9. JUNE 9 Mama - catalogue show Why wasn't it cohesive? How is curating a kind of creative practice? Are curators artists? WITTE DE WITH [Kopelman. (Floor 2) Rain forest "renderings." Why not "representations?" Maybe how you move through a space and try to make sense of it should inform the media you make about it. Your process of comprehending it should inform your creative media production process. Beyond just re-presenting what it looks like. Because there is more to a place than what it looks like, and there is more to media than what it looks like. Margolles. (Floor 2) Sweat on the windows, shirts in the stones. Would you have gotten it without the artist statement? Is that ok? How weak in this instance -- makes it like a game or riddle to solve. How strong in this instance? -- it mirrors the hiddenness of a hidden social problem. Why initials instead of names on bricks? Anonymoty. What did bricks look like? Tombstones. How different than painted cinder blocks at roobkapje exhibit? Had a conceptual reason to exist. Meíja, Rosenkranz, Yi.]. (Floor 3) What happens when you fill a room with a bunch of repeated stuff? Scale, affect. We are unable to easily reduce it semiotically. Cf: charlemange palestine. Anytime Now About the end of the world. Read robert frost "fire and ice" Thoughts about (moving room, perfume, cosmic clock) vs. paintings. - which more effective and why? Would photographs instead of paintings be more or less effective? Why? -------- Which pieces had smell? Apocalypse. Hanging rows of rope fabric. Sweat windows? What is the relationship between the exhibitions? South american. How would you describe all of this work? How is this work related to the political? What does "political" mean? --- Brian Holmes - Affect questions Back to affect, how is it working in and through these pieces? --- Each person prepare one question for Jan Robert, based on his work.