(Originally published on August 30th, 2021)
No appointments
no opening hours (technically time is linear, but Proust tells us that the experience is tethered to eroticism so let me slip down my own distorted palimpsest of perceptions) (re-The Blue Dress worn by Adjani in Possession?)
—which makes me think of the value of something that no one can touch, nor taste
I wrote you last a year ago (almost) and I try to imagine how this has felt for you, this almost-a-year as if a minute, or if you’ve longed for me (like sometimes I do) staring at the void space bending in the absence of a note. All digital properties like bruised knees I’m thinking. Time, such a cruel mistress. The way David Lynch’s Weather Reports from 2006 confidentially age somewhere in one of my hard drives with a port I can no longer access. But how many emails have you ever printed just to fold and unfold the papers as you moved apartments?
(for me the experience is one in which time has already stopped) Meanwhile, where do all the Non-EU/EFTA guests-who-have-not-recovered go to dream?
no-filter-no-art-no-winter
no-plot just-vibes
AHHHHHHHHHHHHHH
The meli-melo-melanoma of everyday anguish as planes have returned in flying the heat waves of burning islands. Time is the cruelest mistress, perpetually flooding your (my) scrolls with sunsets—always the same as mine (yours) and yet never the one we get to see. Yeah I don't want to be left alone sunscreen-ed idling in the wildfire smoke air between the skin of the two boys you (I) want to love. It's always the endless summer somewhere if only you took the time to doom-scroll away
I want your systematic gaze to capture all invisible rays, not just the involuntary benefits of finding me attractive, I want the ones that travel through bodies, the ones that sense crisis and leak tenderness
Here look at me, hygienically delivering trophies to losers. Like donating remnants of an analog technology ill-fitted for figurative speech in general and never particularly à la mode. And when I wake up in the middle of the night to the slapping of my own face, all I can think about is how I've never used the clapping-hands-emoji between words
Now register what feels hallucinogenic to you and multiply it by the speed at which you grind your teeth when thinking about Jeff Bezos, then when thinking about Jeff Bezos sending commissioned works of art into space. Along with everything else, Tesla’s Egg of Columbus can be bought on Amazon but the best work is made here, and here (also here)
LoLBuilding A M*ltiplanetary MarketplaceGoF*ck Yourself
—Here look at me, hygienically delivering trophies to losers
A G I R L I C A
Written and directed by Fette Sans
Producers: Fette Sans & Frank Hauschildt
Music composer: Andreas Reihse
With: Felix Deiters, Fette Sans, Jasmine Reimer, Tiago M. C. de Sousa, Melo Börner, Zhim-xun Ho, Carolin von den Benken, Frederik Luszeit & Marie von Heyl
Filmed on location in Weissensee
Playfully adapted from Robert Wiene, Das Cabinet des Dr. Caligari, 1920
Produced on the occasion of the exhibition The Cabinet at Neun Kelche, Sept 4 - Oct 24, 2021
Opening: Sep 4 from 4 to 8 pm
Premiere: Brotfabrik Kino, Oct 24 at 3:30 pm
RSVP
No, as in true theater, without makeup or masks, refuse and corpses show me what I permanently thrust aside in order to live. These body fluids, this defilement, this shit are what life withstands, hardly and with difficulty, on the part of death. There, I am at the border of my condition as a living being.
Julia Kristeva, in Powers of Horror: an Essay on Abjection, 1980
This Saturday - Sept 4th - my solo exhibition The Cabinet opens at Neun Kelche in Berlin-Weissensee. It will be the first exhibition at the space newly founded by Kira Dell and Laura Seidel. Back in June, we organized a casting call for a film I was thinking of making (maybe we stared at each other in front of the green screen, and in my head, I superimposed us on the terrasse of the Martinez)
I began writing AGIRLICA at the end of March, first as a stunt or as a cocky flirt. A friend had just moved into a new apartment and was considering the demolition of this almost free-standing corner pantry to gain more space. I suggested converting it into a one-person porn kino—the cabinet large enough to store a sitting body. When he agreed to it, I proclaimed myself the exclusive producer/programmer
Amongst the many sub-genres of pornography, on the lower shelves, you will find The Parody: the filthy tribute to a (very) well-known film. The tradition really a cornucopia of bad puns, like Evil Head or The Texas Vibrator Massacre. All unmissable evidently.
Having moved to Weissensee a year ago, I grabbed the serendipity of being invited to show new work in a space located in my Kiez as further incentive to read about the neighborhood. I subsequently found out that the 1920 Robert Wiene film Das Cabinet des Dr. Caligari had been shot here. The area was then populated by film studios and infamously known as Little Hollywood
First as homage then as vibe
In the spirit of perverting a centennial, I took on building a set inside the exhibition space and shooting most of AGIRLICA there
I'd love for you to see this installation (and to hear how haunted you think the walls are). Oh, and on Sundays, I'll take confessions by appointment
Direkte Auktion. Slot 28: Greeds and Guts and Glories, curated by Hilka Dirks
Preview: from Sept 21 at 3 pm until Sept 25 at 6 pm at XBERG Tower (Postbank)
Auction: Sept 25 at 6 pm at the Salon am Oranienplatz
Models of Adaptation (S5E1 H-0), 2021, wood, foam, fabric, latex, hardware, 100 x 60 x 7 cm and Models of Adaptation (S5E2 H-0), 2021, wood, foam, fabric, latex, hardware, 33 x 20 x 6 cm
The godsakegiven right to
give my mature skin the same terrain to fuck on as the one where
all Mature Audience Only go to clear up their mind
Everything real and commodified simultaneously in the great surveillance economy hashtag TMI
Installation view I Have Eaten So Many Diamonds They Are Now Poking Through My Skin (says Anne), 2021, 7hr-long conversation with Marie von Heyl in a setting by Kasia Fudakowski. Part of the group exhibition PORÖS initiated by Sculplobe, Aug 15, 2021. Left image courtesy Frank Hauschildt
Fine. Now what.
In Print, an excerpt from the script of AGIRLICA will be published in the new issue of Arts of the Working Class
Intervention, a 6hr-long conversation with Marie von Heyl, Sometimes The Only No I Have Is To Reverse Things (says Eileen) curated by Gilles Neiens during Good To Talk, Berlin, Sept 12, from 12 pm
Cash flow, two new works available at Direkte Auktion on Sept 25 > Bid
Performance, The bitter ends of (the technologies of tenderness) Part II, part of the project ShareHolders initiated by Montag Modus (Kata Krasznahorkai and Léna Szirmay-Kalos) at Alter Münze, Berlin, Oct 18
Screening, the premiere of the film AGIRLICA at Brotfabrik Kino on October 24th > RSVP
NFT, Klub 27, in collaboration with Martin Sulzer, a unique edition soon to be released by portal
Publication, a page inside the catalog Nothing's gonna change my world initiated by Raumwww > Purchase
Tape, (re-)discipline in [redacted], in collaboration with Andreas Reihse, Ed. 50, each with a unique print and digital download > Purchase
Contribution to the catalog Nothing's gonna change my world, 2021. 276 pages, 24 x 17 cm, gray cardboard cover, offset printed by Druckhaus Sportflieger in Berlin. Ed. 250. Design: Daniel Hahn
Left, MONA Posters, 2021, blue-back posters, 84 x 60 cm. Right, When everything she was overthinking turned out to be true (MONA Secession), 2021, blue-back poster, 60 x 40 cm. Part of the group exhibition Impatience of the Future at Shore x Zeller van Almsick, Vienna, May 20 - July 17, 2021
As always, I'd love to read you. Take care
Baisers,
Fette