December 2, 2017

Freedom (not) yet again


OPENING ­­­­­­­­­­­­­­­_____DEC _15 _____ 18:00

      ՀԱՅART mashtots 7a  


Creative modalities of pasts seem like the holding still of a once moving image in the present: a production of history over the creation of life and landscape by cutting at the reel of experiential and experimental reality. While  pasts are discussed as monolithic bodies of time-space, they are composed of (re)writings and (re)significations that render the possibilities that once were into historical claims for the necessity of present op/repression. Rather than being occupied by these displacements, can the (re)living of past moments of transformation allow us to occupy possibility instead? Perhaps we can demand alternative rewritings, the making of life between and through these parallel (broken) time-spaces. How can these alternative makings of past experience open up alternative readings of other pasts or, perhaps more vital, alternative futures - the “flashes in a moment of danger” that are meant to be forgotten? As example, the Soviet 1920s, rendered empty of the potential that did not serve the history of  what “happened” can be rewritten vis-a-vis the  post-Soviet 1990s that - as in a parallel time-space - have also been historically left evacuated. What are these times of an unnecessary past - or, what can they be - these “flashes in a moment of danger”? Historical (re)production produces phallic time. What can historical creation open - an écriture féminine or a queering of pasts and presents toward other worldings?

The language of transition by/impasses the “open,” erasing moments in which imaginaries of freedom went beyond the “freedom” that was yet to be produced and sold. Transition has become a narrative that inscribes a normative language to space and time - forward movement and a denial of political deviance and perversion. Historical cuts - eras, regimes, lives, bodies - render transformation into transition, obfuscating practices of freedom toward radical change.

Rethinking these once states of mind made states requires dismantling the process of historical (re)production. "What futures can emerge through a weaving of these only-partially (re)signified image-threads - fissured - that hold time and space with potential for the (aesthetic) emergence of the otherwise, the other place, the not-yet?"   Recreating memory of what once was or what could have been emerges potential to make life life (again)

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