Professional Documents
Culture Documents
You Mi "Transgression, Syncretism"
You Mi "Transgression, Syncretism"
Transgression and
Syncretism
Photothe author
YOU MI
30
.
(
). , , ,
, .
, , ,
.
.
.
.
, ()
. , , ,
. , ,
,
.
.
?
,
.
, ,
. ,
,
.
,
.
.
().
(16361912)
.
.
.
.
.
,
Transgression and
Syncretism
Introduction
You Mi
, ,
, , , ,
, , .
) (prehend)
? ,
()
. ,
, , , .
( )
,
.
,
, .
.
. 19
,
,
(lise Reclus, 18301905)
.
,
.
,
( ).
. 5 ,
.
, 700
.
.
Or.8210/
S.3326 ( CC0 1.0).
. ,
3D .
Transgression and
Syncretism
Photothe author
Introduction
.
, ,
,
,
[ 1]
, 11, 2014 [ 2]
( - ).
. ,
, .
.
, ,
, ,
. 6
( ),
12
. ,
(
) .
. ,
192030
, ,
.
1978
,
(
5
,
.
,
).
,
(
.
,
.
(,
, )
,
).
(counter-image)
.
, , ,
.
.
,
.
.
(
)?
. (
)
.
( )
.
.
(: )
.
.
.
3 11
Puay-peng Ho
Experiencing the Silk Road
Lecture
The Silk Road linking East Asia with
Western Region conjures different
images for different people. While
there had been numerous studies
on the myriad aspects of life along
the Silk Road, it is near impossible
to re-create or re-present the historical Silk Road in its totality. This
talk will present vignettes of Silk
Road experience seen through people group as expressed in art and
surviving literature between 6th and
12th centuries. Art as a social construct in tradition period is a potent
medium for expressing human aspiration and emotion. Obviously, what
we call art may just be utilitarian
objects for contemporary people
making, using and symbolizing the
objects. They were instruments for
the projection of the meaning of life.
The talk will present several
instances where life along the Silk
Road was vividly presented in art
and literature serving as the basis to
have a totality of experience of living, traveling, worshipping, or governing within different local communities along the historical Silk Road.
Igor Demchenko
Architectural Heritage, Nation
Building, and the Cult of Science
in Soviet Central Asia
Lecture [fig. 1]
Architectural heritage is the most
visible representation of the past,
but we almost never encounter it in
its pristine form: it is censored,
edited, and reframed. It is hardly
surprising that the Soviet Union with
its high level of political centralization, expansionist ideology, and
planned economy was systematically reordering the past.
In Central Asia, the southern
periphery of the Soviet Union, atheist Bolsheviks saw no value in the
religious culture of Islamic cities
inherited from Russian imperial governorate of Turkestan, the emirate
of Bukhara and the khanate of Khiva
that they rearranged into five
national republics of Soviet Central
Asia in the 1920s and the 1930s.
One would expect little interest in
monumental Islamic architecture
(mosques, madrasahs, sufi mausoleums) on their behalfbut the reality was considerably more complex.
Regional architectural heritage,
albeit significantly reshaped by restoration and selective demolition,
was mobilized for the purposes of
building socialist nations and establishing the line of progressive historic development according to the
Marxist laws of history.
The quest for the progressive is
the central story of the lecture. In
Soviet ideological discourse the
progressive (as opposed to retrograde) was associated with the
rational and the scientific.
Architecture was progressive inasmuch as it reflected the historic
development of natural sciences
and mathematics in its structure
and design. I will specifically discuss
the ideological underpinnings of
obsessive search for geometric
harmonization and proportional
principles in Islamic architecture of
Central Asia that defined the Soviet
historiography. Finally I will use several restoration cases to unveil the
messages embodied by Soviet
architectural historians and restorers in Islamic monuments co-opted
for the purposes of trans-conceptual indoctrination.
Aslan Gaisumov
Prospect Pobedy
Video, 11 min, 2014 [fig. 2]
The main character of in the video
Prospect Pobedy is the city of
Grozny. The city has been almost
entirely rebuilt by Chechnyas
incumbent president Ramzan
Kadyrov. The video is a succession
of panoramic city views with grandiose theatre buildings and concert
halls, Grozny Citys high-rises, fountains with colourful illuminations,
new mosques, museums and monuments intermingled with government regalia: the presidents portraits, state slogans and the names
of state organizations. The combined effect reflects the governments policy of prosperity and
well-being. The video allures to
Soviet era documentaries. Indeed,
even the music featured in the project is the original score of the 1978
documentary USSR Cities. Grozny
suggesting the projects possible
ambition to rival soviet films and
their skillful editorial work of turning
imagery into propaganda.
However, beneath the masqueraded prosperity, like the reverse
side of a ceremonial portrait, gleams
a different image, that of Groznys
half-destroyed Cultural Centre,
where the video is being shown.
This contrast in the register of perception is a litmus test of the official
image of Grozny. It makes one think
of the past war and the price paid
for the demonstrative well-being.
Just like the city itself, Aslan
Gaisumovs project is an intersection of the present and the past,
proving once again that history is
always written in the present. (Text
by Elena Yaichnikova)
Transgression and
Syncretism
March 11
88.7,
, 15, 2013 [ 3]
. , 2012
, 2009
[ 5]
[ 6]
[ 4]
2040 ,
( )
, ,
88.7,
.
,
,
10
24 ,
88.7,
, ,
,
.
,
.
,
,
,
/
,
( ),
( ), (12
)
.
Khhhhhhh
, 2012/2016
2012
(Mousse/Moravian Gallery)
.
, [kh]
, ,
.
,
,
,
3 11
Tobias Revell
88.7, Stories from the First
Transnational Traders
Installation, presented as lecture
performance, 2012 [fig. 4]
Transgression and
Syncretism
March 11
.
.
?
. ,
.
.
. ,
. ,
, 5 8
, ,
, , .
, ,
4 10
, 7 9
. 400
, ,
. ,
4 .
. ( A. ,
, ,
.
, ?
10
2 .
, ,
Transgression and
Syncretism
Motives and
Patterns
Puay-peng Ho
11
.
,
. .
.
.
.
,
,
.
. ,
,
.
12
217 .
Transgression and
Syncretism
Motives and
Patterns
13
?
,
?
( )
?
, ,
.
,
.
-
, .
.
.
,
.
1940 1980
. 1920 1930
, .
,
.
(Kunst
wollen)
,
.
, (
) .
, . ,
.
.
,
.
1920
14
.
, 1970 .
.
. .
M. S.
.
Transgression and
Syncretism
Science of History
Igor Demchenko
15
) ,
. ,
, , .
. (, )
1930 . 1950
. ,
14
. 7080
.
,
.
( ,
, ,
) .
, ,
, ( ) ,
(1978 )
. .
,
.
, ,
.
.
2 ,
,
. (
,
)
.
.
. (
16
Transgression and
Syncretism
Science of History
aesthetic value is fully objective and therefore can be comprehended and restored when damaged in the course of time.
Already in the 1920s, early-Soviet intellectuals were
obsessed with the systematic search for the objective content
of art and architectural beauty. On the opposite poles of
Soviet architectural scene, the avant-garde Rationalists led by
Nikolai Ladovsky, as well as a small but highly influential group
of Soviet neo-classicists circled around Ivan Zholtovsky were
occupied by this problem. During Stalins dictatorship their
solutions melted and merged into a single theory that saw the
essence of architectural beauty in proportion, harmony and
rhythm, expressedor even originally conceivedin geometrical and algebraic terms.
In Central Asia the first experiments in applying proportional and harmonization analysis to medieval monuments
came in the mid-1930s. In 1950, Shalva Ratiia was the first to
propose the reconstruction of the late-14th century Timurs
Bibi-Khanym mosque in Samarkand based on the analysis of
its proportions measured in whole numbers and simple
fractions of a module that, according to Ratiia, equaled the
diameter of its minaret. Ratiias calculations significantly
influenced the actual restoration of the mosque later in the
1970s and the 1980s. Central Asian scholars (including Mitkhat
Bulatov, Konstantin Kriukov, Pulat Zakhidov, and Vladimir
Filimonov among many others) who published their proportional analyses of medieval Islamic buildings sincerely believed
in their schemes and calculations. After all, architectural and
aesthetic discourse in Stalinist and post-Stalinist Soviet Union
was framed in a way that applying proportional theory to the
analysis of medieval buildings could seem only natural or even
self-evident.
Mitkhat Bulatov, the author of the most authoritative Soviet
book on pre-modern Central Asian architectural aesthetics
(first published in 1978), was certain that he was able to
reconstruct the forgotten methods of geometric harmonization
as a part of medieval Central Asian architectural theory. Yet
he was never able to find documental evidences in support of
his conviction: they simply dont exist. Medieval Islamic
architects had not left any theoretical treatises prescribing a
system of rules or aesthetic guidelines in the style of Vitruvius,
who remained completely unknown in Islamic world; Islamic
mathematicians occasionally produced books, in which they
strived to enlighten builders about the rules of geometrybut
those ones never deal with the questions of beauty, proportion
or harmony; Islamic philosophers did write about harmony and
proportion, but never mentioned architecture in this context.
After World War II, the Soviet Union continuously expanded
its investment in conservation and restoration of architectural
monuments, being particularly generous to the developing
17
( ),
Contra Diction:
. 2
, 2013 [ 1]
[ 2]
, 2014 [ 3]
Contra Diction:
()
. 3
(taqiyya) .
? ( )
.
,
).
,
.
.
,
(
)
/ .
,
, ,
,
()
,
( ).
( ).
2
18
3 12
Diane Rabreau
Becoming a Satellite Explorer
Workshop and presentation, 2013
ongoing [fig. 1]
Mohammad Salemy
Blockchain and Decentralized
Networks
Lecture [fig. 2]
Diane goes for you is a free exploration service, online. If there is any
spot on Google Maps that seems
strange to you or that inspires you
any question, send to Diane the
geographic coordinates and she will
try to go there one day and tell you
what she saw and experienced.
Since three years, Diane Rabreau
has been travelling the World to
explore geographic coordinates.
After investigation, she has found
some answers. The tree isnt floating but lying in the sand. The house
is a closed sauna. At the Romanian
border, there is a radio antenna
overmatched by the Ukrainian army.
The island under construction is
going to be a floating casino.
In Gwangju, Diane Rabreau will
host a workshop with the local community to find destinations in
Gwangju area to explore.
Our cybernetic age whose prehistory can be traced back to the natural philosophy of John Locke and
the political thought of Thomas
Hobbs sees the world as a closed
system of statistical feedback
loops. The seeds of our technologyfuelled and statistically oriented
society were sown centuries ago,
through Hobbes fiction of the organicity of monarchical rule and the
sovereigns role in the domestication
of the natural worlds chaos, to
which neoliberalism has somewhat
successfully returned the sociopolitical order. Like the Leviathan, this
system secures the place of the
king and his knights, or in todays
terms the owners and managerial /
professional class within the chaos
of social order. By mimicking the
unfair hierarchies embedded in
nature, not only how in general it
places those with expertise or political and economic power, in command of nature, animals, labourers
and machines but also how it geopolitically makes them the master of
states or peoples too small or weak
to vie for their own.
Transgression and
Syncretism
March 12
19
ESTAR(SER)
:,
, 2016 [ 4]
3
.
[ 5]
, 2014 [ 6]
, ,
- (erotic
grotesque nonsense)
. , ,
,
(18891966) 3
3335 .
20
1939
193539
20
:,
()
.
(, , )
, ,
.
49,
.
,
.
.
.
( ), (),
-, ,
.
30 80
(),
2 3 18
.
.
.
100m
15
3 12
Soyoung Park
Su:um, Dari
Performance, 2014ongoing [fig. 6]
Using Baekdu mountain range and
Map of the Korean Peninsula Shaped
like a Ferocious Tiger (
), Su:um, Dari is a 33 to 35-plate
story of score and choreography
where human organs and plates of
different senses are located. Baekdu
mountain range stands for the main
artery and takes the shape of
branches, roots or a snake.
This pieces overall story was composed based on the information of
underground movements(location,
direction, intensity) gathered for 15
days by the seismic triggers installed
100 m underground in Jeongseon,
Gangwon-do Province. It consists of
49-minute interdisciplinary performance, sound (including manpasik
jeok flute), dance (salpuri), score and
choreography-drawing, set design
and design for two costumes. The
underground information was collected by the seismic trigger when
winter turns to spring (thawing season): from February 3 to 18. Lee
Junki, professor in seismology at
Seoul National University provided
assistance for this information.
ESTAR(SER)
The Trochilus Exercise: Marton
Bialek and the Ecstasy of the
Rlek Scrolls
Lecture performance and workshop
[fig. 5]
Transgression and
Syncretism
March 12
Royce Ng
Kishi the Vampire
Lecture performance, 2016 [fig. 4]
21
/ .
, ,
, ,
,
. 2008
. P2P ,
. .
, ,
.
.
, ,
. ,
, .
, ,
. ,
22
,
,
of our cybernetic age and accept the brutal and top to bottom
imposed leviathan of the powerful, or instead work with
humans, help them to repair their damaged psyche, and
together topple the system.
A new kind of technopolitics demands the we dismantle the
third party regulators which mediate exchanges and replace
them with processes that are less prone to foster inequality,
laws that prevent a minority to use their advantaged position
within our techno-social system in order to hack it for their
benefit. This new politics demands the establishment of
general protocols for direct and discreet forms of exchange
via computation and accounting which circumvent or make all
together redundant entities like the state, banks and the
media.
Bitcoin is a digital measure of computational labour as well
as social value and exchange invented by Satoshi Nakamoto
who published his invention in 2008 and released it as an
open-source software in 2009. The system is essentially
peer-to-peer; meaning users can transact directly without
needing an intermediary. Transactions are verified by network
nodes and recorded in a public distributed ledger called the
block chain. The ledger uses its own unit of account, also
called bitcoin. The system works without a central repository
or single administrator. Bitcoin is described as the first
decentralized digital currency. It is the largest of its kind in
terms of total market value. Bitcoins are created as a reward
for processing work in which users offer their computing
power to verify and record bitcoin payments into a public
ledger. This activity is called mining and the miners are
rewarded with transaction fees and newly created bitcoins.
The block chain is a public ledger that records bitcoin
transactions. A novel solution accomplishes this without any
trusted central authority: maintenance of the block chain is
performed by a network of communicating nodes running
bitcoin software. Transactions of the payer sending bitcoins to
payee are publicly broadcast to this network using readily
available software applications. Network nodes can validate
transactions, add them to their copy of the ledger, and then
broadcast these ledger additions to other nodes. The block
chain is a distributed database; in order to independently verify
the chain of ownership of any and every bitcoin, each network
node stores its own copy of the block chain. Approximately six
times per hour, a new group of accepted transactions, a block,
is created, added to the block chain, and quickly published to
all nodes. This allows bitcoin software to determine when a
particular bitcoin amount has been spent, which is necessary
in order to prevent double-spending in an environment without
central oversight.
Understood in this context, the invention of blockchain by
Transgression and
Syncretism
Blockchain and
Decentralized Networks
Mohammad Salemy
23
. ,
.
.
,
.
.
,
.
.
, ,
.
, ,
.
, , ,
.
,
.
.
.
.
. ,
.
24
Transgression and
Syncretism
Blockchain and
Decentralized Networks
25
:,
II
. , ,
,
, .
12. .
- ,
. ,
, ,
. ,
. ?
: .
:(su:um) (atem) ,
, , .
. (dari) , , , ,
.
,
,
III
()
, , ( )
. , ,
, .
. ,
(, )
, .
. =
, , .
. ,
. -
().
, , .
. ,
, .
() ().
() , ()
. ()
. ,
100m
, .
, , .
.
.
IV
1953
.
. :,
,
26
:,
I
.
()
(Map of the
I
Baekdudaegan, consisting of massive rocky ridges, is the
spine of the Korean Peninsula. Its 12 veins rise high as if trying
to reach the sky and stretch down far as if having a rendezvous with the sea. Its ridges run into various directions before
abruptly stopping at a certain height and distance as if being
bewitched. There, more histories and myths unknown to us are
su:um-ing (breathing). As if to communicate with continents,
oceans, and air, and then to transmit their stories to a certain
star in the distant universe. Who is the transmitter of the
stories? The historical su:um hidden inside Baekdudaegan,
Iguess.
For me, su:um refers to the breath of a living organism, but
it also connotes being hidden, secluding oneself, and hiding. In
other words, it shows that su:um has a diverse stage of
motions and temporality. Dari means linkage, continuity,
meeting, connection, and a multitude of relations made
through organs in a huge body underground.
Baekdudaegan, a word meaning a magnificent stream
stretching down from Mt. Baekdu, is a mountain range that
forms the backbone of the Korean peninsula. This spine was
used as a boundary between regions, as the border during the
Three Kingdoms Period, and as an administrative boundary
during the Joseon dynasty. The bottom line is that the range
connotes two conflicting concepts: connecting and dividing.
That is because the word stream connotes connection, which
is not static but ever flowing.
The minds of all the invisible souls that hide inside the huge
mountain range (joy, anger, sorrow, and pleasure, and the
fundamental essence of life) are breathing along with us. To
put it differently, the soul=heart of nature moves along the
stream of the mountains. The range connects the mountains
of Baekdu, Duryu (the Gaema Plateau), Geumgang, Seorak,
Taebaek, and Jiri. It is also connected to Manchuria, Mongolia,
and Siberia. Moreover, this region bears multitudes of stories
that have yet been told. The world is interactional in a wider
and deeper way than this, both directly and indirectly. The
sincere heart of an artist may be delivered to the heart of
nature, felt and flown, and then finally as a response, a certain
shudder that is conveyed 100 meters below the earths surface
at Jeongseon, Gangwon-do Province, legible as seismological
data.
The movements and communication of certain organs
inside a flowing earth and the relation between the spirit and
the behavior of people may be the nutrients for certain living
things. In other words, our behavior, traces, and stories are
having an enormous impact on the next worldeven if the
world has to start all over again after everything perishes.
Inside the beginning is absorbed the impact of the past,
because history becomes the present and the future, not the
past.
Transgression and
Syncretism
Su:um, Dari
Park Soyoung
27
. .
3757'21"N 12640'14"E
, ,
,
.
, .
. :, ,
28
:,
. .
III
Inspired by the Map of the Korean Peninsula Shaped like a
Ferocious Tiger, the mountain scenery diagram charting
Baekdudaegan, Daedongyeojido (The Great Map of the East
Land) and the Korean mountain magazine Mountains and Life,
I see the mountain range of the Korean peninsula as a living
being. This opens up diverse opportunities to think about
spaces, which are connected into a tangled web of relations
throughout the galaxy.
Baekdudaegan is like a bamboo stem, or the ancient flute
instrument made of reed, manpasikjeok. Manpasikjeok are
dragons, wind, and sound, all characterized by motion. A
certain consciousness awakens and is put to sleep by opening
and closing one hole on the instrument. It becomes a sort of
sound-rain, which softly infiltrates our world.
The Chinese character for dance mu () originated from
mu () which means shamans. According to Joseonmusokgo
(thesis on Koreas shamanism written by the Koreanology
scholar Lee Neung-hwa), mu () is a person that serves a god
by dancing, with gong () at the center, meaning connecting
the sky and earth, and in () on both sides, meaning dancing
persons. Here, connecting the sky and earth can translate into
connecting gods and humans, and thus shamans are those
who connect humans to gods through the process of being
possessed by a spirit. That is, salpuri dance is sacred and
draws out deep, restrained breath as well as inner pleasure.
The dance shows how to stay detached, free, and calm in life.
IV
After the Korean Armistice Agreement was signed in 1953,
prisoners of war were repatriated across this bridge. The
name of the bridge originated from the fact that once prisoners of war crossed the bridge, they could never return. If the
work Su:um, Dari is performed there, it will make the bridge a
beautiful boundary and at the same time a place where the
door of connection opens. The sight may be beauty itself. The
Sacheon River that flows below the bridge as well as the
bridge over the river will serve as a venue for profound
contemplation over diverse subjects, such as the sky of the
four seasons, the four heavenly guardians of Buddhism, and
the river of death. Over the Sacheon River that connotes these
meanings opens the door to the bridge of no return, a place
where sacred hearts are exchanged. The river should be able
to open the doors of each others hearts to various worlds and
continuously flow. Su:um, Dari depicts the wings of the wind
blowing carefully and gently. This is a stage that can be in
harmony even with a mere weed.
Transgression and
Syncretism
Su:um, Dari
II
In Buddhism, dari (bridge) means not only a border dividing this
world and nirvana, but also su:um (breath) that travels between
the two worlds. It connotes mutual inter-communication
between the three universal dimensions of earthly paradise,
heaven and the world of mortals, which translates into the
possibility of transition from potential to morphologic, from
death to life. I my work, I explore death as a return to the form
of non-existence and being that was exiled to nothingness. It
is an act of performance to approach su:um from a certain
consciousness, and to deliver an exchange of hearts (minds),
more valuable than any other material exchange, a bridge
where impressions and hearts (minds) are exchanged.
Departure from the body is not death, but rather the first
voyage.
A coffin cannot be the last ship.
It is the first ship.
Death is not the last journey.
But the first journey.
29
SYNSMASKINEN:
, ,
[ 1]
, 20 51, 2011/12 [ 2]
,
BURST
, 2015 [ 3]
(SYNSMASKINEN ).
, ,
, ,
. , ,
, , , ,
2015 9,
, /, /
,
,
).
. -
.
.
).
,
.
(
) (
UFO
.
.
- 1603
. BURST
),
(
( )
,
.
) .
.
.
3 13
(ESTAR(SER)
30
( ).
Agnes Meyer-Brandis
The Moon Goose Colony
Video, 20 min 51 sec, 2011/12 [fig. 2]
SYNSMASKINEN:
Frans Jacobi, Ferdinand Ahm Krag,
Theis rntoft and Frederik Jacobi
BURST
Film, 2015 [fig. 3]
In september 2015 visual artists
Ferdinand Ahm Krag and Frans
Jacobi, poet Theis rntoft and filmmaker Frederik Jacobi travelled to
the furthest Siberia, the Yamal
Peninsula, to investigate and film
some deep craters, that has been
found in the tundra during the last
year. Scientists suggest that the
deep holes are created by severe
explosions of methane gasas a
consequence of increasing temperatures caused by global
warming.
BURST is an attempt to use the
images of the methane-gas-holes
as metaphors for the potential passage through the limits of the sky
and the waters that is now suggested by an international scientific
community as a possible consequence of capitalist cultures all-
encompassing influence on the
globe.
BURST is produced within in the
context of the artistic-researchproject SYNSMASKINEN.
Transgression and
Syncretism
Zhang Hui
Mystical Findings in Xinjiang
Lecture [fig. 1]
March 13
Agnes Meyer-Brandis, VG-Bild Kunst 2016
31
#2:
[ 4]
, 2016 [ 5]
2008 2010
. .
.
(:
.
(2014) 3500
)
,
.
.
.
,
.
.
, ,
,
, ,
3.
(
) .
3 13
?
?
.
/
32
Geumhyung Jeong
Fire Drill Scenario
Performance, 2016 [fig. 5]
In a new commission, Geumhyung
Jeong re-introduces contingency
situations that challenge the safety
zone of art and life. A theater has
various considerable risks as many
people gather together in a confined space. If an accident occurs
during a performance, and if people
fail to follow appropriate actions in
the emergency at the theatre, it may
lead to grave consequences.
Geumhyung Jeong will choreograph
the safety instructions to familiarize
the audience with the safety manual
and evacuation routes in the event
of an emergency in the theater
space.
Transgression and
Syncretism
Ashkan Sapahvand
The Pancosmic Manifesto
Towards an Art of the Future
Reading
March 13
Courtesy of the artist
Lucie Tuma
Volkskrper #2: Choreography
ofTectonics
Performance and walk [fig. 4]
33
34
()
. .
, .
[ 6, 7].
.
III
1300 1400 ( )
[ 1, 2, 3].
, 1020
. 25
II
19.5, 11.5, 11.8 .
[ 8, 9].
. ,
. 10,000
[ 10, 11].
, .
1, 4, 6 , , ,
[ 4, 5].
. UFO
UFO
. .
? 300
I
In the Bulqin steppe in the Altai region there have been many
stone figures found. Some of them are eroded to leave only
bare slabs, some are broken into parts. They were transported
from different regions to the Bulqin region for protection
reason so they have already the original context. I have found,
on one of the stone slabs, three curious figures aligned in line,
which appear like helmet-shaped machines with antenna on
the head and a diagonal mark across each body. The periodization of the stone figure is not clear; I estimate it as a Tujue
(later Turkic) stone figure from circa. 1300 or 1400 years ago
[figs. 1, 2 and 3].
II
The Kaba region on the circumventing route around the
otherworldly Kanas Lake is populated by the Tuva people and
dotted with sand mountains. Ancient nomadic people have
clearly settled in this pleasant area, the traces of which are left
in the so-called Duogate cave paintings. The Duogate caves
are a series of caves of various sizes tucked in curiously-shaped hills. The larger ones are of the size of a hall room,
the smaller ones the size of a niche. Seven of these caves
contain red ochre paintings from the late Paleolithic time,
around 10,000 years before our time. Most interestingly, in the
caves numbered 1, 4 and 6, depictions resembling planes,
rockets and wagons as well as strange figures of persons are
to be seen. It seems to suggest that in the ancient time there
had been flying machines [figs. 4 and 5].
One of the oldest books of the world, the Mahabharata,
speaks of a vimana as an aerial chariot with the sides of iron
and clad with wings. What is a vimana, then, if not a plane?
10
11
Transgression and
Syncretism
Mystical Findings
in Xinjiang
Zhang Hui
35
. .
- 1950
, , , , , , ,
()
, ,
. .
. ,
, .
. , ,
. .
, ,
?
?
?
,
. ,
: , ,
(): ,
, ,
.
. . .
: . , ,
( )
, .
. , , -, ,
. ,
36
, .
: , ,
. ,
, 26 ,
, ,
, , ,
, .
.
() K . 89.
. 17.211.2 cm.
III 6368.
Transgression and
Syncretism
Pancosmic Manifesto
Ashkan Sepahvand
37
.
.
.
, .
, , , , .
. .
,
. -
. .
. ,
, , .
.
. .
.
.
. .
, .
,
.
, ,
.
, .
, , .
,
. , . ,
, - ,
, , .
.
. -
. ,
. -
38
In the beginning, there was nothing solid, stable or substantial, only forms that moved as moments, lusciously keeping
the beat. The rhythm was durationless. Everything was
evanescent.
The art of the future starts with music, for the universe came
into being through rhythm, not time.
The artist of the future is the poet. The poet uses words like
the primordial, rhythmic atomic strings in order to reveal the
dynamism of Thought: that which was one and now is distributed across all existence: the imagination, the animated atom,
radiant mankind and the coming community.
The art of the future is able to capture reality by embodying
forces that before were not considered fully or properly real.
Imagination is a being capable of holding together earlier
moments of time beside the present.
Transgression and
Syncretism
Pancosmic Manifesto
39
.
.
. ,
, ,
.
.
. ,
.
- . -
.
.
.
. ,
, - ,
. ,
.
, .
.
40
. .
The art of the future wishes to reveal that all matter generates
itself from itself. This self-consciousness occurs on the plane
of imagination.
The art of the future is the first step towards the creation of
a radiant humanity: through the mastery of energetics, movement exploration, psycho-nautical techniques of imagination-projection, and an economy of instinct and luxury, human
civilization will be able to produce new resources by transmutating and transubstantiating all matter. By doing so, mind
and body, animate and inanimate, will be united into a dynamic,
compacted bundle of dimensional vibrations.
We live in an epoch when it is crucial to adapt to and manage the immense amount of knowledge we have generated.
The art of the future unleashes a creative, vital force whose
ultimate goal is the total culmination of dimensional vibrations able to produce a final singularity of consciousness, the
moment in which self-thought collapses into itself, an orgasmic
transparency of never-ending depth and force.
Transgression and
Syncretism
Pancosmic Manifesto
41
, /
?
( ) , , ,
. 1930
. 120 ,
10 30 .
(deep-time)
.
,
, ,
.
.
.
.
.
,
.
,
.
. /
,
.
, , ,
.
,
,
/
.
,
.
8
. 1
42
/
,
Transgression and
Syncretism
Ongoing Research
You Mi
43
, .
.
MHKA, +,
, ,
(),
() .
e-, ,
. ,
, ,
()
,
.
() .
2014
. ,
, , , ,
&
, ,
. 2015 MIT
IMPAKT, ,
,
.
. , , , ,
, , , , , ,
,
.
SOAS
. 2012
2014
, ,
,
. , , ,
.
()
.
(Anthropocene)
Textures
of the Anthropocene: Grain, Vapor,
Ray(MIT Press, 2015) .
,
.
. -
FFUR /
.
.
.
, UCLA, ,
,
, ,
13, ,
, ,
X, - ,
, ,
.
2007
,
.
.
2014
7
,
.
,
, , ,
. ,
DLR
. 2011
, ,
.
,
.
, , , ,
.
, ,
.
,
. :,
()
.
Mirrors for Princes
(JRP-Ringier / NYU Abu Dhabi,
2015), Not Moscow Not Mecca
.
(
)
.
()
44
(Revolver/Secession, 2012),
Molla Nasreddin: the
magazine that wouldve, couldve,
shouldve (JRP-Ringier, 2011)
ESTAR(SER)The Esthetical
Society for Transcendental and
Applied Realization (now incorporating the Society of Esthetic
Realizers)is an established body
of private, independent scholars
who work collectively to recover,
scrutinize, and (where relevant)
draw attention to the historicity of
the Order of the Third Bird. (www.
estarser.net)
About the Order of the Third Bird:
There remains some confusion
about the history and practices of
the body known as the Order of the
Third Bird, but evidence points to its
having been for some time a loose
network of cell-like groups that
engage in ritualized forms of sustained attention to works of art. The
canons of secrecy around these
activitiestheir structure and purposeshave traditionally been sufficiently restrictive as to leave some
doubt as to whether any individual
professing knowledge of the Order
could in fact be genuinely associated therewith.
The Trochilus/Rlek Working
Group includes D. Graham Burnett,
Carla Nappi, Sal Randolph, Bruce
Rusk, and Catherine Hansen.
Aslan Galsumov was born in
Grozny, Chechen Republic, Russia,
where he lives and works. He has
had his solo shows in M HKA in
Antwerp, Kromus+Zink in Berlin,
Winzavod Center of Contemporary
Art Moscow. He has participated in
Manifesta, Moscow Biennale of
Contemporary Art, in exhibitions at
Garage in Moscow, Ullens Center
for Contemporary Art in Beijing and
Art Dubai. His works have been
collected by the State Hermitage
Museum in Saint-Petersburg and
the National Centre for Contem
porary Arts, Moscow.
Transgression and
Syncretism
Participants
45
. ,
Realization,
. 2015 2017
(Society of Esthetic
(Zheng Mahler)
, -
Realizers) . 3
SYNSMASKINEN
,
()
. (www.estarser.net)
. New York
3 : 3
post et pre-figuratif
, prima materia
, ,
15 .
. 5
. 2013
, ,
. 2008
( , )
,
. , ,
40
.
,
.
(taquiyya),
.
2
.
,
.
Tape Echo,
The Freedom of
Speech Itself,
The Whole Truth
.
/ D.
, , ,
,
.
, ,
,
MACBA, ,
M HKA,
.
.
. SOAS
.
,
,
.
.
7 (2009),
(2011),
, ,
.
,
,
, ,
(2013), (2015)
(2011),
(2011) .
.
/
(2007),
(2011, 2012),
2015
,
2015(),
()
. 2014
(2012),
(2013) .
,
,
(),
.
.
,
,
.
46
, ,
SYNSMASKINEN
.
SYNSMASKINEN is an artist-group
and an inquiry into contemporary
political crises. The project consists
of a series of art projects, each
exploring a certain aspect or manifestation of contemporary crisis.
Together these visions are attempts
to unfolding a contemporary political cosmology. SYNSMASKINEN is
an artist-group in the sense that
each production is made by new
groups of artists and thinkers. In this
version SYNSMASKINEN consists
of: Ferdinand Ahm Krag, Frederik
Jacobi, Theis rntoft and Frans
Jacobi.
Tobias Revell is an artist and critical
designer. Spanning different media
and genres, his work addresses
failed utopias, rogue actors, unexplained phenomena, and the idea of
technology as territory. Tobias is
Course Director for the London
College of Communications BA
(Hons) programme in Information
and Interface Design and tutor of
BA (Hons.) Interaction Design Arts.
He is a co-founder of research consultancy Strange Telemetry and
one-half of research project
Haunted Machines. He lectures and
exhibits internationally, and has
recently appeared at Improving
Reality, FutureEverything, IMPAKT
Utrecht, Web Directions Sydney,
Transmediale Berline and Lift
Geneva.
Mohammad Salemy is an independent New York-based artist, critic,
and curator. He has shown his
works in Ashkal Alwan (Beirut) and
Witte de With (Rotterdam). His writings have been published in e-flux,
Flash Art, Third Rail, and Brooklyn
Rail. He has curated exhibitions at
the Morris and Helen Belkin Art
Gallery, Access Gallery, and Satellite
Gallery in Vancouver. In 2014, he
organized the Incredible Machines
conference. Salemy holds an MA in
critical curatorial studies from the
University of British Columbia and is
one of the organizers of The New
Centre for Research & Practice.
Transgression and
Syncretism
Participants
47
:
:
-
, ,
, ,
SYNSMASKINEN
ESTAR(SER)
-
Khhhhhhh
:
:
-
Transgression andSyncretism
Artistic director:
Seonghee Kim
Dramaturg:
Max-Philip Aschenbrenner
Producer:
Sungho Park
Publication:
Max-philip Aschenbrenner
Boyon Kim
Graphic design:
Sulki and Min
Translators:
Kathy Kyunghoo Lee
Shinu Kim