<RESIDENZE INSENSATE / SENSELESS RESIDENCY

Michael Fesca > 16 – 24 maggio 2018

fesca_senseless_verlockend

YOU BETTER COME TWICE!

Tuesday 22 May 7-10 pm with drinks and no dinner
Wednesday 23 May 9-12 pm with dinner and drinks
Fondazione Arthur Cravan, via Aleardi 11, Milano

You better come twice! a lecture by Michael Fesca

About double binds, Doppler effects, second scripts und Dubletten! On the production of sense in a rhythmical way, the dramatizations and processes of a praxis of “knowledge in motion“ and the influence of temporality on our accepting “as true“.
Translations, not only between languages, intend to improve our understanding, at the same time permanently generate new combinations that have to be interpreted. With a salty reverberation, des köstlichsten Unsinns, dem salzigen Nachhall, of delicious nonsense on our lips, schmeckt Sinn allzu fade, sense seems to be tasteless, a random coincidence, when we constantly hit beside the goal, we accept it with disgust. Uff(a)! Phew!

A proposito di dilemma, effetto Doppler, copioni und Dubletten! Sulla produzione del senso in modo ritmico, le drammatizzazioni e i processi di una prassi di “conoscenza in movimento” e l’influenza della temporalità sul nostro modo di “prendere per vero”.
Le traduzioni, non solo tra le lingue, sono tese a migliorare la nostra comprensione, allo stesso tempo generano in modo permanente nuove combinazioni che devono essere interpretate. Con un riverbero salato, des köstlichsten Unsinns, dem salzigen Nachhall, del delizioso nonsenso sulle nostre labbra, schmeckt Sinn allzu fade, il senso sembra essere insapore, una coincidenza casuale, quando manchiamo costantemente il punto, l’accettiamo con disgusto. Uff(a)! Phew!

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Michael Fesca enjoying the Senseless Residency

1rst day:

2nd day:

Proposal for the Senseless Residency program

Dear team of Cose Cosmiche,
Thanks for your interesting concept, which seems a multi-faceted inspiration for me. Since 2015 I started with my PhD project deriving from my artistic and curatorial and writing praxis in an organic way.
Interested in paradoxical and absurd structures and entanglements which are involved in producing of what we perceive as meaning, I’m asking how rhythmical time is involved in our construction of sense. In fact we associate rhythm more as something senseless, only a background for the producing of meaning by our language or as the condition of music. I’m working on a book or audio piece (that depends on my daily point of view) which is engaged in a musical and rhythmical writing between scientific and artistic approach.
Rhythm means not only the measure of an steady pulse, but also splitting time in parts of a quality dependent duration. Structured by expectations, speculations and points of sensation. To be lazy, hang out with friends, or spend time in working meticulously, lacking of movement, spinning around, impressed by, incited to, shouting out loud, are some of the attractions which are moving us time wise, attuning our mood and structure our time. First that means to take bodily experiences seriously and presume that these have an essential
influence on our imaginative abilities, our thinking, speaking, writing, reading, feeling, moving, behaving – and that, in the process, we constantly re-emerge performatively as bodies. Also speaking is a very effective technique in this sense, for in it and through it are things named, recognized or ostracized, hegemonies stabilized or washed away, terms made inflationary or marginal.
Rhythm is always fired by something different and only that discrepancy gains a rhythm that flows. Therefore it’s obvious that people should be involved and give their input to push it.
Whether our bodies move to a beat often becomes apparent in the first bars, chords and intervals of a song to which tone colors and rhythmic figures attach themselves. How the beginning is set out seems to be key here. Having seen queer-feminist considerations and decolonizing analyses, the notion of a beginning, an original source or start becomes obsolete.
Once we acknowledge that our wishes as well as reflective and imaginative abilities feed off our situation, we can no longer see ourselves as an individual body that starts something. Songs, however, have a beginning – should we imagine this as something that is always already manyvoiced or as a relational process as proposed by debates about groove, drive and break? Here, movements are related to other movements, and lead (us) to resonances and intervals. Grooves fundamentally generate themselves through interaction; approaching each other in circles, they settle down in repetitions, continuing to vary, synthesizing manifold approaches. It is indeed the
deviations that activate and lead our bodies into enlivenment known in jazz speak as drive.
What we can feel here is being off-beat as a rhythmic relation that becomes disobedient, oblivious and dissonant and can activate recalcitrant potentials.
We decide to take it serious, to love it or to reject. Improvising together we wait for the odd moment, days or weeks, where nonsense makes our sensation. In that sense I would like to develop a next step of my “book” in and around your residency.

Statement
I often develop texts as oral language. That means to give the first version of text in a dialog with an audience and restructure it afterwards. That could be in lectures, workshops, dinners or taking a coffee. In that way it becomes an oral history. Also the texts are structured like patchworks by plugging or grafting different sources. One important reference is provided by Trinh T. Minh-ha’s reflections on practices and policies of Speaking Nearby.

Michael Fesca develops installations, performances, texts and exhibitions on anti-hegemonic temporalities and their somatic dimensions. In the process, he investigates phenomena of the
infationarily cool, the getting outof-step and needing (too) much time. Works: Redemption Jokes (nGbK Berlin: 2015), FXPO! (Fondazione Forma Milano: 2015), Therapeutische Allianzen (Kampnagel Hamburg: 2014), Irregular – Economies of Deviation (nGbK Berlin 2012-13).

www.michaelfesca.de