GUIDELINE: PRESENCE AND PRODUCTION

Projects which I call “Presence and Production”-projects want to establish another topic than “Participation”. “Presence and Production” is my term. This new term wants to stand up beside terms as “Participative Art”, “Relational Aesthetic”, Community Art” or “Educational Art” which are not my terms and which I never use. Participation cannot be the goal, participation cannot be an aim, participation can only be a lucky outcome, because I, the artist, have to do the work for the implication of the other.

Therefore in my “Presence and Production”-works I want to assert that – I the artist have to give something first from me (my presence and my production) in order to obligate – yes obligate – the other (the non-exclusive audience) to give something (his/her time and his/her production). I believe that throughout my presence and my production – my production and my presence first – I can create involvement, implication, exchange, dialogue, confrontation, contact!

With my “Presence and Production”-works I want to create moments of public space, as in:

“Bataille Monument” in Friedrich-Wöhler Siedlung, Kassel (2002)

“Musée Précaire Albinet” in Cité Albinet, Aubervilliers (2004)

“The Bijlmer Spinoza-Festival” in The Bijlmer, Amsterdam (2009)

“Théâtre Précaire 2” in Cité Gros-Chêne, Rennes (2010)

“Gramsci Monument” in Forest Houses, The Bronx, New York City (2013)

I want to create moments of public space even within institutions, as in:

“24H Foucault” at Palais de Tokyo, Paris (2004)

“Swiss-Swiss Democracy” at Centre Culturel Suisse, Paris (2005)

“Flamme éternelle” at Palais de Tokyo, Paris (2014)

Thomas Hirschhorn