Athens as a theme park

 

Dimitra Ioannou

Despite the deterioration of public services and a general state of anxiety & malaise, Athens will co-host Documenta 14. Do I have to cheer up?

Do I have to feel grateful? Do I have to be in central Athens and feel the ‘festive atmosphere’ of the opening event?

Do I have to take my greek flag & follow the ‘horseback parade recreating Parthenon frieze scenes?’

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Do I have to follow the 100-day horseback journey from Athens to Kassel, and feel european again?

Do I have to pay 5 euros & kiss the hands (or cheeks or lips) of the Documentarists at the inauguration party?

Do I have to photograph the 6.500 visitors expected in Athens during the openings so as to remember for ever these times of glory?

Who profits from that glory?

Can I profit too?

Can I be appointed director of the Athens Museum of Sun?

Can I apply for funding to the Ministry of Foreign Affairs?

Can I sell my sunny artefacts to the 6.500 expected visitors at very low prizes because cheap sun is the best?

Can I give a press conference with all my partners and members of the Athens Municipality gathered around a table turning our backs to the journalists?

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Can I ignore the negative feedback and smile to the cameras and dress as a dandy and eat as a sparrow and dance as a wild animal?

Can I change role now?

Can I be a writer again?

Can I talk about my debts?

KATHY ACKER AND

I am very much a primitive if you scratch me

in a perverse way I had changed words

I had changed intentionality ~ that’s what I like  ~ a double play I act through

I didn’t copy it ~ I didn’t say it was mine

I had changed intentionality ~ use other people’s material ~ a different procedure

not mine mine for a number of years

mine you said

it all fits nicely

BLOOD AND

COMMUNITIES AND

TARANTULA

I did that straight through

and I could go further further plagiarism I’m not guilty of

I use your work your words

you use my work ~ we use everyone’s work

the mind works with the body

we use everyone’s body my body I’m not guilty of

a cumulative OVEREXPOSED  effect

I start with a sentence, a sentence-character ~ twists and turns ~ they aren’t me

CAPITOL AND

TOULOUSE LAUTREC AND

PORTRAIT OF A SAILOR

sailors are nothing  ~ are me

sometimes what I write shocks me, sometimes I don’t even like it

I never thought I had imagination

want to play ~ to be allowed to wonder ~ wonder straight through

to have that sense of wonder ~ to have that sense

where I won’t be so easily modulated by expectation

I always wanted to find a kind of language

I always wanted to be language, split identity-language, androgynous language split

allowed to, allowed to re-make the world out of texts

writing should be about the real ~ there’s nothing mysterious ~ you’re trying to built fate, some sort of possible beauty

to be equal to non-text

SENSELESS

NOT SENSELESS

I’m looking for what might be called a body language

go into a space of wonder ~ wander ~ enter an illimitable world

AFTER BLOOD AND

trouble language ~ that’s what I really love

I can’t make language, but in this world I can play and be played

one thing I do is stick a vibrator up my cunt and start writing

writing from the point of orgasm and losing control of the language and seeing what that’s like

and I could go farther ~ I would talk only in positive terms ~ what would joy be ~

what it would be like to have a totally great existence

I always wanted to be language totally great language

what I’m doing is simply taking text to be the same as the world

text to be

text

plus some of my dreams ~ androgynous language dreams

the text’s so rich

a collage text made by Kathy Acker’s quotes and writings, and a few phrases of my own. Source material: Sylvere Lotringer “Devoured by Myths,” Semiotext(e), 1991 + Kathy Acker interview with R.U. Sirius 

October 28, November 11 2012

Δ.I.