Der Soziographische Blick 6 / Krystufek

Whut choo lookin at Mofo (Adrian Piper) Selfportrait as a nice white lady ... The sociographic gaze in connection with me immediately crated a problem: I 'm not really gazing at anyone. I just am. Sometimes I give money to people on the street , sometimes I don 't. Sometimes I do charity auctions, sometimes I don 't. Sometimes there is an earthquake, sometimes there isn 't. Some people die of suicide, some live for a long time afterwards. Some people commit suicide for a larger purpose, some for themselves. Even suicide in a globalized society is unctionalized. What 's the power of a religion that makes people go through training programs and put their death into the service of an idea ?

I decided to make my exhibition not in the service of the sociographic gaze. I am like eastern Europe, where the waiter ignores you and the service is just really bad. Should I ask the carpenter how he feels about producing my remake of more and less wellknown designer pieces ? Of course it is dfficult , but how does he feel ? Where is he from ? Does he feel as a minority compared to me ? Would he rather design his own furniture than mine ? Are there traditional genderroles played out with a man making the furniture and a woman making the clothes and the director of the Kunstraum being a man ? Am a gazing at the people who work for me ? There is no white leather in Innsbruck, so we have to import it from Italy . Is working with leather cruel ? Hitler was a vegetarian. Does the lack of meat make people crazy ? The sociographic gaze replaced the pornographic gaze but where is the joy in this gaze ? Where is Silvia Eilbmayr, gaze speicalist ? When does the sex come back ? Why does the scientist I invited not like being photographed, after putting photos of all his relevant coworkers plus girlfried into his book ? Chris Kraus writes: „The life of the artist matters very little. What life ? The lives of successful younger artists are pracitcally identical. .... It 's best,of course, for the artist to be heterosexual and better to be monogamously settled in a couple. This guards against messy leaks of subjectivity which might compromise the work and throw it back into the realm of the „abject“, which we all supposedly agree, was a 1980 's excess that has long since then be discredited....“ What if the work itself is a compromise ? The Linzer Philharmonic orchestra has as part of ist programm to not improve. Creativity is not especially welcome. Who does the minority gaze it ? Does the Roma feel like a photomodel by being looked at ? Even fashion finds migrants sexy. Powerless people are angry.

Am I a minority through my profession or a majority as a cultural worker? Pornography used to be a nice clear system to struggle with. Top and bottom like in gay sexuality had their natural order. What for are we gazing at minorities who are not part of the leading national level? Where 's the „jouissance“ in those kind of observations?

Am a national leader as one of the most frequently photographed vaginas in recent art history ? The leading V= Victory. Victoria 's secret. Hélène Cixious writes: „How could a woman, who has experienced the the notme within me , not have a particular realitionship to the written? ...patriarchy has conditioned women to be frightened , even disgusted at the thought of their own sexuality : Their bodies, which they haven 't dared enjoy, have been colonized“. Now globalization has freed us from the topic. The sociographic gaze versus the pornographic gazed. The new obscentiy is work, money, violence, central heating, passports, planes. One starts to miss the male gaze, anything sexual.How much more fun was Bill and Monica and Hillary compared to G.W? The economy was better, even healthcare was an issue...Let G.W. fuck someone he likes. The newspaper says that Barbara won the election because her cookies were better than Mrs. Kerrys. The Linzer Philharmonic brass band tramples into the Kunstraum with a cardboard tank. Mrs Cixious has three children and studied at the Sorbonne. My mother says. I didn 't want to give you away to work. Dr. Magueijo writes: „Rockets with their engines switched off fall towards the Earth- and so does light. But rockets have an „escape velocity“, a speed above which they may leave the Earth 's influence, but below which they will forever be confined by ist attraction.“ Dr. Magueijo doesn 't write back to the kunstraum. He might be a rocket. In his book he writes:„ The horizon of a VSL black hole is like a goal at an infinite distance, an inaccessible edge of space, beyond which lies a curious box of eternity.“ Where is the horizon of the Kunstraum ? Chris Kraus wants to engage in a dialogue, Dr. Magueijo is very busy. Ian Blyth and Susan Sellers write about Hélène Cixous:“ In écriture fémine multiple, or even contradictory, meanings and forms of expression are sought after and valued.“ People are substitutes for other people. The title of a love poem challenges the title of a science book. The constant lover but the varying speed of light. Dr. Magueijo challenges Einstein, I challenge Dr. Magueio. „Appopiation“, I want to write to Chris Kraus , „is the technology of suburbia. „ „ For what we dont have, we sample, simplify.“ Cameron Jamie depicts the playful violence of White Trash creating trashy spookhouses. The horror of low budget. Dr. Magueijo writes.““Matter tells space how to curve; space tells matter how to move.“ As an artist I am LIKE globalization, operating towards the advantage of a minorty ( the art audience) and marginalizing the rest of the world who doesn 't look at art. What 's the reason to gaze at the oppressed ? Is it a substitute for helping them ? I always wondered why for the fundraising dinners never people were invited who are really hungry. Dr. Magueijo did write back. Rocket theory reversed. „...one cannot rush creativity. .... In effect we found that the speed of light in noncmmutative spaces is color-dependant and increases at very high frequences“ (as Dr. Magueijo writes)

(Elke Krystufek, Wien Nov. 2004)

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Der Soziographische Blick 6
Elke Krystufek