Institut Funder Bakke

Institut Funder Bakke

i Forsvar for

..hvilken længsel efter anerkendelse får barnet til at sidde længe ved middagsbordet og tale
selvsikkert og indlevende til og på og for den voksnes domæne?
Og...

Kära Andreas,


Eftersom titeln på den här utställningen (i försvar för det normativa barnet) har en polemisk karaktär, som vi inte heller internt är eniga om, föreslår jag att vi driver den polemiken lite längre:

 

Istället för en samlande titel så är denna en individuell titel. Jag upplever Andreas kuratoriska grepp mer som en komponists grepp. Det vill säga att verket blir förtolkat av de som medverkar (mig till exempel) snarare än att en kuratorisk linje skapas utifrån verken.

 

Min personliga idé om utställningen börjar kristallisera sig omkring den protestantiska moralen som ligger särskilt tungt över Jylland (i ett danskt kontext). Jag ser det normativa som det kalk som används på de många och sparsamt ornamenterade kyrkorna i trakten - och i förgängelse av dem, de stora gårdarna och de pæne husen - och i förlängelse därav, institutionerna, skolorna etc. De är alla vita, ikke-ornamenterade och "rena". Det är mot denna bakgrund som jag tolkar att det ikke-normativa ska ses.

 

Jag ser din fars ateljé, Andreas, i hög grad som just den "kyrka" i vilken man förväntar ett mirakel/konstverk ska uppenbaras. Det är alltså fortfarande en kontrollerad normativitet och ett kontrollerat geni/konstnär/mirakel. Jag utgår därför från att barnet i detta sammanhang är det okontrollerade och kanske det vi här ska försöker försvara? Men försvara mot vad? Normativitet? De kalkade murarna? Barnet tillpassas på samma sätt som vi tillpassar konsten om man ska fortsätta analogin.

 

Mitt deltagande är min egen upplevelse av att växa upp i en kultur som polariserar det "effektiva" och "logiska" mot det "galna" och "naiva". Idén om att världen förhåller sig så binärt är särskilt uttalad i konstinstitutioner som presenterar välförpackade steriliserade alternativa produkter. Det som gör Funder Bakke unikt är att det är en personlig reflektion och dialog över två generationers om konstnärskap och konst. Det finns alltså redan en inskriven historia om förväntningar och tillpassningar inlagrat i murbruket. Ju mer jag tänker på mitt bidrag ju mer site-specific inser jag att det är.

 

Jag har inga vapen till att försvara det "normativa" eftersom jag själv är en del av det. Jag har heller ingen lust att försvara det just för att jag är en del av det. Angrepp får bli mitt försvar när jag slickar kalket.

 

- Joachim Hamou 10.06.2020

"Double-headed Gargoyle" Joachim Hamou, 2020

Andreas Führer 27.07.2020, svarer:

Samtale 27.07.2020


Andreas

Prøv at forklar dit arbejde med performerne.


Signe

Jeg afprøver forskellige måder at sige noget på. Jeg prøver at få en stemme, og at undersøge hvilke forhold der skal til for at jeg kan få en stemme i det her rum, udstillingsrummet. Jeg kan godt lide iscenesættelsen og alt det som ligger ud over teksten. Forhandlingen med de andre og det rumlige og tidslige aspekt, og publikums tilstedeværelse. Jeg kan godt lide at planlægge.


A

Er du så nervøs for at noget skal gå galt?


S

Ikke så meget. Det er som om jeg ikke er nervøs for modtagelsen, fordi ansvaret jeg har for de medvirkende er vigtigere. Men selvom jeg har arbejdet på den her måde før – at skrive tekster, som jeg iscenesætter sammen med performere – føler jeg stadig det er nyt for mig. Jeg forsøger stadig at finde ud af, hvordan jeg gør det.


A

Det er lidt som om I har byttet plads. Signe er blevet teaterinstruktør og Joachim er blevet billedkunstner.


S

Jeg synes ikke vi har byttet plads. For mig er det her et billedkunstnerisk arbejde – eller også kan man sige at min praksis hele tiden har været en skrivepraksis, et arbejde med at få teksten ind i rummet. Det er det billedkunstneriske rum jeg kender og har arbejdet i i mange år, og det er konventionerne i det rum, som jeg er interesseret i at arbejde med. Jeg ved ikke særligt meget om teater.


A

Men du ved alligevel nok til at vide hvad du ikke vil i forhold til det teatralske.





Text og tegning af Laetitia Paviani, en fransk kunstner og forfatter baseret i Paris, 19.08.2020


THE I I OOO CRONES







 

 

(Transmission, fuck !)

 

 

ACT 1

 

Scene 1

 

 

TO : the.area.observed.extends.over.more.than.a.hundred.square.meters@your.disposal;

an.immense.plain.encased.in.the.flanks.of.a.group.of.bald.mountains@your.disposal

 

CC : dozens.of.thousands.of.creatures.pale.dried.up.struck.down.by.heat.and.annoyances

@your.disposal; a.handful.of.delirious.children.climb.on.it.and.spin.around.raising.complaints.and.dust @your.disposal

 

CCI : however.in.the.center.of.this.vast.desolate.mandala.with.the.air.of.an.amphitheater.the.spectacle.is.quite.different@your.disposal; a.large.breach.relieves.this.arid.landscape.with.a.trickle.of.fresh.water.coming.from.the.heights.a stream.which.drips.and.grows.among.thick.flat.a.large.breach.relieves.this.arid.landscape.with.a.trickle.of.fresh.water.coming.from.the.heights.a.stream.which.drips.and.grows.among.thick.flat.rocks@your.disposal; at.this.precise.place.the.creatures.rejoice@your.disposal; sips.of.moisture.they.will.recompose@your.disposal; their.transformation.is.astonishing@your.disposal; their.relation.to.water.is.difficult.for.us.to.grasp@your.disposal; each.group.of.this.zone.is.the.theatre.of.organic.discussions@your.disposal

 

 

 

(A group of about 15 children ranging in age from zero by ten along with a creature surrounds 3 other children. The first is standing, the second lying on his back, knees bent and raised. The third, younger, is standing behind.)

 

 

CHILD A

(getting ready to speak, inhale, exhale, get impatient, cough then start)

 

OK this woman has a good sense of humor, she did a lot of pelvic exercises, we spent time massaging her at different pressure points to “connect” her well, now is the time to give her a real orgasm. (He turns and pretends to pour something into his hands). So if you want to increase your chances of success (he rubs his hands), you are going to oil your hands (he raises

the tone exaggeratedly) very generously; you're going to take those two fingers (he shows the middle and ring fingers of his right hand) and you're just going to put them inside that way (he pretends to gently insert those two fingers, pulp up, at the crotch of the lying child

on the back) the other two fingers are down (it points to the index and little fingers), they must remain outside the pubis and these middle two (indicates the middle and ring fingers)

are pointed upwards. OKAY. I wouldn't do anything fancy inside her vagina I would just go in and up at point G. It is a good idea to maintain his "mount of Venus" here like this (he places his left hand on the other child's pubis) to improve the up and down movement (then marks pause). Okay, now what you're about to see might look a little rough, you'll FEEL like I'm going too hard, but that's where the kids are born, she can take it, and if it hurts her in any way she'll tell us, it's

sure, or she'll tell you, there you go, so if that sounds a bit rough to you, it actually isn't.

So you're going to go there like that with both fingers and you start going from top to bottom (he makes the movement of raising and lowering his hand, palm down quite quickly), there you go, from top to bottom, from top to bottom, top to bottom, top to bottom ...

 

(Suddenly)

 

CHILD C

(the youngest, who was standing a little behind,

gets closer and starts to accompany in rhythm

the hand movement that his

comrade waves in the air in front of the third's crotch ...)

 

flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop

 

(Then almost simultaneously)

 

CHILD B

(the one who is lying)

 

humhh, humhh, humhh, humhh, humhh, humhh

 

A CHILD IN THE PUBLIC

(with a hint of irony)

 

Wait, can we find out what you're doing here?

 

CHILD C

(the smallest, with the greatest seriousness)

 

Ah? Well yes, him, (pointing to child B), he plays the girl ...

 

THE CRONE

(refraining from laughing amid the commotion triggered by this retort)

 

Shhh ou lòt ...! Silans! Yeah nou kalkile li soti men ou? *

* Shhh you guys ...! Silence! Yes that we understood but you?

 

CHILD C

(still serious but more hesitant)

 

... Oh yes and me ... I make the noise of the massage. It makes that noise there in the document. We thought it was important in the exercise because ... well ... it's really very present as a sound, really present ... yes ... (Then turning to the other) ... and ... and I don't remember what we said to each other too ...

 

CHILD B

(in a small voice)

... yes, and in fact, we thought it was a good way to tell ourselves that here it was working correctly because ... well because when precisely we heard this noise everything was okay, position, gesture and so on, you know.

 

THE CRONE

 

Enteresan, kontinye timoun yo. *

 

* Interesting, go on kids.

 

CHILD B AND C

(in chorus)

 

flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop

humhh, humhh, humhh, humhh, humhh, humhh

 

CHILD A

(resuming mimicking the up and down movement of his right hand)

 

She is ready to cum ...

 

CHILD B AND C

 

flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop

humhh, humhh, humhh, humhh, humhh, humhh

 

CHILD A

(slows down a bit and smiles at Child B's trembling address)

 

It feels good ?

 

CHILD B

(seemingly satisfied)

 

Oh yeah, yeah ... humhh, humhh ...

 

(Child A resumes his hand movement up and down)

 

CHILD C AND B

 

flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop

humhh, humhh, humhh, humhh, humhh, humhh

 

 

 

CHILD A

 

That's it, she's starting to squirt a little now. (He pauses the movement - his hands still

"In the sex" of his comrade - and turns to his audience). Okay, actually when I'm in it, it's going to give the impression that a balloon is growing inside, that's how I feel it is about to squirt and that ’s time to take my fingers off. It really feels like it's literally pushing my fingers out! (Then he resumes) Here we go, from top to bottom, top to bottom ...

 

CHILD B AND C

(together)

 

flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop

humhh, humhh, humhh, humhh, humhh, humhh

 

CHILD A

(more forcefully)

 

Up down, up down, up down, up down

 

CHILD B AND C

(with renewed vigour)

 

Flop, flop, flop, flop, flop, flop, flop Humhh, humhh, humhh, humhh, humhh

 

CHILD A

(pretending to gently withdraw his hand from the crotch of child B)

 

Here we are !

 

 

CHILD C

(suddenly throws both hands into Child B's crotch,

clench and loosen fists towards the dumbfounded audience, emitting a new, quieter sound)

 

Pschittt, Pschittt, Pschitt

 

CHILD B

(mimicking ecstasy with conviction)

 

HAAAAAAA!

 

CHILD B

(starts to shake all over, breaths and sighs loudly)

 

Ho, hooo, hOOOOOOOO

 

 

 

CHILD A

(keeps his left hand on the lower abdomen of Child B prone to jerks, Child B lifts one leg sharply, Child A holds it gently but firmly)

 

There you go, it's a whole body orgasm, your whole body! ... That's it ... it's completely involuntary ... that's it ... there ...

 

CHILD B

(shaken all over, wave arms and legs)

 

Humhh, humhh, humhh, humhh, humhh, hAAAAAA, humhh, humhh

 

CHILD A

(still in the role of the enthusiastic instructor, almost surprised at such a success)

 

You want more ? Hehe ... No but look at his face, LOOK AT HIS FACE! She is happy ! We call it ha-ppy!

 

CHILD B

(having lost the thread of the lesson at this point,

presents his face in the frame of his thighs, he shakes his head to the right

on the left looking at child A, which has the effect of triggering some chuckles in the audience.)

 

THE OLD WOMAN

(raising her voice)

 

Trankil, timoun, kalm, nou kontinye ... *

* Calm down, calm children, let's continue ...

 

A CHILD

(in the audience among the oldest)

 

In her defense, I saw somewhere that if the girl was shaking her head while she cummed it intensified orgasm!

 

(The other children can't stop laughing)

 

THE CHILD (who intervened)

But it's true !

 

THE CRONE

 

Wi, sa se dwa, li trè egzat, trè bon, men nou pral wè li yon lòt lè, vini sou, kite a ale sou ... *

 

* Yes that's right, that's exactly right, fine, but we'll see that later, come on, come on, let's continue ...

 

 

CHILD A

 

OKAY. We'll add a little oil (rubs his hands).

 

CHILD C

 

flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop, flop

 

CHILD B

(who starts to laugh at the same time as he continues to sigh,

raises his buttocks, his legs, his chest by hanging onto the child's arm A)

 

humhh, humhh, hihi, humhh, humhh, humhh, humhh, hihihi, humhh, humhh

 

CHILD A

(trying to release the embrace but not succeeding, smiles and looks at child B fondly)

 

There you go haha, that's good. It keeps running on its own, it's like a machine, she literally has orgasm after orgasm! No but look at his face, show your face!

(This time it's a nodding, split face of a broad smile that appears between the thighs)

(Meanwhile in the background, child C, silent and stern as a stake, stands with his back and watches staring at the horizon)

 

CHILD A

(pretending to hand a glass to child B)

 

Here it is useful to give him a drink. She's losing a lot of fluid. You can also feed him, nuts, bananas ... (Child B still smiles when, quite unexpectedly, Child A, leaning over him, slowly tries to kiss him on the forehead). Here I am trying to connect with her ... (He tries to kiss Child B's forehead again, insistently, but the latter, seized with spasms and small chuckles, tilts his head in all directions which makes child A miss his target, causing a new explosion of laughter in the audience) ... I. .. (Child A no longer tries to kiss child B and continues, under the reminders of silence from the crone) There you go. This is really the state we want to get to. What a beautiful face ... (He smiles. Child B tries to say something to child A) Heheh. Yes ? What's the matter ? Do you want to sleep?

 

CHILD B

(in a barely audible voice, hilarious)

I want to pee...

 

CHILD A

(solemn, then immediately turns to his audience

and announces with a prudhommesque voice)

 

You see she KNOWS the difference! She just told me that she WANT to pee.

 

 

CHILD B (inaudible)

 

Can I go pee now?

 

CHILD A

(who had leaned over child B to hear him)

 

Okay, okay, yes you can go pee. (Helps her up. They both laugh.) She's going to have all the trouble to stand up, look! Wait, I'm helping you. (Then he addresses the audience again). There you have it, ladies and gentlemen: the world's first satisfied woman!

 

(All the children applaud. The crone too.)

 

(Child A still tries to kiss Child B for a long time on the forehead to "connect" while the latter resists, chuckles, and lets his head slide back in a movement that seems involuntary)

 

(The crone gets up without difficulty and is about to perform a masterful and graceful dive, when, in a deafening din ...)

 

THE CRONE

 

AAAAAAA, band nan ti kras enkonvenyans! *

* AAAAAAA, bunch of little idiots!

 

(... indeed at this precise moment despite a shovelful of insults at them, the old woman finds herself pushed into the water by three or four kids. Spectacular splashing. Everyone is laughing frankly, the old woman the first of the deeper within herself. Amidst the numerous bubbles and tiny aquatic debris, her radiant, curled moon face emerges gently to the surface of the water. Some forbidden, others overwhelmed with excitement. their thighs hit, others half-choke. A smaller one faints.)

 

(Now seated in the water, once her spirits are restored and her effects put back in place, the old woman begins by stretching out gently, then easily deploys her out-of-fashion anatomy, to finish, straight, stiff as a catamaran, rocked by the mini-waves of the current.)

 

(Above, calm has returned to the rock.)

 

(She raises her head slightly above the water, gives the children one last knowing glance, urging them to get back to work ...)

 

ALL THE OTHERS

 

Again and again !!!

 

 

 

THE CRONE

(On the surface)

 

Chhhht. Tout dwa. Pèfòmans lan te anpil siksè. Koulye a, nou pral wè ansanm sa ou te panse de sa ki te pase isit la. Men, mwen manke yon minit. Kenbe pale youn ak lòt. *

 

* Shhhh. Very well. The performance was very successful. Now let's take a look at what you thought of what happened here. But I'm away for a minute. Keep talking to each other.

 

 

A CHILD

 

Who starts ?

 

ANOTHER CHILD

(carrying a smaller one on his back)

 

 

Me ! I have a question.

 

ANOTHER

 

Well go ahead.

 

THE CHILD

 

What is a girl?

 

 

(The crone smiles ... closes her eyes ... and plunges her head completely into the water.)

 

 

 

(Under water)

THE CRONES

(voiceover. All together. Brouhaha.)

 

All right! Is everyone there or kouai? මට වැඩක් නැහැ (1). Woo do he speak? Siouplai oun poco de silence! میرے پاس وقت نہیں ہے (2) Ja! Ja! We don't have not any more for long time, here, we fucking hell planet let's cut short! Hello ?? The connection is fucked up as fuck avui. Pff, kòm dabitid… We lost part of the waves. Aqui is bueno. ምንም ነገር አልገባኝም (3). Nice, bé alòw, we were okay not to establish systematic relations anymore. It depends on what we mean by relationships! It depends on deskon hear short !! Huhuhu. Pity Ladies, calm! Too many of the old things are in the blackout. ငါအခု စကား မ ပြောနိုင် ဘူး (4). Ki kote yo kòmanse? Pout. No, we can no longer continue with language! The logos of the language are darn too much¡ Tot passed into the language as if li té kestyon de restitoute uno moundo perdido which no longer exists. May it be very impossible. Nein? Doch! The little ones snort it awfully well. Li travay the? Bonjou? Until the moment when language fails to convey the full possibility of the world. EYA !! It is no longer a starting point, it is a point from which to escape !! YEBO !!! Bueno, bueno! Calmos! តើ វា ដំណើរការ ដែរ ឬទេ (5)? The task of ped-à-gogo is therefore to build the situation, to build the best conditions thanks to which the building of the knowledge of the learning child will be up-timed. олар не дейді (6)? The receiver processes the information according to the convenience of his own supplies, which he has already installed before.我 不能 忍受 (7). Our vocabulary did this to us. AYÉÉÉ the ’! But in the end, in the not 'brain, it's not the language, blopblopblop, it's the not' sense of self, the not 'sense of humor, blopblop, the not' ability to think about in advance, it's all about us that leaves us within 20-30 seconds !!! Blop Pupils neurons teacher cortex ja ja ja blopblopblopblop bubbles bubbles bubbles squeaks!

 

 

  1. Sinhalese? = I don't care.
  2. Urdu? = I don't have time.
  3. Amharic? = I don't understand anything.
  4. Burmese? = I cannot speak now.
  5. Khmer? = Does it work?
  6. Kazakh? = What are they saying?
  7. Chinese? = I can't stand it ...