„point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., by Erika Matsunami

This is the fragment of my contribution „point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., which was stolen with my computer in 2014. This contribution will be never completed. After the part 3 in this contribution I had new experience, i had to consider about the reality that is "society"; their law, their culture and human right, also about Art itself in their society. Key words were western academic art education, professionalism, immigration, culture and culture layers in the society such as multi culture society in the globalization. What means "Global" for us..., „point in time - 時点、今を確認する" – we substantiate this moment, time is not linear and a continual dot..., is an artistic research project which creates a connection between the presentation of physical art works, lecture (artist talk) with three thematic parts and the exhibition (re-presentation) with kind support of berlinerpool in the studio at Aqua Carré Berlin and at the office of berlinerpool in 2013. This paper is a summary of "POINT IN TIME" in 2013 and a contemplation about arts and cultures in our contemporary society. The three topics "IDEA-Prefiguration", "performative-open system" and "Untitled-semiotics as personal code" will be summarized by the art works of artists; Eduardo da Conceição, Emma Waltraud Howes, Charlie Jouvet, Erika Matsunami, Enda O’Donoghue. It's a matter of the art works of artists which represent "time and space" in cognitive processes with different techniques and medium: from painting to performance up to multimedia. This basic theme "time and space" was taken up in the exhibition (re-presentation) on materiality and aesthetics, and to substantiate the cultures as background of artists and identity as well as individuality in our contemporary global society. Thereby I reflected about contemporary primitive and globally in the arts and the cultures. p.s Art is not for the economic market, art by some of the people is their cultural and human existence and the evidence of their identity. (...) I was a member of berlinerpool (mobile archive for and of berliner contemporary art) since 2009. After the burglary at the berlinerpool office in March. My studio and other studios at the studio house Aqua Carré Berlin were burglarized in April, 2014 accordingly. (I didn't know about the burglary at the berlinerpool office. Their office was brocken in, before the burgraly at my studio house Aqua Carré Berlin.), thus I quitted the membership of the berlinerpool in 2014l. ... (add. in 2015) (I could not comprise Sigrun Drapatz's contribution together with others. Because of several times to be burglarized at the studio house Aqua Carré Berlin in Berlin, as well as at my studio, the studio house Aqua Carré Berlin on April 1, 2014, Many data of this project as well Sigrun Drapatz's went missing. This exposition is before 1. April 2014. I dedicated this essay to Franz Koppe, Professor of Philosophy at the Berlin University of the Arts, who died in 2012.) Why I'd like to decided Sigrun Drapatz's project especially which one she created her artistic project in Turkey to present within the project 'point in time'. Her husband is a turkish migration in Germany and she has children with him. She doesn't understand islamic so well as well as languages. She is atheist, however she tried to understand and to create her project in her concept. I call her this work semiotic personal code. I didn't think her this work as activism, because there was no political aim. Thereby my question was, which kind of attention could given by this semiotic personal code in the intercultural communication, which 'communication' might be creativity? Many people today are atheist, thus it' usual today–a subject of democratic co-existence. After her generation in art, it has been starting the art from the perspective of the everyday life which art is not in 'metaphysics'. such as art to see into. In this part 3 „semiotics as personal code“, I researched on symbolism and today's art within theories by Cassirer and Goodman philosophically.

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Untitled - semiotics as personal code: Emma Waltraud Howes

An Archive of Accident Gestures 2011, "Emma" und "Kerstin" Still from HD Video, courtesy of the artist, Berlin (Photo: Emma Waltraud Howes)

An Archive of Accident Gestures (2011)

Emma Waltraud Howes' working process is influenced by a reverence for the 'Theatre of the Absurd’. Her projects are articulate gesticulations informed by a background in Dance, Performance Theory, and a formal training in the Visual Arts. Her process-based research is guided by observations on contemporary gestures and the history of their production and manifest as choreographed multiple reconfigurations of the body. The corporeal body in her work, similar to her material objects, can be seen as ‘characters’, emphatic subjects that serve to enunciate the purpose of our dysfunctions. She frames these elements towards a reconciliation of mind-body dualisms, an optimistic proposition for incremental change. Concerned with malleable boundaries, Howes incorporates movement, collage, sculpture, drawing, and video in live performance and interdisciplinary installations.

Emma (b. 1976, Canada) had experience as a professional dancer i.e., Baroque Opera, Ballet, and Contemporary Modern Dance, before pursuing her studies in the Visual Arts. She received a BFA from the Emily Carr Institute of Art and Design, Vancouver, and a MFA from Concordia University, Montreal, where she was awarded an international grant to study at the Bauhaus-Universität, Weimar, Germany. Her projects have been exhibited internationally, including solo presentations: Dare-Dare, 3e impérial (Québec), group exhibitions: The Nunnery (London), Joyce Soho (NYC), Bauhaus Festival (Jena) Goldrausch künstlerinnenprojekt Art IT, and Berlin.Status(2) (Berlin). She has based her practice in Berlin since 2009 where she has worked as Associated Artist for the company ‘kondition pluriel’, in addition to various collaborative efforts. She recently completed a residency with Geoffrey Farmer at the Banff Center, Alberta, Canada, and in 2014 will take part in the international residency program at the Künstlerhaus Bethanien through the support of the Québec Arts Council.

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An Archive of Accident Gestures (2011)

www.emmawaltraudhowes.com