thou i know how an institution
should behave towards such "evil" guest. - exactly but also
for a 'parasite' outside of the playfullness, sorry, of this
work – how to be inside, HOW TO STAY INSIDE THAT WHICH YOU DINE
ON? - i think a parasite by its action publicly questions the
goodness, or the assumption that institution is (or actually
even should be) good and open, /like Google?/
shows that relation is always already parasitic... - this quest
oning isn't it pointless if it than gets subsumed by the instit
tion, what i see but too little developed in this work is the
transformative power that was mentioned somewhere before,
brought about by the "parasite". there are imaginations of
how this and that institution could change but i am not sure if
they are radical enough, if they entail something more than
these particular formal renderings. To be more specific what
happens to konstanet and kunsthalle linz after this show?
Where does the tent go and does the DIY box become something
more than a fetish? In that sense this "forum" seems to me
the most intriguing part.

- i think that these reimaginations that artists made are
important, it is not an obedience to the format of institution,
though there is in my opinion some stylistic mimicry with konsta
net that fits well in my understanding of parasite-host relation
, but a way to stretch boundary of this format and to propose
something new. what follows is exactly what is talked about in
the last fragment – symbiosis. that said, i also curious to know
what is the afterlife of the tent and box. - now we see that
anyone can make her box following the instructable and
konstanet can offer a tent as their exhibition space...


Then again, I would have offered sound if asked - a kind of self
-generating softness - reinforcing the quietness of boredom,
even when boredom may not occur. -how do you mean?

There may be no afterlife. Experience the now.

I wonder what do Kunsthalle Linz curators think about your
DIY white-cube on instructable.com?
ciao!!!!!!
so now it is .xyz and it is much more crazy though last time i
though how can something be more crazy

yesterday i touched the box of bicycle trafficgligts.
behind green was cold behind red was hot

ciao da Z :-) anxiety meeleheide
Kirill, joo palun vahepeal kohvi - good idea!

so now there can be multiple Kunsthalle Linz(es)?
singularity emerges from the multitude and then folds back
into the multitude...

feels like my 24h information experience condensed in about
24 minutes

every revolution is a throw of the dice

6/6

so forum and field...interface in-between
a relation between the animation of material objects and the
gathering of political collectives

murphy vs endon
Friend's eye? Say rather, Murphy's eye. Mr. Endon had
felt Murphy's eye upon him. Mr.Endon would have been less than
Mr.Endon if he had known what it was to have a friend; and
Murphy more than Murphy if he had not hoped against his better
judgement that his feeling for Mr.Endon was in some small
degree reciprocated.

Whereas the sad truth was, that while Mr. Endon for Murphy was
no less than bliss, Murphy for Mr.Endon was no more than chess.
♔ ♚

Should it remind us of something?

this is our interface
field and forum // art of the forum

________________________________________________________
[ ] @ artist's home/studio 29.02.2016
[ ] – Episode I @ konstanet.net
[ ] level 2 @ konstanet.xyz
[ ] Part 3, Dalla resistenza alla nube @ konstanet.cloud
& Tallinn Photographic Fair 30.09-02.10.2016
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